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Conventional readings of the history of Soviet art and architecture show modernist utopian aspirations as all but prohibited by 1932 under Stalin's totalitarianism. Soviet Architectural Avant-Gardes challenges that view. Radically redefining the historiography of the period, it reveals how the relationship between the Party and practicing architects was much more complex and contradictory than previously believed, and shows, in contrast to the conventional scholarly narrative, how the architectural avant-garde was able to persist at a time when it is widely considered to have been driven underground. In doing so, this book provides an essential perspective on how to analyse, evaluate, and “re-imagine” the history of modernist expression in its cultural context. It offers a new understanding of ways in which 20th century social revolutions and their totalitarian sequels inflected the discourse of both modernity and modernism. The book relies on close analyses of archival documents and architectural works. Many of the documents have been rarely – if ever – discussed in English before, while the architectural projects include iconic works such as the Palace of Soviets and the Soviet Pavilion at the Paris 1937 World Exposition, as well as remarkable works that until now have been neglected by architectural historians inside and outside Russia. In a fascinating final chapter, it also reveals for the first time the details of Frank Lloyd Wright's triumphant welcome at the First Congress of Soviet Architects in Moscow in 1937, at the height of Stalin's Terror.
"The groundbreaking new study on the early Soviet Union's Higher Art and Technical Studios, known as Vkhutemas, and their pioneering curriculum that has been a source of inspiration for generations of architects, designers, and artists until the present day."--Provided by publisher.
Distributed by St. Martin's, Auth: Open University, History with translated excerpts of documents.
An essential exploration of how Russian ideas about the United States shaped architecture and urban design from the czarist era to the fall of the U.S.S.R. Idealized representations of America, as both an aspiration and a menace, played an important role in shaping Russian architecture and urban design from the American Revolution until the fall of the Soviet Union. Jean-Louis Cohen traces the powerful concept of “Amerikanizm” and its impact on Russia’s built environment from early czarist interest in Revolutionary America, through the spectacular World’s Fairs of the 19th century, to department stores, skyscrapers, and factories built in Russia using American methods during the 20th century. Visions of America also captivated the Russian avant-garde, from El Lissitzky to Moisei Ginzburg, and Cohen explores the ongoing artistic dialogue maintained between the two countries at the mid-century and in the late Soviet era, following a period of strategic competition. This first major study of Amerikanizm in the architecture of Russia makes a timely contribution to our understanding of modern architecture and its broader geopolitics.
Avant-Garde Modernism dominated the Russian architectural profession throughout the 1920s. Though severely limited by the disruptions of revolutions and civil war, the Avant-Garde has left behind it a body of theoretical work and a number of important completed projects that exerted a profound influence on pioneers of the Modern movement such as Walter Gropius and Hannes Meyer. Too often reduced to a single, homogenous movement, Soviet Modernism is here presented in all its considerable diversity; with over 300 rarely seen contemporary photographs, and documents by leading Modernists such as Tatlin, Melkikov and Golosov. In a new essay, Catherine Cooke examines the pre-revolutionary origins of the Avant-Garde and highlights the numerous fissures and tensions that characterized the movement during its decade of greatest influence.
In postrevolutionary Russia, as the Soviet government was initiating a program of rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. In spite of their professed utilitarianism, however, most avant-gardists created works that can hardly be regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists’ investment of technology with aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.
"This text charts the trajectory of Russian avant-garde architecture during the brief but intense period of design and construction which took place between 1922 and 1935"--OCLC
* For the first time ever, Russian avant-garde architect Boris Velikovsky's work is honored in a beautifully designed book* Unpublished technical plans and photos show Velikovsky's importance in modern architecture* An in-depth study of Russian architecture in the 20th centuryWith his residential buildings, office blocks, schools and factories, Boris Velikovsky (1878-1937) made a definitive contribution to Russian avant-garde architecture. His early constructions, such as the Gribov House in Moscow, are still very much bound to Russian Neoclassism, yet since the Revolution of 1917, he began designing in the style of Constructivist architecture. One example is his Gostorg Management Building, distinguished by glass facades, the functional division of space and use of state-of-the-art materials. Furthermore, in the garden city of Druzhba, for instance, Velikovsky intensively engaged with new ideas in town planning. With mostly hitherto unpublished technical plans as well as numerous historical and new color photographs of Boris Velikowsky's most famous projects, this book offers a chance to appreciate Russian avant-garde architecture.
Conventional readings of the history of Soviet art and architecture show modernist utopian aspirations as all but prohibited by 1932 under Stalin's totalitarianism. Soviet Architectural Avant-Gardes challenges that view. Radically redefining the historiography of the period, it reveals how the relationship between the Party and practicing architects was much more complex and contradictory than previously believed, and shows, in contrast to the conventional scholarly narrative, how the architectural avant-garde was able to persist at a time when it is widely considered to have been driven underground. In doing so, this book provides an essential perspective on how to analyse, evaluate, and “re-imagine” the history of modernist expression in its cultural context. It offers a new understanding of ways in which 20th century social revolutions and their totalitarian sequels inflected the discourse of both modernity and modernism. The book relies on close analyses of archival documents and architectural works. Many of the documents have been rarely – if ever – discussed in English before, while the architectural projects include iconic works such as the Palace of Soviets and the Soviet Pavilion at the Paris 1937 World Exposition, as well as remarkable works that until now have been neglected by architectural historians inside and outside Russia. In a fascinating final chapter, it also reveals for the first time the details of Frank Lloyd Wright's triumphant welcome at the First Congress of Soviet Architects in Moscow in 1937, at the height of Stalin's Terror.