Constructivism in architecture and art of the XX century. Constructivism as a unique trend in Russian avant-garde art

CONSTRUCTIVISM (from lat. con-structio - construction, structure) - on-right-le-ning in Russian (later also in inter-on-native) avan-gar-diz-me late 1910s - early 1930s.

Constructivism relied on the idea of ​​​​li-zi-ro-van-nye representations of in-zh-ner-noy and con-st-ruk-tor-sky goal-le-so-ob -raz-no-sti, about the rationality of science and tech-no-ki, some-paradise about-ty-in-post-tav-la-las con-st-hands -ti-vi-sta-mi es-te-tich. "pre-ras-sud-kam." In an effort to introduce into the sphere of artistic creation the scientific and technical achievements of the turn of the XIX-XX centuries (fundamental studies -to-va-niya of the structure of ma-ter-rii, development of in-same-non-rii and mass-co-of-pro-of-va), constructivism trak-to-val hu- pious activity as a form of scientific and technical creation-che-st-va, on-right-len-no-go on pro-ek-ti-ro-va-nie and con-st -rui-ro-va-nie pre-met-but-pro-country-st-ven-noy environment. As a method of project activity, as a system of views on art, tech-no-ku and the society of constructivism, it merged with pro -from-water-st-ven-nym art-kus-st-vom, where the re-al-thing pro-voz-gla-sha-was for the purpose of all-to-th-artistic creation-che-st -va (O.M. Bri-k and others). Constructivism oh-va-you-val all spheres of the project-no-hu-artistic creation-che-st-va: ar-hi-tech-tu-ru, image-bra-zi-tel-noe and de -co-ra-tiv-no-applied art, literature, graphic art, photo-graphic art; the tendencies of constructivism also appeared in te-at-re, ki-no-is-kus-st-ve, mu-zy-ke.

The form-mal-but-compositional language of constructivism was folded in the course of ab-st-ract-no-geo-metrical ex-pe-ri-ment-tov in live-in-pi -si, gra-fi-ke or voluminous com-po-zi-qi-yah and was later re-re-not-sen by its creator-tsa-mi in the sphere of di-zai-na , where about-time things from-bra-zhal gra-fi-che-sky or voluminous con-st-hand-tion. The stylistic for-co-but-measurements of constructivism op-re-de-la-were concrete ma-te-ria-scrap of one or another area of ​​creativity st-va. In the design and ar-hi-tech-tu-re, under-black-ki-va-lis a rectangular frame and you-member-non-volume-e-mov, connection -zan-nyh with various functions, as well as all-possible technical-nich. details.

Constructivism in graphic art no-no-eat com-po-zi-tion with right-angled rhythm-mum mod-dul-noy net-ki, shi-ro-kim with-me-no-no-em element-men-tov on-board-noy gra-fi-ki - fonts, ak-tsi-den-tsy, li-ne-ek. In ki-but with constructivism, were the principle of mont-ta-zha and pre-la-da-do-ku-men-tal-ditch above the games -mi; in photo-graphics - geo-met-ri-za-tion com-po-zi-tion, on-ro-chi-taya shoot in ra-curs-sah with a strong pro-country st-ven-nom co-kra-shche-ni objects-ek-comrade. At the same time, constructivism gave an op-re-de-lyon-style stylistic integrity, thanks-go-da-rya, in-second-re-no-something- ryh us-that-chi-vy ar-he-ty-pic schemes common for various types of arts: simple re-re-se-che-ing of elements under a direct angle (crystal-shaped-different scheme), with many-fold in-second-re-ni giving a pro-country-st-venous or graphical re -shet-ku; zig-for-go-about-different line and dia-go-nal scheme; the use of several most-of-the-more-of-the-time-meeting methods of sym-metries (zero-cal-noy, in-mouth- noah, pe-re-no-sa). There was a stable and color gamut of constructivism: black, red, white, gray with the addition of no-pain-sho- go-whether-che-st-va of the main colors (si-not-go and yellow-that-go). The form-mal-but-hu-artistic methods of constructivism are somewhat closer to the su-pre-ma-tiz-mom of K.S. Ma-le-vi-cha, one-on-one constructivism has its own-st-vein-we pre-g-de of everything you-yav-le-ne kar-ka-sa and the same geo-met -rich. structures-by-buildings, pre-la-da-nie linear elements, creation of comp-by-zi-tions, having bright you-ra-female internal space-country-st-in.

For-ro-zh-de-nie of the artistic language and creative concepts of constructivism in the image-bra-si-tel-nom art-kus-st-ve pro-is-ho-di-lo in 1914-1922 in the course of the evolution of the Russian avant-garde from ku-biz-ma and fu-tu-riz-ma to ab-st-rak-tsio-niz-mu. Instead of a hundred traditional techniques of life-in-pee-si and sculpt-tu-ry V.E. Tat-lin introduces the “counter-rel-e-fah” (1914-1915) principle of “ma-te-ri-al-no-go pod-bo-ra”, assembly-ku com-po -zi-tsy from various native elements and ma-te-ria-lov (pro-lo-ka, glass-lo, tin, de-re-vo, wallpaper), under -cher-ki-vai fak-tour-nye and pro-country-st-ven-nye ha-rak-te-ri-sti-ki. Mod-del Tat-li-na "Pa-myat-nik III In-ter-na-tsio-na-lu" (1919-1920) became a symbol of constructivism b-go-da-rya under -rob-th functional-tion-nal-pro-ra-bot-ke (dis-memberment of non-public buildings into separate volumes, use of elements men-tov di-na-mi-ki and in-for-ma-tion) and open-that frame-cas-no-no-ve (according to the type of engineering and technical con-st-hands -tions). In 1919-1920 A.A. Weight-nin (see Vesnins), L.S. Po-po-va, A.M. Rod-chen-ko create-yes-va-li ab-st-ract-nye zhi-vo-pis-nye and graphic pro-of-ve-de-niya, calling them “con-st -ruk-tsiya-mi ”(Rod-chen-ko),“ live-in-pis-noy ar-khi-tek-to-no-koy ”(Po-po-va); one-to-one-to-decisive-of-the-lo-appearance of pro-countries-of-st-ven-nyh con-st-hands-tions. In life-in-pee-si iso-bra-zhe-niya pre-me-tov ab-st-ra-gi-ro-va-lis, for-me-lis com-bi-on-tion-mi geo-met-rich. shapes, planes, lines, then-check, colors and fact-tu-ry.

The scientific center of constructivism in the 1920s was the In-sti-tut hu-do-s-st-ven-noy kul-tu-ry (In-huk) in Mo-sk-ve, where, under the leadership of V. AT. Kan-din-sko-go studied pro-ble-we syn-the-for the arts, for-ko-no-mer-no-sti of the viewer-tel-no-go perception of color , rhythm-ma, forms. The term “constructivism” itself was mentioned for the first time in the programs of the First working group of constructivists, created Noah in Moscow in December 1920 A.M. Rod-chen-ko, V.F. Step-pa-no-howl and A.M. Gan (later they were joined by the brothers V.A. and G.A. Stenberg, K.K. Me-du-nets-ky and K.V. gan-son) and went-shed into the composition of Ying-hu-ka in March 1921. The first stage was completed in 1921 by becoming “5 × 5 = 25” (A.A. Ves-nin, L.S. Po-po-va, Rod-chen -ko, Ste-pa-no-va, A.A. Ex-ter; for-yav-le-teaching-st-n-kov about the completion of la-bo-ra-tor-no -go eta-pa and re-re-ho-de to uti-li-tar-no-mu creation-che-st-woo) and General-st-va mo-lo-dykh hu-dozh-ni- cov. Presented on them ab-st-act-nye pro-country-st-ven-nye con-st-ruc-tion under-go-tav-li-va-li iso-bre-te-nie mini-no-small van-to-rod-not-vy systems (Jo-gan-son), sometimes they-did-ry-whether the idea of ​​​​bridge farms (Sten-brothers berg-gi), use-pol-zo-va-li the principle of re-di-made (com-po-zi-tion from welded technical de-ta-lei Me-du-net- ko-go), re-re-vo-di-li lo-gi-ku structure-tour-no-go geo-met-rich. in-building in space-country-st-in (Rod-chen-ko); all of them were embraced by the principle of “in-same-not-riz-ma” as ak-tu-al-noy te-we art-kus-st-va: artistic activity should-on-la-pe-re-ras-ti in in-tel-lek-tu-al-noe pro-from-water-st-vo. The general result of you-ra-wives in the books "Con-struct-ti-vism" by A.M. Ga-na (1922) and "From the mole-ber-ta - to the machine" by N.M. Ta-ra-bu-ki-na (1923). For the first time, constructivism as a single platform for the vi-zu-al-arts declared itself in the Ki-no-fot magazine (1922).

Early constructivism from-li-chal-sya agi-ta-qi-on-no-ofor-mi-tel-sky on-right-len-no-stu: a series of projects “Radio -ora-to-ditch "G.G. Klu-tsi-sa (1922), based on the assembly-and-dismantling van-then-in-rod-not-con-st-hand-qi-yah, with- me-not-nie mon-ta-zha for ak-ti-vi-za-tion of perception in do-ku-men-tal-nom and game-ro-vom ki-ne-ma-to-gra -fe (D. Ver-tov, E.I. Shub, L.V. Ku-le-shov). Bla-go-da-rya from da-niyu in Ber-li-ne in 1922 but-va-tor-sko-go on con-st-hand-tion and ti-po-gra-fi-ke magazine " Thing "L.M. Li-sits-kim and I.G. Ehren-burg-gom term-min "constructivism", as well as ha-rak-ter-pro-of-ve-de-niya and name-on-hu-doge-ni-kov hundred-but-vyat-sya from-west-us-mi and on Za-pa-de.

The next stage of constructivism (1922-1929) is associated with the real-li-for-qi-her of his ideas in the pre-metal environment, in design and ar-hi-tech -tu-re, with the co-building of the "school-ly con-st-ruk-ti-viz-ma". On production. fa-kul-te-tah Vhu-te-ma-sa - Vhu-tei-na teach-whether rational-method-dam pro-ek-ti-ro-va-niya func-tsio- nal-nyh from-de-ly for mass-co-in-go pro-from-water-st-va; pro-ek-ti-ro-va-li is not just furniture, ki-os-ki, ut-var, but collection-but-sort-bor-things-schi-ap-pa-ra-you with different-but-about-different ki-not-ma-ti-koy and form-my, from-kro-veins-but-ka-zy-vav-shey principle of their device-swarm-st- va. In the projects, the for-mal-but-com-po-zits was especially appreciated. and tech. iso-bre-ta-tel-ness, sometimes ak-tsen-ti-ro-va-lis name-but technical de-ta-li: springs, ry-cha-gi, ru- ko-yat-ki, for-zh-we, fik-sa-to-ry, etc. - mi-ro-va-nia so-cia-listic way of life, art - as a means of agitation and life-non-structure. “Kon-st-ruk-ti-vism should become the highest form-mal-noy in-zh-not-ri-her of all life”, - pro-voz-gla-sha-et-sya in 1st no-me-re w. "LEF" (1923), from the literary and artistic group "Left Front of Arts". Even more acute is so-qi-al-naya on-right-len-ness of production. claim-va pro-sound-cha-la in 1928 in de-la-ra-tion ob-e-di-non-niya "Ok-tyabr" (P.I. No-vits-ky), ku-yes came ar-hi-tech-to-ry and hu-dozh-ni-ki (A.A. and V.A. Ves-ni-ny, M.Ya. Ginzburg, G.G. Klu- cis, S.Ya. Sen-kin, A.M. Rod-chen-ko, V.F. Ste-pa-no-va), as well as ki-no-re-jis-syo-ry (C .M. Eisenstein and E.I. Shub).

For-mal-but-stylistically-based foundations of constructivism in modern ar-hi-tech-to-re for-lo-zhi-whether projects A.A. and V.A. Weight of the first half of the 1920s; the first milestone was the competitive course project of the Palace of Labor in Moscow (1922-1923). The symbol of the scrap of architectural constructivism was the project of mi-nia-tyur-no-go in its own ha-ba-ri-tam of the building of the newspaper "Lenin-grad-skaya pravda "(1924) - art-ti-stich-but im-bra-feminine, light in terms of proportions-qi-yam building with a stack of linen fa-sa-house (on some-rum vve-de-na in-formatsionnaya gra-fi-ka), transparent bodice-y mines. The architectural image was born from the re-os-mys-len-no-go ab-st-ract-no-geo-met-rich. na-cha-la, os-but-you-va-yas on con-tra-st-nome with-che-ta-nii of volumes and their proportions.

In the second half of the 1920s, ar-hi-tech-tu-re was given special attention. In December 1925, ar-hi-tech-to-ry A.K. Burov, G.G. Wegman, A.A. Ves-nin, V.N. Vla-di-mir-rov, M.Ya. Ginzburg, I.A. Go-lo-owls (see Go-lo-so-you), Ya.A. Kornfeld, P.A. Kra-sil-ni-kov and others co-create the Society of modern ar-hi-tech-to-ditch (OSA) in Mo-sk-ve, from yes- vav-neck in 1926-1930, the magazine "So-vre-men-naya ar-khi-tek-tu-ra". The OCA also included G.B. Bar-khin, M.O. Barshch, A.M. Gan, I.I. Le-o-no-dov; rise-nick-whether from de-le-nia in Le-nin-gra-de, Ba-ku, Tom-sk, Khar-ko-ve, Kiev, Odessa-se, Ka-za-ni, Sverd - catch-ske. Ar-hi-tech-tu-ra of constructivism is, like a right-vi-lo, a complex plan, you-yav-le-nie on the fa-sa-de con-st-ruk-tiv-noy os-but - you are buildings, a functional approach to the block-ki-ditch and the zo-ni-ro-va-niyu of spaces. Ar-hi-tech-to-ry times-ra-ba-you-wa-whether pro-ek-you new in so-qi-al-nom from-no-she-nii types of buildings: working clubs (club named after S.M. Zue-va in Moscow, 1927-1929, architect I.A. Go-lo-sov), com-munal- nye houses (house-com-mu-na on Or-joni-kid-ze street in Moscow, 1928-1930, I.S. Ni-ko-la-ev), industrial facilities ek-you (Dnep-ro-ge-sa complex, 1927-1932, V.A. Vesnin and others). In the house of Nar-com-fi-na in Mo-sk-ve (ar-hi-tek-to-ry M.Ya. Ginz-burg, one of the li-de-ditch te-che-nia, and I .F. Mi-li-nis) came from-ra-same-principle-qi-py modern. ar-hi-tech-tu-ry, nearby ra-bo-there Le Cor-bu-zier of the same time: free ter-ri-to-ria (house on the opo -pah), use-use-may roof, flax-windows, two-level residential premises.

In the sphere of te-at-ral-no-go art-kus-st-va in ka-che-st-ve to-mi-ni-ruyu-shche-go was you-dvi-nut the principle of "mas -so-in-go action-st-via. "Bio-me-ha-ni-ka" V.E. Mey-er-hol-da - ra-tsio-nal-naya sis-te-ma move-zhe-ny ak-te-ra for you-ra-zhe-niya emotions - sta-la pro-yav-le -ni-em constructivism in re-gis-su-re and te-at-ral-noy pe-da-go-gi-ke. Di-na-mi-che-sky, an hour of a multi-tiered scene. us-ta-nov-ka instead of a hundred de-co-ra-tions and ass-no-ka in-la-la ak-cho-ru to show his tricks sti, ki-ne-ma-ti-ku of gestures and poses, as well as yes-va-la the possibility of you-not-sti specta-li-sche on the streets and squares di. Theatrical constructivism most clearly manifested itself in the stage-no-graphics of the spec-so-lei of the early 1920s: ro-go-no-sets” by F. Krom-me-lin-ka (L.S. Popova) and “The Death of Tar-el-ki-na” by A.V. Su-ho-vo-Ko-by-li-na (V.F. Ste-pa-no-va) in te-at-re Mey-er-khol-da (both 1922); “Fed-ra” by J. Ra-si-na (1922) and “Man-age, someone was Thursday” by G. Ches-ter-to-nu (1923) in the Ka-mer-nom te-at-re (both - A.A. Ves-nin); "Oze-ro Lyul" A.M. Fai-ko in Te-at-re Re-vo-lu-tion (1923, V.A. Shes-ta-kov); in es-ki-zah kos-tu-mov A.A. Ex-ter to the ba-let-ny-hundred-new-kam K.Ya. Go-lei-call-sko-go (everything is in Mo-sk-ve). On the influence of the ideas of constructivism, wi-de-tel-st-vu-et ha-rak-ter-set of elements of scene-no-graphics: pan-du-sy and le-st- no-tsy; moving-zhu-schi-sya va-go-no-ki, tro-tu-ar, so-fi-you and fo-na-ri; com-bi-on-tion lifts; rotating crane; light river-la-ma etc. -noy ra-bo-whose clothes-zh-dy or as pro-zo-de-zh-yes (pro-from-vodstvennaya clothes-zh-yes) ak-te-ditch.

From the-at-ral-no-th constructivism, not-from-de-lim mu-zy-kal-ny constructivism, someone showed himself first of all as a style of stage mu -zy-ki. Kon-st-ruk-ti-vi-st-sky and ur-ba-ni-stic ba-le-you pi-sa-li S.S. Pro-kof-ev (“Steel Skok”, 1927), A.V. Mo-so-lov [suite from mu-zy-ki not-osu-sche-st-in-len-no-go ba-le-ta "Steel" (1927) includes sym-fo -nichesky episode "Factory (mu-zy-ka machines)"]. Te-at-ral-naya due to-ra-zi-tel-ness ur-ba-ni-sti-che-so-go and con-st-ruk-ti-vi-st-to-tal-ka in-lu-chi-la development in piano music (play-sa "Rel-sy" by V.M. De-she-vo-va, 1927). More tra-di-qi-on-ny in language ba-let "Bolt" D.D. Sho-sta-ko-vi-cha (1931) - a tribute to the Soviet in-du-st-ri-al-noy te-ma-ti-ke and one-but-time-men-but sharp-smart sa -ti-ra on her.

But-va-tor-sky pro-of-ve-de-niya of constructivism in poly-graphics would have been created by A.M. Rod-chen-ko, G.G. Klu-ci-som, L.S. In a way, V.F. Step-pa-no-howl, A.M. Lavinsky, M.Z. Le-vin-nym and others. qi-den-qi-ey, you-black-chen-ny manually bru-sko-vy font, enter de-fo-to-mon-ta-zha and pho-to-graphics instead of a hundred ri-so-van-noy gra-fi-ki, frequent use of elements, ak-tsen-ti-ro-vav-shih vni-ma-nie (arrows, wax-cli-tsa-tel-ny signs, rectangular plates, etc.). Book-ki-os-ki pro-ek-ti-ro-va-lied as many-functional-tsio-nal, often warehouse facilities (Rod-chen- ko, Lavinsky, A.M. Gan). Group-pa hu-dozh-ni-kov-con-st-ruk-ti-vi-stov ra-bo-ta-la over the river-la-my Mos-selp-ro-ma, GUM, Re-zi-not -re-hundred, Mos-po-li-gra-fa and other state-owned firms, texts to someone-swarm pi-sal V.V. Ma-ya-kov-sky. Ob-face of Mo-sk-you from-me-nil-sya bla-go-da-rya bright river-la-me to-va-ditch, for-by-my-nayu-shim-sya ki-no -pla-ka-there brothers V.A. and G.A. Stenbergov, N.P. Pru-sa-ko-va, S.V. Se-myo-no-wa.

In li-te-ra-tu-re constructivism was formed in 1923; in 1924, decorated by the Literary Center Kon-st-ruk-ti-vistov (LTC) (I.L. Sel-vinsky, V.M. In-ber, V.A. Lu-gov -sky, B.N. Agapov, A.N. Chi-che-rin and others). Theo-re-ti-ka-mi of literary constructivism became a critic K.L. Ze-lin-sky, as well as sti-ho-ved and poet A.P. Kvyatkovsky (however, the theo-re-ti-zi-ro-vat was also inclined by the head of the Sel-vinsky group). Were there collec-tive collections from yes-na: “Me-for everyone” (1924), “Gos-plan li-te-ra-tu-ry” (1925), “Biz- carried" (1929). In-dob-but fu-tu-ri-stam-le-fov-tsam, con-st-ruk-ti-vi-sty tried to reflect the realities of modern life, ex- pe-ri-men-ti-ro-wa-li with za-umyu (Chi-che-rin), dia-lek-tiz-ma-mi and hot-go-niz-ma-mi, outside-dry-whether the principle of “con-st-ruk-tiv-no-go-ras-pre-de-le-niya ma-te-ria-la”, “gru-zi-fi-ka-tion of the word-va” (according to su -ti, under-ra-zu-me-val-sya la-ko-nism) and yes (from-no-ma-niya sti-hot. pro-from-ve-de- niya as sound-cha-schey-chi, mouth-but-full-nyae-my-th text-hundred) a special type of verse - “pa-uz-nick” or so-and-so-wik. Sel-vin-sky in the early verses even meant a special sign of the place where dek-la-ma-tor should be for co-blu-de-niya so-and-so -we-ka de-lat pauses. In 1930, the literary constructivism group started up.

Russian constructivism as a right-le-ning in ar-hi-tech-to-re, di-zai-not me-be-li and in-ter-e-ra, also tech-style and clothes were presented on Me-zh-du-nar. you-stav-ke de-co-ra-tiv-ing arts and art industry in 1925 in Paris (according to the project of K.S. Mel-ni-kov voz-ve- day you-hundred-voch-ny pa-vil-on). Project “Ra-bo-che-go-club” by A.M. Rod-chen-ko (multi-functional-tsio-nal-noe pro-country-st-in with trans-for-mi-ruyu-schi-schi-sya ob-ru-do-va-ni-em) became, perhaps, the most complete you-ra-same-ni-eat con-st-hand-ti-vi-st-me-to-lo-gyi. Launched at the 1st sit-tse-at-biv-th factory in Mo-sk-ve tech-style according to L.S. In a way and V.F. Stepanov-howl and their own fashion-de-de-de-de-de-de-de-li-whether the first Soviet fashion, based on the principle of gra- physical mi-ni-ma-liz-ma. Constructivism wild-to-shaft simplification of forms, contrast of color and textured combinations in sports clothes, general on the same con-st-ruc-tion of the cut, under-black-ki-va-nie of functional and technical de-ta-lei (kar-man-nov, belt-ney, za-styo-zhek) in pro-zo-de-g-de (A.A. Exter and others). Projects of mod-del-erov opi-ra-lis on the form-mal-geo-metrical structural constructions; N.P. La-ma-no-va times-ra-bo-ta-la sis-te-mu in the structure of the kos-tu-ma along the planes and cut according to the rectangular pattern -me.

Late constructivism of the late 1920s - early 1930s from-whether-chal-sya more thin pro-ra-bot-koi pro-por-tional co-from-no-she -niy, in-yav-le-ni-em round-le-ny, ras-shi-re-ni-em pa-lit-ry ma-te-ria-lov. In the graphic design, no more attention should be given to the number of functional in-pro-themselves the convenience of perceiving information -ma-tion. Regardless of the style-le-howl re-re-scrap, denoting-chiv-shi-sya at the end of the 1st five-year-old (1932), transport -gla-she-tion of so-cia-li-sti-che-sko-go real-liz-ma, control of party bodies for the development of culture, res- ko-ri-tsa-tel-noe from-but-she-ne-artistic kri-ti-ki and creative organ-ga-ni-za-tsy, the ideas of constructivism are present in one form or another in the functional sub-ho-das of the di-zai-ne-ditch of the 1930s, in the style of the pre-ob-la-da-ni directly -coal-frame-shaped forms in ar-hi-tech-tu-re and tech-no-ke, in the preservation of the modulo mesh in poly-gra- fii and when-me-not-nii fo-to-mon-ta-zha, use-pol-zo-vav-she-go-sya in ka-che-st-ve wi-zu-al-no-go about -pa-gan-di-st-th-weapon. Pe-ri-od of the early 1930s can be designated in ar-hi-tek-tu-re as “on-st-con-st-ruk-ti-vism” (term-min S.O . Khan-Ma-go-me-do-wa): up-ro-schen-nye va-ri-an-you use-pol-zo-va-niya geo-met-ri-zovannoo of architectural orde -ra, the work of I.A. Go-lo-co-va and the concept of the “pro-lethar-class-si-ki” I.A. Fo-mi-na.

Constructivism can be considered an early Russian version of the func-tion-on-liz-ma with the only difference that it has more yang-on a purely es-te-tic composition. As an artistic idea, constructivism revived in Russia in the 1960s, not only in the deprived uk-ra-she-niy design-style and ter-mi -not “hu-dozh-nik-kon-struk-tor” (di-zay-ner), but also in ki-ne-ti-chesky art-kus-st-ve. Kon-st-ruk-ti-vi-st-sky idea of ​​​​structural-tour-no-geo-met-rich. pre-ob-ra-zo-va-niy co-stored in the experiments of hu-doge-ni-kov, building their com-po-zi-tions on the basis of trance -formation of a flat sheet. Za-lo-female constructivism principles of respect-zhi-tel-no-go from-but-she-niya hu-dozh-no-ka to you-ra-zi-tel-no-sti ma- te-ria-la, clear-no-sti of the structure-tu-ry of things, its de-mo-kra-tich-no-sti in-we-do-not save the meaning in fashion, graphic design, pro-ek-ti-ro-va-nii environment.

Constructivism as a me-zh-du-na-rod-noe phenomenon of sfor-mi-ro-val-sya by 1922 under the influence of creative ex-re-ri-men-tov of the Russian avant-gar -Yes. Development mainly in Germany (M. Bur-harts, L. Mo-hoy-Nagy, G. Rich-ter, J. Chi-hold, etc.) with the participation member of the Dutch group "De Stijl" T. van Dus-burgh, eye-room means. influence on the for-mi-ro-va-nie es-te-ti-ki Bau-how-za; also in Che-ho-slo-va-kii, Poland, Hungary. Im-pulse-som to rise-nick-no-ve-nium of this-th yav-le-niya was the Me-zh-du-people's con-gress of pro-gres-siv-nyh hu-doge-ni-kov in Dus -sel-dor-fe in 1922 and its con-st-rukti-vi-st-sky section, or-ga-ni-zo-van-naya van Dus-bur-gom (representing-becoming-lav- shim the magazine "De Stijl"), G. Rich-te-rum (for-yav-la-elk that he-stup-pa-et from con-st-ruk-ti-vi-st-sky groups of Ru- we-nii, Scan-di-na-vii, Germany) and L.M. Li-sits-kim (from the magazine "Thing", you-ho-div-she-go in three languages). After the publication of dek-la-ra-tion in the De Stijl magazine, the group-pa from-da-la “Ma-ni-fest of the international con-st-hand- ti-viz-ma ”, someone else is also under-pi-sa-li K. Ma-es from Belgium, hu-dozh-nick and photo-count M. Boer-harts from Ger -mania, which became the center of international constructivism in the 1920s. Namely, here is the es-te-ti-ku of “pure forms” of pro-pa-gan-di-ro-wa-li T. van Dus-burg and dei-te-li Bau-how-za, and in 1921-1925 Li-sitsky lived and worked, knowing the European public with the Russian avant-gar-diz-m, including in ho -de of the 1st Russian art exhibition in Ber-line (1922).

Constructivism in Za-pa-de, as well as in Russia, was under the influence of progressive scientific and technical and so-qi-al ideas, but in it there are mutually-mo-de-st-in-va-li two ten-den-tions - the art of geometric ab-st-rac-tions and uti-li-tar -noe (applied) creative-che-st-in. During the 1920s, artistic ex-pe-ri-men-ta-mi in the region of pro-country-st-ven-no-go for-mo-ob-ra-zo -va-nia for-ni-ma-lis N. Ga-bo and A. Pevz-ner (con-st-ruc-tion and reli-e-fa), L.M. Li-sits-ki (“pro-uns”), K. Kob-ro (ab-st-ract-nye sculpt-tour-com-po-zi-tions). The line of uti-li-tar-no-go creation-che-st-wa swam with design and design-pe-da-go-gi-koy. Embed-e-di-nyal in his work-che-st-ve both ten-den-tions of ra-bo-tav-shiy in Bau-how-se Hungarian artist L. Mo-hoy-Nagy, for-ni -mav-shi-sya-sve-th-y-you-form-mo-o-ra-zo-va-ni-em, in order-ni-em rit-mi-zi-route structure-tour in gra-fi-ke , live-in-pee-si and sculpt-to-re. From the point of view of the artistic language, European constructivism represented a combination of bi-na-tion of a flat-st-no-go-geometric mini-ni- ma-liz-ma of the De Stijl group, the structural-tur-no-geo-metric approach and the plan-ni-metric language of the “pro-uns” Li-sits-ko th. Just like the Russian con-st-ruk-ti-vis-sty, A. Shtan-kov-ski (Germany) introduced the language of geo-metrical ab-st-rac-tion into his gra -physical design and ex-perimental photography.

Constructivism turned out to be a commercially successful style in applied graphics. Re-in-lu-tion in European li-graphics was co-made by the German designer J. Chi-hold, who created the theory of free-bod-no-go o-ra-sche-niya with a font and with a com-po-zi-qi-her pe-chat-no-th sheet; he influenced a number of Russian art books of the 1920s (N.V. Il-in, S.B. Te-lin-ga-ter, N.A. Se- del-ni-kov). In the book “New ti-po-gra-fi-ka” (“Die Neue Typogra-phie”, 1928), Chi-hold pro-pa-gan-di-ro-val pri-yo-we of modern ver- st-ki - asymmetric com-po-zi-tion of the country, refusal from paragraphs from stups, etc. ml-ni-em of books and magazines, J. Hart-field co-edi-nil tra-di-tion da-dai-st-sko-go-col-la-zh and con-st-ruk-tee -vi-st-sko-go-fo-to-mon-ta-zha.

In Che-ho-slo-va-kii, the “De-vet-sil” movement (“Devĕtsil”, 1920-1931; J. Krei-tsar, K. Tei-ge, J. Fun-ke) , co-che-tav-neck image of sur-real-lis-ma and con-st-hand-ti-vi-st-sky la-pi-dar-ness of forms, volume-e-di-nya -lo pre-hundred-vi-te-ley decomp. types of art. In Poland, V. Strshe-min-sky (Strzhe-min-sky), T. Tsar-no-ver, K. Kob-ro and H. Sta-zhev-sky were key-che-you-mi fi-gu-ra-mi in a group, ob-e-di-niv-she-sya around the Blok magazine (1924-1926). The pro-ble-we of art were declared not-raz-del-us-mi from the problems of society while maintaining the principle of qi-pa “not-for -in-te-re-so-van-no-sti "and freedom of creation-che-st-va. At the same time, one-no mas-te-ra pro-voz-gla-sha-li is the main task for-yes-whose uti-li-ta-rism in the spirit of Russian con-st-ruk-ti-vistov (M Shu-ka and Tsar-no-ver - ar-khi-tek-tu-ra, po-li-graphy, photo-montage), others (Kob-ro and Strshe-min-sky) - ex-pe-ri-ment and sis-te-ma-ti-for-tion of the elements of art. In Hungary, in the vein of constructivism, ra-bo-ta-li Sh. Bort-nick, A. Ke-men, L. Kash-shak, B. Wits.

After the 1920s, constructivism is difficult, but you-de-pour among the general those of ab-st-rakt-no-th art. In Pa-ri-same ra-bo-ta-li N. Ga-bo and ni-derl. master S. Do-me-la; here, in 1930, T. van Dus-burg created an ob-e-di-non-nie “Concrete art-art-art”, in no-may under it no-fi-gu- ra-tiv-noe creative-th-st-in, os-but-van-noe on the air of the elemental mi-ni-ma-li-st-com-po- zi-tsy. In the 1930s and 1940s, Switzerland became the center of European constructivism. Back in the late 1920s, several Swiss artists hu-dozh-ni-kov-gra-fi-kov (including M. Bill and T. Balmer) studied at the Bau-Hau-ze with P. Klee and V. V. Kan-din-sko-go. Bill, continuing the concept of “con-cret-no-go art-kus-st-va” and for-no-ma-is ab-st-ract-us-mi sculpt-tu-ra -mi, pro-ek-ti-ro-shaft furniture on a metal frame and rek-la-mu for the Wohnbe-darf company. In the same place, the “Swiss-royal style” was given in graphic features. design-ne, after-the-next-st-vii, which became the basis for the for-mi-ro-va-niya “me-zh-du-na-rod-no-go style”. The ideas of constructivism in the field of ar-hi-tech-tu-ra have influenced many of those in the last third of the 20th century, including high-tech and especially -ben-no-sti on de-con-st-ruk-tee-vism.

Additional literature:

Ni-ko-nov Vl. Articles about con-st-ruk-ti-vi-stakh. Ul-ya-novsk, 1928;

Ze-linsky K. Poetry as meaning. A book about con-st-ruk-ti-wiz-me. M., 1929;

Rickey G. Constructivism: origins and evolution. N.Y., 1967;

Straus T. Kassak: ein ungarischer Beitrag zum Konstruktivismus. Koln, 1975;

Rotzler W. Konstruktive Kon-zepte: eine Geschichte der konstruktiven Kunst vom Ku-bismus bis heute. Z., 1977;

Mo-sk-va - Paris. 1900-1930. (Cat. you-rates). M., 1981. T. 1-2;

Lodder Ch. Russian constructivism. New Haven, 1983;

Constructivism in Poland, 1923 to 1936. (Cat.). Camb., 1984;

Wechsel Wir-kun-gen: Ungarische Avantgarde in der Wei-ma-rer Re-pub-lik. Marburg, 1986;

Švácha R. Sovĕtský kon-struktivismus a česká architektura // Uměni. 1988. No. 1;

Art into life. Russian con-struc-ti-vism, 1914-1932. (Cat.). Seattle; N.Y., 1990;

Kon-struk-tivistische Internationale sch ̈opfe-ris-che Arbeitsgemeinschaft, 1922-1927: Utopien für eine europäische Kultur. (Kat.). Stuttg., 1992;

Si-do-ri-na E.V. Russian con-st-hand-ti-vism: is-to-ki, ideas, practice-ti-ka. M., 1995;

Cooke C. Rus-sian avantgarde: theories of art, architec-ture and the city. L., 1995.

Illustrations:

V.E. Tat-lin. "Blue counter-rel-ef." OK. 1914. Private meeting. BDT archive;

L.M. Fox cue. "Le-nin-sky three-bu-na" (pe-re-ra-bot-ka project-ta three-bu-na for the square, 1920). 1924. Tret-yakov-skaya ha-le-rey (Mo-sk-va). BDT archive;

V.A. and G.A. Stan-bergy. Poster of the film “Che-lo-vek with ki-no-ap-pa-ra-tom” D. Ver-to-va. 1929. BDT archive;

L.S. By-by-va. The project of the stage-no-che-con-st-ru-tsi for the spec-so-la “Ve-li-ko-soul-ny ro-go-no-setz” based on the play by F. Krom-me-lin- ka (in a hundred-new theater by V. E. Mey-er-hold-da). 1922. Tret-yakovskaya ha-le-rey (Mo-sk-va). BDT archive;

A.M. Rod-chen-ko, V.V. Mayakovskiy. Advertising poster for Rez-ino-tre-hundred. 1923. BDT archive;

Building Gos-tor-ha in Mo-sk-ve. 1927. Ar-hi-tech-to-ry M.O. Barshch, B.M. Ve-li-kov-sky and others. Photo by A. I. Nagaev;

In-ter-er machine-shin-no-go for-la Dnep-ro-ge-sa. 1927-32. Ar-hi-tech-to-ry V.A. Weight-nin, N.Ya. Kol-li and others. BDT archive;

A.A. Ex-ster. Pro-ek-you mas-co-go-ko-sty-ma and pro-clothes. OK. 1923. BDT archive;

V.F. Step-pa-no-va. Ri-sun-ka project for fabric. 1924-25. BRE archive.

Constructivism(fr. constructivisme from lat. constructio - construction) - avant-garde style (method, direction), which was developed in the 20-30s of the XX century, the basis of the artistic image of which is not composition, but construction.

General characteristics of the style Constructivism

Design is one of the shaping techniques based on precise calculations of the physical properties of materials and the functions of an object. Design is one of the stages or components of the design process, mainly in the field of architecture and design. The purpose of design is the organization of the optimal functional connection of the elements of the composition. In history visual arts, including in applied artistic activity, constructivist tendencies exist in a “hidden form”. On the turn of XIX-XX centuries , in the wake of the anti-eclectic movement, Art Nouveau artists strove for a solid, clear constructive basis for composition in architecture and arts and crafts. In the Art Nouveau style, a curved line became such a constructive basis, in the geometric style of the Austrian and English Art Nouveau - a square, a rectangle. The masters of these stylistic currents felt that extreme destructiveness destroys the composition. In the field of architecture, constructivist tendencies were reinforced by the introduction of new industrial technology and materials - iron, concrete, glass.

Constructivism in the interior is characterized by the aesthetics of expediency, the rationality of strictly utilitarian forms, cleansed of the romantic decorativism of modernity. Furniture of simple, strict, comfortable forms is created. The function, purpose of each item is extremely clear. No bourgeois excesses. Simplicity is brought to the limit, to such a simplification, when things - chairs, beds, wardrobes - become just items for sleeping, sitting.

A distinctive feature of the Constructivism Style in interior design is well-thought-out functional solutions and strict adherence to their requirements, compact volumes with a clearly defined frame, and technical clarity in the construction of an architectural form.

Constructivism is completely devoid of a mysterious and romantic halo. It was purely rationalistic, obeying the logic of design, functionality, expediency. The achievements of technical progress caused by the social conditions of life of the most developed capitalist countries and the inevitable democratization of society served as an example to follow.

History of style Constructivism

The birth date of constructivism is considered to be the beginning of the 20th century. Its development is called a natural reaction to the sophisticated floral, that is, plant motifs inherent in Art Nouveau, which rather quickly tired the imagination of contemporaries and aroused a desire to search for something new.

After the end of the First World War, constructivism in furniture gained an important position, relying on the authority of architects, whose innovative buildings sometimes served as their interiors to demonstrate furniture experiments. Compared with previous styles, such as Baroque and Empire, Constructivism stands out for the lack of stucco decoration. Widely used built-in niches, lights. Furniture in the style of Constructivism is characterized by mobility and functionality. The Constructivism style in the interior is quite concise and clear, but not without unpredictability and bright artistic solutions.

The crisis of modernity came quite quickly and already at the end of the first decade of the century it began to be supplanted by a new style: constructivism. At the heart of this new movement in European architecture and the art industry was an aesthetics of expediency, suggesting rational, strictly utilitarian forms, cleansed of the decorative romance of modernity.

The theoretical substantiation of "thingness" was given by the Viennese architect Adolf Loos. In his books, he mercilessly attacked all sorts of excesses in construction and art-industrial practice; in his opinion, the use of ornament is tantamount to a crime. A residential building begins to be interpreted as a “single form” that does not tolerate any decor; development is underway towards complete “thingness”: from forms generated by the artist’s fantasy to “necessary”, “true” or “pure” forms. Some prominent masters who until recently actively contributed to the establishment of modernity, such as Henri van de Velde, as well as Peter Behrens, Hermann Muthesius, Walter Gropius, also turned out to be in the ranks of the new direction.

Features of the style Constructivism

Unlike the interiors of the previous modern era, reminiscent of a cozy shell, the houses of the constructivists were calling to the future. high technology, machine production and futuristic metropolises. The design schools created at that time taught not to create separate, albeit ingenious things, but to design the environment as a whole, creating the whole world of objects surrounding a person. At the same time, the main thing was not the appearance, but the functionality of the items. Furniture was considered as a seating apparatus, its appearance was dominated by rectangular planes and clear structures.

The premises in the era of Constructivism, the era of the new century and the new time, have changed. The concept of “zonal division” in the interior disappeared, unnecessary partition walls disappeared, the space of the rooms became more spacious, preference was given to movable partitions, rather than separate small rooms and corridors. The forms of furniture were dominated by rectangular planes and clear lines, floor-to-shelf windows, which created a feeling of moving forward, towards the new and unknown. Minimal decor and maximum functionality, lack of ornament and shining metal, colors: black, white, red, yellow, blue - this is the style of Constructivism.

The simplicity of Constructivism is brought to the limit, to such a simplification, when things - chairs, beds, wardrobes - become just objects for sleeping, sitting. Compared with previous styles, such as Baroque and Empire, Constructivism stands out for the lack of stucco decoration. Widely used built-in niches, lights.

Furniture in the style of Constructivism is characterized by mobility and functionality. The Constructivism style in the interior is quite concise and clear, but not without unpredictability and bright artistic solutions.

All things designed by constructivists - furniture and interiors in general - were distinguished by maximum functionality and minimal decor. The ornament was completely absent in them, color accents were allowed - the brilliance of metal, noble black, pure white and saturated simple colors - red, yellow, blue. These colors were considered a reflection of the philosophical and spiritual values ​​of the era.

Constructivist artists create innovative fabrics, clothes, dishes, in which clear and simple color spots in combination with clear spiky lines and catchy fonts created posters characteristic of the era.

Conclusion

Constructivism in the architecture of buildings manifested itself in the appearance of “functional housing” focused on certain categories of citizens, one of the examples of this appearance small apartments. At this time, the first norms for the footage of the area of ​​\u200b\u200bthe premises appeared, which were considered the most suitable for the dwelling of a worker and planted as a kind of socio-architectural ideal. The use of new technologies of that time, monolithic concrete, metal frame, prefabricated concrete structures, allowed to increase the pace of construction and reduce the construction time of buildings. This era brought the principles of simplicity and harmony and integrity to the interior, some of which are still relevant today.

Of all the minimalist (or international) styles, constructivism has taken root especially strongly in the territory. Soviet Union. In his ideology, he extols the concept of the utilitarian nature of art, creativity for good, harmony.

Art Nouveau heritage

In the history of architecture, design, arts and crafts, a new trend does not arise from scratch. In this regard, modern for constructivism became the starting point, they were united by the desire for a clearly designed compositional basis.

At the turn of the 19th and 20th centuries, Art Nouveau supporters chose as the fundamental form wavy line, representatives of Art Nouveau from England and Austria - a square and a rectangle. Improved production technology and materials gaining popularity - concrete, iron, glass - strengthened the position of constructivists in architecture.

The first objects in the new style are the glass pavilion for the London World Exhibition (1851) and the Eiffel Tower, built for the same event in Paris in 1889.

The beginning of the direction was laid, but only Soviet architects in the 1920s fully formalized the idea into a theory, implemented it in construction and introduced the term-name into use. Therefore, the style of constructivism is considered to be created in Russia. This is how, for example, the project of the pavilion of the Soviet Union looked at the Paris exhibition in 1925.

New Design Method

The country lived in a transitional period between war communism and the NEP. Social stratification manifested itself, among other things, in aesthetic ideas: the feigned Nepman luxury was opposed by the proletariat class with the conscious asceticism of clothing, home furnishings, and the appearance of buildings.

Simple forms evoked associations with a new style of relations between people - democratic. In the theory of constructivism, the utility of a thing was proclaimed paramount, which is a bare construction "without the ballast of figurativeness" (the words of the architect A. Vesnin). Works of art, on the contrary, were considered only objects of unnecessary luxury and the result of vain labor. Naturally, the usual spatial compositions and external decor have faded into the background.

Constructivist architects - the Vesnin brothers, Moses Ginzburg, Konstantin Melnikov, Ilya Golosov, Ivan Leonidov, Vladimir Tatlin - formulated a functional design method. It was based on a thorough analysis of the functioning of residential and industrial buildings. For each function, the most rational form (space-planning solution) was selected. In this concept, workers' clubs, bus depots, department stores, communal houses were built.

Two directions of architectural constructivism

On the wave of enthusiasm for the new trend, the most incredible projects of urban structures were created, glorifying the aspiration of the Soviet state to the future. Among them, two approaches stand out.

Proponents of radical constructivism offered extravagant and experimental works that rarely came to fruition.

Such are the hanging restaurant of Vasily Simbirtsev, the flying city of Georgy Krutikov, the glass pavilions of Konstantin Melnikov, the towers of El Lissitzky crowned with wide "horizontal skyscrapers". Institute project. Lenin, authored by Ivan Leonidov, combined a spherical auditorium for 4,000 people and a vertical parallelepiped of a book depository.

The project of a monument to the Third International became famous, but never realized - its architect Vladimir Tatlin proposed to build a tower 400 meters high, consisting of inclined metal spirals and beams, and suspended rotating rooms in the form of a glass cube, pyramid and cylinder were placed inside the composition.

Fantastic though these works, although they remained on paper or in the form of models, inspired other constructivist architects to new ways of using steel, concrete and glass.

On the other hand, practitioners worked who directed their creativity in a more utilitarian direction and as close as possible to the requirements of modern life.

The main task of the adherents of classical constructivism was comfort for Soviet citizens at work, at home and leisure. Of course, with an eye to the dominant ideology of socialization and the rejection of individuality. It is in the traditional approach that the differences in the architectural style were identified, which we will discuss in more detail.

Features of constructivism

Among the international (minimalistic) trends, constructivism stood out for its desire to combine the functionality of a building with artistic means of expression. And this problem was solved not with the help of decor, but with work with materials and form.

This is the main difference from the congenial functionalism, which also professed exceptional practicality and simple presentation. Functionalist architects turned to discreet, stingy volumes and materials because they are comfortable; but the Vesnin brothers and others saw in them a technique of expressive art.

• solidity

The characteristic features of constructivism include, first of all, the visual integrity of the image of the building. The skill of the designers of those times is that the geometric segmentation does not violate, but rather emphasizes the compositional unity.

• Segmentation

We are talking about a clear architectural division into separate figures and sections, which is characteristic of almost all minimalist styles. But if functionalism allows for the visual disintegration of the facade into components, then here the fragmentation was carried out in the context of the integrity of the building.

• scale

Among the signs of constructivism, this one is perhaps the most recognizable. In defiance of the emphasized man-made structures, popular among NEPmen, the architecture of the proletariat relied on size. Palaces of culture, editorial offices of central newspapers, garages of state institutions were built multi-storey, stretched horizontally and upwards. In a modern city, they still give the impression of being huge.

• Volumetric solutions

The architectural forms of constructivism are distinguished by a great variety in comparison with functionalism. The style is characterized by massive supports, flat roofs, elongated window openings. Parallelepipeds turn into cylinders and cubes, large window circles dilute the plane of the square facade, complex protruding volumes are interspersed with smooth piers, rectangular projections complement the streamlined semicircular balconies. During the construction of houses in the style of constructivism, sections of different geometry were not piled up randomly: one form logically passed into the next one, creating an integral exterior image.

• materials

Leading - concrete, glass, metal. Their use was limited by the then level of building technologies, but even the available resources made it possible to create objects that were unusual in appearance and internal layout. Rough surfaces, transparent glazing work as artistic techniques.

• Expressive means

One of the notable characteristics of constructivism is the rejection of decoration. Architects new wave denied historical continuity, and therefore easily left the embellishment of classical styles. The tools of expression were the verticals and horizontals of the structure, the rhythm of the building structures themselves. At the same time, small divisions were eliminated, the volumes were enlarged, and the appearance of the facade was simplified.

• Color spectrum

The ascetic perception of the decor affected the embellishment not only in plastic, but also in color. The main features of constructivism include an even, muted palette. Most of the buildings are designed in gray, light beige, white colors. The exception is the buildings of car park garages, built of red brick.

Examples of constructivism in the architecture of Moscow

The innovative principles of work and leisure of Soviet citizens were implemented in the palaces of culture, residential buildings, and department stores under construction. Here are some characteristic objects.

The building of the newspaper "Izvestia"

1925-1927
The work of Grigory Barkhin and Arthur Loleit. Appearance the structure resembles a lattice assembled from supports and beams, the windows-portholes at the top are the editor-in-chief's office. Initially, the brick walls at the final stage were plastered under the then very fashionable concrete.

House of Culture. CM. Zueva

1927-1929
The working club was built according to the project of Ivan Golosov. One can feel the influence of cubism and the author's desire to give a resemblance to an industrial facility. In the center of the composition is a glass cylinder with a staircase inside. The windows overlook the tram park.

House of Culture. I.V. Rusakova

1927-1929
Among the buildings in the constructivist style stands out the project of Konstantin Melnikov. The structure looks like a gear with three protruding parts on the front side - these are balconies adjacent to the auditorium. According to the author's layout, five halls were arranged inside, which were combined into one large one with the help of movable partitions.

Mostorg on Krasnaya Presnya

1927-1928
The first constructivist building by the Vesnin brothers. A large area of ​​facade glazing performed not only a utilitarian, but also an ideological task: it demonstrated to the Soviet people the abundance of goods produced in the country. On the roof, the architects placed ventilation shafts that blow over the shop window and protect the glass from frost.

The fourth floor was allocated for technical and warehouse premises, and huge letters "Mostorg. General Store" were placed outside.

Palace of Culture of the Likhachev Plant

1931-1937
Another example of the implementation of constructivism in the architecture of the authorship of the Vesnin brothers. They used Le Corbusier's theory in their work and applied a free layout, they made the roof flat, the windows were elongated, and supporting pillars were installed in place of the load-bearing walls. The palace included several large buildings (exhibition, lecture, cinema and concert halls, an observatory, classrooms for classes, a winter garden, a library on three floors). External forms repeated the internal layout of individual sections.

Garage for cars VAO "Intourist"

1934
Work on the main facade was entrusted to Konstantin Melnikov. He created a composition geometric shapes: circle, triangle, rectangle. Inside the building behind a glass screen, like behind a shop window, flashed cars moving along a spiral ramp.

Communal houses of the era of constructivism

The projects, the idea of ​​which reflected the views of architects on the theme of hostel, equality and freedom, deserve special mention. Residential buildings in constructivism were seen as communes, where the sleeping area was combined with a dining room, laundry, gym, even a kindergarten.

The advantages and disadvantages of this approach were among the first to be experienced by students. The hostel building of the Moscow Textile Institute, located on the street. Ordzhonikidze (designed by Ivan Nikolaev, 1930-1931) was a long parallelepiped. Inside there were 1000 sleeping cabins. In each such cell with sides of 2.3 x 2.7 m there were two beds and two bedside tables, and only sleeping was allowed here.

In the morning after getting up, the student went along the conveyor: to the shower room, the room for physical exercises, put himself in order in the locker room, then came to the dining room. It was possible to prepare for studies in individual booths. A library, an assembly hall were also placed inside the hostel, and an open terrace occupied the flat roof. How comfortable it was to live like this is not known for certain.

But it is known that in the 1960s the layout of the building was reconstructed, and the "conveyor" way of life was abandoned. Today, students still live here, and the exterior and interior have been updated.

In the architectural style of constructivism, a communal house for Narkomfin employees is also sustained. Project of 1930 by Moses Ginzburg and Ignatius Milinis. The idea is based on a multifunctional complex of living rooms, a factory-kitchen, a reading room and a sports hall, office space.

But the main value of this object is in the use of innovative materials and designs. The frame of the building is made of monolithic reinforced concrete (for the first time in Soviet residential construction), three rows of concrete pillars pass through all floors and hold the floors. It turns out that the walls do not bear the load, and it became possible to perform continuous tape glazing on the facade. Internal partitions were erected from fiberboard and bentonite hollow stones.

Most Moscow buildings built in the constructivist style have survived to this day in a deplorable state without proper maintenance. But a number of objects are trying to be restored to their former glory. This is how it should look former home Narkomfin after restoration.

Revival of ideas

The flowering of constructivism as an architectural movement took one decade. In the early 1930s, the political situation in the country changed, and innovative trends were recognized as bourgeois. Avant-garde architects fell into disgrace, and proletarian asceticism was replaced by the magnificent design of Soviet neoclassicism.

In the 60s and 70s, the ideas of functional design returned on the wave of political struggle with excesses. And we are experiencing another appeal to style today, and not in an urban context, but in private suburban construction.

Modern constructivism: residential buildings with an emphasis on convenience

Details about modern country houses, about their design.

Constructivism is outstanding achievement Soviet architecture, a new trend and a unique look at the form and functionality of buildings. As an architectural trend, constructivism arose in the 1920s in the Soviet Union and was characterized by rigor, geometrism, laconic forms and the functionality of buildings. The leaders of constructivism are considered to be the architects Vesnins, Ginzburg, Golosovs, Melnikov, Leonidov.

The development of architecture is inextricably linked with the development of society - historical context and rethinking the functions of buildings, and with technological progress - the invention of new materials, mechanisms. Both of these factors influenced the emergence of a new style in architecture - constructivism. Firstly, the new ideology did not recognize the attributes that personified a certain social position of a person in a class society; only wasted labor and the desire to show one's wealth were seen in luxury goods. The ostentatious luxury was opposed by deliberately cultivated asceticism, which became the ethical and aesthetic norm for the ruling class of the country - the proletariat. Secondly, the industrial revolution and technological progress have already contributed - the invention of new building materials, first of all, allowed to implement new forms that would have been impossible before.

Constructivism is a direction of exclusively Soviet architecture (in the west, functionalism is closest to it). After the proletariat came to power, after the devastating civil war, the country began to recover and build, and this had to be done in a new way, rejecting the old canons. One of the first projects representing new approach to architecture, there was a project of the Vesnin brothers. In 1923, a competition was announced for the project of the Palace of Labor for Moscow, the third place in this competition was taken by the project of A. A., V. A. and L. A. Vesnin, which stood out for its innovative approach to the layout of premises, the use of building materials and the aesthetics of everything building. he spoke about this event and this project later: “Let them remember 1923, when a turning point took place in architecture, let them remember how they argued then that it was impossible to give the Vesnins an award for the Palace of Labor, because architecture would go the wrong way, then they gave the award to the architect Trotsky - however, in spite of everything, architecture has taken a new path." It is characteristic that before that the Vesnins designed mainly industrial buildings, that is, buildings in which the main thing is function, while their aesthetics follow from functionality, decoration is not such an important element.

This approach to the design of buildings turned out to be internally very consonant with the slogans of the new country, the rejection of "art for art's sake", and is also close to "production art, which called on artists to" consciously create useful things. "Production art" was only a concept, but the term "constructivism" itself was proposed by the ideologists of this particular direction: they often used the words "construction", "constructive", "construction of space". The two main ideas of the theory of production art were also shared by constructivist architects - the denial of the specifics of artistic labor (every labor is art, not only the labor of creating paintings, music) and the reduction of the problems of shaping to the production of a useful thing (only things that bring real benefit should be created). , only for beauty it is not necessary to create things). Also, the development of constructivism was influenced by the innovative art trends of the early 20th century: futurism, suprematism, cubism, purism.

Early constructivism

Speaking of early period constructivism, the researchers emphasize two characteristic features of it. Firstly, this is originality in the artistic issues of shaping: at that time, Western architecture and its latest trends had practically no influence on constructivist architects, they developed in their own direction, with practically no contact with Western colleagues. Secondly, this is the desire to find architectural means of expression: having abandoned architectural decoration, the constructivists did not replace it with painting or sculpture, did not seek to decorate the building through them, but experimented and looked for new possibilities precisely in architectural techniques. Although, of course, the synthesis of architecture and the surrounding space - signboards, shop windows, city clocks, etc. - was. Constructivism includes not only the architectural trend, but also the general trend in Soviet art of those years, Brik, Rodchenko, Mayakovsky considered themselves constructivists, and they sought to create a common aesthetics of both buildings and other elements of the urban environment.

The basic principles of constructivism as an architectural trend were formulated in the speeches of A. A. Vesnin and M. Ya. Ginzburg, under whose leadership in 1926 the social organization OSA - Association of Contemporary Architects. This official creative organization constructivists developed their own design method based on an analysis of the features of the functioning of buildings: each function corresponds to the most rational space-planning structure, that is, the form corresponds to the function. The OCA association published the journal "Modern Architecture", held exhibitions, congresses, conferences. In 1930, the OSA was transformed into SASS (Sector of Architects of Socialist Construction) under the All-Union Architectural and Scientific Society and existed until 1932, when the Union of Architects of the USSR was created.

Artistic means of constructivism

From project to project, a set of means and techniques of constructivism was gradually formed: more and more free handling of the frame structure - from subordination to it to the use of all its constructive capabilities for solving various problems; a tendency to create an increasingly laconic composition - enlargement of the form, elimination of small articulations, simplification of the facade. In the mid-1920s, Le Corbusier, who came to the Soviet Union, had some influence on the constructivists, whose original means and methods were close to the ideology of the Soviet avant-garde. But by the end of the decade, constructivism again moved away from Western ideas and continued to develop in its original course, and the emergence of new bright constructivist architects - I. Leonidov, the Golosov brothers, M. Barshch, V. Vladimirov contributed to this.

New ideas for organizing the work and life of the Soviet people were directly reflected in the buildings that were being erected at that time. Constructivists design houses of culture, clubs, industrial buildings and residential buildings that correspond to the spirit of the time. The most grandiose project of the house of culture was the project of the Vesnin brothers, which was not fully implemented, but nevertheless became one of the landmark works of constructivism: the house of culture of the Proletarsky district of Moscow (ZiLa Palace of Culture). It was built in 1931-1937, when creating the project, Le Corbusier's five principles were used: pillars instead of walls, free planning, free design of the facade, elongated windows, and a flat roof. The shape of the building was determined by the functions incorporated in the palace of culture, and the internal layout of its individual cells.

commune houses

A separate interesting phenomenon was the house-commune, which was built in line with the Soviet ideology. In 1930 - 1931, on Ordzhonikidze Street in Moscow, a dormitory-commune of the Textile Institute was erected according to the project of I. Nikolaev. The concept of the project was to streamline and typify the life of students, each period of the daily routine had to correspond to a separate room - a sleeping cabin, a sanitary building, a gym, etc. Accordingly, the architectural design of the building was subordinated to this mode of functioning of students: transitions from one building to another, the area of ​​various rooms and the internal communications serving them, the shape and area of ​​the windows.

Neoclassicism versus constructivism

In the early 1930s, the political situation in the country changed, and in architecture the influence of architects who preached styles completely opposite to constructivism - Shchusev, Zholtovsky - increased. In 1932, Zholtovsky built his famous house on Mokhovaya, completely designed in the spirit of neoclassicism, which was immediately called "the nail in the coffin of constructivism." Influential admirers of richly decorated buildings supported just such a style; the ascetic romance of constructivism became less in demand. The avant-garde trends in architecture began to be sharply criticized, and then completely banned as bourgeois. Constructivism fell into disgrace, many young architects who started out as constructivists reconsidered their views in favor of neoclassicism. Some constructivist architects, for example, I. Golosov, the Vesnin brothers, were able to fit into the situation of the 1930s and continue their activities, but they no longer had such authority as before.

After constructivism

Constructivism strongly influenced the entire Soviet architecture, even though it gave way to neoclassicism and

Constructivism is a trend in Soviet art of the 1920s. (in architecture, design and theatrical-decorative art, poster, book art, artistic design). Proponents of constructivism, putting forward the task of "designing" the environment that actively guides life processes, sought to comprehend the shaping possibilities of new technology, its logical, expedient designs, as well as the aesthetic possibilities of such materials as metal, glass, wood. The constructivists sought to oppose the ostentatious luxury of everyday life with the simplicity and emphasized utilitarianism of new objective forms, in which they saw the reification of democracy and new relations between people (the Vesnin brothers, M. Ya. Ginzburg, etc.). The aesthetics of constructivism largely contributed to the formation of Soviet artistic design (A. M. Rodchenko, V. E. Tatlin and others). In relation to foreign art, the term is arbitrary: in architecture it is a trend within functionalism, in painting and sculpture it is one of the trends of avant-garde. In architecture, the principles of constructivism were formulated in the theoretical speeches of A. A. Vesnin and M. Ya. Ginzburg, practically they were first embodied in the project of the Palace of Labor for Moscow created by the brothers A. A., V. A. and L. A. Vesnin (1923 ) with its clear, rational plan and the structural basis of the building (reinforced concrete frame) identified in the external appearance. In 1924, a creative organization of constructivists, the OSA, was created, whose representatives developed the so-called functional design method, based on a scientific analysis of the features of the functioning of buildings, structures, and urban complexes. Along with other groups of Soviet architects, constructivists (the Vesnin brothers, Ginzburg, I. A. Golosov, I. I. Leonidov, A. S. Nikolsky, M. O. Barshch, V. N. Vladimirov, etc.) searched for new principles plans of populated areas, put forward projects for the reorganization of life, developed new types of public buildings (Palaces of Labor, Houses of Soviets, workers' clubs, kitchen factories, etc.). However, in its theoretical and practical activities the constructivists made a number of mistakes (the attitude to the apartment as to " material form”, schematism in the organization of life in some projects of communal houses, underestimation of natural and climatic conditions, underestimation of the role of large cities under the influence of the ideas of deurbanism).

The aesthetics of constructivism in many ways contributed to the development of modern artistic design. On the basis of the developments of constructivists (A. M. Rodchenko, A. M. Gan and others), new types of utensils, fixtures, and furniture were created that were easy to use and designed for mass production; artists developed designs for fabrics (V. F. Stepanova, L. S. Popova) and practical models of work clothes (Stepanova, V. E. Tatlin). Constructivism played a significant role in the development of poster graphics (photomontages by the Stenberg brothers, G. G. Klutsis, Rodchenko) and the design of the book (the use of the expressive possibilities of type and other typesetting elements in the works of Gan, L. M. Lissitzky and others). In the theater, the constructivists replaced traditional scenery with "machines" subordinated to the tasks of stage action for the work of actors (works by Popova, A. A. Vesnin, and others on the productions of V. E. Meyerhold, A. Ya. Tairov). Some of the ideas of constructivism were embodied in Western European (W. Baumeister, O. Schlemmer and others) fine arts.

In relation to foreign art, the term "constructivism" is largely arbitrary: in architecture, it denotes a trend within functionalism, which sought to emphasize the expression modern designs, in painting and sculpture, one of the areas of avant-garde, using some formal searches for early constructivism (sculptors I. Gabo, A. Pevzner) Constructivism (from lat. constructio - construction) - artistic direction in art series European countries beginning of the 20th century, which proclaimed that the basis of the artistic image is not composition, but construction. Constructivism found its fullest expression in architecture, design, applied design, theatrical decorative art, printed graphics, book art; expressed in the desire of artists to turn to the design of things, the artistic organization of the material environment. AT artistic culture In Russia in the 1920s, the constructivist architects Vesnin brothers and M. Ginzburg relied on the possibilities of modern building technology.

They achieved artistic expressiveness by compositional means, by comparing simple, laconic volumes, as well as by the aesthetic possibilities of materials such as metal, glass, and wood. Artists of this trend (V. Tatlin, A. Rodchenko, L. Popova, E. Lissitzky, V. Stepanova, A. Exter), having joined the movement of industrial art, became the founders of Soviet design, where the external form was directly determined by function, engineering design and material processing technology. In the design of theatrical performances, the constructivists replaced the traditional pictorial scenery with transformable “machines” that change the stage space. The constructivism of printed graphics, the art of the book, and the poster is characterized by stingy geometric forms, their dynamic layout, limited color palette (mainly red and black), widespread use of photography and typesetting typographic elements.

Characteristic manifestations of constructivism in painting, graphics and sculpture are abstract geometrism, the use of collage, photomontage, spatial structures, sometimes dynamic. The ideas of constructivism matured in the previous directions of the Russian avant-garde. His program, which was formed in the post-revolutionary period, bore the features social utopia, since artistic design was conceived as a way of transforming social life and consciousness of people, designing the environment.

Constructivism. Direction abstract art originated in Russia in 1913. Constructivism abandoned traditional ideas about art in the name of imitation of the forms and methods of the modern technological process. This was most clearly manifested in sculpture, where the structure was created directly from the products of industrial production. In painting, the same principles were implemented in two-dimensional space: abstract forms and structures were placed on a plane like an architectural drawing, reminiscent of elements of machine technology. Although constructivism existed in Russia only in the first post-revolutionary years, its influence was felt throughout the 20th century. see Gabo, Lissitzky, Mohoy-Nagy, Popova, Rodchenko, Tatlin About the poetic movement In terms of its principles, theoretical platform, the breadth of the creative views of its participants, and, finally, in terms of the duration of its existence, constructivism could well claim to be considered independent literary movement. The poetic principles declared (and implemented) by the constructivists in practice, unlike many pseudo-independent poetic groups of that time, really differed in “faces with a non-general expression”.

In addition, constructivism put forward many well-known names. And yet, it is usually not customary to single out constructivism as a separate poetic trend. Perhaps because he was too utilitarian (meaning "applied") character. In contrast to the tasks of this trend in other areas of art, which put forward the idea of ​​constructing a material environment, human environment, to create simple, logical, functionally justified forms (architectural projects of the Vesnin brothers, M. Ginzburg, I. Leonidov; posters, books, theatrical scenography by artists A. Rodchenko, V. Tatlin, L. Lissitzky), in poetry, constructivism manifested itself in the orientation to a rational "construction of material" instead of an intuitively found style. However, another explanation is possible. It has already been said above that one of the "mandatory" conditions for the formation of a new poetic trend was the presence of an "external enemy" - the point of application of the creative efforts of the members of the group, in the struggle against which the formation took place. The constructivists, by and large, had no one to argue with, except themselves. Sluggish attacks on futurism could hardly deceive anyone, since the “construction” of a poetic text goes back to the principles proclaimed by the ideologist of futurism F. Marinetti, who sought to reflect the dynamism of modern machine civilization and technical progress. True, for this purpose the futurists used somewhat different means, resorting more to experimenting with vocabulary and syntax. However, the methods were very similar - the transfer of the center of gravity from the image of a person to the image of his material and technical environment.

The constructivists as an independent literary group first announced themselves in Moscow in the spring of 1922. Its first members were the poets A. Chicherin, I. Selvinsky and the critic K. Zelinsky (group theorist). Initially, the program of the constructivists had a narrowly formal orientation: the principle of understanding a literary work as a construction came to the fore. In the surrounding reality, technical progress was proclaimed the main one, the role of the technical intelligentsia was emphasized. Moreover, it was interpreted outside social conditions outside the class struggle. In particular, it was stated: “Constructivism, as an absolutely creative school, affirms the universality of poetic technique; if modern schools, one by one, cry out: sound, rhythm, image, zaum, etc., we, emphasizing and, say: And the sound, And the rhythm, And the image, And zaum, And every new possible device in which the real a necessity when installing a structure Constructivism is the highest skill, deep, exhaustive knowledge of all the possibilities of the material and the ability to thicken in it. But in the future, the constructivists gradually freed themselves from these narrowly defined aesthetic frameworks and put forward broader justifications for their creative platform. in literary and artistic life countries, it was the representatives of modernism who took the most active part in those years, and many of them turned out to be by no means unwitting conductors of the prevailing in that era political ideology. Here, for example, is the opinion of a well-known illustrator from the association of the so-called “production book” O. Chichagova: “In essence, constructivism denies art as a product of bourgeois culture. Constructivism is an ideology that arose in proletarian Russia during the revolution, and like any ideology, it can be viable and not built on sand only when it creates a consumer for itself; and therefore - the task of constructivism is the organization of communist life through the creation of a constructive person. The means to this are intellectual production - invention and improving production - technology. That is, there was a substitution of concepts: the methodology of constructivism was now placed in direct dependence on ideological principles. Here the first disagreements arose, in connection with which Chicherin departed from constructivism, and a number of authors grouped around Selvinsky and Zelinsky: B. Agapov, Dir Tumanny (N. Panov), V. Inber, E. Gabrilovich. In 1924, the Constructivist Literary Center (LCC) was organized. Later they were joined by N. Aduev, V. Lugovskoy, A. Kvyatkovsky, V. Asmus, E. Bagritsky, N. Ognev, N. Ushakov, as well as a group of young poets: V. Gusev, G. Katz, I. Koltunov, A. Kudreiko (Zelenyak), K. Mitreikin, L. Lavrov, and others, jokingly referred to as "Konstromolets". At first, the meetings of the constructivists took place alternately in the apartments of one of the members of the LCC, and from 1927 they began to gather in the “Herzen House” on Tverskaya Street (d. 25). First of all, the LCC Declaration stated that “constructivism is thoughts and public mindsets ordered into a system, which emphatically reflect the organizational onslaught of the working class,” and then it was said that art needs the closest possible participation of constructivists in the construction of socialist culture. From this arises the attitude to saturate art (in particular, poetry) with modern themes. Declaration of the Literary Center of Constructivists (LCC) The main provisions of constructivism.

1. The nature of modern production technology, rapid, economic and capacious, also influences the methods of ideological representations, subordinating all cultural processes to these internal formal organizational requirements.

The expression of this increased attention to technical and organizational issues is constructivism.

2. Here, in the USSR, constructivism acquires a broad social and cultural meaning, due to the need to cover the distance in a relatively short time that separates the proletariat, as a culturally backward class, from modern high technology and the entire developed system of cultural superstructures, which, in an increasingly throughout the world of class struggle, are used by the bourgeoisie, also as technical instruments of struggle.

3. The organizational design of this task is constructivism.

4. Thus, constructivism is thought and social mentality ordered into a system, which emphatically reflects the organizational onslaught of the working class, forced in a peasant country, after gaining power, to build an economy and lay the foundation of a new socialist culture.

5. This onslaught in the field of culture rushes mainly on its technique in all areas of knowledge and skill, starting with the simple acquisition of literacy.

6. The carrier of the constructivist (i.e., assertive organizational) and cultural movement should be, first of all, the proletariat, and then intermediate social groups under the ideological and political influence of the proletariat.

7. Constructivism, transferred to the field of art, formally turns into a system of maximum exploitation of the theme, or into a system of mutual functional justification of all the constituent artistic elements, that is, in general, constructivism is a motivated art.

8. Formally, such a requirement rests on the so-called principle of cargoification, i.e., an increase in the load of needs per unit of material.

9. Right-wing social strata, intellectual and petty-bourgeois groups adapt the formal requirements of constructivism as aesthetic trenches for sitting out in them from the onslaught of revolutionary modernity, seeking to gain a foothold in the artistic theme. Then constructivism turns into a special easel genre, i.e., an unmotivated demonstration of the reception. This is equally true of painting and poetry. For the left social strata, this demand for maximum exploitation is naturally merged with the search for a great epochal theme and a tight form for it, which, by the logic of the plot, introduces prose techniques into the realm of poetry.

10. The principle of cargoification, as applied to poetry, turns into a requirement for the construction of verses in terms of local semantics, i.e., the deployment of the entire texture of the verse from the main semantic content of the topic.

11. The Literary Center of the Constructivists (LCC), which has made the aforementioned provisions its banner, is an organizational association of people united by the common goals of communist construction and whose task, through joint, practical study of the formal-technical and theoretical aspects of constructivism, is to give literature and, in particular, poetry, in today's cultural environment, effective meaning. Constructivists consider it necessary in their literary work to actively reveal revolutionary modernity both thematically and in its technical requirements.

In order to give this topic maximum effectiveness, constructivists put forward the principle of “cargoification” of the word, i.e., its maximum “densification”. This is achieved with the help of “local semantics”, which consists in concentrating all the visual and expressive means of the verse around the main semantic content of the theme “[B. Agapov in the poem“ Typist Topchuk ”comparisons, epithets, etc. are taken from clerical life:“ eyebrows , as the signature of the director of the trust”; in N. Panov’s poem about General Kornilov, the rhythm imitates a drum march, etc.], as well as by “introducing prose techniques into the field of poetry”, if this is dictated by the logic of the plot (for example, Selvinsky’s “Report”, or he has a series calculations and technical terms in "Pushtorg"). It also sharply criticized "right-wing social strata, intellectual and petty-bourgeois groups that adapt the formal requirements of constructivism as aesthetic trenches for sitting out in them from the onslaught of revolutionary modernity." Such a slide from the realm of art into the realm of ideology could not but affect the fate of constructivism as a poetic movement.

And although the LCC still claims a leading role, declaring: “Constructivism is replacing futurism both as a literary school and as a nihilistic worldview. Futurism has done its job. He was the grave-digger of bourgeois decadentism in the pre-revolutionary years. In its new guise - LEF, futurism continues its old work - the fight against the rotten rump. But the new literature, the new socialist culture will no longer be created by his hands. This new culture creates its own new style, its own new methods, and these are the methods of constructivism,” but in recent years the program of the constructivists in many ways resembled the program of the LEF they criticized.

The constant sharp criticism of the constructivists by Marxist theorists led in 1930 to the liquidation of the LCC and the formation of the "Literary Brigade of M. I", which became part of the federation of associations Soviet writers(FOSP), which carried out "unification of various groups of writers who want to actively participate in the construction of the USSR and believe that our literature is called upon to play one of the responsible roles in this area." In 1930, the Constructivist Literary Center, sensing the coming harsh changes, disbanded itself. In the early 1930s, the political situation in the country, and, consequently, in art, changed to a large extent. Innovative trends were first subjected to sharp criticism, and then they were completely banned, like ... bourgeois ones. As the constructivist M. Ginzburg correctly wrote, each era has its own style of art. The romantic-utopian, strict and revolutionary asceticism was replaced by the magnificent forms of the totalitarian baroque and the arrogant redundancy of Stalin's neoclassicism. The following fact seems strange - in the USSR there was a struggle against “right angles”, against “bourgeois formalism”, against “Leonidism”, and palaces in the style of Louis XIV began to be considered completely proletarian. The constructivists were in disgrace. Those of them who did not want to "rebuild" eked out a miserable existence until the end of their days (or even were repressed). However, Ilya Golosov, for example, managed to fit into the conjuncture of the 1930s and was able to create really interesting buildings. The Vesnin brothers also participated in the creative life of the USSR, but they no longer had such authority as before. According to some authoritative scientists in the USSR in 1932-1936. there was a "transitional style", conditionally called "post-constructivism". In the 1960s, when the struggle against "architectural excesses" began, they again remembered the developments of the constructivists. The study of their heritage has become mandatory for young architects. And since the early 1990s, many unrealized ideas of the 1920s have become a reality. An example would be shopping complex"Three whales" on the Minsk highway (made in the spirit of the twenties), elite housing in Moscow of various designs and other buildings of the modern metropolis. constructivism soviet art avant-garde

AT early XXI century, constructivism returns to architecture again. Now it is called Scandinavian, since its roots lie in the suburban housing construction of the Scandinavian countries. Scandinavian constructivism is characterized by an 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 the aesthetics of expediency, the rationality of strictly utilitarian forms. To date, Scandinavian constructivism has taken root 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 solved due to the large areas of glazing and spacious rooms in houses characteristic of Scandinavian constructivism. The rhythm of the lines and the emphasized rigor of geometry give the houses, made in the style of Scandinavian constructivism, their own unique look, and simplicity and naturalness, coupled with the use of natural materials, provide an attractive architectural solution. Such houses organically fit into the country landscape and are close in spirit to the aristocratic Petersburgers.

2. Constructivism in architecture

Significant progress in the 20-30s. 20th century reached architecture. The rapid growth of cities, industry, and the development of transport come into sharp conflict with the layout of old cities, which do not meet the new requirements, with their narrow, winding streets. The need to solve the complicated problem of transport services and provide normal sanitary and living conditions for the population, give rise to urban planning projects and new forms of resettlement of people. They are characterized by a desire to soften social contrasts in cities and eliminate excessive concentration of the population. Around large cities in some countries garden cities with individual residential buildings, industrial cities, workers' settlements, etc., with a strictly functional division of the territory, arise. The attention of architects was attracted by the tasks of not only industrial, but also mass housing construction, the development of residential complexes with economical standard apartments designed for the middle and low-paid category of people. More attention is paid to the design of districts, the architectural design of landscapes. A universal classification of streets and the principles of their combination are being developed, networks of city highways are being created, independent of transitional streets and cutting the city into a number of separate spaces. In the design of cities of a new type and large industrial enterprises the principles of the functional-constructive system, which originated at the turn of the 19th and 20th centuries, are increasingly being asserted. This style of architecture is called constructivism. In the history of Russian constructivism, professional architects designed all kinds of modular constructions of residential units, interconnected into large complexes, elevators moving along the outer walls, etc. Konstantin Melnikov is considered the coryphaeus of Russian (Soviet) constructivism. Starting with the construction of Russian pavilions on International exhibitions in the style of traditional wooden architecture, thanks to which he gained international fame, Melnikov moves on to designing very relevant buildings of a new (revolutionary) type and purpose - workers' clubs. Club them. Rusakov, built by him in 1927-28, has nothing in common either with the architecture of the previous century or with Art Nouveau architecture. Here, purely geometric concrete structures are organized into a certain structure, the shape of which is determined by its purpose.

The last remark applies to almost all modern and 20th century architecture and is defined as functionalism. In the architecture of constructivism, functionalism leads to the creation of dynamic structures, consisting of fairly simple formal elements, completely devoid 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" of everything unnecessary, decorative, non-constructive. It is the language of a new world that has broken with its past.

The emerging architectural image clearly conveys the dynamics artistic processes and life in post-revolutionary Russia, intoxication with modern technical possibilities. The architects of the constructivism style believed that all elements of the building, even such as signs, clocks, billboards, loudspeakers, elevator shafts, etc., should take part in creating the architectural image of a modern building, so the architect should also design all of them. Soviet constructivists concentrated their efforts on two major tasks: designing an exemplary socialist city and communal multi-apartment housing for workers - communal houses. Meeting the new needs of the socialist state, the constructivists were engaged in the design and construction of such types of buildings as offices, department stores, sanatoriums, printing houses, research centers, plants and factories, workers' clubs and hydroelectric power stations. The young Soviet architecture of the first post-revolutionary decades was really at the forefront of world architecture, implementing or creating on paper the most daring projects, including the famous Palace of Soviets, which could not be built on the site of the destroyed Cathedral of Christ the Savior. With the advent of Stalinist totalitarianism in the 30s, Russia is gradually losing its positions in architecture, and so far they have not been restored. An important milestone in the development of constructivism was the activity of talented architects - the brothers Leonid, Victor and Alexander Vesnin. They came to realize a laconic "proletarian" aesthetic, already having a solid experience in building design, in painting and in book design. (They started their career back in the Modern era).

For the first time, constructivist architects loudly declared themselves at the competition for projects for the building of the Palace of Labor in Moscow. The Vesnins' project was distinguished not only by the rationality of the plan and the correspondence of the external appearance to the aesthetic ideals of our time, but also implied the use of the latest building materials and structures. The next stage was the competitive design of the building of the newspaper "Leningradskaya Pravda" (Moscow branch). The task was extremely difficult - a tiny piece of land was intended for construction - 6 × 6 m on Strastnaya Square. The Vesnins created a miniature, slender six-story building, which included not only an office and editorial premises, but also a newsstand, lobby, reading room(one of the tasks of the constructivists was to group the maximum number of vital premises in a small area). The closest associate and assistant of the Vesnin brothers was Moses Yakovlevich Ginzburg, who was an unsurpassed theorist of architecture in the first half of the 20th century. In his book "Style and Age" he reflects that each style of art adequately corresponds to "its own" historical era. The development of new architectural trends, in particular, is due to the fact that "... continuous mechanization of life" is taking place, and the machine is "... a new element of our life, psychology and aesthetics." Ginzburg and the Vesnin brothers organize the Association of Modern Architects (OSA), which includes leading constructivists. Since 1926, the constructivists began to publish their own magazine - "Modern Architecture" (or simply "CA)". The magazine has been published for five years. The covers were designed by Aleksey Gan. In the late 1920s, constructivism began to spread outside the Soviet Union, becoming most widespread in Germany and the Netherlands. In the mid-60s - 70s, the traditions and ideas of constructivism found an unexpected continuation in the architecture of the so-called "high-tech", a trend that demonstratively exposes not only the work of architectural structures, but also engineering communications.

3. Constructivism in design and photography

Constructivism is a direction that is primarily 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, and artistic creativity. Constructivism in photography is marked by the geometrization of the composition, shooting from dizzying angles with a strong reduction in volume. Such experiments were carried out, in particular, by Alexander Rodchenko.

In graphic forms of creativity, constructivism was characterized by the use of photomontage instead of hand-drawn illustration, extreme geometrization, subordination of the composition to rectangular rhythms. The colors were also stable: black, red, white, gray with the addition of blue and yellow. In the field of fashion, there were also certain constructivist trends - in the wake of the global passion for straight lines in clothing design, Soviet fashion designers of those years created emphatically geometrized forms. Among fashion designers, Varvara Stepanova stands out, who, since 1924, together with Lyubov Popova, developed fabric designs for the 1st cotton-printing factory in Moscow, was a professor at the textile faculty of VKhUTEMAS, and designed models of sports and casual clothes. The most famous fashion model of those years was the notorious Lily Yuryevna Brik.