Architecture of Doom

Landscape intervention by Jonas Dahlberg to honour Norwegian terrorist attack victims

Gudauri, GEORGIA, 2013 – ¬†Soviet Monument to Russo-Georgian Friendship, north of Gudauri.  © ROB HORNSTRA (via The Sochi Project)

- Por CaracasIndeleble

National Heroes Memorial at Paseo Los Próceres, Caracas, Venezuela.

Bogdan Bogdanović -  Flower Memorial in Jasenovac.
Photo: Marc & Doro 

A monument to the victims of Ustasha atrocities during World War II in Jasenovac, 1966.

Daily Pic: A still from a video called “Turning Circles,” on view at Anton Kern Gallery in New York, in which German artist Marcel Odenbach explores the Majdanek Mausoleum, a 1969 monument to the dead on the site of the Nazi’s Lublin Concentration Camp in Poland. For 16 minutes, Odenbach’s camera explores the suitably brutalist structure, by Polish sculptor Wiktor Tolkin, and records a visit to it by two teenage boys. The overwhelming impression is that such memorials, no matter how grand and sober and impressive, always remain mute objects, unable really to account for what they are memorials to. (When children visit the wonderful Holocaust memorial in Berlin, with its rows of standing stones, their primary urge is to play hide-and-seek.)

Khalid Al Rahaal + Marcello D’Olivo & Hisham Munir | “Unknown Soldier Monument”  . Iran Iraq War Memorial, 1982 Baghdad.
Via 1 ( 2 3 4 )
“The cantilevered dome is 42 m in diameter and follows an inclination of 12 degrees.”
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