«Книги издательства «Strelka Press»», Max Labovich сөресіндегі кітаптар

Re-interpretation the concept of affordance in terms of the Chinese concept of yuanfen

The New Normal think-tank student, activist, and philosopher Joy Zhu reinterprets the concept of affordance in terms of the Chinese concept of yuanfen, which contains critical moments that turn two mutual but mismatched needs into one that is matching, creating an immanent, productive relation of cooperative subsistence. Based on this interpretation, Joy reveals a new concept of efficiency, different from the naturalistic one, demonstrating it through the preservation of outdated technologies in Siberia.

https://store.strelka.com/en/items/158

“Less is more” goes the modernist dictum. But is it? In an age when we are endlessly urged to do “more with less”, can we still romanticise the pretensions of minimalism?
For Pier Vittorio Aureli, the return of “austerity chic” is a perversion of what ought to be a meaningful way of life. Charting the rise of asceticism in early Christianity and its institutionalisation with the medieval monasteries, Aureli examines how the basic unit of the reclusive life – the monk’s cell – becomes the foundation of private property. And from there, he argues, it all starts to go wrong. By late capitalism, asceticism has been utterly aestheticised. It manifests itself as monasteries inspired by Calvin Klein stores, in the monkish lifestyle of Steve Jobs and Apple’s aura of restraint. Amid all the hypocrisy, it must still be possible to reprise the idea of “less” as a radical alternative, as the first step to living the life examined.

http://2013.strelka.com/press_en/less-is-enough/?lang=en

Тактический урбанизм — это теория малых дел в сфере городского развития, и, судя по всему, в современном мире она намного эффективнее, чем проекты масштабных изменений, которые почти никогда не доходят до реализации. Описывая различные подходы к дизайну городской среды, американские архитекторы Майк Лайдон и Энтони Гарсиа доказывают: чтобы двигаться вперед, достаточно и небольших усилий.

http://strelka.com/ru/press/books/tactical_urbanism

With each successive style or movement, redundant forms and technologies are replaced and then re-enacted in the name of progress. Ideologies and fictions become forms. And then there is the stranger world still of actual replicas, such as Henry Ford’s Greenfield Village, where history is brought to life for didactic purposes. It can’t help it, architecture’s deepest instinct is to repeat, whether it’s columns, ceiling tiles or twin towers. Ours is a landscape of cover versions, copy and paste, rinse and repeat. In this polemical essay, Sam Jacob probes the architectural condition and wonders whether it’s all just an attempt to make what’s not real look real.

http://2013.strelka.com/press_en/make-it-real-sam-jacob/?lang=en

A nuclear facility in Iran before and after an explosion, a village in Pakistan before and after a drone attack, a Cambodian river valley before and after a flood. The before-and-after image has become the tool of choice for analysing events. Satellite photography allows us to scrutinise the impact of war or climate change, from the safe distance of orbit. But one thing is rarely captured: the event itself. All we can read is its effect on a space, and that's where the architectural expert is required, to fill the gap with a narrative. In this groundbreaking essay, Eyal and Ines Weizman explore the history of the before-and-after image, from its origins in 19th-century Paris to today's satellite surveillance. State militaries monitor us and humanitarian organisations monitor them. But who can see in higher resolution? Who controls the size of the pixels? Interpreting these images is never straightforward.

http://2013.strelka.com/press_en/before-and-after-documenting-the-architecture-of-disaster/?lang=en

Культурный ландшафт Москвы постоянно меняется — парки превращаются в лектории, современные художники работают в общественных пространствах, а музеи берут на себя функции развлекательных центров. Перемены происходят так быстро, что участники событий не успевают их осмыслить, а аудитория с трудом понимает, как на самом деле устроена культура. Чтобы ответить на этот вопрос, Институт «Стрелка» проводит серию дискуссий с участием самых ярких представителей российской индустрии кино, дизайна, музыки, театра, архитектуры и других профессионалов, работающих в сфере искусств.

На второй дискуссии культурологи и кураторы главных музеев Москвы обсудят перемены, которые происходят музейной сфере. C кем и ради чего сегодня конкурируют музеи? Как привлекать новое поколение в музеи? Посещаемость музея — это показатель качества его работы? Могут ли музеи брать на себя не только просветительскую, но и развлекательную функцию?

Участники дискуссии:

— Антон Белов, директор Музея современного искусства «Гараж», основатель некоммерческого проекта Gallery White и журнала ARTGUIDE

— Зельфира Трегулова, искусствовед, генеральный директор Государственной Третьяковской галереи, куратор международных музейных выставочных проектов

— Ольга Свиблова, директор Мультимедиа Арт Музея, член Российской Академии художеств

— Мария Насимова, главный куратор Еврейского музея и центра толерантности

— Марина Лошак, куратор, филолог, директор Государственного музея изобразительных искусств имени А.С. Пушкина.

Модератор:

Алексей Мунипов, культуролог, редакционный директор образовательного проекта Arzamas

Культурный ландшафт Москвы постоянно меняется — парки превращаются в лектории, современные художники работают в общественных пространствах, а музеи берут на себя функции развлекательных центров. Перемены происходят так быстро, что участники событий не успевают их осмыслить, а аудитория с трудом понимает, как на самом деле устроена культура. Чтобы ответить на этот вопрос, Институт «Стрелка» проводит серию дискуссий с участием самых ярких представителей российской индустрии кино, дизайна, музыки, театра, архитектуры и других профессионалов, работающих в сфере искусств.
На третьей дискуссии представители российского арт-рынка обсудят перемены и проблематику, возникшие за последние 5 лет в этой среде. Из чего сейчас складывается цена современного искусства? Как произведения искусства попадают в коллекции? И кто определяет их ценность? Какие механизмы работают на арт-рынке и как они адаптировались к новой реальности за последние 5 лет? Какие изменения механизмов арт-рынка ждут нас в ближайшие годы?
Модератор дискуссии:
Мария Кравцова, куратор, арт-критик, шеф-редактор сайта artguide.com и русской версии журнала Garage Magazine
Участники дискуссии:
— Маргарита Пушкина, коллекционер, искусствовед, основатель и директор международной ярмарки современного искусства Cosmoscow
— Дмитрий Ханкин, галерист, сооснователь галереи «Триумф»
— Николай Палажченко, арт-менеджер, куратор, создатель программы «Арт-менеджмент и галерейный бизнес» в бизнес-школе RMA, VIP представитель Art Basel в России, странах Прибалтики и СНГ
— Анатолий Осмоловский, художник, теоретик современного искуства, куратор, основатель и ректор Института «База»
Гости дискуссии:
— Владимир Овчаренко, основатель галереи «Риджина», аукционного дома VLADEY
— Сергей Попов, основатель галереи pop/off/art, искусствовед и куратор, специалист по истории современного русского искусства

В 1920-е годы Ле Корбюзье написал целый цикл манифестов модернистской архитектуры — той, которая через несколько десятилетий изменила облик всего земного шара. «Новый дух в архитектуре» и «Архитектура в эпоху машинизма» — две небольшие журнальные статьи, оказавшиеся в тени знаменитых книг Корбюзье «К архитектуре» и «Урбанизм», однако именно здесь принципы грядущего модернизма были сформулированы самым лаконичным и доходчивым образом.

Preservation is ordinarily reserved for architecture that is unique. So how would we go about preserving buildings that are utterly generic? Such is the case with Belyayevo, an ordinary residential district in Moscow. Belyayevo is a classic microrayon, the standardised neighbourhood system that successive Soviet regimes laid out across the USSR in what was the most expansive programme of industrialised construction the world has ever seen. Belyayevo's buildings, and the desolate spaces between them, are identical to thousands of others, but is it different? Kuba Snopek argues that is. Home to many of the artists of the Moscow Conceptualism school, the place was written into the character of their art. Snopek argues that this intangible heritage is the key to saving a neighbourhood many feel has had its day. But as Russia comes to terms with its Soviet legacy, will such arguments fall on deaf ears?

http://2013.strelka.com/press_en/belyayevo-forever-snopek/?lang=en

Культурный ландшафт Москвы постоянно меняется — музеи берут на себя функции развлекательных центров, парки превращаются в лектории, а современные художники работают в общественных пространствах. Перемены происходят так быстро, что участники событий не успевают их осмыслить, а аудитория с трудом понимает, как на самом деле устроена культура. Чтобы ответить на этот вопрос, Институт «Стрелка» проводит серию дискуссий с участием самых ярких представителей российской индустрии кино, дизайна, музыки, театра, архитектуры и других профессионалов, работающих в сфере искусств.

Первая дискуссии в серии посвящена современному графическому дизайну. Как меняются приоритеты дизайнера? Генерирует новые смыслы или обслуживает потребности заказчиков? Дизайн — это художественное высказывание или продающая упаковка? Что думают об этом дизайнеры старшего поколения, и согласны ли с ними представители «новой волны»?

Модератор:
Мария Привалова, директор Московского института социально-культурных программ, в бывший старший преподаватель факультета дизайна НИУ ВШЭ, куратор и продюсер культурных проектов в дизайн-агентстве LimitedUnlimited.

Участники:

— Игорь Гурович, член академии графического дизайна России, лауреат Московской международной биеннале графического дизайна «Золотая пчела», основатель дизайн-бюро Ostengruppe, преподаватель НИУ ВШЭ, руководил разработкой фирменного стиля Олимпийской сборной России

— Иван Васин, партнер дизайн-бюро «Щука», оформлявшего журналы Prime Russian Magazine, «Большой город» и «Московское наследие», преподаватель Британской высшей школы дизайна

— Даниил Сергеев, основатель и генеральный директор рекламного агентства Firma Agency

— Полина Кукушкина, дизайнер, ученица Бориса Трофимова, проходила стажировку в бюро Ostengruppe

— Анна Наумова, дизайнер Ostengruppe

— Стас Жицкий, дизайнер и художник, основатель бюро OPEN!Design

— Борис Трофимов, графический дизайнер, один из основателей и преподаватель в Высшей академической школе графического дизайна

These are serious times, or so our governments keep telling us. Strangling economies with their austerity policies, they assure us that they have no choice. In a world where “there is no alternative,” how do you dissent? Once upon a time, graphic designers would have made political posters and typeset manifestos. Today, protest has new strategies. Enter the internet meme. With its Darwinian survival skills and its viral potential, the meme is a way of scaling up protest. Hackers and activists have learned to unleash the destructive force of a Rick Astley video. They have let slip the Lolcats of war. Pranks have become a resistance strategy. As the rise of Beppe Grillo in Italy testifies, this may be the hour to fight nonsense with nonsense. Jokes are an open-source weapon of politics, and it is time to tap their power.

http://2013.strelka.com/press_en/jokes/?lang=en
https://strelkamag.com/en/article/memes-design-and-politics

The vast, proverbially windswept plazas built under “really existing socialism” from the 1920s to the 1980s are widely considered to be useless spaces, designed to intimidate or at least impress. Yet if they are only of use to those in power, why is it they have been used so successfully in protest? From Petrograd in 1917 to Independence Square in Kiev during the Orange Revolution, these spaces have become focuses for mass protest. Beginning in Berlin’s Alexanderplatz, and taking in Warsaw, Ljubljana, Kharkov and Moscow, Owen Hatherley heads in search of revolt, architectural glory and horror. Along the way he encounters the more civic squares that replaced their authoritarian predecessors and finds that, paradoxically, the old centres of power are more conducive to dissent than these new, ostensibly democratic plazas.

http://2013.strelka.com/press_en/across-the-plaza-owen-hatherley/?lang=en

On their bland campuses, the likes of Apple, Google and Facebook dominate the world, removed from the mess and the prying eyes of the real city. But while their products are discussed endlessly, their urbanism has rarely been. So what does it look like? To date, the Silicon Valley campus has served as a backdrop to many a sun-kissed founder photoshoot, but there is little understanding of the distinctive urban personality that separates the village of Facebook from the town of Google, or the truly urban Twitter (which recently decided to move to San Francisco's notoriously un-gentrifiable Tenderloin). This investigation of the private towns of Silicon Valley examines the tech campus as a typology and attempts to discover what urban design says about companies we think we know.

http://2013.strelka.com/press_en/the-dot-com-city-alexandra-lange/?lang=en

Space is a technology. Buildings and the cities they inhabit have become infrastructural—mobile, monetised networks. For the world’s power players, infrastructure space is a secret weapon. If Victor Hugo came back to give a TED talk, he might assert that architecture, once killed by the book, is reincarnate as something more powerful still—as information itself. If this space is a secret weapon, is it a secret best kept from those trained to make space?

https://strelkamag.com/en/article/excerpt-from-the-action-is-the-form-victor-hugos-ted-talk-by-keller-easterling
http://2013.strelka.com/press_en/the-action-is-the-form-keller-easterling/?lang=en

In this short book, Dan Hill outlines a new vocabulary of design, one that needs to be smuggled into the upper echelons of power. He asserts that, increasingly, effective design means engaging with the messy politics — the dark matter" — taking place above the designer's head."

https://strelkamag.com/en/article/book-passage-dark-matter-and-trojan-horses-a-strategic-design-vocabulary
http://2013.strelka.com/press_en/dark-matter-and-trojan-horses-dan-hill/?lang=en

Dharavi has achieved mythical status. Commonly, and mistakenly, cited as Asia's largest slum, it is a symbol of Mumbai's inability to meet the needs of its population, and the ability of Mumbaikars to meet those needs on their own. Commentaries usually fall back on the slum narrative, which sees Dharavi as resilient but backward, and in need of radical intervention. Matias Echanove and Rahul Srivastava of Urbz argue that it is time for this narrative to be rewritten. Dharavi residents do not recognise their home as a slum — the slum is always somewhere else, a few blocks away perhaps. Echanove and Srivastava challenge the bipolar way in which Mumbai sees itself, divided between "backward" slums and "modern" high-rises. What they call the "user-generated neighbourhood" is far more sophisticated and productive than any developer's masterplan.

http://strelka.com/en/press/books/the-slum-outside-elusive-dharavi/

Летом 2018 года во дворе Института «Стрелка» прошла футбольная программа — серия лекций и дискуссий, посвященных футболу. Эксперты, руководители стадионов, дизайнеры, киберблогеры, комментаторы и футболисты вместе рассматривали футбол как культурный феномен. Сборник будет интересен не только футбольным болельщикам, но и тем, кто следит за трендами в маркетинге, дизайне, технологиях производства одежды и видеоиграми.

As growth was the defining condition of the 20th century, so scarcity is set to define the 21st. Already it pervades political discourse and shapes our reading of the economy and the environment.But scarcity is not just the inevitable result of growth and resource exploitation. Scarcity is constructed daily through the creation of desire, it is designed. The authors of this timely essay set out to establish a more sophisticated understanding of scarcity. The message for architects and designers — experts in working with constraints — is that scarcity is a process, and one that can be productive. This essay asks us to throw out our simplistic Malthusian graphs and escape the stranglehold that scarcity has on our imaginations.

https://strelkamag.com/en/article/the-design-of-scarcity

Exploring the edge condition of São Paulo, Justin McGuirk investigates the different forms of dwelling available to its would-be citizens, and meets some of the people carving a life for themselves on the verge of this unforgiving metropolis. Driving anti-clockwise, we take a journey backwards in time, moving from cardboard favelas and hastily built tower blocks, back to modernist social housing and the factory towns built early in the last century. Is this a tale, as the Brazilian flag attests, of “Order and Progress”? Are the citizens of the periphery better off looking after themselves than in the hands of developers and the paternalistic state? Part road trip and part urban critique, this drive-by portrait makes the case that the city is best understood not by its centre but by its edge.

http://2013.strelka.com/press_en/edge-city-driving-the-periphery-of-sao-paulo-justin-mcguirk/

Because the Internet of Things is not about things on the internet. A world in which all our household gadgets can communicate with each other may sound vaguely useful, but it’s not really for us consumers. The Internet of Things serves the interests of the technology giants, in their epic wrangles with each other. And it is they who will turn the jargon of “smart cities” and “smart homes” into a self-fulfilling prophesy. In this piercing and provocative essay, Bruce Sterling tells the story of an idea that just won’t go away because there’s too much money to be made and a whole world to control.

http://strelka.com/en/press/books/the-epic-struggle-for-the-internet-of-things

https://strelkamag.com/en/article/the-epic-struggle-on-the-internet-of-things

Mao once called the Chinese “a blank sheet of paper”, and the modernising that came with the Cultural Revolution treated cities much the same. But Mao’s destructive impulses were as nothing compared to the liberalised policies of his recent successors.

China has undergone urbanisation on a scale never seen before — much of it speculative, some of it a brazen display of power. In this incisive analysis by the acclaimed Sinologist Julia Lovell, we get inside the politics of architecture and city-making in China. There is a colourful cast, from the Western starchitects rushing into the land of opportunity, to political dissidents such as Ai Weiwei, to rebellious residents singing defiantly as the bulldozers advance. In this trenchant critique of urban policy, Lovell wonders what good all this thrusting ambition will have been if the property bubble bursts.

http://2013.strelka.com/press_en/splendidly-fantastic-julia-lovell/

In the US, an adult on average spends two hours and 51 minutes on their smartphone every day. That is eight minutes longer than Andrei Tarkovsky’s film Stalker.

We’re not interested in telling you to put your phone down and start paying attention to the real world. Instead, we want to investigate the kind of experience we have whilst staring at these tiny screens and the digital platforms that inhabit them. We are interested in calling this something other than smartphone addiction. We are interested in calling it cinema.

Digital Tarkovsky is an extended poetic exploration of how our experiences of visual entertainment and time itself are changing in the era of the smartphone and near-constant connection. The essay applies the ‘slow’ cinematic art of Andrei Tarkovsky to our interaction with the digital, visual reality of screens and interfaces. Digital Tarkovsky is a way of tracing what cinema, storytelling and time mean in our platform-based world.

http://strelka.com/ru/press/books/digital-tarkovsky-ru

The Terraforming is the comprehensive project to fundamentally transform Earth cities, technologies, and ecosystems to ensure that the planet will Ье сараЫе of supporting Earth-like life. Artificiality, astronomy, and automation form the basis of that alternative planetarity.

http://strelka.com/ru/press/books/the-terraforming