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''acceptera'' (1931) is a Swedish modern architecture manifesto written by architects Gunnar Asplund, Wolter Gahn, Sven Markelius, Eskil Sundahl, Uno Åhrén, and art historian Gregor Paulsson. Claiming that Swedish “building-art” (''byggnadskonst'') has failed to keep pace with the revolutionary social and technological change sweeping Europe in the early 20th century, the authors argue that the production of housing and consumer goods must embrace a functionalist orientation in order to meet the particular cultural and material needs of both modern society and the modern individual. Combining social analysis with an iconoclastic critique of contemporary architecture and handicraft, ''acceptera'' ardently calls upon its readers not to shrink back from modernity, but rather to “accept the reality that exists—only in that way have we any prospect of mastering it, taking it in hand, and altering it to create a culture that offers an adaptable tool for life.” The manifesto was written in connection with, and published shortly after, the 1930 Stockholm Exhibition. The exhibition, which was directed in part by Asplund and featured contributions by each of the authors, offered a variety of structures representative of the functionalist and International styles. It took as its slogan the phrase Acceptera!—translatable into English as either the imperative “accept!” or the infinitive “to accept!” Together, the Stockholm Exhibition and publication of ''acceptera'' constitute a definitive moment in the development of Swedish modern architecture and urban planning, both of which would be influenced in the following decades by many of the ideas regarding industrial production, planning, standardization, and functionality promulgated by the manifesto’s authors. == Historical Context and Authorship == The plan to compose a functionalist manifesto developed during the Stockholm Exhibition, and its writing began before the conclusion of that event in September 1930. Each of ''acceptera''’s authors played a role in the organization of the exhibition, and the manifesto figured largely as an attempt to further elaborate on the functionalist style and philosophy which they had hoped to model in its pavilions for the Swedish public. The manifesto might therefore be read as both an attempt to clarify the key tenets of functionalism and an effort to persuade an undecided public of the dire need to revolutionize design and construction. Despite the iconoclastic nature of ''acceptera'' and its bold use of social and architectural theory for justifying the modernization of Swedish architecture, the authors “were hardly radical interlopers on the Stockholm cultural scene”. Gahn, Sundahl, and Markelius were accomplished, modernist architects. Asplund, a representative of the pseudo-modernist Nordic Classicism school, was famous for his design of the Stockholm Public Library. Åhrén, also an established architect and urban planner, would later become the collaborator of Nobel Prize-winning sociologist Gunnar Myrdal, when the two co-wrote "The Housing Question as a Social Planning Problem" in 1934. Paulsson, the group’s only non-architect, was director of the Swedish Arts and Crafts Society (''Svenska Slöjdföreningen''). Together, these six men made up the “new establishment” in 1930s Swedish architecture, and in the collective spirit of the work, they wrote ''acceptera'' as a group, leaving the details of the authorial division of labor largely uncertain. ''acceptera'' was initially printed in 1931 and distributed by ''Tidens förlag'', the publishing arm of the Swedish Social Democratic Party. It was re-issued in 1980 and published in an English translation for the first time in 2008. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「acceptera」の詳細全文を読む スポンサード リンク
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