Throughout the world, the years after the war was a time of optimism and of extreme experimentation. On both sides of the ideological divide of the Cold War, this optimism has found its greatest expression, architecturally, in modernism - but of course, the specific circumstances of each city offered a unique spin on the modernist project. According to the Conservatives "superstructure", an exhibition at the Visual Culture Research Center of Kiev from January 28 to February 28 architectural works of utopian Kiev represented "an attempt to transform the city into the environment for the realization of artistic thought - in contrast to the strict unification of urban space by the typical construction and residential buildings "architects like Edward Bilsky and Florian Yuriyev, often working in collaboration with artists such as Ada Rybachuk. and Volodymyr Melnychenko attempted to create projects that were a complete synthesis of architecture and art. - a design approach that often don 't very well with the Ukrainian authorities of the time
with research by Alex Bykov, Oleksandr Burlaka and Oleksiy Radynski, "Superstructure" reviewed the projects that were typical of this particular cultural moment in Kiev. After the break, we present this research, and a selection of images of the exhibition
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Memory Park
1968-1981
architect: A. Miletsky
Concept, design, modeling of copyright in architectural plastic, architectural invention of technology to create wall reliefs of Remembrance: Ada Rybachuk, Vladimir Melnichenko
geometric construction of the Halls of Farewell :! A. Podgorny
The history of Memory Park on the hill Bajkova represents the complicated history of Kiev neomodernism in a word.
In the second half of 1960, local authorities have launched the creation of Kiev crematorium. This idea immediately faced opposition within the architectural community of Kiev: the industrial process incineration of corpses has been associated with the destruction of the bodies of victims after the Nazi massacre at Babi Yar, and in those years the tragedy began to be discussed publicly. A competition for the creation of the first monument at Babi Yar involved Ada Rybachuk and Vladimir Melnichenko artists. Shortly after these artists became coauthors full crematorium complex Kiev in collaboration with the architect Abraham Miletskyj (later to become a creative conflict without compromise). Rybachuk and Melnichenko Miletskyj rejected the initial draft, which saw the crematorium as a purely functional structure, and offered their own concept of the crematorium as a therapeutic environment. To help participants in a funeral ceremony to face the psychological trauma, Rybachuk Melnichenko and developed the idea of memory park with their own landscape design, the monumental wall of remembrance and unique rooms Farewell. The architecture of these rooms should avoid any association with the industrial process of cremation, which took place inside, where their unique shape. Development Halls Farewell, with close collaboration between artists and engineers monumental, was the embodiment of the idea of "scientifically justified artistic conscience", which was important for this period. The plastic forms Halls Farewell combined with a complex technical process thought vanguard artistic, sublating dialectical opposition between technology and the humanities -.! typical Soviet 1960s
creative work Rybachuk and Melnichenko has tended to utopian practices of the Gesamtkunstwerk ( Gesamtkunstwerk ), exactly the kind of art they tried to embody in the Memory Park project Bajkova Hill. A monumental wall of remembrance was supposed to be the centerpiece of this park: more than two hundred square meters of artistic reliefs, which would be passed by funeral processions. This wall with reliefs of its many authors, should also fulfill therapeutic functions for the participants of the funeral. His figurative kind - the myth of Prometheus in the Second World War and reconstruction of post-war - was also to distract the minds of visitors to the crematorium of their pain, focusing instead their attention on global confrontations of human history
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Creating the Wall of Remembrance lasted more than 10 years, but in early 1982, when its reliefs were almost finished, the part leadership gave the order to eliminate this work. All the reliefs were concreted over. Technical opportunity to remove this layer of concrete remains to this day, but city officials still do not dare to reverse the effects of vandalism.
Exhibition of Achievements of the National Economy of the USSR
1979-1981
Architects: V . Shtolko, K. Dabah'yan, Kasperov A., I. Tsarikovsky, Karpov
Engineers: G. Avdeev, B. Bernarsyy, V. Tretiak, V. Rybalko, G. Zaitsev, V . Kuziakiv, V. Rudnytska
At the Khrushchev thaw era Soviet utopian model of the world changed dramatically: the coming of communism was transferred a close, well-defined future, and as an ideological compensation for this "delay" of the Soviet narrative of the conquest of space was offered to the masses. Since the 1960s, the theme of space exploration was at the center of the Soviet mass imagination. Images of the Soviet space program were projected on architecture, film and monumental art, substituting and assuming that the dream of fair and equal communist society gradually. The exhibition of the achievements of the USSR national economy in Kiev has become one of the sites to test this space imagery. Le Pavillon "Transport" was designed as a flying saucer in the popular imagination, as if suggesting that the transport of the future must allow interplanetary travel. Forms borrowed from science fiction become routine equipment for the development of the project.
The popularity of this imagery as a prosaic origin entirely practical. Unconventional rounded shapes are effective for use in awning and membrane shrouds constructions. The design of the "fishing" flag was created in this way these projects have every chance of outshining many buildings of Kiev neomodernism -. They had only been implemented in the years of stagnation, the utopian impulse of Soviet culture gradually disappeared .. The structure's inability to implement these buildings became evident in the architectural projects of Kiev, who tended to work more and more in the genre of "paper architecture".
House of furniture
1971
Architects: N. Chmutina, A. Stukalov, Y. Chekanyuk
Engineers: L. Dmitriev, G. Avdeev, Y. Rebrov
project of furniture House was designed by its author, Nataliia Chmutina with a dual function: trade and the exhibition. In addition to the trading floor, the project was to imitate the interiors of apartments with real examples of furniture compositions.
in fact, furniture House was an example of the Soviet disciplinary approach to consumption: housing mass implies a total normalization of interiors and homes. Alongside a commercial purpose, the furniture of the room served an educational purpose: conferences and consultations on the furnishing of apartments and interior design took place here. This building, which was designed as an exhibition complex, demonstrates the distinct character of the Soviet consumption, based not on the variety of products, but on the unification and didactic.
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the spatial resolution of the House of furniture was the result of experimental research by engineers KyivZNDIEP (Ukrainian zonal scientific research and engineering design institute), who in the 1970s developed a catalog of effective design solutions for wide-ranging public buildings -. supermarkets, cutlery, sports facilities and markets
The Institute of Information
1971
architects: F. Yuryev, L. Novikov
Engineers: A. Pechenov, L. Kovalev, L. Kovtun, N. Coffman
Since the late 1950s, the field of Soviet architecture has become increasingly interdisciplinary. Popular ideas about a "synthesis of the arts" were complemented by the need to maneuver between the restrictions of censorship that were specific to each area of Soviet art.
The figure of the architect and artist Florian Yuryev is representative of this fluid, interdisciplinary identity. In the early 1960s, during the campaign against "abstractionism", his exhibition of abstract paintings in Kiev House of Architects was closed, his works were destroyed, and Yuryev himself was put under the threat of exclusion of the Union of architects. Yuryev has managed to avoid this catastrophe career with the help of an argument that his "mistake" happened in the field of art, not architecture, so there was no sense in punishing as architect.
in the early 1960s, Florian Yuryev was developing its own vision of a "synthesis of the arts" through a project of a light music theater that was supposed to be a platform for the development of a new art form called "color music". Yuryev exceeded the artistic imagination of "synesthesia" of that time, claiming that the "color music" is a form of independent art and well organized transfer of colors is able to cause the physical perception of sound among the public. for this purpose Yuryev created a light music orchestra and developed to a hall with a perfect system of sound and light transmission.
its external form was dictated by exactly these practical needs ". Kiev flying saucer "building received the nickname This project was implemented long after conception and in a totally different context Yuryev wanted. Instead of color of music theater, the building has become a room for conferences and cinema of the Institute for scientific and technical information, which was built in the late 1970s under the direction of KGB. Thanks to this protection project vanguard by Yuryev could be achieved.
Coach station
central bus station
1959-1961
Architects: A . Miletsky, I. Melnik, E. Bilsky
artists: A. Rybachuk, V. Melnichenko
the central bus station is one of the first major projects of the post-war modernism in Kiev. It was there that the architects Edward and Abraham Bilskiy Miletskyj and monumental artist Ada Rybachuk and Vladimir Melnichenko started their collaboration. Their mosaics and murals in the waiting rooms of the central bus station are the first examples of their method of artistic collaboration in architectural projects, which involved creating a psychological associative chain between the user and building its function. In the case of the central bus station, thematic work of the function of monumental art to "prepare" the passenger to travel.
After the establishment of the central bus station in Moscow square Edward Bilsky returned repeatedly to the development of these projects. In particular, its latent idea for "Brovarska brama" bus station on the left bank demonstrates the powerful influence of the futuristic vision of Kiev architecture of that time -. his imagery is about to postmodern imagination In this project, the architect tried to make a new public transport node for the left bank of Kiev, which would combine bus and underground stations and a helicopter site. The realization of this project was forced by a war cabinet that would impede the architect more than once in the future.
Pioneers Palace
1962-1965
Architects: A. Miletsky, E. Bilsky
Pechenov Engineers A., L. Linovych
Artist: A. Rybachuk, V. Melnichenko
Sculptor: Boroday V., V. Seliber
The Kiev Palace of pioneers is an architectural attempt to develop a space that is maximally adapted to the needs of children. The unique nature of the project by architect Edward Bilsky and Abraham Miletsky and artist Ada Rybachuk and Vladimir Melnichenko is in the attempt to move away from the standards of architecture as the incarnation of the world "adult".
the project was the second time, after the project of the Central bus station, as these monumental artists have worked closely with the group architect, but not limited to purely decorative tasks. The architects have tried to "open" the interior of the Palace of the historical architectural legacy environment (Lavra, Park of Glory) and the picturesque left bank of the Dnipro river, as far as possible.
Allotment "Vynogradar"
from 1971 to 1986
Architect: E. Bilsky
Artist: L. A. Muravyova Milovzorov, V. Larin and others
Sculptor V. Shatuh
project of the residential area "Vynogradar" can be considered the most consistent embodiment of an architectural approach to create a holistic environment, total and perfect in architecture Kiev. This residential area of 60,000 is actually a personal project of Edward Bilsky, who has played here the role of the architect-demiurge.
Vynogradar was designed as an ideal residential area with the highest living standards that were possible in mass housing. The location of this area - near the forest Pushcha-Vodytsia - was to provide favorable weather conditions. The Vynogradar infrastructure had to be exemplary not only in technology, but also from an aesthetic point of view: the appearance of a large number of facilities designed in the style of the author. Edward Bilsky assembled types of residential buildings in the individual and expressive architectural image of an existing residential area.
Vynogradar was destined to become one of the greatest achievements of the Soviet project of the construction of mass housing, but actually, it has become its opposite - an anti-utopia case. The building area lasted from 1972 until early 190. The collapse of the Soviet Union left a Vynogradar not its completion, which was to provide residents a convenient connection to the center of Kiev by a subway and a great center of culture - a key part of the infrastructure. The absence of these two elements turned the utopia Vynogradar in a dystopian area.
Hotel "Salute"
1976-1984
Architects: A. Miletsky, N. Slohotska, V. Shevchenko
Engineers: Y.Shames, S. Sirota, E. Furmanov
The complicated history of the interaction between architectural thinking and bureaucratic apparatus of the party is represented in the current appearance hotel "Salute". According to the original idea of the authors, hotel on Slava square was to be a skyscraper designed with the application of innovative construction.
The project received the support of the party leadership, but after the group refused to add the Conservative party to the list of authors, the process began to decelerate. This has also led to funding problems and as a result of the initial project was to be, in the full sense of the word, cut by more than half -. Despite the fact that the foundation was designed to build much higher
The architects have tried to save the project, developing many changes after the start of its construction process: it was necessary to balance the disproportionate capacity stylobate. The amazing shape of the hotel "Salute" is the result of a direct collision between architecture and power.
Instead of using steel cables to support the slabs, the authors used 19 reinforced concrete walls between rooms that overhang from the central core, which contains elevators and a circular ramp. Thus, due to the small number of rooms and their inability to expand, the hotel was ineffective from the start.
Kiev State School of Music and Ballet
1964-1967
Architects: Michael Budilovsky, ZG Khlebnikov
Engineer: VB
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