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Файл:Architecture Архитектура. Учебно-методическое пособие.pdf
Exercise 12. Translate the sentences into Russian:
1. Говорят, что это здание было построено в XVII веке.
2. Предполагают, что заседание закончится в десять часов.
3. Условия работы оказались более трудными, чем предполагалось.
4. Ваш приятель, кажется, очень интересуется древней историей.
5. Известно, что римляне построили на Британских островах хорошие дороги.
6. Говорят, что он работает над своим изобретением уже несколько лет.
7. Говорят, что эта статья переведена на все языки мира.
8. Ее рассказ, кажется, очень странный, но правдивый.
9. Думают, что неисправная электропроводка вызвала пожар.
10. Сообщают, что экспедиция достигла места назначения.
Exercise 13. Translate the sentences into English using infinitives:
1. Чтобы подготовить конференцию, надо разослать приглашения студентам на электронную
почту.
2. Провести собрание с участниками архитектурного проекта было очень трудно.
3. Она провела немало опытов, чтобы получить новый материал для строительной смеси.
4. Ожидается, что шумоизоляция будет доставлена и установлена завтра.
5. Здание, которое будет построено на этой улице, проектировал знаменитый архитектор.
6. Сообщается, что конференция уже началась.
7. Где перегородка, которую надо установить в том помещении?
8. Соорудить прочное здание — это выбрать надежный проект, найти качественные
стройматериалы и квалифицированных работников, которые возведут его вовремя.
9. Полагают, что этот дизайнерский проект будет удачным.
10. Она обзвонила несколько строительных компаний, чтобы найти сантехников.
Exercise 14. Make up your own sentences with Complex Subject (not less than 5–7 sentences)
in English.
Exercise 15. Translate the following sentences using Infinitive Constructions:
1. Я думаю, что он хороший архитектор.
2. Никто не заметил, что она ушла из аудитории.
3. Что заставило Вас сказать это?
4. Мы не ожидали, что он опоздает на лекцию.
Exercise 16. Interpret the following text in Russian and identify the main problem.
From about the middle of the 19th century, the eclectic style appeared in Russia. This direction
comes to replace classicism. But if the past style gave cities a regular layout, laid the foundation
for centers, then eclecticism filled the rigid structure of quarters and completed urban ensembles.
Eclectic architecture differs from its predecessors in the abundance and variety of decorative
elements. This gave the creators greater freedom of actio n and breadth of creat ive thoug ht. Eclect icis m
allowed the simultaneous use of elements of various styles: Gothic, Baroque, Renaiss ance, Byzant i ne,
Finnish, pseudo-Russian, and so on.
One of the brightest representatives of the eclectic style in architecture is located in Yekaterinburg.
The building belonged to the proud official Sevastyanov, who built it in 1860–1863. The basis of
the house was a corner building with a round rotunda. It was made in a classical style.
Despite the fact that the e nti re bu ildi ng w as m ade i n diffe ren t er as, th e ar chi tec t dec ided to di ver sify
the structure a little more. All the windows of the estate are different, for example, on the first floor,
one size and one shape are used. On the second floor, everything is presented in a different style.
And the windows of the third level are decorated in a different way, they are almost square. All this
is a mixture of eras, in which you can see both baroque features and classical details. And gothic
motifs give freedom to play with different styles.
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If it comes to acceptable colors, then the Savior on Spill ed Bl ood, whic h was cr eated by the great
architect Alfred Alexandrovich Parland, is the best one, cited as an example. Despite the fact that
the creation of the temple is based o n t he Ru ss ian styl e, art his to ria ns f ind m any mixtures in appearance.
It is the beauty of the Savior on Blood that attracts many tourists. And this is not surprising, because
this building is an example of an ideal combination of colors.
One of the best combinations of many styles can be found in the center of Moscow — this is
the Lopatina mansion. The architect of this building was Alexander Kaminsky. The main facade of
the building is represented by a belt of panels under the windows of the first floor, a series of archivolts
on a wide frieze, piers between the windows and tiles preserved in their original form. Semi-circular
windows are built into the Empire arcade. A high pyramidal roof with an openwork elevation on a ridge
emphasizes the center of the house and sets the building apart fro m the gen eral ense mble o f the stree t .
Walls made of multicolored facing bricks form the key ornament of the main façade. Lopatina’s
house is distinguished by the lack of stylistic unity between the external appearance of the building
and its eclectic interiors.
Exercise 17. Put special questions to the text as much as possible using them as a plan of retelling.
Architectural design
Modern architectural design implies an architectural idea, embodied both on paper and on electronic
media, with the help of special programs. This is the main step on the way to constructio n, to understand
what and how to build . Careful design of the project allows you to understand how realistic it is
to implement the architect’s idea in real life. Most often, an architectural project consists of two parts —
a graphic part and a text part. The text part implies a description of the finishing m aterials used in the desi gn,
a detailed description of the object and its characteristics, calculated indicators of the use of lighting.
The graphic part, of cour se, i mplie s the desi gn o f t he initial sketche s, an d t he dra wings o f the buildi ng,
the plan of the projected s truc ture by floor s. When d e signi n g, such a bas ic factor is taken into account
as the characteristics of the material s from which the building will consist, as well as the project
allows you to calculate the cost of construction, which can significantly help to save on materials.
Architectural design is a mandatory stage at the initial stage of building design. The concept
of architecture arose out of necessity, because ancient people needed a way to worship deities.
The architecture of Ancient Egypt and Me so pot a mi a s ho we d th e att it ud e o f peo pl e to r el i gio n, be cause
most of the buildings erected at that time were intended mainly for the worship of deities.
In modern realities, the term “architecture” covers many different areas of design, professionals
focus on specific types of architecture, each in its own field. For example, a landscape architect is
engaged in projects only in his field — in the field of la ndscape. Such a division did not exist in
ancient times, then all designers were engaged in the creation of projects, r egardless of their purpose.
Modern architects take into account shapes, textures, structures, space, materials and the cost of
materials in their calculations before designing any building. For such calculations, the architect must
have a good understanding of mathematics and have sufficient technical knowledge.
Exercise 18. Prepare a presentation of the famous architects of this period according to the plan:
1. Some interesting facts from biography.
2. Education.
3. Famous moments.
4. Contribution to the development of the style.
5. Peculiarities of his (her) style.
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UNIT 2. Modern
Speech practice
Exercise 1. Answer the questions:
1. What architectural styles have you already studied?
2. What is your favorite architectural style? Why?
3. When did the Baroque flourish?
4. Who brought the Baroque to Russia?
5. Do you know who designed the majority of St. Petersburg’s famous cathedrals and palaces?
6. What do you know about neoclassicism in Russia?
7. What famous architects at the beginning of the 19
What are the masterpieces designed by them?
8. Do you know any buildings in the eclectic style in Russia?
9. What new types of structures and up-to-date techniques appeared in the 19th century in Russia?
10. Do you know the name of the architect of the Yaroslavl Railway Station in Moscow?
Exercise 2. Read the text, choose the new words in each extract for retelling the main idea of
the text, give the title to the text.
Art Nouveau is a decorative art style that flourished throughout Europe and the United States
from the 1890s to the 1910s. The Art Nouveau style is characterized by the use of long, sinuous,
organic lines and is often used in architecture, interior design, decoration and glass, posters and
illustrations. It was an attempt to create a new style free from the imitative historicism that dominated
19th century art and design.
Early precursors of the style in England were the aesthetics of illustrator Aubrey Beardsley, which
depended heavily on the expressive quality of organic line, and William Morris’s Arts and Crafts movement,
which emphasized the importance of lifestyle in applied art. On the European continent, Art Nouveau was
influenced by the experiments with e xpressive line by pai nters Paul Gaugui n and Henri de Toulous eLautrec. This movement was also partly inspired by the fashion for line patterns in Japanese prints.
A distinctive feature of Art Nouveau ornament is its undulating asymmetric lines, often with
flower stems and branches, vines, insect wings, and other delicate and sinuous natural objects; a line
can be elegant and graceful or full of powerful rhythmic and whip-like force. Architecture particularly
demonstrates this synthesis of ornament and structure; a free combination of materials — iron, glass,
ceramics and brick — for example, was used to create a unified interior, where columns and beams
became thick vines with a tendency to spread. This approach was incompatible with traditional
architectural values and structural openness.
Many artists and designers worked in the Art Nouveau style. Some of these were the Scottish
architect and designer Charles Rennie Mackintosh, who specialized in mostly geometric lines and was
particularly influenced by the Austrian Secession. Perhaps the most original artist of the movement,
the Spanish architect and sculptor Antoni Gaudi d id not adher e to the tren d of transfor ming buildings
into curved, large, brightly colored, organic structures.
After 1910, Art Nouveau was seen as outdated and limited, and was genera lly dismissed as
a distinctive decorative style . However, in the 1960s the style was partially rehabilitate d by major
exhibitions. The exhi bitions raised the stat us of the movement, ofte n considered by critics t o be
a passing trend, to the level of the modern art movements of the late 19th century. Then the currents
of movement were revived in pop and art.
Exercise 3. Answer the questions:
1. In what period of time did the Art Nouveau style exist?
2. In which region did the Art Nouveau style spread?
3. What architects in England were famous for Art Nouveau style?
4. Have the experiments with the expressive line in Europe had an impact on architecture?
5. What are peculiarities of Art Nouveau style?
th
century in Russia do you know?
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6. Is the wavy asymmetrical line a distinctive decorative characteristic of Art Nouveau?
1) to flourish
a) вдохновлять
2) a deliberate attempt
b) забросить
3) expressive quality
c) противопоставлять
4) to establish a vital style
d) процветать
5) to inspire
e) течения движения
6) to oppose to
f) установить жизненный стиль
7) to abandon
g) преднамеренная попытка
8) a passing trend
h) выразительное качество
9) to revitalize
i) возрождать
10) currents of movement
j) переходящая тенденция
7. What combination of materials was used in Art Nouveau architecture?
8. Which of the Scottish architects applied geometric lines in this style?
9. Why after 1910 Art Nouveau style was generally abandoned?
10. Have the currents of Art Nouveau been revived?
Exercise 4. Read the expressions and mark if T (true) or F (false):
1. The well-known ornamental characteristics of Art Nouveau are its straight symmetrical lines,
using the form of geometric shapes.
2. One of the more prominent Art Nouveau architect was the Russian architect and engineer
Vladimir Grigoryevich Shukhov.
3. The lines of this style often take the form of natural objects: flower stalks, buds, insect wings, etc.
4. Art Nouveau has n ever seem ed old -f ashioned and limit ed and has always develope d as a separate
decorative style.
5. To create a new style was not usual, be caus e architects tried to avoid of the dominant imitative
historicism.
6. Modern is an ornamental style of art that developed between about 1810 and 1880 in South
America and Africa.
7. Modern style was occupied mostly in posters, illustrations, interior design jewelry and glasses.
8. Modern style was also appreciated by a vogue for the straight patterns of Korean prints.
9. One of the artists who announced the importance of lifestyle in applied art was William Morris.
10. Interaction of ornament and structure was opposed to the traditional architectural values.
Exercise 5. Match the English word combinations with the Russian equivalents.
Exercise 6. Fill in the proper words in the text.
Art Nouveau (1) ________ (возник) in Belgium and France in the 1890s, continuing through
the turn of the 20th century until World War I. Popularized thanks to the 1900 Paris Exposition
Universelle, Art Nouveau (2) ________ (распространялся) throughout Europe and to the United States.
The impetus behind Art Nouveau design was to break with tradition and explore newer, freer forms
of (3) ________ (визуальное выражение). It was influenced by the Arts and Crafts. But where Arts
and Crafts designers (4) ________ (искали) to eschew the technologies that allowed Victorian era mass
production, Art Nouveau designers and architects leveraged Industrial Age technologies to realize
highly stylized designs that had (5) ________ (художественные качества). While Art Nouveau
is mainly concentrated in Europe and in the United States, it is considered an international style.
Variations of Art Nouveau are known by various names in var ying countries. The term Art Nouveau
The history of Art Nouveau architecture
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first (6) ________ (появился) in Belgium and is used in France, where offshoots of the style may
also be referred to as Belle Epoque and Style Guimard. In Spain it’s called Modernism, and Jugendstil
in Germany. In the United States Art Nouveau is often referred to as Tiffany Style, (7) ________
(благодаря) the high-profile work of Art Nouveau jeweler and glassmaker Louis Comfort Tiffany
(1848–1933), creator of the iconic Tiffany la mp. Art Nou ve a u archi te ct ur e wa s succeeded by Art Deco
architecture, which (8) ________ (стал доминирующим стилем) in the 1920s, differentiating itself
with its use of bold, (9) ________ (яркие геометрические формы) and high profile (10) ________
(небоскребы) such as the Chrysler Building in NYC.
Exercise 7. Retell the text according to the plan:
1. Some interesting facts from biography.
2. Education.
3. Famous moments.
4. Contribution to the development of the style.
5. Peculiarities of his style.
Fyodor Osipovich Schechtel
Fedor Osipovich Shekhtel (Russian: Fedor Osipovich Sextel, August 7, 18 59–July 7, 1926)
is a Russian architect, graphic artist and screenwriter, the most influenti al a nd proli fic master of Russian
Art Nouveau. Baptized as Franz Albert Schechtel (also spelled Schekhtel), he created most of his works
as Franz Scheсhtel (Franz Sextel) and changed his name to F yodor at the start of World War I.
In twenty years of independent practice, he c o mpleted fi ve thea ters, five chu rches, thirty nine palaces,
the Yaroslavsky railway station and various other buildings, primarily in Moscow. Much of his legacy
has survived to this day.
Franz Shechtel (Fyodor Osipovich in Russian) was born in St. Peters burg to a family of German
engineers and was the second of five children. His parents were Volga Germans from Saratov.
Shekhtel received a building management license in 1894. His earlier projects under Kaminsky’s
direction are sometimes attributed to Kaminsky alone. Shekhtel’s first own, undisputed building —
the house of Zinaida Morozova on Spiridonovka Street, 1893, famous for the works of Mikhail
Vrubel — a mixture of Gothic and Romanticism. His style in the 1890s oscillated between Gothic
and Russian Revival. The first sign of a new, mature style (Russian Art Nouveau, Russian Art Nouveau)
appears in his Arshinov house in Malaya Ordynka in 1899.
Shechtel’s turn to A rt No uveau is a ssocia ted wi th Levenson’s printing house in 1900 at Trekhprudny
Pereulok on Patriarch Pond, near the center of Moscow. Many of Shechtel’s works are preserved
in the Patriarch’s Ponds, including two residences from 1896 and 1910. Schechtel designed the printing
house in the Gothic style, but changed the plan in the middle of construct ion. His pavilion “Popov’s
Teahouse” (1900) won a silver medal at the World Exhibition in Paris and brought him international fame.
Exercise 8. Describe the buildings in the picture from the point of view of an architect according
to the plan:
1) the approximate time of its erection;
2) the style the building is designed in;
3) the materials used;
4) the number of stories;
5) the supposed peace of its location;
6) architectural elements and details;
7) the supposed function of the house;
8) blending of the design with the surrounding environment.
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a b
c d
e f
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Exercise 9. Gerund or infinitive: choose the correct answer:
1. Is there anything here worth (to buy / buying)?
2. I’ve enjoyed (to meet / meeting) you.
3. Please go on (to speak / speaking)?
4. The windows are dirty. They need (to clean / cleaning).
5. He hates (to use / using) computers.
6. My friend has agreed (to help / helping) with the decoration.
7. I asked him to stop (to talk / talking), but he kept (to ask / asking) me questions.
8. Please, leave me alone. I’m trying (to concentrate / concentrating).
9. He is looking forward to (see / seeing) them again.
10. He is good at (to learn / learning) languages.
Grammar
Exercise 10. Translate the following sentences paying attention to the Gerund:
1. Erecting tall buildings without using proper equipment is now unthinkable.
2. The first efforts of our ancestors were aimed at obtaining shelters.
3. Remember using decorative elements when you design your house.
4. When I was a child I dreamt of becoming an architect.
5. Building is the process of constructing buildings, architecture is the art of designing buildings.
6. Our university succeeded in training excellent specialists in architecture.
7. A friend of mine objected to my speaking at the conference.
8. The students could solve this easy problem without helping of the lecturer.
9. We are sure of her becoming a good specialist after graduation of the university.
10. I suggested discussing Newton’s laws of motion.
Exercise 11. Translate the sentences using Gerund:
1. Студенты настаивали на проведении дополнительной лекции.
2. Я не возражаю против его участия в научной конференции по архитектуре.
3. Я горжусь тем, что они стали хорошими специалистами.
4. У нас есть шанс решить все проблемы.
5. Преодоление трудностей — не так легко, как может показаться.
6. Он открыл новое вещество без использования предыдущих его свойств.
7. Это хороший способ уйти от ответа.
8. Эта проблема достойна обсуждения.
Exercise 12. Make up your own sentences using Gerund with the following verbs (not less than
12 sentences): to depend on; to t hank for; to result in; to object to; to give up; to keep on; include;
involve; escape; to be busy in; to be interested in; to be fond of.
Exercise 13. Circle the sentences only with the Gerund and translate them:
1. The boy to translate the text is a first year student.
2. Going to the university I met my friends.
3. He is proud of having graduated from the university.
4. Destroying old buildings is not a simple matter.
5. The problem having been solved the engineers began a new experiment.
6. Our university succeeded in training excellent specialists in the field of architecture.
7. His family insisted on his getting education abroad.
8. There are two ways of solving this problem.
9. Students had no opportunity of meetings with the famous architect.
10. She is interested in developing design project.
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Exercise 14. Read the text, translate it into Russian without a dictionary.
Facts you might not know about Art Nouveau. Ornaments, unusual colours and shapes are inspired
by Nature. Art Nouveau not only opened the door to the 20th century but also to experimental work
and modern trends in art. What makes this artistic style, that also inspired one of Moser’s collections,
so interesting?
The success of Art Nouveau came with the world’s fair in Paris. The Art Nouveau peaked in 1900
with the Paris Exposition, which also featured the Moser glassworks collection. The exhibition showed
Art Nouveau principles applied to almost every domain of human life and art. It also foreshadowed
the construction of the Paris Metro and the widespread use of the escalator. It was visited by over
50 million people and became a symbol of cultural and technological progress.
The Moser glassworks exhibited its collections in the Austro-Hungarian section of the Parisian
Grand Palais. It presented the admiring public with various techniques of shaped and decorated
glass, including its innovative, deeply engraved floral motifs on multi-coloured vases, and a special
series called Karlsbader Secession. Moser pays homage to Art Nouveau to this day.
Art Nouveau painters and artists often despised sketch drawings. The shape in paintings was
mainly defined by drawing clear lines on a flat 2D surface with the absen ce of shading. The el ements
of rippling lines, evoking the impression of movement, or arabesque, a linear artistic decoration,
prevailed in paintings, decorative arts and new urban buildings. Another source of clean lines was
women’s hair. As Art Nouveau developed alongside Symbolism, the symbolic meaning of colours
also came into play at that time. Yellow was perceived as a symbol of matter, the sun, life and joy,
while blue and green were associated with supernatural qualities, and white represented a lost hope.
The list is never-ending.
Exercise 15. Put special questions to the text as much as possible using them as a plan of retelling.
Architectural drawing of today
An architectural drawing or architectural graphics is a technical drawing of a building (or building
project) that falls within the definition of architecture. Architectural drawings are used by architects
and others for a number of purposes: to develop a design idea into a coherent proposal, to communicate
ideas and concepts, to c onvince clients of the meri ts of a design, to enabl e a building contractor
to construct it, as a record of the completed work, and to make a record of a building that already exists.
Architectural drawings are made according to a set of conventi ons, which i nclude p articular vie ws
(floor plan, section etc.), sheet sizes, units of measurement and scales, annotation and cross-referencing.
Conventionally, drawings were made in ink on paper or a similar material, and any copies required
had to be laboriously made by hand. The twentieth century saw a shift to drawing on tracing paper,
so that mechanical copies could be run off efficiently.
The development of the computer had a major impact on the methods used to design and create
technical drawings, making manual drawing almost obsolete, and opening up new possibilities of
form using organic shapes and complex geometry. Today the vast majority of drawings are created
using CAD software.
Architectural drawings are drawn to scale, so that relative sizes are correctly represented.
The scale is chosen both to ensure the whole building will fit on the chosen sheet size, and to show
the required amount of detail. At the scale of 1 to 100 meters, walls are typically shown as simple
outlines corresponding to the overall thickness. At a l arger scale, 1 to 20 meters , the la yers of di fferent
materials that make up the wall con stru ct io n ar e sho wn . Con stru ct io n d etai ls are dra w n to a lar ge r sca le ,
in some cases full size (1 to 1 scale).
Architectural drawings are produced for a specific purpose, and can be classified accordingly.
Several elements are often included on the same sheet, for example a sheet showing a plan together
with the principal façade.
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Architectural graphics is the application of tools, techniques, graphic arts to the visual tasks that
arise in the creative process of creating the project. The graph includes the necessary component
part in the creative process of architectural design, and, accordingly, its tools and techniques are
changing at different stages of this process, starting with sketch and ending with the development of
working drawings.
The purpose of architectural drawings is the depiction of a specific architectural object in the for m
of drawings for the implementation of it in construction.
The drawings should give a complete overview of the purpose, composition and space-planning
structure of buildings, his designs, materials, on the feasibility and cost-effectiveness of the selected
architectural solutions. These service roles were specific to architectural graphics.
The use of two methods of image — drawing and design — is also a unique feature of
the architectural drawing, where the value of drawings — clarity and artistic expression — are combined
in the project with the scientific cons truction of orthogonal projections, perspective and axonometric
projection. Another feature of the architectural drawing is a conventional representation, making it more
simple and at the same time cle a r, as , for example, combining on a single sheet of pla n, fa çad e, se ction
(sometimes in the perspective image), the removal of individual elements of the drawing (details),
combining different scales, combining different techniques of drawing (line, tone, chiaroscuro, color)
and art materials (ink, watercolor, gouache).
The concept of “contemporary architectural drawings” reflects the dependence of architectural
drawings from the historic development of architecture, civil engineering and General visual culture.
Without going into a detailed analysis of the history of architectural drawings, we will show
several stages of its development, which reveals we are interested in the principles and methods of
using fine tools and techniques to chart architectural project.
Modern architectural drawing in search for new expressive means, of course, is the nature of
the new architecture. Hence, the specifics of graphic techniques, use of new art materials, which
allows most accurately to convey the idea, the design and material of construction.
In cases when the classical method s of was hing would be ine ffective , for exa mple , when th e image
colored concrete, or ceramic, transparent and opaque plastics, these materials are sent in a drawing,
not due to the light color and concrete color, characteristic of this material, depicted as the colors of
the working drawing. In the chart this feature is reflected in new methods of drawing, gouache,
tempera, lacquer, bronze, depicting the most realistic color subject material.
Modern architectural graphics certainly influenced by modern painting, particularly those
painting search, arranged on the planar language of easel painting. However, along with the positive
influence of modern painting graphics drawing, there are cases uncritical of its use — simulating
composite painting techniques.
Exercise 16. Make up your own architectural landscape project of urban park.
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UNIT 3. Architecture of the post-revolutionary period
Speech practice
Exercise 1. Agree or disagree with the given statements. Give your arguments (not les s than
8 sentences to each statement):
1. Designers must have profound knowledge in arts and sciences.
2. Architecture is considered to be a frozen music.
Exercise 2. Read, translate, give the title to the text, render the text in your own words.
Post-revolutionary art and architecture can be disaggregated into three m ain categories: the m odernist,
the atavistic, and the “proletarian”. This third category traced its origins to Aleksandr Bogdanov,
one of leading figures in Russian Social-Democracy and Lenin’s early rival within the Bolshevik party.
Modernism had emerged in pre-war Russia out of the fragmentation of Symbolism in the fields of
literature, poetry, and art, but absorbed international influences as well. The traditionalist eclecticism
of artistic and architectural atavism was passed on through the Imperial Academy system, which had
been imported from Western Europe some two hundred years before. Out of these three groups,
the modernists were the first to lend their support to the Bolshevik cause during the Revolution.
Only months after October 1917, Mayakovsky and others declared their solidarity with Lenin’s party.
They saw the social and political revolution car ried out by the communists as a parallel to the artistic
revolution that they were attempting to realize.
But the Soviet avant-garde was far fro m being a unit ary mov ement. In the fi fteen year s followin g
the October Revolution, numerous avant-garde currents were established, each with their own
agendas and often antagonisms against one another. They shared a rejection of the ways of the past,
and they tended to be more internationalist and experimental in orientation. There were the Russian
Futurists (very different from their Italian counterparts), painterly and architectural Suprematists,
Productivists, artistic and architectural Constructivists, and Formalists in architecture and literary
theory, etc. These various groups also invited modernists from other countries to join in the project
of building a new societ y. At the same time, however, ther e was the more conservative br and of
eclectic art and architecture inherited from the old academy system. These artists and architects
were generally referred to as the academicians, and were generally despised by the avant-gardists.
They saw artistic and architectural history as a sort of inventory of recognized styles that could be
arbitrarily combined or juxtaposed at the whim of the artist or architect. This is why their style was
often referred to as “historicist”.
Exercise 3. Discuss the following questions with your partner:
1. Are post-revolutionary art and architecture divided into 3 or 4 groups?
2. Were the formalists in architecture in favor of creating a new style?
3. Did modernism originate in pre-war Russia or post-war Russia?
4. What was Mayakovsky’s position?
5. The conservative brand of eclectic art and architecture was inherited from the old academic
system, right?
6. Who was the first to support the Bolshevik cause?
7. Is the Soviet avant-garde a united movement?
8. Who was engaged in a conservative kind of eclectic art and architecture?
9. Did the avant-gardists and academics create their own movement?
10. Why was the style of academics called “historicist”?
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