Manifesto

Propaganda

While the specific definitions may vary, they all generally refer to the use of communication and manipulation to influence public opinion and behaviour in favour of a particular cause, group, or ideology.

Propaganda of the Russian State does not carry the function of causing an issue. It doesn’t expect you to act, it loves unconditionally. Propaganda wields a subtler influence than we may imagine. It speaks not to the mind but to the heart, seducing it with unbridled love. Its power lies not in provoking action, but in shaping perception.

In the 1930s, the Institute for Propaganda Analysis identified a variety of propaganda techniques that were commonly used in newspapers and on the radio, mass media of that period. Name-calling is a spell that smears ill repute on individuals or groups, seeking to discredit and incite fear. Glittering generalities, on the other hand, weave a web of positive words and ideas, creating a beguiling image of a product, an idea, or an individual. Bandwagon, harnesses our need for belonging, presenting a popular idea as the norm to entice us to follow. It doesn’t demand action, but conformity. Then there is card-stacking, a game of manipulation, where only one side of an argument is laid out, omitting any contradicting facts. This creates a lopsided view and subtly nudges opinion in one direction, without necessarily requiring action. Propaganda gives you a sense of belonging without participation.

I see a great problem of Russian society in this very unwillingness to question, to reason, to think critically.

Throughout its history, Russia has experienced periods of authoritarian rule and political oppression, which may have led to a culture of conformity and distrust of authority. The Russian government has been known to tightly control media and limit access to information, which limits the exposure of Russian citizens to diverse perspectives and ideas. The Russian education system has been criticized for being overly rote and focused on mem-

orization rather than critical thinking skills.

This legacy may contribute to a reluctance to question authority or challenge the status quo, and a preference for conformism over individualism. A poor familiarity with alternative viewpoints, and a lack of ability or willingness to question authority, can lead to a deficiency in critical thinking skills.

Art

Art, on contrary to propaganda, encourages a person to think. Art allows a person to remain human, to think about something, to make some decisions, including in politics.

Art has the power to encourage critical thinking and inspire reflection, and it can be a powerful tool for individual expression and political dissent. However, it is also true that art has been co-opted by governments and other entities as a form of propaganda but despite that fact, it remains an important form of individual expression and a means of promoting critical thinking and reflection.

Architecture

Architecture is a political art.

Architecture can be seen as an expression of power and control, as it often involves large financial investments and decisions about the use and allocation of physical space. Buildings can also be seen as tools of exclusion and inclusion, as they define physical space and determine who has access to it. Design can either promote social inclusion and accessibility or perpetuate social exclusion and inequality. Architects and designers may be dependent on clients who have specific political agendas, such as governments or corporations. This can influence the design of buildings and public spaces and can have implications for the use and allocation of physical space.

Me as an architect

As a citizen of Russia, as an architect from Russia, I find myself in time of great need for the new reference points and vision for the future. It is imperative that we find ways to connect with one both as individuals and as society. Through the art of spatial practices, we can begin to establish new points of reference for solidarity and encourage the free coexistence of our communities.

I consider it, to look for new in architecture, to change the perception of the acting forces in the profession, to broaden the spectrum of influence of architecture. The impossibility of compromise today gives us a unique opportunity to look differently at established practices and re-evaluate them.

To achieve this, we must look beyond the traditional bounds of architecture and explore new horizons. Only by broadening the spectrum of architectural influence and strengthening cross-disciplinary collaboration can we truly make a meaningful impact. While challenges we face today may seem insurmountable, they also present us with an unique opportunity to chart a new path forward.

Design tool

Language describes reality. It is one of the tools of architecture. And although a word can be forbid- den, in architecture it can take on a new meaning. The right word is like the right proportion of a window.

I, as an architect, am the catalyst of doubt myself. My doubt provides for the search for the correct words, the same as a search for the best proportion or detail of a building.

The architecture of the project is expressed in design principles. The elements that appeared or were implemented by the architect to create these principles (conversation, letter, sketch, critique, scheme, word, etc.) are equal parts of the project as they allow to define necessary actions in the principals and their order.

The design principles allow a project to go from the verbalization of a problem to its formalization. The design of an architectural machine should be based on the parameters created by the architect; they are intended to be a universal language for creating any type of political machine.

Architectural Machine

By integrating into one system the elements of the plastic arts, the utilitarian nature of architecture, and the constraints in which the architect’s work is carried out, I produce - the Architectural Machine.

Machines are one of the fundamental elements in architecture. Vitruvius, saw machines as tools to aid in the construction of buildings. Aureli, believed that machines should be integrated into the very fabric of a building itself. Leonardo da Vinci was an architect who believed in the potential of machines to revolutionize the field of architecture. He saw machines as means of exploring new forms and structures. Francesco Colonna, the author of Poliphili Hypnerotomachia, described a fantastical machine that could create entire buildings out of thin air. In the 18th century, Giovanni Battista Piranesi created intricate etchings of imaginary machines and structures that blurred the line between architecture and engineering.

In the early 20th century, architects like Auguste Perret and Le Corbusier embraced the potential of machines to streamline construction and create efficient, functional buildings.

In my case, the machine is the formal embodiment of a social issue of concern to the architect. I, as the playwright of my work, can choose which machine to design by me. I create, a Machine of Political.

Machines address the relationship between architecture and power. There are no definitive answers to that question, only attempts to try to explore that relationship. Building in ambiguities will only ‘trigger’ one’s desire to be involved in the workings of the machines. A certain curiosity is to be brought forward in the architecture to ensure in this participatory act. It is therefore also a play with conventions and cliché, though these would never be fully confirmed.