Parallel Movement-soviet Union of 1920’s..

PARALLEL MOVEMENTMOVEMENT-soviet union of 192 1920s 0s

Russian Constructivism 

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A movement with origins in Russia, Constructivism was primarily an art and architectural movement. Constructivist architecture is a form of modern archicture that started in former USSR in 1920s that emerged from constructivist art.

It was a movement created by the Russian avantgarde, but quickly spread to the rest of the continent. Constructivism was the last and most influential modern art movement Constructivist art is committed to complete abstraction with a devotion to modernity, where themes are often geometric, experimental and rarely emotional. Objective forms carrying universal meaning were far more suitable to the movement than subjective or individualistic forms

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Constructivist themes are also quite minimal, where the artwork is  broken down to its most basic elements  New media was often used in the creation of works, which helped to create a style of art that was orderly. Principles of Constructivism came from Suprematism, Newo Plasticism and Bauhaus. The architectural movement didn't last long, only till 1932 but the effects of it are still seen today. Constructivist art applied 3d cubist vision to abstract and nonobjective elements. The style combines straight lines and various forms such as cylinders, squares, rectangles, cubes. Elements of Constructivst art/architecture are:

minimal  geometric spatial  Architectonic experimental

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Minimal, geometric forms.

steel framing and glass

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Constructivism explores opposition between different forms as well as the contrast of different surfaces: walls and windows. Windows are usually square or rectangular. Often wrapped around an entire building. There are round windows as well, usually at the top of the building. Concstuctivist architecture movement emphasized and took advantage of the possibilites of new materials. Steel frames were seen supporting large areas of glass. Joints between various parts of buildings were exposed rather than concealed. Many buildings had balconies and sun decks. Large windows in order to let the as much light as possible.

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It was an entirely new approach to making objects, one which sought to abolish the traditional artistic concern with composition, and replace it with 'construction’. Constructivists not only employed the plastic arts as their means of expression, but expanded to the areas of industry, graphic design and the  performing arts Constructivists proposed to replace art's traditional concern with composition with a focus on construction. Objects were to be created not in order to express beauty, or the artist's outlook, or to represent the world, but to carry out a fundamental analysis of the materials and forms of art, one which might lead to the design of functional objects. Constructivist art often aimed to demonstrate how materials behaved - to ask, for instance, what different properties had materials such as wood, glass, and metal. The seed of Constructivism was a desire to express the experience of modern life - its dynamism, its new and disorientating qualities of space and time. Constructivists were to be constructors of a new society - cultural workers on par with scientists in their search for solutions to modern problems. Constructivism influenced other art movements of the twentieth century, such as Bauhaus and De Stijl.

F amous artists of the Constructivist movement include Vladimir Tatlin  , Kasimir Malevich, Alexandra E xter, Robert Adams, and E l Lissitzky 

VLADIMIR TATLIN 

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He was a Soviet painter and architect. Vladimir Tatlin was a founder-member of Soviet Constructivism, a form of avant-garde art best described as abstract sculpture made from industrial-type materials. Initially trained as an icon painter, he soon abandoned the traditionally pictorial concerns of  painting and instead concentrated on the  possibilities inherent in the materials he used often metal, glass, and wood. Influenced at this time by folk art and other Russian themes, he began exhibiting his primitive  paintings. He wanted above all to bend art to modern  purposes and, ultimately, to tasks suited to the goals of Russia's Communist revolution. He is remembered most for his Monument to the Third International.

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His work shows a desire to abolish the traditionally representational function of art and put it to new, more practical uses.

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Tatlin's work marks an important early stage in the transformation of Russian art, from modernist experiment to practical design. Tatlin's approach was distinctively shaped by his desire to bring lessons learned in the artist's studio to the service of the real world. Tatlin's training as an icon painter may have been significant in suggesting to him how unusual materials might be introduced into painting. FEW OF HIS ARTWORKS: TATLIN TOWER

LETATLIN

THE SAILOR

FISHMONGER 

TATLIN’S TOWER 

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tower, or the project for the Monument to the Third International was a design for a grand monumental building by the Russian artist and architect Vladimir Tatlin.

  Tatlin’s

The Monument to the Third International was a grand un-built monumental building. It was planned to be erected in St. Petersburg after the Bolshevik Revolution of 1917. In 1919 and 1920, Vladimir Tatlin produced sketches and a model for what was projected to be a Monument to the Third International. This was planned to be taller than that great symbol of modernity, the Eiffel Tower. Its spiraling structure, however, was to lend the Monument a structural dynamism lacking in Eiffel's more symmetrical (and more stable) design. he developed an officially authorized art form which utilized 'real materials in real space'. His project for a Monument of the Third International marked his first foray into architecture and became a symbol for Russian avant-garde architecture and International Modernism.

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tatlin's Constructivist tower was to be built from industrial materials: iron, glass and steel. In materials, shape and function, it was envisaged as a towering symbol of modernity. It would consist of a mighty steel girder thrusting 400m into the air at a 65 degree angle from the horizontal. the design of the monument consists of three large glass structures, erected by means of a complex system of vertical struts and spirals. The lower storey, which is in the form of a cube, rotates on it’s axis at the speed of one revolution per year- a venue for lectures, conferences and legislative meetings, The next storey, which is in the form of a pyramid , rotates on its axis at the rate of one revolution per month- venue for executive activities Finally, the uppermost cylinder which rotates at the speed of one revolution per day is reserved for information services: an information office, a newspaper and it will also have a telegraphic office and an apparatus that can project slogans on to a large screen.

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They are able to move at different speeds by means of a special mechanism. it would act as a kind of astronomical instrument, with its spine. These can be fitted around the axes of the hemisphere. Radio masts will rise up over the monument. It should be emphasised that Tatlin’s proposal  provides for walls with a vacuum which will help to keep the temperature in the various rooms constant. The main idea of the monument is based on an organic synthesis of the  principles of architecture, sculpture and painting and was intended to  produce a new type of monumental structure, uniting in itself a purely creative form. the glass structures should have vacuum walls (a thermos) which will make it easy to maintain a constant temperature within the edifice. The separate  parts of the monument will be connected to one another and to the ground  by means exclusively of complexly structured electrical elevators, adjusted to the differing rotation speeds of the structures.