Soviet constructivism in architecture. What is constructivism

23.06.2020

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Introduction 2.

Constructivism in architecture 8

Conclusion 14.

References 19.

Introduction

So why exactly constructivism? Well, firstly, the leading generation of architects has grown on it; Among everything, which was surrounded by them in his youth, only constructivism was consistent with professional attitude (modernized amateur, the classics, the more Stalinist, are the revealed aesthets, modernism - in his Soviet version - then no one loved). There is a moment of national pride: constructivism is the only original and unexpected of what was in the Russian architecture of the twentieth century, and therefore in the Godina of the Troubles, when you do not know what to be inspired and to which Snowdrik, it is natural to fall into it.

In addition, Russian architecture is painfully angry to catch up with Western. But since technical terms is very difficult, then you have to be sick: take back what was once your own (and the forming ideas of constructivism still loved in the West: the leading world architects, such as Ram Kolhaas or Zha Hadid , and one of the exhibitions of the spring exhibition "Architecture and Design" in the Central Committee was precisely about how many are obliged to Russian constructivism of Berlin's new buildings - the main construction site of Europe today). Further: if "there" the ideas of Russian geniuses have found a variety of and wide incarnation, then we have or remained with projects, or fall apart. Therefore, no less understandable is the noble desire for the current architects to bring the case of grandfathers to a victorious end - in new and high-quality materials.

Constructivism - direction in art.

Constructivism - direction in the art of the 1920s. (in architecture, workout and theatrical and ornamental art, poster, art of book, artistic design). Supporters of constructivism, having put forward the "design" of the environment, actively guiding the life processes, sought to comprehend the formative capabilities of the new technology, its logical, expedient structures, as well as the aesthetic capabilities of such materials such as metal, glass, wood. The disadvantageous luxury of life, the constructivists sought to oppose the simplicity and underlined utilitarianism of new subject forms, in which they saw the development of democraticness and new relations between people (the brothers of spring, M. Ya. Ginzburg, etc.) The aesthetics of constructivism largely contributed to the establishment of Soviet artistic design (A. M. Rodchenko, V. E. Tatlin, etc.). In relation to foreign art, the term is conditional: in architecture - the flow inside the functionalism, in painting and sculpture is one of the directions of avant-gardium.

In architecture, the principles of constructivism were formulated in theoretical speeches of A. A. Vesnin and M. Ya. Ginzburg, almost they were first embodied in the created brothers A. A., V. A. and L. A. Spring project of the palace of labor for Moscow (1923 ) With its clear, rational plan and detected in the appearance of the structural basis of the building (iron-concrete frame).

A. A., V. A. and L. A. Spring. Project of the Palace of Labor in Moscow. 1923.

In 1924, the creative organization of constructivist OSA was created, whose representatives developed the so-called functional design method based on the scientific analysis of the characteristics of the functioning of buildings, structures, urban planning complexes. Along with other groups of Soviet architects, constructivists (brothers of spring, Ginzburg, I. A. Votos, I. I. Leonidov, A. S. Nikolsky, M. O. Barsch, V. N. Vladimirov, etc.) the search for new principles Planning settlements, put forward projects of reorganization of life, developed new types of public buildings (palaces of labor, houses of advice, work clubs, factories, kitchens, etc.). At the same time, in its theoretical and practical activity, the constructivists made a number of errors (attitude to the apartment as to "material form", schematism in organizing life in some projects of houses-communes, the ability to induce the natural cities, the underestimation of the role of large cities under the influence of desurb ideas).

The aesthetics of constructivism largely contributed to the establishment of modern artistic design. Based on the development of constructivists (A. M. Rodchenko, A. M. Ghana and others) were created convenient and designed for mass production of new types of dishes, reinforcements, furniture; Artists developed drawings for fabrics (V. F. Stepanova, L. S. Popov) and practical models of working clothing (Stepanova, V. E. Tatlin). Constructivism has played a prominent role in the development of poster graphics (photomontizes of the St. Petersburg brothers, G. Kurcis, Rodchenko)

Kloths. "Sport". Photomontage. 1923.

and the design of the book (the use of expressive font capabilities and other set elements in the works of Ghana, L. M. Lisitsky, etc.). In the theater, traditional decorations, constructivists replaced the subordinate tasks of the stage action "machines" for the work of the actors (work Popova, A. A. Spring and others. Above productions V. E. Meyerhold, A. Ya. Tairova). Some ideas of constructivism were embodied in Western European (V. Bumeyster, O. Slammer, etc.) of visual art.

For foreign art, the term "constructivism" is largely conditional: in architecture, it denotes the flow within the functionalism, to stress to emphasize the expression of modern designs, in painting and sculpture, one of the directions of avant-garde, which used some formal searches for early constructivism (sculptors I. Gabo, and . Pevzner)

Constructivism (from lat. Constructio - construction) - an artistic direction in the art of a number of European countries of the beginning of the XX century, which proclaimed the basis of the artistic image is not a composition, but design. The most complete expression constructivism found in architecture, design, applied, theatrical scenery art, printed graphics, art of the book; It was expressed in the desire of artists to appeal to the design of things, the artistic organization of the material environment. In the artistic culture of Russia 20s, architects Constructivists Brothers Springs, M. Ginzburg rest on the possibilities of modern construction technology. They achieved artistic expressive by composite means, comparing ordinary, concise volumes, as well as the aesthetic capabilities of such materials such as metal, glass, wood. Artists of this area (V. Tatlin, A. Rodchenko, L. Popova, E. Lisitsky, V. Stepanova, A. Exter), incorporating in the movement of industrial art, became the founders of the Soviet design, where the outer form was directly determined by the function, engineering construction and Material processing technology. In the design of theatrical performances, the constructivists replaced the traditional picturesque decoration with transformable installations - "machines" by changing the stage space.

L. S. Popova. Drawing of the scenic design for the play "Genuine Cardridge". 1922

For the constructivism of printed graphics, art of the book, the poster is characterized by stingy geometrized forms, their dynamic layout, limited color palette (mostly red and black), wide use of photographs and type typographic elements. The characteristic manifestations of constructivism in painting, graphics and sculpture are abstract geometrism, the use of collage, photomontage, spatial structures, sometimes dynamic.

But let's stop in more detail on the architecture of this style.

Constructivism in architecture

Significant success in the 20s-30s. 20 V. Reached architecture. The rapid growth of cities, industry, the development of transport comes into a sharp contradiction with non-relevant new requirements planning of old cities, with their narrow winding streets. The need to resolve the complicated transport service problem and ensure normal sanitary and housing conditions to the population, give rise to urban planning projects and new forms of people's resettlement. They are characterized by the desire to soften the social contrasts in the cities and eliminate the excessive concentration of the population. Around the large cities in some countries there are gardens with individual residential buildings, industrial cities, working villages, etc. with strictly functional dismemberment of the territory. The attention of architects attracted the tasks of not only industrial, but also massive housing construction, the development of residential complexes with economical type apartments designed for the middle and low-paid category of people. More attention is paid to the design of areas, architectural design of landscapes. Universal classification of streets and principles of their combination are being developed, networks of urban highways independent of transitional streets and dissecting city are created on a number of separate spaces. In the design of the cities of a new type and large industrial enterprises, the principles of the functional-structural system originated at the turn of 19-20 centuries are increasingly approved. This style in the architecture has been called constructivism.

In the history of Russian constructivism, professional architects designed all sorts of modular designs of residential units, connecting between themselves into large complexes moving along the outer walls of the elevators, etc. Konstantin Melnikov is considered to be the Kindentine (Soviet) constructivism. Starting from the construction of Russian pavilions at international exhibitions in the style of traditional wooden architecture, thanks to which he acquired international fame, Melnikov passes to the design of very relevant buildings of the new (revolutionary) type and destination - workers' clubs. Club them. Rusakova,

club them. Rusakov. Arch. K. Melnikov.

built by him in 1927-28, there has nothing to do with the architecture of the preceding century, nor with modern architecture. Here, pure geometric concrete structures are organized in a certain structure, the form of which is determined by its purpose. The last remark belongs to almost the entire architecture of modern and 20th century and is defined as functionalism. In the architecture of constructivism, the functionalism leads to the creation of dynamic structures consisting of sufficiently simple formal elements, completely deprived of the usual architectural decor, connected in accordance with the organization of the internal space and the work of the main structures. The language of architectural forms is thus cleared from all optional, decorative, non-constructive. This is the language of the new world that has broken with its past. The born architectural image clearly transfers the dynamics of artistic processes and life in post-revolutionary Russia, the export of modern technical capabilities. Style architects Constructivism believed that all elements of the building should take part in the creation of the architectural image of the modern structure, even such as signs, watches, billboards, loudspeakers, elevator mines, etc., so all of them should also design an architect. Soviet constructivists focused their efforts on two large challenges: the design of the exemplary socialist city and municipal apartment housing for workers - commune houses. Going towards the new needs of the socialist state, the constructivists were engaged in the design and construction of such types of buildings, such as office, department stores, sanatoriums, printing houses, research centers, factories and factories, work clubs and hydroelectric power plants. The young Soviet architecture of the first post-revolutionary decades was actually in the forefront of world architecture, implementing or creating the most bold projects on paper, among which the famous Palace of Soviets, which could not be built on the site of the destroyed christ of Christ the Savior.

With the onset of Stalinsky Totalitarianism in the 30s, Russia gradually loses its position in architecture, and still they cannot be restored.

An important milestone in the development of constructivism was the activities of talented architects - the Brothers Leonid, Viktor and Alexander Springs. They came to the awareness of the laconic "proletarian" aesthetics, already having a solid experience in the design of buildings, in painting and in the design of books. (They started their careers in the era of modern).

For the first time, architects - constructivists loudly declared themselves at the competition projects of the building of the Palace of Labor in Moscow. The spring project highlighted not only by the rationality of the plan and the correspondence of the appearance of the aesthetic ideals of modernity, but also meant the use of the latest building materials and structures.

The next stage was a competitive project of the Leningrad Pravda newspaper building (Moscow branch).

Draft Moscow branch of the Leningrad Pravda newspaper. Architects A. and V. Vesnina. 1924.

The task was extremely difficult - for construction, a tiny plot of land was intended - 6x6 m on passionate area.

The spring created a miniature, slender six-story building, which included not only the office and editorial premises, but also a newspaper kiosk, lobby, reading room (one of the tasks of constructivists was to group the maximum amount of vital premises in a small area).

The closest associate and assistant of the spring brothers was Moses Yakovlevich Ginzburg, who was an unsurpassed theoretical architecture of the first half of the XX century. In his book, "Style and Epoch" he reflects that each art style adequately corresponds to the "his" historical era. The development of new architectural flows, in particular, is due to what happens "... continuous mechanization of life", and the car is "... a new element of our life, psychology and aesthetics." Ginsburg and spring brothers organize the combination of modern architects (OSA), which includes leading constructivists.

Since 1926, constructivists begin to produce their magazine - "Modern architecture" (or simply "CA)." I went out the magazine for five years. The design of the covers was engaged in Alexey Gan.

In the late 1920s, constructivism began to distribute beyond the Soviet Union, having received the greatest distribution in Germany and the Netherlands. In the mid-60s - 70s, the tradition and ideas of constructivism found an unexpected continuation in the architecture of the so-called "High Tech", directions, demonstratively exposing not only the work of architectural structures, but also engineering communications.

Conclusion

The second half of the 20th century passed under the flag of criticism of functionalism and constructivism and the search for new techniques for the formation of the subject-spatial environment. Searches these were conducted and currently underway by architects, artists, designers and other specialists from many countries, in particular Russia, on the basis of various creative concepts.

Among the theoretical problems of the style has recently attracted attention to three: 1) the place of engineering and technical sector of creativity in the formation of the style of the XX century; 2) the problem of style unity; 3) the place and role of certain types of subject-artistic creativity in modern styrene-forming processes.

On the one hand, many frighten the increasing expansion of technical forms into a modern subject-spatial environment. On the other hand, on the contrary, some confuse the increasing influence in the general process of stying formation of artistic forms, ungrounded in the utilitarian-structural structure of buildings and products. Turn to the story.

In the second half of the XIX century, in connection with the allocation of the sector of engineering creativity and the displacement of the Craft industry, many areas of engineering and technical construction and production of mass consumption were without the influence of professional artists. At the same time, engineering facilities and machinery products, which have reflected specific form-forming processes characteristic of the engineering and technical sector of creativity, played an increasing role in the overall appearance of the subject-spatial environment. And in engineering structures and in industrial products of mass consumption, from the middle of the XIX century, along with engineering-technical styrene-forming trends, decorative trends played a significant role, which, in the absence of professionals, as a rule, played in the artistic level of architectural structures and handicrafts products.

As a result, a gap formed in the artistic and engineering and technical spheres in the artistic and technical and technical spheres in the artistic and technical fields during a series of decades. A real social order originated on a fundamentally new professional artist who could work qualified on this junction between the artistic and engineering and technical spheres of creativity, restore the connection between them. So, in the first third of the 20th century, a new architecture and design was formed.

In the engineering and technical sphere, then complex processes of searching for new interconnections of the design, functions and external form, which subsequently predetermined and some features of the formation of the subject-spatial environment as a whole. The new architecture and design of the 1920s are permeated by patos of invention, and it is important to note that the range of inventions was not limited to the engineering and technical sphere, and gradually seized and actually architectural and design problems - the solution of functional and social problems.

At the stage of the formation of a new architecture and design, innovative trends, closely related to scientific and technical progress and devoid of conservative stylistic traditions, turned out to be the most favorable sphere of manifestation of new formative trends. They became a certain experimental field, where the styrene-forming potential of the engineering and technical sphere and the experimental search for visual art interacted. Especially clearly it was manifested in constructivism.

Through the innovative flow of architecture and born then the design - as a kind of channel - the rationalization factor has entered the subject and spatial environment, which determined a lot in a new relationship to the quality of habitat,

New architecture and design steel in the 20th century decisive styled centers because it is an area of \u200b\u200bclose intensive formative interaction of artistic and engineering and technical spheres.

The experience of developing a new style in the 20th century testifies that the foundation of the new style system has been created.

In the current situation, the field of art, which, contributing to the formation of new architecture and design, helped creating a new style reality, were before the serious problem of the need to correlate their development with these areas of creativity, which became the constant part of the stylist structure of the artistic environment. Now they are if they do not dictate the direction of searches in the formation of the formation, then, in any case, largely determine the conditions for their implementation. It is also important to note that architecture and design contribute to the accumulation of the area of \u200b\u200bthe subject-artistic creativity of the formative potential of not only engineering and technical creativity, but also scientific and theoretical developments in the field of formation.

In recent decades, art historians and theorists of art are increasingly embarrassed by such streaming trends, which are emphasized beyond the stylistic unity in the XX century.

The styractive foundation laid in the 1920s in the decisive role of constructivism and functionalism is a stylist system not one generation and even, perhaps, not for one century. I think that this is a style system for a very long time, and it is quite possible that the XX century - in many respects the archaic of a large style period, which goes in the third millennium. If from this point of view to evaluate the stylistic processes occurring now in the subject-spatial environment, then much looks at all not so dramatic. Nothing fundamentally new in stying issues, which could be opposed to the stylist system laid in the 1920s, in the following decades, including in 1970-1980, and in 1990-2000 (not yet completed) years, was not created It was. Enriched and developed the stylist system laid in the 1920s. There was even a few attempts to go away from her styled rod.

The first attempt is the 1930s, when the neoclassic wave rolled in many European countries. Then there were still alive memories of the neoclassicke of the beginning of the century, her master was still actively worked / therefore this first wave of stylization and eclecticism was very seriously equipped with the knowledge of professional techniques of the past / - however, the powerful styling spring of the new system broke through this stylization reservoir without much effort.

The second wave of traditionalist stylization in the 1950s occurred, mainly in the United States, and also in many ways it was the relapses of the recent past / to America, the functionalism came with the receipt.

Postmodern and other similar currents are the third wave. It differs from the first (1930s) by the fact that the modern style system is no longer opposed to other / for example, neoclassical /, and the displeased new style see the output only in decolation and eclectics. As psychological swelling in the conditions of difficulties in the field of formation, eclecticism and decolation are effective, but for a serious struggle with a new style system are unfitable funds. It is rather recognition of the fundamental foundation of a new style system and the search for its "insulation". All this, according to the author, it is important to keep in mind when we estimate stylistic metamorphosis of 1970-1980s and 1990-2000.

The rapid flowering of constructivism in the 1920s and its rapid implementation in various types of artistic creativity sharply changed the appearance of the subject-spatial environment. The consequences of this affected all new style, and this is an irreversible effect of constructivism. It remains only to analyze this stying phenomenon of the XX century.

Bibliography

www.museum-online.ru.

www.Archiline.narod.ru.

www.countries.ru.

If we consider all the minimalistic styles of architecture, then constructivism It is the most popular in the history of the Soviet Union. Buildings were built along the canons of constructivism in our country, since this direction relied on the following "whales": utility and utility.

Constructivism In this regard, it has many common with functionalism, which is also reflected in the time framework in which it was popular with us and abroad, but at the same time two styles have their differences.

To speak briefly, the constructivism assumed the creation of functional, and at the same time beautiful, highly accurate buildings, which, despite its minimalistic appearance, possessed very powerful forms.

Among the features of constructivism can be noted:

1. Monolith.

Constructivists tried to achieve "seamlessness" in the guise of buildings. Despite the division into various segments that resemble geometric shapes, houses in the style of constructivism looked like one integer, indivisible, like an atom, which acts as the main difference from the functionalism, where such an approach was considered a useless Mishur.

2. Fragmentedness.

Fragments, which still stand out in the facades and other sections of the buildings, did not fall out of the common canvas, looked inseparable, which distinguished the constructivism from the functionalism, where the exterior of the building could well be separated by various sites and groups.

3. All-inclusion.

Constructivism has always hit its sizes. Sometimes the building in this style looked really huge.

4. The use of glass and concrete in construction.

In this style, glass, concrete, metal and plastic are peculiar tools in the artist's hand, which he creates a new building.

5. Smooth colors.

Style decisions of constructivism are sometimes simple and faded, inexpressive, colorless. For a variety of metal and glass in them, which helps make them more refined and interesting.

6. Rich Form Palette.

Forms of constructivism can really be different. There are no prohibitions here. However, we will not find strange spirals or some particular solutions here. All changes in forms are stacked in a certain spectrum, the boundaries of which are narrow, but at the same time buildings always differ in some kind of their features that are not similar to each other.

The main difference between the functionalism from constructivism: Functionalism uses minimalistic forms and limited materials only due to their convenience, functionality, and constructivism uses them for creative expression, creativity.

Details Category: A variety of styles and directions in art and their features Published 07/11/2015 11:54 Views: 5276

This direction in art is considered to be a Soviet phenomenon. It arose after the October Revolution and developed in the framework of avant-garde proletarian art.

But no manifestations of art can be limited to the framework of one country, therefore the term "constructivism" is sufficiently conditional: signs of this direction can be seen in the architecture of functionalism, and in painting and sculpture constructivism is clearly visible in the works of avant-gardeists. Actually, constructivism and is an avant-garde method - his representatives were looking for new forms to express modern ideas for them: a new harmonious person should live in a harmonious society and in a well-maintained city.

The value of the term

To understand the term "constructivism" (lat. CōNStrūctio - compilation; structure, structure; connection, communication) It is not suitable for its direct value, but portable.
So, constructive:
1) related to the design;
2) Intr.: creating a foundation for further work, fruitful, such that can be based on something (constructive proposal, constructive discussion, etc.).
In the period after the October Revolution in Russia, art was supposed to serve as production, and production - people. Constructivists believed that art should be merged with the production of material values. One of the theorists of "production art" Boris Arvatov wrote that "... will not depict a beautiful body, but to bring up a real living harmonious person; Do not draw a forest, but grow parks and gardens; Do not decorate the walls with paintings, but paint these walls ... ".
Thus, the "production art" was the social basis of constructivism with its direct appeal to the modern Russian realities of the 1920s (the era of the first five-year plan).

History of the term

In 1922 A.M. Gan wrote a book "Constructivism". Known at that time sculptors, graphics and painters A. Rodchenko and V. Tatlin Back in 1920, they called themselves constructivists.

V. Tatlin A. Rodchenko
By the way, V. Tatlin developed a monument project dedicated to the III International - the famous Tatlin Tower. Its construction was planned to implement in Petrograd after the victory of the October Revolution of 1917. The iron grand monument was intended for the highest bodies of the World Workers' and Peasant Passenger (Comintern), which were to be accommodated in 7-storey rotating buildings. And although this project was not realized, the tower became a symbol of constructivism.

Tower Tatlin

The Tower project consisted of two inclined metal spirals consisting of one above the other buildings of various geometric shapes, harmoniously interconnected. The buildings rotated around their axis. The lower building had the shape of a cube and rotated at the speed of one turn into the year.

It was intended for conferences and congresses. A building in the form of a pyramid was located above him, which was rotated at a speed of one turn into a month and was intended for the executive bodies of the International. In the cylinder, which turned at a speed of one turnover a day should be placed information offices, publishing house, typography, telegraph. The fourth volume was in the form of a hemisphere and rotated at a speed of one turn per hour. The tower was conceived as a symbol of the reunification of humanity, divided during the construction of the Babylonian tower. The height of the tower was estimated at 400 m.
The Tatlin Tower model can be seen in the Tretyakov Gallery in Moscow and the Atrium of the IFC "City of Capitals", in the center of Pompidu (Paris) and the Museum of Contemporary Art (Stockholm), in the Exhibition Hall of the Art School of K. A. Savitsky in Penza, in the main dining area of \u200b\u200bOxford University .

The Tower Model is crowned with the modern house "Patriarch" in Moscow, built on the project of the architect S. B. Tkachenko.

The history of constructivism

Why is constructivism in art considered to be a Soviet phenomenon? After all, it is known that the Eiffel Tower, a symbol of Paris, was built back in 1889, much earlier than the term "constructivism" did? She conceived as a temporary structure - the entrance arch of the Paris World Exhibition of 1889, but now it is one of the most visited attractions of the world. It clearly present features of constructivism.

Eiffel Tower (Paris)
Obviously, the Soviet phenomenon of constructivism is considered for the reason that the manifestation of it in other countries was only single samples, and in the USSR he became a socially determined basis, industrial art. "For the first time, not from France, and from Russia, a new word of art flew away - constructivism," said V. Mayakovsky.

Spring brothers

Spring brothers in childhood with parents and sister

Talented architects were made of a great contribution to the development of constructivism - Brothers Leonid, Victor and Alexander Vesnina. By this time they had already experience in the design of buildings, in painting and in the design of books. They became the leaders of the new direction in the architecture of the first half of the XX century.
By participating in the contest of projects of the building of the Palace of Labor in Moscow in 1923, they received a third award.

Draft Brothers Spring
The spring project highlighted not only by the rationality of the plan and the correspondence of the appearance of the aesthetic ideals of modernity, but also meant the use of the latest building materials and structures.

House of Culture Zil. Architects - Spring Brothers
One of the largest works of the spring brothers was the design of the Palace of Culture of the Proletarian district in Moscow. The palace was built in 1931-1937, but only part of the project was carried out: T-shaped club part with a small auditorium at 1200 seats. There was no separate building of the large auditorium. In accordance with the principles of constructivism, the construction is characterized by a strictly logical volume-spatial composition, spectacular and club rooms successfully relate. The auditorium, which goes outside the side of the side facade, is connected to the Enfilath of the rooms for classes in the circles. Anfilad is resting in the winter garden, at the end of the right wing there is a library, at the end of the left - the rehearsal hall.

Library

A conference room was posted over the winter garden, and above - the observatory, the dome of which towers over the flat roof of the building. When creating a project, the authors relied on the well-known five principles of Le Corbusier: the use of pillars instead of wall arrays, free layout, free design of the facade, extended windows, a flat roof. The club's volumes are underlined geometrical and are elongated parallelepipeds, in which the risals of stair cells are embedded, cylinders of balconies.

The design of constructivism is present in the composition of the facades: from the outside the hall is covered by a semir of two-tier foyer, whose curved outlines dominate in the appearance of the building.
Among the work of the spring of the 1930s-early 1940s, many other projects are noteworthy - realized or unrealized.

Square named after V. I. Lenin in Oktyabrsky
The closest companion and assistant of the spring brothers was Moses Ginzburg. In his book, "Style and Epoch", he reflects that every art style corresponds to "his" historical era. Ginzburg and spring brothers organized the combination of modern architects (OSA), which included leading constructivists. Le Corbusier came to Russia, fruitfully communicated and collaborated with Osa's leaders.
C 1926, the constructivists begin to produce their modern architecture magazine, which went out for 5 years.

Flowering constructivism

Convinced constructivists trembled to the purity of their method, they did not want constructivism to turn into a style that uses only external imitation. They themselves were based on the scientific analysis of the peculiarities of the functioning of buildings, structures, urban planning complexes. That is, they considered artistic and practical tasks exclusively in the aggregate: each function corresponds to the most rational volume and planning structure. Constructivists participate in the design of industrial buildings, kitchen factories, cultural houses, clubs, residential buildings. During this period, other talented architects are added to the society for a constructivist: brothers Ilya and Pantelemon votes, Ivan Leonidov, Mikhail Barsz, Vladimir Vladimirov.

House of Culture named after S. M. Zueva (1928). Architect I. Votos
A typical example of the embodiment of the functional method in the constructivism of house-communes. They were built on the principle of Le Corbusier: "House - a car for housing". An example is the hostel-commune of the Textile Institute in Moscow.

Student hostel "House-Commune" (1930)
The author of the project was Ivan Nikolaev. The idea of \u200b\u200bthe house-commune: full publicity of life. The functional scheme of the building was focused on creating a rigid routine of the student's day: a bedside cabin in size is 2.3 x2.7 m, which contained only beds and stools, then students are sent to the sanitary body, where there were shower, charges for charging, changing rooms. From here descended into the low public building, where there was a dining room. In other premises of the case were halls for brigade work, cabins for individual classes, library, assembly hall. In the public building were Nasli for children under 3 years old, and an open terrace was arranged on the roof.
In various cities of the country (USSR) there were their architectural features of constructivism. An example of constructivism in Minsk is the House of Government of the Republic of Belarus - the largest public building Joseph Langbarda, One of the best monuments of constructivism, placed the beginning of the formation of a new city center.

Government House in Minsk

Constructivism in other art types

Constructivism is most often associated with architecture, but it is not entirely true, because Before architectures, constructivism existed in design, printing, artistic work. For example, in the photo. In this form of art, constructivism manifested itself in compositions, unusual angles, etc. Master of the method was considered Alexander Rachenko.

Photo by A. Rodchenko

Photo by A. Rodchenko
Constructivist trends existed in the field of fashion. Based on enthusiasm direct lines, Soviet fashion designers of those years created underlined geometrized forms of clothing design.
Fashion designer Barbara Stepanova Since 1924, together with Love Popova Worked out fabric drawings for the 1st Sitzenabile Factory in Moscow, designed a model of sports and casual wear. And the most famous fashion model was the famous Lilya Yuryevna BRIC.

Lily Brick (1924)
In 1923, constructivism was proclaimed as a course of literature (First of all, in poetry) and created a "literary center of constructivists". The poets of Ilya Selvinsky, Vera Inbert, Vladimir Lugovskoy, Boris Agapov, Literary crown of Cornelius Zelinsky, Alexander Kvyatkovsky and others participated in it. Constructivist writers proclaimed the proximity of the poetry "production" topics (the characteristic names of the collections: "GRAND LITERATURE", "Business"), essaymism, widespread use of "prosecraft", the use of a new size - clock (poetic size), and declamination experiments. By 1930, the constructivists became an object of trace from the rapp and announced a samorem.

Session of the literary center of constructivist results 1929 (A. Kvyatkovsky, V. Asmus, E. Bagritsky, K. Zelinsky, N. Aduev, I. Selvinsky, B. Agapov, V. Lugovskaya, V. Inbert, Gauzner, E. Gablovich)
As a literary creed, the constructivists put forward four principles:
Semantic dominant, maximum "exploitation" of the central topic
Increased semantic load per unit literary material ("Cargo")
The principle of "local semantics", consisting in submission of images, metaphor and rhymes the main topic of the work
Introduction to the poetry of prose techniques.

Postconstructivism

In the early 1930s, the political situation has changed in the country. This affected art. Innovative and avant-garde flows were first exposed to sharp criticism, and then they were banned as bourgeois.

Soviet postconstructivism
The lush forms of totalitarian baroque came to replace strict and revolutionary asceticism. Constructivists were in the opal. Those of them who did not want to "restructure" before the end of the days they pledged a pitiful existence or were repressed. Some managed to restructure. For example, Ilya Votes. The spring brothers also participated in the creative life of the USSR, but such an authority, as before, no longer had.
In the 1930s of the XX century Under the influence of political and ideological factors, there was a transition from constructivism to Stalin's ampir. Many buildings originally built in the stylistics of constructivism were redesigned in a new decorative design. The preferences of Stalin to the classical architecture began to play a much larger role than popular in the 1920s feasibility and "proletarian ascetic forms".

School in Moscow (1932-1936). Architect I. Zvezdin
In post-constructive buildings, some elements of the constructivist style are preserved: rectangular parapedet on the roofs (a low wall that protects the roof of the building); solid vertical glazing of stair cells; Accentuation of the corners of buildings solved in the form of vertical glass lanterns. But at the same time, the colonated arches arches are characteristic of the formation of architectural image (with rectangular or other shapes); Developed additional eaves with the top floor-atmosphere on them; Open bypass loggias with columns on the top floor; lackless columns of square section; The use of wall images in the Sgraftho technique and bright colors in combination with indispensable white.

Cinema "Star". Opened in 1937

Constructivism - Soviet avant-garde method (style, direction) in visual art, architecture, photographs and decorative and applied arts, developed in 1920 - NAC. 1930s.

It is characterized by rigor, geometrism, laconic forms and monolithium of appearance. In 1924, the official creative organization of constructivist workers was created, whose representatives developed the so-called functional design method based on the scientific analysis of the features of the functioning of buildings, structures, urban planning complexes. Characteristic monuments of constructivism - factory-kitchens, palaces of labor, work clubs, house-communes of the specified time.

It is a creative worldview, which is customized with constructivism within architectural style, manifested a little earlier than directly in architecture. Constructivism, as well as functionalism with rationalism, is customary to refer to the concept of "modern architecture".

At the specified period in the USSR, the literary movement of constructivists also existed.

The functional method is theoretical concept of mature constructivism (1926-1928), based on the scientific analysis of the characteristics of the functioning of buildings, structures, urban planning complexes. Thus, ideological and artistic and utilitarian-practical tasks were considered in aggregate. Each function corresponds to the most rational volume-planning structure (the form meets the functions). On this wave there is a struggle of constructivists against styling attitudes towards constructivism. In other words, OSA leaders fought against the transformation of constructivism from the method in style, into external imitation, without comprehending the essence. So, the architect G. Barkhin was subjected to the attacks, which created the famous house Izvestia.

During the same years, there is a passion for constructivists by the ideas of Le Corbusier: the author himself came to Russia, where he fruitfully communicated and collaborated with Osa leaders. In the OSA environment, a number of promising architects are put forward, such as the brothers of the votes, I. Relonidov, M. Barsh, V. Vladimirov.

Constructivists are actively involved in the design of industrial buildings, kitchen factories, cultural houses, clubs, residential buildings.

A special figure in the history of constructivism is considered the favorite student A. Vesnin - Ivan Leonidov, a leaving of the peasant family, which began his creative path from the student of the icon painter. It is largely utopian, fixed in the future, projects did not find applications in those difficult years. Sam Korbusye himself called Leonidov's "poet and the hope of Russian constructivism." Leonidov's work and now admire their lines - they are incredible, incomprehensible modern.

Constructivism in design and photos

Constructivism is a direction that, first of all, is associated with architecture, however, such a vision would be one-sided and even extremely wrong, because, before becoming an architectural method, constructivism existed in design, printing, artistic work. Constructivism in the photo is marked by the geometrization of the composition, shooting in dizzying angles with a strong reduction in volumes. Such experiments were engaged in, in particular, Alexander Rodchenko.

In the graphic types of creativity, constructivism was characterized by the use of photomontage instead of hand drawn illustrations, maximum geometrization, subordination of the composition of rectangular rhythms. The color gamma was stable: black, red, white, gray with the addition of blue and yellow. In the field of fashion, certain constructivist trends also existed - on the wave of global hobby, the straight lines in the design of clothing, the Soviet fashion designers of those years have been emphasized by geometrized forms.

Among the fashion designers, Varvara Stepanova, which since 1924, together with love, developed fabric drawings for the 1st Sitzenabile Factory in Moscow, was a professor of the Textile Faculty of Vhowemas, designed models of sports and casual wear.

The appearance of constructivism

"Production Art"

Constructivism is considered to be Russian (Soviet) phenomenon that arose after the October Revolution as one of the directions of the new, avant-garde, proletarian art, although, like any phenomenon in art, it is not limited to the framework of one country. Thus, the Architecture of this style in the architecture was another Eiffel Tower, combining elements both modern and constructivism. As V. V. Mayakovsky wrote in his essay about French painting: "For the first time, not from France, and from Russia, a new word of art flew away - constructivism ..."

How did this fundamentally new direction originate?

In the conditions of the incessant search for new forms, implied the oblivion of all the "old", innovators proclaimed the refusal of "art for the sake of art." From now on, art should have served ... production. Most of those who later joined the flow of constructivists were ideologists for the so-called "industrial art". They called on the artists "deliberately to create useful things" and dreamed of a new harmonious person using comfortable things and living in a well-maintained city.

So, one of the theorists of "production art" by B.Arvatov wrote that "... will not depict a beautiful body, but to bring up a real living harmonious person; Do not draw a forest, but grow parks and gardens; Do not decorate the walls with paintings, but paint these walls ... "

"Production Art" did not become more than a concept, however, the term constructivism was delivered by theorists of this direction (in their performances and brochures there were also the words "design", "constructive", "design").

In addition to the above directions for the formation of constructivism, futurism, suprematism, cubism, purism and other innovative flows of 1910s had a huge influence, but the "production art" with its direct appeal to the current Russian realities of the 1920s became a socially determined basis.

Birth of the term

The term "constructivism" was used by Soviet artists and architects back in 1920, but for the first time it was officially marked in 1922 in the book of Alexei Mikhailovich Ghana, which was called "constructivism." A. M. Ganom proclaimed that "... A group of constructivists puts its task a communist expression of material values \u200b\u200b... Tectonic, design and texture - mobilizing material elements of industrial culture." That is, explicitly emphasized that the culture of new Russia is industrial.

Constructivism under the ban

At that time, when constructivism, rationalism and other innovative trends were dominant, they were already opposed to persistent "conservatives". They defended their right to speak the language of traditional forms, taking the beginning in ancient Greece, Rome, in the masterpieces Palladio and Pirassi, shot and Bazhenova

The most famous among them are the Leningrad Master Ivan Fomin with his "Red Dorika" and the Moscow architect Ivan Zoltovsky, a fan of the Renaissance.

In the early 1930s, the political situation in the country has significantly changed, and, therefore, in art. Innovative flows were first subjected to sharp criticism, and then were completely banned as ... bourgeois. How correctly wrote the constructivist M.Ginzburg, each era corresponds to its art style.

The replacement of romantic-utopian, strict and revolutionary asceticism came the magnificent forms of totalitarian baroque and the arrogant redundancy of Stalin's neoclassicism. The next fact is that the next fact is - in the USSR, the fight against the "direct corners" was carried out, with "bourgeois formalism", with "Leonidovshchina", and the palaces in the taste of Louis XIV began to be considered quite proletarian.

Constructivists were in the opal. Those of them who did not want to "restructure" until the end of the days they pledged a pitiful existence (or even turned out to be repressed). However, Ilya votes, for example, managed to fit into the 1930s conjuncture and was able to create truly interesting buildings. The spring brothers also participated in the creative life of the USSR, but such an authority, as before, no longer had.

Constructivism is reborn

In the 1960s, when, just began to fight "architectural excesses", again remembered the developments of constructivists. The study of their heritage has become mandatory for young architects. And since the early 1990s, many unbound ideas of the 1920s became a reality. An example is the "Three Whale" shopping complex on Minsk Highway (performed in the spirit of the twenties), diverse on the performance of luxury housing in Moscow and other buildings of the modern metropolis.

At the beginning of the XXI century, constructivism returns back to architecture. Now he is called Scandinavian, as its roots lie in the country house-building of the Scandinavian countries. Scandinavian constructivism characterize the abundance of space and sunlight, functionality and simplicity, naturalness and naturalness. It has a given rhythm of lines and strict geometry. It is characterized by aesthetics of expediency, rationality of strictly utilitarian forms. To date, Scandinavian constructivism has taken place most widely in Russia, in St. Petersburg. The architectural concept of Scandinavian constructivism is considered the most organic for country houses near the northern capital. In St. Petersburg, the predominance of cloudy weather leads to a lack of sunlight. This problem is allowed due to the characteristic constructivism of large areas of glazing and volumetric rooms in homes. The rhythm of the lines and the underlined severity of the geometry give houses made in the style of Scandinavian constructivism, their unique appearance, and simplicity and naturalness to the use of natural materials, ensure the attractiveness of the architectural solution. Such houses organically fit into the countryside landscape and are close to the spirit of aristocratic Petersburgers.

Spring brothers and flowering constructivism

For the first time, architects, constructivists loudly declared themselves at the competition projects of the building of the Palace of Labor in Moscow. The spring project highlighted not only by the rationality of the plan and the correspondence of the appearance of the aesthetic ideals of modernity, but also meant the use of the latest building materials and structures. The next stage was a competitive project of the Leningrad Pravda newspaper building (Moscow branch). The task was extremely difficult - for construction, a tiny plot of land was intended - 6x6 m on passionate area. The spring created a miniature, slender six-story building, which included not only the office and editorial premises, but also a newspaper kiosk, lobby, reading room (one of the tasks of constructivists was to group the maximum amount of vital premises in a small area).

Since 1926, constructivists begin to produce their magazine - "Modern architecture" (or simply "CA)." I went out the magazine for five years. The design of the covers was engaged in Alexey Gan.

Leningrad constructivists:

Alexander Ivanovich Hegello;
Nicholademkov;
Evgeny Adolfovich Levinson;
Erich Mendelzon;
Alexander Sergeevich Nikolsky;
Yakov Georgievich Chernikhov;
Igor Georgievich Yavein.

direction

Constructivism is an avant-garde direction in visual arts, architecture, photographs and decorative and applied art, originated in the 1920s - the first half of the 1930s in the USSR. In some cases, constructivism is considered as a source and component of the international style.

It is characterized by rigor, geometrism, laconic forms and monolithium of appearance. In architecture, the principles of constructivism were formulated in theoretical speeches of A. A. Vesnin and M. Ya. Ginzburg, almost they were first embodied in the created brothers A. A., V. A. and L. A. Spring project of the palace of labor for Moscow (1923 ) With its clear, rational plan and detected in the appearance of the structural basis of the building (reinforced concrete frame). In 1926, the official creative organization of constructivists was created - the association of modern architects (OSA). This organization was a developer of the so-called functional method of design, based on the scientific analysis of the peculiarities of the functioning of buildings, structures, urban planning complexes. Characteristic monuments of constructivism - factory-kitchen, palaces of labor, work clubs, home-communes.

In relation to foreign art, the term "constructivism" is largely conditional: in the architecture, it denotes the flow within the functionalism, to emphasize the expression of modern structures, in painting and sculpture - one of the directions of avant-garde, who used some formal search for early constructivism (N. Gabo sculptors, and . Pevzner).

At the specified period in the USSR, the literary movement of constructivists also existed.

Constructivism is considered to be a Soviet phenomenon that arose after the October Revolution as one of the directions of the new, avant-garde, proletarian art, although, like any phenomenon in art, it cannot be limited by the framework of one country. Thus, the prostineer of this direction in architecture can be considered, for example, such structures as the Eiffel Tower, which used the principle of an open frame structure and demonstrated structural elements in external architectural forms. This principle of detection of structural elements has become one of the most important techniques of the architecture of the twentieth century and was based on both international style and constructivism.

As Vladimir Mayakovsky wrote in his essay about French painting: "For the first time, not from France, and from Russia, a new word of art flew away - constructivism ..."

In the conditions of the incessant search for new forms, which implied the oblivion of all the "old", innovators proclaimed the refusal of "art for the sake of art." From now on, art was supposed to serve as production, and production - the people.

Most of those who later joined the flow of constructivists were ideologists of utilitarianism or so-called "production art." They called on the artists "deliberately to create useful things" and dreamed of a new harmonious person using comfortable things and living in a well-maintained city.

So, one of the theorists of "industrial art" Boris Arvatov wrote that "... will not depict a beautiful body, but to bring up a real living harmonious person; Do not draw a forest, but grow parks and gardens; Do not decorate the walls with paintings, but paint these walls ... "

"Production Art" has become no more than a concept, but the term in itself constructivism was delivered by theorists of this direction (in their performances and brochures there were also the words "design", "constructive", "design").

In addition to the above directions, the formation of constructivism was enormous influenced futurism, suprematism, cubism, purism and other innovative flows of the 1910s in visual arts, however, "production art" with its direct appeal to the modern Russian realities of the 1920s became a socially determined basis. (The epoch of the first five years).

The term "constructivism" was used by Soviet artists and architects in 1920: Alexander Rodchenko and Vladimir Tatlin - author of the Tower III project were called constructivists. For the first time, constructivism is officially designated in the same 1922 in the book of Alexei Mikhailovich Ghana, which was called - "constructivism".

A. M. Ganom proclaimed that "... A group of constructivists puts its task a communist expression of material values \u200b\u200b... Tectonic, design and texture - mobilizing material elements of industrial culture."

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