Статията на българскиAt the beginning of the series of articles dedicated to the Urban Oldies, together with my determination to highlight the problems that surround them, I have made a wish for growing of the number of positive examples in relation to their preservation. The warning, "Careful what you wish for" is not simply words for if you really want something, it then happens. Whether you are joking or serious, sure about it or in delusion, your subconsciousness knows the true message behind the words. Here is how, the examples of positive attitude towards the old buildings that I have begun to come upon, tend to be more frequent. The residence, I have chosen to present for today, is one of the many similar, yet distinguishing with something special before the other so as to point it out exactly. It is a model for attitude shown by the owners towards their property. I hope the use of "model" does not mislead you; I do not mean with it that pathos typical for the years when resounding slogans have been used to mask the deficit in content. Now and here, "model" comes with its new initial meaning, neither too much flamboyant nor too less modest, complete, promoting itself namely with the content possessed and its corresponding appearance.
Megalomania that is inherent in snobbery, meaning those compensating by demonstration, because they not only lack content, but rather skills to create such, and then be able to achieve the real basis for steady self-confidence... Mockup that is inherent in impersonality, meaning those dressing up in someone else's individuality, because save the skills to create it, they lack such an ambition as well, having already admitted they do not own a character to need a person to manifest it... Cult of personality that is inherent in the "small", meaning those seeing themselves only as part of the crowd that enlarges their sizes, whose efforts to build personality is fixed upon another, for they need to look at him or her to be able to recognize themselves, being too hard for them to bear it upon their weak shoulders or because of their frailty... All these are examples of extremes of the pretension that "I have", concealing the truth about the opposite, which fake of personality degenerates into pseudo architecture as well.
Minimalism itself, which I would not spare to sympathize with, in its original conception and shape seeks only for the most necessary as a kind of reaction of simplifying the surrounding world, complicating in the extreme and suffocated by unbearable quantity of nonsense. This process could also easily turn into an extreme through the unceasing asking, "Well, is this most necessary really that much necessary?!"; as well as being not so far away from degeneration, turning, for example, into fashion, where its initial sense is replaced by a mere exposure in a show-room. Thus your minimalistic property becomes more expensive than owning more availability. Depriving a space of objects in extreme extents makes it thirsty and hungry in its want to be fed and in result it is filled with their nominal value, more bloated, the more is the lack in it. If money has been previously used to sponsor the invention of new building technologies in order to achieve the content of modernistic conceptions, it is now modern and profitable to fill the lack of ideas with synthetics in the form of high-tech plastic variations.
The presence of extremes is not necessarily with dominating negative or positive character. The process of reaching the edge can be forerunner either of a future faltering and falling behind it or of a positive result from a search that has aimed to collect all kinds of view-points in order to sum up and complete the ultimate truth. The study of extremes is an important part of the creative process, which leading role is to explore and get, in finished form or by experiment, a maximum in quantity and quality of information so to be able to synthesize the best choice for a particular decision. However, in order it can happen in the successful variant, the presence of an already existing core or base is necessary. This initial and exiting point that professionalism deals with namely, is the optimal, harmonious and balanced Golden mean. The first case, the dilettantism is looking for oneself, the approach is from outside inwards and the process is risky, often costing trauma and victims. This is the way to be sure it is you what you are, but the price is worth only if you really aim your personal identification. In the second one, movement is inside out, having already built your foundations, forwarding the extremes is now an aspiration for keeping on development, expanding it, upgrading. It is when you can afford yourself the boldness of approaching and studying the edge, because in your professionalism you have the solid counterbalance in case you get wrong, step aside.
The strength of every good result is in the base of quality, for which a solid amount of work is done before. This is the difference between kitsch and eclecticism. Every professional is an eclectist; the monostyling is for the user, serial from the numerous professional experiments, while the lack of taste is the clash in the iceberg for those of no skills to see it in full size, which greater part is deep below the surface. This is the difference between the amateur and the professional extravagance. The first is short-lived, spakles and smolders in an instant, while the second is eternal, measuring it over time, which characteristic feature is the constant change namely. Quality, no matter if moderate or extreme, that is of natural value, of worthy content, does not stab the sight with officiousness, it simply creates an impression. It would not make efforts to outstand in the crowd only to grasp your signle glance, for it would attract all of your attention with its invisible magnetism so that you targeted your interest at it from all exactly, keeping it permanently there. This is the difference to be self-deprived of your nowadays, returning only to the past or seeking only for the future, and to own your present time completely through the successful synthesis of the three, yesterday, tomorrow, now. Namely what a model of attitude has attracted me to this particular urban oldy.
The building is an interesting example of architecture, though, I admit, not of my favorite aesthetics. With its past, it only inspires in me respect for its age and memory, dignified, yet framed in there forever. The other edge, looking only in the direction of future, destroying it completely, depriving it of physical existence, would actually cause the same, would doomes it wholly to the past, while replacing it with a facade, completely different in appearance would spoil its essence, taking away its individual existence. Contrary to the two extremes, the owners have managed to ensure it with a lasting quality future by preserving its past, moreover, founding a solid base on it. They have done something even more, they have inspired in it life in the present. The building wins before the other positive examples of urban oldies preservation with the successful elimination of all five points of negative attitude towards them, forming the tendencies of their plotted demolition and ruining ignorance. The facade is completely preserved in its original form, architectural shapes, elements and details. The darker shade of the ink blue, of which I would like still more to keep the impact of the cornice authentic colour, is hugely compensated by the new one of the main surface, which original over this type of plaster exactly and this exterior style had provoked me for the aforementioned reserved mood towards the aesthetics of the entire building. It is exactly this individual suggestion, this idea for improvement and the extremely surprising in the positive sense final result from the same experiment, with which, besides a present and the prize of a "model", it has also won me.
Megalomania that is inherent in snobbery, meaning those compensating by demonstration, because they not only lack content, but rather skills to create such, and then be able to achieve the real basis for steady self-confidence... Mockup that is inherent in impersonality, meaning those dressing up in someone else's individuality, because save the skills to create it, they lack such an ambition as well, having already admitted they do not own a character to need a person to manifest it... Cult of personality that is inherent in the "small", meaning those seeing themselves only as part of the crowd that enlarges their sizes, whose efforts to build personality is fixed upon another, for they need to look at him or her to be able to recognize themselves, being too hard for them to bear it upon their weak shoulders or because of their frailty... All these are examples of extremes of the pretension that "I have", concealing the truth about the opposite, which fake of personality degenerates into pseudo architecture as well.
Minimalism itself, which I would not spare to sympathize with, in its original conception and shape seeks only for the most necessary as a kind of reaction of simplifying the surrounding world, complicating in the extreme and suffocated by unbearable quantity of nonsense. This process could also easily turn into an extreme through the unceasing asking, "Well, is this most necessary really that much necessary?!"; as well as being not so far away from degeneration, turning, for example, into fashion, where its initial sense is replaced by a mere exposure in a show-room. Thus your minimalistic property becomes more expensive than owning more availability. Depriving a space of objects in extreme extents makes it thirsty and hungry in its want to be fed and in result it is filled with their nominal value, more bloated, the more is the lack in it. If money has been previously used to sponsor the invention of new building technologies in order to achieve the content of modernistic conceptions, it is now modern and profitable to fill the lack of ideas with synthetics in the form of high-tech plastic variations.
The presence of extremes is not necessarily with dominating negative or positive character. The process of reaching the edge can be forerunner either of a future faltering and falling behind it or of a positive result from a search that has aimed to collect all kinds of view-points in order to sum up and complete the ultimate truth. The study of extremes is an important part of the creative process, which leading role is to explore and get, in finished form or by experiment, a maximum in quantity and quality of information so to be able to synthesize the best choice for a particular decision. However, in order it can happen in the successful variant, the presence of an already existing core or base is necessary. This initial and exiting point that professionalism deals with namely, is the optimal, harmonious and balanced Golden mean. The first case, the dilettantism is looking for oneself, the approach is from outside inwards and the process is risky, often costing trauma and victims. This is the way to be sure it is you what you are, but the price is worth only if you really aim your personal identification. In the second one, movement is inside out, having already built your foundations, forwarding the extremes is now an aspiration for keeping on development, expanding it, upgrading. It is when you can afford yourself the boldness of approaching and studying the edge, because in your professionalism you have the solid counterbalance in case you get wrong, step aside.
The strength of every good result is in the base of quality, for which a solid amount of work is done before. This is the difference between kitsch and eclecticism. Every professional is an eclectist; the monostyling is for the user, serial from the numerous professional experiments, while the lack of taste is the clash in the iceberg for those of no skills to see it in full size, which greater part is deep below the surface. This is the difference between the amateur and the professional extravagance. The first is short-lived, spakles and smolders in an instant, while the second is eternal, measuring it over time, which characteristic feature is the constant change namely. Quality, no matter if moderate or extreme, that is of natural value, of worthy content, does not stab the sight with officiousness, it simply creates an impression. It would not make efforts to outstand in the crowd only to grasp your signle glance, for it would attract all of your attention with its invisible magnetism so that you targeted your interest at it from all exactly, keeping it permanently there. This is the difference to be self-deprived of your nowadays, returning only to the past or seeking only for the future, and to own your present time completely through the successful synthesis of the three, yesterday, tomorrow, now. Namely what a model of attitude has attracted me to this particular urban oldy.
The building is an interesting example of architecture, though, I admit, not of my favorite aesthetics. With its past, it only inspires in me respect for its age and memory, dignified, yet framed in there forever. The other edge, looking only in the direction of future, destroying it completely, depriving it of physical existence, would actually cause the same, would doomes it wholly to the past, while replacing it with a facade, completely different in appearance would spoil its essence, taking away its individual existence. Contrary to the two extremes, the owners have managed to ensure it with a lasting quality future by preserving its past, moreover, founding a solid base on it. They have done something even more, they have inspired in it life in the present. The building wins before the other positive examples of urban oldies preservation with the successful elimination of all five points of negative attitude towards them, forming the tendencies of their plotted demolition and ruining ignorance. The facade is completely preserved in its original form, architectural shapes, elements and details. The darker shade of the ink blue, of which I would like still more to keep the impact of the cornice authentic colour, is hugely compensated by the new one of the main surface, which original over this type of plaster exactly and this exterior style had provoked me for the aforementioned reserved mood towards the aesthetics of the entire building. It is exactly this individual suggestion, this idea for improvement and the extremely surprising in the positive sense final result from the same experiment, with which, besides a present and the prize of a "model", it has also won me.
The residence NOW.
The residence BEFORE.
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