以上这句话成为了由华沙现代艺术博物馆、华沙博物馆以及Cracow建筑学院的客座策展人共同举办的第八届华沙建筑节的宣传语。今年展览的主要目的是为了展示波兰从社会主义国家向市场经济转型期间住宅与居住环境的变化，以及提出与全球新自由主义结合的新的运作模式。展览还提出了关于波兰人选择居住风格和环境的相关问题。这次活动于2016年10月22日至11月20日在华沙的Nowogrodzka 84/86的前印刷厂举办。 This phrase served as the motto for the 8th edition of the annual Warsaw Under Construction festival organized by the Museum of Modern Art in Warsaw and the Museum of Warsaw with guest curators from Architecture Institute from Cracow. The main purpose of this year’s exhibition was to show how houses and the living environment changed in Poland during the country’s transition from a socialist state to a market economy, and to present the functioning of the new model with its connections to global neoliberalism. The exhibition poses questions about the style and environment of where Poles choose to live. It was on view at the former printing house at Nowogrodzka 84/86 in Warsaw be- tween October 22 and November 20, 2016. ▼ 以转型时期住宅为主题的第八届华沙建筑节展览空间，the space of the 8th edition of the annual Warsaw Under Construction festival
20世纪90年代的经济变化确实带来了显著的变化，许多波兰人拥有了属于自己的房子。在公寓楼或相似的“立方体”的房子里居住多年后，波兰人得以有机会去实现拥有个性化的郊区住宅的梦想。新的金融机制下的新推出的按揭贷款，使得实现的过程变得更加容易。但是抵押给银行的房子是否可以称为自己的家？郊区化，绅士化以无处不在的封闭社区的出现是否是在波兰城市和农村大规模发生的事情的后果？波兰人应在哪里生活？如何生活？政府为何从如此重要领域的角色中退出？ 拥有一套属于自己的房子，无论是传统形式还是现代形式，是每一个波兰人的梦想。房子不仅可以显示一个人的身份，还能缔造一个家庭的历史以及显示一个人的野心。波兰人梦想的房子都有一个共同点，多层的三角山墙屋顶住宅！据统计，三角山墙的房子是波兰成年人的终极梦想的代表。 这就是为什么设计师们决定围绕这个结构安排展览而同时这个形式还解释了展出的内容。屋顶上设置天窗，氧眼窗，塔的简单形式以及纸板材料的立面，重现了波兰城市景观，同时也强调了通过建造房屋来塑造身份的超级特征。 The economic changes of the 1990s brought about the quite literal realization of the festival’s motto: many Poles actually did get to have their own houses. After years of living in apartment blocks or identical “cube” houses, they got the chance to fulfil their dreams of individualized housing, usually in the suburbs. The process was made easier by new financial mechanisms, including newly introduced mortgage loans. But can a mortgaged house really be called your own home? What are the consequences of processes that took place on a massive scale in Polish cities and villages: suburbanization, gentrification, the appearance of ubiquitous gated communities? Where and how do Poles live, and why did the government back out of its active role in such a socially significant field? Every Pole’s dream is a very own house – typical, contemporary or traditional – that defines one’s identity, fabricates family history and shows one’s ambition. All those dreamt Polish houses have one common element – a gabled roof, that covers not only single-family homes, but also multi storey blocks! The gabled roof is an archetype of a house and therefore a symbolic ultimate aspiration of a statistical adult. That is why we decided to arrange the exhibition around that structure – so it comments on the exhibited content. Formal addittions (skylights, bay or ox-eye windows, towers) to the roof’s simple form recall urban Polish landscape with the use of cardboard as a facade material emphasizing such a superficial character of constructing the identity through building a house. ▼ 纸板材料的建筑完美的置入老建筑之中，创造出富于变化的空间和流线， building of cardboard material puts into the old space to create a changeful space and streamlines
▼ 纸板建筑的顶部也采用了标志性的三角山墙屋顶，the roof of the cardboard building also features a gable roof
▼ 屋顶上设置天窗，氧眼窗，塔等形式让人想起波兰城市景观，formal addittions (skylights, ox-eye windows, towers) to the roof’s simple form recall urban Polish landscape
展览中，波兰家庭的形成过程介绍了包括城市规划，街区，独户和联排住宅类型以及室内和材料的各种问题，分析聚焦华沙及其作为转型期模型的城市群，波兰其他地区也存在类似现象。中产阶级的出现是波兰政治转型的一个关键现象，这个社会群体的精神，夙愿和心态都对社会产生了巨大的影响，包括住房环境和生活空间。这个社会阶层的生活方式可以作为展示波兰社会其它阶层生活情况的参考。通过生活方式表达波兰身份的研究目前得到了广泛的关注。 媒体在推动新的“大稳定”方面的作用也是此次展览关注的最主要问题之一，所谓的大稳定就是：一个波兰人的成功意味着在城市外或郊区拥有一个带花园的房子。 此次展览展示了过渡时期的杂志、书籍、出版物、电视剧、电影以及房屋目录等视觉资料的研究，定量数据分析，专家访谈和咨询以及以波兰1989年社会转型以后生活空间为主题的摄影和电影。波兰当代艺术家在展览中展出的作品表明，转型后的社会和生活空间仍然是视觉艺术的重要主题之一。 The processes that shaped Polish homes are presented in chapters on various problems of dwelling, including urban planning, neighborhoods, typologies of single- and multi-family architecture, as well as interiors and materials. The analysis focuses on Warsaw and its agglomeration as a model of post-transformation changes, but the exhibition presents similar phenomena from all over Poland as well. One of the key phenomena of Poland’s political transformation is the birth of the middle class. This social group’s ethos, aspirations and mentality have an enormous influence on public debate, and in the context of housing are tangibly reflected in living spaces. The lifestyle of this social class serves as a reference point to show the living situation of other layers of Polish society. There is a strong focus on studies of Polish identity expressed through lifestyle. One of the major questions the exhibition asks is about the role of the media in promoting a new “big stabilization,” which meant having a house with a garden outside the city or in the suburbs, as a symbol of success. The exhibition is based on research on visual testimony of the transition period (magazines, books, publications, TV series, films, typical house catalogues), an analysis of quantitative data, interviews and consultations with experts, as well as photographic and film projects documenting the transformation of Poland’s living spaces after 1989. The works of Polish contemporary artists presented in the exhibition show that the post-transition iconosphere and living space were also an important subject for the visual arts. ▼ 展品的布置与展览空间完美结合，the layout of the exhibits perfectly combined with exhibition space
▼ 在二层的走廊可以近距离的观看到纸板建筑的屋顶，而且通过屋顶上的开窗可以以顶视图的视角观看展览空间，In the corridor can be close to the roof of the cardboard building, and through the windows can appreciate the exhibition space from a top view
DATA: MORE: BudCud |
|
|
