Here are a few more issues of СтроительÑтво МоÑквы:
СтроительÑтво МоÑквы – (1929) – â„– 5
СтроительÑтво МоÑквы – (1929) – â„– 6
СтроительÑтво МоÑквы – (1930) – â„– 6
Here are a few more issues of СтроительÑтво МоÑквы:
СтроительÑтво МоÑквы – (1929) – â„– 5
СтроительÑтво МоÑквы – (1929) – â„– 6
СтроительÑтво МоÑквы – (1930) – â„– 6
Many thanks to Arch-Grafika.ru/ for making available the following major works of the famed Russian avant-garde architect Iakov Chernikhov, which I have converted into PDF form and rendered searchable:
1. Яков Чернихов — 101 Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð½Ð°Ñ Ñ„Ð°Ð½Ñ‚Ð°Ð·Ð¸Ñ (1927) [101 Architectural Fantasies]
2. Яков Чернихов — ОÑновы Современной Ðрхитектуры (1930) [The Fundamentals of Modern Architecture]
3. Яков Чернихов — КонÑÑ‚Ñ€ÑƒÐºÑ†Ð¸Ñ Ð¼Ð°ÑˆÐ¸Ð½Ð½Ñ‹Ñ… и архитектурных форм (1933) [The Construction of Machine and Architectural Forms, of which I have recently posted an excellent full-text translation by the late Catherine Cooke]
An additional thank you to Arch-Grafika for crediting my work in uploading Izvestiia ASNOVA.
This post is dedicated to Owen Hatherley of the blog Nasty, Brutalist, and Short, the Kosmograd newsfeed, Doug Spencer of the Critical Grounds blog, the brilliant Vladimir Paperny (for his help and insight), and anyone else who’s interested in Marxism and modernist architecture:
First, I would like to apologize to everyone who follows my blog for the long absence. The reason I’ve been gone the last two weeks is that I’ve been meticulously putting together some PDFs of the early Soviet architectural journal Modern Architecture, the main periodical published by the Constructivists in OSA. Needless to say, this was an extraordinarily time-consuming process. Nevertheless, I am hoping to return to posting fairly regularly, and to write a long-delayed contribution to Renegade Eye.
Modern Architecture was edited by Moisei Ginzburg and the Vesnin brothers, until Roman Khiger took over in 1928, and was throughout the leading architectural avant-garde journal in the USSR. From February 1926 to the end of 1930, six issues of the journal were published annually. It provided an outlet for architectural theory and design for both Soviet and Western European architects, pursuing a distinctly internationalist program of design. The journal was unfortunately shut down toward the beginning of 1931, replaced by the All-Union journal Soviet Architecture, which gradually shifted in the direction of neoclassicism.
The following are nearly full-text PDF versions of some of the journal’s most outstanding issues, capturing almost its entire run. As the gaps will suggest, the following issues are missing: 1926, № 2; 1927, № 4/5; 1928 № 2 & 5. In addition, I mostly just included those pages which have sizable blocks of text in them, or which form part of an article in the journal. Many of the pages that were solely devoted to illustration have been omitted. This is because the focus of my research is centered on the writings of the modernist architects more so than their designs. Still, Modern Architecture was fairly text-heavy, and most of the time at least two-thirds of each issue are reproduced, along with images.
The images comprising the pages of each PDF were gathered from photos I took of the various issues, which I then edited and rearranged. The quality of the images varies, though they get notably clearer toward the end. Part of this owes to my own lack of skill as a photographer, and the other part to the notoriously poor quality of early Soviet print. Every page has been cropped, rescaled, and clarified as much as possible, before finally being run through some Cyrillic text-recognition software. Some sections remain difficult to read, however, and are not quite as reliable. Even for those who don’t read Russian, they still are worth taking a look at, if only for the masterful layout designed by Aleksei Gan.
And so, without further ado:
1926
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1926) — â„– 1
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 2 (missing)
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1926) — â„– 3
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1926) — â„– 4
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1926) — â„– 5/6
1927
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1927) — â„– 1
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1927) — â„– 2
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1927) — â„– 3
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 4/5 (missing)
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1927) — â„– 6
1928
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 1
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 2 (missing)
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 3
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 4
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 5 (missing)
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1928) — â„– 6
1929
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1929) — â„– 1
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1929) — â„– 2
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1929) — â„– 3
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1929) — â„– 4
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1929) — â„– 5
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1929) — â„– 6
1930
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1930) — â„– 1/2
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1930) — â„– 3
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1930) — â„– 4
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1930) — â„– 5
Ð¡Ð¾Ð²Ñ€ÐµÐ¼ÐµÐ½Ð½Ð°Ñ Ð°Ñ€Ñ…Ð¸Ñ‚ÐµÐºÑ‚ÑƒÑ€Ð° — (1930) — â„– 6
Enjoy!
Tomorrow I am going to finally get a chance to take a look at the physical copies of Sovremennaia arkhitektura’s full run, from 1926-1930. I have looked through virtually the entire journal before on microfilm, but this will be the first time I actually handle the documents themselves. Anyway, I’m bringing my camera. Expect PDFs.
The most modern and consistent solutions achieved by contemporary architects are still confined within the bourgeois way of living. All contemporary buildings, even the most modern ‘separate mansions’ (villas, palaces) as well as housing estates for the exploited poorer classes use the most modern building materials and techniques promoting a rational daily family life and improving hygienic standards. All this activity is still based nevertheless on the bourgeois concept of a family, in particular on the concept: one family, one home, one kitchen. Also the individual whims of the owners are excessively respected. Luxury, diverse equipment, unnecessary artistic furniture, splendor and abundance for the rich and only certain facilities available for the poor…
Men who try to create a new architecture, a free architecture for a free people, anticipate the creation of a new social order in which private ownership, family, and nationality will be unknown. Anticipation is now, however, the tactic of a revolutionary. It is now necessary to prepare the community, to accustom it to new ideas, to revolutionize architecture, architectural production and include the hypotheses of a new organization of a new world. This statement applies especially to architecture since architecture is the creation of organization.
The revolutionary liberation of architecture will produce the concept of housing for people not burdened by family or nationality, where a companionship and a collective way of life will exist replacing sumptuous drawing-rooms and private gardens by social district clubs and public parks. Housing will no longer be ‘home, sweet home’ or ‘my castle’…The balance of present achievements in the field of housing is not yet clear and the standards for modern living not yet formulated. The Weissenhof estate does not provide any final solutions; its achievements are at present subordinate to the ideas of a bourgeois society [201] within whose boundaries all aims cannot be achieved. In the Weissenhof estate for example, in spite of all technical progress, separate kitchens are provided in each flat and only one bedroom for both husband and wife. In the present economic conditions of a divided class society, it is impossible to hope for a final solution to the housing problem for equality and a new way of life of a new free people. In housing, economic and financial class interests still predominate. Nevertheless the experience gained in the construction of contemporary buildings may be used to attempt a theoretical investigation and a determination of hypothetical standards for socialist housing. In order to outline a hypothesis for socialist housing it is first necessary to analyze the means actually available and to examine the needs of modern man in relation to housing. The examination of a building involves the following questions: might the dwelling be smaller? should it consist of only one room which simultaneously serves as a boudoir, study, living-room? Is it actually admissible to reduce the dwelling to only on room which is adapted to complex ends? Do we require the separation into particular premises for particular needs? If so, then what premises and what purposes? Another problem: what degree of comfort can be provided by a socialist community for the disposal of an individual and what comforts shall be reserved for the collective?
The hypothesis of socialist housing must profess that freedom consists of leaving the home. Socialist architecture must reject the concept of rented family houses which must disappear together with ownership (rented accommodation) and family. Our idea is based on present achievements and on the critical assessment of present forms; it outlines modern housing for socialist citizens as an open-plan construction. Recent socialist inventions are dwellings without imprisoning walls, providing a living space which is deprived of furniture rather than encumbered by it, which is full of light and bright colors with free access of light. Even the sun is a desirable commodity. Diogenes, who lived in a tub and renounced everything that he considered superfluous, said to Alexander the Great, ‘Move away from the sunlight.’ Well then, out with the unnecessary paraphernalia of our daily life but let us have the sun…
The housing complex in socialist towns should be composed of single cells designed to fit the people (husbands or wives), but never in accordance with the concept of a family. Its ‘standards’ depend upon a very extensive change of living habits which must be brought about by social revolution. The new society will no doubt be compelled to reform its customs which already begin to oppress the modern man.
The contemporary concepts of reformed life shown to the public at the Werkbund exhibition by Le Corbusier, Mart Stam, Mies van der Rohe, J.J.P. Oud (especially the equipment, not the design of houses), and Walter Gropius must not be considered as the final achievement but merely as a transitory stage. The most far-reaching solution of the housing problem is still on paper and cannot yet be realized. Le Corbusier’s plan of ‘immeubles villas’ represent a collective cooperative complex composed of single units — villas or cottages. It seems that from now on the future development will follow a different road: a cooperative complex elimination of kitchens, hotel-like organization of living providing restaurants, canteen, flats for single persons and a collective comfort: cafeterias, restaurants, festival hall, dancing, baths, playgrounds, reading room, and library for the disposal of the collective. Modern architects who build up a socialist community are not satisfied with orders and limitations imposed by the means available at present. Using explicit methods they prepare theories and hypothetical solutions for the architecture of the future. An ideal design for housing is not yet attained; it is said that utopia and ideal are the same thing and both can never be reached. (We would like to say that they can be reached but the way is very hard). The setting up of an ideal standard for new housing and new architecture must encourage us towards the utopian goal. At present not the utopia but a hypothetical architecture, is important. Changes in architecture cannot be effected without changes in the organization of production and society, in other words without a social [202] revolution. The theories and hypotheses of the new architecture are the ‘battle for tomorrow.’ According to Saldow the endeavors in the study of housing are still the ‘dreams of a happy future,’ but these dreams are supported by a number of historical probabilities. Here the renaissance of architecture begins.
Over the next couple weeks, I’m planning to post a flurry of full-text books and articles from the annals of modernist architectural and aesthetic theory. After they’re all up, I’m going to catalog it so that it’s easily searchable. They’re all going to be translated primary source documents that (at least to my knowledge) aren’t already up on the web. With the Russian texts, I’m going to post the Russian along with my own translations, which will be forthcoming. A lot of this material has never been translated. All non-Russian sources are translated by someone else or were originally written in English.
Introduction
Influenced by the powerful spiritual forces in which the creative work of our time is embodied, the mighty drama of a sweeping transformation is taking place before our eyes. It is the birth of the form of our time. In the course of this dramatic play — amid the conflict and convulsion of old, now meaningless traditions breaking down and new conventions of thinking and feeling arising — new, previously unknown forms are emerging. Given their congruous features, they can be discussed as the elements of a new style of building.
Though the public regards these new building forms with immediate and visible excitement, their unfamiliar appearance often leads to a feeling of unease and incomprehension.  For the public, and at best for those members of the profession who have not been hardened by the dead certitude of a doctrine, only one path leads to a vital understanding of the new architecture. These new forms must be shown to be inevitable, so that they will be seen as a natural consequence and logical result of a changed formulation of the problem.
This is the approach taken in the following remarks. Their aim is to make a broader circle of people familiar with the crucial building problems of the time; to show that these problems concern not purely aesthetic issues or the vain conceits of a company of misfits but rather quite universal and concrete questions. These questions, moreover, are of interest not just to architects to us all, and they can therefore be discussed in a very specific way.
The New Architectural Form
Let us begin by describing very superficially the exterior attributes of the buildings of the new style, which, owing to a number of unmistakable features, stand out against their surroundings so emphatically. As the accompanying illustrations show, they are usually works with a simple, austere form and a clear organization, with smooth, planar walls, and always with a flat roof and straight profiles. The building body is generally articulated by a more or less lively gradation of masses and by the distribution of windows and openings in the wall surfaces. It is also apparent that the openings the windows, and occasionally, also the balconies (quite contrary to tradition) are placed at the corners of the buildings, where formerly we were accustomed to seeing the load-bearing parts of the building or the solid masonry of corner piers. Further, we notice that these buildings altogether lack the familiar and [90-97] customary means of decoration. The advocates of the new building attitude seem to have a particularly keen dislike for the column, that popular showpiece of academic architecture, and they are notably cool toward any kind of ornament or decorative detail. Ornament — the decorative accessory, the detail in the old sense — has completely disappeared. They prefer smooth walls and consciously exploit the wall’s planar attributes as an architectural design tool. They compose simple building bodies, which are themselves plastically articulated, and create a powerfully punctuated rhythm of movement by linear accents or occasionally by overhanging slabs and deeply shaded projections, which emphasize and strengthen the impression of the corporal, the spatial, and the three-dimensional.
The most curious and striking feature of the new architecture is the absence of any kind of exterior ornament, which is then usually the first criticism leveled against it. This is completely understandable. In many areas of our life today we stand under the crippling weight of traditional views that cloud our judgment. Our artistic judgment is also greatly confused by the widespread superstition that art is synonymous with decoration. This deeply rooted belief makes it inevitable that not only the lay world but also the professionals look upon the unadorned and therefore unfamiliar works of the new architecture as cold and dry, raw and unfinished, purely and simply as inartistic. They miss in these buildings the familiar charm of decorations. They are put off by linear, hard, and angular forms. And we must conceded that such limited judgment is to some extent justified, that the buildings of the new style do lack the effect of the pleasing, the artistic, the emotional that was evoked by the sensuous charm of detail in historical works.