Ideologija & Arhitektura

[Zaz_pi]

Cist Staljinizam u Kijevu:

[Zaz_pi]

Svi smo videli kako je izgledao Expo 1937 sa suprostavljenim paviljonima SSSR i Rajha. Medjutim, sa arhitektonskog stanovista, Expo 1925 je sto se tice SSSR bio zanimljiviji. Tu je SSSR pokazao svoju avangardu(Konstruktivizam) koju je postavio kao dominatni pravac gradnje posle tek zavrsenog gardjanskog rata i pobede Crvenih:U stvari, to se najbolje vidi iz sledece animacije:http://www.youtube.com/watch?v=AeMHI7CJkXM]Ovo i danas izgleda avangardno a zamislite 1925?! :)edit: tagovi

Edited September 11, 2012 by Zaz_pi

[Zaz_pi]

Nadjoh jednu zanimljivu zgradu u Moskvi iz 1933. Radi se o zgradi Centrosojuza. Oko njenog izgleda su se vodile borbe. Ruski konstruktivista Aleksandar Vesnin rekao da je to najbolja zgrada izgradjena u Moskvi u poslednjih nekoliko vekova. Drugi, poput Henesa Mejera, koji je bio direktor u Bauhausu, da je to orgija u staklu i betonu.Pa, prosudite sami:Inace, enterijer je jos zanimljiviji.Ovo je 1933 kada se zgrade nisu gradile u staklu. :)

[porucnik vasic]

:ziga:

[zorglub]

Ne znam zašto :žiga:, meni je zgrada prelepa.

[pere urban x]

Korbizije (i Pjer Zanere) su pobedili na konkursu za Centosojuz 1928. dok je konstrukciju razradio sovjetski inzenjer, arh i urbanista Nikolaj Koli.Dvostruki stakleni zid primenjen na ovoj zgradi nije se bas pokazao sjajno za vreme ostrih ruskih zima dok je crveni jermenski tuf kojim su oblozeni zidovi izazivao partijske aparatcike da ulaze u besmislene rasprave o "pravoj" nijansi crvene.Korbizije je kao levicar rado pruzao usluge sovjetskoj drzavi ali je manje poznato da se nije libio da zasuce rukave i za Visijevsku Francusku kada se za to ukazala prilika.Ovu knjigu svakako treba procitati ako vas tema interesuje...Le Corbusier and the mystique of the USSR: theories and projects for Moscow, 1928-1936.

[Zaz_pi]

This fascinating book charts the dazzling trajectory of Russian avant-garde architecture during the brief but intense period of design and construction that took place from c. 1922 to 1935. Fired by the radical new language of Constructivist artists, such architects as Konstantin Melnikov, Moisei Ginzburg, and the Vesnin brothers produced designs whose innovative style embodied the energy and optimism of the new Soviet Socialist state. Streamlined, flat-roofed, and white-walled, their extraordinarily novel buildings must have seemed like alien forms. Architectural photographer Richard Pare has spent the last 15 years documenting the remains and ruins of these structures. Here, his spectacular photographs are juxtaposed with vintage images, ephemera, and drawings and paintings by artists such as Malevich, Tatlin, Popova, and Lissitzky.

http://www.youtube.com/watch?v=IIxZtJy_rokPostavka iz Barselone:Building the Revolution: Soviet Art and Architecture 1915-1935, Royal Academy, London

In the long history of modernism, painting and architecture only very rarely came together. But the moment when they most visibly did, a little under a century ago, sparked an explosion of visual language that still looks revolutionary today. That collision occurred in Russia after 1917 and the result was constructivism, the restless, relentless, radical offspring of modernism, agitprop and revolution. Quite how viscerally modern it still seems is clear from a visit to the genteel faux-Renaissance courtyard of London’s Royal Academy, in the middle of which sits a model of Tatlin’s Tower, communism’s mooted, spiralling Tower of Babel, a 400m-high propaganda machine and conference centre that would have towered above Moscow.The red-painted tower is the perfect trail for an exhibition of utopian visions and painful realities. Like communism itself, the purity of the vision belies today’s physical reality. The paintings and sketches, the black, red and grey geometric forms floating on white fields, are still mesmerising – an abstract, ethereal architectural ideal. One highlight is the beautiful flattened post-cubist space of Solomon Nikritin’s “The Connection of Painting to Architecture” (1919-21), which eloquently justifies the exhibition’s claim that, for a time at least in Soviet Russia, politics, art and architecture fused to create a still unsurpassed moment of architectural invention. But part of the fascination here is the juxtaposition of these pure compositions with contemporary images of the architecture they inspired.Exquisite, fragile drawings by Vladimir Tatlin, Ivan Kliun, Alexandr Rodchenko, El Lissitzky and less familiar names sit beside a series of superb photos by Richard Pare that reveal the decaying ruins of the era’s surviving architectural monuments. Factories, bakeries, housing co-operatives and workers’ clubs are documented in merciless detail, the paint on their walls flaking, their plaster spalling, their rendering crumbling, with huge ducts driven through clean lines with DIY bodge-job ingenuity. These are buildings that were envisaged as harbingers of a new world of efficiency, hygiene and technocratic achievement, but were inhabited by generations of workers whose lives never fulfilled that promise and who never had the means to maintain them.Where the art and the architecture come together most perfectly, though, is in the extraordinary inventiveness of revolutionary agitprop. The designs for the incredible contraptions intended to proselytise the proletarian revolution look as startlingly innovative today as they ever did. The red rims of Gustav Klutsis’s jutting speaker horns, for example, appear on the picture plane like suprematist motifs, sitting atop a simple construction of struts and cables; the same designer’s elaborate, almost Dadaist design for a combination platform, kiosk and speaker system looks like a mechanical version of Duchamp’s “Nude Descending a Staircase”, its frames and podium collapsing and folding like a surreal concertina. These designs reveal the insecurity of the revolution – it being seen as critical to spread the message to hesitant workers – and represent the purest expressions of constructivism, uncompromised as they are by construction and use.Those buildings that were realised were shoddily thrown together by a regime short of money and materials and a depleted workforce exhausted by war and hunger, its skills still those of the 19th century – at best. It was a stage-set modernity. The only building that achieved any semblance of permanence or the crispness of the drawings was the one with which the show closes, Lenin’s mausoleum in Red Square by Alexei Shchusev. A late constructivist pyramid, it remains the movement’s darkest, most enigmatic building, bridging the transition from revolutionary utopianism to heavy-handed Stalinist classicism.This is a superb show, full of unfamiliar things, from Soviet archive photos of constructivist masterpieces (the bureaucracy of full employment visible in their meticulous index card settings) to the wonderful drawings on cheap parcel paper, things that reveal the texture of shortages and the urgency of the artistic moment. There are huge gaps – no Malevich, no Chernikov – but it doesn’t matter, there’s plenty here to stimulate and inspire, even if we know it all ended badly (particularly for the architecture itself which languishes in such a universally sorry state).The day before I visited the exhibition I’d hung around the curious tent cities by St Paul’s and in Finsbury Square, with their proliferation of handwritten, misspelt cardboard signs and droopy banners. The aesthetics of anti-capitalist demonstration, of outrage agitprop, need to be relearned, it seems. This show is the perfect place to do it.

[Zaz_pi]

Narkomzem (1928-1933), arhitekta Aleksej Susev. To je bivse Ministarstvo poljoprivrede i hrane SSSR a danas Ministarstvo poljoprivrede RF. Konstruktivizam.

[Zaz_pi]

Kuca Konstantina Meljnikova 1929:Model:Kada je izgradjena: :)Enterijer:

[Zaz_pi]

Dve strukture koje nikada nisu napravljene:-Gvozdeni oblak(El Lissitzky-1925)-Arhitektonska vizija Jakova Cernikova

[pere urban x]

Kada pogledamo Meljnikovu fasadu perforiranu izduzenim sestougaonim prozorima, ne mozemo a da se ne zapitamo kako je uopste doslo do ovog perioda - eksperimenta u sovjetskoj umetnosti, arhitekturi i urbanizmu.Kao prvu manifestaciju raskida sa Parizom i Minhenom uzimamo izlozbu grupe "Magareci rep" 1912. u Moskvi koje je okupila Maljevica, Tatljina, Larionova, Goncarevu ali i jednog Satala.Posto je tema arhitektura napravicu digresiju uz par slika sa Meljnikovom kucom kao inspiracijom kako bih docarao sveopstu eksploziju i prozetost pomenutih oblasti na prostorima SSSR-a tih godina.

[pere urban x]

Ovo je pravi momenat da spomenem grupu ASNOVA koja je osnovana 1923. godine od strane Nikolaja Ladovskog koja je propagirala perceptivnu estetiku i ritmicki formalizam a cije su jezgro cinili arhitekti okupljeni oko VHUTEMAS-a.El Lisicki i Meljnikov se pridruzuju 1925. a kako grupa nije tezila samo naucnoj estetici vec je tragala i za novim arhitektonskim oblicima koji bi adekvatno predstavljali novu socijalisticku drzavu, mozemo izvoditi zakljucke koliko su uspesni bili u tome na osnovu izvedenih objekata ali i nerealizovanih projekata.Meni je posebno zanimljiva opsednutost raznim radnickim klubovima, objektima za rekreaciju i kioscima ^_^Pijaca Suharev, 1924-25, Moskva

[pere urban x]

Radnicki klubovi i objekti za rekreaciju dozivljavani su kao "drustveni kondenzatori".Posebno uspesan u razradi projekata klubova bio je upravo Meljnikov ali pre njega treba spomenuti i Rodcenka i njegovu dijalekticku crvenu-crnu garnituru za sah koja je krasila enterijer radnickog kluba.

Edited September 14, 2012 by pere urban x

[pere urban x]

Radnicki klub Burevestnik, Meljnikov 1929, Moskva

[pere urban x]

Rusakov klub, Meljnikov 1927-28. koji smo videli u postu Zaz_pi kao maketu, uspesno odoleva zubu vremena

Edited September 14, 2012 by pere urban x