Soviet Constructivist Architecture – Blueprints and Realizations

The following pictures are examples of architecture built in the Soviet Constructivist style, a style founded by the Vesnin brothers (Aleksandr, Leonid, and Viktor) along with Moisei Ginzburg between 1923-1925.  Officially, the Society of Modern Architects (OSA) was the main organ for all Constructivist architecture.  However, I have also included pieces which clearly exemplify the Constructivist style, even if the architects involved were not technically members of OSA.  Both blueprints and photographs of the eventual realizations of their plans are shown here:

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Leonid Sabsovich, Urbanism, and the Socialist City [Соцгород] (1929-1931)

Sabsovich’s “The USSR in (literally ‘after’) 15 Years”

In July 1929, the economist Leonid Sabsovich sparked a debate regarding the future of Soviet urbanism with an article he wrote for Плановое Хозяйство (Planned Economy), entitled «Проблема города» (“The Problem of the City”).  Sabsovich was convinced that the major urban centers of the USSR were overcrowded and overpopulated; they needed to be reduced to a more manageable size, while preserving the industrial base they provided.  At the same time, he considered the countryside to be far too provincial and culturally isolated to remain in the state it was in at that point.  So Sabsovich proposed instead a uniform distribution of the population at regular intervals, of interconnected “socialist cities” — both industrial cities and “agro-cities.”  These would be evenly populated, with between thirty and fifty thousand inhabitants each.

Sabsovich’s position came to be called the “urbanist” vision of Soviet municipal reformation.  The widely-respected group of modernist architects — the brothers Leonid, Aleksandr, and Viktor Vesnin — endorsed his proposal.  They all saw Sabsovich’s proposal as a way to overcome what Marx, Engels, and Lenin had termed “the antithesis between town and country.”  Reduce the size of the filthy, noisy, and overcrowded mega-cities, Sabsovich argued, and disperse the population into new municipal units that could still maintain their industrial productivity.  Conversely, these measures would reorganize the largely peasant population of the various Soviet Republics and grant them access to the culture, education, and opportunity that larger towns would make available.  Quite ambitiously, Sabsovich thought that the entire population of the USSR could be redistributed accordingly within a period of ten years — or two five-year plans.  He thus wrote a wildly utopian book under the title of СССР через 10 лет (The USSR in 10 Years), elaborating his vision and stressing the practical feasibility of the plan.  Later, he would revise this figure to a more modest (but still outlandish) fifteen years, and stressed the central importance of this goal to the greater project of social transformation under communism.

Against Sabsovich’s notion of the middle-path between town and country, the sociologist Mikhail Okhitovich and the renowned Constructivist architect Moisei Ginzburg would oppose their idea of “disurbanism,” abandoning the notion of centralized resettlement altogether, advancing instead their notion of a “linear city.”  This would lead to the first major split in the editorship of the journal Современная архитектура (Modern Architecture), as Ginzburg and the Vesnins for the first time found themselves at odds with one another.  Luckily, by then, the position of main editor of the magazine had passed on to Roman Khiger, so the one side did not totally drown out the other.  Khiger clearly sided with Ginzburg and Okhitovich, however, and so Sabsovich was forced to promote his viewpoint from the pages of Плановое Хозяйство and the various books he managed to publish through Генплан (Genplan, the central planning agency of the Soviet Union at the time).  The Urbanist-Disurbanist dispute would continue through until 1931, when both sides were reigned in for utopian speculation.  At that point, a number of foreign architects — Le Corbusier and André Lurçat from France, and Bruno Taut, Hannes Meyer, and Ernst May from Germany — were called in to assist in the process of planning Soviet urbanism.  Their presence would in turn become unwelcome by 1937, at the height of the Stalinist terror, when the state would hand down the order that all foreign experts exit the country, under suspicion of “sabotaging” Soviet progress.

The following is the original journal article that sparked the whole controversy, reproduced in its entirety:

Леонид Сабсович – «Проблема города» – Плановое Хозяйство – (1929) – № 7

Lev Rudnev’s “City of the Future” (1925), before his turn to Stalinist neo-Classicism

Modernist architecture archive

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IMAGE: Lev Rudnev’s City of the future (1925),
before his turn to Stalinist neoclassicism

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An update on the Modernist Architecture Archive/Database I discussed a couple posts ago.  I’ve begun work on it, and have uploaded almost half of the documents I intend to include.  Only a few of the Russian ones are up yet, but I’m hoping to post them over the next couple days.  There are many more on the way.

Anyway, anyone interested in taking a look at this archive (arranged as a continuous text) can access it here.

However, this might not be the most convenient way to browse through it all.  For a more manageable overall view of each of the individual articles (detailing the author, title, and year of publication), click here.

Репринт Журнала Современная Архитектура [Reprint of the Journal Modern Architecture] (1926-1930)

I came across this advertisement yesterday while searching online for any articles on the early Soviet periodical Modern Architecture.  For those who don’t spend their time painstakingly researching long-dead avant-garde movements, this publication might not mean much.  However, it’s of great historical and theoretical importance — a project featuring a truly spectacular cast of characters.  The main organ for the OSA group of architectural Constructivists, Modern Architecture was edited first by the legendary theoreticians and architects Moisei Ginzburg and Aleksandr Vesnin, later coming under the editorship of Roman Khiger, after 1928.  Its layout was designed by Aleksei Gan, author of the seminal text on Constructivism in art, Конструктивизм (1922).  A number of young Soviet modernists contributed pieces to the journal: Mikhail Barshch, Ivan Leonidov, Nikolai Krasil’nikov, Kazimir Malevich, etc.  Articles by some of the most extraordinary foreign avant-garde architects and artists were also included: Le Corbusier, Walter Gropius, Ludwig Mies van Der Rohe, and Fernand Léger.

Needless to say, I was immediately overcome with excitement. You see, last winter I spent weeks at the New York Public Library, poring over their microfiche collection of the 1927-1930 editions of Modern Architecture (they didn’t have the volume for 1926).  I sat there using their clumsy old machines, struggling to center the pages exactly and bring them into focus by using the different microscopic lenses, only to make poor-quality printouts in the end.  So now that Tatlin press is re-releasing it in full, 80 years after Stalin’s government forced them to cease its publication, I can honestly say I’m stoked.  Here’s the description included in the ad:

ISBN 978-5-903433-12-4

редактор составитель — Эдуард Кубенский
вступительная статья — Жан-Луи Коэн
5 томов, 1076 стр., 24.0х34.0 см,
мягкая обложка, футляр, рус./фр./нем./англ.

Современная архитектура — иллюстрированный журнал «Государственного издательства», выходивший в Москве с 1926 по 1930 годы 6 раз в год. Журнал освещал вопросы современного градостроительства, жилой, промышленной и сельской архитектуры, типового проектирования, истории и теории архитектуры и строительства. Несмотря на короткий срок своего существования, журнал Современная архитектура — журнал-эпоха. В его реализации принимали участие ведущие мастера эпохи авангарда. Среди выдающихся имен, имевших отношение к журналу, можно назвать архитектора и бессменного редактора журнала Моисея Гинзбурга, автора проекта Дома Наркомфина; художников Алексея Гана и Варвару Степанову, занимавшихся версткой и дизайном издания и других. На его страницах публиковали свои работы Иван Леонидов и братья Веснины, Ле Корбюзье и Мисс Ван дер Роэ. Отдельной темой выступает в издание его графический строй, являющийся образцом передового дизайна своего времени. Сегодня эти журналы стали библиографической редкостью: растет цена информации, размещенной на их страницах. Об актуальности всего, что связано с эпохой русского авангарда в мире, не приходится говорить, это давно сформировавшаяся позиция. Анализ этого явления и его актуализация сегодня поможет еще раз осознать место России в мировом архитектурном пространстве.