Remember in Architecture
15 Projects 


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한국내: 42,000원
ISSN_2092-5190



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Remember in Architecture
City and Memory_Olga Sezneva
Memory's not Perfect_Diego Terna

House of Memory_baukuh
Dipoli, Aalto University Main Building_ALA Architects
University of Haifa, Younes & Soraya Nazarian Library_A. Lerman Architects
Restoration of the Maiden Tower_De Smet Vermeulen Architecten + Studio Roma
Dr. Anji Reddy Memorial_Mindspace
Imnang Culture Park_BCHO Architects
Len Lye Centre_Pattersons
Hegnhuset, Memorial and Learning Centre in Utøya_Blakstad Haffner Architects
KOHTEI_SANDWICH
The Ulma Family Museum in Markowa_Nizio Design International
Katyn Museum_BBGK Architekci
The Witness of Land
- Memorial Hall of Crime Evidences by Unit 731_Architectural Design & Research Institute of SCUT
Mount Herzl Memorial Hall_Kimmel Eshkolot Architects
National Holocaust Monument Ottawa_Studio Libeskind
The Second World War Museum_Studio Architektoniczne Kwadrat


기억과 건축
사연의 시간과 장소, 그리고 그 기억의 갈래_올가 세즈녜바
왜 기억하나, 어떻게 기억하나_디에고 떼르나

밀라노 기억의 집_바우코
알토 대학교 디폴리 본관_ALA 아키텍츠
하이파 대학교 도서관_아사프 러맨 아키텍츠
벨기에 메이든 탑 복원_드 스밋 버뮬런 아키텍튼 & 스튜디오 로마
안지 레디 박사 기념관_마인드스페이스
임랑문화공원_조병수건축
렌 라이 센터_패터슨
노르웨이 우퇴위야섬 추모의 집_블락스타 하프너 아키텍츠
코테이 추모관_샌드위치
울마 가족 기념관_니지오 디자인 인터내셔널
카틴 추모관_BBGK 아르히텍치
중국 하얼빈 731부대 전시관_중국 화남이공대학교 건축디자인 연구소
헤르츨 언덕 추모관_키멜 에쉬콜롯 아키텍츠
캐나다 국립 홀로코스트 기념관_스튜디오 리베스킨트
폴란드 제2차 세계대전 박물관_스튜디오 아키텍토니츠네 카드랏




City and Memory


... ...
Cities provide the material, the space and the expertise with which such memories are made. Richard Sennett once wrote that, “...you identify with a space in order to identify with another human being”, and cities are filled with such spaces. They are physical terrains in which cultural memory is embedded – or even better, where the ‘stuff’ of life is archived. This is most evident in the names that streets and places bear, but not only. The presence of the past is visible in the architecture and the street layout, the offices and the shops, the bars and the cafes, and even the greenery. But which history? In the body of the famous Paris monument, Basilique du Sacré-Coeur, is written an entire history of class struggle, the French Republicanism and of the Paris Commune. Its long coming to existence, as much as its awkward shape reflect a long century of oppression and resistance, the maturing of capitalism and nationalistic pride. Another example is Palast der Republik in Berlin, which had to be demolished in the early 2000s to give way to a replica of Hohenzollern Palace, all because the shape and the feel of the building, and the color of the concrete of which it was made were unambiguously associated with communism. And in the Russian city of Kaliningrad which nowadays belongs to Russia, trees that survived WWII and the Soviet-period reorganisation stand to be living witnesses of the German Königsberg, a non-existent city that Kaliningrad once was. This last example brings to mind the distinction made by Alois Riegl a century ago between the intentional and unintentional monuments: some sites, buildings and even their traces turn into memory topoi by the will of a society, not intentions of their designers. Truly anything may become imbued with mnemonic power. Urville, Azeville and Biville, small communities in Normandy, became internationally known when ruins of the WWII defence lines attracted photography artists Jane Wilson and Louise Wilson. The way a letter (a piece of paper), a picture (a drawing, a photograph, a digital file), and a dry rose together summon and contain a history of an affair, a ruin, a trace, may be vectors to history.
... ...
written by Olga Sezneva



Memory's not Perfect


Projects that work on the theme of memory face a universe made of personal remembrances, activated in the visitors through the same space in which they are located. It is a constitutive subject of architecture, which has established a good part of its existence on this dialogue between present and past, through a purely architectural operation or through a more metaphorical and symbolic work.
Whatever the modality, activating a personal interpretation of the past is fundamental for defining a plausible future through the built space. It is a journey of discovery, like the protagonist of the movie Memento; it can be a biographical survey, as in Aldo Rossi’s projects; it can also be almost obliged by an existing situation, as in the works of Leon Battista Alberti. Without certainties, but constructing an own atlas of memories, past will structure the narration of space.
Memory and past build a foundational basis for projects that will be analyzed below, but they become living elements only thanks to a vision that is not anchored to this past, but that draws strength from it, for submerging, then, in an innovative future.
... ...
written by Diego Terna