By Mariusz Czepczynski
The cultural landscapes of critical eu towns replicate over part a century of socialism and the Marxists' imaginative and prescient of a utopian panorama. structure, city making plans and the visible arts have been thought of to be strong technique of expressing the 'people's power'. even though, because the velvet revolution of 1989, this city surroundings has been noticeably reworked by means of new forces and tendencies, infused through the unfastened marketplace, democracy and liberalisation. This has ended in 'landscape detoxification' and 'recycling', as those former Soviet countries used new architectural, practical and social kinds to remodel their urbanscapes, their meanings and uses.Comparing case reviews from diversified post-socialist towns, this booklet examines the culturally conditional adaptations among neighborhood powers and buildings regardless of the similarities within the normal approaches and structures. It considers the modern cultural landscapes of those post-socialist towns as a dynamic fusion of the previous communist kinds and new free-market meanings, positive aspects and democratic practices, of world impacts and native icons. The ebook argues that those urbanscapes in actual fact mirror the social, cultural and political stipulations and aspirations of those transitional nations and so a severe research of them offers very important insights.
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Extra resources for Cultural Landscapes of Post-socialist Cities : Representation of Powers and Needs (Re-Materialising Cultural Geography)
Forms and meanings are the bodily expressions of the ways of thinking, the experience, and the hierarchies of values and culture of each of the group as well as of each individual. This culturally conditioned epistemé is always boldly visible through the forms of urban space and its organization. Cultural landscape is one of the main representing languages of modern society, which signify the spiritual dimension of the investors, architects and users. The surrounding is central to understanding the landscape in that it embodies economic, social and cultural processes.
Semyonov-Tyan-Shansky (1870–1942), who insisted that the study of landscape should concern not only biophysical characteristics but also its visual, aesthetic, and cultural dimensions. Geography, according to Semenov, was close to art: studying landscape as paysage and fostering sensitivity to its colours, sounds and smells. This in a sense very post-modern, humanist and holistic attitude towards landscapes studies was not welcomed in totalitarian, Stalinist Soviet Union, where landscape studies were to distance society from environment and envisioned the domination, utilization, and manipulation of natural features (Shaw and Oldﬁeld 2007).
Cultural landscape can be seen as being among the main composers as well as vivacious transmitters of culture. Forms and meanings are the bodily expressions of the ways of thinking, the experience, and the hierarchies of values and culture of each of the group as well as of each individual. This culturally conditioned epistemé is always boldly visible through the forms of urban space and its organization. Cultural landscape is one of the main representing languages of modern society, which signify the spiritual dimension of the investors, architects and users.