Synonyms for ilya_golosov or Related words with ilya_golosov

konstantin_melnikov              ivan_fomin              moisei_ginzburg              vesnin_brothers              alexander_vesnin              shchuko              ivan_zholtovsky              melnikov              alexey_shchusev              nikolai_ladovsky              vladimir_shchuko              victor_vesnin              vesnin              boris_iofan              ladovsky              gelfreikh              rodchenko              rerberg              vladimir_tatlin              igor_grabar              lissitzky              ilya_mashkov              ivan_leonidov              golosov              bazhenov              fomin              rusakov              isaak_brodsky              fyodor_schechtel              zholtovsky              aleksandra_ekster              aleksandr_gerasimov              ivan_rerberg              ivan_starov              abram_arkhipov              alexander_deyneka              iofan              laktionov              suprematist              narkomfin_building              alexander_bogomazov              shchusev              vkhutein              chekhonin              aleksei_gritsai              david_burliuk              dobuzhinsky              schechtel              barkhin              el_lissitzky             

Examples of "ilya_golosov"
Ivan Fomin and Ilya Golosov. Original concepts (never materialized):
Ilya Golosov and Vladimir Vladimirov. Apartment buildings in Moscow
Panteleimon Alexandrovich Golosov (1882, Moscow – 1945, Moscow) was a Russian Constructivist architect and brother of Ilya Golosov.
Ilya Golosov continued teaching architecture throughout World War II. Like his brother Panteleimon, Ilya died in 1945 in Moscow and was interred at Novodevichye cemetery.
Ilya Alexandrovich Golosov (1883 in Moscow – 1945 in Moscow) was a Russian Soviet architect. A leader of Constructivism in 1925-1931, Ilya Golosov later developed his own style of early stalinist architecture known as postconstructivism. Не was a brother of Panteleimon Golosov.
The architects invited to direct these workshops included traditionalists Ivan Zholtovsky, Alexey Shchusev, Ivan Fomin, Boris Iofan, Vladimir Schuko as well as practising constructivists: Ilya Golosov, Panteleimon Golosov, Nikolai Kolli, Konstantin Melnikov, Victor Vesnin, Moisei Ginzburg and Nikolai Ladovsky. This began an important trend that lasted until 1955. Stalin chose Iofan for one project, but retained all competing architects in his employ.
The Zuyev Workers' Club () in Moscow is a prominent work of constructivist architecture. It was designed by Ilya Golosov (1883–1945) in 1926 and finished in 1928. The building was designed to house various facilities for Moscow workers, and utilises an innovative glazing treatment at its corner which has proved very photogenic.
According to Selim Khan-Magomedov, Fomin was one of the two forerunners of so-called postconstructivism, an early stage of Stalinist architecture (the other was Ilya Golosov). Postconstructivism is defined as "classical shapes without classical details", an attempt to reinvent new styling to replace classical order. Fomin eventually disposed with it in favor of true neoclassicism (as did all Stalinist architecture).
The urbanist school was led by Leonid Sabsovich, and included significant architects of the time including the brothers Viktor, Leonid and Alexander Vesnin, and the brothers Panteleymon and Ilya Golosov. They opposed the expansion of existing cities and instead advocated for a partial decentralisation to a system of self-contained, compact centres located around industry, of a fixed population of approximately 50,000 people.
The present-day offices and clock tower of Constitutional Court of Russia were financed by the Northern Insurance Society (1910–1912) and built by Ivan Rerberg, Marian Peretiatkovich and Vyacheslav Oltarzhevsky; this project is also notable as the first professional employer of young Ilya Golosov.
А separate type of development, known as "early Stalinism" or "Postconstructivism", evolved from 1932 to 1938. It can be traced both to simplified Art Deco (through Schuko and Iofan), and to indigenous Constructivism, being converted slowly to Neoclassicism (Ilya Golosov, Vladimir Vladimirov). These buildings retain the simple rectangular shapes and large glass surfaces of Constructivism, but with ornate balconies, porticos and columns (usually rectangular and very lightweight). By 1938, it became disused.
Ilya Golosov participated in numerous architectural contests of the twenties, starting with the 1922-1923 House of Labor contest. Golosov developed a personal design style, when the building had to have a center of mass, a dominant shape; all smaller shapes and details are subordinate to the dominant and should follow a decreasing rhythm, like a ripple on water surface. Golosov himself defined this style as "symbolic romanticism", well "before" joining the constructivist camp.
Another innovation from post-revolutionary Russia was a new type of public building: the workers' club and the Palace of Culture. These became a new focus for architects, who used the visual expression of large elements combined with industrial motifs. The most famous of these was the Zuev Club (1927–29) in Moscow by Ilya Golosov (1883–1945), whose composition relied on the dynamic contrast of simple shapes, planes, complete walls and glazed surfaces.
Melnikov preferred to work at home, and always wanted a spacious residence that could house his family, architectural and painting workshops. As the Russian idiom says, he designed the house starting "from the hearth"; existing white oven in his living room dates back to his 1920 drawings. Floorplan evolved from a plain square to a circle and an egg shape, without much attention to exterior finishes. Melnikov developed the concept of intersecting cylinders in 1925-1926 for his Zuev Workers' Club draft (he lost the contest to Ilya Golosov). Twin cylinder floorplan was approved by the city in June, 1927 and was revised during construction.
Both Alexander and Leonid joined the faculty of Vkhutemas during the Civil War, before the 1920-1921 conflict that split its Architectural Department into "academic" (Ivan Zholtovsky), "united" (Nikolai Ladovsky) and "independent" (Ilya Golosov) workshops. Leonid always associated himself with the old-school academic line of teaching. Alexander was engaged in the Painting department, teaching the basic subject of "Color", a subject that potentially could become mandatory for students of all departments. Alexander had far-reaching plans of restructuring basic training at Vkhutemas along productivist ideas, that were cut short by its board in February 1923 Soon afterwards his students and staff, including Rodchenko, transferred to Ladovsky’s United Workshop.
In March 1909 Peretyatkovich and Rerberg teamed together to design the Northern Insurance buildings in Kitai-Gorod. Peretyatkovich soon left Moscow, and final, as-build, exterior of the building was shaped by Rerberg alone. This "modernized neoclassicism" project, completed in 1911, also employed Vyacheslav Oltarzhevsky and then unknown trainee Ilya Golosov. Rerberg's career peaked in the five years that preceded World War I. He designed private residences (present-day Embassy of Indonesia), hospitals, colleges, a high school and a shopping arcade. His last work conceived before World War I, Kievsky Rail Terminal, was substantially completed in 1917; interiors were completed in 1920—1921.
Zholtovsky stayed in Moscow throughout the course of World War I, Revolution of 1917 and Civil War. In 1918, he and Alexey Shchusev led Moscow’s only state architectural firm, hiring and training young men like Ilya Golosov, Panteleimon Golosov, Konstantin Melnikov, Nikolai Ladovsky and Nikolai Kolli ("the 12 disciples", split evenly between constructivism and traditional art). There were few orders, mostly for repairs or additions of old properties, and very few actually materialized. As construction halted, he concentrated on education and urban planning studies.
Unlike Ivan Zholtovsky, who abstained from the lowly work on subway stations, Fomin eagerly joined the contest for the Metro. He competed on the Krasniye Vorota ("Red Gates") against former constructivist Ilya Golosov, whose entry appeared to be a true Doric Greek classic. Unfortunately for Golosov, extremely hard geological conditions required heavy, wide support pylons. His otherwise fine draft was not feasible for 1935 technology, giving way to Fomin's simple red granite design - a tribute to the old Red Gates, demolished in 1932. This station opened to public in 1935, while Fomin was alive. He designed one more station, Teatralnaya (then "Ploschad Sverdlova"), which was completed two years after his death.
In 1905–1914 Russian architecture passed through a brief but influential period of Neoclassical revival; the trend began with recreation of Empire style of alexandrine period and quickly expanded into a variety of neo-Renaissance, palladian and modernized, yet recognizably classical schools. They were led by architects born in the 1870s, who reached creative peak before World War I, like Ivan Fomin, Vladimir Shchuko and Ivan Zholtovsky. When economy recovered in the 1920s, these architects and their followers continued working in primarily modernist environment; some (Zholtovsky) strictly followed the classical canon, others (Fomin, Schuko, Ilya Golosov) developed their own modernized styles.
Upon his return from Paris in 1925 and completion of Bakhmetevsky Bus Garage, Melnikov enjoyed a rush of commissions from trade unions, who launched a nationwide campaign to build workers' clubs in 1926. After negotiations with the Communal Workers Unions, who accepted his concept for Rusakov Workers' Club and rejected his Zuev Workers' Club (awarded to Ilya Golosov), Melnikov was employed by the Chemists' Union who planned to build one large (Svoboda Factory) and one small (Frunze Factory) club. The larger project was set in a remote working-class neighborhood north-west from Savyolovsky Rail Terminal, not far from Melnikov's birthplace at "Hay Lodge" (Соломенная Сторожка).