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Arhitektura,Knjige,Vizije
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5 aprila, 2016

POSTKAPITALISTIČNI ARHITEKTURNI MANIFEST?

Manifesti se nam danes zdijo zastareli. In to kljub svoji drzni usmerjenosti v prihodnost – morda pa prav zaradi nje? Zlata doba manifestov na začetku 20. stoletja je tekla vzporedno z intenzivnim gospodarskim in družbenim  napredkom, ko je bil ideja prihodnosti gonilo včasih naravnost nasilnih sprememb, ki so lomile stoletja stare vzorce in gradila popolnoma nove, urbane in industrializirane okvire sodobnega življenja. Futuristično navdušenje dvajsetega stoletja sta nekoliko upehali obe svetovni vojni, popolnoma pa ga je pokopala hegemonična prevlada mednarodnega kapitalizma v devetdesetih letih. Nekaj let se je zdelo, da smo prišli v zgodovinsko brezvetrje, da smo zares doživeli takrat ravnokar razglašeni »konec zgodovine«. Neoliberalna realnost je skupaj z razmahom procesov globalizacije postala glavna referenčna točka družbenih (in tudi umetniških) kritik sodobnosti. (Samo)razglašanje za nasprotnika kapitalizma ali vsaj za nasprotnika neoliberalizma ni postala uporniška umetniška in teoretska pozicija, ampak že kar samoumevno izhodišče večine kavarniških pogovorov. Vendar pa je vzpostavljanje antagonizma znotraj hegemoničnega, vseobsegajočega svetovnega sistema vse kaj drugega kot spopadi konkurenčnih ideologij dvajsetega stoletja. Tako se je vzporedno z razvojem vedno bolj družbeno kritične umetnosti razvijala tudi njena kritika, ki (prepričljivo) dokazuje, da je »angažirana« umetnost konstruktivno vpletena v iste procese, ki jih nominalno kritizira. Ko tej zapleteni zmesi pridružimo še popolnoma nekritično ideologijo »kreativnosti«, za katero se zdi, da postaja hegemon na na novo vzpostavljenem preseku med umetnostjo in »lifestyle« ekonomijo, se znajdemo v popolnoma nepregledno gosti ideološki juhi, kjer je nemogoče poiskati ravnotežje.

3

Na tej sodobni, post-postmoderni osnovi je bila napisana knjiga, ki kot samodeklarirani manifest poskuša rešiti idejo prihodnosti, družbeno kritiko pa očistiti idej, kot so »vrnitev k preprostejšim oblikam dela in življenja.« Namesto tega se lani izšla knjiga »Izumljanje prihodnosti. Postkapitalizem in svet brez dela« avtorjev Nicka Srnicka in Alexa Williamsa sprašuje ravno po visokotehnološki realnosti, ki bi lahko postala osnova za drugačen, progresivnejši svet, kot je sodobna nevzdržna potrošniška družba. Predvsem poskusita avtorja idejo prihodnosti izmakniti neoliberalni ideologiji, obenem pa z ostro kritiko obstoječe »leve«politike vzpostaviti visokotehnološko alternativo vzdržne prihodnosti. Knjiga je obvezno branje tudi za arhitekte, katerih realnost je v zadnjih letih tako ključno zaznamovana z neoliberalnim pretresom načinov zaposlitve (ki jih je skoraj izključno pretvorila v samostojne podjetnike in tako preložila vsa tržna tveganja samo nanje), obenem pa s prevladujočimi idejami o »vrnitvi k sonaravni arhitekturi«poskuša definirati nekakšno vernakularno arhitekturo za nove čase. Prihodnost se nikoli ne vrne v preteklost, zato je lahko kritika obstoječega sveta osnovana samo na njegovih tehnoloških in teoretskih vrhuncih. Nove tehnologije pa so lahko v enaki meri tako blagodejne kot škodljive – po navadi o učinkih odloča inteligenca uporabe in družbeni angažma. Zanimivo bi bilo opazovati, kako prihodnja leta tudi v arhitekturo vrnejo nekaj zdravega futurizma, ki ni nujno futurizem znanstvenofantastičnih filmov ali celo distopični scenarij uničenja sveta, ampak boj za idejo družbene enakopravnosti in solidarnosti.

Miloš Kosec

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Revija Outsider

Revija Outsider je prejela Plečnikovo medaljo za prispevek k bogatitvi arhitekturne kulture. Kot piše v utemeljitvi, sta revija in spletni portal Outsider nov slovenski medij o kulturi in družbi, ki si prizadeva za poznavalski in hkrati distanciran pogled na prostor. Ekipa arhitektov, ki skrbi za njen obstoj, je nagrajena za inovativnost pri širjenju zavedanja o arhitekturi in prostoru v kontekstu širše kulture in širše javnosti ter za vztrajnost na vsebinski in finančni neodvisnosti.

Z DONACIJO OMOGOČATE OBSTOJ SPLETNE STRANI REVIJE OUTSIDER

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