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Taking Stock

Citation for published version:Anderson, R 2008, 'Taking Stock: Documenting Russia's Modern Heritage', Future Anterior, vol. 5, no. 1,pp. 81-86.

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In a review of writings from the 1960s on the Modern Move-ment in Russia, S. Frederick Starr reminded his readers ofSybil Moholy - Nagy’s remark that Erich Mendelsohn had the“unspeakably bad luck not to be mentioned by Mr. Giedion”in his Space, Time, and Architecture.1 Moholy - Nagy likenedMendelsohn’s omission from Giedion’s influential textbook to “a historical death sentence.”2 The Modern Movement inRussia had suffered much the same fate until a boom in pub -lications in the 1960s brought the achievements of thisextraordinary chapter of modernism into general recognitionboth within the Soviet Union and abroad. Starr ascribed theneglect of the Russian movement to the unavailability of infor-mation to Western scholars and to political pressures placedon Soviet historians to avoid the output of the 1920s, whichNikita Khrushchev had characterized as being “ugly as sin.”3

Although the many articles, books, and exhibitions of the1960s devoted to the first two decades of Soviet modernismhad changed the situation dramatically, the wave of interestin Soviet architecture had yet to bring about the restoration ofany of the built work of the 1920s.

Today the architecture of Soviet modernism is threatenednot by historical obscurity but by physical neglect and rapidreal estate development. This new mode of endangerment callsfor a different kind of engagement with the architecture of thisperiod. The research carried out in the 1960s and 1970s assureda place for Soviet modernism in the historical record, yet themost widely circulated accounts of the Modern Movement inRussia have emphasized the unrealized “paper projects” ofthe 1920s.4 Now that the buildings of the Modern Movementare in danger of being erased from the historical city, preser-vationists, historians, and photographers have turned theirattention to the tangible structures that are still standing. Thedocumentary character of many recent publications on theModern Movement in Russia reflects the urgency of the task athand—to record the architectural legacy of the Soviet Unionbefore it is lost forever. A decade and a half of stocktaking has both expanded our view of the quantitative output of theSoviet architectural vanguard and deepened our understand-ing of the physical state of the iconic buildings of the 1920s.

The first attempts at documenting the built legacy of Russ-ian modernism have come in the form of architectural guides.

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Book ReviewRichard Anderson

Future AnteriorVolume V, Number 1Summer 2008

Taking Stock: Documenting Russia’s Modern Heritage

Credit is due to the international architectural journal ProektRossiia/ Project Russia for its documentation on cities oftenoverlooked in accounts of Soviet architecture. Olga Orel’skaia’sguide to Nizhniy Novgorod initiated Proekt Rossiia’s series of articles on the twentieth - century architecture in Russia’sregional capitals.5 For the first time an Anglophone audiencecan read about monuments such as A. Iakovlev’s Communalhouse in Nizhniy Novgorod, which uses the same split - levelfloor plans as Moisei Ginzburg’s Narkomfin building inMoscow. Ekaterina Shorban’s guide to Ivanovo - Voznesenskdocuments both an early prefabricated housing settlementdesigned by Leonid Vesnin and Il’ia Golosov’s dynamic Houseof the Collective of 1929–31.6 A. M. Gustov’s remarkable TartarRepublic House of Print of 1932– 35 is documented in drawingsand archival photographs in Sergei Sanichin’s guide to theModern architecture of Kazan.7 Other cities covered in cludeIaroslavl’, Khabarovsk, Rostov on the Don, Tver, Ekaterin burg,and Saint Petersburg/ Leningrad. Proekt Rossia’s series ofarchitectural guides provides a wealth of hitherto unavailablegraphic documentation. Each guide includes a map and shortdescriptive texts. This series reminds us that the ModernMove ment in Russia was not confined to Moscow and Lenin -grad, and that the surviving building stock is vast.

Proekt Rossiia’s architectural guides have produced twobook - length studies of Russian cities. Ivan Nevzgodin’s TheArchitecture of Novosibirsk chronicles the history and urbandevelopment of this twentieth - century boomtown.8 Nevz-godin’s richly illustrated book supplies a vivid account of thetransformation of the trading post of Novonikolaevsk into the metropolis of Siberia. Arranged chronologically, the bookshowcases the development of Russian architectural stylesfrom the Neo - Byzantine of Saint Alexander Nevsky Cathedralto the Khrushchev - era modernism of the city’s Akademgorodok,or academic campus. Nevzgodin documents design modifica-tions that occur both during and after construction. His dis-cussion of the Prombank building, designed by AlexanderShvidkovskii, Georgii Gol’ts, and Sergei Kozhin, provides rarelyseen images of the project from the 1920s as well as construc-tion photographs of the building’s later expansion into theMunicipal Executive Committee through the addition of sev-eral floors and a pilastered façade. Such glimpses into thefate of Modern buildings are rare. Vitalii Stadnikov and OlegFedorov’s Samara: Guide to Modern Architecture is the secondbook to grow out of Proekt Rossiia’s city guides.9 In a lengthyintroduction, Stadnikov and Fedorov describe the reemer-gence of a city that was waning at the time of the October Revolution. The collection of eighty - one buildings presentedin this guide gives us a new view of Soviet architectural and

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urban development, one that is full of complexities that arenot often discussed in histories of Modern architecture.

The recent interest in documenting Russia’s Modernarchitecture has produced a new book about Moscow as well.Moscow Architecture 1920–1960, a project directed by SergeiTkachenko and with texts by Natalia and Anna Bronovitskaia,is a welcome addition to the literature on the architecture ofthe capital.10 The book’s introduction provides an informedsummary of the city’s architectural trends and major urban - planning proposals. This guide complements AlessandraLatour’s Mosca, 1890–1991 with contemporary photographs,descriptions in English, and greater chronological focus.11

Anna Bronovitskaia and Tatiana Tsareva have produced adetailed map as a companion to Moscow Architecture 1920–1960. Dispensing with textual descriptions, the map identifiesmore than three hundred of Moscow’s Modern buildings. Themap will become an indispensable tool for those in search ofMoscow’s Modern heritage.

Both Moscow Architecture 1920–1960 and its complemen- tary map are products of the increasingly active movement forthe preservation of Modern monuments in Russia. The publi-cations appeared on the occasion of the inter national con -ference Heritage at Risk: Preservation of Twentieth CenturyArchi tecture and World Heritage that took place in Moscow inApril 2006. This event brought the endangered state of Rus-sia’s Modern heritage to the attention of the internationalpreservation community. The publications issuing from thisconference allow us to see the problems confronting Russia’sModern monuments in global and local contexts. The confer-ence proceedings have been published as a richly illustrated,Russian/ English bilingual volume.12 Selected papers alsoappear in a special issue of the ICOMOS journal Heritage atRisk, which is devoted entirely to Soviet heritage and Euro-pean modernism.13

This pair of publications presents diverse approaches to Modern heritage in a variety of national contexts. Unfortu-nately, the documentation suggests that Russia is far behindthe United States and Western European nations in the move-ment to preserve twentieth - century buildings. A series of casestudies illustrates both the potential of exemplary restorationprojects and the consequences of neglect. The restoration ofthe Bauhaus building and masters’ houses in Dessau, the Ein-stein Tower in Potsdam, Chicago’s IIT campus, and the iconicVilla Savoye outside of Paris are described as model achieve-ments in the preservation of twentieth - century buildings. Thesituation in Russia is radically different. Although the detaileddocumentation of structures such as the Narkomfin buildingand Ivan Nikolaev’s communal house is a welcome contribution

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to the historical literature, the current state of the buildings isdistressing. These monuments are crumbling, and their condi-tion will only devolve unless action is taken to save them.

The proceedings of the Moscow conference also containproposals for the preservation and reuse of several of Mos -cow’s Modern structures. The renovation of the Moscow Planetarium and the restoration and conversion of Melnikov’sBurevestnik Factory Club are discussed in detail. AlekseiGinzburg proposes the conversion of his grandfather’s Nar -komfin building into a hotel. Other proposals include the con-version of Konstantin Melnikov’s Bakhmet’evskii Bus Depotinto a sport and leisure complex and the use of Ivan Niko-laev’s communal house as a dormitory. Although specialistsmay debate the aims and methods of such projects, the factthat architects and clients are ready to imagine contemporaryuses for these important buildings is a welcome and neces-sary development.

Among the international parties interested in Russia’sModern heritage, the German/ Russian partnership is particu-larly strong. Recalling the close ties between Soviet and Ger-man architectural cultures that brought, among others, ErnstMay, Bruno Taut, and the former Bauhaus director HannesMeyer to Russia, contemporary scholars and preservationistsare building professional relationships between the two coun-tries. The current exchange between German and Russianscholars continues a dialogue that began with the 1995 con-ference of the German National Committee of ICOMOS devotedto the preservation of Stalinist architecture.14 This earlier dis-cussion focused on the politics of preserving Berlin’s Karl - Marx - Allee, formerly known as Stalinallee, which took inspir ationfrom urban projects such as Moscow’s Tverskaia Street. TodayGerman and Russian scholars are engaged in an open dia-logue about the common issues facing Modern heritage ineach national context. Anke Zalivako deserves special recog-nition for her role in this exchange. She has persuasivelyargued that the materials used by Russian architects in the1920s are comparable to those used in Weimar Germany. Thusthe lessons learned from the preservation of structures suchas the Bauhaus building and masters’ houses in Dessau havegreat relevance for future preservation projects in Russia.

The Moscow Architecture Preservation Society, or MAPS,has become a significant voice in the campaign to preserveMoscow’s Modern heritage. MAPS is an international organi-zation of architects and journalists that works to raise aware-ness about the endangerment of the city’s historical buildings.The organization documents current threats to Moscow build-ings on its informative Web site,15 which contains the latest

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news about the endangerment of the city’s architectural heri -tage. In a lengthy report released in 2007, MAPS documentedthe great number of buildings that are currently under threatin Moscow.16 The report differs from the other recent publica-tions devoted to preservation in Moscow by its inclusion of amuch broader range of material. The contributors to “MoscowArchitecture at Crisis Point” supplement the current focus onModern heritage with documentation on a selection of build-ings erected between the late eighteenth century and the latetwentieth century. MAPS distinguishes itself through its com-mitment to protect a broad range of historic structures in Russia’s capital.

The “Moscow Declaration on the Preservation of Twenti-eth Century Heritage” synthesizes many of the aims and moti-vations expressed at the Heritage at Risk conference held inMoscow in 2006.17 In addition to appeals to authorities andprofessional organizations to safeguard twentieth - centuryproperties from damage and neglect, the declaration recom-mends the placement of seven buildings on the World Heri -tage tentative list. The buildings recommended are MoiseiGinzburg’s Narkomfin building; Konstantin Melnikov’s Rusakovclub, Kauchuk club, and private house; Ivan Nikolaev’s com-munal house; Vladimir Shukhov’s Shabolovskaia Radio Tower;and the Maiakovskaia Metro Station by Aleksei Dushkin. Eachof these seven structures represents a singular achievementin Moscow’s architectural history. One hopes that the momen-tum gathered around these buildings will spread to otherRussian cities that have not had the benefit of internationalattention.

The net result of the recent surge in publications devotedto Russia’s Modern heritage is an enriched understanding ofthe buildings erected in the 1920s and early 1930s. Thanks tothe research of numerous scholars it is now easier than everto appreciate the built legacy of Russia’s Modern Movement in Moscow, Saint Petersburg, and many other cities that have,until recently, escaped our view of this important contributionto twentieth - century architecture. Yet now that we have aninventory, what are we going to do with it? The guidebooksand case studies that have appeared in recent years havedemonstrated that the building stock of Russia’s ModernMovement is extensive. The next step is to ensure that Russia’sModern heritage remains culturally relevant. An exemplaryrestoration project might generate more support for thisunique aspect of Russia’s built environment. Historians willhave no small role to play in this project. The recent attentiondirected to the physical structures of Russia’s Modern archi-tecture has demonstrated that this movement was not confined

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to “paper projects.” It was the task of an earlier generation tosave this work from historical obscurity; our duty is to protectthese buildings from extinction.

Author BiographyRichard Anderson is a PhD candidate in architectural history and theory at Colum-bia University. His research focuses on Modern architecture in Germany and theformer Soviet Union, most notably during the age of Socialist Realism. He has co - curated, with Kristin Romberg, the exhibition and coauthored the publicationArchitecture in Print: Design and Debate in the Soviet Union 1919– 1935, Selectionsfrom the Collection of Stephen Garmey (2005). He is writing a book on the develop-ment of Modern architecture in Russia.

Notes1 S. Frederick Starr, “Writings from the 1960s on the Modern Movement in Russia,”Journal of the Society of Architectural Historians 30, no. 2 (1971): 170.2 “Modern Architecture Symposium, Sunday Session,” Journal of the Society ofArchitectural Historians 24, no. 1 (1965): 82.3 Cited in Starr, “Writings from the 1960s on the Modern Movement in Russia,”170.4 Each of the widely read textbooks on modern architecture by Banham (1960),Tafuri and Dal Co (1976), Frampton (1980), Curtis (1981), and Colquhoun (2002)emphasizes unrealized projects over built works. This trend began as early as1929 with El Lissitzky’s Russland: Die Rekonstruktion der Architektur in der Sowjetunion.5 Olga Orel’skaia, “Putevoditel’ po arkhitekture Nizhnego Novgoroda,” ProektRossiia 4 (1997): 49– 64.6 Ekaterina Shorban, “Ivanovo - Voznesensk 1920 - kh godov: ‘Tret’ia proletarskaiastolitsa’,” Proekt Rossiia 18: 73– 88.7 Sergei Sanachin, “Sovetskaia Kazan’ v arkhitekturnoi istorii goroda,” ProektRossiia 24 (2002): 74– 88.8 I. V. Nevzgodin, Arkhitektura Novosibirska (Novosibirsk: Izd - vo Sibirskogo otdeleniia Rossiiskoi akademii nauk, 2005).9 Vitalii Stadnikov and Oleg Fedorov, Samara, 81 arkhitekturnyi shedevr: pute -voditel’ po sovremennoi arkhitekture (Moscow: Zhiraf, 2006).10 Sergei Tkachenko, Natalia Bronovitskaia, and Anna Bronovitskaia, ArkhitekturaMoskvy, 1920– 1960: putevoditel’ / Moscow Architecture, 1920– 1960: GuideBook(Moscow: Iz - vo Zhiraf, 2006).11 Alessandra Latour, Mosca, 1890–1991, 1st ed., Guida all’architettura moderna(Bologna: Zanichelli, 1992).12 Aleksandr Kudriavtsev and Natalia Dushkina, eds., XX vek sokhraneniekul’turnogo naslediia / 20th Century Preservation of Cultural Heritage (Moscow:n.p., 2006).13 Jörg Hasperl and Michael Petzet, eds., Heritage at Risk: The Soviet Heritage andEuropean Modernism (Berlin: Hendrik Bäßer Verlag, 2007).14 International Council on Monuments and Sites, German National Committee,Stalinistische Architektur unter Denkmalschutz? ICOMOS - Hefte des DeutschenNationalkomitees 20 (Munich: Vertrieb K. M. Lipp, 1996).15 www.maps - moscow.com.16 Moscow Architecture Preservation Society, Moscow Heritage at Crisis Point(Moscow: MAPS, 2007).17 See Hasperl and Petzet, eds., Heritage at Risk: The Soviet Heritage and EuropeanModernism, 11.

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