Schools of the avant-garde era of the 1920s. Music from the era of Alexander III will be performed at the Presidential Library

VANGUARD- a conventional name for various artistic movements in the art of the 20th century, which are characterized by the desire for a radical change in the principles and traditions of artistic practice - cubism, futurism, expressionism, Dadaism, surrealism, abstract art, analytical art, Rayonism, constructivism, cubo-futurism, Suprematism, conceptualism , postmodernism, etc. Avant-gardists strive for new means of expression and forms of works.

The artist developed provisions about the “seeing eye” and the “knowing eye.” The first of them is in charge of conveying form and color, with the help of the second, the “knowing eye,” the artist, relying on intuition, reproduces invisible, hidden processes. Here is how Filonov writes about it: “Everyone sees from a certain angle of view, on the one hand and to a certain extent, either the back or the face of an object, always part of what he is looking at - the most keen seeing eye does not go further than this, but the knowing one the eye of a researcher-inventor - a master of analytical art - strives for an exhaustive vision, as far as this is possible for a person; he looks with his analysis and brain and sees with it where the artist’s eye does not reach at all. So, for example, seeing only the trunk, branches, leaves and flowers, say, of an apple tree, at the same time know or, by analyzing, strive to find out how the soil juices are taken and absorbed by the tendrils of the roots, how these juices run upward through the cells of the wood, how they distributed in constant reaction to light and heat, processed and transformed into the atomistic structure of the trunk and branches, into green leaves, into white and red flowers, into green-yellow-pink apples and into the rough bark of a tree. This is what should interest the master, and not the appearance of the apple tree. The trousers, boots, jacket or face of a person are not as interesting as the phenomenon of thinking with its processes in the head of this person is interesting.”

Kovtun E.F. “From the history of the Russian avant-garde” (P.N. Filonov) // Yearbook of the manuscript department of the Pushkin House. 1977. L., 1979. P. 216

Kovtun E.F. Brief explanation of the exhibited works, 1928 // Filonov P.N. Painting. Graphics: from the collection of the State Russian Museum: exhibition catalogue. L., 1988. P. 108

Regional avant-garde schools in the early 1920s were divided into two types. The first was based on the geographical principle, when an avant-garde school developed in a certain region. These types of schools include the so-called Ural avant-garde (Tomsk, Omsk, Perm, Yekaterinburg), Saratov avant-garde, Kazan avant-garde, Ukrainian avant-garde (Kiev, Kharkov), Georgian avant-garde (Tiflis), Turkestan avant-garde (Samarkand). Each of these regional schools will be briefly discussed in the lecture.

The second type of school was based on the leadership of one artist, around whom students and followers were formed. The main ones included the schools of Malevich, Matyushin and Filonov.

More details

Malevich's school was formed in 1918-1922 in Vitebsk as part of a phenomenon that is also called the “Vitebsk School” or the “Vitebsk Renaissance”. It began with Vitebsk native Marc Chagall, who was appointed in 1918 as Commissioner of the People's Commissariat of Education for Arts. Chagall headed the Vitebsk People's Art School in 1819 and gathered workshop leaders there, among whom were El Lissitzky, Kazimir Malevich and others. Malevich came to Vitebsk in 1919, and his appearance radically changed the life of the school. In February 1920, Malevich's students and associates united in the group Unovis (Approvers of the New Art).

During his teaching career from 1919 to 1926, Mikhail Matyushin trained two generations of avant-garde artists. The first was during the existence of the Petrograd art workshops (from 1918 to 1922 he taught in the workshop of “spatial realism”). It was there that Matyushin created the theory of “organic culture”, within the framework of which numerous abstract compositions were written, based on impressions of the nature surrounding the artist. From 1922 to 1926, the second period of Matyushin’s teaching work lasted, when his students became students of the second generation of young avant-garde artists - at the Museum of Artistic Culture, which was later transformed into the State Institute of Artistic Culture (Ginkhuk) . The Matyushinites organized the “Zorved” group, which stood for “vision plus knowledge” (knowledge of special internal laws).

Pavel Filonov was the creator of his own avant-garde theory - the theory of analytical art, which uses the theoretical concepts of “madeness”, “from the particular to the general” and others. His school was named MAI - “Masters of Analytical Art”. Filonov's method of work consisted of briefly touching the surface of the painting with a sharpened pencil or thin brush, as a result of which a multi-layered composition of organically linked elements was created. The artist’s work on a painting under analytical self-control turned into a process of revealing the master’s internal energy and intuition.

The end of the 1910s - 1920s was a short but extremely eventful period in the life of our country: in 1917 the Bolsheviks came to power, and the Soviet state, which laid claim to building a new world, required a completely different architecture than before. In this regard, freedom from all kinds of “shackles” was declared, including canonical and stylistic ones, which provided unlimited opportunities for all types of creativity. It is to such a sharp turn not so much in politics as in the minds of people that we owe the invaluable heritage of the Russian avant-garde.

Candidate of Art History, head of the sector of the department of architectural and graphic funds of the XX-XXI centuries. State Museum of Architecture named after. A. V. Shchuseva (Moscow)

For architects, the time has come for bold searches and experiments. The boring academicism of the classics*, the excessive decorativeness of modernism** and the mixture of incompatible things in eclecticism*** that often did not meet the requirements of good taste were associated with the bygone tsarism. The most important factors in the development of architecture were the nominal liberation from the will of the customer, the abolition of private ownership of land and large real estate, which opened wide horizons for the design and mass construction of previously unprecedented types of buildings. Architecture played a leading role in shaping the visual image of the country of the Soviets. Then competitions for designs of large administrative and public buildings were organized: destroying the palaces of the bygone era, the new system sought to create its own, designed to become the personification of the power, greatness, success and progressiveness of the young state. However, in architecture it is much more difficult than in other types of art, the path from birth to the realization of a creative plan. Exhausted by the First World War (1914 - 1918) and the Civil War (1918 - 1922), the country had no time for major construction that could reflect the radical changes that had taken place in it. Therefore, many projects were created as if in advance, although there was no doubt about their implementation. Moreover, coming up with a fresh idea was more important than putting it into practice.

In 1917 - 1925, in an atmosphere of romantic perception of the opened horizons of creativity, many unusual architectural works appeared, distinguished by acute symbolic expressiveness - the authors sought to make them understandable, like a propaganda poster. The most striking of such examples is the Tower of the Third International**** by Vladimir Tatlin (1919). The representativeness of her image lay in the daring novelty of the design: a metal frame unfolding in a spiral contained three glass volumes - cubic, pyramidal and cylindrical, and each had to rotate with a strictly defined cyclicity. It was planned to locate the legislative, executive bodies and the information center of the Comintern there.

The building, conceived as the greatest building in the world, was supposed to soar up to 400 m. The author intended to achieve the strength and rigidity of the frame not with a mass of material, but with a spiral-shaped bend of two metal rods with thin lintels, designed to give the monumental structure extraordinary lightness. This idea, which in many ways served as an example of the aesthetic development of new forms, remained unrealized, like many others born in the first half of the 1920s. However, they, for example, the Palace of Labor of Victor and Leonid Vesnin (1923), the “horizontal skyscrapers” of Lazar Lisitsky (1923 - 1925), architectons (spatial compositions) of Kazimir Malevich (1920s), entered the history of world architecture as milestone works.

In 1920, the Institute of Artistic Culture (INHUK) and the Higher Art and Technical Workshops (VKHUTEMAS) with architectural and production faculties were opened in Moscow. In the first of them, they were mainly concerned with the creation of theoretical concepts, in the second, with their direct experimental development in an atmosphere of extensive creative discussions.

Meanwhile, the construction of, in particular, power plants, workers’ settlements attached to them, industrial enterprises, and low-rise residential complexes has noticeably intensified, which required the formation of a new architectural “language.” And by the mid-1920s, two main trends in Russian architecture had emerged - rationalism and constructivism (their first associations arose in INHUK). Their representatives worked to determine the features and patterns of human perception of an unprecedented architectural form, its interaction with the functional and constructive basis of the structure. It was the dissimilarity of ways to solve these issues that became the criterion for dividing these concepts, however, rather conditionally, although their supporters themselves insisted on fundamental differences in their creative methods.

Rationalists emphasized the aesthetic tasks of architecture, achieving its expressiveness using the laws of psychophysiology of human perception. The formation of their concept was influenced by cubo-futurism, suprematism***** and symbolic romanticism. The plastic image of the object came to the fore (the design played a secondary role), and its volumetric-spatial solution acquired special significance.

The organizer, theoretician and creative leader of the rationalists was Nikolai Ladovsky, around whom a team of like-minded people began to take shape at INKHUK, uniting in 1923 into the Association of New Architects (ASNOVA). He was one of the first in the world to raise the question of the rational basis for human perception of an architectural and artistic work. The innovative architect studied the corresponding psychophysiological patterns, organized a laboratory at VKHUTEMAS, where he conducted research using instruments specially created to test the eye and spatial imagination.

Project of the building of the joint-stock company "Arkos" Architects Vesnina. 1927

Project for the Moscow branch of the newspaper "Leningradskaya Pravda". Architects Vesnina. 1924

In the early 1920s, Ladovsky developed a psychoanalytic method of teaching architecture (in particular, composition) at VKHUTEMAS, introduced the practice of performing tasks in models, which, of course, contributed to the development of three-dimensional spatial thinking among students.

ASNOVA, a relatively small organization operating only in the capital, was closely associated with VKHUTEMAS and primarily focused on young people (as opposed to the old architectural societies of Moscow and Petrograd, which became more active in the early 1920s). It is no coincidence that it was the rationalists, to a greater extent than supporters of other architectural movements, who were engaged in pedagogical activities.

Let us emphasize: rationalists were often criticized for abstract experimentation with form and separation from reality (for example, the high-rise building that was supposed to be erected in Moscow on Lubyanka Square; Vladimir Krinsky, 1922), but the liberation of creativity from purely pragmatic tasks gave these works significant potential for future.

Constructivism in architecture (finally formed somewhat later than rationalism) was part of a broad movement in Russian culture of the 1920s with the same name. It arose from the creative search of artists Vladimir Tatlin. Vladimir and George Stenberg, Naum Gabo, Alexander Rodchenko and the development of the basic ideas of the theorists of “industrial art”****** Osip Brik, Boris Arvatov, Alexander Ean and others. The followers of this movement put the creation of not images of reality, but its itself - the things surrounding a person.

The birth of constructivism as a movement of architecture can be called 1921, when its supporters created a working group at INKHUK. Their theoretical credo was based on a focus on functional requirements for works of art as everyday objects. The simplicity of the forms was associated with the aesthetic ideals of the victorious proletariat.

Constructivists gradually united around Alexander Vesnin. In 1923 - 1924 he led a group of adherents of this movement, consisting mainly of VKHUTEMAS students, in whose work leaders of LEF (Left Front of the Arts) ******* participated. In 1925, on its basis, the Association of Modern Architects was formed, which began publishing a magazine where its members published the main provisions of their concept, placing the main emphasis on the constructive originality of the architectural form and its functional feasibility. Theorists of this direction especially emphasized that it is not a new style, but a method of creativity.

The so-called functional design method, developed by one of the leaders of the movement under consideration, Moses Ginzburg, based on a rational approach to the layout and equipment of a structure, taking into account its purpose and social function, has become widespread. It was an extensive creative program that required the introduction of the latest scientific and technical achievements of the time into architecture, the development of appropriate types of buildings, the determination of the aesthetic possibilities of new architecture, as well as the industrialization of construction.

The first manifestation of constructivism as an established trend was the aforementioned competition project for the Palace of Labor of the Vesnin brothers (1923), which was distinguished by a striking innovative solution, in particular the use of modern structures and materials, and was designed for a large urban planning scale. The main hall was connected by a suspended passage to the huge cylindrical tower of the building. Its asymmetrical shift relative to the axis and the rhythmic disruption of the horizontal and vertical divisions of the facades created a sense of dynamics in the composition. For interior spaces, the authors provided the possibility of transformation and unification.

Among other important works of constructivists of the 1920s, one can highlight the competition projects for the buildings of the newspaper "Leningradskaya Pravda" (the Vesnin brothers, Ilya Golosov), the joint-stock company "Arkos" (the Vesnin brothers, Ilya Golosov, Vladimir Krinsky), the Moscow telegraph (the Vesnin brothers, Georgy Wegman).

In the mid-1920s, the most prominent figure among the constructivists was Golosov, who focused on the development of a glazed frame and a large, complex form. One of his most famous buildings is the club named after. CM. Zuev in Moscow (1927 - 1929). The glass volume of the cylinder seems to cut through the corner of the building, creating a significant spatial accent on the corner of Lesnaya Street. The vertical windows of the longitudinal part introduce a clear rhythm into the organization of the facade plane and balance the protruding horizontal lines of the balconies.

And in 1928 - 1930s, Ivan Leonidov became the de facto leader of this movement. His projects, in particular the Institute of Library Science. V.I. Lenin, were distinguished by the laconicism of geometric volumes and the novelty of the principles of spatial organization of the urban ensemble.

The residential building of the People's Commissariat of Finance on Novinsky Boulevard (Moses Ginzburg, Ignatius Milinis, 1929 - 1930) also became a significant architectural milestone. It was erected on a large plot, surrounded by a park, on a high slope facing the Moscow River. The design of the facades is dominated by long stripes of windows, emphasizing the horizontal extent of the residential building and contrasting with the large stained glass window of the communal building. The semicircular projections of the end façade visually complete the movement of the longitudinal lines of the windows.

Another important monument of the avant-garde in Moscow is the building of the Central Union of Consumer Societies of the USSR (now the Federal State Statistics Service - Goskomstat), consisting of four buildings, on Myasnitskaya Street (1929 - 1936). As a result of an international competition, the famous French architect Le Corbusier became the author of the project. The complex arrangement of volumes and height differences introduce dynamics into the rectangular “grid” of rationalistic facades.

One of the most striking and memorable buildings of that time was the planetarium in Moscow. It was built in 1927 - 1929. Mikhail Barsh and Mikhail Sinyavsky near the Garden Ring. The basis of the unusual composition of the building is a parabolic reinforced concrete dome, which serves as the ceiling of the main hall, located on the second floor. The cylindrical volume of the base is accentuated by three staircase projections.

Among the leading architects of the Soviet avant-garde was Konstantin Melnikov, who was not part of any creative association and remained a bright creative individual. His own house, built in 1929 in the center of Moscow, near Arbat Street, is a unique architectural monument of the capital. An unprecedented event in the history of the Soviet period: the government and city leadership officially allocated a plot of land to the architect and provided a loan from a state bank for the construction of a building according to the project presented to him. Compositionally, these are two cylinders of the same diameter but different heights embedded into each other. The front part of the lower one is “cut off” by the glazed plane of the facade; here is the entrance and a large living room window. The walls are made of brick and represent a mesh frame with diagonally oriented cells, multiples of hexagonal windows.

Melnikov built five clubs in Moscow that went down in the history of avant-garde architecture. An unusual volumetric-spatial solution for the most famous of them, built for the Union of Transport Workers of the MKH named after. I. V. Rusakova (1927 - 1929), is interconnected with the layout of the interior spaces, which implied the possibility of their transformation. The balconies of the auditorium in the form of dynamic “outbursts” of peculiar cut-off consoles, separated by glazed vertical staircases, form the basis of the compositional design of the facade.

The composition of another club designed by Melnikov, which belonged to the Burevestnik shoe factory (1927 - 1929), is built on a contrasting comparison of the plastic volume of the glazed five-petal tower and the blank wall of the auditorium hanging over the entrance. The main volume of the building, made up of two rectangles that seem to extend from one another, goes deep into the site. The austere gray facade of the club of the Kauchuk plant (1927 - 1929) is dissected by alternating vertical sections of the wall and glazed surfaces. A round cash register pavilion located at the corner of the sidewalk anchors the central axis of the sector.

In conclusion, we note: the evolution of the relationship between rationalism and constructivism is quite complex. Initially, their common basis was a declarative denial of the traditions of the past. Then, disagreements arose between their representatives regarding the main provisions of the creative method, which led to heated discussions. However, subsequently, under the influence of the realities of the transition to solving practical problems, the theoretical contradictions somewhat weakened and both directions came closer over time, successfully complementing each other.

At the end of the 1920s, an attempt was made to unite representatives of innovative movements into a single federation. However, this failed. Moreover, in 1929, the All-Russian Association of Proletarian Architects appeared, which sharply criticized the architects who advocated exploratory design and declared the avant-garde movements “non-proletarian,” which led to the strengthening of the positions of supporters of the traditionalist direction.

As a result, at the turn of the 1920s and 1930s, the positions of rationalists and constructivists noticeably weakened. Neoclassical trends came to the fore, which received the approval of the authorities as preferential in the choice of guidelines for the figurative solution of Soviet architecture, which actually marked the end of the architecture of the Soviet avant-garde.

* See: Z. Zolotnitskaya. "Noble simplicity and majestic calm." - Science in Russia, 2009, N 3.

** See: T. Gaydor. Russian architecture of the Silver Age. - Science in Russia, 2009, N 6.

*** See: T. Gaydor. Polystylism in Russian architecture. - Science in Russia, 2009, N 5.

**** Comintern (Communist International), III International - in 1919 - 1943. an international organization that united communist parties from various countries.

***** Cubo-futurism is a trend in avant-garde art at the beginning of the 20th century, combining the developments of the futurists (who claimed to build “the art of the future”, denying all previous world experience) and cubist artists (who used emphatically geometricized conventional forms, “crushing "real objects). Suprematism is a movement in avant-garde art founded in the first half of the 1910s in Russia by the artist Kazimir Malevich. It was expressed in combinations of multi-colored planes of the simplest geometric shapes (straight line, square, circle, rectangle), forming balanced asymmetrical compositions permeated with internal movement.

****** "Industrial art" is an artistic movement in Russian culture in the 1920s. In 1918 - 1921 was closely associated with the so-called leftist movements in painting and sculpture. Participants in the movement set the task of merging art, separated by the development of capitalism from craft, with material production based on highly developed industrial technology.

******* Left Front of the Arts - a creative association that existed in 1922 - 1929. in Moscow, Odessa and other cities. The basic principles of his activity are literature of fact, production art, social order.

Maria KOSTYUK

1920-1930s

tical functions, vital needs in determining both plans and forms of structures(Table 14-16).

The ground for it was prepared by the struggle against the eclectic division of architecture into utilitarian construction and facade decoration, the desire to restore the unity of aesthetics and practice, and to develop a new principle of the expediency of architectural form. L. Sullivan's slogan “form is determined by function” was taken up by the founders of modern architecture in Germany - the Bauhaus group, in France - the Esprit Nouveau group and in the Netherlands - the De Stijl group. Since the late 1920s, functionalism has spread rapidly throughout Europe and beyond. The external signs of an international style were affirmed, while local traditions and climatic conditions were ignored. Functionalism in Western European countries developed in parallel with constructivism in the Soviet Union.

Both directions relate to avant-garde phenomena in architecture (Tables 17-19, see Tables 14-16).

The planning structure of buildings made in functionalism is based on a clear movement schedule, logical interconnection of rooms, and a true reflection of functions is visible in the appearance of buildings. Functionalists follow the formula of the German architect B. Taut: “What functions well also looks good.”

The characteristic features of functionalism are:

loose asymmetry of pants;

differentiation of the volume of the building and allocation of premises with the same functions into separate groups connected by transitions;

simple geometric architectural forms;

horizontal divisions, strip windows;

flat roofs;

lack of decorative elements and elements of historical styles.

A prominent representative of functionalism in France was the architect Le Corbusier. Already in his early work, he showed interest in the problems of mass housing and sought to standardize it, to make it as industrial as possible.

Exhibition pavilion "Esprit Nouveau" in Paris designed by the architect Le Corbusier at the International Exhibition of Decorative Arts and Technology (1925) reflected the innovative ideas of the author.

But Le Corbusier gained wide fame when he began to build villas for rich people.

Villa Savoye in Poissy(1928) became widely known throughout the world. It has a clear architectural appearance, characterized by laconic forms. The house seems to float above the ground. Its parallelepiped is raised on thin supports-pillars of the frame. Its first floor is partially built up. A garage and a workshop are located here. The rest of the space is free. The main premises are located on the second floor. The connection between the floors is carried out using gently sloping reinforced concrete ramps, which allows you to see unexpected angles of the interior space of the villa when climbing.

The principle of flowing spaces is used. Due to the continuous glazing of the wall, the space of the room is visually combined with the open terrace. There is a solarium on the flat roof, which is hidden behind a thin curved wall, close in plan to an oval. This is an architectural element that softens rectangular outlines. The terrace of the second floor is limited by walls with window openings without glass, which makes it possible to sharpen the perception of the surrounding landscape.

Villa in Garches(1927) near Paris became one of Jle Corbusier's most famous works in the field of individual residential construction. When constructing a rectangular plan and when creating the composition of the main facades, Le Corbusier uses the proportions of the golden section. Free layout is ensured by the use of a reinforced concrete frame. The walls of the northern facade are strips of reinforced concrete and glass. On the southern façade the glass stripes are wider than on the northern one. On the ground floor there is a hall, garage, workshop and servants' rooms. On the second floor there is a large open room in the center, a library in the northwest corner, a dining room in the southeast corner, a kitchen in the northeast corner, and a terrace with a garden in the southwest corner. There are two staircases in the house: one rises from the hall to the library, the other leads from the passage near the garage to the kitchen and above. The third floor is occupied by bedrooms, dressing rooms and bathrooms, as well as a terrace. The fourth floor has a guest room and a maid's bedroom, a terrace with a garden. In the center of the terrace there is a turret elliptical in plan. The house makes maximum use of sunlight, fresh air and natural surroundings. The plans are inscribed in a simple rectangle, but are spatially complex, since they take into account all human needs. The southern facade with wide ribbons of windows is enlivened by a diagonal open staircase leading to the terrace.

Le Corbusier formulated five principles of his work, which 48

were the basis for the concept of functionalism:

house on racks (to free up the surface of the earth for greenery);

free plan (independence of division of floors by partitions due to the use of a light frame);

freedom of the facade (which can be achieved by sparsely spaced vertical frame posts and cantilever structures);

horizontal windows;

flat roof (possibility to arrange open terraces).

They can be clearly read in all his works of this period.

Along with private villas, Le Corbusier designed and built large public buildings, for example, a dormitory for Swiss students in Paris (1930), and the Centrosoyuz building in Moscow (1928 -1936). These buildings also vividly embodied the principles of functionalism and new aesthetic concepts.

The largest French architect of the period of functionalism I was A. Lyursa, according to whose design a significant structure was built - school in Villajuife(1931 - 1933), one of the arrondissements of Paris. The school included a kindergarten.

A. Lyursa created a developed spatial composition, which was dominated by an extended educational building, with three short blocks extending perpendicularly from it, creating open courtyards for games and sports activities. This was another striking example of functionalism. The planning structure was based on a simple and clear connection between the premises. In the early 1930s, A. Lyursa was invited to the USSR, where he worked on the creation of mainly school and hospital buildings.

The new direction, despite its achievements, did not determine the general character of French cities. Modern buildings were rare inclusions in traditional buildings.

Le Corbusier was the first to raise the question of creating an international organization of architects in the late 1920s. In 1928, such an organization was created - the International Congress of Modern Architecture (CIAM). The organization united supporters of the rationalist movement - the “modern movement”, which spread in the 1920s and 1930s to Europe, North and South America, Austria, and Japan. The idea of ​​“international architecture” put forward by V. Gropius began to be realized. Supporters of this movement opposed academicism. Le Corbusier created a document called the “Charter of Athens”, which formulated the urban planning concept of functionalism. In the post-war years, the provisions of the Athens Charter became tenets of functionalism. In the 1930-1950s, SIAM contributed to the establishment of international connections between architects.

In the 1920s, a new direction in architecture also developed rapidly in Germany. Such famous architects as P. Behrens, L. Mies van der Rohe, V. Gropius, G. Poelzig, B. Taut, G. Meyer, E. May worked here.

In 1919, the architect V. Gropius created a new educational institution, Bauhaus (Higher School of Construction and Artistic Design), combining two educational institutions: a higher art school and a vocational school, trying to bridge the gap between “pure” and applied art, between industry and manual labor. This educational institution and architectural and artistic association was originally founded in Weimar, and in 1925 it was transferred to Dessau, then in 1932 to Berlin, where it was closed by the Nazis in 1933.

V. Gropius dreamed of reviving the unity of arts and crafts in the spirit of W. Morris. His aesthetic utopia was aimed at an ideal life arrangement as the ultimate goal. At the same time, V. Gorpius did not reject industrial production methods. The training included the study of materials and methods of their processing, and then the theory of shaping. V. Gropius saw the solution to the social problems of architecture and design in standardization and serialization. The Bauhaus began to train artist-designers who were versed in painting, drawing, and composition, and were specialists who knew the technologies of industrial production of objects of applied art and equipment for residential and public buildings. In 1928, the Bauhaus and its architecture department were headed by the architect G. Meyer. He focused his program on developing the social role of architecture and preparing students for practical activities. At the same time, artistic disciplines were isolated, which violated the unified integrity of the program. In 1930, the architect L. Mies van der Rohe took over as director. He maintained the predominance of architectural disciplines, but sharply reduced the activities of the workshops.

The Bauhaus was not only a center for the education of architects, designers and artists, but also a center for the development of rationalist ideas in architecture. The teaching methods developed at the Bauhaus were adopted by many architectural and art schools in Europe and the USA.

A similar epicenter for the formation of the avant-garde trend in Soviet architecture in the 1920s was the higher educational institution - Vkhutemas (Vkhutein).

V.Gropius built a new Bauhaus building in Dessau (1925 - 1926 gg.), which is considered the manifesto of functionalism in Germany, since it embodied all the principles of this avant-garde movement. The building had an asymmetrical structure of individual simple geometric volumes connected by transitions. The composition consisted of two buildings: one contained educational premises, the other - production workshops. The workshop building had continuous glazed walls, and the training building had separate windows. The transition is revealed by horizontal ribbons of windows, the staircases - by vertical glazing. The roofs are flat. There is nothing decorative in the building. The appearance is distinguished by simplicity and novelty.

Functionalism refused to highlight the main facade. The principle of all-facades, proposed by Art Nouveau, became the main one.

In 1924, V. Gropius in the international competition for Chicago Tribune newspaper building presented a project that shocked the jury with its appearance. Here there was a complete abandonment of the use of eclectic forms and the identification of load-bearing frame structures. Despite severe criticism from the jury, the project influenced the further search for American architecture.

This innovative project, in its significance for the subsequent development of architecture, echoed the avant-garde project of the leaders of constructivism in the Soviet Union - the brothers A., JL, V. Vesnin, presented in 1922 in the competition for the Palace of Labor in Moscow.

V. Gropius was the first to propose the so-called row development during the construction of residential settlements for workers, when houses were located in parallel rows, perpendicular to city highways, onto which only the blind ends of standard houses faced. This reduced the cost of construction, helped reduce the length of communications, and insulated apartments from street noise. Examples include the villages of Dammerstock, Siemensstadt, etc. This was the first experience in the rationalization of mass housing construction and its industrialization. The principle of line development began to be widely used in our country in the 1920s and 1930s during the construction of new socialist cities (for example, the Avtostroy socialist city in Nizhny Novgorod).

In 1921 -1926. V. Gropius works in the field of housing construction, developing projects for mass cheap housing. Simplicity of volumes, flat roofs, and the absence of decorative ornaments became a feature of the new type of residential buildings. The requirement for savings in housing construction came to the fore.

Another major representative of German functionalism was L. Mies van der Rohe. His designs and structures of this period anticipated the development of modern architecture and became the programmatic structures of European functionalism.

The work of L. Mies van der Rohe was formed under the influence of the ideas of P. Behrens, whose design bureau he joined in 1908; under the influence of F. Wright, whose works he saw at the 1910 exhibition in Berlin; influenced by the works of the Dutch architect H. Berlage, one of the outstanding harbingers of modern architecture.

Among the most famous works of L. Mies van der Rohe is German pavilion at the International

exhibition in Barcelona (1929), where he created a new organization of internal space. The flat horizontal roof slab rests on free-standing walls, which asymmetrically divide the pavilion into compartments, as well as on two rows of steel, cruciform in cross-section, chrome plated posts. The racks were installed on a square grid of axes. The interior was complemented by partitions made of transparent, smoky gray and bottle-colored glass. The floor slab, protruding forward, seems to capture the outer space. The pavilion was designed according to the open-plan principle. The free plan allowed the viewer to perceive the entire structure as a whole. The building is extremely laconic; it embodies new architectural ideas, new aesthetic ideals.

Researchers of the work of L. Mies "van der Rohe recognized in the free plan the graphic style of the De Stijl group, in the horizontal volume - echoes of F. Wright's "prairie houses". The architecture of the pavilion demonstrated new revolutionary ideas. The Barcelona pavilion became the pinnacle of the work of L. Mies van der Rohe and a masterpiece of 20th century architecture.

Social democratic sentiment in 1930s Vienna prompted the construction of mass housing for workers. Multi-section residential buildings were closed and semi-enclosed neighborhoods, reminiscent of a kind of fortress. The most striking example of such construction is the Karl-Marx-Hof residential complex in Vienna, Austria, designed by the architect K. Ehn (1926 - 1930). It consisted of a narrow courtyard stretching almost a kilometer in length, along the perimeter of which there are 5-6-story buildings with 1,325 apartments. The complex included preschool institutions, a laundry, shops and a library. Here you can see the influence of the ideas of communal houses in Soviet architecture of that period. The extended facades had a large rhythm of metric divisions in the form of towers protruding above the cornice line and complemented by blind railings of balconies and huge arched openings in the lower floors. This compositional technique gave the residential complex massiveness and monumentality.

The Netherlands in the period under review was characterized by the desire of left-wing artists and architects to find forms that would reflect the aesthetic views of the beginning of the new century. They actively searched for ways of new artistic expression, creating their own version of functionalism - neoplasticism -a movement that opposed expressionism. Neoplasticists, mainly representatives of the De Stijl group, sought to contrast the world of chaos with some kind of abstract harmony(see tables 16, 17).

The creative group “De Stijl” was founded in the Netherlands in 1917. It included artists T. van Doesburg, P. Mondrian, architects J. Aud, G. Rietveld and others.

The aesthetic concept of neoplasticism and post-cubist abstract painting were associated with geometric abstractions of horizontal and vertical lines and planes, which were painted in bright simple colors. Color was used to enhance the expressiveness of the spatial structure. Experiments on the interpenetration of internal and external spaces, the division of wall planes into separate independent elements, the introduction of color and texture were new principles of architecture that quickly gained recognition. They were in tune with the Suprematist searches of L. Lissitzky and K. Malevich in the architecture of the Soviet avant-garde of the 1920-1930s.

The group published its own magazine (“De Stijl”), where the problems of creating new forms were posed. It served as an experimental laboratory, trying to form a new language of modern architecture. But the group gravitated more towards theoretical research. And the buildings they erected remained isolated. Therefore, in particular, the architect J. Aud separated from the De Stijl group in the 1920s and began independent activities.

During construction residential buildings in the village of Hoek van Holland(in the suburbs of Rotterdam) J. Oud showed himself to be a rationalist. He developed simple and clear plans for residential buildings (1924-1927) with apartments on one and two levels. At the same time, he used two modules: one large, equal to the size of the living room, and the other, equal to half of this size. The small module corresponded to kitchens, bedrooms, staircases and other auxiliary rooms. The houses had flat roofs, smooth walls, and horizontal windows. They were more rational in compositional and constructive techniques, novelty of forms, more static compared to the dynamic ideas of neoplasticism.

Another representative of Dutch functionalism was the architect IN. Dudok. In Hilversum, Netherlands, in 1928 he built town hall building, which was distinguished by an expressive composition of the simplest geometric volumes, energetic shifts and emphasized asymmetry. At the same time, the author does not refuse to use red brick and does not 52

seeks to hide it under a layer of plaster. All rooms are grouped around a square courtyard. A tall square clock tower rises above the southeast corner of the building, which also serves as a water tower.

Department store in Rotterdam architect V. Dudok (1929-1930) is characterized by a distinctly modern appearance. The main theme in the solution of the facades is the continuous glazing of the walls, contrasting with the blank volumes. This building is distinguished by its dynamic composition thanks to the emphatically rapid horizontal lines of the individual floors.

Functionalism in the Netherlands was most clearly represented by the building tobacco factory in Rotterdam designed by architects A. Brinkman and C. van der Vlugg (1926-1930). A frame structure was used here. Continuous glazing made it possible to create the appearance of a modern building. It is distinguished by its plastic expressiveness due to the construction of the main body along a concave arc. This shows a certain interest in the formal qualities of architecture. The building was characterized by a rational layout that meets the requirements of the technological process.

Dutch architect G. Rietveld in 1923-1924. built mansion For artists Schroeder in Utrecht, where the concept of neoplasticism in architecture was realized. The almost cubic volume has facades consisting of a number of geometric planes (squares and rectangles), which are independent and dismember the space, maintaining the integrity of the volume. The mansion has an open plan, which can be transformed by movable partitions. Thus, G. Rietveld brings P. Mondrian’s planar formal compositions into three-dimensional space. Using protruding planes, canopies, balconies and terraces, the author connects the building with the space surrounding it.

The search for neoplasticists became an intermediate link between aesthetic and technocratic searches. New ideas of shaping influenced the architectural avant-garde.

In the northern Scandinavian countries, functionalism began to develop with some delay - in the early 1930s. Unlike other European countries, it was characterized by an appeal to local building materials and a tendency to connect architecture with the surrounding nature.

In Finland, the ideas of functionalism were clearly manifested in the works of the architect A. Aalto. His work had a strong personality. For him, as for F. Wright, the main thing in architecture was the merging of buildings with nature.

His most famous work is sanatorium in Paimio near Turku (1929-1933). It attracted everyone's attention. The composition of the sanatorium is free and asymmetrical. The bodies interconnected by transitions are located at different angles to each other. This arrangement is associated with a strict orientation to the cardinal points, since the insolation requirements in a tuberculosis sanatorium are very strict. The chambers receive maximum sunlight, and the buildings themselves are perfectly connected with the surrounding nature and topography, which gives a feeling of organicity to the architectural composition. The clear functional organization of the building and the simple geometry of the volumes make it possible to classify it as one of the best examples of functionalism in Europe.

In 1930 in Stockholm An exhibition took place, which became a turning point in the development of Swedish architecture. Complex exhibition facilities was designed by the architect G. Asplund and made in the style of functionalism. It was distinguished by a clear functional logic in the layout, the use of steel structures, and the absence of traditional motifs in the spirit of neoclassicism or national romanticism.

The pioneers of the “modern movement” (modernism), which included functionalists, neoplasticists and expressionists, viewed architecture as a tool for solving social problems and eliminating social injustice. By means of new architecture, they sought to actively shape the life processes of society, influence the consciousness of people, demonstrating a revaluation of aesthetic values. They called for a fight against the unprincipled eclecticism, and their searches in the 1920s and 1930s made a sharp break with historicism and decorativism. The criteria for architecture were the interactions of function, form and design. The weakness of the “modern movement” was its inattention to the existing environment (with the exception of the buildings of A. Aalto). By the end of the 1930s, one began to feel tired of the limitations of architectural techniques, and the emergence of cliches among adherents of the new direction.

In Russia, the avant-garde movement in architecture of the 1920s and 1930s had its origins in the leftist movements of fine art. Soviet architecture of the avant-garde era occupied a special place in the world architecture of the 20th century. and in the development of domestic architecture. Russia, along with Germany, France and the Netherlands, became the center of the formation of a new global style direction, which * is still a source of new creative impulses and gives modern architects the opportunity to develop new formative ideas born at that time. Soviet architecture was experiencing its heyday and attracted the attention of progressive architects from other countries, who watched with great interest experiments in urban planning and architecture, the process of formation of socially new types of buildings. In those years, the Soviet Union became a center of attraction for famous architects from many countries. They actively participated in the competitive and real design: Jle Corbusier, A. Lyursa, E. Mendelssohn, V. Gropius, B. Taut, E. May, G. Meyer and others. Thus, the competition for the main building of the country - the Palace of Soviets in Moscow (1931) - attracted a number of foreign architects to participate. Of the 160 projects (first round), 24 were presented from other countries (among them from the USA - 11, Germany - 5, France - 3). One of the largest public buildings built by Le Corbusier in the 1930s was the Tsentrosoyuz building on the street. Kirov in Moscow (1930-1936).

Along with functionalism in the 1920s and 1930s, a number of European countries also developedexpressionism - a movement in fine art and modern architecture that is the opposite of functionalism. Expressionism conveyed an alarming worldview inherent in periods of social crises and unrest. He is distinguished by his search for ways to express expressiveness and his focus on the active plasticity of forms. It was especially pronounced in Germany and Austria(see tables 18, 19).

In the post-war years (after the First World War), the ideas of such a direction of the artistic avant-garde as expressionism continued to develop, which, like modernism, believed in the possibility of transforming life according to the laws of art. Expressionism in architecture was also influenced by the ideas of national romanticism - retrospectivism.

The works of expressionism are distinguished by fantastic whimsical composition, sculpturality, dynamic forms, and imbalance. The architecture of expressionism, like the architecture of functionalism, opposed various manifestations of historicism. Expressionism was distinguished by specific techniques for organizing space, which became complex, shapeless, with unclear boundaries. Expressionism was associated with utopian dreams, it proposed the destruction of established dogmas, but its ideology was vague.

The most striking examples of this trend appeared in the 1920-1930s in the Netherlands and Germany. Tre- | The powerful, unstable atmosphere of that time deformed the perception of the artist and architect and gave rise to ecstatic, deconstructive works. In most cases, images of structures are built on associations with forms of technology or forms of organic nature; they often contain an image-symbol.

Among the most famous expressionist architects are G. Poelzig, E. Mendelssohn, G. Scharoun.

The German architect E. Mendelssohn gained wide fame in the 1920s by creating sketches of industrial buildings, which amazed with the sharpness and unexpectedness of architectural forms. They went back to images of the power and dynamics of industry.

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77, 78. School in Villajuif (France), architect. A. Lyursa, 1931 - 193379, 80. Bauhaus in Dessau (Germany), architect. V. Gropius, 1925 - 1926

Exhibition complex with a cafe in Stockholm (Sweden), arch. G. Asplund, 1930

Competition project for the editorial building of the Chicago Tribune newspaper in Chicago (USA), architect. V. Gropius, 1924

83, 84 . German Pavilion at the International Exhibition in Barcelona (Spain), architect. L. Mies van der Rohe, 1929

99, 100. Chili House in Hamburg (Germany), architect. F. Heger, 1922 - 1924101, 102. Residential building for bachelors in Breslau, arch. G. Sharun, 1929

In 1921 he builtastrophysical laboratory near PotsdamFor

scientist A. Einstein. E. Mendelssohn created an unusual image of a structure that differed from “earthly” structures. Its plastic, sculptural forms were conceived in reinforced concrete, but due to the lack of this new building material, it had to be replaced with brick and plastered. The building is distinguished by the absence of right angles, thick walls, and strangely shaped windows.

The form is dictated by figurative associations. After this unusual construction, the architect received many orders.

The German expressionist G. Poelzig built a number of large industrial buildings, which also created unusual architectural images. Then in 1919 he reconstructs Grand Drama Theater in Berlin. The auditorium of the theater with 5 thousand seats is covered with a semi-dome ceiling, which rests on a number of reinforced concrete supports, which the architect gives the appearance of stalactites, behind which the lighting sources are hidden.

Architect F. Heger erects a multi-storey office building Chili house in Hamburg(1922-1924), which is distinguished by the frequent rhythm of vertical divisions of the facades and the sharp shape of the raised corner part. The building is made of traditional red brick. Its sharp profile is emphasized by an angle reminiscent of the bow of a ship, reflecting the structure's function as a shipping company business building.

In 1929, the German architect G. Scharoun, standing among the innovative architects, striving in his works for irrationality, individuality, complexity of figurative and formal language, presented residential building for bachelors at the Werkbund exhibition in Breslau. In it, the author not only creates a combination of simple geometric volumes, but also boldly uses curvilinear and oblique shapes. The rationalistic features here are complemented by the plasticity of the constituent elements of the overall composition, and the building acquires the emotional expressiveness desired by the author. In his buildings one can read the ideas of organic architecture of F. Wright. G. Sharun arranges the spatial structure around a large “middle space”. In a bachelor's house in Breslau, the role of such space is played by a large hall that connects both wings of the building. The compositional principles of G. Sharun, although they relate to expressionism, are distinguished by their attention to functional issues.

In the late 1920s, expressionism was supplanted by the rationalist architecture of functionalism.

The ideas of expressionism, with their increased attention to expressiveness and vivid imagery, appeared in the 1920s, and were further developed in the architecture of Western countries in the 1960s.

In the Soviet Union, no clear manifestation of expressionism was noted, although its features, of course, appeared among avant-garde architects, in particular in student projects of Vkhutemas, in the work of architect K. Melnikov.

"Loro" (18+)

Director: Paolo Sorrentino, starring: Tony Servillo, Elena Sofia Ricci, Riccardo Scamarcio, Kasia Smutniak, Fabrizio Bentivoglio, Dario Cantarelli and others.

At private parties and expensive receptions in Rome and Sardinia, he is always surrounded by the most beautiful and most dangerous people, ready to do anything to gain access to a living legend. “Loro” (“they”) are nouveau riche Italians, the real star among whom is the tyrant and merry fellow, hedonist and romantic, scandalous politician and billionaire Silvio Berlusconi.

“How to skip school profitably” (6+)

Director: Nicolas Vanier, starring: Francois Cluzet, Eric Elmosnino, Francois Berlean, Urbain Canselier, Affif Ben Badra, Laurent Gerra and others.

The film takes place in the 1920s. An orphan is adopted by a simple village family working for a rural landowner. Left to his own devices, the boy soon falls under the influence of a local poacher...

“Reproduction” (16+)

Director: Jeffrey Nachmanoff Starring: Keanu Reeves, Alice Eve, Emily Alyn Lind, Thomas Middleditch, John Ortiz, MJ Anthony, Nyasha Hatendi, Sunshine Logroño

A talented biologist loses his family in a car accident. Obsessed with the desire to bring his wife and children back to life, he violates the laws of scientific ethics and nature itself. But when information about the world's first human reproduction reaches the authorities, a hunt begins for the scientist and his resurrected loved ones.

"Indestructible" (12+)

Director: Konstantin Maksimov, starring: Andrei Chernyshov, Vladimir Epifantsev, Oleg Fomin, Olga Pogodina, Sergei Gorobchenko, Nikolai Dobrynin and others.

The film is based on the real story of the heroic deeds of the crew of the KV-1 tank during the Great Patriotic War. Having accepted an unequal battle, Semyon Konovalov and his soldiers destroyed 16 tanks, two armored vehicles and eight enemy vehicles.

Jivan Gasparyan. Anniversary concert (6+)

This year, Armenian performer and composer Jivan Gasparyan celebrates his 90th birthday. His music can be heard in films by Martin Scorsese and Ridley Scott. And it is he who is credited with popularizing the instrument duduk, without playing which not a single Gasparyan concert is complete. The performance of the People's Artist of the Armenian SSR on the stage of the Zaryadye Great Hall will not be an exception.

Presentation of the new album OQJAV (12+)

Indie pop group OQJAV will present their first full-length album “Leaves-Flowers”, recorded with a new line-up (Vadim Korolev / Yaroslav Timofeev / Dmitry Shugaikin). At the concerts, both new material will be performed, including those already known to fans from the mini-album “Traitor,” as well as old songs of the group.

“Inspector. Version" (16+)

As part of the Biennale of Theatrical Art, a production by Robert Sturua based on the story by Nikolai Gogol will be shown. The next director's version of a great work can be described as an anecdote, paradoxical reflections on modern absurdity and a Russian comedy of masks.

“Tales of Pushkin” (12+)

The first Russian production by Robert Wilson is based on several of Pushkin’s fairy tales: “The Tale of Tsar Saltan”, “The Tale of the Fisherman and the Fish”, “The Tale of the Pope and his Worker Balda”, “The Tale of the Golden Cockerel”, “The Little Bear”, as well as fragments of the poem “Ruslan and Lyudmila”. To create the lighting and scenographic score for the performance, the master of European directing studied not only fairy tales, but also illustrations for them, the history of their appearance, folklore components... The result was complex visual images, accessible, however, not only to theater scholars and philologists.

October 26, 19.00, October 27, 13.00, 18.00, October 28, 13.00. 18.00, Theater of Nations, Main stage

"Caligula" (18+)

Director-choreographer Sergei Zemlyansky used both the plot of the play of the same name by Albert Camus and historical materials in the production. The performance is staged in the genre of plastic drama without words, but with numerous visual effects.

"Roller Coaster" (16+)

Director Leonid Trushkin staged a play based on Eric Assou's adventurous comedy Les Montagnes russes. The main male role was written by the playwright specifically for Alain Delon; in the Lenkomov version, the role of the hero-lover went to Gennady Khazanov. True, the People's Artist did not turn out to be a successful Don Juan, but a lonely and not very lucky person.

“The Shining Path 19.17” (18+)

For the 100th anniversary of the Russian Revolution, director Alexander Molochnikov staged a play dedicated to the great Soviet utopia. According to the plot, stove maker Makar (Artem Bystrov) receives a fiery motor instead of a heart. The gift comes from the revolutionary triumvirate consisting of Lenin (Igor Vernik), Trotsky (Artem Sokolov), Krupskaya (Inga Oboldina) and Kollontai (Paulina Andreeva), who joined them. Now Makar travels around cities and towns, agitating people for a bright future.

“Concerto Baroque” / “Wax Wings” / “Pajama Party” (12+)

Photo: Moscow Academic Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko/Karina Zhitkova

MAMT presents a new series of one-act ballets. If “Wings of Wax” by Jiri Kylian has already been shown in the theater - the premiere took place in November 2013, then “Concerto Baroque” by George Balanchine and “Pajama Party” by Andrei Kaidanovsky will be seen by Moscow audiences for the first time. The musical director and conductor of the production is Anton Grishanin.

October 27, 28, 19.00, Moscow Academic Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko

“Contours of a global era” (0+)

The Shchusev Museum of Architecture presented a large-scale exhibition of graphics by Alexander Deineka. The six halls of the mansion on Vozdvizhenka housed sketches, sketches, as well as several paintings and sculptures of the Soviet monumentalist, designed to demonstrate not the monumental, but the more personal, intimate side of his art.

The exhibition presents over 30 landscapes by Isaac Levitan from the State Tretyakov Gallery, the Russian Museum, the Israel Museum (Jerusalem), the Pless Historical and Artistic Reserve and other museums in Russia. To expand the horizon of audience perception and demonstrate continuity in Russian art, Levitan’s paintings in the exhibition are juxtaposed with fragments from films by Sergei Eisenstein, Andrei Tarkovsky, Alexander Sokurov, Andrei Konchalovsky, Sergei Parajanov, Andrei Zvyagintsev, Alexander Dovzhenko and other directors.

DAEMONS IN THE MACHINE (0+)

The exhibition is dedicated to the so-called new demonology - an artistic interpretation of artificial intelligence, myths and ghosts of the era of autonomous machines. Do they discover new, unknown ways of being? Can neural networks think - and what does the word “think” even mean in this case? Most of the works created for the project by artists from Russia, Great Britain, Austria and Australia together with scientists from IPavlov, MIPT and the Kurchatov Institute are shown to the public for the first time.