2024-09-15_OpenAI test 3 with RAG temp 0.1

### Architecture Demonstrates Power#95 (*0.652051628*) > This spectacle is a very powerful part of the architecture of power because it overawes people. It provides a singular and unforgettable emotional charge, linked forever in the viewer’s mind with that particular site. The monument’s ability to influence people, to have an effect on them, makes that building powerful. Whether political power is described as the ability to create a desired effect or the ability to control a group, the monument embodies power. The creation of monumental architecture is a demonstration of leadership abilities, of the potential for political power. It proves the leader’s worthiness and greatness, his capacity for power. The act of construction was, through the mobilization and organization involved, an act of real power while the end product, as something greater than the sum of its parts and more moving in its magnificence than anything within the capabilities of an individual was both testament and realization of power. Monumental architecture embodies the leader’s ability to control and affect his followers. It both shows the group his actual power and demonstrates his worthiness and capacity to possess that power. Architecture is a sign pointing to a leader’s power. Contemporary Objections Contemporary western society does not put enough stock in everyday architecture to see any architectural statement as a demonstration of power. Buildings may demonstrate access to impressive resources, but they are usually not tied to manipulation of people’s worldviews and grand assertions of power. If the argument that architecture is tied to power is inapplicable to contemporary society, how useful is it? Though Wilson’s argument is fairly convincing in the context of domestic society, which he portrays as an evolutionary Wilson, The Domestication of the Human Species, 132-133 Referring to theories by Bertrand Russell and Hannah Arendt (Wilson, 117-118) Wilson, The Domestication of the Human Species, 148 Wilson, The Domestication of the Human Species, 126 step, even he believes that "the widespread recurrence of symbolic patterns to be found in constructions and layouts… is something particular to the epoch of domesticated culture, something of little moment to hunter/gathers or to urban industrial cultures". He also states that industrial societies think of power in terms of "destructive force", and that any sort of power "can now be measured in terms of equivalents of so many megaton blasts". ### Architecture Demonstrates Power#127 (*0.636143088*) > Part 2: What Architecture Can Tell Us About Power If architecture demonstrates power, then that power should be evident from the architecture. If the impact of power upon buildings is visible, one should be able to discern information about that power. Monumental architecture in particular conveys the nature of the power that created it. The cosmology represented in the architecture demonstrates the type of power that created it. A pattern exists wherein axial buildings and cities are created by authoritarian powers concentrated in a single ruling figure, which can be contrasted to a non-axial pattern in more egalitarian societies. Furthermore, this correspondence between building orientation and power scheme results directly from differing ideals about the nature of the world and of power. Axiality in Buildings Axiality in a building occurs when it is clearly oriented in one direction, emphasizing opposite walls that are far from one another, and provoking those who use the building to walk longitudinally within it. This means that the people who enter are directed to the opposite end of the building where something significant occurs. Archetypal examples of axial buildings include Egyptian temples, Roman basilicas, and the Christian basilicas that evolved from the Roman. David DeLong introduced me to the concept of axiality in a lecture on September 11, 2002. "The Egyptian temples are based on one straight path leading ‘in’ towards a final but unreachable goal". One enters the temple of Horus at Edfu between two massive pylons with a niche at the top corresponding exactly to the path of the sun. Walking through a series of doorways aligned along an axis parallel to the solar path, one proceeds through a courtyard into a series of halls. As one approaches the inner sanctum of the temple, a place where only priests were allowed to go, the columns in the halls take up more space, closing in and creating varying degrees of darkness. The walls around the halls start out at only half the height of the columns and later let light in only through small clerestory openings. ### Architecture Demonstrates Power#0 (*0.626716*) > Architecture Demonstrates Power Molly Glenn Acknowledgements: Thanks to my major advisor, Kathleen Wright, for suggesting that I choose the Philosophy of Architecture. Thanks to my readers, Lauren Barthold and Adam Kovach for all their critiques. Thanks to Sharon Burdick, Margaret and John deNeergaard, and Margy Manchester for helping me edit. Finally, thanks to my friends for their support, and for listening patiently. Architecture is intricately tied to political power. It provides a model for the system of structural thought used by a society to conceptualize the world. Such architecturally based structural thought includes understanding of social and political relationships. These relations of power are embodied in architecture, especially the monumental architecture created by political powers. These monuments demonstrate the power of the individuals responsible for their creation and they demonstrate the nature of that power. Axial buildings and city plans are consistently related to power from on high, divine or lineage-based power, which dominates the community. Axial architecture directs the people to the seat or the symbol of that power. Non-axial architecture and city plans, on the other hand, consistently give people choices and assert the equality of constituent parts rather than the supremacy of a single goal. Furthermore, non-axial architecture is constantly related to political power as a mandate from the masses. Even in prisons, where the warden’s power over the inmate represents the extreme of social control, architecture that embodies top-down distribution of power can be contrasted to architecture showing control vested by the community. Architecture demonstrates possession of power and the nature of that power. Part 1: How Architecture Is Tied To Power Looking at architectural history, the tie between architecture – especially monumental architecture – and political power can be consistently seen. One important step in exploring this connection is to assess how and why this tie exists. In The Domestication of the Human Species, anthropologist Peter Wilson argues that, from its very conception, architecture relates to the way we understand the world. It allows us to conceptualize reality clearly and helps societies form systems that explain their cultural and social practices. Leaders utilize this framework for understanding reality to convey the nature of their power over the populace. They express how they wish to be seen and force their particular view of that power on the populace through architecture. Architecture Defined "Architecture" can be taken to mean many things, from 1) any built structure, to 2) the design product of a specifically trained type of artist.

### Architecture Demonstrates Power#127 (*0.687933505*) > Part 2: What Architecture Can Tell Us About Power If architecture demonstrates power, then that power should be evident from the architecture. If the impact of power upon buildings is visible, one should be able to discern information about that power. Monumental architecture in particular conveys the nature of the power that created it. The cosmology represented in the architecture demonstrates the type of power that created it. A pattern exists wherein axial buildings and cities are created by authoritarian powers concentrated in a single ruling figure, which can be contrasted to a non-axial pattern in more egalitarian societies. Furthermore, this correspondence between building orientation and power scheme results directly from differing ideals about the nature of the world and of power. Axiality in Buildings Axiality in a building occurs when it is clearly oriented in one direction, emphasizing opposite walls that are far from one another, and provoking those who use the building to walk longitudinally within it. This means that the people who enter are directed to the opposite end of the building where something significant occurs. Archetypal examples of axial buildings include Egyptian temples, Roman basilicas, and the Christian basilicas that evolved from the Roman. David DeLong introduced me to the concept of axiality in a lecture on September 11, 2002. "The Egyptian temples are based on one straight path leading ‘in’ towards a final but unreachable goal". One enters the temple of Horus at Edfu between two massive pylons with a niche at the top corresponding exactly to the path of the sun. Walking through a series of doorways aligned along an axis parallel to the solar path, one proceeds through a courtyard into a series of halls. As one approaches the inner sanctum of the temple, a place where only priests were allowed to go, the columns in the halls take up more space, closing in and creating varying degrees of darkness. The walls around the halls start out at only half the height of the columns and later let light in only through small clerestory openings. ### Architecture Demonstrates Power#0 (*0.681153178*) > Architecture Demonstrates Power Molly Glenn Acknowledgements: Thanks to my major advisor, Kathleen Wright, for suggesting that I choose the Philosophy of Architecture. Thanks to my readers, Lauren Barthold and Adam Kovach for all their critiques. Thanks to Sharon Burdick, Margaret and John deNeergaard, and Margy Manchester for helping me edit. Finally, thanks to my friends for their support, and for listening patiently. Architecture is intricately tied to political power. It provides a model for the system of structural thought used by a society to conceptualize the world. Such architecturally based structural thought includes understanding of social and political relationships. These relations of power are embodied in architecture, especially the monumental architecture created by political powers. These monuments demonstrate the power of the individuals responsible for their creation and they demonstrate the nature of that power. Axial buildings and city plans are consistently related to power from on high, divine or lineage-based power, which dominates the community. Axial architecture directs the people to the seat or the symbol of that power. Non-axial architecture and city plans, on the other hand, consistently give people choices and assert the equality of constituent parts rather than the supremacy of a single goal. Furthermore, non-axial architecture is constantly related to political power as a mandate from the masses. Even in prisons, where the warden’s power over the inmate represents the extreme of social control, architecture that embodies top-down distribution of power can be contrasted to architecture showing control vested by the community. Architecture demonstrates possession of power and the nature of that power. Part 1: How Architecture Is Tied To Power Looking at architectural history, the tie between architecture – especially monumental architecture – and political power can be consistently seen. One important step in exploring this connection is to assess how and why this tie exists. In The Domestication of the Human Species, anthropologist Peter Wilson argues that, from its very conception, architecture relates to the way we understand the world. It allows us to conceptualize reality clearly and helps societies form systems that explain their cultural and social practices. Leaders utilize this framework for understanding reality to convey the nature of their power over the populace. They express how they wish to be seen and force their particular view of that power on the populace through architecture. Architecture Defined "Architecture" can be taken to mean many things, from 1) any built structure, to 2) the design product of a specifically trained type of artist. ### USE OF ARCHITECTURE IN DEMONSTRATING POLITICAL POWER IN POST-CONFICT COLOMBO#0 (*0.656991541*) > Samarawickrama, Sumanthri, et al (eds), 2019, "Re-evaluating Space across disciplines": Proceedings of the 12th International Conference of Faculty of Architecture Research Unit (FARU), University of Moratuwa, Sri Lanka, December 03, 2019 Colombo pp. 282–289. © USE OF ARCHITECTURE IN DEMONSTRATING POLITICAL POWER IN POST-CONFICT COLOMBO KATUGAHA B.H.M.R.I. & BOTEJUE W.P.S. 1,University of Moratuwa, Colombo, Sri Lanka 1rik.@gmail.com Architecture and political power have associated each other throughout the history. Architecture has the ability to ‘frame’ space and thereby structure actions and construct meaning. The study intended to research upon the nexus between architecture and political power by investigating ‘how’ architecture demonstrate political power and ‘what’ they intend to mean, thereby influence and frame the usage of space by people. A theoretical framework was established at the beginning. Studying the context and international examples were studied. The case study was is post-conflict Colombo (2009-2015) which was analysed with evidences gathered through interviews, reports, newspapers, magazines and many more. The study was broad and multidisciplinary by its’ nature. Hence, the research was carefully narrowing down without compromising its’ very nature. Since the research was investigating into social-physical phenomena, the analysis was conducted in a narrative format, with the intention of describing it in holistic form. The study identifying key factors such as identities, symbolic representation of identities, change of context, projected imagery of public space and political ideology, aspirations were significant factors contributing subconscious of the public. These were achieved by means of building processes and built form either by design or by default are not deterministic or complete. Keywords: Power, Built form, Representation, Urban meaning, Identity Introduction The study was on the use of architecture as to demonstrate political power in post-conflict Colombo. Architecture has always associated power and it has been used as tool in many ways to demonstrate political power throughout history in an attempt legitimise.

### Armenian Architecture#35 (*0.636365175*) > The first Albanian architects of the post-war period who had studied in the Soviet Union arrived in the years 1951–52. After completing the studies, they began working in the home country, followed later by many engineers and architects, who came from the socialist countries of Eastern Europe, part of the socialist camp, Soviet satellites as our country was. The latter ones practiced closer to the contemporary architecture style, thanks to a tradition rooted in these countries before the Second World War. The prevailing education and the spirit of the time consequently brought the projects that strictly followed the Soviet social realism patterns. Any deviation was called "Anti-Sovietism" and was punished. Punitive measures were conditioned by the status or class of the individuals and also their political credibility [2, 54–55]. Among the first buildings that reflected the socialist style in Albania was the industrial building of "Stalin" Textiles Factory (Kombinati i tekstileve "Stalin"), designed by the architects that II. The Initial Development of the Architecture of Socialist Realism in Albania The Albanian Communist Party and its leader Enver Hoxha gained power in Albania in 1944 [7, 11]. During the following Architecture and Urban Planning Olisa Ndreçka, Florian Nepravishta, The Impact of Socialist Realism in the Albanian Architecture in 1945–1990 came from the Soviet Union. It was constructed in the early 1950s in the suburbs of Tirana. The buildings of the Faculty of History and Philology and the "New Albania" Cinema Studio headquarters (Kinostudio "Shqipëria e re"), built in 1951–52 in Tirana, were also designed by the Soviet architects (Fig. 1). Another example of the Soviet influence in Albanian architecture was the building of the Central Committee of the Labor Party of Albania, located in the main Boulevard of Tirana, designed by an Albanian architect Anton Lufi (Fig. 2). This situation continued until the break of the relations with the Soviet Union. The current stream known at that time was criticized as regressive and archaic because it was obligatory in the 1930s. Even in Albania, the elements of classical architecture in socialist realism style were criticized and abandoned due to the phenomenon that occurred in the Soviet Union, because of the generally adopted policy. The criticism was concentrated on the excessive and pointless decoration of the building facades while the main focus of government remained urban development through urban policies for the industrial and agrarian development of Albania [4, 14–17]. ### Armenian Architecture#9 (*0.633788168*) > In conjunction with the socialist classical style of architecture, socialist realism was the officially approved type of art in the Soviet Union. All material goods and means of production belonged to the community as a whole; this included the means of art production, which were also seen as powerful propaganda tools [16]. Architecture in the Soviet Union during the socialist period was associated with the socialist realism school of art and architecture. Function and form were the basic concepts of Modernist architecture. The corresponding concepts in socialist realism were "socialist content and national form". A building like a novel or a symphony had to be "socialist in content and national in form" [1, 49–50]. Abstract – The socialist realism principles, similar to other Eastern European countries, guided the construction and architecture in Albania from 1945 to 1990. the research done on various case studies of socialist architecture constructed in this period in Tirana tries to shed light on the topic of great interest nowadays regarding this style as part of Albanian heritage. The paper describes the history of socialist realism and the influence of the Albanian Communist Party on the development of the architecture during the socialist period. It demonstrates how the Albanian architecture development was radically changed by the socialist ideology and how this style was supported by the post-war architects. It is argued that the socialist realism style was predominant in the Albanian architecture of that period and this heritage needs to be preserved for next generations. Keywords – History of architecture, socialist realism, dictatorship, ideology, theories of socialism. Totalitarian regimes are characterized by attempts to control everyone and everything at any cost; by force and propaganda, they impose a single truth about the world and people. Lenin’s Bolshevik Revolution in 1917 was conducted in the name of socialism, and the proletarian state power passed under the control of the Communist Party. After the Second World War, the Union of Soviet Socialist Republics (USSR) carried out a powerful political and ideological invasion in many countries of Eastern Europe. Albania entered into the fold of the Soviet Union, "impatient" to pay tribute to Stalin. New elements of the communist ideology like socialist realism were introduced in all areas of culture and art. The control of the state was imposed over literature, music, visual arts and in the field of architecture and urban planning. ### Rasa Cepaitiene_In the shadow of moscow_the stalinist reconstruction of the capitals in the soviet republics#29 (*0.625249803*) > The typical subjects of communist ideology in specific landscapes of cities had to meet the work of not only legitimizing the new government, but also the synchronization of the ideologically approved version of the unified past (Milerius 2008), allowing, in spite of the individual differences in the history of a specific nation or city, "to read" them everywhere as essentially an identical text. For example, in almost all the larger or smaller cities Lenin Squares with a monument of the leader appeared in its center (Fig. 1), R. Čepaitienė. In the shadow of Moscow: the Stalinist reconstruction of the capitals of the Soviet republics Fig. 1. Lenin (now Lukiškės) Square in Vilnius 1972. A. Bra­ zaitis photo. Lithuanian Central State Archive 1-20202 streets of his name, museums, etc. Other Communist figures and heroes of labor and war also received similar public honor, only on a smaller scale, respectively. Central public spaces also served for mass events rallies, demonstrations, parades. Another extremely important plot of "the great Soviet narrative", the visual traces of which we will find in many capitals of the Soviet republics – "Victory in the Great Patriotic War". One has to note that after the war some cities even were awarded a special "cityhero" status. Already in the post-Stalinist period, in the 1960s–1980s in addition to other cities Moscow, Kyiv, Volgograd (at that time Stalingrad) and Minsk even re- Fig. 2. "Mother Armenia" monument in Yerevan. R. Čepaitienė photo ceived this status. Although the monuments becoming formants of the Great Patriotic War in the ideological spaces of the capitals of the Soviet republics and other cities were built at different times, usually already after the death of Stalin, characteristic for all of them are namely the socialist realist aesthetic expression formed in the Stalinist era. The following objects are worth mentioning: the memorial of Mamaev Kurgan with the world’s largest at that time monument "MotherHomeland Calls" in Stalingrad (1959–1967, sculptor

### Armenian Architecture#35 (*0.643700898*) > The first Albanian architects of the post-war period who had studied in the Soviet Union arrived in the years 1951–52. After completing the studies, they began working in the home country, followed later by many engineers and architects, who came from the socialist countries of Eastern Europe, part of the socialist camp, Soviet satellites as our country was. The latter ones practiced closer to the contemporary architecture style, thanks to a tradition rooted in these countries before the Second World War. The prevailing education and the spirit of the time consequently brought the projects that strictly followed the Soviet social realism patterns. Any deviation was called "Anti-Sovietism" and was punished. Punitive measures were conditioned by the status or class of the individuals and also their political credibility [2, 54–55]. Among the first buildings that reflected the socialist style in Albania was the industrial building of "Stalin" Textiles Factory (Kombinati i tekstileve "Stalin"), designed by the architects that II. The Initial Development of the Architecture of Socialist Realism in Albania The Albanian Communist Party and its leader Enver Hoxha gained power in Albania in 1944 [7, 11]. During the following Architecture and Urban Planning Olisa Ndreçka, Florian Nepravishta, The Impact of Socialist Realism in the Albanian Architecture in 1945–1990 came from the Soviet Union. It was constructed in the early 1950s in the suburbs of Tirana. The buildings of the Faculty of History and Philology and the "New Albania" Cinema Studio headquarters (Kinostudio "Shqipëria e re"), built in 1951–52 in Tirana, were also designed by the Soviet architects (Fig. 1). Another example of the Soviet influence in Albanian architecture was the building of the Central Committee of the Labor Party of Albania, located in the main Boulevard of Tirana, designed by an Albanian architect Anton Lufi (Fig. 2). This situation continued until the break of the relations with the Soviet Union. The current stream known at that time was criticized as regressive and archaic because it was obligatory in the 1930s. Even in Albania, the elements of classical architecture in socialist realism style were criticized and abandoned due to the phenomenon that occurred in the Soviet Union, because of the generally adopted policy. The criticism was concentrated on the excessive and pointless decoration of the building facades while the main focus of government remained urban development through urban policies for the industrial and agrarian development of Albania [4, 14–17]. ### Armenian Architecture#9 (*0.636870801*) > In conjunction with the socialist classical style of architecture, socialist realism was the officially approved type of art in the Soviet Union. All material goods and means of production belonged to the community as a whole; this included the means of art production, which were also seen as powerful propaganda tools [16]. Architecture in the Soviet Union during the socialist period was associated with the socialist realism school of art and architecture. Function and form were the basic concepts of Modernist architecture. The corresponding concepts in socialist realism were "socialist content and national form". A building like a novel or a symphony had to be "socialist in content and national in form" [1, 49–50]. Abstract – The socialist realism principles, similar to other Eastern European countries, guided the construction and architecture in Albania from 1945 to 1990. the research done on various case studies of socialist architecture constructed in this period in Tirana tries to shed light on the topic of great interest nowadays regarding this style as part of Albanian heritage. The paper describes the history of socialist realism and the influence of the Albanian Communist Party on the development of the architecture during the socialist period. It demonstrates how the Albanian architecture development was radically changed by the socialist ideology and how this style was supported by the post-war architects. It is argued that the socialist realism style was predominant in the Albanian architecture of that period and this heritage needs to be preserved for next generations. Keywords – History of architecture, socialist realism, dictatorship, ideology, theories of socialism. Totalitarian regimes are characterized by attempts to control everyone and everything at any cost; by force and propaganda, they impose a single truth about the world and people. Lenin’s Bolshevik Revolution in 1917 was conducted in the name of socialism, and the proletarian state power passed under the control of the Communist Party. After the Second World War, the Union of Soviet Socialist Republics (USSR) carried out a powerful political and ideological invasion in many countries of Eastern Europe. Albania entered into the fold of the Soviet Union, "impatient" to pay tribute to Stalin. New elements of the communist ideology like socialist realism were introduced in all areas of culture and art. The control of the state was imposed over literature, music, visual arts and in the field of architecture and urban planning. ### Armenian Architecture#80 (*0.636618316*) > The socialist ideology led the policy of the construction and architecture in Albania during 1945–90. The socialist realism method affected not only political and administrative buildings, but also socio-cultural, educational and service buildings. The common point of view among the people is to forget totally, destroy any memories of the facts and buildings of that period. This happens because the communist period is still recent and many Albanians directly or indirectly suffered during this period, but on the other hand, there are several buildings considered as communist heritage that carry cultural values and represent an important period in the Albanian architecture. The communist heritage should be recognized and preserved for the next generations. The best way to do this is to give a possibility to better understand the past better as well as the present of their society. There are several buildings that are recognized as important architectural examples of social realism ideology, and they represent aesthetics and functionality features. The socialist realism ideology affected the landscape and cityscape in almost every aspect of architecture and urban planning. The most important thing to do with the built heritage of this period is not to separate these buildings from the history of the Albanian architecture. Although this is considered hard to do in the cultural landscape produced and transformed by a dictatorship, because some of the buildings clearly belong to the system’s ideology. The rest of the remaining heritage of the socialist realism in the Albanian architecture should necessarily be preserved due to the following reasons: Despite the conditions of the political system, the attempts of a great number of architects succeeded in designing many buildings that even today have a special and noticeable importance. It is an asset of that period in the field of design and construction that reflects the mentality of that system. Architecture and Urban Planning Olisa Ndreçka, Florian Nepravishta, The Impact of Socialist Realism in the Albanian Architecture in 1945–1990 Olisa Ndreçka, Diploma in Architecture (2009, Polytechnic University of Tirana, Albania), Master degree in "Innovative technologies in architectural, urban and environmental planning and restoration" (2011, University of Naples Federico II, Faculty of Architecture). Doctorate Student at the Faculty of Architecture and Urbanism in Tirana, thesis topic "The Albanian

### Armenian Architecture#35 (*0.639011*) > The first Albanian architects of the post-war period who had studied in the Soviet Union arrived in the years 1951–52. After completing the studies, they began working in the home country, followed later by many engineers and architects, who came from the socialist countries of Eastern Europe, part of the socialist camp, Soviet satellites as our country was. The latter ones practiced closer to the contemporary architecture style, thanks to a tradition rooted in these countries before the Second World War. The prevailing education and the spirit of the time consequently brought the projects that strictly followed the Soviet social realism patterns. Any deviation was called "Anti-Sovietism" and was punished. Punitive measures were conditioned by the status or class of the individuals and also their political credibility [2, 54–55]. Among the first buildings that reflected the socialist style in Albania was the industrial building of "Stalin" Textiles Factory (Kombinati i tekstileve "Stalin"), designed by the architects that II. The Initial Development of the Architecture of Socialist Realism in Albania The Albanian Communist Party and its leader Enver Hoxha gained power in Albania in 1944 [7, 11]. During the following Architecture and Urban Planning Olisa Ndreçka, Florian Nepravishta, The Impact of Socialist Realism in the Albanian Architecture in 1945–1990 came from the Soviet Union. It was constructed in the early 1950s in the suburbs of Tirana. The buildings of the Faculty of History and Philology and the "New Albania" Cinema Studio headquarters (Kinostudio "Shqipëria e re"), built in 1951–52 in Tirana, were also designed by the Soviet architects (Fig. 1). Another example of the Soviet influence in Albanian architecture was the building of the Central Committee of the Labor Party of Albania, located in the main Boulevard of Tirana, designed by an Albanian architect Anton Lufi (Fig. 2). This situation continued until the break of the relations with the Soviet Union. The current stream known at that time was criticized as regressive and archaic because it was obligatory in the 1930s. Even in Albania, the elements of classical architecture in socialist realism style were criticized and abandoned due to the phenomenon that occurred in the Soviet Union, because of the generally adopted policy. The criticism was concentrated on the excessive and pointless decoration of the building facades while the main focus of government remained urban development through urban policies for the industrial and agrarian development of Albania [4, 14–17]. ### Signs of a Totalitarian System in Architecture of Socialist Realism#17 (*0.633481741*) > The architectural period of Sorela (the Czech term for the socialist realism derived from the first syllables of the words socialist realism and architect Zdeněk Lakomý´s surname) is the architecture of the Central European area after 1948, which was the result of the communication of the state using buildings. The architecture should express a strong state power, its key function was political, moral and aesthetic education shaping revolutionary consciousness of man and it was completely subordinated to the vision of "higher whole". One of the most important realizations of Sorela are satellite towns around the center of Ostrava built on the basis of gigantic urban design of the new socialist cities of Havířov and of New Ostrava (Poruba), although neither of these projects have been implemented in the final design. The following features can be considered the basic politico-ideological features of the architecture of the socialist realism: - Consistent regularity of composition of urban plan which should have evoked the order - Difficult understanding of the space - Monumental form that refers to the smallness of the individual - The use of historical elements to confirm the continuity of development - Clearly ideological painting and statuary decoration - Emphasis on ideological correctness of architecture at the expense of its quality [5]. Regularity of the Composition of the Urban Plan. It was based on the theoretical idea and vision of "ideal" cities of ancient times and Renaissance and designs of industrial-garden concepts of the city of the classicism, but with a strong emphasis on symmetry, regularity (regular systems of streets and closed residential blocks) towards monotony, which should eliminate the randomness and unpredictable variables. The traditional urbanism of blocks and squares with the dominant features in the axes and openings is implemented in maximal scale. Architecture in Perspective VI Fig. 1. Ostrava - Poruba [6] Difficult Understanding of the Space. It was reflected in the lack of natural density of population of the settlements - anonymous places, large, regular and clearly arranged (controllable) free squares without intimate nooks practically eliminating friendly spontaneous meetings, except those which are intended to deliberately organized gathering to demonstrate loyalty to the power [3] (e.g. Main Street, former Lenin Street in Ostrava Poruba, Republic Square, former the Square of Victorious February in Havířov). ### Armenian Architecture#80 (*0.629393*) > The socialist ideology led the policy of the construction and architecture in Albania during 1945–90. The socialist realism method affected not only political and administrative buildings, but also socio-cultural, educational and service buildings. The common point of view among the people is to forget totally, destroy any memories of the facts and buildings of that period. This happens because the communist period is still recent and many Albanians directly or indirectly suffered during this period, but on the other hand, there are several buildings considered as communist heritage that carry cultural values and represent an important period in the Albanian architecture. The communist heritage should be recognized and preserved for the next generations. The best way to do this is to give a possibility to better understand the past better as well as the present of their society. There are several buildings that are recognized as important architectural examples of social realism ideology, and they represent aesthetics and functionality features. The socialist realism ideology affected the landscape and cityscape in almost every aspect of architecture and urban planning. The most important thing to do with the built heritage of this period is not to separate these buildings from the history of the Albanian architecture. Although this is considered hard to do in the cultural landscape produced and transformed by a dictatorship, because some of the buildings clearly belong to the system’s ideology. The rest of the remaining heritage of the socialist realism in the Albanian architecture should necessarily be preserved due to the following reasons: Despite the conditions of the political system, the attempts of a great number of architects succeeded in designing many buildings that even today have a special and noticeable importance. It is an asset of that period in the field of design and construction that reflects the mentality of that system. Architecture and Urban Planning Olisa Ndreçka, Florian Nepravishta, The Impact of Socialist Realism in the Albanian Architecture in 1945–1990 Olisa Ndreçka, Diploma in Architecture (2009, Polytechnic University of Tirana, Albania), Master degree in "Innovative technologies in architectural, urban and environmental planning and restoration" (2011, University of Naples Federico II, Faculty of Architecture). Doctorate Student at the Faculty of Architecture and Urbanism in Tirana, thesis topic "The Albanian