Monitoring Moscow's Avant-Garde Architecture
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Garage Museum of Contemporary Art Presents: Ugo Rondinone Your Age and My Age and the Age of the Rainbow Garage Square Commissions
GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: UGO RONDINONE YOUR AGE AND MY AGE AND THE AGE OF THE RAINBOW GARAGE SQUARE COMMISSIONS March 10–May 21, 2017 Garage Museum of Contemporary Art presents a new work by Ugo Rondinone (b. 1964 in Brunnen, Switzerland, lives in New York), specifically created for Garage Square Commissions. The artist’s first project in Russia will consist of two interconnected pieces: an installation in front of the Museum, and an object on its rooftop. In Garage Square, visitors will find a one- hundred-meter-long fence supporting thousands of images of rainbows painted on wood panels by kids with various disabilities from all over the country. Garage Rooftop will also be host to a ten- meter long rainbow that spells out OUR MAGIC HOUR. This message celebrates the inauguration of the first Triennial of Russian Contemporary Art, which is taking place simultaneously inside the Museum. Having emerged in Rondinone's work in 1997, first as a sculpture for a public space, the rainbow has since become one of his most recognizable images, a convergence of visual and poetic energies—according to the artist, each rainbow represents a complete work of poetry. When Rondinone made site visits to Moscow, he determined that public engagement would be one of the key aspects of the new work, as well as wanting to produce something that was responsive to the context of Garage. Acknowledging the Museum’s interest in developing country wide networks, he asked that his project should be far-reaching. Assisted by Garage’s Inclusive Program department, the artist engaged 1,500 children, including deaf and hard of hearing kids, as well as children in wheelchairs and with developmental disabilities, in nine cities across Russia: Moscow, St. -
Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde
87T" ACSA ANNUAL MEETING 125 Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde ELIZABETH C. ENGLISH University of Pennsylvania THE CONTEXT OF THE DEBATES BETWEEN Gogol and Nikolai Nadezhdin looked for ways for architecture to THE WESTERNIZERS AND THE SLAVOPHILES achieve unity out of diverse elements, such that it expressed the character of the nation and the spirit of its people (nnrodnost'). In the teaching of Modernism in architecture schools in the West, the Theories of art became inseparably linked to the hotly-debated historical canon has tended to ignore the influence ofprerevolutionary socio-political issues of nationalism, ethnicity and class in Russia. Russian culture on Soviet avant-garde architecture in favor of a "The history of any nation's architecture is tied in the closest manner heroic-reductionist perspective which attributes Russian theories to to the history of their own philosophy," wrote Mikhail Bykovskii, the reworking of western European precedents. In their written and Nikolai Dmitriev propounded Russia's equivalent of Laugier's manifestos, didn't the avantgarde artists and architects acknowledge primitive hut theory based on the izba, the Russian peasant's log hut. the influence of Italian Futurism and French Cubism? Imbued with Such writers as Apollinari Krasovskii, Pave1 Salmanovich and "revolutionary" fervor, hadn't they publicly rejected both the bour- Nikolai Sultanov called for "the transformation. of the useful into geois values of their predecessors and their own bourgeois pasts? the beautiful" in ways which could serve as a vehicle for social Until recently, such writings have beenacceptedlargelyat face value progress as well as satisfy a society's "spiritual requirements".' by Western architectural historians and theorists. -
Open Terrace on the Second Floor, and a Garden and B Solarium Atop the Roof
Utopian Dreams Moisei Ginzburg’s Narkomfin Dom Kommuna ehind the Narkomfin Dom Kommuna’s austere bands of double-height windows unfolds a six-story blueprint for communal living that is as ingenious as it is humane. Built between 1928 and 1930 by a team of architects and engineers led by Moisei Ginzburg, a member of the post-revolutionary Union of Contemporary Architects, the building, erected to house employees of the Ministry of Finance, consists not only of private quarters with built-in furniture but communal facilities—an open terrace on the second floor, and a garden and Bsolarium atop the roof. A four-story annex housed a fitness center, kitchen, public restaurant, library, recreation room, and a nursery. Close by, a two story provided laundry and repair services. These facilities made the building a successful house-commune intended to dissolve social barriers though the division of household chores between inhabitants while preserving privacy. With its innovative ap- proach to living, the structure was seen as an important step in the transformation of Soviet society for revolutionary housing types that were to be adopted by the entire Russian Republic. A Constructivist masterpiece, the Narkomfin building realized an important goal of European Mod- ernist architecture, that of achieving the most minimal and rational support of modern life, the existenz minimum, and in the process fomenting social reform through architecture. Nowhere is this more evi- dent than in the building’s F-units with their innovative Frankfurt style kitchens, which influenced Le Corbusier’s design for his iconic Unite d’Habitation in Marseilles. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Utopian Reality Russian History and Culture
Utopian Reality Russian History and Culture Editors-in-Chief Jeffrey P. Brooks The Johns Hopkins University Christina Lodder University of Kent VOLUME 14 The titles published in this series are listed at brill.com/rhc Utopian Reality Reconstructing Culture in Revolutionary Russia and Beyond Edited by Christina Lodder Maria Kokkori and Maria Mileeva LEIDEn • BOSTON 2013 Cover illustration: Staircase in the residential building for members of the Cheka (the Secret Police), Sverdlovsk (now Ekaterinburg), 1929–1936, designed by Ivan Antonov, Veniamin Sokolov and Arsenii Tumbasov. Photograph Richard Pare. © Richard Pare. Library of Congress Cataloging-in-Publication Data Utopian reality : reconstructing culture in revolutionary Russia and beyond / edited by Christina Lodder, Maria Kokkori and Maria Mileeva. pages cm. — (Russian history and culture, ISSN 1877-7791; volume 14) Includes bibliographical references and index. ISBN 978-90-04-26320-8 (hardback : acid-free paper)—ISBN 978-90-04-26322-2 (e-book) 1. Soviet Union—Intellectual life—1917–1970. 2. Utopias—Soviet Union—History. 3. Utopias in literature. 4. Utopias in art. 5. Arts, Soviet—History. 6. Avant-garde (Aesthetics)—Soviet Union—History. 7. Cultural pluralism—Soviet Union—History. 8. Visual communication— Soviet Union—History. 9. Politics and culture—Soviet Union—History 10. Soviet Union— Politics and government—1917–1936. I. Lodder, Christina, 1948– II. Kokkori, Maria. III. Mileeva, Maria. DK266.4.U86 2013 947.084–dc23 2013034913 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. -
Modernist Frontiers
PRESS RELEASE Modernist Frontiers – Then and now Avantgarde Kommunikation mbH is pleased to announce that its EXPO 2017 cooperation partner Garage will host the international architectural conference at EXPO 2017 | 22 – 23 July (Munich/Astana, 19 July 2017) On the occasion of the EXPO 2017 in Kazakhstan, this weekend the two- day international conference will take place at the Astana Contemporary Art Center. Initiated by Garage, the conference has been called to provide a context for discussion on Almaty’s modernist architecture (1960s–1980s), presenting it to the international expert community and launching a conservation campaign for this extremely important part of the former Kazakh capital’s architectural history. The Garage Museum of Contemporary Art, Moscow and the Parisian museum Réunion des musées nationaux – Grand Palais are cooperation partners of the international creative agency Avantgarde, which was commissioned with execution and overall coordination for the Astana Contemporary Art Center (ACAC). In an effort to bring together different points of view and create an interdisciplinary environment for the study of modernist architecture in Almaty, researchers from a range of countries and different academic communities will speak at the conference. It will present various views on both the history of postwar modernist architecture and on contemporary problems in the restoration of such architecture and its adaptation to new functions. The program The first day of the conference, “The Regional Specifics of Soviet Modernism,” will set the historical and theoretical context for the discussion of Soviet architectural heritage in the former republics of the USSR. The first session will contrast shared aspects of Soviet heritage with regionally unique traits in the architecture of the former Soviet republics. -
How to Preserve an Experiment? Soviet Avant-Gardearchitecture 1917-1933;
GRADUATE SCHOOL OF ARCHITECTURE, PLANNING AND PRESERVATION Fall semester 2014 How to Preserve an Experiment? Soviet Avant-GardeArchitecture 1917-1933; Prof. Xenia Vytuleva Email: [email protected] Fridays, 9.00am - 11.00 am 300 SBuell Hall Office hours by appointment only Description This graduate seminar considers the phenomenon of the Soviet Architectural Avant- Garde as part of a broader cultural history. The response of artistic thought to the machine, as well as the intersection of political and social propaganda, literature, art and cinematography will be examined. Special attention will be paid to the legacy of the experimental practices, such as paper architecture, oral history, temporary projects for International Exhibitions, law, geography, material and visual culture, cultural anthropology, stage design,and the projects for National Competitions. It is a cross- disciplinary class: focused on Avant-garde artistic discourse with the emphasis onhow to preserve architecture as politically and ideologically charged media.It creates a "manifesto map" of conceptual categories: negative histories and conflict zones, re- performance, propaganda and palimpsest, the politics of camouflage and concealment, reassembling identities and performing utopia. In addition to classroom lectures and discussion, students will engage with current exhibitions, archival materials, films, primary documents and objects at The Museum of Modern Art (MoMa),as well as at the Rare Book Collection, Columbia University. 1 Course Format: Weekly lectures provide the framework of the course. The Powerpoint for each lecture will be made available on Blackboard. A portion of some class will be devoted to discussion of the power of preservation as political science and rethinking the current stage of a discipline. -
World Monuments Watch World
the preservation quarterly of the world monuments fund world monuments fund SUMMER 2005 the preservation quarterly of the world monuments fund $4.95 special issue World Monuments Watch 100 Most EndangeredEndangered SitesSites 20062006 success story: MOSTAR, BOSNIA AND HERZEGOVINA Past Successes, Future Challenges 100 Most Endangered Sites 2006 by Michelle L. Berenfeld ith each new list of 100 Most Endangered, the World Monuments Fund is presented with, and in turn presents to the world, a unique snapshot of the history of humanity as it is manifest in the architectural legacy that has come down to us. At first glance, this picture may appear to be a random sampling of interesting buildings and site types, yet as we Wlearn more each place on the list, we find common denominators in terms of nature of the sites and the threats they face that will enhance our ability to preserve these cultural relics and others like them. conflict Many sites on the list are located in areas currently in the midst of or emerging from conflict. Beyond damage incurred as a direct consequence of warfare, many of these sites face threats such as looting and vandalism that arise in the aftermath of war or as a result of a lawless environment in the absence of any governing authority. Yet, monuments in war-torn areas can be potent reminders of our long and shared history and of a future beyond conflict. That such sites are a key part of who we are is un- 12 summer 2005 conflict WAR AND ETHNIC INTOLERANCE HAD TAKEN TheIR TOLL ON The OTTO- MAN CITY OF MOSTAR, LEFT, BY The TIme IT FIRST CAme ONTO The WATCH LIST IN 2000, TODAY, The CITY IS WITNessING RebIRTH AS A CENTER OF CULTURAL DIVERSITY. -
Applications of the Golden Mean to Architecture
Meandering Through Mathematics, 21 February 2012. Reprinted by Laa — Laboratoire Analyse Architecture, Université Catholique de Louvain, Belgium, 12 December 2012 APPLICATIONS OF THE GOLDEN MEAN TO ARCHITECTURE Nikos A. Salingaros, The University of Texas at San Antonio. Abstract: The Golden Mean, an irrational number related to the Fibonacci sequence, arises in the study of biological growth and hierarchical systems. Quite distinct from natural structures that exhibit such growth patterns, artists and architects have long made extraordinary assertions about a preference for rectangles having aspect ratio 1.618:1 approximating the Golden Mean. Such claims are false and are chiefly due to failing to measure things accurately. These embarrassing errors are perpetuated by a kind of cult mysticism. The Golden Mean does apply to architectural composition in the context of scaling hierarchy that organizes complexity; this design methodology is unrelated however to a rectangle’s aspect ratio. Simply considering rectangular aspect ratios does not guarantee good design. 1. Introduction. The architectural literature frequently mentions an irrational number called the Golden Mean. It is common to claim that the Golden Mean has influenced the shape of countless important buildings throughout history, and that it is somehow responsible for any “balance” and “harmony” that they possess. Supposedly, a rectangle with aspect ratio satisfying the Golden Mean has special, almost magical, properties. Even though there are numerous instances of the Golden Mean arising in natural systems (in growth patterns, not in rectangles), it is problematic to find unambiguous examples of Golden Mean rectangles in man-made structures (Livio, 2003). This is surprising, considering the vigorous claims made by so many authors convinced otherwise. -
8Npvysfq 10Stories-Mov-En.Pdf
Title 10 STORIES OF COLLECTIVE HOUSING Subtitle A graphical analysis of inspiring masterpieces by a+t research group ISBN 978-84-616-4136-9 Authors a+t research group: Aurora Fernández Per Javier Mozas Alex S. Ollero Layout and production: Aurora Fernández Per Alex S. Ollero Delia Argote Coordination: Idoia Esteban Communication and Press: Patricia García Editor English language version: Ken Mortimer Printing: Gráficas Dosbi SL VI 366-2013 Vitoria-Gasteiz, 2013 Published by: a+t architecture publishers General Álava 15, 2ºA. E-01005. Vitoria-Gasteiz. Spain www.aplust.net © Edition: a+t architecture publishers © Texts and drawings: a+t research group © Photos: their authors No part of this publication, including the cover, may be reproduced or transmitted without the express authorization in writing of the publisher. CONTENTS TIMELINE 08 01 THE STREET IN THE AIR JUSTUS VAN EFFEN COMPLEX. Michiel Brinkman. Rotterdam,1919-1922 12 02 THE SINKING OF THE SOCIAL CONDENSER NARKOMFIN DOM-KOMMUNA. Moisei Ginzburg, Ignaty Milinis. Moscow,1928-1930-1932 66 03 CHEAPER, FASTER, LIGHTER AND TALLER CITÉ DE LA MUETTE. Beaudouin, Lods, Mopin, Bodiansky. Paris, 1931-1934 116 04 THE ELEGANCE OF THE DISSIDENT HOUSING FOR BORSALINO EMPLOYEES. Ignazio Gardella. Alessandria,1948-1952 150 05 THE PROJECT AS SCRIPT MULTI-PURPOSE COMPLEX IN CORSO ITALIA. Luigi Moretti. Milan,1949-1956 176 06 AN EXQUISITE GHETTO BARBICAN. Peter Chamberlin, Geoffry Powell, Christof Bon, Arup. London, 1956-1976 216 07 CRISTAL LIQUIDE RÉSIDENCE DU POINT DU JOUR. Fernand Pouillon. Paris,1957-1963 278 08 SLOW CITY HILLSIDE TERRACE. Fumihiko Maki. Tokyo, 1967-1998 322 09 BUILDING MOODS BYKER REGENERATION. -
Vanguard Avant-Garde
The images reproduced here accord with fair use. Please acknowledge credits. 1 © Susan Buck-Morss, 2006. Vanguard/Avant-garde* It is not my intent to produce yet another narrative of how Lenin and the party victimized the avant-garde. Rather, it is to argue that conceptions of temporality have political implications,1 and that blindness to this fact contributed to the historical failure of the artistic avant-garde and the political vanguard alike.2 It is difficult to see this situation clearly, because the historical actors themselves did not. The terms "avant- garde" and "vanguard," which I am defining against each other, were not held apart with any rigor in the early twentieth century.3 In Russia at the time of the Revolution they seem to have been used interchangeably, or just as often not used at all.4 It was only in the 1960s that Western art historians constructed retroactively an international narrative • * Based on material from Susan Buck-Morss, Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West. (Cambridge: MIT Press, 2000). 1. I am indebted to Peter Osborne's Politics of Time for this argument. 2. Recent scholarship argues that the artists, not the political leaders, most vociferously called for a cessation of cultural autonomy and a unity of cultural line. Charlotte Douglas goes quite far in exonerating everyone but the artists themselves: "Until the mid-1920s, the Party resisted the insistent demand from literary and art groups to endorse a genuine official style. In a decree of June 1925, however, it finally capitulated, supporting the goal of a culture that was specifically proletarian" ("Terms of Transition," Great Utopia, p. -
198 Vedecká Štúdia Scientific Study MOISEI GINZBURG
MOISEI GINZBURG: NARKOMFIN BUILDING, 1929 MOISEI GINZBURG: OBYTNÁ BUDOVA NARKOMFIN, 1929 Source Zdroj: KUBENSKYJ, Eduard, 2010. Репринт журнала “Современная архитектура”. [The reprint of the journal “Contemporary Architecture”] Moskow, Ekaterinburg: Tatlin Publishers 198 VEDECKÁ šTÚDIA SCIENTIFIC STUDY The Critical Potential of “Total Installations” – The Logic of Ilya Kabakov Kritický potenciál „totálnych inštalácií“ – logika Ilyu Kabakova Ana Nikezić, Marija Zečević Príspevok predstavuje umeleckú formu nazývanú totálna inšta- spoločenskej reality nastavenej proti individualizácii jednotlivcov lácia, pričom sa zameriava na jej spoločensko-politické, ako aj a ich súkromných životov. Komunálny byt je podľa umelca nielen estetické východiská. Sústreďuje sa pritom primárne na analýzu sociálnou katastrofou, ale aj bežným stavom zjednocujúcim a výklad inštalácie Desať postáv autora Ilyu Kabakova, považova- ruského kolektívneho ducha (pozn. 15). Kabakov týmto spôso- nej za kľúčové dielo pre interpretovanie sovietskych naratívov bom poukazuje na formy horizotnálneho dohľadu, ktoré fungujú ako aj pre interpretovanie totálnych inštalácií ako esenciálne nielen v komunálnom byte, ale aj v sovietskej spoločnosti ako sovietskeho fenoménu vychádzajúceho z pochopenia posocialis- celku. Sovietsky štát si nárokoval intímny vzťah s každou jednou tického kontextu. Prostredníctvom analytických metód skúma osobou, pričom sa pomer medzi intimitou a mocou stával čoraz socialistické systémové mechanizmy a ich vplyv na podobu zjavnejším. Jednotlivec, vedomý si