Constructivism | Modernist Architecture

Kazimir Malevich’s “The Constructive Painting of Russian Artist and Constructivism” (1929)

• August 29, 2011 • 5 Comments

Posted in architecture, functionalism, International Constructivism, modernism, Russian avant-garde
Tags: architecture, art, Constructivism, Kazimir Malevich, Suprematism

Kazimir Malevich’s “Painting and the Problem of Architecture” (1928)

• August 29, 2011 • 6 Comments

Posted in architecture, art, Russian avant-garde
Tags: architecture, art, Constructivism, Kazimir Malevich, Suprematism

Iakov Chernikhov’s The Construction of Architectural and Machine Forms (1932)

• November 17, 2010 • 3 Comments

Posted in architecture, functionalism, International Constructivism, modernism, Russian avant-garde
Tags: aesthetics, architectural criticism, architectural theory, architecture, avant-garde, construction, Constructivism, functionalism, Iakov Chernikhov, Leningrad avant-garde, modernism, OSA, Russian avant-garde, socialism, Soviet Union, The Construction of Architectural and Machine Forms, theory of art, translation

Sigfried Giedion’s Building in France, Building in Ferro-concrete (1928)

• November 2, 2010 • 3 Comments

Posted in architecture, Bauhaus, De Stijl, functionalism, International Constructivism, modernism, urbanism/city planning
Tags: architectural history, Auguste Perret, building in France, Constructivism, ferroconcrete, functionalism, Le Corbusier, modern architecture, Sigfried Giedion, translation

Karel Teige’s “Mundaneum” (1929)

• October 27, 2010 • 3 Comments

Posted in architecture, art, Bauhaus, functionalism, International Constructivism, modernism
Tags: architectural criticism, architecture, Constructivism, functionalism, Hannes Meyer, Karel Teige, Le Corbusier, modernism, Mundaneum, Otto Wagner, translation

El Lissitzky’s The Reconstruction of Architecture in the Soviet Union (1929)

• October 27, 2010 • 5 Comments

Posted in architecture, art, functionalism, International Constructivism, modernism, Russian avant-garde
Tags: architecture, city planning, Constructivism, Dokuchaev, El Lissitzky, Ginzburg, Krinskii, Krinsky, Ladovskii, Ladovsky, Lenin, Malevich, psychotechnics, rationalism, reconstruction, Reconstruction of Architecture, Russian modernism, Russian Revolution, Soviet Union, Suprematism, Tatlin, translation, urbanism, Vesnin, VKhUTEIN, VKhUTEMAS

The Editors of Blok’s “What Constructivism Is” (1924)

• October 23, 2010 • Leave a Comment

Posted in architecture, art, De Stijl, functionalism, International Constructivism, modernism, Russian avant-garde
Tags: anti-formalism, Blok, construction, Constructivism, editorial statement, functionalism, international constructivism, internationalism, Polish avant-garde, Polish modernism, translation

The Editors of Blok’s “Editorial Statement” (1924)

• October 23, 2010 • Leave a Comment

Posted in architecture, art, functionalism, modernism
Tags: Blok, Constructivism, editorial statement, functionalism, Polish avant-garde, Polish modernism, translation, utilitarianism, utility

Hans Richter’s “Toward Constructivism” (1924)

• October 23, 2010 • Leave a Comment

Posted in architecture, art, Bauhaus, De Stijl, modernism, Russian avant-garde
Tags: art movements, Constructivism, El Lissitzky, Hans Richter, internationalism, Theo van Doesburg, translation

Alfréd Kemény “Abstract Design from Suprematism to the Present” (1924)

• October 23, 2010 • 2 Comments

Posted in architecture, art, De Stijl, modernism, Russian avant-garde
Tags: abstract design, Alfred Kemeny, Constructivism, El Lissitzky, Elementarism, Kazimir Malevich, modernism, Peri, Piet Mondrian, Suprematism, translation, Vladimir Tatlin

Alfréd Kemény’s “The Dynamic Principle of Cosmic Construction, as Related to the Functional Significance of Constructive Design” (1923)

• October 23, 2010 • Leave a Comment

Posted in architecture, art, functionalism, modernism, Russian avant-garde
Tags: Alfred Kemeny, architectural avant-garde, architecture, art, Constructivism, cosmic construction, dynamism, functionality, global construction, modernism, translation

Henryk Berlewi’s “The Arts Abroad” (1922-23)

• October 23, 2010 • Leave a Comment

Posted in architecture, art, Bauhaus, De Stijl, modernism, Russian avant-garde
Tags: Bauhaus, Constructivism, Henryk Berlewi, international congress, international constructivism, Lissitzky, Malevich, Mies van Der Rohe, Purism, Suprematism, Tatlin, Theo van Doesburg, translation

Ernő Kállai’s, Alfréd Kemény’s, László Moholy-Nagy’s, and László Péri’s “Manifesto” (1923)

• October 22, 2010 • Leave a Comment

Posted in architecture, art, De Stijl, functionalism, modernism, Russian avant-garde
Tags: Alfred Kemeny, bourgeois, Constructivism, De Stijl, Erno Kallai, Laszlo Moholy-Nagy, László Péri, proletkult, revolutionary proletariat, translation

Ernő Kállai’s “Correction (To the Attention of De Stijl)” (1923)

• October 22, 2010 • Leave a Comment

Posted in architecture, art, De Stijl, modernism, Russian avant-garde
Tags: architecture, Constructivism, De Stijl, dialectics, Erno Kallai, Ernst Kallai, exclusivity of form, Expressionism, Marxism, psycho-physical, socialism, theory of art, translation, utopia

Ernő Kállai’s “Constructivism” (1923)

• October 22, 2010 • Leave a Comment

Posted in architecture, art, modernism, Russian avant-garde
Tags: art criticism, Constructivism, Erno Kallai, Ernst Kallai, Expressionism, modernism, non-objective art, Suprematism, theory of art, translation

David Shterenberg’s “Foreword” to the Catalogue of the First Exhibition of Russian Art, Van Diemen Gallery, Berlin (1922)

• October 22, 2010 • Leave a Comment

Posted in art, modernism, Russian avant-garde
Tags: avant-garde, catalogue, Constructivism, David Shterenerg, David Sterenberg, internationalism, modernism, Russian exhibition, Suprematism, translation

Branko Ve Poljanski’s “Through the Russian Exhibition” (1923)

• October 22, 2010 • 4 Comments

Posted in art, modernism, Russian avant-garde
Tags: Aleksandr Rodchenko, Alexander Rodchenko, Branko Ve Poljanski, Constructivism, El Lissitzky, internationalism, Kasimir Malevich, Kazimir Malevich, Rozanova, Russian avant-garde, Russian exhibition, Suprematism, translation, Vladimir Tatlin, Zenithism

Alfréd Kemény’s “Notes to the Russian Artists’ Exhibition in Berlin” (1923)

• October 22, 2010 • Leave a Comment

Posted in architecture, art, modernism, Russian avant-garde
Tags: Alfred Kemeny, Constructivism, Russian exhibition, Soviet avant-garde, Suprematism, translation

Paul Westheim’s “The Exhibition of Russian Artists” (1922)

• October 22, 2010 • 4 Comments

Posted in architecture, art, modernism, Russian avant-garde
Tags: Constructivism, exhibition, internationalism, Malevich, Naum Gabo, Paul Westheim, Rodchenko, Russian modernism, Suprematism, Tatlin, translation

De Stijl, “A Short Review of the Proceedings [of the Congress of International Progressive Artists], Followed by the Statements Made by the Artists’ Groups” (1922)

• October 22, 2010 • 2 Comments

Posted in architecture, art, De Stijl, modernism, Russian avant-garde
Tags: architecture, art, Constructivism, De Stijl, El Lissitzky, Expressionism, Gegenstand, Hans Richter, Ilia Ehrenburg, Ilya Ehrenburg, internationalism, Marcel Janco, Novembergruppe, Objet, Theo van Doesburg, translation, Veshch, Viking Eggeling

Henryk Berlewi’s “The International Exhibition in Düsseldorf” (1922)

• October 22, 2010 • Leave a Comment

Posted in architecture, art, De Stijl, modernism, Russian avant-garde
Tags: Constructivism, De Stijl, Dusseldorf, Henryk Berlewi, International Exhibition, internationalism, Kazimir Malevich, modern art, Russian avant-garde, Theo van Doesburg, translation, Vladimir Tatlin

Karel Teige’s “Poetism” (1924)

• October 21, 2010 • Leave a Comment

Posted in architecture, art, modernism, Russian avant-garde
Tags: art and life, Constructivism, Czech modernism, Karel Teige, poetism, theory of art, translation

Lajos Kassák’s “Back to the Workbench” (1923)

• October 21, 2010 • Leave a Comment

Posted in architecture, art, modernism, Russian avant-garde
Tags: architectural theory, architecture, art, art into life, Constructivism, Lajos Kassak, revolution, Soviets, the new man, translation

Excerpts from Karel Teige’s “Poetism Manifesto” (1928)

• October 21, 2010 • 2 Comments

Posted in architecture, art, modernism
Tags: aesthetics, architectural theory, art theory, avant-garde, Constructivism, Czech modernism, Karel Teige, manifesto, poetism, translation

Karel Teige’s “Ten Years of the Bauhaus” (1929-1930)

• October 21, 2010 • 2 Comments

Posted in architecture, art, Bauhaus, De Stijl, modernism, Russian avant-garde
Tags: Bauhaus, Constructivism, De Stijl, Gropius, Hannes Meyer, Karel Teige, Ludwig Hilberseimer, Malevich, Mies van Der Rohe, Theo van Doesburg, translation

Hans Richter’s G (1924)

• October 20, 2010 • Leave a Comment

Posted in architecture, art, modernism
Tags: architecture, art, Constructivism, G, Hans Richter, modernism, translation

Michel Seuphor’s “In Defense of an Architecture” (1930)

• October 20, 2010 • Leave a Comment

Posted in architecture, modernism
Tags: architecture, Constructivism, In Defense of an Architecture, Michel Seuphor, modernism, revolution, translation

Karel Teige’s “Constructivism and the Liquidation of ‘Art’” (1925)

• October 20, 2010 • 3 Comments

Posted in architecture, art, functionalism, modernism, Russian avant-garde
Tags: anti-art, architectural theory, art theory, Constructivism, Czech modernism, functionality, internationalism, Karel Teige, translation, utility

Modernist Architecture

Kazimir Malevich’s “The Constructive Painting of Russian Artist and Constructivism” (1929)

Kazimir Malevich’s “Painting and the Problem of Architecture” (1928)

Iakov Chernikhov’s The Construction of Architectural and Machine Forms (1932)

Sigfried Giedion’s Building in France, Building in Ferro-concrete (1928)

Karel Teige’s “Mundaneum” (1929)

El Lissitzky’s The Reconstruction of Architecture in the Soviet Union (1929)

The Editors of Blok’s “What Constructivism Is” (1924)

The Editors of Blok’s “Editorial Statement” (1924)

Hans Richter’s “Toward Constructivism” (1924)

Alfréd Kemény “Abstract Design from Suprematism to the Present” (1924)

Alfréd Kemény’s “The Dynamic Principle of Cosmic Construction, as Related to the Functional Significance of Constructive Design” (1923)

Henryk Berlewi’s “The Arts Abroad” (1922-23)

Ernő Kállai’s, Alfréd Kemény’s, László Moholy-Nagy’s, and László Péri’s “Manifesto” (1923)

Ernő Kállai’s “Correction (To the Attention of De Stijl)” (1923)

Ernő Kállai’s “Constructivism” (1923)

David Shterenberg’s “Foreword” to the Catalogue of the First Exhibition of Russian Art, Van Diemen Gallery, Berlin (1922)

Branko Ve Poljanski’s “Through the Russian Exhibition” (1923)

Alfréd Kemény’s “Notes to the Russian Artists’ Exhibition in Berlin” (1923)

Paul Westheim’s “The Exhibition of Russian Artists” (1922)

De Stijl, “A Short Review of the Proceedings [of the Congress of International Progressive Artists], Followed by the Statements Made by the Artists’ Groups” (1922)

Henryk Berlewi’s “The International Exhibition in Düsseldorf” (1922)

Karel Teige’s “Poetism” (1924)

Lajos Kassák’s “Back to the Workbench” (1923)

Excerpts from Karel Teige’s “Poetism Manifesto” (1928)

Karel Teige’s “Ten Years of the Bauhaus” (1929-1930)

Hans Richter’s G (1924)

Michel Seuphor’s “In Defense of an Architecture” (1930)

Karel Teige’s “Constructivism and the Liquidation of ‘Art’” (1925)

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