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Most architectural journals are made by architects. This is perfectly
legitimate and understandable, as there are few or almost no practicing
architects among them. Indeed, it is difficult to combine two distinctly
different activities. In this respect SPEECH is a rare exception to the
rule. The idea to launch this journal was initiated by a group of practising
architects, who design and successfully realize their ideas in practice on a
routine basis.
Why this journal? The answer is that architecture is not only a matter of
designing and building, of relationships between architects and clients,
contractors and developers. It is not only things like statics, construction
technologies, and economics, things like square meters, investment,
and anticipated profits. All of the above is important but architecture is
something that goes way beyond that.
Back in antiquity Vitruvius defined architecture as a combination of
«utility, strength, and beauty». As one of the principal arts, architecture
has always been a major component of culture and as such has always
been looked at in this particular context. This approach is fully applicable
to contemporary architecture, and this tradition which was broke in
Russia is in need of renewal. As is the tradition of architectural discourse.
This is exactly what SPEECH is intended for.
SPEECH sets out to specify the current trends and positions in
contemporary architecture, analyzing them from the angle of theory
and practice, history and modernity, to compare global trends and
local special features on the basis of world and Russian architectural
experience. It will provide a suitable forum for professional statements by
architects, art and architectural historians, critics, and experts from
a variety of architecture-related fields.
SPEECH will appear twice a year with each issue devoted entirely to
a particular theme stemming directly from current architectural practice,
subjects that were not distinctly articulated before, need to be discussed
now, and are probably awaiting to be redefined in the near future.
Irina Chipova
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subject
Irina Chipova
The return of ornament
history
Vladimir Sedov
Ornament in Russian architecture:
an attempt at systematization
Bernhard Schulz
The hidden ornament. Remarks on the
architecture of the Classical Modern
pro & contra
Irina Chipova, Elena Grabar
Christoph Langhof / Nicolay Lyzlov
object
Nina Frolova
The interlacing of concrete branches
Toyo Ito. Tod’s Omotesando
Vladimir Belogolovsky
Openwork facade by Thom Faulders
ÒThom Faulders. Airspace Tokyo
Irina Chipova
Classicon – identification through
ornament
Christoph Langhof. Residential and office building
Classicon
Irina Chipova
Viennese industrial decor
Rudiger Lainer. Office- and fitnesscenter. Alteration
and extension
Valeria Sheina
New baroque in Warsaw
Erick van Egeraat. Netherlands embassy in Warsaw
Valeria Sheina
The 3D message of Merida
Fuensanta Nieto, Enrique Sobejano. Auditorium and
conference center, Merida
Elena Petuhova
Freedom of interpretation
Alexei Bavykin. An apartment house in the Brusov
Lane, Moscow
Vladimir Frolov
New mythology. Ornamental Rossiya by
Sergei Tchoban
Sergei Tchoban. Buildings on the area of the former
plant Rossiya, St. Petersburg
environment
Valeria Sheina
Functional romanticism
European experience of public space
development
Valeria Sheina
Benedetta Tagliabue
From dock to human scale
expert
Pavel Chernyshev
Criminally expensive ornament
portrait
Anna Guseva
Klein Dytham architects:
Happiness is important!
gallery
Photo project by Yuri Palmin
Moscow’s ornamental facades
reader
Adolf Loos
Ornament und Verbrechen
(Ornament and Crime)
Robert Venturi, Denise Scott Brown,
Steven Izenour
Learning from Las Vegas: the forgotten
symbolism of architectural form
Authors of this issue
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