The Constructist Movement Lasted from 1919 to 1934. This Time Period Was Transformed by Technology
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UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ideologies of Pure Abstraction Permalink https://escholarship.org/uc/item/0m64w57q Author Kim, Amy Chun Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. -
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 -
Soviet Diy: Samizdat & Hand-Made Books
www.bookvica.com SOVIET DIY: SAMIZDAT & HAND-MADE BOOKS. RECENT ACQUSITIONS 2017 F O R E W O R D Dear friends, Please welcome our latest venture - the October catalogue of 2017. We are always in search for interesting cultural topics to shine the light on, and this time we decided to put together a collection of books made by amateurs and readers to spread the texts that they believed should have been distributed. Soviet State put a great pressure on its citizens, censoring the unwanted content and blocking the books that mattered to people. But in the meantime the process of alternative distribution of the texts was going on. We gathered some of samizdat books, manuscripts, hand-made books to show what was created by ordinary people. Sex manuals, rock’n’roll encyclopedias, cocktail guides, banned literature and unpublished stories by children - all that was hard to find in a Soviet bookshop and hence it makes an interesting reading. Along with this selection you can review our latest acquisitions: we continue to explore the world of pre-WWII architecture with a selection of books containing important theory, unfinished projects and analysis of classic buildings of its time like Lenin’s mausoleum. Two other categories are dedicated to art exhibitions catalogues and books on cinema in 1920s. We are adding one more experimental section this time: the books in the languages of national minorities of USSR. In 1930s the language reforms were going on across the union and as a result some books were created, sometimes in scripts that today no-one is able to read, because they existed only for a short period of time. -
Constructivism (Art) 1 Constructivism (Art)
Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune. -
CLUB of the NEW SOCIAL TYPE Yixin Zhou Arch 646: History And
SOCIALISM AND REPRESENTATIONAL UTOPIA: CLUB OF THE NEW SOCIAL TYPE Yixin Zhou Arch 646: History and Theory of Architecture III Research Paper Dec. 14, 2016 Zhou !2 Abstract This paper studies the “Club of the New Social Type” by Ivan Leonidov in 1928, a research study project for a prototype of workers’ club. As a project in the early stage of Leonidov’s career, it embodies various sources of influences upon the architect from Suprematism to Constructivism. The extremity in the abstraction of forms, specific consideration of programs and the social ambition of Soviet avant-garde present themselves in three different dimensions. Therefore, the paper aims to analyze the relationships of the three aspects to investigate the motivation and thinking in the process of translating a brief into a project. Through the close reading of the drawings against the historical context, the paper characterizes the project as socialism and representational utopia. The first part of the paper would discuss the socialist aspect of the “Club of the New Social Type”. I will argue that the project demonstrates Leonidov’s interest in collective rather than individual not only spatially, but also in term of mass behavior and program concern. In the second part, the arguments will be organized on the representation technique in the drawings which renders the project in a utopian aesthetic. It reveals the ambition that the club would function as a prototype for the society and be adopted universally. Throughout the paper, the project would be constantly situated in the genealogy of architectural history for a comparison of ideas. -
Moisei Ginzburg Wikipedia, the Free Encyclopedia Moisei Ginzburg from Wikipedia, the Free Encyclopedia
7/9/2015 Moisei Ginzburg Wikipedia, the free encyclopedia Moisei Ginzburg From Wikipedia, the free encyclopedia Moisei Yakovlevich Ginzburg (Russian: Моисей Яковлевич Гинзбург) (June 4 [O.S. May 23] 1892, Moisei Yakovlevich Ginzburg Minsk – January 7, 1946, Moscow) was a Soviet constructivist architect, best known for his 1929 Narkomfin Building in Moscow. Contents 1 Biography 1.1 Education Moisei Ginzburg in 1920 1.2 Ideologist of Constructivism 1.3 Communal Houses Born 23 May 1892 1.4 Career in 1930s Minsk 2 Legacy Died 7 January 1946 (aged 53) 3 See also 4 Sources Moscow 5 External links Nationality Soviet Occupation Architect Biography Buildings Narkomfin Building, 1929 Education Ginzburg was born in Minsk in a Jewish real estate developer's family. He graduated from Milano Academy (1914) and Riga Polytechnical Institute (1917). During Russian Civil War he lived in the Crimea, relocating to Moscow in 1921. There, he joined the faculty of VKhUTEMAS and the Institute of Civil Engineers (which eventually merged with Moscow State Technical University). Ideologist of Constructivism The founder of the OSA Group (Organisation of Contemporary Architects), which had links with Vladimir Mayakovsky and Osip Brik's LEF Group, he published the book Style and Epoch in 1924, an influential work of architectural theory with similarities to Le Corbusier's Vers une architecture. It was effectively the manifesto of Constructivist Architecture, a style which combined an interest in advanced technology and engineering with socialist ideals. The OSA experimented with forms of Communal apartments to provide for the new Communist way of life. Its magazine SA (Sovremennaya Arkhitektura, or Contemporary Architecture) featured discussions of city planning and communal living, as well as the futuristic projects of Ivan Leonidov. -
Ivan I. Leonidov – Russian Constructivist Architect
Ivan I. Leonidov – Russian Constructivist Architect March 19, 2010 until April 30, 2010 Curators: Prof. Maurizio Meriggi (Polytechnico di Milano), Dr. Otakar Máčel (TU Delft), Dietrich W. Schmidt (IAG Stuttgart), Jurij Paul Volchok (MARKhI – Moscow Institute of Architecture) Preparation for Vienna: Adolph Stiller and Maurizio Meriggi Exhibition venue: Exhibition Centre in the Ringturm VIENNA INSURANCE GROUP A-1010 Vienna, Schottenring 30 Opening hours: Monday to Friday: 9.00 am to 6.00 pm, free admission (closed on public holidays and Good Friday) Press tour: Thursday, March 18, 2010, 10.00 am Speakers: Dr. Otakar Máčel Prof. Maurizio Meriggi Prof. Adolph Stiller Jurij Paul Volchok Official opening: Thursday, March 18, 2010, 6.30 pm (by invitation only!) Enquiries to: Svetlana Paunovic T: +43 (0)50 350-21252 F: +43 (0)50 350 99-21252 E-Mail: [email protected] The opening of the exhibition “100 Years of Leonidov” has led to increased interest in Ivan Leonidov and his life’s work, considered to be amongst the most advanced in the field of Russian constructivist architecture. The current exhibition in the series entitled “Architektur im Ringturm” is based primarily on the research project carried out by four universities (Moscow, Milan, Stuttgart and Delft) and entitled “A possible city. The architecture of Ivan Leonidov 1926 - 1934”. Following the Triennial in Milan (2007), the results of this project are now being presented in the form of numerous carefully prepared reconstruction models, plans, photos and elaborately produced computer reconstructions and video compilations, in the exhibition centre in the “Ringturm”, headquarters of the Vienna Insurance Group. -
Biculturalism
BICULTURALISM IN ARCHITECTURAL PRACTICE Pushing the boundaries of architecture in contemporary Russian and European practice and the reinvention of the private house in post-Soviet Russia Tanya Kalinina Doctor of Philosophy RMIT 2014 1 BICULTURALISM IN ARCHITECTURAL PRACTICE Pushing the boundaries of architecture in contemporary Russian and European practice and the reinvention of the private house in post-Soviet Russia Tanya Kalinina A Dissertation submitted in fulfi lment of the requirements for the degree of Doctor of Philosophy School of Architecture & Design RMIT University August 2014 Acknowledgements I would like to thank James McAdam who for over 20 years has been a dedicated partner in life and in work, and has shared with me the experience of our practice together since our meeting in 1990. Th ese thanks extend to this research in which James played a part as co-author of the works and on the common elements of this dissertation. I express gratitude to all those who have been involved with the practice, past and present, who have contributed to the architecture and resultant body of works. Particular thanks go to my children, Polina and Misha, for their patience during this concentrated process of research, and to my parents, Valery and Irina, who have always given full moral support to such endeavours. Finally I would express thanks to my doctoral supervisor, Professor Leon van Schaik, who encouraged this process and was a source of great insight. Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the offi cial commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. -
Table of Contents
Table of Contents • Abbreviations & General Notes 2 - 3 • Photographs: Flat Box Index 4 • Flat Box 1- 43 5 - 61 Description of Content • Lever Arch Files Index 62 • Lever Arch File 1- 16 63 - 100 Description of Content • Slide Box 1- 7 101 - 117 Description of Content • Photographs in Index Box 1 - 6 118 - 122 • Index Box Description of Content • Framed Photographs 123 - 124 Description of Content • Other 125 Description of Content • Publications and Articles Box 126 Description of Content Second Accession – June 2008 (additional Catherine Cooke visual material found in UL) • Flat Box 44-56 129-136 Description of Content • Postcard Box 1-6 137-156 Description of Content • Unboxed Items 158 Description of Material Abbreviations & General Notes, 2 Abbreviations & General Notes People MG = MOISEI GINZBURG NAM = MILIUTIN AMR = RODCHENKO FS = FEDOR SHEKHTEL’ AVS = SHCHUSEV VNS = SEMIONOV VET = TATLIN GWC = Gillian Wise CIOBOTARU PE= Peter EISENMANN WW= WALCOT Publications • CA- Современная Архитектура, Sovremennaia Arkhitektura • Kom.Delo – Коммунальное Дело, Kommunal’noe Delo • Tekh. Stroi. Prom- Техника Строительство и Промышленность, Tekhnika Stroitel’stvo i Promyshlennost’ • KomKh- Коммунальное Хозяство, Kommunal’noe Khoziastvo • VKKh- • StrP- Строительная Промышленность, Stroitel’naia Promyshlennost’ • StrM- Строительство Москвы, Stroitel’stvo Moskvy • AJ- The Architect’s Journal • СоРеГор- За Социалистическую Реконструкцию Городов, SoReGor • PSG- Планировка и строительство городов • BD- Building Design • Khan-Mag book- Khan-Magomedov’s -
1 Title Page
Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. In the first chapter, I provide a conceptual overview of the terms used by abstract artists and their contemporaries, as well as provide a historicization of the meaning of pure abstraction in terms of the relationship of modernism to its own eighteenth century beginnings and antiquity. -
The Soviet Heritage and European Modernism Советское Наследие И Eвропейский Модернизм
The Soviet Heritage and European Modernism Советское наследие и Eвропейский модернизм INTERNAT I O N A L C O U N ci L O N M O N U M E N T S A N D Si TES CONSE I L I N T E R N AT I ONAL DES MONU M ENTS ET DES Si TES CONSEJO INTERNA ci ONAL DE MONU M E N T O S Y Si T I OS мЕждународный совЕт по вопросам памятников и достопримЕчатЕльных мЕст THE SOVIET HERITAGE AND EUROPEAN MODERNISM СОВЕТСКОЕ НАСЛЕДИЕ И ЕВРОПЕЙСКИЙ МОДЕРНИЗМ HERITAGE AT RISK Special 2006 НАСЛЕДИЕ В ОПАСНОСТИ – специальный выпуск 2006 Edited by: Jörg Haspel, Michael Petzet, Anke Zalivako and John Ziesemer hendrik Bäßler verlag · berlin 2007 Heritage at Risk Special Edition edited by ICOMOS ICOMOS – International Council on Monuments and Sites PRESIDENT: Michael Petzet SECRETARY GENERAL: Dinu Bumbaru TREASURER GENERAL: Giora Solar VICE PRESIDENTS: Gustavo Araoz, Kristal Buckley, Tamas Fejerdy, Carlos Pernaut, Guo Zhan OFFICE: International Secretariat of ICOMOS 49–51 rue de la Fédération, 75015 Paris – France This publication is based on the “Berlin-Moscow Preservation Dialog, 2004–2005” and on lectures of the international conference “HERITAGE AT RISK. PRESERVATION OF 20th CENTURY ARCHITECTURE AND WORLD HERITAGE.” Moscow, 17–20 April 2006. organized by: Moscow Government, ICOMOS International, DO.CO.MO.MO. International, World Monuments Fund, International Union of Architects, Russian National Comission for UNESCO, Russian Academy for Architecture and Building Sciences, Federal Agency for Culture and Cinematography, Moscow Committee for the Preservation of Cultural Heritage, Moscow Committee on Architecture and Town- planning, Union of Architects of Russia, Moscow Union of Architects, Moscow Architectural institute, Museum of the History of Moscow Architectural School, A.V. -
Avant-Garde Between East and West
AVANT-GARDE BETWEEN EAST AND WEST MODERN ARCHITECTURE AND TOWN-PLANNING IN THE URALS 1920-30S TATYANA BUDANTSEVA AVANT-GARDE BETWEEN EAST AND WEST MODERN ARCHITECTURE AND TOWN-PLANNING IN THE URALS 1920-30S Proefschrift ter verkrijging van de graad van doctor aan de Technische Universiteit Delft, op gezag van de Rector Magnifi cus prof. dr. ir. J.T. Fokkema, voorzitter van het College voor Promoties, in het openbaar te verdedigen op maandag 17 december 2007 om 12.30 uur door Tatyana Yevgenyevna BUDANTSEVA architect (Rusland) geboren te Sverdlovsk, Oeral, Rusland Dit proefschrift is goedgekeurd door de promotor: Prof. dr. F. Bollerey Toegevoegde promotor: Dr. O. Máčel Samenstelling promotiecommissie: Rector Magnifi cus, voorzitter Prof. dr. F. Bollerey, Technische Universiteit Delft, promotor Dr. O. Máčel, Technische Universiteit Delft, toegevoegde promotor Prof. dr. M.C. Kuipers, Universiteit Maastricht Prof. dr. V.J. Meyer, Technische Universiteit Delft Prof. dr.-ing. B. Kreis, Georg-Simon-Ohm-Fachhochschule Nürnberg, Duitsland Prof. dr. M. Shtiglits, Staats Universiteit voor Architectuur en Bouwkunst, Sankt-Petersburg, Rusland Dr. A. Jäggi, Bauhaus-Archiv Vertaling naar het Engels: Tatyana Budantseva Valentina Grigorieva Dorothy Adams Ontwerp: Tatyana Budantseva © Tatyana Budantseva © Zjoek Publishers ISBN 978-90-812102-2-5 CONTENTS ACKNOWLEDGMENTS 9 INTRODUCTION 11 Description of plan, structure and method 14 Selection of the cities 15 Defi nition of the term “constructivism” 15 LITERATURE REVIEW 17 General information on the Modernism