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.

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RUSSIAN PAVILIONS AT UNIVERSAL EXPOSITIONS:CONSTRUCTION AND ARCHITECTURE

Vestnik MGSU 6/2013
  • 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 42-49

Russia was a regular participant of the World Expos and an organizer of several international exhibitions in Moscow, St.Petersburg and other Russian cities. The value of the Russia’s contribution into the history of the World Expos is substantial and versatile. Russia’s participation in the Universal Expositions produced a strong impact on the development of the exhibition economy, architecture, construction machinery, engineering, and urban development. In its turn, urbanization produced its impact on the development of Expos. Major Russian architects, sculptors and designers created exceptional and original works in a variety of styles; they employed versatile construction methods and techniques. Trade fairs served as the venues for experimental buildings constructed in furtherance of the most advanced designs and technology-related inventions. Russia’s participation in the construction of pavilions at the World Exhibitions gave way to a unique architectural trend, whereby three-dimensional solutions, the architecture of pavilions, landscape products, landscapes and even music got together in the organic unity. This artificial artistic medium represents a new type of the architectural ensemble.

DOI: 10.22227/1997-0935.2013.6.42-49

References
  1. Mezenin V.K. Parad vsemirnykh vystavok [Parade of Universal Expositions]. Moscow, Znanie Publ., 1990, 31 p.
  2. Mel’nikov N.P. Chudesa vystavki v Chikago [Miracles of the Chicago Expo]. Odessa, 1993, 24 p.
  3. Orlov M.A. Vsemirnaya parizhskaya vystavka 1900 g. v illyustratsiyakh i opisaniyakh [Paris World Exposition 1900 in Illustrations and Descriptions]. St.Petersburg, Tipografiya brat. Panteleevykh Publ., 1900, 43 p.
  4. Kirichenko E.I. F. Shekhtel’ [Shekhtel]. Moscow, Moskovskiy rabochiy publ., 1973, 25 p.
  5. Kaufman S.A. V.A. Shchuko [Shchuko]. Moscow, 1946, 47 p.
  6. Ovchinnikova N.P. Sovetskie pavil’ony na mezhdunarodnykh vystavkakh [Soviet Pavilions at International Exhibitions]. Moscow, Znanie Publ., 1980, 52 p.
  7. Ching F.D.K. Vsemirnaya istoriya arkhitektury [Global History of Architecture]. Moscow, AST Publ., 2007, 681 p.
  8. Shpakov V.N. Istoriya vsemirnykh vystavok [History of World Expositions]. Moscow, AST Publ., 2008, 281 p.
  9. Navlitskaya G.B. Osaka [Osaka]. Moscow, Nauka Publ., 1983, 37 p.

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