Constructivist architecture

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Tatlin's Tower, The Monument to the Third International, 1919 (Vladimir Tatlin)

Constructivist architecture was a

communist social purpose. Although it was divided into several competing factions, the movement produced many pioneering projects and finished buildings, before falling out of favor around 1932.[2] It has left marked effects on later developments in architecture
.

Definition

Shukhov Tower, Moscow, 1922. Currently under threat of demolition, but with an international campaign to save it.[3]

Constructivist architecture emerged from the wider

Commissariat for Enlightenment between those who argued for pure art and the Productivists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin, a more socially-oriented group who wanted this art to be absorbed in industrial production.[4]

A split occurred in 1922 when Pevsner and Gabo emigrated. The movement then developed along socially

utilitarian lines. The productivist majority gained the support of the Proletkult and the magazine LEF, and later became the dominant influence of the architectural group O.S.A.

A revolution in architecture

The print shop of Ogonyok magazine designed by El Lissitzky

The first and most famous Constructivist architectural project was the 1919 proposal for the headquarters of the

St Petersburg by the Futurist Vladimir Tatlin, often called Tatlin's Tower. Though it remained unbuilt, the materials—glass and steel—and its futuristic ethos and political slant (the movements of its internal volumes were meant to symbolise revolution and the dialectic) set the tone for the projects of the 1920s.[5]

Another famous early Constructivist project was the Lenin Tribune by

Kasimir Malevich and Lissitzky designed various projects that forced together the 'non-objective' abstraction of Suprematism with more utilitarian aims, creating ideal Constructivist cities— see also El Lissitzky's Prounen-Raum, the 'Dynamic City' (1919) of Gustav Klutsis
; Lazar Khidekel's Workers Club (1926) and his Dubrovka Power Plant and first Sots Town (1931–33).

ASNOVA and rationalism

Immediately after the Russian Civil War, the USSR was too impoverished to commission any major new building projects. Nonetheless, the Soviet avant-garde school Vkhutemas started an architectural wing in 1921, which was led by the architect Nikolai Ladovsky, which was called ASNOVA (association of new architects). The teaching methods were both functional and fantastic, reflecting an interest in Gestalt psychology, leading to daring experiments with form such as Simbirchev's glass-clad suspended restaurant.[6] Among the architects affiliated to the ASNOVA (Association of New Architects) were El Lissitzky, Konstantin Melnikov, Vladimir Krinsky and the young Berthold Lubetkin.[7]

Zuev Workers' Club, 1927

Projects from 1923 to 1935 like Lissitzky and Mart Stam's Wolkenbügel horizontal skyscrapers and Konstantin Melnikov's temporary pavilions showed the originality and ambition of this new group. Melnikov would design the Soviet Pavilion at the Paris Exposition of Decorative Arts of 1925, which popularised the new style, with its rooms designed by Rodchenko and its jagged, mechanical form.[5] Another glimpse of a Constructivist lived environment is visible in the popular science fiction film Aelita, which had interiors and exteriors modelled in angular, geometric fashion by Aleksandra Ekster. The state-run Mosselprom department store of 1924 was also an early modernist building for the new consumerism of the New Economic Policy, as was the Vesnin brothers' Mostorg store, built three years later. Modern offices for the mass press were also popular, such as the Izvestia headquarters.[8] This was built in 1926–7 and designed by Grigori Barkhin[9]

OSA

Barsch/Sinyavsky, Moscow Planetarium, 1929

A colder and more technological Constructivist style was introduced by the 1923/4 glass office project by the

Lenin
, who wrote in 1919 that "the real emancipation of women and real communism begins with the mass struggle against these petty household chores and the true reforming of the mass into a vast socialist household."

Rusakov Workers' Club in Moscow by Konstantin Melnikov, 1927–28

Collective housing projects that were built included

Alma-Ata, while the Vesnin brothers designed a School of Film Actors in Moscow. Ginzburg critiqued the idea of building in the new society being the same as in the old: "treating workers' housing in the same way as they would bourgeois apartments...the Constructivists however approach the same problem with maximum consideration for those shifts and changes in our everyday life...our goal is the collaboration with the proletariat in creating a new way of life".[10] OSA published a magazine, SA or Contemporary Architecture from 1926 to 1930. The leading rationalist Ladovsky designed his own, rather different kind of mass housing, completing a Moscow apartment block in 1929. A particularly extravagant example is the 'Chekists Village' in Sverdlovsk (now Yekaterinburg) designed by Ivan Antonov, Veniamin Sokolov and Arseny Tumbasov, a hammer and sickle shaped collective housing complex for staff of the People's Commissariat for the Internal Affairs (NKVD)
, which currently serves as a hotel.

The everyday and the utopian

Narkomfin Building in Moscow by Moisei Ginzburg before its restoration in 2020. The building was at the top of UNESCO
's 'Endangered Buildings' list, and there was an international campaign to save it.
Svoboda Factory Club by Melnikov, Moscow

The new forms of the Constructivists began to symbolise the project for a new everyday life of the Soviet Union, then in the mixed economy of the New Economic Policy.[11] State buildings were constructed like the huge Derzhprom complex in Kharkiv[12] (designed by Serafimov, Folger and Kravets, 1926–1928) which was noted by Reyner Banham in his Theory and Design in the First Machine Age as being, along with the Dessau Bauhaus, the largest scale Modernist work of the 1920s.[13] Other notable works included the aluminum parabola and glazed staircase of Mikhail Barsch and Mikhail Sinyavsky's 1929 Moscow Planetarium.

House of Printing (1935) in Kazan by Semen Pen

The popularity of the new aesthetic led to traditionalist architects adopting Constructivism, as in Ivan Zholtovsky's 1926 MOGES power station or Alexey Shchusev's Narkomzem offices, both in Moscow.[14] Similarly, the engineer Vladimir Shukhov's Shukhov Tower was often seen as an avant-garde work and was, according to Walter Benjamin in his Moscow Diary, 'unlike any similar structure in the West'.[15] Shukhov also collaborated with Melnikov on the Bakhmetevsky Bus Garage and Novo-Ryazanskaya Street Garage.[5] Many of these buildings are shown in Sergei Eisenstein's film The General Line, which also featured a specially built mock-up Constructivist collective farm designed by Andrey Burov.

A central aim of the Constructivists was instilling the avant-garde in everyday life. From 1927 they worked on projects for Workers' Clubs, communal leisure facilities usually built in factory districts. Among the most famous of these are the Kauchuk, Svoboda and Rusakov clubs by Konstantin Melnikov, the club of the Likachev works by the Vesnin brothers, and Ilya Golosov's Zuev Workers' Club.

DniproGES (1932) by Vesnin Brothers

At the same time as this foray into the everyday, outlandish projects were designed such as

The Melnikov House and his Bakhmetevsky Bus Garage
are fine examples of the tensions between individualism and utilitarianism in Constructivism.

There were also projects for

Kasimir Malevich, Lazar Khikeidel – Cosmic Habitats (1921–1922), Architectons (1922–1927), Workers Club (1926), Communal Dwelling (Коммунальное Жилище)(1927), A. Nikolsky and L. Khidekel – Moscow Cooperative Institute (1929). The fantastical element also found expression in the work of Yakov Chernikhov, who produced several books of experimental designs—most famously Architectural Fantasies (1933)—earning him the epithet 'the Soviet Piranesi
'.

The Sotsgorod and town planning

Town Hall by Noi Trotsky, Leningrad, 1932–1934
See also: Sotsgorod: Cities for Utopia

Despite the ambitiousness of many Constructivist proposals for reconstructed cities, there were fairly few examples of coherent Constructivist town planning. However, the Narvskaya Zastava district of

Leningrad became a focus for Constructivism. Beginning in 1925 communal housing was designed for the area by architects like A. Gegello and OSA's Alexander Nikolsky, as well as public buildings like the Kirov Town Hall by Noi Trotsky (1932–4), an experimental school by G.A Simonov and a series of Communal laundries and kitchens, designed for the area by local ASNOVA members.[16]

Many of the Constructivists hoped to see their ambitions realised during the 'Cultural Revolution' that accompanied the first five-year plan. At this point the Constructivists were divided between urbanists and disurbanists who favoured a garden city or linear city model. The Linear City was propagandised by the head of the Finance Commissariat Nikolay Milyutin in his book Sozgorod, aka Sotsgorod (1930). This was taken to a more extreme level by the OSA theorist Mikhail Okhitovich. His disurbanism proposed a system of one-person or one-family buildings connected by linear transport networks, spread over a huge area that traversed the boundaries between the urban and agricultural, in which it resembled a socialist equivalent of Frank Lloyd Wright's Broadacre City. The disurbanists and urbanists proposed projects for new cities such as Magnitogorsk were often rejected in favour of the more pragmatic German architects fleeing Nazism, such as 'May Brigade' (Ernst May, Mart Stam, Margarete Schütte-Lihotzky), the 'Bauhaus Brigade' led by Hannes Meyer, and Bruno Taut.

The city-planning of

Victor Vesnin
et al. El Lissitzky also popularised the style abroad with his 1930 book The Reconstruction of Architecture in Russia.

The end of constructivism

Intourist Garage by Konstantin Melnikov, 1933
Political Convicts House in Saint Petersburg, 1933

The 1932 competition for the

Post-Modernism in that it reacted against modernist architecture's cosmopolitanism, alleged ugliness and inhumanity with a pick and mix of historical styles, sometimes achieved with new technology. Housing projects like the Narkomfin were designed for the attempts to reform everyday life in the 1920s, such as collectivisation of facilities, equality of the sexes and collective raising of children, all of which fell out of favour as Stalinism revived family values. The styles of the old world were also revived, with the Moscow Metro
in particular popularising the idea of 'workers' palaces'.

A.Kuznetsov, V.Movchan, G.Movchan, L.Meilman, All-Union Electrotechnical Institute, Moscow, 1927–1930 (video)

By the end of the 1920s Constructivism was the country's dominant architecture, and surprisingly many buildings of this period survive. Initially the reaction was towards an

House on Embankment of 1929–32. For a few years some structures were designed in a composite style sometimes called Postconstructivism
.

After this brief synthesis, Neo-Classical reaction was totally dominant until 1955. Rationalist buildings were still common in industrial architecture, but extinct in urban projects. Last isolated constructivist buildings were launched in 1933–1935, such as

Narkomtiazhprom project in Red Square, 1934, another unbuilt Stalinist edifice. Traces of Constructivism can also be found in some Socialist Realist works, for instance in the Futurist
elevations of Iofan's ultra-Stalinist 1937 Paris Pavilion, which had Suprematist interiors by Nikolai Suetin.

Legacy

Due in part to its political commitment—and its replacement by

Situationists, particularly the New Babylon project of Guy Debord and Constant Nieuwenhuys
.

High Tech architecture also owes a debt to Constructivism, most obviously in Richard Rogers' Lloyd's building. Zaha Hadid's early projects were adaptations of Malevich's Architektons, and the influence of Chernikhov is clear on her drawings. Deconstructivism evokes the dynamism of Constructivism, though without the social aspect, as in the work of Coop Himmelb(l)au. In the late 1970s Rem Koolhaas wrote a parable on the political trajectory of Constructivism called The Story of the Pool, in which Constructivists escape from the USSR in a self-powering Modernist swimming pool, only to die, after being criticised for much the same reasons as they were under Stalinism, soon after their arrival in the USA. Meanwhile, many of the original Constructivist buildings are poorly preserved or in danger of imminent demolition.[20]

Gallery

Constructivist buildings and other modernist projects in the former USSR

Moscow

Leningrad (Saint-Petersburg)

  • Stadium for metal workers "Red Profintern" (1927) by [Aleksandr Nikolsky] and [Lazar Khidekel]
  • Red Flag Textile Factory
    (1929) by [Erich Mendelsohn]
  • Bolshoy Dom in Leningrad (1932) by Noi Trotsky, Alexander Gegello and Andrey Ol.
  • Kirov District House of Soviets (1935) by Noi Trotsky
  • Moscow District House of Soviets (1935) by Igor Fomin, Igor Daugul and Boris Serebrovsky
  • 1st House of Lensovet (1934) by Evgeny Levinson and Igor Fomin
  • Club for the shipyard workers in Leningrad. by [Aleksandr Nikolsky] and [Lazar Khidekel]
  • Pumping station. Vasilyeostrovskaya pumping station near the harbor in Leningrad. Construction (1929-1930)by [Lazar Khidekel]
  • Dubrovskiy Electro Power Station S.M. Kirov and Residential settlement Doubrovskaya HPP. Planning and construction of the first in the Soviet Union socialist town - sotsrogodok for workers and specialists (1931-1933) by [Lazar Khidekel]

Minsk

Kharkiv

Zaporizhzhia

Sverdlovsk (Ekaterinburg)

  • Builders Club (1929) by Yakov Kornfeld
  • House of Printing (1930) by Vladimir Sigov
  • 'Gorodok chekistov' (1933) by Ivan Antonov, Veniamin Sokolov and Arseny Tumbasov
  • House of Communications (1933) by Kasyan Solomonov

Kuybyshev (Samara)

  • House of Red Army (1930) by Pyotr Scherbachov
  • Factory kitchen (1933) by Evgenya Maksimova
  • House of Industry (1933) by Vasily Sukhov

Novosibirsk

Non-implemented projects

References

  1. ^ "Constructivism". Tate Modern. Retrieved 9 April 2020.
  2. ^ Hunt, Ronald (1 October 1967). "THE CONSTRUCTIVIST ETHOS: RUSSIA 1913–1932 (PART II)". Artforum. Retrieved 24 February 2024.
  3. ^ Lord Foster fires up campaign to save Shukhov Tower: https://www.theguardian.com/world/2010/apr/15/radio-tower-campaign-russia-foster
  4. ISBN 0-00-686129-6
    .
  5. ^ a b c d Frampton, Kenneth (2004). Modern architecture — a critical history (Paperback) (Third ed.). World of Art. p. 376 pages.
    ISBN 0-500-20257-5
    .
  6. ^ see the picture here: "17 - Costruttivismo". Archived from the original on 15 April 2008. Retrieved 7 April 2007.
  7. ^ Cooke, Catherine (1990). Architectural Drawings of the Russian Avant Garde (Hardback). Harry N. Abrams, Inc. p. 143 pages.
    ISBN 0-8109-6000-1
    .
  8. ^ "Izvestia Building Moscow by Grigory Barkhin". galinsky.com. Retrieved 15 August 2015.
  9. ^ a b S.N Khan-Magomedov, Pioneers of Soviet Architecture (1988).
  10. ^ quoted in Art and Revolution ed Campbell/Lynton, Hayward Gallery London 1971
  11. ^ See the discussion in Victor Buchli's, An Archeology of Socialism (2000)
  12. Freedom Square, Kharkiv
  13. ^ Reyner Banham, Theory and Design in the First Machine Age (Architectural Press, 1971), p297.
  14. ^ "Narkomzem (Agriculture Ministry) Moscow by Aleksey Shchusev". galinsky.com. Retrieved 15 August 2015.
  15. ^ Benjamin, Walter, Moscow Diary
  16. ^ Chto Delat/What is to be Done issue on Narvskaya Zastava: http://www.chtodelat.org/images/pdfs/Chtodelat_07.pdf[permanent dead link] and also St Petersburg Wandering Camera on Simonov's school: http://www.enlight.ru/camera/354/index_e.html
  17. ^ Catherine Cooke, The Avant-Garde.
  18. ^ Archive photo: "17 - Costruttivismo". Archived from the original on 15 April 2008. Retrieved 7 April 2007.
  19. ^ Illustrated here: "17 - Costruttivismo". Archived from the original on 15 April 2008. Retrieved 7 April 2007.
  20. ^ See interview with film director Isa Willinger here: http://awayfromallsuns.de/de/on_constructivism/ Archived 5 November 2013 at the Wayback Machine
  21. ^ "Reportaje | Cuatro generaciones viviendo entre pétalos y arquitecturas racionales".

Bibliography

  • Reyner Banham, Theory and Design in the First Machine Age (Architectural Press, 1972)
  • Victor Buchli, An Archaeology of Socialism (Berg, 2002)
  • Campbell/Lynton (eds.), Art and Revolution (Hayward Gallery, London 1971)
  • Catherine Cooke, Architectural Drawings of the Russian Avant-Garde (MOMA, 1990)
  • Catherine Cooke, The Avant Garde (AD magazine, 1988)
  • Catherine Cooke, "Fantasy and Construction: Iakov Chernikhov" (AD magazine, vol. 59 no. 7–8, London 1989)
  • Catherine Cooke & Igor Kazus, Soviet Architectural Competitions (Phaidon, 1992)
  • Kenneth Frampton, Modern Architecture: a Critical Introduction (Thames & Hudson, 1980)
  • Moisei Ginzburg, Style and Epoch (MIT, 1981)
  • S. Khan-Magomedov, Alexander Vesnin and Russian Constructivism (Thames & Hudson 1986)
  • S. Khan-Magomedov, Pioneers of Soviet Architecture (Thames & Hudson 1988),
    ISBN 978-0-500-34102-5
  • S. Khan-Magomedov. 100 Masterpieces of Soviet Avant-garde Architecture

Russian Academy of Architecture. M., Editorial URSS, 2005

  • S. Khan-Magomedov. Lazar Khidekel (Creators of Russian Classical Avant-garde series)

M., 2008

External links

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