Abstract
The state of permanent crisis has become almost a norm for contemporary humanity. However, one cannot deny that for modernist tendencies in art, literature and culture in general, crisis is the most comfortable state: it raises the stakes for innovation, allows radicalism, and demands strong methods and strong personalities. The trend, alas, is not limited to modernism as a period. Architecture, prone to expressive ‘beautiful gestures’ and aimed at acute emotional impact, even today fosters the spread of ontological crisis, while cluttering the mental sphere.
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