Synonyms for iofan or Related words with iofan

chechulin              mikeshin              gelfreikh              shchuko              shchusev              merkurov              golosov              zholtovsky              bazhenov              rerberg              starov              artzybasheff              fomin              schechtel              voronikhin              rudnev              posokhin              tatlin              kazakov              vuchetich              vesnin              baranovsky              matvey              utkin              melnikov              gavrilovich              tamanian              stasov              dramov              dushkin              rodchenko              likhachev              zemtsov              lidval              manizer              strakhov              remizov              ingster              bogomazov              tatischev              simonov              lanceray              dobrovolsky              shkurin              bolotowsky              yevgenyevich              maksimovich              nasedkin              polivanov              saburov             

Examples of "iofan"
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.
Iofan designed Soviet Pavilions at World Expo in Paris (1937) and New York (1939). Later, he bid for the Moscow State University skyscraper project in Moscow (1947); the job was awarded to Lev Rudnev. In his later years Iofan was awarded the title of "People's Architect of the USSR" (October 20, 1970).
In 1931, Iofan completed the elite block-wide "House on the Embankment" (official name Дом Правительства, "Government Building"). The structure, containing 505 apartments, two theaters and retail stores, became an iconic example of early Stalinism. Boris Iofan was a lifelong resident of this building.
Boris Mihailovich Iofan (April 28, 1891–1976) was a Jewish Soviet architect, known for his Stalinist architecture buildings like 1931 House on Embankment and the 1931-1933 winning draft of the Palace of Soviets.
Schuko and Gelfreikh participated in the early, public stages of the contest for the Palace of Soviets (1931–1932); their best-known draft was an oversized near copy of the Doge's Palace in Venice. The last, closed, stage of the contest was won by Boris Iofan. On May 10, 1933, Iofan was announced as the winner and officially instructed to redesign his proposal so as to crown it with a gigantic, "50 to 75 meter" statue of Lenin. Four weeks later (June 4), Iofan was "supplied" with two "assistants" - Shchuko and Gelfreikh, both his seniors, and having a longer track of successful construction management practice dating from the 1900s. According to mainstream history accounts, Shchuko and Gelfreikh were appointed because the immense project had to be completed quickly, and the establishment feared that Iofan was not experienced enough to handle it alone. Modern historians like Dmitry Khmelnitsky assert that the concept was Stalin's own vision imposed through Shchuko and Gelfreikh and perfected through their expertise. All authors agree on the fact that the trio initially disagreed over the placement of Lenin's statue: Shchuko insisted on literally placing the statue on top of the main hall, as instructed by the decree, while Iofan proposed more complex solutions. Shchuko's concept prevailed. Later, former associates of Iofan and Shchuko commented about intense frictions and disarray in the early stages of their joint work; Schuko and Gelfreikh indeed imposed their vision over Iofan's, using contacts with Maxim Gorky to get a direct line to Stalin. In 1934 the trio departed for the United States to study American skyscraper technology, meeting Frank Lloyd Wright, who was well aware of Iofan's work and disliked it.
He did win and completed one of the Metro jobs. Palace of Soviets was won by Boris Iofan, construction began with enormous publicity but was terminated by German attack of 1941. Other two contests did not get beyond concept drafts.
The leading architect Boris Iofan bid for the skyscraper project in 1947 but the job was assigned to Lev Rudnev, because Iofan made a mistake placing his draft skyscraper right on the edge of Sparrow Hills, a site concerned with a potential landslide hazard. Rudnev had already built important edifices like the Frunze Military Academy (1932–1937 ) and the "Marshals' Apartments" (Sadovaya-Kudrinskaya, 28, 1947), earning esteem of the Communist Party. He set the building 800 meters away from the cliff. The chief of the engineers' team was Vsevolod Nikolaevich Nasonov.
Meanwhile, Iofan's team, relocated to Sverdlovsk, continued perfecting the design. After the war, Iofan produced another iteration of the original concept, this time incorporating the "Victory" theme, literally: interior halls were decorated with Order of Victory motifs. These drafts remained unused; construction on the old site never resumed. Iofan bid for the design of the Sparrow Hills Skyscraper, but lost to Lev Rudnev. Rudnev and other post-war architects designed their towers "as if the Palace existed", referencing all major projects to the Palace skyline. As an example, 1947 placement map for the Moscow Skyscrapers is centered on the Palace.
In the 1970s, the State ran an architectural contest for the new V. I. Lenin Museum on a nearby site between the Pushkin Museum and the Kremlin. Some of the competitors, however, proposed building the Museum on the site of the "Moskva" pool, following the Iofan concept. This project never materialized.
Architect Yury Shchuko, author of the 1954 Central Pavilion of the All-Russia Exhibition Centre and a junior architect of the 1931-1932 Bolshoy Dom, was Vladimir Shchuko's first cousin once removed. Yury Shchuko, along with three other contributors, collaborated with Vladimir Shchuko on the 1936 draft of the Soviet pavilion for the 1937 World Expo in Paris. This contest was won by Iofan.
in 1932 the Architectural and planning committee (Arch-plan) has been created under Presidium of the Executive Committee of the City and Moscow Council. 39 persons, including A.V. Lunatcharsky, V.N. Semenov, A.M. Zaslavsky, N.A. Ladovsky, K.S. Alabyan, B.M. Iofan, A.V. Shchusev, V.A. Shchuko, were its members.
The architect of the Soviet pavilion was Boris Iofan. Vera Mukhina designed the large figurative sculpture on the pavilion. The grand building was topped by "Worker and Kolkhoz Woman", a large momentum-exerting statue, of a male worker and a female peasant, their hands together, thrusting a hammer and a sickle. The statue was meant to symbolize the union of workers and peasants.
Born in Odessa, Iofan graduated in 1916 from Italy's "Regio Istituto Superiore di Belle Arti" (now "Accademia di Belle Arti") in Rome with a degree in architecture, initially following the Neoclassical tradition. His first major work was a Barvikha sanatorium for the Party elite (1929), which introduced him to clients at the top of the state.
As soon as the 1934 "Iofan-Shuko-Gelfreikh" draft was published, the Palace became a symbol in Soviet art, appearing in propaganda pictures such as those by Alexander Deineka. The unbuilt Palace animation was inserted in films (including the 1944 "Six o'clock after the war" made when the Mosfilm studio was evacuated to Tashkent). Images of the unbuilt Palace were copied onto real buildings like the 1937 North River Terminal.
The style fell markedly out of favor in the 1930s, replaced by the more grandiose nationalist styles that Stalin favored. Constructivist architects and even Le Corbusier projects for the new Palace of the Soviets from 1931 to 1933, but the winner was an early Stalinist building in the style termed Postconstructivism. The last major Russian constructivist building, by Boris Iofan, was built for the Paris World Exhibition (1937), where it faced the pavilion of Nazi Germany by Hitler's architect Albert Speer.
His final public statement was a 1936 contest entry for the Soviet pavilion at 1937 World Expo in Paris. He lost the contest to Boris Iofan. By 1937, mounting criticism against "formalism" led to the virtual excommunication of Melnikov from practice. He was not exactly forgotten; on the contrary, his Rusakov Club and Arbat house were present in many Soviet textbooks as examples of Formalism.
The international contest was followed by not one, but two more rounds of closed competition. The third contest (March–July 1932) round invited 15 design teams, the fourth (July 1932–February 1933) invited only five. On May 10, 1933, Boris Iofan's draft was declared the winner. A duo of neoclassicist architects, Vladimir Shchuko and Vladimir Gelfreikh, were assigned to Iofan's team, and the design became known as the "Iofan-Schuko-Gelfreikh" draft.
In 1931-1932, the State consolidated once mosaic architectural profession. In June, 1931, Central Committee authorized three megaprojects – reconstruction of Moscow, Moscow Canal and Moscow Metro, creating thousands of architectural and engineering jobs under tight state control. A fourth megaproject, Palace of Soviets, was already in design contest stage. Zholtovsky shared contest prize with Boris Iofan and Hector Hamilton; Iofan's draft was later selected. Zholtovsky, however, refused to work for "Metro", believing that the lowly underground job is not worth his time.
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.
Instead of announcing a clear winner, in February 1932 the Council declared three leading drafts by Boris Iofan, Ivan Zholtovsky and a 28-year-old British architect living in New Jersey, Hector Hamilton. This outcome called for a third round of competition—or a state intervention. All three runners-up turned their backs on the avant-garde and leaned towards neoclassicism (or eclecticism). This "reactionary" decision caused an uproar among European avant-garde artists. Le Corbusier and Sigfried Giedion, leader of the CIAM, claimed to Stalin that the "decision of the council is a direct insult to the spirit of Revolution and the Five-year plan... [it is] a tragic betrayal."