UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ IAKOV CHERNIKHOV AND THE ARCHITECTURAL CULTURE OF REVOLUTIONARY RUSSIA A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirement for the degree of MASTER OF SCIENCE IN ARCHITECTURE in the School of Architecture and Interior Design of the college of Design, Architecture, Art, and Planning 2002 by Irina Verkhovskaya Diploma in Architecture, Moscow Architectural Institute, Moscow, Russia 1999 Committee: John E. Hancock, Professor, M.Arch, Committee Chair Patrick A. Snadon, Associate Professor, Ph.D. Aarati Kanekar, Assistant Professor, Ph.D. ABSTRACT The subject of this research is the Constructivist movement that appeared in Soviet Russia in the 1920s. I will pursue the investigation by analyzing the work of the architect Iakov Chernikhov. About fifty public and industrial developments were built according to his designs during the 1920s and 1930s across the USSR, although he is better known as a talented graphic artist, having created an endless number of such compositions. These include the series “Architectural Fantasies” and “Industrial Tales” which portray a utopian architecture for the future. His teaching programs cover several different fields from ornamentation to architecture and seven of his books, which he illustrated were published during the 1920s and 1950s. Since about 1970, the Constructivist movement has been thoroughly investigated; yet re-examination of Chernikhov’s work remains relatively undiscussed, especially in Western scholarly literature. The aim of this research is to resituate Chernikhov both in his own context and in the contemporary theoretical production which is accompanying Russian society’s return from collectivist values to individuality and self-expression. In particular the thesis focus on three major aspects of Iakov Chernikhov’s teaching program: The first is an analysis of Chernikhov’s non-objective approach towards design, which forms a foundation for teaching program, and assures its applicability to any subject-matter. The second is an examination of Chernikhov’s approach toward modernity and tradition, since although he is considered within the modern movement of Constructivism, he did not reject tradition. The third aspect which will be examined here is the underlying importance that he attached to the individuality, self-expression and creative energy of the designer in executing the graphical exercises. This idea may partly explain why his works were criticized in the Soviet press for insufficient attention to the ideological socialist role. All these facets make his theories unique among his contemporaries and his fellow Constructivists. ACKNOWLEDGEMENT I would like to thank first and foremost my advisor, John Hancock, who introduced me to the thesis research, and guided me through it with his experience and intelligence. It is in great part due to him that I have today an increased awareness of the surrounding world, and a critical view upon it. I also thank Patrick Snadon and Aarati Kanekar for their effort. Their precious comments and suggestions played a crucial role and in the overall theoretical development of this research. I thank Professor Jim Bradford and my colleagues, with whom I had an opportunity to develop a rich exchange of ideas during the two years in the graduate program. I also would like also to extend my thanks to those who provided an indirect support in the production of this thesis. TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS LIST OF ILLUSTRATIONS Chapter Page 1. Interoduction Goal of the Study 7 Etymology of the Word “Constructivism” 11 Literature Review 16 2. Iakov Chernikhov Biography of the Artist 20 Chernikhov’s Relations with Major Artistic Groups 26 Influences a) Chernikhov’s Teachers 33 b) Symbolism 34 c) Fantasticality 35 Research and Teaching 37 Architectural Practice 39 Society and Individuality 45 3. Constructivism Architecture before the Revolution of 1917 54 Constructivism – Main Stages of Development a) Appearance of the Term “Constructivism” 62 b) Pre-Revolutionary Period 64 c) Revolutionary Experience 67 d) Constructivist Micro-Environment 70 Social Realist Revival 72 Constructivism in other Arts a) Painting 76 b) Poetry and Literature 82 c) Music 86 d) Cinema 88 4. Context The Development of the Revolutionary Movement 90 Everyday Life 92 Revolutionary Changes 98 5. Russian Constructivism and European Modernism Erich Mendelsohn and Russian Constructivism 100 The Work of Sant’Elia and Chernikhov’s Theories 103 The VKhUTEMAS and the Bauhaus 108 6. Conclusions 112 BIBLIOGRAPHY 116 1 LIST OF ILLUSTRATIONS Figure Page 1. Iakov Chernikhov, from ”Architectural Fantasies”, 1933 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000…..…………………………………………………..6 2. Iakov Chernikhov, 1910s Excerpted from the Catalog for the Exhibition “Iakov Cherniknov, 101 Architectural Fantasies”, Moscow, 2001, p.2…………………………...24 3. Odessa School of Art, Kariak Kastandi with his students. Chernikhov – second on the right Excerpted from the Catalog for the Exhibition “Iakov Cherniknov, 101 Architectural Fantasies”, Moscow, 2001, p. 3……………………..........24 4. Iakov Chernikhov is teaching the class of graphic representation, Leningrad, Mid 1920s Excerpted from the Catalog for the Exhibition “Iakov Cherniknov, 101 Architectural Fantasies”, Moscow, 2001, p. 3…………………………..25 5. Leonly Benua, 1925 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000, p. 14……………………………………………….25 6. Iakov Chernikhov, from the book “The Construction of Architectural and Machine Forms”, 1931 Excerpted from the Catalog for the Exhibition “Iakov Cherniknov, 101 Architectural Fantasies”, Moscow, 2001, p. 9…………………………..32 7. Iakov Chernikhov, from the book “The Construction of Architectural and Machine Forms”, 1931 Excerpted from the Catalog for the Exhibition “Iakov Cherniknov, 101 Architectural Fantasies”, Moscow, 2001, p. 9…………………………..32 8. Iakov, Chernikhov, Compositions of Circles, Circles and Lines Excerpted from Chernikhov, Iakov, Osnovi Sovremennoi Arkhitekturi / Fundamentals of Contemporary Architecture, 1931, p. 22………………….42 9. Iakov, Chernikhov, Static Solutions of Combination of Irrational Figures Excerpted from Chernikhov, Iakov, Osnovi Sovremennoi Arkhitekturi / Fundamentals of Contemporary Architecture, 1931, p. 33………………….42 10. Iakov, Chernikhov, City of Skyscrapers, Asymmetrical Composition of Vertical Lines Excerpted from Chernikhov, Iakov, Osnovi Sovremennoi Arkhitekturi / Fundamentals of Contemporary Architecture, 1931, p. 57…………………42 2 11. Iakov, Chernikhov, Tall Skyscrapers, Excerpted from Chernikhov, Iakov, Osnovi Sovremennoi Arkhitekturi / Fundamentals of Contemporary Architecture, 1931, p. 84…………………42 12. Iakov Chernikhov, Front View of “Krasny Gvozdilshik” Plant in Leningrad, 1931 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………..43 13. Iakov Chernikhov, Rear View of “Krasny Gvozdilshik” Plant in Leningrad, 1931 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………..43 14. Iakov Chernikhov, Project of the Residential Complex on Sherbakovskaya Street in Leningrad, 1934 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000, p. 102……………………………………………...44 15. Iakov Chernikhov, Project of the Cinema Theatre in Viborgsky District in Leningrad, 1934 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………...44 16. Iakov Chernikhov, from the series “Architectural Landscapes”, 1930s Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000………………………………………………….......51 17. Iakov Chernikhov, from the series “Architectural Tales”, 1930s Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………...51 18. Iakov Chernikhov, from the series “Palaces of Communism”, 1939 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………...52 19. Iakov Chernikhov, from the series “Industrial Tales”, 1933 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………...52 20. Iakov Chernikhov, from the series “Architectural Fantasies”, 1933 Excerpted from the Catalog for the Exhibition “Iakov Cherniknov, 101 Architectural Fantasies”, Moscow, 2001, p. 9…………………………..53 21. Iakov Chernikhov, from the series “Architectural Fantasies”, 1933 Excerpted from edited by Olmo, Carlo and De Majesties, Alessandro, Iakov Chernikhov, 2000……………………………………………………...53 3 22. Von Klenze, New Hermitage, St. Petersburg, 1839 Excerpted from Edited by Cooke, Catherine, Uses of tradition in Russian and Soviet Architecture, 1987, p. 19…………..60 23. I. Monigetti and N. Shokin,