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Architect K. Melnikov. The USSR Pavilion at the Paris International
Exhibition of Decorative Arts and Modern Industry in 1925. The building
symbolizes the young socialist state whose mission was to demonstrate
our new national creativity and culture to the world. The construction
of the ceiling consisting of elements that support each other, was a
symbol of unity of the peoples of different nationalities in the USSR. "
We, the Soviet people, hated everything that reminded us of a palace in
architecture. We have been creating an "anti-palace" architecture. For
this reason we refused from closed spaces that resembled us of suites of
rooms in palaces, from wall solidity enclosing a narrow world of palace
life, and tried to tie up the interior and the exterior seeing democracy
in this". Konstantin S. Melnikov.
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L.M. Lissitsky. The model of a mobile rostrum for a square, 1920.
An attempt to bring suprematism that was typical predominantly of
pictorial (plane) rendering to architecture (volume). Disciples of
Lissitsky at the Vitebsk people school developed the model in 1920. The
rostrum made a big stir at the International Exhibition of Theatrical
Art in Vienna in 1924 where it was first exhibited.
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K. Melnikov House in Krivoarbatsky pereulok in Moscow, 1927-1929.
An experimental house, " a play of pure constructions" that confirmed in
practice several complicated artistic-compositional and constructive
methods. For example: a brick wall skeleton frame made so that some 200
hexagonal apertures were formed in the outer walls that could be bricked
up or left as windows. This made it possible to change the arrangement
of windows at will. The architect refused from the rectilinear plan in
favor of curvilinear character of the walls to achieve artistic effects
in the interior. Nearly all the rooms in the house are sectors in
form.
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Vladimir Tatlin. The model for the Monument to the Third
International, 1919. A 400-m high tower with a metal frame composed of
two spirals narrowing in the upward, comprised four volumes in the
internal space behind the skeletal frame of the main volume. These
volumes each hanging over another rotated at different speeds. The
bottom cube that was the siege of the Comintern legislative bodies was
to rotate at a speed of 1 turn a year. The truncated pyramid - the
location of the executive bodies 1 turn a month, the cylinder with the
secretariat rotated at a speed of 1 turn a week and the semi-sphere
completed the composition. The tower is not so much a utility object as
a striking romantic artistic symbol of the Revolution.
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Architects the brothers Vesnin. The model of the Moscow branch of
the daily Leningradskaya Pravda, 1924. The office of the editorial board
was to be located on a small 6x6m plot in the Strastnaya (Pushkinskaya)
Square. The Vesnin model with its dynamism, construction clarity, light
transparent architecture conveys the image the idea of up-to-theminute newspaper information, expresses the "propaganda nature" of thebuilding. This model that has never been implemented embodies in themost concentrated way the most typical features of the SovietConstuctivism: a new realistic way for searching an integral unitybetween form and content, a new ideological purposefulness anddemocracy.
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