ABSTRACT

This article conceptualises welfare landscapes in relation to post-war Danish social housing architecture and politics. It argues that the importance of multiscalar relationships is key to the category of the welfare landscape as such, and that this relationship to scale crucially involves a sense of gigantic abstraction. To discuss the consequences of this, the article turns to the work of architectural historian and Lefebvre scholar Lukasz Stanek and his application of Foucauldian concepts of instrumentalisation and biopolitics in relation to post-war social housing. The article takes as its case study the Høje Gladsaxe estate, one of Denmark’s best-known modernist projects from the mid-1960s. The article analyses how the estate is portrayed in two fictional works: the animated film Bennys badekar (Benny’s bathtub) from 1970, and the novel Jorden under Høje Gladsaxe (The earth beneath Høje Gladsaxe) from 2002.

摘要

本文将与战后丹麦社会住房建筑和政治相关的福利景观概念化。它认为，多尺度关系的重要性是福利景观类别的关键，而这种与尺度的关系至关重要地涉及一种巨大的抽象感。为了讨论这一结果的后果，本文转向建筑历史学家和列斐伏尔学者 Lukasz Stanek 的工作，以及他将福柯的工具化和生命政治概念在战后社会住房中的应用。本文以 Høje Gladsaxe 庄园作为案例研究，这是 1960 年代中期丹麦最著名的现代主义项目之一。本文分析了两部虚构作品如何描绘庄园：动画电影Bennys badekar (Benny的浴缸）从1970年，和小说下HOJE Gladsaxe Jorden（HOJE Gladsaxe下方的地球从2002）。