Constructivism as an art direction arose in the USSR in the first third of the 20th century. Constructivism was used quite often in the architecture of that time. In particular, we can see elements of this style in the design of many buildings of those times that have come down to us. Almost every major city located in the post-Soviet space has at least one building designed in the aesthetics of this particular style. As for the term itself, it was introduced into use back in 1920, and was codified only two years later, which, you see, is quite short term for a scientific term.

Constructivist architecture in its heyday

Since this style appeared, as mentioned earlier, in the Soviet Union, it was there that it developed. Architectural schools were even founded, in which young specialists were trained to work with elements of constructivism. It should be noted that the style, thanks to such support, became dominant by the early 30s. Many artists and architects refused to work in other directions, preferring constructivism, since buildings built taking into account its standards were highly functional and ascetic in appearance.

Constructivism - architecture and the art of progress

It is no wonder that because of all this the style began to be positioned as “progressive”, since it was not similar to any of the “bourgeois” ones. Thanks to the simplicity of forms and, as already mentioned, functionality, constructivist projects began to grow like mushrooms.

But the matter was not limited to architecture. There were also constructivist artists who brought asceticism to the masses through their own creations. One of bright examples"GROWTH Windows" can serve this purpose.

When did constructivism in architecture end?

Oddly enough, it was his own success that dug the style’s grave. The party and Comrade Stalin personally did not see a future for constructivism, which was first replaced by post-constructivism, and then by the Empire style, which no longer promoted asceticism, but, on the contrary, pomp and pretentiousness. However, the style was not going to give up its position, and even penetrated the Moscow metro. You can see the consequences of this in the design of the Alexandrovsky Sad station, which was built as part of the first stage and opened on May 15, 1935. At that time, however, it was called “Comintern”. We can consider that this station became a farewell greeting to the fleeting era called “constructivism in architecture.”

Constructivism and modernity

Some echoes of the style can be seen in the architecture of hotels located on the Miami waterfront, which were built in the 50s. But the closer to today, the fewer and fewer monuments of constructivism can be found. Not even because he is stingy with decorations. The reason lies in the fact that constructivism has already become an archaic, historical style, and buildings erected taking into account its requirements initially look outdated. In the future, perhaps, constructivism in architecture will again make itself felt, but so far there is no tendency towards its full-scale revival.

So, why constructivism? Well, firstly, the current leading generation of architects grew up on it; among everything that surrounded them in their youth, only constructivism was professionally successful (amateurs loved modernism, the classics, especially Stalinist ones, were loved by out-and-out aesthetes, modernism - in its Soviet version - was loved by no one then). There is also a moment of national pride here: constructivism is the only original and unborrowed of what was in Russian architecture of the twentieth century, and therefore in times of unrest, when you don’t know what to be inspired by and what spring to fall to, it is natural to fall to this.

In addition, Russian architecture is painfully trying to catch up with Western architecture. But since this is very difficult technically, you have to be cunning: take back what was once yours (and the formative ideas of constructivism are still loved in the West: leading world architects, such as Rem Koolhaas or Zaha Hadid, swear by Leonidov’s name , and one of the expositions of the spring exhibition “Architecture and Design” at the Central House of Artists was precisely about how much the new buildings of Berlin, the main construction site in Europe today, owe to Russian constructivism). Further: if “over there” the ideas of Russian geniuses found diverse and widespread embodiment, then here they either remained projects or are falling apart before our eyes. Therefore, the noble desire of today's architects to bring the work of their grandfathers to a victorious end is no less understandable - using new and high-quality materials.

Constructivism is a movement in art.

Constructivism is a movement in art of the 1920s. (in architecture, design and theatrical decorative art, posters, book art, artistic design). Supporters of constructivism, putting forward the task of “construction” environment, actively directing life processes, sought to comprehend the formative capabilities of new technology, its logical, expedient designs, as well as the aesthetic possibilities of materials such as metal, glass, wood. Constructivists sought to contrast the ostentatious luxury of everyday life with the simplicity and emphasized utilitarianism of new object forms, in which they saw the embodiment of democracy and new relationships between people (the Vesnin brothers, M. Ya. Ginzburg, etc.). The aesthetics of constructivism largely contributed to the formation of Soviet artistic design (A. M. Rodchenko, V. E. Tatlin, etc.). When applied to foreign art, the term is conditional: in architecture - a movement within functionalism, in painting and sculpture - one of the directions of avant-gardeism.

In architecture, the principles of constructivism were formulated in the theoretical speeches of A. A. Vesnin and M. Ya. Ginzburg, practically they were first embodied in the project of the Labor Palace for Moscow created by the brothers A. A., V. A. and L. A. Vesnin (1923 ) with its clear, rational plan and the structural basis of the building (reinforced concrete frame) revealed in the external appearance.

A. A., V. A. and L. A. Vesnin. Project of the Palace of Labor in Moscow. 1923.

In 1924 it was created creative organization constructivists-OSA, whose representatives developed the so-called functional design method, based on a scientific analysis of the functioning features of buildings, structures, and urban planning complexes. Along with other groups of Soviet architects, the constructivists (the Vesnin brothers, Ginzburg, I. A. Golosov, I. I. Leonidov, A. S. Nikolsky, M. O. Barshch, V. N. Vladimirov, etc.) searched for new principles layouts of populated areas, put forward projects for the reconstruction of everyday life, developed new types public buildings(Palaces of Labor, Houses of Soviets, workers' clubs, factory kitchens, etc.). At the same time, in their theoretical and practical activities, constructivists made a number of mistakes (attitude to the apartment as a “material form”, schematism in the organization of life in some projects of communal houses, underestimation of natural and climatic conditions, underestimation of the role major cities influenced by the ideas of deurbanism).

The aesthetics of constructivism contributed greatly to the development of modern artistic design. Based on the developments of constructivists (A. M. Rodchenko, A. M. Gan and others), new types of dishes, fittings, and furniture were created that were easy to use and designed for mass production; artists developed designs for fabrics (V.F. Stepanova, L.S. Popova) and practical models of work clothes (Stepanova, V.E. Tatlin). Constructivism played a significant role in the development of poster graphics (photomontages by the Stenberg brothers, G. G. Klutsis, Rodchenko)

G. Klutsis. "Sport". Photomontage. 1923.

and designing a book (using the expressive capabilities of type and other typesetting elements in the works of Gan, L. M. Lisitsky, etc.). In the theater, the constructivists replaced traditional scenery with “machines” for the work of actors, subordinate to the tasks of stage action (the work of Popova, A. A. Vesnin and others on the productions of V. E. Meyerhold, A. Ya. Tairov). Some ideas of constructivism were embodied in Western European (W. Baumeister, O. Schlemmer, etc.) fine arts.

In relation to foreign art, the term “constructivism” is largely conditional: in architecture it denotes a movement within functionalism, which sought to emphasize the expression of modern designs; in painting and sculpture, it is one of the directions of avant-gardeism, which used some of the formal searches of early constructivism (sculptors I. Gabo, A . Pevzner)

Constructivism (from Latin constructio - construction) is an artistic movement in the art of a number of European countries at the beginning of the 20th century, which proclaimed the basis artistic image not a composition, but a design. Constructivism found its most complete expression in architecture, design, applied design, theatrical decorative art, printed graphics, and the art of books; expressed in the desire of artists to turn to designing things, art organization material environment. In the artistic culture of Russia in the 20s, constructivist architects, the Vesnin brothers, and M. Ginzburg relied on the capabilities of modern construction technology. They achieved artistic expression through compositional means, juxtaposition of simple, laconic volumes, as well as the aesthetic capabilities of materials such as metal, glass, and wood. Artists of this direction (V. Tatlin, A. Rodchenko, L. Popova, E. Lisitsky, V. Stepanova, A. Ekster), joining the movement of industrial art, became the founders of Soviet design, where the external form was directly determined by the function, engineering design and material processing technology. In design theater performances Constructivists replaced the traditional pictorial decoration with transformable installations - “machines”, changing the stage space.

L. S. Popova. Drawing of the stage design for the play “The Generous Cuckold.” 1922

Constructivism in printed graphics, book art, and poster art is characterized by sparse geometrized forms, their dynamic layout, limited color palette (mainly red and black), and widespread use of photography and typesetting typographic elements. Characteristic manifestations of constructivism in painting, graphics and sculpture are abstract geometricism, the use of collage, photomontage, spatial structures, sometimes dynamic.

But let's take a closer look at the architecture of this style.

Constructivism in architecture

Significant successes in the 20s and 30s. 20th century architecture has reached. The rapid growth of cities, industry, and the development of transport come into sharp conflict with the layout of old cities, with their narrow winding streets, which does not meet the new requirements. The need to solve the complicated problem of transport services and provide normal sanitary and living conditions for the population gives rise to urban planning projects and new forms of human settlement. They are characterized by the desire to soften social contrasts in cities and eliminate excessive concentration of the population. Around large cities in some countries, garden cities with individual residential buildings, industrial cities, workers' settlements, etc. arise with a strictly functional division of the territory. The architects' attention was drawn to the tasks of not only industrial, but also mass housing construction, development of residential complexes with economical standard apartments designed for the middle and low-paid category of people. More attention is paid to the design of areas and the architectural design of landscapes. A universal classification of streets and principles for their combination are being developed, networks of urban highways are being created, independent of transition streets and dissecting the city into a number of separate spaces. In the design of new types of cities and large industrial enterprises The principles of the functional-constructive system, which originated at the turn of the 19th and 20th centuries, are increasingly being established. This style of architecture is called constructivism.

In the history of Russian constructivism, professional architects designed all kinds of modular structures of residential units, interconnected into large complexes, elevators moving along external walls, etc. Konstantin Melnikov is considered the luminary of Russian (Soviet) constructivism. Having started with the construction of Russian pavilions at International Exhibitions in the style of traditional wooden architecture, thanks to which he gained international fame, Melnikov moved on to designing very current buildings of a new (revolutionary) type and purpose - workers' clubs. Club named after Rusakova,

club named after Rusakova. arch. K. Melnikov.

built by him in 1927-28, has nothing in common either with the architecture of the previous century or with Art Nouveau architecture. Here, purely geometric concrete structures are organized into a structure, the shape of which is determined by its purpose. The last remark applies to almost all modern and 20th century architecture and is defined as functionalism. In constructivist architecture, functionalism leads to the creation of dynamic structures consisting of fairly simple formal elements, completely devoid of the usual architectural decor, connected in accordance with the organization of the internal space and the operation of the main structures. The language of architectural forms is thus “cleared” of everything unnecessary, decorative, and non-constructive. This is the language of a new world that has broken with its past. The emerging architectural image clearly conveys the dynamics artistic processes and life in post-revolutionary Russia, intoxication with modern technical capabilities. Architects of the constructivist style believed that all elements of the building should take part in creating the architectural image of a modern building, even such as signs, clocks, billboards, loudspeakers, elevator shafts, etc., so all of them should also be designed by an architect. Soviet constructivists focused their efforts on two major tasks: designing a model socialist city and communal apartment housing for workers - communal houses. Meeting the new needs of the socialist state, constructivists were engaged in the design and construction of such types of buildings as offices, department stores, sanatoriums, printing houses, research centers, factories and factories, workers' clubs and hydroelectric power stations. The young Soviet architecture of the first post-revolutionary decades was really at the forefront of world architecture, implementing or creating on paper the most daring projects, including the famous Palace of the Soviets, which could not be built on the site of the destroyed Cathedral of Christ the Savior.

With the onset of Stalinist totalitarianism in the 30s, Russia gradually lost its position in architecture, and it has still not been possible to restore it.

An important milestone in the development of constructivism was the work of talented architects - brothers Leonid, Victor and Alexander Vesnin. They came to understand a laconic “proletarian” aesthetic, already having solid experience in building design, painting and book design. (They started their careers back in the Art Nouveau era).

For the first time, constructivist architects loudly declared themselves at the competition of designs for the Palace of Labor building in Moscow. The Vesnins' project stood out not only for the rationality of the plan and the conformity of the external appearance with the aesthetic ideals of modernity, but also implied the use of the latest building materials and structures.

The next stage was the competition project for the building of the Leningradskaya Pravda newspaper (Moscow branch).

Project of the Moscow branch of the Leningradskaya Pravda newspaper. Architects A. and V. Vesnin. 1924.

The task was extremely difficult - a tiny plot of land was intended for construction - 6x6 m on Strastnaya Square.

The Vesnins created a miniature, slender six-story building, which included not only an office and editorial premises, but also a newsstand, a lobby, and a reading room (one of the tasks of the constructivists was to group maximum quantity vital premises).

The closest associate and assistant of the Vesnin brothers was Moisei Yakovlevich Ginzburg, who was an unsurpassed theorist of architecture in the first half of the 20th century. In his book “Style and Epoch,” he reflects on the fact that each art style adequately corresponds to “its own” historical era. The development of new architectural trends, in particular, is due to the fact that “...the continuous mechanization of life” is taking place, and the machine is “... a new element of our life, psychology and aesthetics.” Ginzburg and the Vesnin brothers organize the Association modern architects(OSA), which included leading constructivists.

Since 1926, constructivists began publishing their own magazine - “ Modern architecture"(or simply "SA)". The magazine was published for five years. The covers were designed by Alexey Gan.

At the end of the 20s, constructivism began to spread beyond Soviet Union, becoming most widespread in Germany and the Netherlands. In the mid-60s - 70s, the traditions and ideas of constructivism found an unexpected continuation in the architecture of the so-called “high-tech”, a direction that demonstratively exposes not only the work of architectural structures, but also engineering communications.

Conclusion

The second half of the 20th century passed under the banner of criticism of functionalism and constructivism and the search for new methods of forming a subject-spatial environment. These searches have been and are currently being conducted by architects, artists, designers and other specialists from many countries, in particular Russia, on the basis of various creative concepts.

Among the theoretical problems of style formation in lately Three attract attention: 1) the place of the engineering and technical sphere of creativity in the formation of the style of the 20th century; 2) the problem of stylistic unity; 3) the place and role of certain types of object-artistic creativity in modern style-forming processes.

On the one hand, many are frightened by the growing expansion of technical forms into the modern object-spatial environment. On the other hand, on the contrary, some are confused by the increasing influence in the general processes of style formation artistic forms, ungrounded in the utilitarian-structural structure of buildings and products. Let's turn to history.

In the second half of the 19th century, due to the separation of the sphere of engineering creativity and the displacement of crafts by industry, many areas of engineering and technical construction and the production of mass consumer products found themselves without the influence of professional artists. At the same time, engineering structures and machine-made products, which reflected the specific formative processes characteristic of the engineering and technical sphere of creativity, played an increasingly important role in the general appearance of the object-spatial environment. Moreover, in engineering structures and industrial products for mass consumption, already from mid-19th century, along with engineering and technical style-forming trends, a significant role was played by decorative tendencies, which, in the absence of professional artists, as a rule, were lower in artistic level architectural structures and handicrafts.

As a result, a gap formed between the style-forming trends that had independently developed over a number of decades in the artistic and engineering spheres. A real social order arose for a fundamentally new professional artist who could skillfully work at this junction between the artistic and engineering-technical spheres of creativity, and restore the connection between them. Thus, in the first third of the 20th century, new architecture and design were formed.

At that time, complex processes of searching for new relationships between design, function and external form took place in the engineering and technical sphere, which subsequently predetermined some of the features of the formation of the object-spatial environment as a whole. The new architecture and design of the 1920s are imbued with the pathos of invention, and it is important to note that the range of inventions was not limited to the engineering and technical sphere, but gradually included the actual architectural and design problems - the solution of functional and social problems.

At the stage of formation new architecture and design, innovative trends, closely related to scientific and technological progress and devoid of conservative stylistic traditions, turned out to be the most favorable area for the manifestation of new shaping trends. They became a kind of experimental field where the style-forming potentials of the engineering and technical sphere and the experimental searches of fine art intensively interacted. This was especially evident in constructivism.

Through the innovative trends of architecture and the design that was being born at that time - as a kind of channel - the factor of rationalization entered the subject-spatial environment, which determined much in the new attitude to the quality of the living environment,

New architecture and design became the defining style-forming centers in the 20th century because this is an area of ​​close, intense form-building interaction between the artistic and engineering-technical spheres.

The experience of developing a new style in the 20th century indicates that the foundation of a new style system has been created.

In the current situation, those areas of art that, at one time contributing to the formation of new architecture and design, helped create a new stylistic reality, faced a serious problem of the need to correlate their development with these areas of creativity, which have become a constant part of the stylistic structure of the subject-artistic environment. Now it is they who, if they do not dictate the direction of searches in the field of shaping, then, in any case, largely determine the conditions for their implementation. It is also important to note that architecture and design contribute to the accumulation in the sphere of object-artistic creativity of the form-building potentials of not only engineering and technical creativity, but also scientific and theoretical developments in the field of form-building.

In recent decades, art critics and art theorists have become increasingly confused by such trends in shape formation, which clearly go beyond the framework of the stylistic unity that emerged in the 20th century.

The style-forming foundation laid in the 1920s under decisive role constructivism and functionalism is a style system for more than one generation and even, perhaps, more than one century. I think that this is a style system for a very long time, and it is quite possible that the 20th century is in many ways still archaic of a large stylistic period that goes back to the third millennium. If from this point of view we evaluate the stylistic processes currently taking place in the subject-spatial environment, then many things do not look so dramatic at all. Nothing fundamentally new in matters of style formation that could be opposed to the style system laid down in the 1920s was created in subsequent decades, including the 1970–1980s, and in the 1990–2000 (not yet completed) years. was. They enriched and developed the style system established in the 1920s. There were even several attempts to move away from its style-forming core.

The first attempt was in the 1930s, when a wave of neoclassicism swept through many European countries. At that time, the memories of the neoclassicism of the beginning of the century were still alive, its masters were still actively working / therefore this first wave of stylization and eclecticism was very seriously equipped with knowledge of the professional techniques of the past / - however, a powerful style-forming spring new system broke through this layer of stylization without much effort.

The second wave of traditionalist stylization in the 1950s occurred mainly in the USA, and in many ways these were also relapses of the recent past /functionalism came to America belatedly/.

Postmodernism and other similar movements are the third wave. It differs from the first (1930s) in that the modern style system is no longer opposed to another (for example, neoclassicism), and those dissatisfied with the new style see a way out only in decorativism and eclecticism. As a psychological outlet in the face of difficulties in the field of shaping, eclecticism and decorativism are effective, but for a serious struggle with the new style system they are unsuitable means. It is, rather, a recognition of the fundamental soundness of the new style system and a search for means of “warming” it. All this, according to the author, is important to keep in mind when we evaluate the stylistic metamorphoses of the 1970–1980s and 1990–2000.

The rapid flowering of constructivism in the 1920s and its rapid introduction into various types artistic creativity dramatically changed the appearance of the subject-spatial environment. The consequences of this affected the entire new style, and this is the irreversible influence of constructivism. All that remains is to analyze this style-forming phenomenon of the 20th century.

References

www.museum-online.ru

www.archiline.narod.ru

www.countries.ru

Rapid technological progress at the beginning of the last century gave rise to the latest trends in art and, as a result, a tendency towards the destruction of traditional canons and the search for other forms and aesthetic principles. This was most clearly expressed in avant-gardeism - the complex artistic phenomena first third of the 20th century. One of the many avant-garde movements was the style of constructivism, which arose in the young Soviet state of the 1920s - 1930s. It is also called "industrial" or "construction" art.

Areas of influence and distribution

Constructivism in painting is expressed too weakly; the direction is mainly associated with architecture, in which simple geometric forms and extreme functionality are used most characteristically. But the principles of constructivism, spreading comprehensively and rapidly, also had a significant influence on graphic, industrial design, photography, theater, cinema, dance, fashion, fiction and music of that period.

Soviet constructivism had a significant influence on modern creative movements of the 20th century and not only within the Bolshevik country. The consequences of its influence can be seen in the main trends German school Bauhaus design and the Dutch art movement De Stijl, in the works of masters from Europe and Latin America.

Origin of the term

The term "building art" was first used as a sarcastic expression by Kazimir Malevich in 1917 to describe the work of Alexander Rodchenko. The term "constructivism" was coined by sculptors Antoine Pevsner and Naum Gabo. The latter developed an industrial, angular style of work, and his geometric abstraction owed something to Malevich's Suprematism. The term first appears in N. Gabo’s “Realistic Manifesto” (1920), then as the title of a book by Alexei Gan (1922).

Birth and development of the movement

Constructivism, among many styles and trends in the visual arts, was formed on the basis of Russian futurism, in particular, under the influence of the so-called “Counter-reliefs” (colages of different textures from various materials) by Vladimir Tatlin, exhibited in 1915. He was (like Kazimir Malevich) one of the pioneers of geometric abstract art, the founder of the avant-garde Suprematist movement.

The concept of the new direction was developed at the Moscow Institute artistic culture(INHUK) in the period 1920 - 1922 the first working group constructivists. Lyubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, Alexey Gan, Boris Arvatov and led by the first chairman of the group Wassily Kandinsky worked out a theoretical definition of constructivism as an inextricable combination of the basic elements of industrial culture (designs, texture and specific material properties of an object with its spatial position) .

Principles and features

According to constructivism, art is a means exclusively intended for the artistic design of everyday utilitarian, practically applicable objects. The expressive, laconic form of the works, devoid of any “pretty” and “embellishments”, should be as functional as possible and designed for easy use in mass production (hence the term “industrial art”).

The pointlessness of Kandinsky's sensory-emotional forms or Malevich's rational-abstract geometry were rethought by constructivists and transformed into real-life spatial objects. Thus, a new design of work clothes, fabric patterns, furniture, dishes and other consumer items appeared, and a characteristic Soviet era was born.

A special asceticism in the visual means of expression distinguishes this trend among similar styles, but in many ways it generalizes with rationalism. In addition to theoretical ideology, constructivism is distinguished by the following external properties:

1. A small tonal range ranging from blue, red, yellow, green, black, gray and white. The colors were not necessarily locally pure; their muted tint variants were often used, but no more than 3-4 at a time.
2. The shapes and lines are expressive, simple, few in number, limited to the vertical, horizontal, diagonal direction or the shape of a regular circle.
3. The contours of the objects create the impression of a monolithic structure.
4. There is the so-called “machine” aesthetics, which displays graphic or spatial engineering ideas, mechanisms, parts, tools.

“The Art of Construction and Productivism” by Tatlin

The key point of the direction was the model of Vladimir Tatlin, proposed for the construction of a monument to the Third International (1919 - 1920). The design had to combine the aesthetics of the car with dynamic components celebrating technologies such as spotlights and projection screens.

At this time, Gabo and Pevsner's work on the "Realist Manifesto", affirming the spiritual core of the movement, was coming to an end. Gabo publicly criticized Tatlin's project, saying: "Either create functional houses and bridges, or create pure art, and neither both at the same time.” The idea of ​​erecting monuments that had no practical use was at odds with the utilitarian-adapted version of constructivism. But at the same time, Tatlin’s design fully reflected a new progressive idea of ​​the form, materials used and manufacturability of the creation. This caused serious controversy and controversy among members of the Moscow group in 1920.

Artists in Germany proclaimed Tatlin's work revolutionary in international, and not just Soviet, fine art. Drawings and photographs of the model were published in the magazine Taut Fruhlicht. The Tatlin Tower was the beginning of the exchange creative ideas“construction art” between Moscow and Berlin. The monument was planned to be erected in Leningrad, but the plan was never realized due to lack of money in the post-revolutionary period. Nevertheless, the image of the Tatlin Tower remained a kind of symbol of constructivism and the world avant-garde.

A talented self-taught artist, the founder of the movement, Tatlin was the first constructivist to try to offer his design abilities to industrial production: designs for economical stoves, work clothes, and furniture. It should be noted that these were very utopian ideas, like his tower and the flying machine “letatlin”, which he worked on until the 1930s.

Constructivism in painting

The very idea of ​​the movement, excluding pure art and any “beauty,” already denied painting as a form of creativity incapable of serving the utilitarian needs of the people. The new artist was proclaimed an engineer who created things that were supposed to influence human consciousness and lifestyle. The postulate “...do not decorate the walls with paintings, but paint them...” meant the dead end of easel painting - an element of bourgeois aesthetics.

Constructivist artists realized their potential in posters, design projects for industrial products, design of public spaces, sketches of fabrics, clothing, costumes and scenery for theater and cinema. Some, like Rodchenko, found themselves in the art of photography. Others, like Popova in her series “Spatial-Force Constructions,” argued that their paintings were an intermediate stage on the path to engineering design.

Without being fully embodied in painting, constructivism contributed to the development of the art of collage and spatial-geometric installation. The ideological source was Tatlin’s “counter-reliefs” and El Lissitzky’s “prouns”. The work is essentially the same as easel painting, didn't have practical application, but they looked like fantastic engineering developments and looked in the technogenic spirit of the time.

"Prouns"

Developed by the early twenties by the artist and architect El Lissitzky, the so-called projects of new art (“prouns”) were abstract geometric compositions, executed in a pictorial, graphic form in the form of applications and three-dimensional architectonics. Many artists (not only constructivists) depicted similar “prouns” in their paintings of the 20s, which remained abstract images. But many of Lissitzky’s works were later implemented in furniture, interior, and theater design projects or were embodied as decorative and spatial installations.

Art in the service of propaganda

In the mid-1920s - 1930s, a special style of Soviet-era posters was established, which later became a separate design section. It covered theater and film posters, commercial and industrial advertising. The followers of the movement, taking up Mayakovsky’s saying, called themselves “advertising designers.” During the same period, character was formed as one of the mechanisms of influence on the consciousness of the masses.

Constructivists were the first to use collage techniques for posters in Russia, combining drawing, photography and elements of printed products. The font, as well as the carefully thought-out placement of the text, played a special artistic role and often resembled a laconic graphic ornament. Developed in those years artistic methods poster design remained basic throughout the Soviet period.

Progressive photographic art of Rodchenko

The inconsistency of the utilitarian ideas of constructivism in painting was contrasted with their embodiment in photography - a real reflection of life itself. Masterpieces of this art form are recognized unique works multifaceted artist Alexander Rodchenko.

Without sparing with consumables, he tried to capture every object or action in different conditions and from several angles. Impressed by the photomontage of the German Dadaists, he was the first to use a similar technique in Russia. His debut photomontage, published in 1923, illustrated Mayakovsky’s poem “About This.” In 1924, Rodchenko created what is probably his most famous poster photomontage, an advertisement for the publishing house Lengiz, sometimes called Books.

He revolutionized composition: he shot nature in a stunningly picturesque manner and often resembles a rhythmic graphic pattern or abstraction. At the same time, his images are incredibly dynamic; they can be summarized by the slogan: “Time, forward!” Rodchenko’s works were also striking in that they often shot nature from rather unusual angles, for which the photographer sometimes had to take simply dizzying positions.

Rodchenko's innovative photographs remain classic example for the next generations of photographers and inspired many design creators. For example, the American conceptual artist Barbara Kruger owes the success of her numerous works to Rodchenko. And variations of his photograph of Liliya Brik and the poster “A Sixth of the World” became the basis for the covers music albums foreign punk and rock bands.

Russian constructivism in world art

Some constructivists taught or lectured at the Bauhaus school, where some of the VKHUTEMAS teaching methods were adopted and developed. Through Germany, style principles “emigrated” to Austria, Holland, Hungary and other European countries. In 1930 - 1940, one of the leaders of the world avant-garde, Naum Gabo, founded in England a version of constructivism, which established itself after the First World War in British architecture, design and various fields of artistic creativity.

The creator of the constructivist movement in Ecuador, Manuel Rendon Seminari, and the artist from Uruguay, Joaquin Torres Garcia, played an important role in the spread of the style in European, African, and Latin American countries. Constructivism in painting is expressed in the works of Latin American contemporary creators: Osvaldo Viteri, Carlos Merida, Theo Constante, Enrique Tabar, Anibal Villaca and others no less famous masters. In Australia, followers of constructivism also worked, the most famous of whom was the artist George Johnson.

Graphic design master Neville Brodie reproduced a style based on constructivist Soviet posters in the 1980s, which aroused great interest among connoisseurs of modern art. Nick Phillips and Ian Anderson created the famous graphic design studio The Designers Republic in Sheffield, England, in 1986, based on constructivist ideas. This strong company remains successful today, especially in the area of ​​music logos and album covers.

Since the early thirties, when any progressive and avant-garde trends were prohibited in the Soviet country, constructivism continued to develop and influence world art abroad. Having lost its ideological basis, the style became the foundation for other trends, and its elements can still be traced in modern artistic creativity, design and architecture.

Regarding this direction, V. Mayakovsky wrote that the new word “constructivism” first “flew” from Russia, and not from France. The poet was right in his statement, and the Soviet slogan “we are ours, we are” confirms this new world Let's build it."

History of Constructivism

This avant-garde trend first appeared in the 20s and 30s of the twentieth century in the USSR and perfectly corresponded to the economic and political situation in the state.
A new society of people has emerged with a completely different view of surrounding reality, denying everything that came before.
Those years were a time of rejection of everything bourgeois, the proclamation and search for new forms, the use of modern building and finishing materials. From now on, “pure” art was denied; it was supposed to serve production and man. Followers of this movement promoted the ideas of utilitarianism or otherwise “industrial art.” Artists and architects had to create things that were useful and convenient for people.

Architects and ideological inspirers of constructivism set themselves the task of increasing the role of architecture, abandoning embellishment and excess decor, and improving the functionality of simple structures. What was important was the dynamics of the structure, its vertical and horizontal surfaces, and the free plan of the building.
The buildings of the Palaces of Culture and clubs became prominent representatives.

Features of constructivism style in the interior

The main characteristics of constructivism in the interior are restraint of forms and functionality of premises.
The style is quite strict, not tolerating “embellishments” and all sorts of excesses. All interior details should work as a single “clean” space with virtually no division into.
Many people will find this direction boring. Clear layout rules and color solutions, no soft forms or additional elements. Even decorative textiles or a vase on the table look “foreign” in this interior style.
But beloved by young and dynamic people, it originated and absorbed the ideas of constructivism. Moreover, it also uses some similar techniques to create a harmonious space.

Materials and finishing

The advantages of the style include low financial costs when creating an interior and the availability of materials to any consumer. These factors are often decisive, especially if you value convenience above all and do not like to clutter the room with unnecessary things.
Constructivism is not characterized by embellishment inherent in other popular styles, such as:, and

Constructivism allows you to implement bold ideas not through pompous forms and expensive furnishings, but through playing with space and using the latest construction and finishing materials.

The ceiling and walls do not need to be decorated; they are often concrete bases and painted plaster, the base color being white.
The floor is most often made of wood; if it is tile, then it is plain, preferably gray, white or black.

Constructivism style is pure, without shades: black, white, red, blue and yellow. It is from their combination that accents are made and functional areas in the room are emphasized. Interestingly, this interior style is rarely seen in private homes. It is rather a tribute to urbanization, an integral part of concrete buildings.

The entire interior should create the illusion of a clean, open and bright space. This is achieved through minimum quantity things and proper zoning.

Constructivism in the interior implies the presence of practical, functional and comfortable furniture. The less space the furniture takes up, the better, because constructivism requires more space.

You should choose furniture without unnecessary decor; simple shapes and monotonous colors are also welcome. But due to the monotony of the furniture, you can place the necessary accents and diversify the color scheme of the room.

Photo examples:

Lighting

Based on the concept of the style itself, the rooms should be well lit with natural light.
To maintain a bright, open space, multi-level lighting options are used. Lamps of simple and complex geometric shapes in the appropriate style, made of simple glass, metal, plastic, are positioned in such a way as to further highlight areas in the apartment, for example, a relaxation area in the living room or a bar counter in the kitchen.

To increase the penetration of natural light, the windows are draped with curtains made of light textiles. Blinds or roller blinds are also used.

Accessories

You can’t even do without accessories at all. Agree, you will get tired of looking at well-painted white walls, so bright posters, abstract paintings and photos in strict frames will be very useful.

Plain or geometric textiles will soften the severity of the decor. Thanks to the style’s craving for rich, pure colors, their proper combination when creating an interior will become an additional decoration of the home.

In these interiors, a combination of construction materials, for example, a metal table base with a glass top and an original geometric console for television and video equipment, can become bright accents.

In our hectic world, the constructivist style in the interior still remains relevant in both pure form, and in a mix of different directions. Because of an overabundance of information, sometimes you want to relax and find yourself in a simple, unobtrusive, practical environment.

Constructivism in the interior - photo

There are probably no more Soviet symbols than the famous sculpture “Worker and Collective Farm Woman” and, of course, the Lenin Mausoleum - monuments of constructivism. And although this grandiose style did not reign in the minds and hearts for long, its scope, fundamentality and inspired rationality are associated with the Soviet era much more strongly than the “Stalinist” empire style and “Khrushchevite” industrial buildings.

From Europe to the Union: the history of constructivism style

Despite the fact that constructivism is most often called the architectural method that arose within the framework of avant-gardeism in the early Soviet years, it originated earlier, and not in the Soviet Union, which did not exist then...
The forerunners of architectural constructivism are the pavilions for the first World Exhibition, held in 1851 in London, and the Eiffel Tower. But the term itself - constructivism - was proposed to the world by Soviet artists and architects.
The 20s were a period of struggle between old and new, traditional and revolutionary, a time of searching for innovative forms and concepts. Those who were the first to call themselves constructivists called for abandoning art for art's sake, arguing that the latter was obliged to create purely useful things and serve production. The task of the new architecture, they proclaimed, was “the communist expression of material values.”

This is how impressive buildings in the style appeared Soviet constructivism– giant cultural centers, trade union palaces, kitchen factories, residential complexes.

The difference between constructivism and similar styles

It’s clear, you say, but how did this Soviet constructivism differ from other minimalist movements, for example, from functionalism? He, too, preaches extreme practicality and simplicity of presentation.
Perhaps the main difference is that constructivists tried to combine the high functionality of buildings with artistic expression. This was achieved not through decorative elements, but thanks to shapes and materials.

Conceptual features of constructivism:

1. solidity (even very large buildings, broken into fragments, are perceived as a whole);
2. segmentation (houses often consist of sections that merge into one another);
3. greater variety of forms than is inherent in functionalism. Of course, the constructivists did not propose anything pretentious, but there was definitely a play with forms: square walls flowed into cylinders of balconies, parallelepipeds into cubes and risalits of stairs.

In addition to the listed signs, flat roofs, elongated windows, and massive pillar supports are also typical for Soviet buildings built by constructivists.

If we talk about ideological differences, they can be formulated as follows: in general, he uses simple materials and meager forms because he puts convenience at the forefront, and constructivists also because they see beauty in it.

Materials and style palette

Concrete and glass are the main “elements” from which the majority of all buildings in the spirit of constructivism emerged. Later they were joined by metal, plastic and other modern raw materials.

As for paints, the most common constructivist colors are:

• light gray
• slate,
• white,
• beige,
• dark red,
• red-brown.

Buildings of this genre are characterized by a muted and even tone. And the shine of metal and glass adds additional color.

Oblivion and return of constructivist ideas

Even in the 20s, the peak of the heyday of avant-garde movements, constructivism did not gain mass sympathy. Spears of criticism flew at him from those who defended architecture originating in ancient eras, and from those who proved the superiority of other, no less new architectural ideas.

Soon, however, the dispute ended: the rhythmic, strict lines characteristic of constructivism were suddenly declared bourgeois formalism... And romantic, but harsh, utopian, but rational, proletarian asceticism was replaced by buildings, the style of which was later called Soviet neoclassicism and “Stalinist” empire style.

Updated constructivism returned in the 70s, during the years of the next “struggle against excesses.” Well, the third coming of this style took place recently, at the beginning of this century. Yes, constructivism is relevant again, and not in the city, but outside it.

Modern constructivism: exterior features

Its successor today is considered Scandinavian country architecture, and the style is called - Scandinavian constructivism.

Laconic geometry and high expediency inherent in constructivism are intertwined today with naturalness, naturalness, and an abundance of light and space.

Thanks to their external simplicity, such houses fit organically and effectively into any landscape, any natural environment. They do not concentrate attention purely on themselves, thanks to which the trees, pond or hillock that are nearby do not become secondary, but beautifully frame the building and continue it.

Modern constructivism is not only experiments with shapes and lines, but also environmental friendliness and high energy efficiency of construction and finishing resources, widespread use of the latest techniques, as well as a large glazing area.

Wood is no longer prohibited, as are stone, ceramic tiles, expanded clay panels, facing, strictly shaped bricks, as well as the newest materials. By the way, they should not only be of high quality and catchy texture, but also tactilely pleasant in order to give maximum comfort to household members.

Wide, simple verandas and terraces (including on flat roofs), panoramic windows and even entire glass walls, creating the illusion of merging with nature; grey, black and white, restrained colors – this is the language of modern constructivism.

The exterior decor of such houses is, first of all:

• dynamics and combination of strict, vertical and horizontal lines;
• variety of segments – windows, terraces and canopies;
• precision, expressiveness of the entrance portals;
• finishing texture, moderate glare of glass;
• contrast of light and dark tones, white plaster and, for example, dark gray stone.