Synonyms for moisei_ginzburg or Related words with moisei_ginzburg
Examples of "moisei_ginzburg"
Later he met constructivist architects
and Konstantin Melnikov.
In the 1940s-1950s, two sanatoriums were built in Oreanda, one of which was designed by Soviet Constructivist architect
From 1931–33 he worked in the Giprogor and Mossovet and from 1934–41 he joined the studio of
at the People's Commissariat for heavy industry.
The project for four planned buildings was designed by
with Ignaty Milinis in 1928. Only two were built, completed in 1932.
In the block's planning, the architect drew on his study of the Soviet communal housing project, the Narkomfin Building in Moscow, which had been designed by the architect
and completed in 1932.
Note that in 1934 Victor Vesnin became the Chief Architect of Narkomtiazhprom (Ministry of Heavy Industry); Alexander Vesnin and
also worked with this institution throughout the 1930s.
A split occurred in 1922 when Pevsner and Gabo emigrated. The movement then developed along socially utilitarian lines. The productivist majority gained the support of the Proletkult and the magazine LEF, and later became the dominant influence of the architectural group O.S.A., directed by Alexander Vesnin and
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,
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.
From Soviet constructivist theory, the social condenser is a spatial idea practiced in architecture. At the opening speech for the first OSA Group conference in 1928
claimed that "the principal objective of constructivism...is the definition of the Social Condenser of the age." The single building most associated with the idea is the Narkomfin Building in Moscow, begun in 1928 and finished in 1932.
Like the ASNOVA group, OSA grew out of the avant-garde wing of the VKhUTEMAS school in Moscow. The group's founders were
, well known for his book "Style and Epoch" (a Soviet response to Le Corbusier's "Vers une Architecture") and the painter, designer and architect Alexander Vesnin. Unlike the earlier association the OSA group claimed for itself the name Constructivist, in that it was, in its utilitarianism and concentration on function rather than form, an architectural equivalent to the experiments of 'artistic' Constructivism. OSA was in many ways the architectural wing of the socialist Modernists of LEF, and likewise set up its own journal in 1926.
In 1924, Golosov was profoundly impressed by Vesnin brothers designs of Arkos and Leningrad Pravda. Unlike his brother Panteleimon, he not joined the constructivist movement, the OSA Group at its inception in December, 1925. Golosov's designs of this period feature carefully thought-out exterior glass walls, emphasizing inner structure of the "dominant shape". Apart from numerous contest entries, Golosov won many practical commissions. Like the Vesnin brothers, he had a formal pre-revolutionary education and engineering experience, helping him win the real jobs. Unlike theorists like
or Ivan Leonidov, Golosov was busy with actually managing construction sites, and abstained from theoretical the debates of 1925-1929.
MIAN intends to remodel the Narkomfin building into an apartment hotel, and commissioned Alexey Ginzburg, grandson of
, to redesign the new interior structure. They expect renovation costs to be under US$20,000,000, while the real estate prices in this area approaches US$20,000 per square meter. Usually city-backed developers have no problems with evicting former residents from older buildings, especially when many of the residents have already voluntarily vacated apartments. However, public protests against redevelopment of the Narkomfin appear to have stalled the reconstruction process.
Other founder members included Karl Moser (first president), Hendrik Berlage, Victor Bourgeois, Pierre Chareau, Sven Markelius, Josef Frank, Gabriel Guevrekian, Max Ernst Haefeli, Hugo Häring, Arnold Höchel, Huib Hoste, Pierre Jeanneret (cousin of Le Corbusier), André Lurçat, Ernst May, Max Cetto, Fernando García Mercadal, Hannes Meyer, Werner M. Moser, Carlo Enrico Rava, Gerrit Rietveld, Alberto Sartoris, Hans Schmidt, Mart Stam, Rudolf Steiger, Szymon Syrkus, Henri-Robert Von der Mühll, and Juan de Zavala. The Soviet delegates were to be El Lissitzky, Nikolai Kolli and
, although at the Sarraz conference they were unable to obtain visas.
In the beginning of 1918 Milyutin volunteered into Red Guards but the Petrograd Soviet called him back to civilian duties. Since then and until 1941 he held a variety of appointments in regional and national economic agencies: deputy Commissar of Social Security in 1921–1924, Commissar of Finances of the RSFSR in 1924–1929, chairman of the Lesser Sovnarkom in 1929–1930, deputy chairman of Tsentrosoyuz in 1930–1931, deputy Commissar of Education of the RSFSR in 1931–1933. Milyutin, as the Commissar of Finance, was the client and sponsor of the Narkomfin Building by
and Ignaty Milinis.
He was the head, along with
, of the Constructivist OSA Group. Among the completed buildings designed by the Vesnin brothers in the later 1920s were department stores, a club for former Tsarist political prisoners as well as the Likachev Works Palace of Culture in Moscow. Vesnin was a vocal supporter of the works of Le Corbusier, and acclaimed his Tsentrosoyuz building as 'the best building constructed in Moscow for a century'. After the return to Classicism in the Soviet Union, Vesnin had no further major projects.
As part of the wider development of modern architecture in Europe in the early 20th century, "acceptera" can be cited as one of the most influential Swedish contributions to the theory of functionalism. As noted by Mattsson and Wallenstein, however, in the manifesto “modernism was not portrayed to the same extent as a break with tradition, as was the case with the European avant-garde, but rather, as a program to re-connect traditional values to the contemporary development”. Thus, even though "acceptera" largely comports theoretically with the manifestos and essays written by artists and architects of the European and early Soviet avant-garde, such as
, it figures as a unique contribution, closely fashioned according to the particular sociopolitical conditions of Sweden in the late 1920s and early 1930s.
Since 1928 Milyutin also chaired the Commission on New town Planning and collaborated with theoreticians
and Mikhail Okhitovich on the planned housing and development policies. Since 1930 he chaired the Housing Commission within the Communist Academy and edited "Sovetskaya Arkhitektura" magazine, the only professional magazine left after dissolution of "SA magazine". Unlike the latter, which was the voice of OSA Group, Milytin's magazine provided space for rival groups (VOPRA, ASNOVA) at the same time being in opposition to outright revivalism and eclecticism. In 1933 "Sovremennaya Arkhitektura" briefly coexisted with the official "Arkhitektura SSSR" edited by Karo Alabyan; it was closed in 1934 after 19 issues, clearing the road to the monopoly of stalinist architecture.
A colder and more technological Constructivist style was introduced by the 1923/4 glass office project by the Vesnin brothers for "Leningradskaya Pravda". In 1925 the OSA Group, also with ties to Vkhutemas, was founded by Alexander Vesnin and
—the Organisation of Contemporary Architects. This group had much in common with Weimar Germany's Functionalism, such as the housing projects of Ernst May. Housing, especially collective housing in specially designed "dom kommuny" to replace the collectivised 19th century housing that was the norm, was the main priority of this group. The term social condenser was coined to describe their aims, which followed from the ideas of V.I. Lenin, who wrote in 1919 that "the real emancipation of women and real communism begins with the mass struggle against these petty household chores and the true reforming of the mass into a vast socialist household."
Meanwhile, the Russian educational system collapsed; the new art college, VKhUTEMAS, was formed in 1920. Its architectural faculty was split between three factions: An Academic Workshop (Ivan Zholtovsky), left-wing United Workshops (Nikolai Ladovsky), and a joint workshop of Melnikov and Ilya Golosov, known as New Academy and Workshop No.2. Melnikov and Golosov resisted both the academic and left-wing camps; in 1924, when the management merged New Academy with Academic Workshop, Melnikov quit VKhUTEMAS. In 1923-1924, Melnikov temporarily associated himself with the ASNOVA and LEF artistic groups, however, he was not involved in public disputes and made no public statements. In particular, he clearly distanced himself from the Constructivist group, led by
and Alexander Vesnin.
The later "New LEF" ("Новый ЛЕФ"""Novy Lef""), which was edited by Mayakovsky along with the playwright, screenplay writer and photographer Sergei Tretyakov, tried to popularise the idea of 'Factography': the idea that new technologies such as photography and film should be utilised by the working class for the production of 'factographic' works. In this it had a great deal of influence on theorists in the West, especially Walter Benjamin and Bertolt Brecht. Linked journals also appeared such as the Constructivist architectural journal "SA" (edited by
and Alexander Vesnin) and "Proletarskoe Foto", on photography. The "New LEF" closed in 1929 over a dispute over its direction between Mayakovsky and Tretyakov, and under pressure for its 'Formalism', which jarred with the incipient Socialist Realism.
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