The city is a conceptual construct before it is a planned one. We can choose to view it this way if we wish. A concept may be more or less familiar to us, and consequently, we relate to cities based on our memory, which functions as a reference text. Our expectations about cities are projections of our reasoning; they are a 'virtual' construction, an attempt to live and, therefore, to relate to a context, much like in a simulation game. We expand by occupying territories, thus moving. This certainly evokes a nomadic nature, not yet extinct, that is functional to the common survival of the animal being with a destiny to wander. But above all, it highlights our capacity for calculation, prediction, management, and control (planning), which better traces and distinguishes our evolutionary path. Memory is also linked to our emotions connected to specific spaces; in this sense, memory is also a map whose reading awakens positive or negative emotions. The series 'Almost Like Home' by Andrey Permitin effectively interprets this theme.
The photographs document buildings constructed in the mid-1950s in Marseille. Primarily, they depict views from and of residential blocks, housing solutions designed in the post-war period to address housing needs. This building typology responds to housing demand with a clear constructive intent. The relationship between living and building is strictly rational and straightforward. Permitin, of Russian origin, who grew up on the outskirts of Moscow on the twelfth floor of a typical Soviet block with a narrow balcony running along the entire facade, is fascinated by the formal similarity. At the same time, he is 'enlightened' by the emotions evoked in his memory as he walks along the long corridors of these monstrous rectangles of inlaid concrete that characterize the coastal city in the South of France. The use of the view camera amplifies this reflection, as he writes: 'The slow-paced approach helped me to contemplate and observe the architecture and my thoughts about the space.' Although anonymous to an outsider's view, that apartment in the suburbs of the Russian capital has been translated into a concept of living, reconstructed retrospectively in a city overlooking the Mediterranean and experienced in the form of reproducible images, i.e., photographs.
Let's take a step further: when photographs related to a specific experience of the city accumulate and settle in the collective memory, we can argue that they acquire social weight in the common imagination, and therefore political significance, influencing decisions on what to preserve or not in the city, and also impacting urban planning.