The future reconstruction of Ukrainian cities from wartime devastation will require an extensive discussion on strategies and concepts of preservation of cultural heritage – including the heritage of the Modern Movement. It should involve not only the technical aspects but political and historical issues as well. The history of the Palace of Culture of the Railway Workers in Kharkiv (architect Alexander I. Dmitirev, 1927-1932) provokes a number of questions on the essence of Ukrainian pre-war Modernism and Constructivism, the idea of the Sovietisation of the theater against the Great Theatre Reform movement or the role of Workers’ Clubs and Palaces as social condensers. Thus, its analysis cannot by limited to the form and content of the edifice itself, but should be perceived in the broader context of similar projects (for example the Kharkiv Opera House) and views on architecture in the 1920s and 1930s.The Palace of Culture in Kharkiv can be considered as an example of “architecture in transition” where evolving trends in art as well as a dynamic socio-political situation left their marks and created a multi-layered palimpsest. Dmitriev’s design included the Constructivist spirit as well as conservative monumentality. It seems to become a legacy of a revolution (in architecture, theater and society) which has never been really completed.
乌克兰城市未来的重建工作需要广泛讨论保护文化遗产（包括现代运动遗产）的战 略和概念。这不仅涉及技术问题，还涉及政治和历史问题。哈尔科夫铁路工人文化宫（建筑师 Alexander I. Dmitirev，1927-1932 年）的历史引发了一系列问题，涉及乌克兰战前现代主义和建构主义的精髓、反对剧院大改革运动的剧院苏维埃化思想或工人俱乐部和文化宫作为社会浓缩物的作用。因此，对它的分析不能局限于建筑本身的形式和内容，而应该从类似项目（如哈尔科夫歌剧院）和 20 世纪二三十年代对建筑的看法的更广阔背景来看待。哈尔科夫文化宫可被视为 "转型期建筑 "的典范，在这里，不断演变的艺术趋势和动态的社会政治形势留下了自己的印记，并创造了一个多层次的堆砌物。德米特里耶夫的设计既有建构主义精神，也有保守的纪念性。它似乎成为一场革命（建筑、戏剧和社会）的遗产，而这场革命从未真正完成。
{"title":"The Unfinished Revolution?","authors":"Błażej Ciarkowski, Maciej Miarczyński","doi":"10.52200/docomomo.70.07","DOIUrl":"https://doi.org/10.52200/docomomo.70.07","url":null,"abstract":"The future reconstruction of Ukrainian cities from wartime devastation will require an extensive discussion on strategies and concepts of preservation of cultural heritage – including the heritage of the Modern Movement. It should involve not only the technical aspects but political and historical issues as well. The history of the Palace of Culture of the Railway Workers in Kharkiv (architect Alexander I. Dmitirev, 1927-1932) provokes a number of questions on the essence of Ukrainian pre-war Modernism and Constructivism, the idea of the Sovietisation of the theater against the Great Theatre Reform movement or the role of Workers’ Clubs and Palaces as social condensers. Thus, its analysis cannot by limited to the form and content of the edifice itself, but should be perceived in the broader context of similar projects (for example the Kharkiv Opera House) and views on architecture in the 1920s and 1930s.The Palace of Culture in Kharkiv can be considered as an example of “architecture in transition” where evolving trends in art as well as a dynamic socio-political situation left their marks and created a multi-layered palimpsest. Dmitriev’s design included the Constructivist spirit as well as conservative monumentality. It seems to become a legacy of a revolution (in architecture, theater and society) which has never been really completed.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"60 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140700754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Concreto Academy has officially launched its mission to advance modern concrete heritage conservation with an impactful kick-off meeting held on March 6th at the Town Hall of the City of Ivrea. The event, attended by a diverse and enthusiastic audience, marked the beginning of an ambitious Erasmus Plus funded project aimed at preserving architectural heritage through innovative approaches.
Concreto Academy 于 3 月 6 日在伊夫雷亚市政厅举行了一次极具影响力的启动会议，正式启动了其推进现代混凝土遗产保护的使命。此次活动吸引了众多热情的听众，标志着一个雄心勃勃的伊拉斯谟附加计划资助项目的开始，该项目旨在通过创新方法保护建筑遗产。
{"title":"Concreto Academy kicks off","authors":"Concreto Academy","doi":"10.52200/docomomo.70.16","DOIUrl":"https://doi.org/10.52200/docomomo.70.16","url":null,"abstract":"The Concreto Academy has officially launched its mission to advance modern concrete heritage conservation with an impactful kick-off meeting held on March 6th at the Town Hall of the City of Ivrea. The event, attended by a diverse and enthusiastic audience, marked the beginning of an ambitious Erasmus Plus funded project aimed at preserving architectural heritage through innovative approaches.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140700729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the sides of a large study dedicated to the forgotten international competition of 1930 for the Project of the State Ukrainian Theater of Mass Musical Action in Kharkiv is touched upon in this article. Its purpose is the reconstruction of the competition events, identifying the features of the process of their organization. The competition attracted a record number of foreign contestants not only from many European countries, but also from other continents (from the USA and Japan). Why did it generate such widespread interest? Which famous architects took part in it? Who evaluated the projects and according to what criteria were the awards distributed? The author of this article is looking for answers to these questions. The problems of the research are due to the fact that the originals of the competition projects have not survived, and their photocopies and preparatory sketches are scattered in the archives of many countries. Information about the competition and its contestants is scarce and is documented in different languages: Ukrainian, German, French, Russian, Japanese, English, Croatian, Swedish. Only painstaking gathering, meaningful and comparative analysis of textual and graphical information obtained during the study, allows the author to reproduce the course of the competition, to reveal its significance for the development of architecture in Ukraine and for the world Modern Movement. The article analyses the methods that ensured a high level of organization of the competition and an open, unbiased assessment of its results. The distribution of prizes and the authors of the winning projects are also listed. The Kharkiv competition took place at a crucial period for the Soviet avant-garde: 1930-1931 were the last years of its heyday, after which it was banned and persecuted for many years. That is why it is so important to collect these lost puzzles of architectural history.
{"title":"Kharkiv International Competition","authors":"Svitlana Smolenska","doi":"10.52200/docomomo.70.08","DOIUrl":"https://doi.org/10.52200/docomomo.70.08","url":null,"abstract":"One of the sides of a large study dedicated to the forgotten international competition of 1930 for the Project of the State Ukrainian Theater of Mass Musical Action in Kharkiv is touched upon in this article. Its purpose is the reconstruction of the competition events, identifying the features of the process of their organization. The competition attracted a record number of foreign contestants not only from many European countries, but also from other continents (from the USA and Japan). Why did it generate such widespread interest? Which famous architects took part in it? Who evaluated the projects and according to what criteria were the awards distributed? The author of this article is looking for answers to these questions. The problems of the research are due to the fact that the originals of the competition projects have not survived, and their photocopies and preparatory sketches are scattered in the archives of many countries. Information about the competition and its contestants is scarce and is documented in different languages: Ukrainian, German, French, Russian, Japanese, English, Croatian, Swedish. Only painstaking gathering, meaningful and comparative analysis of textual and graphical information obtained during the study, allows the author to reproduce the course of the competition, to reveal its significance for the development of architecture in Ukraine and for the world Modern Movement. The article analyses the methods that ensured a high level of organization of the competition and an open, unbiased assessment of its results. The distribution of prizes and the authors of the winning projects are also listed. The Kharkiv competition took place at a crucial period for the Soviet avant-garde: 1930-1931 were the last years of its heyday, after which it was banned and persecuted for many years. That is why it is so important to collect these lost puzzles of architectural history.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"53 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140701275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The collaborative trans-European dimension of Modernism engenders particularly three huge potentials – especially exploring the developments beyond east and West dichotomies: first, a scope of incredibly rich and diverse modern cultural heritage, second the vital realm and diversity of historic protagonists as well as of current actors, topics, and formats and, third, its fruitful relevance and diverse perspectives for contemporary challenges and opportunities.
{"title":"The ETOM NEB-Lab for the New European Bauhaus and the ETOM – European Triennial of Modernism","authors":"Robert K. Huber, Ben Buschfeld","doi":"10.52200/docomomo.70.15","DOIUrl":"https://doi.org/10.52200/docomomo.70.15","url":null,"abstract":"The collaborative trans-European dimension of Modernism engenders particularly three huge potentials – especially exploring the developments beyond east and West dichotomies: first, a scope of incredibly rich and diverse modern cultural heritage, second the vital realm and diversity of historic protagonists as well as of current actors, topics, and formats and, third, its fruitful relevance and diverse perspectives for contemporary challenges and opportunities.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"316 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140703523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article addresses the issue of preserving Kharkiv’s architectural heritage from the first third of the 20th century. The main focus is on the preservation of authenticity of the early modernist heritage in the context of a crisis situation associated with the overall state of heritage preservation in Ukraine and during active military operations. The research was conducted in the context of the planning development and spatial structure of the Kharkiv historical center and suburbs, where new workers’ settlements were formed, as well as considering the architectural layers within the structure of historical districts of Kharkiv. The main objective of the study is to determine the value and authenticity of the architectural heritage of early modernism. The study employed the methods of historical, retrospective, and comprehensive analysis. The general plan of the “Socialist Reconstruction of Kharkiv” from 1931-1933 and the historical-architectural reference plan of Kharkiv from 2019 were analysed as additional sources. The research results provide comprehensive information about the architectural and urban heritage of this period and emphasize the attention to the issue of preservation of authenticity. The conclusions of this work will serve as a basis for further development of specific measures for the conservation, restoration, and preservation of historical monuments in Kharkiv from the first third of the 20th century. The research will also contribute to raising public awareness about the value of early modernist architectural heritage and encourage the implementation of restoration programs to preserve these important landmarks.
{"title":"A Study of the Kharkiv Architectural Avant-Garde","authors":"Kateryna Cherkasova, Olesya Chagovets","doi":"10.52200/docomomo.70.11","DOIUrl":"https://doi.org/10.52200/docomomo.70.11","url":null,"abstract":"The article addresses the issue of preserving Kharkiv’s architectural heritage from the first third of the 20th century. The main focus is on the preservation of authenticity of the early modernist heritage in the context of a crisis situation associated with the overall state of heritage preservation in Ukraine and during active military operations. The research was conducted in the context of the planning development and spatial structure of the Kharkiv historical center and suburbs, where new workers’ settlements were formed, as well as considering the architectural layers within the structure of historical districts of Kharkiv. The main objective of the study is to determine the value and authenticity of the architectural heritage of early modernism. The study employed the methods of historical, retrospective, and comprehensive analysis. The general plan of the “Socialist Reconstruction of Kharkiv” from 1931-1933 and the historical-architectural reference plan of Kharkiv from 2019 were analysed as additional sources. The research results provide comprehensive information about the architectural and urban heritage of this period and emphasize the attention to the issue of preservation of authenticity. The conclusions of this work will serve as a basis for further development of specific measures for the conservation, restoration, and preservation of historical monuments in Kharkiv from the first third of the 20th century. The research will also contribute to raising public awareness about the value of early modernist architectural heritage and encourage the implementation of restoration programs to preserve these important landmarks.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"38 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140699716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among the avant-garde monuments preserved in Kharkiv and creating its unique architectural character, the buildings of workers’ clubs occupy a special place. The construction of buildings with such a function began in Kharkiv at the beginning of the 20th century, but after the October Revolution, workers’ clubs became almost the main symbol of the era, because they symbolized the desire for a new life and the creation of a new person. In the works of avant-garde architects, the club became a favorite design theme. During the architectural competitions of the early and mid-1920s, a typology of club buildings was compiled and original compositional and artistic solutions formed, which reflected a creative discussion about the development of Ukrainian architecture: the struggle against the revival of baroque trends ended with the victory of a new direction — Modernism. The architecture of Kharkiv workers’clubs in the 1920s and 1930s reflects the development trends of Ukrainian modernism, but it has its own characteristics related to both regional features and the individuality of the masters who took part in their design. Kharkiv’s clubs reflect the diversity of views of, and approaches to, form-giving by architects with different views and experience, whose buildings constitute a unique architectural heritage. The purpose of this study is to identify the characteristic features of Kharkiv workers’ clubs and determine their place in the general picture of Ukrainian modern architecture for the further development of a program for their preservation. The research uses the methods of historical-architectural, functional-structural and stylistic analysis, which includes traditional general scientific approaches. The material collected, analyzed and systematized in this article can be used for further scientific research in the field of the development of historic architecture, for the implementation of project proposals for the restoration and conservation of individual monuments, and in education.
{"title":"Public Buildings in the Architecture of Ukrainian Modernism","authors":"Olha Deriabina, Marina Pominchuk, Olena Konoplova","doi":"10.52200/docomomo.70.06","DOIUrl":"https://doi.org/10.52200/docomomo.70.06","url":null,"abstract":"Among the avant-garde monuments preserved in Kharkiv and creating its unique architectural character, the buildings of workers’ clubs occupy a special place. The construction of buildings with such a function began in Kharkiv at the beginning of the 20th century, but after the October Revolution, workers’ clubs became almost the main symbol of the era, because they symbolized the desire for a new life and the creation of a new person. In the works of avant-garde architects, the club became a favorite design theme. During the architectural competitions of the early and mid-1920s, a typology of club buildings was compiled and original compositional and artistic solutions formed, which reflected a creative discussion about the development of Ukrainian architecture: the struggle against the revival of baroque trends ended with the victory of a new direction — Modernism. The architecture of Kharkiv workers’clubs in the 1920s and 1930s reflects the development trends of Ukrainian modernism, but it has its own characteristics related to both regional features and the individuality of the masters who took part in their design. Kharkiv’s clubs reflect the diversity of views of, and approaches to, form-giving by architects with different views and experience, whose buildings constitute a unique architectural heritage. The purpose of this study is to identify the characteristic features of Kharkiv workers’ clubs and determine their place in the general picture of Ukrainian modern architecture for the further development of a program for their preservation. The research uses the methods of historical-architectural, functional-structural and stylistic analysis, which includes traditional general scientific approaches. The material collected, analyzed and systematized in this article can be used for further scientific research in the field of the development of historic architecture, for the implementation of project proposals for the restoration and conservation of individual monuments, and in education.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"48 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Documenting and demonstrating (based on material from archives and literary primary sources) the extraordinary growth and development of Kharkiv in the interwar period with an emphasis on the time when it became the first capital of Soviet Ukraine is the main goal of this article. The ideas of modernism were vividly embodied in the architecture and urbanism of the city in the 1920s and early 1930s. Large-scale urban transformations turned it into one of the largest and most significant industrial, cultural, scientific and educational centers of the USSR in a very short period. It became the third most important city after Moscow and Leningrad. And in 1928 modernism was officially recognized as the leading direction in its architecture.
{"title":"Kharkiv in the 1920s-1930s as the Capital of Victorious Modernism","authors":"Svitlana Smolenska","doi":"10.52200/docomomo.70.02","DOIUrl":"https://doi.org/10.52200/docomomo.70.02","url":null,"abstract":"Documenting and demonstrating (based on material from archives and literary primary sources) the extraordinary growth and development of Kharkiv in the interwar period with an emphasis on the time when it became the first capital of Soviet Ukraine is the main goal of this article. The ideas of modernism were vividly embodied in the architecture and urbanism of the city in the 1920s and early 1930s. Large-scale urban transformations turned it into one of the largest and most significant industrial, cultural, scientific and educational centers of the USSR in a very short period. It became the third most important city after Moscow and Leningrad. And in 1928 modernism was officially recognized as the leading direction in its architecture.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"62 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140700508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2015, there were around 80 city partnerships between Germany and Ukraine. In addition to the major partnerships between Berlin, Munich, and Leipzig with Kyiv or Berlin and Nuremberg with Kharkiv1, these were mostly partnerships between smaller municipalities with fewer than 50,000 inhabitants. Many of these partnerships were very old and had their basis in the old structures between the Soviet Union and the former Germand Democratic Republic (GDR). Only a few new partnerships were formed after the fall of the Berlin Wall and Ukraine’s independence in 1991. Others resulted from the old peace movement in the West, which organized active support after the Chornobyl accident with vacation stays for Ukrainian children in Germany in conjunction with direct humanitarian and medical support.
{"title":"The Role of City Partnerships in the Reconstruction of Ukraine","authors":"Oliver Schruoffeneger","doi":"10.52200/docomomo.70.13","DOIUrl":"https://doi.org/10.52200/docomomo.70.13","url":null,"abstract":"In 2015, there were around 80 city partnerships between Germany and Ukraine. In addition to the major partnerships between Berlin, Munich, and Leipzig with Kyiv or Berlin and Nuremberg with Kharkiv1, these were mostly partnerships between smaller municipalities with fewer than 50,000 inhabitants. Many of these partnerships were very old and had their basis in the old structures between the Soviet Union and the former Germand Democratic Republic (GDR). Only a few new partnerships were formed after the fall of the Berlin Wall and Ukraine’s independence in 1991. Others resulted from the old peace movement in the West, which organized active support after the Chornobyl accident with vacation stays for Ukrainian children in Germany in conjunction with direct humanitarian and medical support.","PeriodicalId":504955,"journal":{"name":"Docomomo Journal","volume":"334 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140703618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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