Moisei Ginzburg

https://en.wikipedia.org/wiki/Moisei_Ginzburg

Moisei Yakovlevich Ginzburg (Belarusian: Майсей Якаўлевіч Гінзбург, Russian: Моисей Яковлевич Гинзбург; 4 June [O.S. 23 May] 1892, Minsk – 7 January 1946, Moscow) was a Soviet constructivist architect, best known for his 1929 Narkomfin Building in Moscow.[1]

Contents Biography Education Ginzburg was born in Minsk into a Jewish architect's family. He graduated from Milano Academy (1914) and Riga Polytechnical Institute (1917). During Russian Civil War he lived in the Crimea, relocating to Moscow in 1921. There, he joined the faculty of VKhUTEMAS and the Institute of Civil Engineers (which eventually merged with Moscow State Technical University).

Ideologist of Constructivism The founder of the OSA Group (Organisation of Contemporary Architects), which had links with Vladimir Mayakovsky and Osip Brik's LEF Group, he published the book Style and Epoch in 1924, an influential work of architectural theory with similarities to Le Corbusier's Vers une architecture. It was effectively the manifesto of Constructivist Architecture, a style which combined an interest in advanced technology and engineering with socialist ideals. The OSA experimented with forms of Communal apartments to provide for the new Communist way of life. Its magazine SA (Sovremennaya Arkhitektura, or Contemporary Architecture) featured discussions of city planning and communal living, as well as the futuristic projects of Ivan Leonidov. The group was dissolved in the early 1930s into an 'All-Union Association of Architects', along with the competing Modernist group ASNOVA, led by Nikolai Ladovsky, and the proto-Stalinist VOPRA.

Communal houses

Gosstrakh Apartments, Moscow The first of these was the Gosstrakh apartments (Malaya Bronnaya Street, Moscow), designed in 1926, one of which was rented by Sergei Tretyakov: these flats were the first employment of Le Corbusier's 'Five Points of Modern Architecture' in the USSR. A similar structure was built to Ginzburg's 1928 design in Sverdlovsk (21, Malysheva Street, completed 1932).

This was followed three years later by the Narkomfin Building, a 'social condenser' which tried to embody socialist and principles in its structure. The apartment blocks were built for employees of the Commissariat of Finance (or 'Narkomfin'), and featured collective facilities, roof gardens and a parkland setting. The Narkomfin building was acknowledged by Le Corbusier as an influence on his Unité d'Habitation, while the layout of its duplex apartments have been copied by Moshe Safdie in his Expo 67 flats, as well as by Denys Lasdun in his luxury flats at St James', London.

In 1928, Ginzburg also designed the Government Building in Alma-Ata (now, University of Alma-Ata), completed in 1931. In the early 1930s, he concentrated more on urban planning projects, from utilitarian (Ufa city plan) to utopian ("Green City" contest entry, for a large residential area on the outskirts of Moscow). He was also a Soviet delegate to the CIAM from 1928 to 1932.

Career in 1930s Like other avant-garde artists with limited practical experience, Ginzburg fell out of favor in 1932, when the state took control of architectural profession and steered it in favor of eclectic, revivalist stalinist architecture. Actual demotion of Ginzburg and other constructivists became a gradual process that extended until the end of the 1930s. He never returned to Moscow or Leningrad practice, but left a contribution in Crimea and Central Asia and retained his own architectural workshop until his death. His new books on Home (Жилище) and Industrializing housing construction (Индустриализация жилищного строительства) were printed in 1934 and 1937; since 1934, Ginzburg was the editor of an encyclopedic History of Architecture.

In the early 1930s, Ginzburg was involved in planning of Crimean Coast, designed a number of resort hotels and sanatoriums; only one of them was built in Kislovodsk (1935-1937). Ginzburg's workshop was also employed by the Ministry of Railways and designed a whole range of model stations for Central Asian and Siberian railroads. Their projects, publicized in the late 1930s, are not as bold as the 1920s avant-garde but are definitely modernist in appearance.

In the 1940s, Ginzburg produced the reconstruction plan for post-war Sevastopol (never materialized) and designed two resort buildings that were completed in Kislovodsk and Oreanda after his death.

Legacy

Isometric drawing of The Narkomfin building. His most famous work, the Narkomfin Building, is in a dilapidated state, having been without maintenance for decades, and is on UNESCO's endangered buildings list. Previous drafts to rebuild Dom Narkomfin into a hotel (designed by Ginzburg's grandson) was barred by legal uncertainty over the status of the site. As for 2019, Dom Narkomfin is under careful restoration to become once again a dwelling complex. The goal is to restore the building as close to its original state as possible; construction is supposed to end in 2020.

Narkomfin has been the subject of Victor Buchli's study of Soviet material culture, Archaeology of Socialism (Berg, 2000), which traces the building's history from early Utopianism to the harshness of the Stalinist era, up to its current ruined state.

אין עליו מאמר בויקיפדיה ולא נמצא חומר אחר בעברית. יש מאמר על סגנון האדריכלות שלו אדריכלות קונסטרוקטיביסטית הוא סגנון באדריכלות המודרנית ששגשג בברית המועצות בשנות ה-20 ובשנות ה-30 המוקדמות, כחלק מתנועת הקונסטרוקטיביזם. סגנון זה שילב טכנולוגיה והנדסה מתקדמים יחד עם מטרה חברתית קומוניסטית מוצהרת. הסגנון התחלק למספר זרמי משנה שהתחרו אחד בשני ונוצרו בו פרויקטים עיצוביים חלוציים שלא הגיעו לידי מימוש, כמו גם מבנים מוגמרים. תחילתו של הסגנון הייתה לכיוון התאורטי והאוונגרדי אולם במחצית השנייה של שנות ה-20, כשנדרשו האדריכלים לבנות בנייני מגורים, בנייני משרדים ומפעלים, קיבל הסגנון אופי מעשי יותר וחלק קווים משותפים עם הסגנון הבינלאומי.[1]

בסביבות 1932 ירדה קרנו של הסגנון וסגנון הקלסיציזם הסטליניסטי הפך לשולט בבניה בברית המועצות. בבנייני מגורים של האדריכלות הקונסטרוקטיביסטית, דוגמת הנרקומפין (במוסקבה) נעשה ניסיון לעצב את חיי הדיירים בעזרת תכנון הבניין: היה בו שיתוף בשירותים כגון: מטבח, כביסה, שטחי התכנסות וחינוך משותף של הילדים והושם דגש על שוויון בין המינים. כל אלו נזנחו בשנות ה-30 והוחלפו בתחיית ערכי המשפחה שהייתה חלק מהמשנה הסטאליניסטית.

תוכן עניינים 1 תכנון ערים בעידן הקונסטרוקטיביסטי 2 ראו גם 3 קישורים חיצוניים 4 הערות שוליים תכנון ערים בעידן הקונסטרוקטיביסטי למרות שאפתנותן של רבות מהצעות האדריכלים הקונסטרוקטיביסטיים לתכנון שכונות וערים מן היסוד, מעטות הן הדוגמאות לתכנון ערים עקבי ומגובש שנוצר על ידם. רובע נרווסקיה זסטווה שבלנינגרד היה אחד מהמוקדים של האדריכלות הקונסטרוקטיביסטית. החל מ-1925 נבנו בלנינגרד בתי מגורים לפועלים וגם מבני ציבור. רבים מהקונסטרוקטיבסטיים קיוו לכך שבתוכנית החומש הראשונה (1928) וב"מהפכה התרבותית" שנלוותה אליה, תנתן להם אפשרות לבטא את רעיונותיהם האדריכליים, אך באותה עת נחלק הסגנון בין חסידי התכנון האורבני ובין אלו שנטו אחרי התכנון הלא אורבני, שהרעיונות הבולטים בו היו עיר הגנים והעיר הליניארית. נוסף לכך, ברוב המקרים הועדפו תוכניות פרגמטיות יותר, כמו למשל, בבניית העיר החדשה מגניטוגורסק שבהרי אורל בה הועדפו תוכניותיהם של קבוצת אדריכלים גרמנים, בראשות ארנסט מאי.

ראו גם

https://en.wikipedia.org/wiki/Moisei_Ginzburg

Moisei Yakovlevich Ginzburg (Belarusian: Майсей Якаўлевіч Гінзбург, Russian: Моисей Яковлевич Гинзбург; 4 June [O.S. 23 May] 1892, Minsk – 7 January 1946, Moscow) was a Soviet constructivist architect, best known for his 1929 Narkomfin Building in Moscow.[1]

Contents Biography Education Ginzburg was born in Minsk into a Jewish architect's family. He graduated from Milano Academy (1914) and Riga Polytechnical Institute (1917). During Russian Civil War he lived in the Crimea, relocating to Moscow in 1921. There, he joined the faculty of VKhUTEMAS and the Institute of Civil Engineers (which eventually merged with Moscow State Technical University).

Ideologist of Constructivism The founder of the OSA Group (Organisation of Contemporary Architects), which had links with Vladimir Mayakovsky and Osip Brik's LEF Group, he published the book Style and Epoch in 1924, an influential work of architectural theory with similarities to Le Corbusier's Vers une architecture. It was effectively the manifesto of Constructivist Architecture, a style which combined an interest in advanced technology and engineering with socialist ideals. The OSA experimented with forms of Communal apartments to provide for the new Communist way of life. Its magazine SA (Sovremennaya Arkhitektura, or Contemporary Architecture) featured discussions of city planning and communal living, as well as the futuristic projects of Ivan Leonidov. The group was dissolved in the early 1930s into an 'All-Union Association of Architects', along with the competing Modernist group ASNOVA, led by Nikolai Ladovsky, and the proto-Stalinist VOPRA.

Communal houses

Gosstrakh Apartments, Moscow The first of these was the Gosstrakh apartments (Malaya Bronnaya Street, Moscow), designed in 1926, one of which was rented by Sergei Tretyakov: these flats were the first employment of Le Corbusier's 'Five Points of Modern Architecture' in the USSR. A similar structure was built to Ginzburg's 1928 design in Sverdlovsk (21, Malysheva Street, completed 1932).

This was followed three years later by the Narkomfin Building, a 'social condenser' which tried to embody socialist and principles in its structure. The apartment blocks were built for employees of the Commissariat of Finance (or 'Narkomfin'), and featured collective facilities, roof gardens and a parkland setting. The Narkomfin building was acknowledged by Le Corbusier as an influence on his Unité d'Habitation, while the layout of its duplex apartments have been copied by Moshe Safdie in his Expo 67 flats, as well as by Denys Lasdun in his luxury flats at St James', London.

In 1928, Ginzburg also designed the Government Building in Alma-Ata (now, University of Alma-Ata), completed in 1931. In the early 1930s, he concentrated more on urban planning projects, from utilitarian (Ufa city plan) to utopian ("Green City" contest entry, for a large residential area on the outskirts of Moscow). He was also a Soviet delegate to the CIAM from 1928 to 1932.

Career in 1930s Like other avant-garde artists with limited practical experience, Ginzburg fell out of favor in 1932, when the state took control of architectural profession and steered it in favor of eclectic, revivalist stalinist architecture. Actual demotion of Ginzburg and other constructivists became a gradual process that extended until the end of the 1930s. He never returned to Moscow or Leningrad practice, but left a contribution in Crimea and Central Asia and retained his own architectural workshop until his death. His new books on Home (Жилище) and Industrializing housing construction (Индустриализация жилищного строительства) were printed in 1934 and 1937; since 1934, Ginzburg was the editor of an encyclopedic History of Architecture.

In the early 1930s, Ginzburg was involved in planning of Crimean Coast, designed a number of resort hotels and sanatoriums; only one of them was built in Kislovodsk (1935-1937). Ginzburg's workshop was also employed by the Ministry of Railways and designed a whole range of model stations for Central Asian and Siberian railroads. Their projects, publicized in the late 1930s, are not as bold as the 1920s avant-garde but are definitely modernist in appearance.

In the 1940s, Ginzburg produced the reconstruction plan for post-war Sevastopol (never materialized) and designed two resort buildings that were completed in Kislovodsk and Oreanda after his death.

Legacy

Isometric drawing of The Narkomfin building. His most famous work, the Narkomfin Building, is in a dilapidated state, having been without maintenance for decades, and is on UNESCO's endangered buildings list. Previous drafts to rebuild Dom Narkomfin into a hotel (designed by Ginzburg's grandson) was barred by legal uncertainty over the status of the site. As for 2019, Dom Narkomfin is under careful restoration to become once again a dwelling complex. The goal is to restore the building as close to its original state as possible; construction is supposed to end in 2020.

Narkomfin has been the subject of Victor Buchli's study of Soviet material culture, Archaeology of Socialism (Berg, 2000), which traces the building's history from early Utopianism to the harshness of the Stalinist era, up to its current ruined state.