ARCHITECTURE AND URBAN DEVELOPMENT. RESTRUCTURING AND RESTORATION

V.I. MUKHINA’S SCULPTURE «WORKER AND COLLECTIVEFARM GIRL»: CONSTRUCTION ASPECTS OF CREATION AND RECONSTRUCTION

Vestnik MGSU 6/2013
  • Molokova Tat’yana Alekseevna - Moscow State University of Civil Engineering (MGSU) Candidate of Historical Sciences, Associate Professor, Chair, Department of History and Culture Studies; +7 (499) 183-21-29., Moscow State University of Civil Engineering (MGSU), 26 Yaroslavskoe shosse, Moscow, 129337, Russian Federation; This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

Pages 35-41

The article covers the problems of reconstruction of the famous sculptural group designed by V.I. Mukhina «Worker and Collective Farm Girl», created in the 1930s for the Soviet pavilion of the universal exposition in Paris in 1937. The author considers the structural and cultural features of the monument and drives attention to the synthesis of architecture and sculpture in the pavilion designed by B.M. Iofan.The author also emphasizes some constructive features of the sculpture such as the scarf which is an important compositional and constructive element, and describes the process of preparation of the sculpture to construction in Paris and assembly in Moscow after The Paris World Exposition. The author touches the problem of the sculpture installation in Soviet period. The author performs a comparative analysis of the sculpture before and after its reconstruction and covers the aspects of construction works, including the construction of a new modern pavilion, or a pedestal for the sculpture.

DOI: 10.22227/1997-0935.2013.6.35-41

References
  1. Voronov N.V. Rabochiy i kolkhoznitsa [Worker and Collective Farmer Girl]. Moscow, Moskovski Rabochi Publ., 1990, p. 78.
  2. Samin D.K. Samye znamenitye zodchie Rossii [The Most Famous Architects of Russia]. Moscow, Veche Publ., 2004, 43 p.
  3. Kostina O. «Rabochiy i kolkhoznitsa». Skul’ptura i vremya [Worker and Collective Farmer Girl. Sculpture and Time]. Moscow, Sovetski Khudozhnik Publ., 1987, 100 p.
  4. Gur’yanova I. Kolkhoznitsa — eto ya [I Am the Collective Farm Girl]. Moskovskie vedomosti [Moscow Chronicles]. No. 10(158), March 20, 2000, p. 3.
  5. Moskovskiy Gosudarstvennyy Stroitel’nyy Universitet: istoriya i sovremennost’ [Moscow State University of Civil Engineering: History and Present Days]. Moscow, 2001, ASV Publ., pp. 130—131.
  6. Molokova T.A., Frolov V.P. Pamyatniki kul’tury Moskvy: iz proshlogo v budushchee [Landmarks of Moscow Culture: from the Past into the Future]. Moscow, ASV Publ., 2010, 121 p.
  7. Moskovskoe nasledie [Moscow Legacy]. 2009, no. 9, p. 46.

Download

PERIPTERY: THE MEANING OF THE WORD

Vestnik MGSU 8/2012
  • Churakov Sergey Konstantinovich - Moscow Architectural Institute Associated Professor, Department of Soviet and Modern Foreign Architecture 8 (495) 62 1-40-85, Moscow Architectural Institute, Rozhdestvenka St., Moscow, 107031, Russian Federation; This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

Pages 46 - 53

The author analyzes the origin and the history of the periptery, examines into the etymology of
this word, and traces its roots in Minoan and Mycenaean cultures.
The history of classical architecture is full of myths. One of them is related to the origin of
periptery, the main type of a classical antique temple. Traditionally, it dates back to the samples
of the 7th-4th centuries B.C., although it is obvious that this type of temples has a longer history.
The term "periptery" is said to originate from an ancient cult established prior to the construction
of the Greek Pantheon. It is composed of the two Greek words: "peri" - around, near,
and "pteron" - a side wing, a side colonnade or an outhouse. As a result, the initial defi nition is
formed - "winged from all sides", while all present-day sources (e.g. Encyclopedia Britannica) use
a much simpler translation - "rectangular building with a colonnade on all four sides".
However, speaking about the drama of post and lintel elements in the Order System, it is not
apparent why, for example, the Temple of Poseidon at Paestum or the Parthenon can be called
"winged", particularly, the Temple of Poseidon, with its ponderous Doric Order. And strictly speaking,
so sensual a tune is typical for the Hellenistic period.
The "winged" theme has nothing to do with the forms of the Periptery or its proportions. Minoan
and Mycenaean temples are a lot older than the Greek ones, therefore, the "winged" may
mean natural encircling of the temple with The Sacred Bird images. These birds were the permanent
"characters" of the Mysteries throughout the Mediterranean region and Ancient East. In the
Sumerian-Acadian culture, the word "fortune" was depicted as a hieroglyph that looked like a bird,
and fortune "management" was one of the functions of the supreme deity.
One of the translations of the word "pteron" is not just a "wing", but also a "winged creature" (a
bird, a griffi n, a sphinx). Polybius (201 - 122 B.C.) used "periptery" in the meaning of "surrounded
by columns", but much later Plutarch (46 - 127 A.D.) named it "a side colonnade" and "a side building".
Practically, the name of one of the temple elements was applied to the whole structure, which
indicated a special role of this "side colonnade", as the main visual sign of the temple being attributed
to the Supreme Deity. The classical form of the Periptery had two essential elements; they were
the two sculptures of birds on top of the columns that surrounded it on three sides, and proto-ionic
columns in front of the main Facade and in the cella (as in a temple in Neandria). Later, the main Facade
evolved as a column portico with a pediment, and on each of its corner akroterion - a sphinx
or a griffin - was placed, while the whole structure was crowned by an antefix formed as a palmette.
This is our reconstruction of the evolution of this type of temple in the course of 600 years, from
the 16th century B.C. through the 10th century B.C.

DOI: 10.22227/1997-0935.2012.8.46 - 53

References
  1. Losev A.F. Istoriya antichnoy estetiki [History of Ancient Aesthetics]. Moscow, Iskusstvo Publ., 1979, 727 p.
  2. D’yakonov I.M. Arkhaicheskie mify Vostoka i Zapada [Archaic Myths of East and West]. Moscow, Editorial URSS Publ., 2004, 248 p.
  3. Kifi shin A.G., Akimova L.I., editor. Vvedenie v khram. Opyt rekonstruktsii shumero-vavilonskogo mifo-rituala [Introduction into the Temple. Practical Reconstruction of Mythological Rituals of Shumerians and Babylonians]. Moscow, 1998, pp. 27—49.

Download

Urban aspects in the creative heritage of D. Gilardi in Moscow

Vestnik MGSU 8/2015
  • Frolov Vladimir Pavlovich - Moscow State University of Civil Engineering (National Research University) (MGSU) Candidate of Historical Sciences, Associate Professor, Department of History and Philosophy, Moscow State University of Civil Engineering (National Research University) (MGSU), 26 Yaroslavskoye shosse, Moscow, 129337, Russian Federation; This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

Pages 41-50

The interest to Domenico Gilardi, one of the leaders of Moscow classicism and Empire, to his masterpieces and geography of architectural heritage is expressed in different investigations. Russian and foreign scientists pay great attention to the features of his works, his place in the classical style and influence of the Italian school. One of the most important aspects of the architect’s creative work is urban planning, and especially his participation in creation of the architectural ensembles of Moscow, city-forming qualities of separate buildings. The article is dedicated to the 230th anniversary of the birthday and the 170th anniversary of the death of an architect Domenico Gilardi. The article discusses architectural features and creative ways of D. Gilardi, special attention is paid to his urban planning activity in Moscow, his contribution to the historic development of the capital city is analyzed. On the example of specific buildings and structures, which eventually became historical-cultural monuments of Moscow, the author shows the activity of the architect in a complex historical period of the city’s reconstruction after the fire of 1812. The author concludes that the main buildings of the architect D. Gilardi are still among the best examples of the architecture of the Russian Empire.

DOI: 10.22227/1997-0935.2015.8.41-50

References
  1. Arkhitektura i gradostroitel’stvo. Entsiklopediya [Architecture and Urban Planning. Encyclopedia]. Moscow, Stroyizdat Publ., 2001, p. 412. (In Russian)
  2. Bol’shaya Rossiyskaya entsiklopediya [Great Russian Encyclopedia]. Moscow, BRE Publ., 2008, vol. 10, 767 p. (In Russian)
  3. Bol’shaya illyustrirovannaya entsiklopediya : v 32 tt. [Big Illustrated Encyclopedia : in 32 volumes]. Moscow, AST : Astrel’ Publ., 2010, vol. 10 : EVR-IZ, 504 p. (Arguments and Facts) (In Russian)
  4. Lasunsky O.G., editor. Voronezhskaya istoriko-kul’turnaya entsiklopediya. VIKE. Personalii [Voronezh Historical and Cultural Encyclopedia. VICE. Personalities]. 2nd edition, revised. Voronezh, Tsentr dukhovnogo vozrozhdeniya Chernozemnogo kraya Publ., 2009, 456 p. (In Russian)
  5. Tvortsy tekhniki i gradostroiteli Moskvy (do nachala XX veka) [Creators of Technology and Urban Planning of Moscow (The Beginning of the 20th Century)]. Moscow, Yanus-K, 2002, 376 p. (Masters of Science and Education of Moscow — 18—20 in Portraits and Characters) (In Russian)
  6. Arkhitekturnye ansambli Moskvy XV — nachala XX vekov. Printsipy khudozhestvennogo edinstva [Architectural Ensembles of Moscow of the 15th — early 20th Centuries. Principles of Artistic Unity]. Moscow, Stroyizdat Publ., 1997, 472 p. (Russian Urban Planning Art) (In Russian)
  7. Grabar’ I.E. Dementiy Ivanovich Zhilyardi i ego shkola [Domenico Gilardi and his School]. Istoriya russkogo iskusstva [History of Russian Art]. Moscow, I. Knebel Publ., 1910, vol. 1. Arkhitektura. Dopetrovskaya epokha [Architecture. Pre-Peter Epoch]. Pp. 42—43. (In Russian)
  8. Yaralov Yu.S., Zemtsov S.M., editors. Zodchie Moskvy [Architects of Moscow]. Book 1. Moscow, Moskovskiy rabochiy Publ., 1981, 302 p. (In Russian)
  9. Molokova T.A., editor. Praviteli Rossii i razvitie stroitel’stva [The Rulers of Russia and the Development of Construction]. Moscow, MGSU Publ., 2012, 296 p. (In Russian)
  10. Nikolaev E.V. Klassicheskaya Moskva. Ocherki arkhitektury moskovskogo klassitsizma i ampira [Classic Moscow. Essays on the Architecture of Moscow Classicism and Empire]. Moscow, Editorial URSS Publ., 2010, 272 p. (In Russian)
  11. Molokova T.A. Vosstanovlenie Moskvy posle pozhara 1812 g.: novyy oblik goroda [Reconstruction of Moscow after the 1812 Fire of Moscow: New Look of the City]. Vestnik MGSU [Proceedings of Moscow State University of Civil Engineering]. 2012, no. 6, pp. 17—22. (In Russian)
  12. Molokova T.A., Frolov V.P. Vliyanie ital’yanskoy arkhitektury na gradostroitel’stvo Rossii [Influence of Italian Architecture on Urban Planning of Russia]. Vestnik MGSU [Proceedings of Moscow State University of Civil Engineering]. 2011, no. 4, pp. 128—134. (In Russian)
  13. Angelini P., Navone N., Pfister A. Architetti neoclassici ticinesi fra Neva e Moscova: i fondi grafici degli archivi Adamini e Gilardi, catalogo della mostra (Venezia, 21 aprile — 20 maggio 2001). Fondazione Giorgio Cini — Archivio del Moderno, Accademia di Architettura, Università della Svizzera italiana, Venezia — Mendrisio, 2001, pp. 19—53, 87—90.
  14. Navone N., Tedeschi L. Dal mito al progetto. La cultura architettonica dei maestri italiani e ticinesi nella Russia neoclassica. Mendrisio : Mendrisio Academy Press, 2004, pp. 629—663.
  15. Pfister A., Angelini P. Gli architetti Gilardi a Mosca. La raccolta dei disegni conservati in Ticino. Mendrisio, Mendrisio Academy Press, 2006, 244 p.
  16. Il’in M., editor. Moskva: Pamyatniki arkhitektury XVIII –— pervoy treti XIX veka [The Architectural Monuments of 18th — the first third of the 19th Century]. Moscow, Iskusstvo Publ., 1973, 354 p. (In Russian)
  17. Evsina N.A. Arkhitekturnaya teoriya Rossii vtoroy poloviny XVIII — nachala XX vv. [Architectural Theory of Russia of the 2nd Half of the 18th — early 10th Centuries]. Moscow, Nauka Publ., 1985, 316 p. (In Russian)
  18. Rzyanin M.I. Arkhitekturnye ansambli Moskvy i Podmoskov’ya XIV—XIX vekov [Architectural Ensembles of Moscow and Moscow region of the 14th — 19th Centuries]. M. : Stroyizdat, 1950. 232 p. (In Russian)
  19. Bykovtseva P. Zhilyardi — Gagarin — Gor’kiy. Dom na Povarskoy 25-a [House on Povarskaya 25A]. Moscow, Imli RAN Publ., 2003, 114 p. (In Russian)
  20. Korobko M.Yu. Usad’ba Kuz’minki [Estate Kuzminki]. Moscow, Veche Publ., 2009, 88 p. (Usad’by, dvortsy, osobnyaki Moskvy) (In Russian)
  21. Beletskaya E.I., Pokrovskiy Z.K. Zhilyardi [Gilardi]. Moscow, Stroyizdat Publ., 1990, 168 p. (In Russian)
  22. Kirichenko E.I. Khram Khrista Spasitelya v Moskve. Istoriya proektirovaniya i sozdaniya sobora. Stranitsy zhizni i gibeli. 1913—1931 [The Cathedral of Christ the Savior in Moscow. History of Design and Creation. Pages of Life and Destruction]. Moscow, Planeta Publ., 1992, 280 p. (In Russian)
  23. Ikonnikov A.V. Tysyacha let russkoy arkhitektury : razvitie traditsiy [Thousand Years of Russian Architecture : Development of Traditions]. Moscow, Iskusstvo Publ., 1990, 386 p. (In Russian)
  24. Arkin D.E. Obrazy arkhitektury i obrazy skul’ptury [Images of Architecture and Images of Sculpture]. Moscow, Iskusstvo Publ., 1990, 399 p. (In Russian)
  25. Bartenev I.A., Batazhkova V.N. Ocherki istorii arkhitekturnykh stiley [Essays on the History of Architectural Styles]. Moscow, Izobrazitel’noe iskusstvo Publ., 1983, 392 p. (In Russian)
  26. Serbovelikov N.G. Vosstanovlenie kupola raboty znamenitogo D. Zhilyardi [Restoration of the Dome by famous D. Gilardi]. Arkhitektura i stroitel’stvo [Architecture and Construction]. 2006, no. 6, pp. 7—8. (In Russian)
  27. Komarova I.I. Arkhitektory. Kratkiy biograficheskiy slovar’ [Architects. Concise Biographical Dictionary]. Moscow, Ripol klassik Publ., 2000, 511 p. (Concise Biographical Dictionaries) (In Russian)
  28. Oleynichenko E.V. Knyaz’ S.M. Golitsyn — khozyain usad’by Kuz’minki [Prince S.M. Golitsyn — the owner of the Kuzminki estate]. Moscow, Veche Publ, 2008, 397 p. (In Russian)
  29. Samin D.K. Samye znamenitye zodchie Rossii [The Most Famous Architects of Russia]. Moscow, Veche Publ., 2004, 480 p. (In Russian)
  30. Filippova N.A. Formirovanie parkovoy struktury usad’by Kuz’minki — Vlakhernskoe [Formation of the landscape structure of the estate Kuzminki — Blachernae]. Russkaya usad’ba : Sbornik obshchestva izucheniya russkoy usad’by [Russian Estate. The Collection of The Society of Russian Manor Study]. Moscow, 1999, no. 5 (21), pp. 260—261. (In Russian)

Download

Results 1 - 3 of 3