Monuments: The Latest Architecture and News

In response to the question of how the United States should treat the monuments to Civil War Confederate figures which are dotted throughout the country, The New York Times commissioned six artists to re-imagine what could replace the controversial statues.

The issue of Confederate statues, which many regard as a glorification of those who fought to preserve slavery, has been brought into sharp public focus as of late due to the white nationalist rally in Charlottesville, Virginia in 2017 which resulted in the killing of counter-protester Heather Heyer.

British researcher Darmon Richter has recently released Monumentalism, a visual study of over 200 photographs featuring socialist architecture and designs built by 20th century regimes around the world. These photos were taken in more than 30 different countries and show a broad range of subject matter, from military parades in the former Soviet Union to revolutionary memorial sites. See more after the break.

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A city’s monuments are integral parts of its metropolitan identity. They stand proud and tall and are often the subject of a few of your vacation photos. It is their form and design which makes them instantly recognizable, but what if their design had turned out differently?

Paris’ iconic and stunning Arc de Triomphe could have been a giant elephant, large enough to hold banquets and balls, and the Lincoln Memorial in Washington D.C. could have featured an impressive pyramid.

GoCompare has compiled and illustrated a series of rejected designs for monuments and placed them in a modern context to commemorate what could have been. Here are a few of our favorites:

As part of Paris School of Architecture's 2017/18 research theme, which is discussing the infrastructural implications of the United Kingdom's withdrawal from the European Union, the institute has launched an international architecture competition seeking Brexit Monuments.

London-based Dutch architect Matthijs Ia Roi has won the Belgian Monument Competition with his proposal, Museum of Hospitality, which will be built in Amersfoort, Netherlands.

The museum will serve as a symbol of hospitality for refugees in the Netherlands and will compliment the neighboring World War I monument, which was a gift from Belgium in recognition of the Netherlands hosting Belgian soldiers during the war.

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For many years, Yugoslavia’s futuristic “Spomenik” monuments were hidden from the majority of the world, shielded from the public eye by their remote locations within the mountains and forests of Eastern Europe. That is, until the late 2000s, when Belgian photographer Jan Kempenaers began capturing the abstract sculptures and pavilions and posting his photographs to the internet. Not long after, the series had become a viral hit, enchanting the public with their otherworldly beauty. The photographs were shared by the gamut of media outlets (including ArchDaily), often attached to a brief, recycled intro describing the structures as monuments to World War II commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s.

This accepted narrative, however, may not be entirely accurate, as Owen Hatherley writes in this piece for the Calvert Journal. In the article, Hatherley explains the true origins of the spomenik, and how this misconception has affected the way we view the structures and the legacies of the events they memorialize.

Read the full piece at Calvert Journal, here.

French photographer Jonk drove over 5,000 kilometers through southeast Europe. His subject matter? Yugoslavian monuments, or “spomenik” in Serbian.

Built in the 1960s and 70s under former president Josep Broz Tito, these monuments commemorate the communist resistance during the German occupation. While their sculptors and architects vary (Vojin Bakic, Jordan and Iskra Grabul among others), all of the monuments memorialize WWII battle sites or former concentration camps. Although the monuments attracted a high rate of visitors in the 1980s, many of them have been abandoned or poorly preserved after Yugoslavia’s split. Jonk’s photographs illuminate both the decay and beauty of these sculptures.

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