To see the other types of publications on this topic, follow the link: Constructivism (Architecture).
Journal articles on the topic 'Constructivism (Architecture)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Constructivism (Architecture).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Galkina, Marina V. "Unrealized Architectural Projects of the 1920s: The Value of Constructivism Ideas." Observatory of Culture 16, no. 1 (March 26, 2019): 50–61. http://dx.doi.org/10.25281/2072-3156-2019-16-1-50-61.
Full textAbstract:
The article is devoted to one of the most interesting topics: the ideological heritage of constructivism and evaluation of its value. The novelty of the research is determined by the choice of its subject: unrealized projects of Soviet architects of the 1920s (I.I. Leonidov, K.S. Melnikov, V.A. Vesnin, A.A. Vesnin, L.A. Vesnin and N.A. Ladovsky) as a source of promising ideas for the architecture and design of the late 20th—early 21st century. The paper aims to assess the creative and artistic value of the unrealized projects of Soviet constructivists for the modern architectural design. The main result is the attempt to present a historical and conceptual overview of the origin and features of constructivism and rationalism as trends in urban planning. The 1920s, when the principles and trends in constructivist architecture were formed, became the time of development of a new production and architectural model. The combination of rationalist approach with utopian functionality of most of these projects was the reason for rejection of a truly constructivist trend in Soviet architecture in favor of the “Stalin Empire Style”, and later — deconstructivism. The problematics of constructivist solutions of the 1920s in the field of urban planning and environmental management largely determined the methodology of architectural space organization of the USSR cities in the 1930s, when the standard of “industry oriented” socialist society became a priority. The author considers theoretical studies and scientific publications about the works of Soviet constructivist architects, gives examples of explicit translation of the principles of constructivism in the 21st century architecture, and makes an assumption about the relationship between the ideological heritage of Soviet constructivists and the artistic and creative process of modern architects and designers (founders of high-tech style R. Piano, N. Foster; deconstructivists F. Gehry, Z. Hadid, D. Libeskind).The article concludes that the constructivist images and stylistics of the analyzed period, though not translated by modern designers and architects “directly”, become the basis for implementation of new conceptual solutions.
2
Lodder, Christina. "Constructivism: Pragmatic Utopianism." Koinon 3, no. 2 (2022): 119–46. http://dx.doi.org/10.15826/koinon.2022.03.2.020.
Full textAbstract:
This article provides an overview of the history of Constructivism and its essential theory and practice in Soviet Russia of the 1920s and early 1930s, focusing particularly on various areas of design activity, including architecture and furniture, graphic design and photography, sculpture and textiles. Consequently, it analyses in detail several designs that embody most clearly the Constructivist approach. Some of these were produced by the original members of the Working Group of Constructivists (Aleksandr Rodchenko, Varvara Stepanova, Aleksei Gan, etc.), while others were devised by artists who never officially joined the group but embraced Constructivist ideas (The Vesnin brothers, Gustavs Klucis [Gustav Klutsis], Lyubov Popova, Vladimir Tatlin, etc). The author acknowledges that the Constructivists’ aspiration to transform the Soviet material environment could be considered utopian in the conditions of Russia’s social, economic, and industrial circumstances of the early 1920s, but she stresses that there was also a very strong element of pragmatism in Constructivist theory and practice, which is evident in the way they tackled real problems and offered eminently practical solutions to everyday difficulties. This argument is supported by detailed analyzes of certain Constructivist objects.
3
Mzhelsky, V. M. "CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 125–37. http://dx.doi.org/10.31675/1607-1859-2019-21-4-125-137.
Full textAbstract:
Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.
4
PISKUNOVA, Larisa, Liudmila STAROSTOVA, and Igor YANKOV. "THE ARCHITECTURE OF CONSTRUCTIVISM: THE CREATIVE TRANSFORMATION OF AESTHETIC CODES AND NARRATIVES." Creativity Studies 11, no. 1 (April 20, 2018): 56–69. http://dx.doi.org/10.3846/cs.2018.540.
Full textAbstract:
Abstract The architecture of constructivism (functionalism) has a kind of symbolic meaning associated with the modernist project. The authors conducted a study of the architectural avant-garde of Sverdlovsk, Russia which showed that the weak perception of the historical and cultural importance of constructivist buildings and complexes is associated not only with the lack of the people awareness, but also with the underestimation of their aesthetic value. Meanwhile, the study of space-planning solutions for specific architectural projects reveals really conceptual aesthetics of the buildings. In addition, the study of the social history of constructivist architectural complexes, conducted by the authors, helped us to identify and articulate their cultural and historical significance and to highlight in a creative way the visual perception of these architectural reference markers in the space of the city. The authors also rely on their own experience of the exhibition, publication and sightseeing activities. The analysis of this experience allows the authors to draw some conclusions about the practice of developing and shifting the visual perception of constructivist monuments by the people. The originality of the presented approach to the study of architecture is an appeal to the social history of architecture which helps to enhance its aesthetic value.
5
Srebnik, Anita. "Theo van Doesburg, Vladimir Tatlin en de constructivistische reis naar de vierde dimensie." Neerlandica Wratislaviensia 28 (June 26, 2019): 183–202. http://dx.doi.org/10.19195/0860-0716.28.14.
Full textAbstract:
Theo van Doesburg, Vladimir Tatlin and the constructivist journey to the fourth dimension The magazine De Stijl is considered a constructivist magazine with Theo van Doesburg at its centre, especially among writers. This article tries to find an answer to the question: which characteristics in van Doesburg’s poetry make him a literary constructivist, taking into account the premises of the original constructivism as it emerged in pre-revolutionary Russia at the beginning of the 20th century. This is done by analysing his poem entitled X-Beelden 1920 which could come close to constructivism. First, there follows a brief outline of some essential features of a constructivist work of art, explained by presenting an example from architecture, which at the time was considered the most important art also for literary constructivists. This idea was inspired by the non-Euclidean geometry and the theory of relativity. The new concept of time and space developed at the beginning of the 20th century was adopted by many artists, among them van Doesburg. Although he often reflected upon it in his programmatic essays, not enough evidence was found to prove the thesis that his poem X-Beelden 1920 could be constructivist and that the fourth dimension would find its way into his literary practice.
6
Shilo, Alexander V. "Gosprom Ensemble in Kharkiv and the Concept of Modern Style." Docomomo Journal, no. 70 (April 15, 2024): 18–26. http://dx.doi.org/10.52200/docomomo.70.03.
Full textAbstract:
The ideologists of Constructivism and “production art” of the 1920s put forward the slogan “not style, but method!”. However, the Constructivists-“productionists” movement carried a stylistic charge of great power. The intentions of the Constructivists-“productionists”, their manifestos and slogans are polemically pointed evidence of their awareness of their own place in the Soviet culture of the 1920s. Creative practice continued the development of a certain artistic tradition. It is necessary to reconstruct the development of the problem of style in the concept of “productionists” as a natural and historically determined stage of the movement. The manifestation of the rejection of the idea of style in artistic creativity in the concept of “production art” paradoxically corresponds to its specific conditions in setting the task of creating and identifying the mechanism for the development of modern style. They are analyzed in the article.The “anti-stylistic” orientation of “production art” was paradoxically opposed to the orientation towards a “Constructivist style”. In the late 1920s, it covered a wide range of architects and artists who did not belong to the Constructivist movement and who opposed them. In this regard, the fate of several outstanding monuments of the Modern Movement in the architecture of Kharkiv is indicative — the House of State Industry (Gosprom), the House of Projects and the House of Cooperation. They were the largest and most integral ensemble in their architectural and compositional solution, which embodied the ideas of the Modern Movement in Soviet architecture. The reconstruction of the ensemble after the Great Patriotic War (1941-1945) showed the contradictions that were embedded in the Constructivist concept of the modern style. The duality of understanding the art form in it was revealed. On the one hand, it acted as an independent stylistic entity. On the other hand, it could also be considered as a framework, a “draft” of some further work with the form. The concept of modern style defended by the “productionists” was problematized by the practice of “Constructivist stylizations”.
7
Mzhelskii, V. M. "Proto-constructivism in Novosibirsk architecture in 1917-1927." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 3 (June 26, 2022): 78–91. http://dx.doi.org/10.31675/1607-1859-2022-24-3-78-91.
Full textAbstract:
Purpose: The analysis of the architecture of the first post-revolutionary decade, processes and origins of the new style constructivism. The paper highlights the architecture of this period. Design/methodology/approach: Interesting factual material on proto-constructivism and its main problems. Comparison of different viewpoints on the processes in Novosibirsk architecture and the analysis based on the data collected. Research findings: This style is preceded by rather an interesting stage of creative research, which needs a special study. At that time, a significant number of public and administrative buildings were built in Novosibirsk, which was associated with its transformation to the administrative center of the Siberian Krai. It was an important period in the history of the Soviet architecture, when a search for a new creative method, architectural principles was carried out in the capital and regions, although researchers paid less attention to it than to constructivism. Architecture of post-revolutionary decade is characterized by a multi-vector nature and a pronounced desire for rationalism and functionalism, while still retaining the styles of the previous era associated with the struggle of various directions; new stylistic search for the post-revolutionary period. Practical implications: The obtained results contribute to the study of origins of the Soviet avantgarde architecture and can be used in further research and training manuals in the field. Originality/value: The analysis of the different viewpoints on the reasons for the Soviet avant-garde architecture development; comparison with the facts; identification of differences between the viewpoints, which is important for further study of this topic.
8
Pavlov, A., and A. Bergman. "COMPOSITIONAL FEATURES AND FORM-CREATIVE BASIS OF LENINGRAD CONSTRUCTIVISM ARCHITECTURE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 8, no. 11 (September 21, 2023): 73–81. http://dx.doi.org/10.34031/2071-7318-2023-8-11-73-81.
Full textAbstract:
The article examines the compositional features and methods of shaping the architecture of the 1920s – 1930s using the example of the Leningrad architectural heritage of constructivism. We are talking about the following objects: Levashovsky Bakery Plant and the Moscow District Council, the Kirov District Council and the Palace of Culture named after Gaza I.I., the Palace of Culture named after S.M. Kirov and the Ligovsky Bath and Laundry Plant. In the study, the objects of Leningrad constructivism were analyzed comprehensively: historical information was given, a situational plan was drawn up, archival photographs were presented, and a compositional analysis was carried out, including the author's graphics, illustrating the process of shaping each object. The materials collected by the authors as a result of the study are classified and grouped into a summary table of techniques for shaping the architecture of Leningrad constructivism, demonstrating the similarities and differences of characteristic architectural solutions. The data obtained as a result of the analysis illustrate the compositional features of the objects of the Leningrad avant-garde and reveal the main techniques of shaping characteristic of the architecture of that period. As a result of the study, three main types of volumetric-spatial compositions were identified, characteristic of the architectural solutions of Leningrad avant-garde objects: type 1 - a combination of a cylinder and a parallelepiped, type 2 - buildings with semi-cylindrical projections, type 3 - buildings with a symmetrical entrance solution.
9
Ivanova, Natalia. "Socialist Brand: A Conceptual Search for Constructivism." Polylogos 6, no. 3 (21) (2022): 0. http://dx.doi.org/10.18254/s258770110022310-3.
Full textAbstract:
Today’s society is accustomed to living among brands, orienting itself in offers through a strong image created by companies. A high level of globalization and urbanization poses the same condition for cities as the market for goods and services for a company – to be recognizable. Cities with a strong brand are able to attract tangible and intangible assets, as well as to develop in citizens a sense of identity and attachment to the urban space. In times of radical changes, like the October Revolution of 1917, the conceptual understanding of a new brand becomes necessary, since not only the government, but also society as a whole becomes its customer and carrier. Under such conditions, it becomes possible to use the method of architectural and urban branding of the territory, which uses architecture as the basis for its formation. The subject of the article is the study of the basic principles of constructivism in the formation of a new architectural brand of the Soviet era at the time of its inception. Analysis of the texts of theorists and practitioners of architecture allows us to highlight the main conceptual features of the architectural space. Not all projects were destined to come true, however, the modern style proposed by the constructivists began to be perceived inside and outside the USSR as the embodiment of the Soviet brand, the basis of which is labor and the aestheticization of machine production.
10
Бершадский and Mikhail Bershadskiy. "Pedagogy of Constructivism: From Idea to Technology." Profession-Oriented School 2, no. 3 (June 17, 2014): 45–60. http://dx.doi.org/10.12737/4322.
Full textAbstract:
The paper considers how to design educational technologies, based on ideas of constructivist pedagogy. J. Piaget’s and G. Kelly’s writings show that
educational outcomes emerge as structures in the form of mental representations, which learners have to construct in the course of active cognitive
activities. Recommendations on how to organize educational process, developed by constructivist educators on the basis of these ideas, can be useful in
designing educational technologies. The paper examines J. Piaget’s and G. Kelly’s writings and reveals limitations and inner contradictoriness inherent
in mechanism of self-constructing mental representations. The author provides arguments refuting that recommendations of constructivist pedagogy
result from the moderate constructivism ideas. Moreover, these recommendations are inconsistent with the logic of cognitive experience gaining which
results from theories of cognitive load and human cognitive architecture. These recommendations also lack operationality, needed for the educational
process to be reproduced. Thus the paper concludes, constructivist pedagogy cannot be used as a basis for designing educational technologies.
11
BUSS, Simon, and Vitaly A. SAMOGOROV. "TEN OBJECTS OF SAMARA CONSTRUCTIVISM: STRATEGY FOR PRESERVATION AND RESTORATION." Urban construction and architecture 9, no. 2 (June 15, 2019): 104–11. http://dx.doi.org/10.17673/vestnik.2019.02.14.
Full textAbstract:
The surviving examples of the architecture of ‘Samara Constructivism’ from the 1920s and 1930s are surveyed, from which ten of the most valuable buildings in acute need of restoration are identified. The basic principles of a conservation strategy are formulated, primarily: authenticity - favouring conservation of original materials and architectural arrangements wherever possible; due consideration of the immediate architectural and urban contexts; and reversibility - a presumption against interventions of a permanent nature which might harm the historical significance of the building. Concrete measures are described for restoring and adapting these buildings to modern use, including remedial works to building fabric, facade reconstruction and works to the adjacent streetscape and landscaping. Options for future use are discussed. These particular examples suggest the basis for a general approach to the restoration of Constructivist buildings of the 1920s and 1930s in Samara, in both functional and aesthetic terms, such that their authenticity and uniqueness is preserved.
12
Rappaport, Alexander. "The role of I. V. Stalin in the history of architecture." проект байкал 18, no. 68 (August 8, 2021): 23–25. http://dx.doi.org/10.51461/projectbaikal.68.1796.
Full textAbstract:
We have long regarded beating babies of avant-garde to be the most serious cultural crime, which threw the USSR back from the front line of architecture by 20-30 years and made them start from the beginning in 1960. If Stalin had seen a mainstream for architecture in that advanced idea and supported it, we would have had quite a different Soviet architecture today. His choice put an end to the constructivism utopia, according to which architecture would become a technical means of life organization. Ginzburg’s constructivism of the 1920s was a clear program of the common style and environmental standard, which could make an oppressive impression in the hands of third-rate doers. Unrealized opportunities of constructivism now don’t look so desirable. The paradoxicality of choosing academism and Stalin’s Empire style has probably another logic, a logic of reflexive frauds and false pretenses. However, if constructivism had remained as a general line for about 30 years, we would have had a kind of culture resembling Orwell more than anything else.
13
Eliza, Fivia, Oriza Candra, Doni Tri Putra Yanto, Radinal Fadli, Dwiprima Elvanny Myori, Syaiful Islami, Yayuk Hidayah, and Levandra Balti. "Effective virtual laboratory to build constructivist thinking in electrical measurement practicum." Indonesian Journal of Electrical Engineering and Computer Science 34, no. 2 (May 1, 2024): 814. http://dx.doi.org/10.11591/ijeecs.v34.i2.pp814-824.
Full textAbstract:
Constructivism serves as a basic theory in education, and plays an important role, because this perspective views learning as a dynamic process in which students actively participate in constructing their knowledge. So, this research aims to produce a virtual laboratory that is valid and effective in developing constructivist thinking. This research and development use the Ploom approach which consists of initial investigation, design, construction/realization, testing, evaluation, revision, and implementation. Thirty-two electrical engineering students from Padang State University participated in this research. The instruments used are validity instruments and constructivism assessment tools. The research results show that the Proteus-based virtual laboratory developed is valid and effective in fostering constructivist thinking in electrical measurement practice. This study contributes to the advancement of virtual laboratories in educational settings, emphasizing the importance of constructivist pedagogy for meaningful and engaging learning experiences in the field of electrical engineering. The results of this research open opportunities for further research regarding the exploration of artificial intelligence to improve constructivism through virtual laboratories.
14
Abrahamian, L. "Tamanyan’s Yerevan Between Constructivism and Stalin Era Architecture." KnE Social Sciences 3, no. 7 (June 7, 2018): 231. http://dx.doi.org/10.18502/kss.v3i7.2477.
Full text
15
Zec, Daniel. "Centar univerzalne etike Oskara Nemona." Peristil 66, no. 1 (July 17, 2024): 143–54. http://dx.doi.org/10.17685/peristil.66.11.
Full textAbstract:
This paper explores Oscar Nemon’s Center of Universal Ethics project, a visionary but unrealized endeavor within his utopian movement advocating for universal ethics. Drawingheavily from interwar modernist and avant-garde architecture, particularly Russian constructivism, the design resonates with Konstantin Melnikov’s architectural oeuvre. Through comparative analysis, the paper proposes hypotheses regarding the project’s origins and its relationship with Melnikov’s innovative architectural concepts.
16
Creischer, Alice, Andreas Siekmann, and Karl Hoffmann. "Political Constructivism." Grey Room, no. 91 (2023): 128–38. http://dx.doi.org/10.1162/grey_a_00375.
Full text
17
Dormidontova, V. V., and K. I. Kuznetsova. "Architectural landscape ensemble of Pioneer palace on Vorobyovy gory. History and modernity." FORESTRY BULLETIN 24, no. 5 (October 2020): 12–19. http://dx.doi.org/10.18698/2542-1468-2020-5-12-19.
Full textAbstract:
This article deals with the problem of the significance of the Soviet period in the development of landscape architecture in our country and abroad. The object of research is the architectural and landscape ensemble of the Palace of pioneers on the Vorobyovy gory. To determine the origins and compositional value of this object, the stages in the development of Soviet landscape architecture are traced. The first stage is characterized — the period of constructivism in 1920–1930, which formed typologically new objects of landscape architecture — parks of culture and recreation, and had a decisive influence on the development of modernism throughout the world. The study of the works of Soviet landscape architects L.A. Ilyin, M.P. Korzhev, V.I. Dolganov, and M.I. Prokhorova revealed the techniques of architectural and landscape organization of objects of this period: functionality, conciseness, dynamics, asymmetry and scale. It is shown that the Palace of pioneers on the Vorob’ovy gory is one of the striking examples of the second stage, which came after the great Patriotic war, inheriting the techniques of constructivism and bearing the civilizational signs of the Soviet era in Russia. A comparative compositional analysis of its architectural and landscape composition in the past and present is carried out. The techniques by which the Palace of pioneers on the Vorobуovy gory had the quality of an ensemble are highlighted.
18
Markovskyi, Andrii. "PARALLELS OF GERMAN AVANT-GARDE ARCHITECTURE AND DEVELOPMENT IN KYIV." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 302–13. http://dx.doi.org/10.32347/2077-3455.2020.58.302-313.
Full textAbstract:
The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned.
Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others.
The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).
19
Петриковская, Елена Сергеевна. "ARCHITECTURAL CONSTRUCTIVISM IN ODESSA: VISUAL-ANTHROPOLOGICAL RESEARCH." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(38) (November 24, 2023): 167–89. http://dx.doi.org/10.23951/2312-7899-2023-4-167-189.
Full textAbstract:
Проанализированы теоретико-методологические основания визуально-антропологического исследования, посвященного советской жилой архитектуре в стиле конструктивизма в Одессе. В советском контексте архитектура играла роль источника обновления. Конструктивисты сознательно участвовали в создании «нового», то есть современного, человека, готового жить в эпоху глобальных перемен и строить общество будущего. Этот общий тезис конкретизирован на примере Одессы в ходе проведения культурно-антропологического исследования. Значительное внимание уделено разработке и обоснованию комплексного методического подхода, исходящего из антропологической перспективы в изучении города, – философско-антропологического понимания культуры как соразмерной человеку, учитывающего многообразие форм визуального опыта в современной культуре и опирающегося на новейшие исследования визуальной коммуникации. Отстаивается тезис о том, что, опираясь на разработанную методологию, можно открывать новые, а не наперед заданные смыслы. Один из ключевых выводов: реализованное визуально-антропологическое исследование подтверждает важность семиологического подхода к архитектуре. Он позволяет исследовать, как архитектура формирует человеческое поведение, как проектирование нового типа жилья, которому и власть, и архитекторы уделяли особое внимание, участвует в создании новой совокупности жизненных связей. Конструктивистский жилой дом исследован как специально организованное пространство, транслирующее определенные смыслы. Полученные результаты позволяют глубже осмыслить и реконструировать «механизмы» культурной коммуникации, способы трансляции культурных смыслов. Результаты исследования способствуют реконструкции образа Одессы 1920–1930-х годов, а также более глубокому пониманию антропологии социалистического города. The article analyzes the theoretical and methodological foundations of a visual-anthropological research on Soviet residential architecture in the constructivism style in Odessa. In the Soviet context, architecture played the role of a source of renewal. Constructivists consciously participated in the creation of the “new”, that is, modern man, ready to live in an era of global change and build a society of the future. This thesis is concretized by conducting a cultural-anthropological research in Odessa. Considerable attention is paid to the development and substantiation of a comprehensive methodological approach based on an anthropological perspective in the study of the city, a philosophical and anthropological understanding of culture as proportionate to a person, taking into account the diversity of forms of visual experience in modern culture, and based on the latest research in visual communication. The thesis is defended that with the help of the proposed methodology it is possible to discover new rather than predetermined meanings. One of the key conclusions is that the realized visual-anthropological research confirms the importance of the semiological approach to architecture. It allows exploring how architecture shapes human behavior, how the design of a new type of housing, to which both the authorities and architects paid special attention, participates in the creation of a new set of life connections. The constructivist house is studied as a specially organized space that conveys certain meanings. The results obtained make it possible to comprehend and reconstruct the “mechanisms” of cultural communication, ways of translating cultural meanings. The results of the study contribute to the reconstruction of the image of Odessa in the 1920s and 1930s, as well as to a deeper understanding of the anthropology of the socialist city.
20
GRAZhDANKINA, A. O., and V. M. MEL'NIKOVA. "MEMORY OF THE PAST FOR THE NAME OF THE FUTURE. TOWNSMEN ABOUT ARCHITECTURE OF THE SAMARA CONSTRUCTIVISM." Urban construction and architecture 2, no. 3 (September 15, 2012): 15–18. http://dx.doi.org/10.17673/vestnik.2012.03.3.
Full text
21
Dukhanina, E. S. "Architecture of palaces of culture and club buildings in Siberia (Novosibirsk, Tomsk, Omsk)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 3 (June 26, 2022): 92–98. http://dx.doi.org/10.31675/1607-1859-2022-24-3-92-98.
Full textAbstract:
The problem of renovation of club buildings in modern Russia dates back to the 1990s. However, significant reforms in the sphere of cultural objects occurred only in 2013. In order to preserve and improve the existing system of club buildings, it is necessary to update knowledge in the field of club building construction in Siberia.The article studies the formation of Siberian club building in the Soviet and modern theory of architecture. The studies of urban planning and regional architecture of Siberian club buildings distinguish their influence on the development and construction of Siberian cities. Other investigations include the architectural style of club buildings. The latter are regarded as Stalinist architectural monuments, constructivism and creative concept ASNOVA-ARU.
22
Slepukhin, Victor V. "Soviet Architecture of the 1930-1950s." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 37–52. http://dx.doi.org/10.36340/2071-6818-2022-18-1-37-52.
Full textAbstract:
The article is devoted to the Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period. The author defines its place among such architectural styles and movements as Art Nouveau, Rationalism and Constructivism, as well as among foreign architectural movements of the middle of the 20th century. In aesthetic essence, the Stalinist Empire style was closely associated with Imperial Classicism. It was called upon to perform the functions of glorifying the power of the new young state. Stylistically, it inherited the Baroque, Napoleonic Empire style, late Classicism, Art Deco and Neo-Gothic; the details of these styles contributed to achieving a sense of luxury, pomposity and grandeur. The inner meaning of the new architectural theory and socialist realism, in general, was the comprehensibility of architecture to the masses: completeness, orderliness, monumentality. The architecture of the Stalinist Empire style, which to a certain extent contradicted the rather difficult situation of the country both in the pre-war and post-war periods, was called upon to convey the idea of striving for a bright future, embodied the architectural future that awaited people of the Soviet country.
23
Markovskyi, Andrii. "STREAMLINE OR CONSTRUCTIVISM: ARCHITECTURE OF KYIV IN THE LATE1920 s." Austrian Journal of Technical and Natural Sciences, no. 3-4 (2021): 3–7. http://dx.doi.org/10.29013/ajt-21-3.4-3-7.
Full text
24
Bozhenko, Anastasiia. "KHARKIV AS CAPITAL: UTOPIA, CONSTRUCTIVISM, MEMORY (1919-1934)." City History, Culture, Society, no. 8 (June 17, 2020): 36–44. http://dx.doi.org/10.15407/mics2020.08.036.
Full textAbstract:
The discourse of «First capital» is one of the main in the identity of contemporary Kharkivites and its appearance in memory politics is systematic. The short period in city history, when it had official status of capital, left an unproportionally big mark in the collective memory. We would like to study how the capital status was «built» in Kharkiv architecture. Kharkiv, which during the imperial period was a huge regional centre for so-called «Russian South» or «Slobids’ka Ukraine region», was growing rapidly at the beginning of the Soviet era. Its territory was increased in 5,7 times from 1910 till 1930. The city was changed not only in sizes but by its planning structure. The «old» city was criticized for its chaotic structure and architectural styles. Thus new one was imagined as a proletarian utopia with planned quarters and residential complexes. KhTZ was visioned in the crossing of several urban concepts: city garden, desurbanisation and linear city. Industrial objects such as Serp i Molot, KhTZ, Kharkiv Locomotive Factory marked the urban space and created industrial cityscape. Among the main architectural markers of new capital were Derzhprom, Building of Cooperation and Projects and Theater of mass action. The competition for Theater of Mass Action attracted more than 145 architects, among them 100 foreign ones. The image of Kharkiv as capital was avantgarde, utopian, industrial and proletarian one. Contemporary urban palimpsest is cleared most of avant-garde buildings and visitor imagines Kharkiv as the city of Stalin ampir, not the constructivist one. Mentioning «First capital» is not necessary reference to the period of 1920s-1930s, mostly it is about nostalgia for Soviet past at all.
25
Ben-Ari, Mordechai. "Constructivism in computer science education." ACM SIGCSE Bulletin 30, no. 1 (March 1998): 257–61. http://dx.doi.org/10.1145/274790.274308.
Full text
26
Sharapov, I. A. "1965. Rem Koolhaas in the Soviet Union." Art & Culture Studies, no. 1 (March 2024): 306–25. http://dx.doi.org/10.51678/2226-0072-2024-1-306-325.
Full textAbstract:
The article examines the formative interrelations between the phenomenology of impressions and the formation of a projective approach to architecture based on the fact of the journey of the Dutch architect R. Koolhaas to the Soviet Union (1965). The conducted research involves a textual analysis of the facts in the architect’s biography, which directionally reveals the specifics of the influence of the “phenomenology of impressions”. The article clarifies the significance of the architect’s visit to the USSR, and establishes the formation features of a design approach to architecture. For the Dutch architect, the avant-garde architecture of the Soviet Russia and, in particular, constructivism, represented the basis and the vector of influences that determined the formation of the professional value orientations reflected in the specific concept of the purified formal aesthetics of architecture. The author of the article determines the factors in the formation of R. Koolhaas’ approach related to the experience of conceptual projects of V. Tatlin, K. Malevich, M. Ginzburg, and I. Leonidov. The cited sources (interviews, statements, and lectures) document the pragmatics of the experience of the Soviet constructivist architecture in the context of modern conceptual reality of the deconstruction movement and global architecture. Conclusions are drawn about the relationship between the phenomenon of the Soviet avant-garde architecture (genetic continuity, reception of ideas) and the modern architecture of the deconstruction movement.
27
Kruglova, Tatiana A. "The Concept of Time in Soviet Neoclassicism (On the Example of Architectural Discourse)." RUDN Journal of Philosophy 24, no. 4 (December 15, 2020): 681–93. http://dx.doi.org/10.22363/2313-2302-2020-24-4-681-693.
Full textAbstract:
The article discusses the process of switching temporal regimes in Soviet culture at the turn of the 1920s - and during the 1930s on the material of architecture. The concepts of time in constructivism and neoclassicism are compared since the struggle between them determined the main vectors of artistic development in the reconstruction period. The author analyzes the discourse of the official position in relation to the main trends in the development of architecture in the context of the periodization of socialist construction and elicits the reasons for supporting the reference to the classical heritage. The change of political agenda (the transition from dismantling the old order and the rectification of the consequences of the collapse of the social fabric as a way to build a new social order) set new requirements for architecture as the most important way of social representation. The new society - socialism - was interpreted in constructivism, which was the leading direction of 1920s architecture, in the modus of the future. In the neoclassicism of the 1930s, socialism was placed in the modus of the present. Constructivism was aimed at the pragmatics of restoring social fabric and solving current problems (mass housing, a new social infrastructure), as well as at constructing a future society and human. At the end of the first five-year plan, the authorities set other goals for culture in general and architecture in particular: the representation of achievements and the expression of the greatness of socialist construction. Neoclassicism was called upon to perpetuate the present state of affairs in the modus of real perfection and superiority of Soviet socialism over any other formats of social life. Between the time of creation (constructivism) and the time of completion (neoclassicism), there is formed a gap that must be hidden. As a way of hiding the temporal gap were chosen classical principles of form-making and examples of the Renaissance and Russian classicism, that were designed to convincingly demonstrate, on the one hand, the possibility of accelerating and compressing time, the swiftness of achieving the ideal, and on the other hand, tp depreciate innovations, make the idea of the movement of time into the future unnecessary. The theory of the leading neoclassicist I. Zholtovsky is discussed as an alternative to the utopian interpretation of time in constructivism, as materializing the mythological time, in which the source and end of creation are given simultaneously in the modus of eternity.
28
Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
Full textAbstract:
The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
29
Didenko, К. "INVOLVEMENT OF THE THEORY OF SOCIAL CONSTRUCTION FOR CONSIDERATION OF ARCHITECTURAL AND CITY BUILDING PRACTICE." Municipal economy of cities 1, no. 154 (April 3, 2020): 185–91. http://dx.doi.org/10.33042/2522-1809-2020-1-154-185-191.
Full textAbstract:
Social aspects of the formation of architectural complexes in metropolian Kharkov have not yet been analyzed in homeland architectural theory. The study into "Kharkov constructivism", due to unfortunate historical ocurrence, is still in fact at the initial stage. Thesises of Kharkov authors illuminate this phenomenon in general or analyze some of the most significant sights. Approaches to the study of social aspects of architecture and urban development went through several stages. Architectural theory of the late 1940s- the beginning of 1950s was sharply critical of the architectural and urban planning experiments in the 1920s. The XXth century Soviet history of architecture in the 1960s and 1970s was marked by ideological rehabilitation of constructivism, including social experiments of the 1920s - early 1930s. A turn from apologetics of the 1960s - 1980s to critical analysis of the architecture and urban development of the avant-garde was indicated at the beginning of 2000s by the studies considering Soviet architectural and urban planning practice in the context of public behavior management as a tool for structuring general population to achieve political goals. Foreign studies into the Soviet avant-garde sprang up in the 1970s - early 1980s affected by Western sociology where architecture began to be viewed as a tool for managing social processes and new types of structures and models of urban planning organization- as “a transition from social to material”. Many studies highlighted the influence of Soviet architectural and urban planning programs of the 1920s and 1930s on the system and structure of public consciousness. There was established that large-scale housing, cultural and domestic construction was carried out as part of the capital's administrative and government center creation programs and the formation of an industrial complex. There were identified four conceptual approaches for housing construction, they were consistently implemented during the realization of the two above-mentioned programs: garden city, communal house, housing complex and social city. In these programs, the concepts of "garden city" and "communal houses" were practically tested and reasonably rejected, and the most productive models were residential complexes and social city. Keywords: social construction, architectural and urban concepts, soviet human, metropolian Kharkov.
30
Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.
Full textAbstract:
Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.
31
Pottgiesser, Uta, and Wido Quist. "Kharkiv Modernism." Docomomo Journal, no. 70 (April 15, 2024): 2–7. http://dx.doi.org/10.52200/docomomo.70.ed.
Full textAbstract:
In 2022, Docomomo International launched a call for papers on Modern Movement in Ukraine together with Docomomo Ukraine. More than 20 proposals were received, most of them from authors based in Ukraine itself—despite the difficult circumstances. The Docomomo Journal 67 presented a first selection of those articles to display regional and architectural particularities and current challenges of archiving, documenting, protecting, and preserving the modern heritage. Nearly 100 examples of Ukrainian modern buildings were presented in a graphical overview. The modern Ukranian architecture was dominated by Constructivism from the mid-1920s to the early 1930s, with Kharkiv as the epicenter of production, while Socialist Realism with the Stalin Empire emerged from 1932, lasting until 1955, with Kyiv as the capital of Ukraine. From December 1919 to January 1934, Kharkiv was the first capital of the Ukrainian Soviet Socialist Republic and the cultural, economic, and educational center of the new Ukrainian Republic. The status as new capital led to prestigious master plans and construction projects, among them the world-famous Derzhprom building at Freedom Square–as a symbol of Constructivism–or the Kharkiv Tractor Factory–as a symbol of the industrialization of agriculture. The leading role of Kharkiv as a forerunner and capital of Constructivism is often expressed by the famous State Industry House (Derzhprom) built from 1925 to 1928. Being the only modern ensemble in Ukraine nominated as UNESCO World Heritage, it became and still is the focus of identification and pride—despite the many controversial reflections and discussions about the conservation efforts and changes carried out since the original construction in the 1950s and after the year 2000. This explains the many articles dealing with Freedom Square and Dherzprom as a reaction to the call for papers in 2022 and also Docomomo International’s commitment to dedicate this special issue of the Docomomo Journal to Kharkiv under the title From Constructivism to Modernism in Kharkiv.
32
Tokarev, A. G. "STALINGRAD TRACTOR PLANT AS A SPACE FOR INDUSTRIALIZATION AND CONSTRUCTIVISM." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 85–100. http://dx.doi.org/10.31675/1607-1859-2019-21-1-85-100.
Full textAbstract:
The paper is devoted to Stalingrad Tractor Plant, one of the main plants of the Soviet industrialization. The spatial planning pattern of the plant, its settlements, industrial architecture, public and residential buildings are considered herein. Notably, that one of the largest tractor plants in the world was put into operation within the shortest time. Its construction gave a start to the urban development in the north which embodied the advanced ideas in the city planning and architecture of that time. Leading foreign and Russian experts were involved in design and construction works. It is shown that design solutions of residential areas (Upper and Lower) combine both the traditional and innovative principles of the city-planning in the 1920–30s, including the tractor plant and its settlements. It is concluded that whereas residential buildings the early 1930s are characterized by rationality, simplicity, public buildings are expressive and diverse, and represent consistent design principles. The attribution of other objects is also clarified in this paper.
33
ISAKOV, Alexander Sergeyevich. "FEATURES OF ARCHITECTURE OF THREE LENINGRAD FACTORIES-KITCHENS IN 1920-1930’s." Urban construction and architecture 4, no. 3 (September 15, 2014): 15–20. http://dx.doi.org/10.17673/vestnik.2014.03.3.
Full textAbstract:
The article describes the architecture of Leningrad factories-kitchens, built in 1920-30s in the style of constructivism. History of their creation, planning and functional features, and the current status of the original facades, urban accommodation are studied. Planning structure of objects with subsequent identifi cation of dining and industrial zones are analyzed.
34
Ciarkowski, Błażej, and Maciej Miarczyński. "The Unfinished Revolution?" Docomomo Journal, no. 70 (April 15, 2024): 52–59. http://dx.doi.org/10.52200/docomomo.70.07.
Full textAbstract:
The future reconstruction of Ukrainian cities from wartime devastation will require an extensive discussion on strategies and concepts of preservation of cultural heritage – including the heritage of the Modern Movement. It should involve not only the technical aspects but political and historical issues as well. The history of the Palace of Culture of the Railway Workers in Kharkiv (architect Alexander I. Dmitirev, 1927-1932) provokes a number of questions on the essence of Ukrainian pre-war Modernism and Constructivism, the idea of the Sovietisation of the theater against the Great Theatre Reform movement or the role of Workers’ Clubs and Palaces as social condensers. Thus, its analysis cannot by limited to the form and content of the edifice itself, but should be perceived in the broader context of similar projects (for example the Kharkiv Opera House) and views on architecture in the 1920s and 1930s.The Palace of Culture in Kharkiv can be considered as an example of “architecture in transition” where evolving trends in art as well as a dynamic socio-political situation left their marks and created a multi-layered palimpsest. Dmitriev’s design included the Constructivist spirit as well as conservative monumentality. It seems to become a legacy of a revolution (in architecture, theater and society) which has never been really completed.
35
Noth, Gregory. "Rethinking the Carter Doctrine and its Geopolitical Implications." Contemporary Arab Affairs 14, no. 2 (June 1, 2021): 3–23. http://dx.doi.org/10.1525/caa.2021.14.2.3.
Full textAbstract:
This article combines insights from constructivism with historical analysis to argue that the US military engagement in the Gulf, beginning in the 1980s, was primarily driven by the changed roles of two actors: Iran after the Islamic Revolution and the United States attempting to regain its role as a global superpower following the Vietnam War. It argues that the year 1979 constitutes what constructivists deem a “critical juncture,” in which America’s response to three events—the Iranian Revolution/hostage crisis; the siege of Mecca’s Grand Mosque; and the Soviet invasion of Afghanistan—helped to redefine the Gulf’s security architecture and made the region more insecure. It ends with a close examination of US participation in the Iran–Iraq War and the long-term implications of the Carter Doctrine’s changing logic.
36
Vyrva, A. U., and D. A. Leontyev. "Subjective and Objective Factors in Subjective Semantic Evaluations of Architectural Works." Cultural-Historical Psychology 12, no. 2 (2016): 33–45. http://dx.doi.org/10.17759/chp.2016120204.
Full textAbstract:
This research focuses on empirical explorations of psychological features and mechanisms of the perception of architectural space in professional architects; on the comparison of semantic evaluations and factors of the perception of architecture in professionals and non-professionals; and on the comparison of the perception and semantic evaluation of real architectural works and of photographs of these works, measured with techniques of personality and architectural semantic differential and the Value Spectrum technique. As it was revealed, the perception and semantic evaluation of architectural works differs in professional architects and non-professionals only when the perceived object is somewhat unusual, complex and does not correspond with conventional images, for example, like it is in constructivism. Also, it was found that value/semantic evaluation of architectural works as measured by the Value Spectrum technique provides more information about the process of perception and understanding of architecture when carried out in the real environment. At the same time, personality and architectural semantic differentials did not reveal any significant differences between the perception of the real object and its photograph, which suggests that these techniques can be employed for the study of the perception and semantic evaluation of architectural works using just photographs.
37
Łukasiewicz Alcaraz, Aleksandra. "Architecture as a paradigm of art of Aleksandr Rodchenko. Contexts of constructivism." Nowa Krytyka 34 (2014): 247–61. http://dx.doi.org/10.18276/nk.2014.34-13.
Full text
38
Хмельницкий, Дмитрий Сергеевич. "ON S. O. KHAN-MAGOMEDOV‘S CONCEPT OF «SUPERSTYLES»." Академический вестник УралНИИпроект РААСН, no. 4(51) (December 30, 2021): 67–71. http://dx.doi.org/10.25628/uniip.2021.51.4.011.
Full textAbstract:
Концепция двух «суперстилей», определивших развитие советской архитектуры в первой половине ХХ века, изложена Селимом Омаровичем Хан-Магомедовым в программной статье «Сталинский ампир. Проблемы, течения, мастера» (2010). Под «суперстилями» подразумеваются советская современная архитектура 1920-х годов (условно - «конструктивизм») и сменившая ее в 1932 году сталинская архитектура. Представляется, что концепция Хан-Магомедова вытекает из принципиального и традиционного для советского архитектуроведения отказа от рассмотрения эволюции советской архитектуры в общеисторическом контексте. Советская архитектура 1920-х годов остается полноценным художественным явлением, блестящим и отлично вписывающимся в мировое архитектурное движение. В то же время сталинский ампир при ближайшем рассмотрении оказывается в чистом виде порождением художественной цензуры и абсолютной творческой несвободы. Concept of two «superstyles» defining the development of Soviet architecture in the first half of XX century was outlined by Selim Omarovich Khan-Magomedov in his article «Stalin‘s Empire. Problems of Currents, Masters» published in 2010. By «superstyles» is meant Soviet contemporary architecture of the 1920s (tentatively called «constructivism») and Stalinist architecture that replaced it in 1932. It would seem that Khan-Magomedov‘s concept stems from a refusal, traditional for Soviet architectural studies, to consider the evolution of Soviet architecture in a general historical context. Soviet architecture of the 1920s remained a full-fledged artistic phenomenon, brilliant and perfectly in line with the global architectural movement. At the same time, the Stalinist empire, on closer inspection, is the pure generation of artistic censorship and sheer creative unfreedom.
39
Morgun, E. L. "ARCHITECTURE OF ODESSA SANATORIUMS (ON THE BORDER OF DISAPPEARANCE)." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 221–28. http://dx.doi.org/10.31650/2519-4208-2020-20-221-228.
Full textAbstract:
This publication is dedicated to the energy of Odessa sanatoriums, both disappeared and those on the verge of extinction. A typological classification of sanatoriums is given. It is proposed to divide the sanatoriums into four groups: by the time of their opening and from the point of view of the time of construction of buildings on their territories. According to the proposed classification, a change in the stylistics of the construction of sanatoriums is considered by examples. On the territory of one sanatorium there could be buildings of the period of historicism, monuments of constructivism,architecture of Soviet classicism of the 50s. last century and Soviet modernism. It was revealed that most of the buildings located on the territory of the sanatoriums are architectural monuments, listed in the register of Odessa architectural monuments. It was also revealed that the monuments are in emergency state or are being destroyed and already destroyed.Conclusions on the development of sanatoriums are presented in the form of a table. As a result of writing the article, it became obvious that the architecture of Odessa sanatoriums was insufficiently studied, which makes it possible to conduct detailed research in a number of directions.
40
Hadjerrouit, Said. "Constructivism as guiding philosophy for software engineering education." ACM SIGCSE Bulletin 37, no. 4 (December 2005): 45–49. http://dx.doi.org/10.1145/1113847.1113875.
Full text
41
Ekomadyo, Agus, and Ike J. Triwardhani. "SOCIAL PRODUCTION AND CONSUMPTION OF SPACE: STUDY OF PUBLIC-MARKET IN BANDUNG, INDONESIA." JOURNAL OF ARCHITECTURE AND URBANISM 48, no. 1 (February 20, 2024): 11–24. http://dx.doi.org/10.3846/jau.2024.19188.
Full textAbstract:
This paper aims to examine the role of architecture in social production and consumption of space, using public markets –architectural artifacts with rich social contents– as cases. This research adopts Low’s (2017) concept of social production of space and Dovey’s (2010) social constructivism of place to uncover the social production and consumption of public markets’ space. Cihapit and Pamoyanan market in Bandung, Indonesia, are selected as research cases, due to their cultural contents, appealing to consumers from middle to upper class society. It is found several roles of architecture in social production and consumption of public market space: building typology and morphology signifies historical context of development; architectural buildings contributes to formalize trading activities and elevating social class of market traders; commodities zoning is organized based on functional and socio-historical consideration; spatial intensity is determined by access and commodities zoning; informal atmosphere emerges as a distinctive advantage of public markets; and spatial quality is relative depends on governance capacity. Although normative criteria for good design can be formulated, in practice, spatial quality of public market is relative and depends on its capacity for spatial governmentality. By exploring social production and consumption of space and place provides broader perspective on the social practices of architecture, emphasizing its contribution for social and humanity studies.
42
Liu, Yao, Mei Jun Chen, Xing Heng Wang, and Feng Hua Zhang. "A Self-Management System Combined with Constructivist Theory." Applied Mechanics and Materials 734 (February 2015): 403–7. http://dx.doi.org/10.4028/www.scientific.net/amm.734.403.
Full textAbstract:
China’s higher education has now entered a new stage of popularization. For this reason, the students’ demands expecting to the university are multiple with diversity, complexity and personality. We designed a Self-management System Model and implemented a real application test system for East China Normal University, which is based on the constructivism and evaluation theory, and B/S architecture. This system can be used to record the students’ online performance and fully reveal the students’ personality and talents. This system also can be used to promote students’ individual development.
43
Campbell, Louise. "Constructivism and Contextualism in a Modern Country House: The Design of Brackenfell (Leslie Martin and Sadie Speight 1937–38)." Architectural History 50 (2007): 247–66. http://dx.doi.org/10.1017/s0066622x0000294x.
Full textAbstract:
In the early years of the Second World War, Leslie Martin complied a photographic album to record the architectural work done in partnership with his wife Sadie Speight since 1934. It amounted to ‘quite a lot’, he wrote to Ben Nicholson. Thirty years later, Martin — by now Professor of Architecture at Cambridge and Head of the Land Use and Built Form Studies Centre — was to dismiss his pre-war work as ‘really insignificant in scale’. Martin’s own book, Buildings and Ideas, 1933–83, contains a highly selective account of this early period. This partial view has been further obscured by the persistent misdating and misidentification of the practice’s two most substantial pre-war houses — Brackenfell in Cumberland and Four Acres, North Ferriby, near Hull — in the literature of the Modern Movement in Britain. Of the two, Brackenfell is of particular interest, as the house of Alastair Morton, design director of a textile firm and novice painter. Martin’s own brief comments and the volume of drawings which survive for Brackenfell suggest that this was an important commission for Martin and Speight, and one which precipitated a significant shift in their approach to architecture. However, our inadequate knowledge of the work of the partnership means that the house has so far eluded full analysis. This article proposes to disconnect the evidence of this building from Martin’s subsequent career and architectural theories, and to view it instead in the context of its period. Using Brackenfell as its focus, the article aims to clarify Martin and Speight’s evolution as designers, and to probe the significance of their association with a distinguished group of artists during the late 1930s.
44
Vergunovа, Natalia. "THE EMERGENCE OF INDUSTRIAL DESIGN IN THE POST-SOVIET AREA. THE INFLUENCE OF CONSTRUCTIVISM." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 126–31. http://dx.doi.org/10.25128/2411-3271.19.2.17.
Full textAbstract:
The beginning of industrial design’s formation (“production art”) started in the 20’s years of the last century. As it was the time of ambiguous and controversial phenomena, the further refinement and clarification of theory based on factual data is required. At that time the concept of new relations between art and production was developed, as well as its ideological saturation and functional purpose. One of the key elements in this concept is the phenomenon of constructivism and its impact on the emergence of industrial design in the post-Soviet space. These fundamental and often irreconcilable complexities and contradictions can be traced in numerous articles of theorists: N. Punin, B. Kushner, A. Ghan, M. Ginsburg, N. Chuzhak and others. Each of them has a personal point of view in terms of semantic content of “constructivism”. Their vision of constructivism is essential for reconsidering and refinement of those processes in context of socio-economic and cultural formations of that time. The aesthetics of artistic designing was based on rejection of artistic idea as well as decorative elements and other old forms of art so orientation towards the functional requirements in everyday things was the priority. It was happening due to the fact that old forms of art represented a certain social position of human in a society where the relations of people are often replaced by the relations of things. Another reason for abandoning the artistic forms of past also has to do with the social area of that time when useful things were opposed to pieces of art associated with luxuries that were unacceptable in those difficult and contradictory conditions of life. The theoretical support of “constructivism” term was provided by Oleksiy Ghan and his book “Constructivism” published in Tver in 1922. A. Ghan and his followers understood constructivism not only as “conventional” art, but as “intellectual and material production” associated with science and technology, which is the basis of industrial design of today. Thus, the formation of “production art” in the 20’s of the twentieth century went under the significant influence of constructivism. There are also some several conflicting points regarding the phenomenon of constructivism, namely the primary meaning of this term. Some researchers focus on the formal side of constructivism than on its social content. Meanwhile, there are several substantive levels of perception of constructivism, namely the connection with technical construction; connection with the structural organization of work of art, which also represents a certain construction; connection with construction process, for example, with methods of engineer’s work; connection with the purpose set by organization, that is, the construction of subject environment. This multilevel semantic diversity of “constructivism” term also reflects the wide range of phenomena covered by this concept. It has more than a purely stylistic sense, for example in design and architecture, and cannot be linked to the literal manifestation of an object’s construction. As S. Khan-Magomedov have noted, constructivism, first of all, was understood as a new method of designing. In other words, it is essential for solving problems of shaping, and the process of form creation is fundamental in design, especially in industrial design.
45
Shik, Ida A. "POST-AVANT-GARDE PORCELAIN OF THE LATE 1920S – THE FIRST HALF OF THE 1930S AND POLITICAL PROPAGANDA ISSUES." Articult, no. 3 (September 30, 2023): 20–33. http://dx.doi.org/10.28995/2227-6165-2023-3-20-33.
Full textAbstract:
Soviet porcelain of the late 1920s – the first half of the 1930s was an integral part of Stalin’s “propaganda for happiness” by means of artistic culture. Porcelain artists interpreted the themes of industrialization, the development of agriculture, the army and navy, “great construction projects”, northern expeditions and the industrial development of the Arctic, the Soviet East, the cultural revolution, sports in optimist manner typical for official aesthetic and propaganda discourses. Nevertheless, the porcelain of the late 1920s and the first half of the 1930s appropriated the ideas of Suprematism, Constructivism, Cubo-Futurism and Art Deco, the pictorial imitation of collage, as well as the combination of visual and verbal principles through the addition of inscriptions, inherited from propaganda porcelain. Artists often preferred generalized forms, used bright, contrasting colors, aimed to concise color (only several paints), graphic and some conventionality. Works of the late 1920s and early 1930s often corresponded with the porcelain of the first post-revolutionary years, reproducing its visual codes. It’s important to note the integration of images of modern, in particular, constructivist architecture, into thematic porcelain compositions.
46
Tallack, Douglas. "Siegfried Giedion, Modernism and American Material Culture." Journal of American Studies 28, no. 2 (August 1994): 149–67. http://dx.doi.org/10.1017/s0021875800025433.
Full textAbstract:
The Swiss architectural critic and historian of technology, Siegfried Giedion, was born in 1893 and died in 1968. Space, Time and Architecture: The Growth of a New Tradition (1941) and Mechanization Takes Command: A Contribution to Anonymous History (1948) are his two most well-known books and both came out of time spent in the United States between 1938 and 1945. World War Two kept Giedion in America though he, unlike many other German-speaking European intellectuals, came home and in 1946 took up a teaching position at the Federal Institute of Technology in Zurich where he later became professor of art history. While in the United States he delivered the Charles Eliot Norton Lectures (1938–39), saw them in print as Space, Time and Architecture, and also completed most of the research in industrial archives and patent offices for Mechanization Takes Command. These two books are an important but, for the past twenty years, a mostly neglected, analysis of American material culture by a European intellectual, whose interests in Modernism included painting — notably Cubism and Constructivism — as well as architecture and planning. The period which saw the publication of Giedion's key works is, itself, an overlooked phase in the trans-Atlantic relationship between Modernism and modernization.
47
Ciganovic, Aleksa. "Prolegomena for the concept of constructionism in architecture." Theoria, Beograd 66, no. 3 (2023): 157–71. http://dx.doi.org/10.2298/theo2303157c.
Full textAbstract:
This prolegomena initially consolidates ?meta-architectural constructionism? as a conceptual label for the operationalization of the architectural modalities of the philosophy of synthesis. After the heuristic definition of its key aspects was carried out through four key terms - reconstruction, relationism, processualism and projectivism, the second part of the article initiates a proposal of understanding and chronology according to the changing ontology of modernity, following Berthelot?s (Jean- Michel Berthelot) thesis about the three poles of the contemporary program of historical epistemology - the naturalistic, intentional and symbolic poles. His metatheoretical form of constructivism applies a version of the familiar scientific hypothetico-deductive model to cognition in general. As a kind of general vector of time, appropriation of epochal consciousness or a kind of sensibility in architecture, this post-positivist dogma deviates from theoretically too stabilized paradigms, categorical schemes or even less norms, but functions as a variable form of discursive, transdisciplinary, phenomenological and metaphysical identifications. Naturalistic metaarchitectural constructs indicate the core presence of the aspectuality of reconstruction and relationism, intentional constructs indicate the strong presence of metaarchitectural procedurality and projectivism, while the symbolic metaarchitectural pole is based on a complex combination of all heuristically recognized aspectualities as a modality of complex and combinatorial thinking and a methodology that is essentially postmodern scripture. The ontological vocations of metatheory of synthesis in the first two historical epistemologies of metaarchitectural constructionism are directed towards analytical constructs, while the third pole is directed towards the descriptive nature of constructs, but in all aspects of meta-architectural constructionism the role of some kind of structure or system appears. The intention is to theoretically standardize the ambiguity of constructionism in architecture as a text of culture, the consequences of which are rationalistic shaping of relativistic phenomena, as a meta-architectural procedure, protocol or a specific, simultaneously ontologically, epistemologically and methodologically based platform of thought.
48
Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.
Full textAbstract:
The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced.
Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades.
If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
49
Stevanović, Vladimir. "Racionalizam u arhitekturi: nekoliko modela instrumentalizacije / Rationalism in Architecture: Several Models of Instrumentalization." AM Journal of Art and Media Studies, no. 6 (October 15, 2014): 114–24. http://dx.doi.org/10.25038/am.v0i6.80.
Full textAbstract:
Rationalism in architecture is a European concept which, from Enlightment to postmodern era, advocates values of order, clarity and logic, represented through primary geometrism, functionalism, profitability and absence of ornament. The text connects and analyzes (1) formal-stilistic manifestations of rationalism in architecture: French neoclassicism; Soviet constructivism, German new objectivity, Italian rationalism; postmodern Italian neorationalism in the context of (2) dominant paradigms which directs them: divine nature; technological-utilitarian; autonomus-selfreferent, and (3) social, economic, ideological and cultural activities around which they are organized, such as: French bourgeois revolution; proleterian-communist, socialdemocratic and faschist ideas beteween two World wars; critical procession of populist values in mass consumer society and global capitalist economy at the threshold of postmodern era.
50
Nichiporovich, A. O. "Evolution of approaches to the connection of the “old” and the “new” in the historical urban environment." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 69, no. 1 (February 10, 2024): 45–52. http://dx.doi.org/10.29235/2524-2369-2024-69-1-45-52.
Full textAbstract:
In the context of modern processes of globalization, the problem of preserving architectural heritage as part of national culture is actualized. At the same time, the need for the final development of historical centers, bringing them to the modern requirements of comfort, accompanied by interference in the historical context, pose the task of developing principles and approaches to combining the “old” and “new”, taking into account the categories of “integrity”, “value”, “authenticity”, “spirit places” (genius loci) of the historical environment of the city and contributing to the continuity of urban development.The purpose of the article is to highlight the current principles and approaches to architectural activity in the current urban environment, as well as to identify the prerequisites for their formation.Based on the methods of historical research of the evolution of theoretical foundations in the field of preservation and development of historical centers of cities, the development of architectural trends of the XX century and architectural and artistic analysis of modern world design practice, the following prerequisites for the formation of modern approaches to the connection of the “old” and ”new” historical environment are identified: the development of theory and practice in the field of preservation of architectural heritage (approval of the categories “monument”, “authenticity”, “value”, “spirit of the place”, “layers of time”, etc.); the development of modernist architecture (the concept of the correspondence of architecture to its time); the development of postmodern architecture (the emergence of a modern approach, appeal to the styles of the past, “stylization”); the development of digital design technologies at the turn of the XX–XXI centuries (new possibilities of shaping, de-constructivism, nonlinear parametric architecture). The following principles of formation of approaches of modern project activity in the historical urban environment are highlighted: subordination to context (environmental approach, “stylization”); subordination of “old” and “new” (conceptual approach or equality of “old” and “new”); independence (contrast of “old” and “new”).