The methodological structure owed much to theories circulating in Germany at the time, yet was inevitably also linked to the development of the points required to bring a project to its maturity. The determination of a form had to progress from the characteristics required to represent a volume and weight which reflected the rules of dynamism in the structures. This would result in the rhythm becoming visible via the relationship and proportion between the planes.
With departments set up to conduct research in several areas, the teachings of the State’s technical-artistic workshop (Vysshie CHUdozhestvenno-TEchnitchesskie MASterske) were based on longer timeframes than the German school. They started with an initial phase offering artistic or scientific teaching followed by three more specialised years with courses on graphic design, painting, industrial production and sculpture.
With the exception of the Sokolow’s works on the baths, Kolli’s stadium and Golz’ garden-city, this dimension forgot to include green space in its context, allowing the artificial human presence to emerge vigorously and robustly.
In 1927, in order to lend a scientific characterisation to the school system, the name of the institute was even changed to Vkhutin, retracting its bonds with artistic production in favour of a planned economy focused on heavy industry.
until 6 April 2015
VKhUTEMAS – A Russian Laboratory of Modernity Architecture designs 1920-1930