DOCSLIB.ORG

Zespół Placu Swobody W Charkowie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zespół Placu Swobody W Charkowie 6 Zespół Placu Swobody w Charkowie - chrestomatia1 strategii zachowania autentyczności architektury awangardy Complex of Svobody (Freedom) Square in Kharkiv – a Collection of Strategies for Preserving the Authenticity of Avant-Guard Architecture Aleksander Buriak, Maria Rusanowa Narodowy Uniwersytet Budownictwa i Architektury w Charkowie, Ukraina Kharkiv National University of Civil Engineering and Architecture, Ukraine Centrum rządowe na Placu Swobody1 (dawny supernowoczesnych budowli, unikatowych nie tylko Plac Dzierżyńskiego) w Charkowie, όwczesnej stoli- ze względu na ich rozmiar, ale rόwnież ze względu na cy Ukrainy, zostało w większości ukończone w latach ich walory artystyczne. 30. XX wieku. W tym czasie był to wyjątkowy, naj- Te obiekty i sam plac przetrwały zniszczenia wo- większy na świecie całościowy kompleks architekto- jenne (Charkόw w latach II wojny światowej stracił niczny wczesnego modernizmu. Obejmował on cztery ponad 60 procent zabudowy), renowację po wojnie gigantyczne budynki: Dom Przemysłu Państwowe- i szereg przebudów w kolejnych latach. Dziś ten inte- go (Gosprom, 1931), Dom Projektów (1932), Dom resujący kompleks jest złożonym rebusem pod wzglę- Spółdzielczości (projekt 1929) oraz Centralny Komi- dem możliwych strategii jego ochrony i dalszego wy- tet Partii (1932). Ponadto na placu wzniesiono hotel korzystania. „Internacjonal” (1936), największy w tym czasie na Ukrainie2. Wskutek szczęśliwego zbiegu historycznych Dom Przemysłu Państwowego – Gosprom okoliczności miasto znalazło się w posiadaniu zespołu W zespole architektonicznym placu Swobody je- dynym gmachem, który prawie całkowicie zachował 1. Chrestomatia to według Słownika języka polskiego PWN w dawnej pol- szczyźnie «wypisy, wybór wyjątków z dzieł różnych autorów” [przyp. red. swój pierwotny wygląd, jest Gosprom, po ukraińsku MJS]. Derżprom (il. 1), arcydzieło petersburskiego architek- 2. Khan-Magomedov S.O., Arkhitektura sovetskogo avangarda / Architec- ta Sergeja Serafimova i jego współautorów Samuiła ture of the Soviet avant-garde vol.2, Sotsial’nyye problemy / Social prob- lems, Moscow: Stroiizdat, 2001, s. 712. Krawca i Marka Felgera. Gosprom jest największym 1. Charków, Izba Przemysłu Państwowego (Gosprom),Plac Wolności, arch. Serafimov S., Kravets S., Felger M., 1926-28 (źródło: Kharkiv buduye. Fotoal’bom / Kharkiv is building. Photo album, Red. PP Khitrov, Charków: Wydawnictwo Rady Miejskiej Charkowa, 1931, s. 113) 1. Kharkiv, The House of State Industry (Gosprom), Sq. Svobody, arch. Serafimov S., Kravets S., Felger M., 1926-28 (source: Kharkiv buduye. Fotoal’bom / Kharkiv is building. Photo album, ed. P. P. Khitrov, Kharkiv: Publication of Kharkiv City Council, 1931, p. 113) 87 2. Charków, Dom Projektów, Plac Wolności 4, arch. Serafimov S., Zandberg-Serafimova M., 1931-32 (zdjęcie z lat 30.XX wieku, źródło: archiwum A. Buryaka) 2. Kharkiv, The House of Projects, Sq. Svobody 4, arch. Serafimov S., Zandberg-Serafimova M., 1931-32 (photo of the 1930s, private archive of A. Buryak) pod względem kubatury na świecie zabytkiem mię- i 70., został ukryty pod warstwami szorstkiego natry- dzywojennego modernizmu3. Kubatura gmachu wyno- sku cementu. Takie, kilkakrotnie powtórzone barba- si 347 tys. metrów sześciennych, powierzchnia 67 tys. rzyńskie „odnawianie” fasad okazało się dla Gospro- metrów kwadratowych. Ten ogromny kompleks biuro- mu niemal śmiertelne. Ciężki wielowarstwowy placek wy został zbudowany z monolitycznego betonu zbro- cementowy stracił przyczepność do betonowej ścia- jonego i wykończony wysokiej jakości tynkiem deko- ny i zaczął złuszczać się na tysiącach metrów kwa- racyjnym z domieszką blaszek miki. Materializacja tak dratowych. Odsłonięty beton szybko skorodował pod ambitnego obiektu stała się możliwa dzięki głównemu wpływem wilgoci atmosferycznej, w wielu miejscach inżynierowi budowy – Pawłu Rottertowi. Pod jego kie- zostało odsłonięte zbrojenie i rozpoczęło się niszcze- rownictwem na budowie opracowano dokumentację nie słupków międzyokiennych na wyższych piętrach. roboczą unikalnych konstrukcji, przeprowadzono me- Gigantyczny budynek, który nie bał się bezpośrednie- chanizację pracy (do 80%), przeszkolono fachowców go uderzenia ciężkiej bomby, okazał się łatwą ofiarą – wykwalifikowanych robotników i inżynierów, opra- ignorancji. cowano technologię żelbetonu przemysłowego4. Długoterminowa eksploatacja i nieudolne powo- Gosprom jest nie tylko bardzo duży, ale także jenne naprawy zmusiły w 2001 r. do rozpoczęcia re- niezwykle złożony pod względem konfiguracji prze- konstrukcji budynku, która trwa do dziś. Rekonstruk- strzennej oraz konstruktywistycznego rozwiązania: cja ta polegała na całkowitej wymianie tynku (ponad kompleks składa się z trzech plastycznie modelowa- 74 000 m2) i zamianie wypełnienia otworów okiennych nych brył, rozdzielonych ulicami-podjazdami. Ponad (powierzchnia szklenia około 17 000 m2). tymi przejściami na różnych poziomach przerzucono Oryginalny tynk terrazytowy nie został przywró- sześć zadaszonych i oszklonych żelbetowych łączni- cony. Elewacje Gospromu są teraz pokryte drobno- ków. Podczas budowy Gospromu, po raz pierwszy na ziarnistym tynkiem zgodnie z patentem niemieckiej świecie, opracowano i zastosowano dokładne obliczenia firmy Henkel, która gwarantuje utrzymanie przyczep- złożonych przestrzennych ramowych konstrukcji z żel- ności nowego wykończenia do starych powierzchni betu – graficzno-analityczną metodę punktów stałych betonowych przez 25 lat. – autorstwa charkowskich inżynierów projektantów Podwójne okienne ramy z dębu zostały wymie- A. Preisfreinda i M. Pajkowa. Kompleks wzniesiono nione na nowoczesne ramy pojedyncze z podwójnymi w rekordowym czasie – prace przygotowawcze roz- szybami, przy zachowaniu podziałów okien. Podwój- poczęły się latem 1925 r., a oddanie wykończonej bu- ne stalowe witraże klatek schodowych zastąpiono dowli do eksploatacji odbyło się 7 listopada 1928 r., jednowarstwowymi podwójnymi szybami. Nakładane w jedenastą rocznicę rewolucji październikowej. aluminiowe kratki, które powinny imitować drobną Podczas II wojny światowej podjęto kilka nie- siatkę oryginalnych witraży, umieszczono za witraża- udanych prób wysadzenia w powietrze i podpalenia mi, od środka. Wpłynęło to znacząco na wizualny od- gmachu, ale masywne żelbetowe konstrukcje Gospro- biór kompozycji budynku. Niemniej jednak w 2018 r. mu przetrwały. Budynek, który został spalony i stracił Dom Przemysłu Państwowego Gosprom został dzięki wszystkie szyby, tym niemniej był w najmniejszym staraniom Charkowskiego Regionalnego Departamen- stopniu uszkodzony ze wszystkich obiektów na tym tu Architektury i Urbanistyki oraz ukraińskiej sekcji obszarze i już w latach 1944–1947 został znów odda- DOCOMOMO wpisany na listę informacyjną Światowe- ny do użytku. go Dziedzictwa UNESCO. Tynk terrazytowy, wykwintna dekoracja fasad Wysokie walory architektoniczne i artystyczne Gospromu, przetrwał wojnę, ale później, w latach 60. Gospromu, jego skala przestrzenna i światowa sła- wa są takie, że prędzej czy później jego oryginalny 3. Buryak A., Kraizer I., Between constructivism and Art Deco. Stylistic wygląd zostanie odtworzony z pełną szczegółowością. attribution of the Dzerzhinsky square (presently Freedom Square [ Plosh- Analiza naukowa, wytyczne metodologiczne oraz mię- chad Svobody] in Kharkov), [w:] Heritage at risk. Preservation of 20th century Architecture and world Heritage, Proceedings of scientific confer- dzynarodowy program ochrony i wsparcia mogą przy- ence, Moscow, 2006, s. 49-51. spieszyć ten proces i zwiększyć jego skuteczność. 4. Zvonitsky E., Leibfreyd A., Gosprom, Moscow: Stroiizdat, 1992, s. 80. 88 Dom Projektów Na lewo od budynku Gospromu, w południowej części obwodu okrągłego placu wzniesiono w latach 1930-1932 kolejne, jeszcze doskonalsze dzieło Serafi- mowa – Dom Projektów, zaprojektowany we współpra- cy z M. Zandberg-Serafimową (il. 2). Na początku woj- ny, w 1941 roku został on poważnie uszkodzony przez pożar i przez wiele lat stał w ruinie (il. 3). Na począt- ku lat 50. XX wieku rozpoczęła się odbudowa gmachu 3. Dom Projektów, zniszczenie budynku po II wojnie światowej (fot. 1944, z archiwum A. Buryaka) i jego adaptacja na siedzibę Uniwersytetu Charkow- skiego. Ogromny budynek (około 50 tys. m2) planowano 3. The House of Projects, the destruction of the building after the Second World War (photo of 1944, private archive of przy tej okazji przebudować (il. 4) w triumfalnym i mo- A. Buryak) numentalnym stylu powojennym (błędnie nazywanym czasami „stylem socrealizmu”), charakterystycznym dla ny, stracił dach i oszklenie. Zostały całkowicie utraco- moskiewskich wieżowców i warszawskiego Pałacu Kul- ne jego słynne wnętrza, które na światowej wystawie tury i Nauki. Ten plan się nie powiódł i po śmierci Sta- w r. 1937 w Paryżu otrzymały Grand Prix w sekcji lina projekt odbudowy został radykalnie uproszczony. Architektury6. Podobnie jak Dom Projektów, hotel Jednakże odbudowany i odrestaurowany w roku 1961 „Internacjonal” po wojnie został przebudowany w in- obiekt całkowicie utracił swój pierwotny wygląd. Fałszy- nym, klasycyzującym stylu. Różnica polegała na tym, we pilastry, gzymsy, okładziny z płytek ceramicznych że budynek własnoręcznie odrestaurował jego autor, naklejono na elegancką modernistyczną kompozycję, Grigorij Janowicki, niegdyś szef ukraińskich konstruk- a do wejścia później dodano jeszcze pompatyczny wie- tywistów. Zmienił on i uprościł układ niższych pięter, lokolumnowy portyk. W celu wzmocnienia efektu mo- zwiększył wystawanie wieńczącego gzymsu i zbu- numentalności zamknięto ścianą głęboki
Load more

Recommended publications
  • "Spotlight" Interview with Christina Crawford
    H-Ukraine H-Ukraine "Spotlight" Interview with Christina Crawford Discussion published by John Vsetecka on Tuesday, July 6, 2021 H-Ukraine “Spotlight” Interview with Christina Crawford Dr. Christina E. Crawford is Assistant Professor of Modern and Contemporary Architecture in the Art History Department at Emory University and faculty of Emory’s Russian, East European, and Eurasian Studies Program. H-Ukraine: Not only are you a historian of architecture, but you are also a licensed architect and urban designer. You have produced designs and plans for a number of buildings and municipalities both domestically and internationally. What drew you to architecture as a profession, and what made you decide to teach architectural history? CC: I have always loved buildings and dreamed about becoming an architect from a pretty young age. I grew up in Maine in a house built in 1825 that provided countless spooky corners to explore and that sparked my imagination about who and what inhabited it before me. In college, I double majored in Architecture and Russian & Eastern European Studies (I’ll explain that below). I crafted a senior project that worked for both majors: a written thesis about the construction of the first line of the Moscow Metro in 1935, and a design for a contemporary Moscow Metro station. The project won a big prize at graduation—validation to pursue these disparate interests in tandem—but it took me a long time to figure out how to make a career of it. After serving as a Vice Consul in the US Consulate in St. Petersburg, Russia for a year (interviewing for and adjudicating US visas, a truly awful job), I went to architecture school at the Harvard Graduate School of Design (GSD) and then practiced as a licensed architect in Boston for nearly a decade while also teaching architectural history as an adjunct at Northeastern University—really, just for fun.
    [Show full text]
  • Karl Schlögel: Toward a Holistic View of Ukraine Serhiy Bilenky
    Document generated on 09/28/2021 11:28 p.m. East/West Journal of Ukrainian Studies Karl Schlögel: Toward a Holistic View of Ukraine Serhiy Bilenky Empire, Colonialism, and Famine in the Nineteenth and Twentieth Centuries Volume 8, Number 1, 2021 URI: https://id.erudit.org/iderudit/1077130ar DOI: https://doi.org/10.21226/ewjus648 See table of contents Publisher(s) Canadian Institute of Ukrainian Studies University of Alberta ISSN 2292-7956 (digital) Explore this journal Cite this review Bilenky, S. (2021). Review of [Karl Schlögel: Toward a Holistic View of Ukraine]. East/West, 8(1), 241–250. https://doi.org/10.21226/ewjus648 ©, 2021 East/West: Journal of Ukrainian Studies This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Review Essay: Karl Schlögel: Toward a Holistic View of Ukraine 241 Review Essay Karl Schlögel: Toward a Holistic View of Ukraine Serhiy Bilenky Canadian Institute of Ukrainian Studies, Toronto Office, University of Alberta Karl Schlögel. Ukraine: A Nation on the Borderland. Translated by Gerrit Jackson, Reaktion Books, 2018. 288 pp. Illustrations. Further Reading. £25.00, cloth. I. IMAGINING UKRAINE The Ukraine will one day become a new Greece; the beautiful climate of this country, the gay disposition of the people, their musical inclination, and the fertile soil will all awaken.
    [Show full text]
  • Kharkiv, EWJUS, Vol. 7, No. 1, 2020
    Borderland City: Kharkiv Volodymyr Kravchenko University of Alberta Translated from Ukrainian by Marta Olynyk1 Abstract: The article attempts to identify Kharkiv’s place on the mental map of the Russian Empire and the Soviet Union, and traces the changing image of the city in Ukrainian and Russian narratives up to the end of the twentieth century. The author explores the role of Kharkiv in the symbolic reconfiguration of the Ukrainian-Russian borderland and describes how the interplay of imperial, national, and local contexts left an imprint on the city’s symbolic space. Keywords: Kharkiv, city, region, image, Ukraine, Russia, borderland. harkiv is the second largest city in Ukraine after Kyiv. Once (1920-34), K it even managed to replace the latter in its role of the capital of Ukraine. Having lost its metropolitan status, Kharkiv is now an important transport hub and a modern megapolis that boasts a greater number of universities and colleges than any other city in Ukraine. Strategically located on the route from Moscow to the Crimea, Kharkiv became the most influential component of the historical Ukrainian-Russian borderland, which has been a subject of symbolic and political reconfiguration and reinterpretation since the middle of the seventeenth century. These aspects of the city’s history have attracted the attention of numerous scholars (Bagalei and Miller; Iarmysh et al.; Masliichuk). Recent methodological “turns” in the humanities and social sciences shifted the focus of urban studies from the social reality to the city as an imagined social construct and to urban mythology and identity (Arnold; Emden et al.; Low; Nilsson; Westwood and Williams).
    [Show full text]
  • Laravel Mpdf
    7 Day Kyiv/Kharkiv tour Day 1 Arrival to Kyiv Transfer to hotel Time for leisure HIGHLIGHTS: Kyiv city, Day 2 Breakfast at the hotel Inspection of Kyiv Universities. Kyiv sightseeing tour (duration 3 hours). You will see the most popular tourist sights, including the ancient Golden Gates, magnificent St. Sofia Cathedral and the dazzling St. Michel’s Golden-Domed Cathedral. You will visit one of the most beautiful Orthodox churches of the world, the St. Vladimir Cathedral. Moreover, you will admire the Dnieper River, the Kyiv bridges from Khreshchatik Park. We are sure that you will fall in love with Kyiv after this tour! Back to hotel Free time Day 3 Breakfast at the hotel Check-out from hotel Inspection of Kyiv Universities Kyiv aviation museum tour (duration: 3 hours) Explore a unique collection of airliners, fighters, bombers, helicopters and support aircraft on an extremely interesting guided tour of the Kyiv State Aviation Museum. During this tour, you will: Visit one of the biggest historical and technical museums of Ukraine. Learn interesting facts about aviation from the Soviet times until present days. Get inside the aircraft and sit in the pilot’s seat of some of them. Explore the huge territory of the museum that counts with over 70 exhibits. See some rare models, including MiG-15 UTI and the first production aircraft TU 104 17:00 transfer to the railway station 18:00 departure to Kharkiv by Intercity train 22:41 arrival to Kharkiv Transfer to hotel, accommodation HIGHLIGHTS: Kyiv aviation museum, Kharkiv, Day 4 Breakfast at the hotel Inspection of Kharkiv Universities.
    [Show full text]
  • Visitor's Programme Kharkiv and Kyiv
    Monday, 16 September (for Belgian participants) Arrival in Kyiv (transfer airport-train station) Train to Kharkiv (option #1 18.02-22.47 or option #2 21.20-06.42 (night train) Tuesday, 17 September 11.00- 13.00 – City tour with the artist Polina Karpova [+380(93)043 82 85] meeting at Derzhprom, Freedom square 5/1 13.00-14.00 – Lunch 14.00-16.30 – visiting Biennale locations (YermilovCentre and Observatory of the Institute of Astronomy, Freedom square 4) 18.00 – Opening of the Biennale (Derzhprom, Freedom square 5/1) 19.00-20.30 – welcome-drink at the Hotel Kharkiv (Freedom square 7) 21.00 – after party at the DK Arteria (Chernyshevska st. 13) Wednesday, 18 September 10.00-11.00 – Breakfast with the curators of the Biennale (meeting place TBC) 11.00-13.00 – visiting Biennale locations (Botanical garden, Klochkovskaya st. 52) 13.00-14.00 – Lunch (Nonni Bertoni, Chernyshevska st. 4) 14.00-15.00 – Visiting AzaNiziMaza meeting the artist Mykola Kolomiets (AzaNiziMaza, Chernyshevska st. 4) 16.00-17.00 – Meeting artist Volodymyr Kohut (Municipal Gallery, Chernyshevska st. 15) 19.00 - Discussion (Kharkiv Literature Museum, Bahaliia st. 6) Thursday 19 September 10.00-12.00 – visiting Biennale locations (Kharkiv Art Museum, Zhon Myronosyts st. 11) 12.00-13.00 – Meeting the artist Andrii Dostliev (Municipal Gallery, Chernyshevska st. 15) 13.00-14.00 – Lunch Train to Kyiv option #1 15.10-21.49 or option #2 23.16-06.14 Friday 20, September 11.00-12.00 – visiting the National Art Museum of Ukraine (6 Mykhaila Hrushevskoho str.) meeting the Senior Research Fellow Daryna Yakymova [tel.
    [Show full text]
  • I from KAMCHATKA to GEORGIA the BLUE BLOUSE MOVEMENT
    FROM KAMCHATKA TO GEORGIA THE BLUE BLOUSE MOVEMENT AND EARLY SOVIET SPATIAL PRACTICE by Robert F. Crane B.A., Georgia State University, 2001 M.A., University of Pittsburgh, 2005 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 i UNIVERSITY OF PITTSBURGH DEITRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Robert F. Crane It was defended on March 27, 2013 and approved by Atillio Favorini, PhD, Professor, Theatre Arts Kathleen George, PhD, Professor, Theatre Arts Vladimir Padunov, PhD, Professor, Slavic Languages and Literature Dissertation Advisor: Bruce McConachie, PhD, Professor, Theatre Arts ii Copyright © by Robert Crane 2013 iii FROM KAMCHATKA TO GEORGIA THE BLUE BLOUSE MOVEMENT AND EARLY SOVIET SPATIAL PRACTICE Robert Crane, PhD University of Pittsburgh, 2013 The Blue Blouse movement (1923-1933) organized thousands of workers into do-it-yourself variety theatre troupes performing “living newspapers” that consisted of topical sketches, songs, and dances at workers’ clubs across the Soviet Union. At its peak the group claimed more than 7,000 troupes and 100,000 members. At the same time that the movement was active, the Soviet state and its citizens were engaged in the massive project of building a new society reflecting the aims of the Revolution. As Vladimir Paperny has argued, part of this new society was a new spatial organization, one that stressed the horizontal over the
    [Show full text]
  • Features of Architecture of Ukraine in 1920–30'S on Examples of Kyiv And
    VADYM ABYZOV*, ANDRII MARKOVSKYI** Features of architecture of ukraine in 1920–30’s on examples of Kyiv and Kharkiv Abstract Basic features and tendencies, inherent to the transition from a Constructivism style to Stalin Neoclassicism style (to Empire style) in architecture of Ukraine on the example of her the two capitals – Kharkiv (1919–1934) and Kyiv (since 1934) outlined in the article. It is reviewed originality and exceptional nature of evolution of architecture and spatial composition of prominent urban objects of these places in the World and Soviet architectural and artistic context of the Interwar Years. Particular attention paid to the competitive projects on development of governmental capital areas of Kharkiv and Kyiv. Keywords: architecture of Ukraine, Kharkov, Kiev; Constructivism; neoclassical Empire; urban and architectural composition. Introduction feature of new stylistic direction of Soviet ar- An architectural process on the territory of Ukraine in the In- chitecture of this period, called the Architec- terwar Years indissolubly relates both to World’s and Soviet tural Constructivism. tendencies in Arts. The palette of the first years after Octo- Numerous competitions on the design of large ber Revolution in 1917 was especially bright, when the active public buildings have shaped creative princi- reciprocity with the sociocultural areas of Western Europe and ples of Constructivists, who united in a Society North America was not ragged yet for politic reasons. The pro- of Modern Architects (SMA). They are looking gressive European tendencies got to Soviet Ukraine through for new types of collective property, which then the two basic ways – in a national dialog with Halychyna and led to the construction of “house-communes” Volyn from one side and in the mainstream of Soviet cultural in many cities of the country.
    [Show full text]
  • Preservation of Monuments of Modern Architecture in Ukraine (1990–2010) Ochrona Zabytków Architektury Nowoczesnej Na Ukrainie (1990–2010)
    NAUKA SCIENCE Nadiia Antonenko* Olga Deriabina** orcid.org/0000-0001-9047-3669 orcid.org/0000-0002-3478-2544 Preservation of Monuments of Modern Architecture in Ukraine (1990–2010) Ochrona zabytków architektury nowoczesnej na Ukrainie (1990–2010) Keywords: monument protection activity, Ukrainian Słowa kluczowe: działania konserwatorskie, Modernism, the monument of modern architecture, modernizm ukraiński, zabytek architektury Derzhprom, DOCOMOMO nowoczesnej, Derżprom, DOCOMOMO Introduction Due to the significant stagnation of preservation processes, most of the pieces of Ukrainian modern The global experience of preserving the heritage of architecture are in critical condition—thousands of modern architecture dates back to the period between unique modern buildings and structures are destroyed the 1940s and the 1970s, of the postwar rethinking of and disappear every year. In addition, the region- the value of cultural heritage, when systematic work al non-recognition of the value of of the twentieth- for identification and documentation of monuments century architecture significantly affected the status of of modern architecture began in Western Europe and the Ukrainian avant-garde and Modernism of the So- the United States against the background of the trium- viet era in world rankings. phant progress of the international style.1 In Ukraine, Meanwhile, it should be noted that during the years the issue of the need to preserve modern architectural of independence, the growth of general interest in the heritage was brought up much later. The first modern future of Ukrainian modern architecture was still ob- monuments began to be included in the State Regis- served—both among scholars and ordinary citizens. ter of Immovable Landmarks of Ukraine only in the From time to time, thematic conferences and work- 2000s.
    [Show full text]
  • Whiting Williams and the Holodomor: a Biographical Essay
    Whiting Williams and the Holodomor: A Biographical Essay April 22, 2020 · Lana Babij SUMMARY The distinction of having the first photographs depicting scenes from Ukraine’s Holodomor published in the Western press may belong to Whiting Williams. Several of his photos from an August 1933 visit to Ukraine appeared early in 1934 as illustrations to his articles in a British weekly, Answers. A longtime resident of Cleveland, Ohio in the US, the author was an established writer and speaker best known for his work in management consulting. He was particularly interested in improving labor management relations and traveled throughout the US, Europe and elsewhere, going undercover as a common laborer in coal mines and steel mills to learn about workers’ primary concerns related to their jobs. In 1933, Williams returned to the Donetsk coal mining region in Ukraine, where he had spent time with the area’s miners on the eve of the introduction of the USSR’s first Five Year Plan in 1928. Shocked by the greatly worsened human conditions he discovered that summer in 1933, he managed to take a few photographs which he put together with his personal observations for potential publication in the US. Much to his surprise, however, he could not find a publisher. Finally, the London-based Answers accepted his story along with eight photographs, which appeared in two consecutive issues in February and March, 1934. LIFE AND WORK UNTIL 1933 Charles Whiting Williams was born in 1878 in central Ohio into a prosperous family that valued entrepreneurship and participation in civic life. At Oberlin College, where Williams completed both his A.B.
    [Show full text]
  • History of Ukrainian Culture Історія Української Культури
    МІНІСТЕРСТВО ОХОРОНИ ЗДОРОВ’Я УКРАЇНИ Харківський національний медичний університет History of Ukrainian Culture Guidelines for practical lessons Історія української культури Методичні вказівки для практичних занять Затверджено вченою радою ХНМУ. Протокол № 2 від 20.023.02014. Харків ХНМУ 2014 1 History of Ukrainian Culture: guidelines for practical lessons / comp. N. M. Martynenko. – Kharkiv : KNMU, 2014. – 64 p. Compiler N.M. Martynenko Історія української культури: метод. вказ. для практ. занять / упор. Н.М. Мартиненко. – Харків : ХНМУ, 2014. – 64 с. Упорядник Н.М. Мартиненко 2 Topic 1: Introduction to “History of Ukrainian culture” Topicality: Culture is a top point in a system of humanitarian studies. Humanities help to form a creative potential of a person. History of culture is the treasure of wisdom and experience received by the mankind from previous generations. People should keep, generalize, occupy and adopt this experience. Without this social progress and self-perfection are impossible. Subject of history of culture is a complex study of big variety of spheres: history of science and technique, household activities, education and social thought, folklore and literature studies, history of arts. History of culture generalizes all these knowledge and investigates culture like system of different branches. General aim: Give a basic knowledge about structure and classification of culture, periods of its development. Specific goals and skills: To form the skill of system thinking, the skill of using the historical approach in understanding of cultural processes and their influence on the social life. Theoretical points of the lesson: 1. Culture genesis. 2. Theory of culture. 3. Subject and tasks of the course. 4.
    [Show full text]
  • Kharkiv Cosmopolita Città Ucraina
    KharKiv Cosmopolita città Ucraina Cosmopolitan Ukrainian city di | by Anna Glik uore dell’Ucraina orientale, Kharkiv fu fondata nel 1654 ed è diventata uno dei maggiori centri scientifici, in- dustriali e culturali-educativi del paese. La città fu la prima capitale dell’Ucraina per 14 anni, dal 1919 al 1934, un centro dove si riunivano i più famosi scienziati, ingegneri, diplomatici e che oggi vanta tre premi nobel: Lev Landau, Ilya Mechnikov e Simon Kuznets. Kharkiv, conosciuta anche come Kharkov, non solo è una città tra le più grandi e popolose del Paese con il suo milione e mezzo di abitanti, ma è anche tra le più attive nel campo industriale, scientifico, e perfino sportivo: basti pensare alle numerose palestre, campi sportivi, piscine e agli stadi. Non c’è da stupirsi che molti dei suoi cittadini si siano distinti e addirittura abbiano conquistato medaglie olimpioniche nelle varie discipline: ginnastica, nuoto, pallavolo, atletica o ciclismo. accogliente ed ospitale è anche una città all’avanguardia nell’industria di alta tecnologia E a questo, in virtù della sua articolata storia, c’è da aggiungere una grande varietà di stili architettonici, di tradizioni e d’idee, che fanno della città una meta davvero tutta da scoprire. Simbolo di Kharkiv e meraviglia assoluta è Piazza della Libertà, una delle più vaste al mondo con i suoi 12 ettari di superficie, dove si svolgono solenni parate militari, oltre a concerti, eventi culturali o politici. Le fanno corona numerosi Parchi, vivacissime strade, scenografiche fontane e diversi pittoreschi caffè all’aperto. In città il turista troverà sempre una calorosa e amichevole accoglienza, da qualunque parte del mondo giunga perché gli abitanti hanno una lunga consuetudine ad accogliere stranieri.
    [Show full text]
  • Call Kharkiv Final
    Call for applications Eighth International Social Science Summer School in Ukraine War and Violent Conflict in Socialist and Post-Socialist Societies Kharkiv, 3-9 July 2016 A joint project of the Chair of Ukrainian Studies at the University of Ottawa (Canada), the Center for Russian, East European and Caucasian Studies (France), the LabEx EHNE “Writing a new History in Europe”, The Center for Slavic Studies at the University of Paris 1 Panthéon Sorbonne (France), the V.N. Karazin Kharkiv National University (Ukraine), the National University of Kyiv Mohyla Academy (Ukraine). The Summer school is supported by the Wolodymyr George Danyliw Foundation (Canada), the LabEx EHNE – Writing a New History of Europe (France) , the Embassy of France in Ukraine and the V.N. Karazin Kharkiv National University (Ukraine). Commemorations at Brest Fortress, Belarus, 2014 http://ukrainesummerschool.wordpress.com/ [email protected] 1 Presentation “Why about the war? Because we are people of war – we have always been at war or been preparing for war. If one looks closely, we all think in terms of war. At home, on the street (...) Everything is wartime.” Svetlana Alexievich, Nobel Lecture, 7 December 2015 Is “everything wartime” in the former Soviet Union and former Soviet space, as Svetlana Alexievich suggests? War was incontestably an ever-present feature of the Soviet State. Born during a war, and in major part, of the war, the Soviet regime overcame harsh periods of armed conflict. Even during periods of peace the state and the population always lived between past and future violence: the memory of the civil war and of foreign intervention; the threat of future wars during the 1930s; 1941-45 followed by the Cold War… The Soviet Union unexpectedly collapsed without violence in Moscow, the imperial center.
    [Show full text]