Renovated Plattenbauten: extra metal-frame balconies in light-blue, existing ones with new blue glass-bricks.
If you can stand a bit of Ostalgie and have a Sunday off, the Plattenbaumuseum in Berlin Hellersdorf is worth the visit: in Hellersdorf, part of GDR, between 1976 and 1986 were built roughly 42.000 prefabricated concrete-slab apartments (Plattenbau), the majority of which consisting of WBS-70 typology. This type was characterized by a modular raster or 6 x 6 mt., a depth of 12 mt., floor height of 2.80 mt. usually rising till the 5th, 6th or 11th floor. A building with 30 apartments could be built in 4 weeks, 18 hours per apartment. In a WBS-70 could live a couple with one or two children, or a couple with no children who needed an extra working-room.
General WBS-70 plan.
Kitchen: note the all-present wallpaper.
Bedroom.
The company in charge of the renovation wanted to show how the original situation was, compared to the "new" apartments: in fact you can also visit the very next renovated apartment and see the difference. Getting rid of a partition wall and of wallpaper, reducing the rooms from three to two, adding an extra balcony, external insulation and increased care of the green spaces are quite easy moves. What unfortunately is harder to change is the absence of mixes functions in the neighborhood, and the relative distance from the city center (at least the perceived one) and from the Ring that runs across Berlin. One has anyhow to say that an underground station lies quite close to the blocks.
Two apartments at ground floor share the garden.
Ongoing renovation: note the external insulation being "attached" and the effort with colors.
New entrance with shed. Again the color-attempt.
An example of Plattenbau-description that escapes (n)ostalgia is "Platte mit Aussicht", a film-documentary on the Dresden-Gorbitz quartier.
In 1935 Arthur Elton, Edgar Anstey, John Taylor and Ruby Grierson filmed Housing Problems, sponsored by the British Commercial Gas Association, an attempt to tackle the problem of slums in the outskirts of East London, seen both from the perspective of experts of planning and architecture (from whom we hear only the voice) and slum-inhabitants, exposed to the camera via direct interviews.
Smugglers carried goods (25/30 kg.) in their "backpacks" made of jute.
B/W images via swissinfo.ch
Smuggling between Italy and Ticino was since the early 19th Century an endemic economical trend, because of the very basic reason that roughly half of the Ticino boundary lies along the Italian one, and different tax legislations let a convenient income margin for goods that were not declared at the border: this borderland was a strategic hub for goods traveling from north to south Europe and vice-versa. With the construction of the Gottardo railway tunnel (1872-82) this "European" role was strongly enhanced.
Model: in black Ticino; from left Lake Maggiore, Lugano and Como.
White wires are smuggler's main routes. Brown piece of cloth is jute.
Governments in Ticino and Lombardy (Spanish, Austrian, French, and then Italian) always tried to address and stop illegal commerce, but since in Switzerland there is nearly no flatland to cultivate, grain and flour in great quantity was transported (illegally) from the "Pianura Padana" to the Swiss population and smuggling represented an opportunity for both populations, dealing with basic commodities, that is why this activity was seen as a relief for communities on both sides; to get what was necessary, not what was luxurious; a way to resist to the fiscal oppression of foreign powers, ruling the north of Italy in the 18th and 19th Centuries. It also represented a way of communication between the two States, since it was necessary to set up a net of personal and fiduciary relationships.
After the French Revolution the Italian State (under the control of Napoleon) promulgated in 1803 the monopoly of salt, tobacco and gunpowder: these goods started coming then from Switzerland, where no monopoly was run, as well as coffee.
Support from the population was necessary: smugglers were well accepted.
In order to avoid patrols smugglers chose demanding routes.
Around 1848, when the constitution of the Italian Republic was still in progress, Ticino was fundamental in printing democratic pamphlets and distributing them illegally in Italy, or hosting central figures of the Italian Risorgimento, one for all, Carlo Cattaneo. As well in 1848, with the purpose of damaging the Austrian Government in north of Italy, in Brissago, on the Swiss shore of the Lake Maggiore, was founded a tobacco factory, producing the same products of Austrian factories: same quality but lower price. Cigarettes were then spread in Italy through smuggling.
Goods left along the way.
Patrolling around Lugano CH.
Towards the end of the 19th Century a fence was built along the border, and smugglers had to organize themselves better and more efficiently.
Jute "shoes" were need to minimize noise while walking.
Between the two World Wars, smuggling was reduced, because of better patrolling, due to the fear that enemies would invade the territory, and because much of the male population which was not fighting found a job in building infrastructure for the Army. Between 1943 and 1948 smuggling arose again: this time the main good to smuggle was rice, coming from Italy to Switzerland. From the 1950s on, smuggling started dealing with monopoly goods, rather than basic goods, as well as with drugs, becoming a international criminal organization.
A couple of interesting videos related to mobility in a metropolis, distant in spatial terms but also chronological: first a short movie about New York City in the 1940s; although 1941 appears as release date some footage is more recent, coming from the early '50s. The idea of blood circulation from William Harvey is taken as a main reference to represent and explain mobility and fluxes right from the title: "Arteries of New York City".
Second video, a TV Chinese broadcast about the new "Straddling bus"(to be seen along Beijing's streets soon?).
Though oversimplifying reality and popular in attempt, this short film from the mid-1960s gives you an interesting hint of the debate about suburbia and the city in general in USA at that time, catalyzed
in New-York on one side by the journalist and activist Jane Jacobs and on the other by the urban planner Robert Moses: avoiding the risk of drawing a caricature of them as antagonists, it is nonetheless possible to say that Jacobs, especially with her book "The Death and Life of Great American Cities", 1961, addressed a sharp critique to the most rigid elements and aspects in terms of urban planning and architecture of Modernism, which Moses happened to represent. This film touches in 15 minutes the questions of sprawl and suburbia, car-dependency, social boredom; urban renewal and investment, decay of city-centers, governance.
Bearing in mind the contemporary tendency and easiness in pointing out the failures of Modernism, one of the main urban and housing modernist catastrophes, contemporary to Jacobs, was the 1954 housing project Pruitt Igoe in St. Louis, Missouri, designed by architect Minoru Yamasaki, best-known for the Twin Towers in New-York. The following is a description by Robert Hughes, quoting architecture historian Charles Jencks, claming the demolition of Pruitt Igoe (1972-74) to be the death of Modernism.
Like tragically September 11 and the Twin Towers, Pruitt Igoe became widely popular on screen, as you can see from Kooyanisqatsi, film documentary by Godfrey Reggio with music by Philip Glass.
", 1961, addressed a sharp critique to the most rigid elements and aspects in terms of urban planning and architecture of Modernism, which Moses happened to represent. This film touches in 15 minutes the questions of sprawl and suburbia, car-dependency, social boredom; urban renewal and investment, decay of city-centers, governance.
