剥夺的建筑:建筑和艺术在改变原有空间和驱赶人们方面的阴暗面

Yosef Jabareen
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摘要

本文对建筑在人们被剥夺财产和流离失所的过程中所扮演的重要角色进行了探讨,并提出了问题。它探讨了 Ayn Hawd 的案例,这是一个被剥夺财产的巴勒斯坦村庄,1951 年被改造成以色列艺术家殖民地。研究发现,建筑深度参与了剥夺人民财产的暴力行径的执行、促进、合法化和审美化。我将其理论化为 "剥夺财产的建筑",这是一种连贯的美学、经济和政治实践制度,在这种制度中,社会现实在空间上被操纵和改造,以在被剥夺财产的空间中构建一种新的、壮观的和想象的现实。剥夺建筑涉及三种不同但又相互关联的逻辑:政治、经济和美学。通过剥夺进行积累的逻辑包括没收被剥夺者的财产,将其作为用于盈利目的的资产。这种逻辑有多种方式,包括私有化、文化形式商品化和剥夺。排斥存在的逻辑既关注对一群人的实际排斥,也关注有意或无意对被剥夺者造成的主观或 "存在 "影响,这种影响不仅是财产和归属的损失,也是他们身份、生活形式或 "存在 "本身的损失;是一种存在论或本体论的否定。最后,剥夺的美学逻辑是利用艺术和建筑来描述剥夺的方式,通过表现或消解剥夺来使其合法化,从而使其能够被宣传和欣赏为比其所涉及的暴力更多或更另类的东西。建筑批评的一个重要作用是,不仅要表明一些人被排斥在外,而且要表明新形式和新用途的构建、描述、表现或宣传方式是如何将其合理化和合法化的。
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The architecture of dispossession: On the dark side of architecture and art in transforming original spaces and displacing people
This paper interrogates and problematizes the intimate role of architecture in the dispossession and displacement of people. It explores the case of Ayn Hawd, a dispossessed Palestinian village that was transformed into an Israeli Artists colony in 1951. It found that architecture is deeply involved in executing, facilitating, legitimizing, and aestheticizing the violent act of dispossessing people. I theorize this as architecture of dispossession, a coherent aesthetic, economic, and political regime of practices, in which a social reality is manipulated and transformed spatially to construct a new, spectacular and imaginary, reality in the dispossessed space. The architecture of dispossession involves three distinct yet interrelated logics: political, economic, and aesthetic. The logic of accumulation by dispossession involves the seizure of the dispossessed’s property as assets used for the purpose of profit. It can take place in various ways, including privatization, the commodification of cultural forms, and dispossession. The logic of the exclusion of presence focuses on both the actual exclusion of a group of persons and the subjective or “existential” effects, intended or not, on the dispossessed, experienced as a loss not just of property and belonging but of their identity, form of life, or “being” as such; a kind of existential or ontological negation. Finally, an aesthetic logic of dispossession is a use of art and architecture to describe the dispossession in ways that legitimize it by representing or dissimulating it so that it can be advertised and appreciated as something more and other than the violence it involves. There is an important role for architectural criticism in showing not only that some population has been excluded, but how this is rationalized and legitimated in the ways the new forms and uses are constructed, described, represented, or advertised.
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