- Centro Studi Wolfsoniana
Palazzo Ducale
Fondazione per la Cultura
Piazza Matteotti 9 - 16123 Genova
Tel. 0108171654 - Fax 0108171601
www.palazzoducale.genova.it
Anna Vyazemtseva
Wolfsoniana - Palazzo Ducale Genova, Centro Studi - Museo, Department Member
- Insubria University, Scienze teoriche e applicate, Post-DocPolitecnico di Milano, Architectural Design and History, Adjunct, and 4 moreadd
- Architecture, Globalization, Urban Regeneration, Restoration and Conservation of Ancient and Historic Buildings and Structures, Modernism (Art History), 1920s Art History, and 22 more1930's, History, Archaeology, Art History, Design, Urban And Regional Planning, Urban History, Civil Society, Italian Fascist Architecture, Modernism, Futurism, Modernist Architecture (Architectural Modernism), Russian culture, Grand Tour, History of Planning, Women Artists, Women In Architecture, Cultural Studies, Social Sciences, International Relations, Storia Del Collezionismo, and Pittura Italiana Dell'Ottocentoedit
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Il Centro Studi Wolfsoniana annuncia la seconda edizione del bando del concorso internazionale per la borsa di studio, promossa e sostenuto dalla famiglia Franzone, in memoria di Gianni Franzone (1964-2022), storico dell'arte del... more
Il Centro Studi Wolfsoniana annuncia la seconda edizione del bando del concorso internazionale per la borsa di studio, promossa e sostenuto dalla famiglia Franzone, in memoria di Gianni Franzone (1964-2022), storico dell'arte del Novecento e curatore della Wolfsoniana di Genova.
Research Interests: Totalitarianism, Colonialism, Modernist Architecture (Architectural Modernism), Modernism (Art History), Decorative Arts, and 9 moreFirst World War, History of Collections, Women Artists, 20th Century, 18th-20th century Modern/Comtemporary Art, Post colonial studies, Art Deco, History of Art and Propaganda, and Art and Dictatorship
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The Centro Studi Wolfsoniana announces the first edition of the international call for the Fellowship in memory of Gianni Franzone (1964-2022), twentieth-century art historian and curator of the Wolfsoniana in Genoa, promoted and... more
The Centro Studi Wolfsoniana announces the first edition of the international call for the Fellowship in memory of Gianni Franzone (1964-2022), twentieth-century art historian and curator of the Wolfsoniana in Genoa, promoted and supported by the family Franzone.
The fellowship is destinated to under 35 researchers in the history, culture and visual arts of the period pertaining to the Wolfsoniana collection (1870-1950), with special attention to aspects related to decorative and propaganda arts and to architecture
The fellowship is destinated to under 35 researchers in the history, culture and visual arts of the period pertaining to the Wolfsoniana collection (1870-1950), with special attention to aspects related to decorative and propaganda arts and to architecture
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Il Centro Studi Wolfsoniana annuncia la prima edizione del bando del concorso internazionale per la borsa di studio, promossa e sostenuto dalla famiglia Franzone, in memoria di Gianni Franzone (1964-2022), storico dell’arte del Novecento... more
Il Centro Studi Wolfsoniana annuncia la prima edizione del bando del concorso internazionale per la borsa di studio, promossa e sostenuto dalla famiglia Franzone, in memoria di Gianni Franzone (1964-2022), storico dell’arte del Novecento e curatore della Wolfsoniana di Genova.
La borsa è rivolta a dottori e a ricercatori under 35 interessati allo studio della storia, della cultura e delle arti visive del periodo pertinente alla collezione della Wolfsoniana (1870-1950), con particolare attenzione agli argomenti legati alle arti decorative e di propaganda e all’architettura.
La borsa è rivolta a dottori e a ricercatori under 35 interessati allo studio della storia, della cultura e delle arti visive del periodo pertinente alla collezione della Wolfsoniana (1870-1950), con particolare attenzione agli argomenti legati alle arti decorative e di propaganda e all’architettura.
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This article is dedicated to Russian and Soviet pavilions at world fairs of the first half of the 20th century, which is one of the most important topics of both history of architecture and international relations. The article brings to... more
This article is dedicated to Russian and Soviet pavilions at world fairs of the first half of the 20th century, which is one of the most important topics of both history of architecture and international relations. The article brings to light unpublished episodes of Russian and Soviet participation at the international exhibitions. The pavilions were at the same time the screen and show-window of the country, which formed its image worldwide. The study is focused on their ideological role and realization aspects, analyzing previously unpublished and underexplored project materials and archival documents, with special attention to the interaction between the parties, cultural diplomacy, contacts with emigrants and local context.
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The article examines a book called “Artists in Russia” published in Italy in 1934–1943 by the Italian slavist Ettore Lo Gatto as an attempt to do a comparative transnational research. This approach though relevant for the history of art... more
The article examines a book called “Artists in Russia” published in Italy in 1934–1943 by the Italian slavist Ettore Lo Gatto as an attempt to do a comparative transnational research. This approach though relevant for the history of art and architecture today was new in the first half of the 20th century, when the science rather considered national schools, than the question of mutual influence. Lo Gatto’s work made part of the series “Italian Genius Abroad” and aimed to testify to the dominance of Italian culture over other world cultures in the framework of the propaganda of fascism; it did not set the direct task of studying the migration of Italian masters, its conditions and the results of the interaction with other national schools. As a propaganda project of the Mussolini regime, ‘Artists in Russia’, however, simultaneously became the first comprehensive work on Italian masters in Russia, and, albeit unintentionally, turned out to be one of the first attempts to create an “international” art history and to study intercultural contamination between two countries. Based on documents from the archives of the Italian Ministry of Foreign Affairs, the article describes the process of the research, analyzes the work of Lo Gatto as one of the first studies of artistic migration, and shows an episode of interaction between art historians of the two countries under the conditions of dictatorship and ideological, and then military conflict making a contribution to the history of international relations of the first half of the 20th century
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In big cities, the memory of fairs and the great competition between nations and regimes of the 1930s still survive, including Trocadero in Paris and Eur in Rome. In Moscow VDNKh represents a similar example. In 1939, it was a showcase... more
In big cities, the memory of fairs and the great competition between nations and regimes of the 1930s still survive, including Trocadero in Paris and Eur in Rome. In Moscow VDNKh represents a similar example. In 1939, it was a showcase for Stalin's regime, then it was expanded until 1991, reflecting the transformation of Russian politics from dictatorship to neoliberalism. The current restoration sparked a debate about the methods and social responsibility of restoring totalitarian heritage.
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By now, in Rome, public buildings realized in the 1920-1940s, according to Italian heritage legislation, are becoming protected monuments and require conservation and restoration. The implementation of that, however, leads to a number of... more
By now, in Rome, public buildings realized in the 1920-1940s, according to Italian heritage legislation, are becoming protected monuments and require conservation and restoration. The implementation of that, however, leads to a number of problems of very diverse nature; be both technical, social and cultural. This paper describes the basic features of protection and restoration of interwar heritage and analyses how they have been assessed and used both by the professional community and the general public.
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During that special period of Russian history between the First Revolution 1905 and the Second World War, the profound changes of construction industry, of traditional systems of architectural education, together with cardinal... more
During that special period of Russian history between the First Revolution 1905 and the Second World War, the profound changes of construction industry, of traditional systems of architectural education, together with cardinal socio-political transformation of the country profoundly modified architectural profession. A lot of professionals had to leave the country due to social cataclysms. The aim of the paper is to draw up as much as possible a complete picture of the emigration of architects from Russia to Italy, France, and Great Britain, analyzing the circumstances of the emigration and the further careers of those architects and describing the heritage they left, as well as to estimate their place and role in the history of architecture.
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Italian Heritage and Russian and Soviet Architects in the 1st Half of the 20th Century The research put in light not only new historical facts from the life and work of Russian architects of the 1900s - 1950s, presents an attempt to... more
Italian Heritage and Russian and Soviet Architects in the 1st Half of the 20th Century
The research put in light not only new historical facts from the life and work of Russian architects of the 1900s - 1950s, presents an attempt to explore their interest to Italy in the panorama of
complex cultural and political relations between the countries, as well as in the context of the local
history and theory of architecture. It investigates the sources and prototypes of formal solutions of
architectural projects and realized buildings and offers new facts on heritage and biographies of I.V.
Zholtovsky, G.K. Lukomskom, M. Ya. Ginzburg, A.V. Schusev, S.E. Chernyshev, I.A. Fomine, A.
Ya. Beloborodov, L.M. Brailovsky and other architects. For the first time, the architects of the Russian emigration are considered in a single field with the colleagues who worked abroad after the
emigration. In addition, an attempt is being made to consider the Russian, Soviet and Russian emigration architecture of the first half of the 20th century as a single phenomenon, without the traditional
confine of 1917.
The research put in light not only new historical facts from the life and work of Russian architects of the 1900s - 1950s, presents an attempt to explore their interest to Italy in the panorama of
complex cultural and political relations between the countries, as well as in the context of the local
history and theory of architecture. It investigates the sources and prototypes of formal solutions of
architectural projects and realized buildings and offers new facts on heritage and biographies of I.V.
Zholtovsky, G.K. Lukomskom, M. Ya. Ginzburg, A.V. Schusev, S.E. Chernyshev, I.A. Fomine, A.
Ya. Beloborodov, L.M. Brailovsky and other architects. For the first time, the architects of the Russian emigration are considered in a single field with the colleagues who worked abroad after the
emigration. In addition, an attempt is being made to consider the Russian, Soviet and Russian emigration architecture of the first half of the 20th century as a single phenomenon, without the traditional
confine of 1917.
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Статья посвящена строительству одного из первых заводов, возведенных по программе индустриализации первого пятилетнего плана,-Первому ГПЗ (1929-1935). Спецификой было участие иностранного предприятия-итальянской фабрики «ФИАТ». Изучение... more
Статья посвящена строительству одного из первых заводов, возведенных по программе индустриализации первого пятилетнего плана,-Первому ГПЗ (1929-1935). Спецификой было участие иностранного предприятия-итальянской фабрики «ФИАТ». Изучение роли «ФИАТ» в реализации проекта ГПЗ-1 и личного опыта участников строительства поможет открыть новые перспективы в понимании истории архитектуры того периода в Италии и СССР, а также должно привлечь внимание к ГПЗ-1 как к памятнику промышленной архитектуры.
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♦ eSamizdat 2020 (XIII), pp. 481-498 ♦ " U N VIAGGIO in Russia è sempre stato, ed è tuttavia, il segreto di molte speranze non an-cora deluse: antiche e moderne", scrisse Curzio Ma-laparte nel 1929 a seguito del suo viaggio nell'allora... more
♦ eSamizdat 2020 (XIII), pp. 481-498 ♦ " U N VIAGGIO in Russia è sempre stato, ed è tuttavia, il segreto di molte speranze non an-cora deluse: antiche e moderne", scrisse Curzio Ma-laparte nel 1929 a seguito del suo viaggio nell'allora Unione Sovietica 1. Ogni nuovo paese si scopre co-noscendone gli spazi: le strade, le piazze, le vie, le case. Gli interni, forse, ci fanno scoprire meglio di ogni altra cosa come si vive in altri paesi, ci fanno percepire le differenze di cultura e mentalità, e nello stesso tempo ci avvicinano di più ai momenti sacri della quotidianità e ci consentono di familiarizzare con il diverso. Nel XX secolo in Russia si cercò di rivoluzionare la società anche attraverso l'architettura e la proget-tazione degli ambienti. Architettura e design hanno rispecchiato i mutamenti politico-culturali che han-no travolto il paese. Il mito della standardizzazione degli anni Venti, messo a tacere dalla cultura gerar-chica e oppressiva del periodo di Stalin, è risorto ne-gli anni Sessanta, quando si è cercato un equilibrio tra sfera comune e sfera privata. Gli ambienti 'sovie-tici' diventeranno poi una sorta di codice culturale, provocando uno spettro complesso di reazioni, dal-l'ironia alla nostalgia. La sezione propone il punto di vista di alcuni professionisti sugli ambienti progetta-ti e vissuti nell'Unione Sovietica e in Russia: si tratta delle memorie di due storici dell'architettura italiani sui viaggi svolti in URSS in un momento in cui il confine con l'Occidente era affatto convenzionale. Vieri Quilici è uno degli studiosi che scoprirono l'architettura sovietica d'avanguardia nell'Europa capitalista, quando, nel suo paese d'origine, essa era ancora poco nota. Claudia Conforti, invece, è uno degli specialisti più riconosciuti al mondo nell'am-1 C. Malaparte, Intelligenza di Lenin, Milano 1930, p. 3. [N.d.R.-A.V.]. bito del Rinascimento italiano, e appartiene a quel novero di storici che hanno iniziato a guardare all'ar-chitettura contemporanea in una prospettiva storica, mostrando la continuità e la coesione tra il passato e la modernità. Completano la sezione le riflessioni di Aleksej Ginzburg, che ha attualmente terminato il restauro dell'edificio-icona del costruttivismo a Mo-sca-la Casa del Narkomfin (1929-1930) di Moissej Ginzburg e Ignatij Milinis-cercando, attraverso lo studio approfondito dei documenti relativi al proget-to, di ripristinare l'allestimento originale dell'edificio, compresa la soluzione cromatica degli interni. 1. VIERI QUILICI, STORICO DELL'ARCHITETTURA VIERI QUILICI (1935), nato a Ferrara e attivo a Roma, è storico dell'architettura e urbanistica. Già professore ordinario di storia dell'architettura di Ro-ma Tre, ha insegnato inoltre alle università di Paler-mo e Ginevra e ha tenuto conferenze alle università italiane ed estere. È stato tra i pionieri degli studi sul costruttivismo sovietico, a cui ha dedicato diversi articoli e monografie, come Architettura sovietica contemporanea (Cappelli, 1965), L'architettura del costruttivismo (Laterza, 1969), Città russa e città sovietica (Mazzotta, 1976). Ha curato le mostre Rodčenko e Stepanova-alle origini del Costruttivismo, Palazzo dei Priori e palazzo Cesa-roni, Perugia (1984), Architettura nel Paese dei Soviet 1917-1933 al Palazzo delle Esposizioni, Ro-ma (1982) e Mosca, capitale dell'utopia, Roma (1991). La sua ricerca è incentrata sull'architettura del Novecento italiana e internazionale, il suo rap-porto con la città storica, i problemi di conservazione e tutela degli insiemi urbani e paesaggistici.
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The article is based on the research dedicated to two masterpieces of the Twentieth-century architecture: the Novocomum residential building in viale Giuseppe Sinigaglia in Como (Italy) by Giuseppe Terragni (1904–1943) and the Zuev... more
The article is based on the research dedicated to two masterpieces of the Twentieth-century architecture: the Novocomum
residential building in viale Giuseppe Sinigaglia in Como (Italy) by Giuseppe Terragni (1904–1943) and
the Zuev Workers’ Club in Lesnaja ulitsa in Moscow (USSR, now Russia) by Ilya Golosov (1883–1945). Both designed
and built at the same time — between 1927 and early 1930, two buildings have a similar solution of the corner
part — expressive glass cylinder. Although realized in different countries and circumstances, they become for years
a case for comparisons, and a cause for suspicions in plagiary. Despite the case is noticeable in history of modern
architecture, it becomes for the first time the case for specific study.
residential building in viale Giuseppe Sinigaglia in Como (Italy) by Giuseppe Terragni (1904–1943) and
the Zuev Workers’ Club in Lesnaja ulitsa in Moscow (USSR, now Russia) by Ilya Golosov (1883–1945). Both designed
and built at the same time — between 1927 and early 1930, two buildings have a similar solution of the corner
part — expressive glass cylinder. Although realized in different countries and circumstances, they become for years
a case for comparisons, and a cause for suspicions in plagiary. Despite the case is noticeable in history of modern
architecture, it becomes for the first time the case for specific study.
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The review "Žar' ptica", generally regarded as a masterpiece of the Russian publishing, was published in Berlin and in Paris in the early Twenties. The magazine is totally different from the others edited by the Russian emigration:... more
The review "Žar' ptica", generally regarded as a masterpiece of the Russian publishing, was published in Berlin and in Paris in the early Twenties. The magazine is totally different from the others edited by the Russian emigration: publicity has big room and texts in Russian, German and English are addressed to a un upper class reader. The magazine is cosmopolite and smart.
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Moisei Yakovlevich Ginzburg (1892-1946)-an outstanding architect of the XX century and one of the key figures of constructivism used to pass the first years of his studies in Europe and most of all-around 4 years-in Italy, in Milan, at... more
Moisei Yakovlevich Ginzburg (1892-1946)-an outstanding architect of the XX century and one of the key figures of constructivism used to pass the first years of his studies in Europe and most of all-around 4 years-in Italy, in Milan, at the Brera Academy and, as it turned out, in Milan Polytechnic. The paper proposes to describe, on the basis of archival data, the conditions that formed Ginzburg's creative personality, the features of the architectural education system, the methods of teachers, the main trends in the architecture and urban planning of Italy of those years, in relation to the further work of the architect and his theoretical legacy, pointing out some possible influences and interactions.
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When describing the history of twentieth-century Russian architecture, it is common to separate (and even oppose) the pre-revolutionary decades and the early Soviet period of the 1920s. Thus, the revolutionary months of 1917 proper have... more
When describing the history of twentieth-century Russian architecture, it is common to separate (and even oppose) the pre-revolutionary decades and the early Soviet period of the 1920s. Thus, the revolutionary months of 1917 proper have been completely overlooked by researchers as unworthy and capable of shaking the existing historiographical model. Such an approach, dictated by ideological considerations, is no longer justified today and requires revision. The study of periodicals of the second half of the 1910s and archival materials, a great number of which have not been introduced into academic circulation, convince us that the years of the First World War and the revolution were marked by significant changes in the minds of architects. Many things which had previously seemed fundamental for the collective identity of architects became subject to problematisation, and aesthetic categories were replaced by political criteria in the professional press. The architectural process started to be described by its participants in terms of struggle, while the self-identification of members of the architectural corporation lay between the search for survival tactics and taking part in the transformation of the country’s inner life. The novelty of the data presented in this article is due to the virtual absence of special studies devoted to this extremely important period in twentieth-century Russian architectural history.
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Генеральный план Рима 1931 г. стал одним из первых генпланов крупных городов, утвержденных в Ев ропе в ХХ в. Градостроительство еще с середины XIX в. стремилось решить проблему мегаполиса, и на основе этих разработок в начале ХХ столетия... more
Генеральный план Рима 1931 г. стал одним из первых генпланов крупных городов, утвержденных в Ев ропе в ХХ в. Градостроительство еще с середины XIX в. стремилось решить проблему мегаполиса, и на основе этих разработок в начале ХХ столетия были составлены проекты реконструкции основных крупных городов Европы и Америки, в том числе и Рима (1909 г). После Первой мировой войны формиро вались новые механизмы планирования. В новом генеральном плане Рима 1931 г. отразились не только устремления фашистского режима, но и тенденции итальянского и мирового градостроительства тех лет. Ключевые слова: градостроительство, фашизм, тоталитарная архитектура, 1920-1930е годы, ге неральный план A. G. Vyazemtseva MASTERPLAN Of ROME-1931 AS A REfLECTION Of THE MAIN TRENDS Of THE URBANISM BETWEEN TWO WARS The masterplan of Rome-1931 was one of the first big city masterplans approved in Europe in the 20 th century. Since the 19 th century the urbanism tried to resolve the problem of the metropolis. The results of this research were used for the masterplans of European capitals at the very beginning of the 20 th century. After the WWI, new ways of city planning were elaborated. The new masterplan of Rome-1931 reflected not only the aspirations of the fascist propaganda, but also the new trends of the Italian and International urbanism of that time.
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Research Interests: International Relations, Urban Planning, Frank Lloyd Wright, Modern Architecture, Interwar Period History, and 7 moreModern Italian Architecture, History and Historiography of Modern Architecture, Italian architecture, History of Soviet Architecture, Modern Architecture and Urban Planning, Gustavo Giovannoni, and XXth century Rome
Несмотря на то что искусство и архитектура 1920-1930-х гг., а в особенности «тоталитарное искус-ство» давно изучаются и как особое социально-культурное явление, и как собственно эстетический феномен, вопрос о контактах между двумя... more
Несмотря на то что искусство и архитектура 1920-1930-х гг., а в особенности «тоталитарное искус-ство» давно изучаются и как особое социально-культурное явление, и как собственно эстетический феномен, вопрос о контактах между двумя странами остается все еще малоизученным и часто сво-дится к выявлению схожих черт и тенденций в искусстве различных «режимов», сформировавшихся в странах Европы после Первой мировой войны. Задачами исследования являются выявление роли архи-тектуры в истории становления и сближения двух самых молодых европейских тоталитарных систем ХХ в.-фашизма и большевизма, демонстрация наличия контактов, их обстоятельств и специфики, проанализировать восприятие архитектуры СССР в Италии и взаимное влияние их архитектуры и ар-хитектурной полемики, а также обозначить масштаб взаимодействия программно противополож-ных и идеологически «враждующих» политических систем. Материалом исследования послужили ита-льянские и советские архитектурные журналы и газеты 1920-1940-х гг., каталоги выставок тех лет, мемуары путешественников, а также документы из российских и итальянских архивов. Ключевые слова: советская архитектура, архитектура авангарда, Италия, СССР, международные отношения, международные выставки, Россия и Запад. A. G. Vyazemtseva SOVIET ARCHITECTURE IN ITALY AND ITALIAN ARCHITECTURE IN USSR IN 1920-1930S: EXHIBITIONS, PUBLICATIONS, PROJECTS Even though the art and architecture between two wars, and in particular, those, developed under dictatorship, have been studied for a long time as a social, cultural and esthetic phenomenon, the question of the direct collaboration between Italian and Russian and Soviet art and architecture is still not sufficiently explored. In fact, the researches dedicated to the "totalitarian art" are mostly focused on the similarity of ideological targets, artistic languages and administration strategies. This article has the task to bring the light to the role of architecture in the process of rapprochement of two youngest totalitarian systems in Europe-fascist in Italy and Bolshevik in Russia-USSR, showing the interactions, peculiarities, through the analysis of the perception of the Soviet architecture in Italy and vice versa. It shows that this underexplored period was in fact a period of vivid mutual interest of two cultures that was a fruit of sincere curiosity of architects and professionals from both sides. Moreover, it investigates the importance of mutual influence of two culture, divided by political controversies. The present research is based on the documents from Italian and Russian archives, Soviet and Italian magazines, newspapers of the 1920-1930s, exhibition catalogues and travelers' memories.
Research Interests: International Relations, Soviet History, Constructivism, Russian Foreign Policy, Russian History, and 8 moreFascism and Modernism, Russian & Soviet Art, Culture in the Soviet Union, History of architecture, Italian Fascist Architecture, History of Soviet Architecture, Triennale Di Milano, and XXth Century Italian Architecture
At the beginning of the 20th century, lots of young and promising Russian architects travelled to Italy, interpreting gained experience in projects and buildings (V.F. Shuko, I.A. Fomin), and some of them even had building practices there... more
At the beginning of the 20th century, lots of young and promising Russian architects travelled to Italy, interpreting gained experience in projects and buildings (V.F. Shuko, I.A. Fomin), and some of them even had building practices there (A. Schusev). After the October Revolution of 1917 many actors of creative professions leaved Russia, but the architects were in the minority among immigrants and only a few of them settled (A.Y. Beloborodov, L.M. Brailovsky) or constantly worked (G.K. Lukomsky) in Italy. The paper tries to analyze the careers of the mentioned and other architects, to describe the particular circumstances of their work in the conditions of emigration, to determine their place in the Italian and international professional culture of that time.
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The article is dedicated to the history of reconstruction of Rome during 1920s-1930s in the time of the government of Fascist party and Benito Mussolini in role of Prime Minister of Italian United Kingdome. The article aims to analyze the... more
The article is dedicated to the history of reconstruction of Rome during 1920s-1930s in the time of the government of Fascist party and Benito Mussolini in role of Prime Minister of Italian United Kingdome. The article aims to analyze the reconstruction of the historical part of Rome and discover, under the fascist propaganda interpretation of the realizations, the common international trends in urban-planning. The research treats the Masterplan of Rome, approved in 1931, its previous projects and its development. Projects of masterplans, elaborated since 1909 to 1931 and realized urban interventions are studied in the context of urban planning practice and theory in Europe, actual for that time, as well as their international influence.
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Recently the famous house of architect Konstantin Melnikov, a masterpiece of avant-guard architecture, built in the city-center of Moscow between 1927 and 1929, has passed from the descendants of Melnikov to the State and has become a... more
Recently the famous house of architect Konstantin Melnikov, a masterpiece of avant-guard architecture, built in the city-center of Moscow between 1927 and 1929, has passed from the descendants of Melnikov to the State and has become a museum, affiliated with a State Museum of Architecture «A.V. Ščusev». The event was overshadowed by a receivership dispute between the Museum and the architect’s grand daughter Ekaterina Karinskaja, and, discussed by the chief media, has devided the Russian intellectual community between ones who accepted the operation and others who did not approve the forced methods applied by the State. Anyway, despite the public visits available until December, 2014, the professional community is steel waiting for the definite project of future museum which was not already announced. Meantime the conditions of the construction has become always worse, despite the question has been being discussed since early 1980. The restauration of 1990s was inefficient; no one of different projects proposed during last years was approved. The winner of the last unofficial competition, promoted by Museum «A.V. Ščusev» in 2013, the project by Moscow architects «Citizenstudio» proposed to reject any intervention if not conservation measures. Even though the Museum has accepted this concept, there is no news about the conservation project prepared. In this article we try, examining different fonts - books, publications in the press and by interviewing competent authorities, to understand the state of affairs and, for one more time, attract attention to this one of the most important buildings of the world architecture.
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Nel 1688 lo studente di origine alsaziana Johannes Hofer si laureò in medicina a Basilea discutendo la tesi su una patologia sino ad allora ignorata, per la quale coniò una nuova definizione: nostalgia, ossia la "tristezza ingenerata... more
Nel 1688 lo studente di origine alsaziana Johannes Hofer si laureò in medicina a Basilea discutendo la tesi su una patologia sino ad allora ignorata, per la quale coniò una nuova definizione: nostalgia, ossia la "tristezza ingenerata dall'ardente brama di ritornare in patria". Attraverso le suggestioni formali e iconografiche di un percorso artistico che parte dal Rinascimento e approda ai giorni nostri, si raccontano qui le diverse espressioni della nostalgia e se ne ricostruisce la storia. Si documentano così archetipi e protagonisti di questo disturbo medico che progressivamente si è trasformato in un sentimento ambivalente e contraddittorio, individuale e collettivo, presente nella storia dell'umanità sotto tutte le latitudini geografiche e culturali.
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after “Iofan 130. The Paths of Architecture of the 1920‑1940s” international conference the authors reflect on the architectural heritage of the 1920–1940s and the ways architecture developed afterwards. The biography of the Russian and... more
after “Iofan 130. The Paths of Architecture of the 1920‑1940s” international conference the authors reflect on the architectural heritage of the 1920–1940s and the ways architecture developed afterwards. The biography of the Russian and Soviet architect Boris Mikhailovich Iofan (1891–1976) distinguishes him from his
contemporaries: having completed his studies and started a career in Italy, without joining any of the architectural associations and trends, he became one of leading Soviet architects of the second quarter of the 20th century and a participant in the most important architectural events of his time. Research on Iofan’s legacy
is inextricably linked with questions about the interaction of historical tradition and the avant-garde, the relationship between the artist and power, the phenomenon of the “totalitarian art”, the role of architecture in international relations on the eve of the Cold War. The radical turn from the avant-garde to the “critical assimilation of heritage” and the role of Iofan in that process are receiving new interpretations today. The problem
of determining the artistic value and approaches to the preservation and restoration of the architectural heritage of the Soviet period, the 1920‑1950s in particular, is notably topical now. The book consists of the essays by leading Russian and international historians of architecture of the 20th century. Readers are offered the latest, previously unpublished results of research on the work of Boris Iofan and the architecture of his time.
contemporaries: having completed his studies and started a career in Italy, without joining any of the architectural associations and trends, he became one of leading Soviet architects of the second quarter of the 20th century and a participant in the most important architectural events of his time. Research on Iofan’s legacy
is inextricably linked with questions about the interaction of historical tradition and the avant-garde, the relationship between the artist and power, the phenomenon of the “totalitarian art”, the role of architecture in international relations on the eve of the Cold War. The radical turn from the avant-garde to the “critical assimilation of heritage” and the role of Iofan in that process are receiving new interpretations today. The problem
of determining the artistic value and approaches to the preservation and restoration of the architectural heritage of the Soviet period, the 1920‑1950s in particular, is notably topical now. The book consists of the essays by leading Russian and international historians of architecture of the 20th century. Readers are offered the latest, previously unpublished results of research on the work of Boris Iofan and the architecture of his time.
Research Interests: International Regimes, Soviet History, Modernist Architecture (Architectural Modernism), Modernism, Russian Revolution, and 9 moreRussian & Soviet Art, Culture in the Soviet Union, 20th Century, 18th-20th century Modern/Comtemporary Art, Cultural Diplomacy, 20th century Avant-Garde, Authoritarian regimes, International Exhibitions & Worlds Fairs, and Boris Iofan
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La Wolfsoniana di Genova Nervi, grazie alla cortese disponibilità al prestito di alcuni collezionisti privati, presenta dal 13 dicembre 2023 al 2 marzo 204 la mostra Natività in Terra: quattro creazioni in ceramica e di Arturo Martini e... more
La Wolfsoniana di Genova Nervi, grazie alla cortese disponibilità al prestito di alcuni collezionisti privati, presenta dal 13 dicembre 2023 al 2 marzo 204 la mostra Natività in Terra: quattro creazioni in ceramica e di Arturo Martini e di Giovanni Battista De Salvo, posizionate lungo il percorso espositivo del museo.
Il Presepe Piccolo, realizzato da Martini nel 1927 per La Fenice di Manlio Trucco, sotto il nuovo marchio Savona Nuova, rappresenta – assieme al coevo Presepio conservato presso la Galleria d’Arte Moderna di Nervi – una delle più celebri tra le “ceramichette” (come lo stesso artista ebbe a definirle), nate dal suo sodalizio con l’architetto e imprenditore Mario Labò; mentre la Fuga in Egitto (databile intorno al 1938) documenta le più tarde riproduzioni multiple dei suoi stampi, proposte negli anni trenta dalla Mazzotti ed eseguite con la tecnica dei “riflessi in riduzione” da Giuseppe Mariano Baldantoni.
Pur influenzati dalle modalità espressive delle piccole ceramiche di Martini, i due presepi in terracotta di De Salvo, direttore artistico dal 1929 della Casa dell’Arte di Albisola, presentano infine una più marcata stilizzazione plastica di matrice novecentista, che appare ancora più accentuata nello scuro rivestimento monocromatico dell’esemplare delle collezioni della Wolfsoniana.
Il Presepe Piccolo, realizzato da Martini nel 1927 per La Fenice di Manlio Trucco, sotto il nuovo marchio Savona Nuova, rappresenta – assieme al coevo Presepio conservato presso la Galleria d’Arte Moderna di Nervi – una delle più celebri tra le “ceramichette” (come lo stesso artista ebbe a definirle), nate dal suo sodalizio con l’architetto e imprenditore Mario Labò; mentre la Fuga in Egitto (databile intorno al 1938) documenta le più tarde riproduzioni multiple dei suoi stampi, proposte negli anni trenta dalla Mazzotti ed eseguite con la tecnica dei “riflessi in riduzione” da Giuseppe Mariano Baldantoni.
Pur influenzati dalle modalità espressive delle piccole ceramiche di Martini, i due presepi in terracotta di De Salvo, direttore artistico dal 1929 della Casa dell’Arte di Albisola, presentano infine una più marcata stilizzazione plastica di matrice novecentista, che appare ancora più accentuata nello scuro rivestimento monocromatico dell’esemplare delle collezioni della Wolfsoniana.
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Armando Brasini (1879–1965) rappresenta uno dei protagonisti dell’architettura italiana della prima metà Novecento: nel 1931 egli fu il solo italiano invitato al concorso per il Palazzo del Soviet a Mosca. Tra le sue opere più... more
Armando Brasini (1879–1965) rappresenta uno dei protagonisti
dell’architettura italiana della prima metà Novecento: nel 1931
egli fu il solo italiano invitato al concorso per il Palazzo del Soviet
a Mosca. Tra le sue opere più significative rientrano i contributi
al Monumento a Vittorio Emanuele II, o Vittoriano, inclusi il disegno
e la costruzione dell’ala orientale, lungo via dei Fori Imperiali.
Brasini lavorò in una stagione molto particolare, che vide Roma
segnata dagli scavi archeologici e dalla complessiva
riconfigurazione promossa dal 1922 dal governo fascista, volta
a trasformare Piazza Venezia nel baricentro delle manifestazioni
politiche, come pure delle cerimonie istituzionali e di partito.
L’architetto, anche influenzato dal parallelo impegno nella
nascente industria del cinema, concepì opere di una grandiosità
provocatoria, ispirata a una concezione imperiale e di forte
impatto scenografico. Fastosi e visionari risultano i suoi progetti
per la Grande Roma: il patrimonio antiquario vi appare
vagheggiato oniricamente piuttosto che osservato nella realtà
dei monumenti e delle rovine.
Il VIVE, che gestisce l’intero Vittoriano, ha intrapreso da tempo il
restauro dell’ala orientale, su via Fori Imperiali. L’obiettivo consiste
nel restituire al pubblico la spazialità di Brasini, tanto grandiosa
quanto efficace sul piano funzionale, per farne un centro
espositivo di livello internazionale, al servizio del Ministero della Cultura. L’Archivio Centrale dello Stato, che conserva la
documentazione relativa al cantiere del Vittoriano e dal 2018
anche il Fondo Brasini, ha già inserito la sua figura nella mostra
permanente sui fondi degli architetti e degli ingegneri.
Il convegno, aperto a studenti, ricercatori, professionisti e al
pubblico interessato, sarà l’occasione per presentare e analizzare
il lavoro di Brasini e il progetto di restauro degli spazi del
Vittoriano, promosso dalla direttrice del VIVE, Edith Gabrielli.
dell’architettura italiana della prima metà Novecento: nel 1931
egli fu il solo italiano invitato al concorso per il Palazzo del Soviet
a Mosca. Tra le sue opere più significative rientrano i contributi
al Monumento a Vittorio Emanuele II, o Vittoriano, inclusi il disegno
e la costruzione dell’ala orientale, lungo via dei Fori Imperiali.
Brasini lavorò in una stagione molto particolare, che vide Roma
segnata dagli scavi archeologici e dalla complessiva
riconfigurazione promossa dal 1922 dal governo fascista, volta
a trasformare Piazza Venezia nel baricentro delle manifestazioni
politiche, come pure delle cerimonie istituzionali e di partito.
L’architetto, anche influenzato dal parallelo impegno nella
nascente industria del cinema, concepì opere di una grandiosità
provocatoria, ispirata a una concezione imperiale e di forte
impatto scenografico. Fastosi e visionari risultano i suoi progetti
per la Grande Roma: il patrimonio antiquario vi appare
vagheggiato oniricamente piuttosto che osservato nella realtà
dei monumenti e delle rovine.
Il VIVE, che gestisce l’intero Vittoriano, ha intrapreso da tempo il
restauro dell’ala orientale, su via Fori Imperiali. L’obiettivo consiste
nel restituire al pubblico la spazialità di Brasini, tanto grandiosa
quanto efficace sul piano funzionale, per farne un centro
espositivo di livello internazionale, al servizio del Ministero della Cultura. L’Archivio Centrale dello Stato, che conserva la
documentazione relativa al cantiere del Vittoriano e dal 2018
anche il Fondo Brasini, ha già inserito la sua figura nella mostra
permanente sui fondi degli architetti e degli ingegneri.
Il convegno, aperto a studenti, ricercatori, professionisti e al
pubblico interessato, sarà l’occasione per presentare e analizzare
il lavoro di Brasini e il progetto di restauro degli spazi del
Vittoriano, promosso dalla direttrice del VIVE, Edith Gabrielli.
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Il progetto del Ponte sullo Stretto di Messina, a cui l’architetto Armando Brasini (1879 – 1965) lavorò dal 1955 al 1963, ha rappresentato una tappa cruciale dell’ambizioso programma di opere pubbliche, lanciato dopo l’Unità e... more
Il progetto del Ponte sullo Stretto di Messina, a cui l’architetto Armando Brasini (1879 – 1965) lavorò dal 1955 al 1963, ha rappresentato una tappa cruciale dell’ambizioso programma di opere pubbliche, lanciato dopo l’Unità e implementato poi durante il fascismo e gli anni della ricostruzione per dotare l’Italia di una fitta e sviluppata rete di comunicazioni via terra e via mare. L’idea di un ponte che potesse collegare la Sicilia alla terraferma, ripresa sino ai giorni nostri in altre non meno impegnative prospettive progettuali, si è rivelato pure una metafora del lungo e articolato percorso professionale di Brasini, autore di alcune tra le più significative iniziative architettoniche del suo tempo dal punto di vista celebrativo e ideologico: dalla ricostruzione monumentale della Roma di Mussolini al Mausoleo di Eva Peron in Argentina, dal Palazzo dei Soviet a Mosca al Faro della Cristianità per la Santa Sede.
Il plastico del Ponte e i relativi progetti ed elaborati grafici, recentemente acquisiti grazie a una generosa donazione, si integreranno in mostra con un’ampia selezione di eterogenei materiali artistici e documentari, spesso inediti, tutti provenienti dalle collezioni della Wolfsoniana.
Se questa indagine sull’iconografia del ponte evidenzia come, all’interno dei programmi di lavori pubblici, sia spesso dominante una forte valenza propagandistica, altrettanto importante appare il significato simbolico del ponte come vincolo di solidarietà e di unione: costruire ponti, non muri è il messaggio evangelico che si invita ad opporre ai conflitti e alle violenze tra i popoli.
A stemperare ogni messaggio retorico che l’iconografia del ponte ha spesso incarnato si è scelto dunque di documentare anche alcune varianti progettuali di questo specifico modello ingegneristico e architettonico: in particolare i pontili delle stazioni balneari che, proiettati a collegare la terra ferma al mare, rimandano a un più sereno e idilliaco immaginario vacanziero.
La ricerca che è stata condotta nel corso della preparazione della mostra confluirà in un volume con testi dei curatori dell’esposizione e di studiosi dell’argomento.
Inoltre, i risultati degli studi sul Ponte sullo Stretto di Brasini saranno prossimamente esposti da Matteo Fochessati e Anna Vyazemtseva nel corso del Convegno Internazionale di Studi Il Vittoriano e l’opera di Armando Brasini, in programma a Roma il 21 e 22 novembre.
Il plastico del Ponte e i relativi progetti ed elaborati grafici, recentemente acquisiti grazie a una generosa donazione, si integreranno in mostra con un’ampia selezione di eterogenei materiali artistici e documentari, spesso inediti, tutti provenienti dalle collezioni della Wolfsoniana.
Se questa indagine sull’iconografia del ponte evidenzia come, all’interno dei programmi di lavori pubblici, sia spesso dominante una forte valenza propagandistica, altrettanto importante appare il significato simbolico del ponte come vincolo di solidarietà e di unione: costruire ponti, non muri è il messaggio evangelico che si invita ad opporre ai conflitti e alle violenze tra i popoli.
A stemperare ogni messaggio retorico che l’iconografia del ponte ha spesso incarnato si è scelto dunque di documentare anche alcune varianti progettuali di questo specifico modello ingegneristico e architettonico: in particolare i pontili delle stazioni balneari che, proiettati a collegare la terra ferma al mare, rimandano a un più sereno e idilliaco immaginario vacanziero.
La ricerca che è stata condotta nel corso della preparazione della mostra confluirà in un volume con testi dei curatori dell’esposizione e di studiosi dell’argomento.
Inoltre, i risultati degli studi sul Ponte sullo Stretto di Brasini saranno prossimamente esposti da Matteo Fochessati e Anna Vyazemtseva nel corso del Convegno Internazionale di Studi Il Vittoriano e l’opera di Armando Brasini, in programma a Roma il 21 e 22 novembre.
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130-летний юбилей русского и советского архитектора Бориса Михайловича Иофана (1891-1976) дает новый повод для осмысления архитектурного наследия 1920-1940-х гг. в нашей стране и в мире. Победа в конкурсе на проект Дворца советов работы... more
130-летний юбилей русского и советского архитектора Бориса Михайловича Иофана (1891-1976) дает новый повод для осмысления архитектурного наследия 1920-1940-х гг. в нашей стране и в мире. Победа в конкурсе на проект Дворца советов работы Б.М. Иофана в 1932 году обозначила поворот в истории архитектуры ХХ века, который до сих пор вызывает полемику. Эклектическое здание, соединившее классическую монументальность и утопическое видение города, демонстрирует многоплановый характер мастера. Проект не был реализован, но стал противоречивым символом своей эпохи. Биография архитектора выделяет его среди современников: после учебы и работы в Одессе, Петербурге, Риме и Москве, не примкнув ни к одному из архитектурных объединений и течений, он оказался ключевым участником важнейших архитектурных событий своего времени. Фигура Иофана актуализирует многие вопросы и дилеммы истории архитектуры ХХ века-взаимодействия классической парадигмы и авангарда, феномена «тоталитарного искусства», особенностей архитектурного образования и его реформы, роли архитектуры в международных отношениях в преддверии Холодной войны. Радикальное изменение стилистической ориентации от авангарда к «критическому освоению наследия», вопрос о том, был ли этот поворот естественным процессом, а также роль в нем самого Иофана,-все эти проблемы сегодня находят новые интерпретации, в том числе в контексте осмысления художественного наследия советского периода, а также понимания норм и подходов к сохранению и реставрации наследия 1920-1940-х годов. ИОФАН 130 Пути архитектуры 1920-1940-х годов Часовой пояс: Москва (CET +1) Регламент докладов-15 мин
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La condizione urbana come fenomeno pervasivo 1 1-1 4 s e t t e m b r e 2 0 1 9 | B O LO G N A IX CONGRESSO AISU PROGRAMMA / PROGRAM The global city The urban condition as a pervasive phenomenon S e p t e m b e r 1 1 t h-1 4 t h , 2 0 1 9... more
La condizione urbana come fenomeno pervasivo 1 1-1 4 s e t t e m b r e 2 0 1 9 | B O LO G N A IX CONGRESSO AISU PROGRAMMA / PROGRAM The global city The urban condition as a pervasive phenomenon S e p t e m b e r 1 1 t h-1 4 t h , 2 0 1 9 | B O LO G N A
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Формат этой книги необычен для жанра творческих биографий архитекторов, вышедших в последние годы на русском языке, которые, как правило, представляют собой либо переведённую в формат монографии научно-исследовательскую работу (как,... more
Формат этой книги необычен для жанра творческих биографий архитекторов, вышедших в последние годы на русском языке, которые, как правило, представляют собой либо переведённую в формат монографии научно-исследовательскую работу (как, например: Костюк М.А. Иофан. До и после Дворца Советов.-Берлин : Dom Publishers, 2019), либо популярный рассказ, не всегда основанный на достоверных источниках, однако привлекательный для читателя в силу воспроизводимой вокруг своего героя мифической ауры (Васькин А.А. Алексей Щусев. Архитектор №1.-Москва : Молодая гвардия, 2023). И.Е. Печёнкин и О.С. Шурыгина целью своего «жизнеописания» И.В. Жолтовского ставят именно отделить мифы от фактов.
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130-летний юбилей русского и советского архитектора Бориса Михайловича Иофана (1891–1976) дает новый повод для осмысления архитектурного наследия 1920–1940-х гг. в нашей стране и в мире. Победа в конкурсе на проект Дворца советов работы... more
130-летний юбилей русского и советского архитектора Бориса Михайловича Иофана (1891–1976) дает новый повод для осмысления архитектурного наследия 1920–1940-х гг. в нашей стране и в мире. Победа в конкурсе на проект Дворца советов работы Б.М. Иофана в 1932 году обозначила поворот в истории архитектуры ХХ века, который до сих пор вызывает полемику. Эклектическое здание, соединившее классическую монументальность и утопическое видение города, демонстрирует многоплановый характер мастера. Проект не был реализован, но стал противоречивым символом своей эпохи. Биография архитектора выделяет его среди современников: после учебы и работы в Одессе, Петербурге и Риме, не примкнув ни к одному из архитектурных объединений и течений, он оказался ключевым участником важнейших архитектурных событий своего времени.
Фигура Иофана актуализирует многие вопросы и дилеммы истории архитектуры ХХ века – взаимодействия классической парадигмы и авангарда, феномена «тоталитарного искусства», особенностей архитектурного образования и его реформы, роли архитектуры в международных отношениях в преддверии холодной войны. Радикальное изменение стилистической ориентации от авангарда к «критическому освоению наследия», вопрос о том, был ли этот поворот естественным процессом, а также роль в нем самого Иофана, – все эти проблемы сегодня находят новые интерпретации, в том числе в контексте осмысления художественного наследия советского периода, а также понимания норм и подходов к сохранению и реставрации наследия 1920–1940-х годов.
Фигура Иофана актуализирует многие вопросы и дилеммы истории архитектуры ХХ века – взаимодействия классической парадигмы и авангарда, феномена «тоталитарного искусства», особенностей архитектурного образования и его реформы, роли архитектуры в международных отношениях в преддверии холодной войны. Радикальное изменение стилистической ориентации от авангарда к «критическому освоению наследия», вопрос о том, был ли этот поворот естественным процессом, а также роль в нем самого Иофана, – все эти проблемы сегодня находят новые интерпретации, в том числе в контексте осмысления художественного наследия советского периода, а также понимания норм и подходов к сохранению и реставрации наследия 1920–1940-х годов.
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Il 130° anniversario dell'architetto russo e sovietico Boris Iofan (1981-1976) offre l'occasione per una nuova riflessione sul patrimonio architettonico del periodo tra le due guerre mondiali. Tra i progetti più celebri di Iofan, quello... more
Il 130° anniversario dell'architetto russo e sovietico Boris Iofan (1981-1976) offre l'occasione per una nuova riflessione sul patrimonio architettonico del periodo tra le due guerre mondiali. Tra i progetti più celebri di Iofan, quello per il palazzo dei Soviet a Mosca, che vinse il concorso internazionale del 1932, segnò un momento nodale nella storia dell'architettura del Novecento, ma fu fonte di opinioni contrastanti. L'ecletticità del progetto, che univa la monumentalità classica a una visione utopistica della città, rifletteva il profilo multiforme del suo autore. La biografia dell'architetto, che prima di giungere a Mosca aveva studiato e lavorato a Odessa, San Pietroburgo e Roma lo distingueva tra i suoi contemporanei. Infatti, estraneo alle logiche dell'associazionismo e delle tendenze contingenti dell'architettura, riuscì a sviluppare progetti visionari, che innescarono un fervido dibattito.
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Organisé à l'occasion du 130e anniversaire de la naissance de l'architecte russe Boris Iofan (1891-1976), le colloque se propose d'aborder plus largement une série de problématiques liées à l'analyse, la réception et la protection du... more
Organisé à l'occasion du 130e anniversaire de la naissance de l'architecte russe Boris Iofan (1891-1976), le colloque se propose d'aborder plus largement une série de problématiques liées à l'analyse, la réception et la protection du patrimoine architectural de l'Entredeux-guerre. L'oeuvre la plus célèbre de Iofan, pour le concours du Palais des soviets, projet qui remporta le concours international de 1932, a marqué un tournant dans l'histoire de l'architecture du XXème siècle, qui jusqu'à aujourd'hui a été sujet à controverses. Ce projet de palais éclectique, faisant la synthèse de différentes traditions architecturales, de la monumentalité classique et d'une vision utopique de la ville, était le reflet des circonstances politiques du stalinisme, des conditions sociales de sa mise en oeuvre mais aussi de la personnalité protéiforme de Boris Iofan. Le parcours européen de Boris Iofan, qui étudia et travailla d'abord à Odessa, puis à Saint-Pétersbourg, à Rome et enfin à Moscou, en fait une figure particulièrement saillante parmi ses contemporains. Boris Iofan n'a suivi aucun courant établi, aucune mode, il n'a pas rejoint les nombreux groupements ou associations d'architectes, qui s'étaient multipliés au cours des années 1920, mais il a su développer des projets qui ont rapidement suscité des débats passionnés, et qui ont marqué de leur empreinte leur époque. Le parcours de Boris Iofan ouvre sur de nombreuses problématiques de l'Histoire de l'architecture du milieu du XXème siècle : La relation entre le paradigme classique et l'avant-garde, le phénomène de « l'art totalitaire » et la question d'un patrimoine à la réception difficile, l'évolution de l'enseignement et de la formation en architecture, la place de l'architecture dans les relations internationales à la veille de la Guerre froide. La réorientation radicale que connaissent l'architecture et les arts soviétiques en général à partir du début des années 1930, avec la disparition forcée des mouvements d'avant-garde et l'alignement sur le concept théorique d'« assimilation critique du passé », le contexte et les raisons de ces retournements, le rôle spécifique que Iofan a pu jouer dans ces événements, toutes ces questions méritent d'être aujourd'hui réinterprétées. L'évolution du regard porté sur l'héritage artistique de l'entre-deux-guerres que ce soit en URSS ou en Europe, ainsi que le développement de nouvelles approches patrimoniales et l'élaboration de nouvelles normes de restauration, suggèrent de nouvelles manières d'envisager l'art et l'architecture des années 1920-1940. Nous vous invitons à suivre les axes thématiques suivants :
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The 130th anniversary of Russian and Soviet architect Boris Iofan (1891-1976) provides an opportunity to reflect further on the architectural heritage of the interwar period. Iofan's most famous work, the Palace of Soviets in Moscow, a... more
The 130th anniversary of Russian and Soviet architect Boris Iofan (1891-1976) provides an opportunity to reflect further on the architectural heritage of the interwar period. Iofan's most famous work, the Palace of Soviets in Moscow, a project that won the international competition in 1932, marked a turning point in the history of 20 th century architecture while also provoking contradictory opinions. The eclectic project, which mixed classical monumentality with a utopian image of the city, reflected the multifaceted profile of its author. The biography of the architect, who had studied and worked in Odessa, St. Petersburg, Rome, and Moscow, distinguished him from his contemporaries. In fact, without joining any of the established architectural associations and trends, he succeeded in developing projects that soon prompted a fervid debate on architecture.