architecture schools
La formación arquitectónica del Vjutemás se dividió en dos campos: el de la escuela neoclásica de Iván Zholtovski, el primer decano del Departamento de Arquitectura, y los Talleres Unidos de la Izquierda u Obmás encabezada por Nikolái Ladovski. Un tercer departamento independiente, llamado Arquitectura Experimental, surgió en la temporada 1924/1925, encabezado por los constructivistas "Constructivismo (arte)") Konstantín Mélnikov y Ilyá Gólosov. A través del curso básico, el arte arquitectónico como el constructivismo "Constructivismo (arte)") y suprematismo, también se convirtieron en importantes influencias en los planes de estudios del diseño arquitectónico.[17].
Las dos escuelas de arquitectura de la época que había en Moscú eran la Universidad Técnica Estatal Bauman de Moscú (MVTU) encabezada por Aleksandr Kuznetsov&action=edit&redlink=1 "Aleksandr Kuznetsov (arquitecto) (aún no redactado)") (ru "ru:Кузнецов, Александр Васильевич (архитектор)")), y el Instituto de Ingenieros Civiles encabezado por los hermanos Vesnín. Esta última se fusionó con MVTU en 1924,[30] y también se propuso que se fusionara MVTU con Vjutemás en 1924, en un esfuerzo por consolidar la enseñanza de la arquitectura.[31] Después de la fusión, las facultades diseño industrial y artístico mantuvieron su orientación aunque el Vjutemás, después de la adquisición de la institución, se centró más en la ingeniería. El MVTU era la más fuerte escuela exponente el constructivismo en la arquitectura,[32] mientras que Vjutemás se enfocaba principalmente en el arte y el diseño. Los miembros de la Unión de Arquitectos Contemporáneos (OSA) se dividieron entre MVTU y Vjutemás y participaron en las dos escuelas. OSA organizó la "Primera Exposición de Arquitectura Moderna" en la exposición de Vjutemás en 1927.[33] Muchos de los profesores compartieron el empleo con otros colegios, y el cuerpo estudiantil era especialmente móvil. Vjutemás absorbió muchos estudiantes que, en un mundo mejor, habrían elegido otra profesión. Por ejemplo, Nadezhda Býkova") (ru), nacida en 1907 y criada en Sérpujov, aspiraba a ser médico, pero como en ese momento, en Sérpujov, no era elegible para la admisión en la escuela de medicina, por lo que compró un billete para viajar a Moscú y en Vjutemás se unió a la clase de Ladovski. En 1932, diseñó su primera estación de metro que, finalmente, se convirtió en una de las arquitectas más prolíficas del Metro de Moscú.[34] El sistema educativo, como la sociedad misma, era muy cambiante y se encontraba en constante ebullición.
The Academic Workshop
The original architectural department of the Vjutemás was the "Academic Workshop". It was a direct descendant of Zholtovsky's First Architectural Workshop, which lasted from 1918 to 1919, and was strongly influenced by the personality of Ivan Zholtovsky and his team formed by Aleksei Shchusev and Ivan Rylsky. Zholtovsky practiced a peculiar style of education, which involved long conversations with very small groups of students (беседы Zholtovsky), and at the same time, the application of rigorous training in classical delineation and composition. others). The dissolution of this system began in 1919, before the establishment of Vkhutemás.
Towards the end of the Civil War, some dissatisfied "masters" preferred to move away from the Zholtovski line, while practicing Modernist art "Modernism (art)") with numerous independent unions.
The most important of them, the First Creative Union (Первое Творческое объединение, Живскульптарх), was actually that of unemployed architects.[36] In 1920, the faction consolidated around Nikolai Ladovsky (now the leader of rationalist architecture "Rationalism (architecture)") and the neoclassical minority, was reduced to a small group around Zholtovsky. In 1923, Zholtovski left the country for three years, renouncing the presidency of Vkhutemás and handing it over to Ladovski.[37].
Nikolai Ladovsky's workshop
At the beginning of the 1920/1921 academic year, Nikolai Ladovsky, together with his followers, instructors Nikolai Dokuchaev and Vladimir Krinski, created Obmas. Obmás was the acronym for the United Workshops of the Left (Обмас, Объединенные левые мастерские), these studios were active for three years and took over the entire Department of Architecture during 1923.
Ladovski was known for his innovative teaching methods, in particular his statement that "the basic material of architecture is space." Their training program was superficially similar to classical training: first, the study of a particular architectural element of the past; then use it in abstract projects; and finally, apply it to real-world architecture in architectural tasks ranging from coastal jetties (1922-1923) to skyscrapers (1923-1925).[38][39] To the surprise of Ladovski himself, this program became a source of architectural novelties.[40] At Obmás, the creative concept of rationalism "Rationalism" was formulated (architecture)"),[6] and the teachers and students distinguished themselves from another prominent group within the school, the constructivists "Constructivism (art)").[19].
In 1923, Ladovski founded another rationalist group, ASNOVA, Association of New Architects (АСНОВА, Ассоциация новых архитекторов).[41] Between 1925 and 1930 the department of Ladovski in Vkhutemás-Vkhuteín and the Vesnín brothers, divided between Vkhutemás and MVTU, participated in a professional student project competition, which then separated the more rationalist and constructivist strains of avant-garde architecture.[42] Perhaps the most notable of the works produced in this workshop was Georgy Krutikov's "Floating City"), his 1928 graduation project.
The Constructivist Workshop
Aleksandr Vesnín's students produced several innovative designs with interesting contrast to the products of Ladovski's workshop. For example, Lidia Komarova's project for a Comintern headquarters was glass-clad, cylindrical structure that prefigured high-tech work later in the century. Meanwhile Sokolov designed, under Vesnín, a plan in 1928 for "resort hotels" established in the countryside as glass pods, which became a prototype for Soviet deurbanism. Noting the close relationships that had developed and the high level of attention from teachers, he stated that, "The Vesnín studios (of Aleksandr and Leonid Vesnín at Vkhutemás, and of Víktor Vesnín at MVTU) were the heart of Soviet Constructivism "Constructivism (art)")"[44] The meetings took place outside the school, in Vesnín's apartment, which attracted visitors from abroad, including Le Corbusier, among others.
The New Academy
Konstantin Melnikov, who had been a professor at Vkhutemás since 1920, and Ilyá Golosov formed a joint workshop known as the New Academy and Workshop Number 2. These studies were known for their individualistic approach. Melnikov and Golosov resisted academic camps such as those on the left, but adopted aspects of a middle ground between the classicism of Zholtovsky and the rationalism of Ladovsky. The slogans of the New Academy were drafted by Melnikov and Golosov in 1923, continuing in the controversy with respect to other departments of the same school and the dialectic between the old and the new, form and imitation, absence and decay, the beginning and the end. One of the things the slogan said was: "The true mark of the NEW architecture is not only the reuse of forms, but is based on and through the reuse of the established perceptual gradations of the OLD architecture." In 1924, the architecture department made an effort to simplify the organization, and management merged the New Academy with the Academic Workshops. Melnikov left Vkhutemas having lost the program he had created and directed. In the fall of 1924, Melnikov was offered the position of chairman of the Metals Department, but he did not accept. Melnikov distanced himself from the school at this time, but was not completely removed; since he exhibited alongside other students and teachers at the 1925 Exhibition of Decorative Arts in Paris.