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|Architect||I. P. Golosov||
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|Building Type||workers club|
|Context||urban street corner|
|Notes||round glazed stair tower at street corner|
|Discussion||Zuyev Club Commentary
"Ilia Golosov's most famous design, and the only one built in Moscow, was the Zuev Club, where it has been said that the balance of the forms is more satisfactory from some viewpoints than others. He did an enormous number of competition projects, but his formal vocabulary is much less varied and inventive than Melnikov's. Almost all his designs depend for visual coherence upon a single cylindrical volume juxtaposed to a rather disparate collection of rectangular ones."
from Catherine Cooke. "Professional Diversity and its Origins", Architectural Design: The Avant-Garde Russian Architecture in the Twenties. p17-18.
"From a stylistic point of view, Golosov's achievement, like that of others of his generation, remains strangely suspended between, on the one hand, somewhat superficial efforts to disrupt the monotonous regularity of the traveated frame, and on the other, bold and freely inventive, three dimensional compositions carried out at a large scale. The Zuyev Club is typical of this last and as such it is Golosov's enduring claim to fame, since this unique corner treatment first posited in his Electrobank project of 1927 is in effect a modernized batiment d'angle derived form the Neo-Baroque fabric of the nineteenth- century city. Reinterpreted here in dynamic terms, it seems to have had considerable influence outside the Soviet Union, above all on the early work of Giuseppe Terragni. In some ways, this work represents apart form the corner stair shaft which is patently expressed as a glass cylinder, there is little relationship between the hierarchical morphology of the plan and the formal rhythm of the facade."
from Kenneth Frampton and Yukio Futagawa. Modern Architecture 1851-1945. p282.
The Creator's Words
"The study of traditional architecture must undoubtedly enter into the programme of teaching on architecture but under no circumstances should it be taught on the level of its external appearances as style. It should aim to convey an understanding of its essence: of the principles for building up masses; of the placing of masses and of the ways of perceiving them; of the relationship of plans to elevations; and of functional suitability of form.
"This is the only viewpoint from which historical architecture should be examined in a foundation course of architectural design. They should have been given the necessary factual information on the classics of architecture and such topics as the orders in advance, through conventional lecture courses of the kind used in all architectural schools as the main means for teaching classical proportions in particular.
"The study and knowledge of proportions as such is necessary in the early part of architectural education, but must not be based exclusively on the examples of the classics. In these artistic works which constantly repeat the same overall structure, as do Greek temples for example, students can work out for themselves the more or less constant relationships of different parts of the building. But in the study of proportions in general, we must not be led only by those principles, since the sets of proportions necessary for certain given kinds of design work must be created afresh. They cannot always conform to a definition of the relationship of elements that has been established once and for all time."
Ilia Golosov. from Ilia Golosov. "On Architectural Education", Architectural Design: The Avant-Garde Russian Architecture in the Twenties. p28.
"The architecture of the present and the future cannot be built upon slavery and subordination to the history of art. Life demands of us, contemporary architects, an altogether more fruitful activity in the spirit of our own time. It demands products in full accord with the technology and the social structure of life today.
"What then are the requirements that must be made of the contemporary architect? Above all he must so create artistic forms that they respond to the place, the time, and the spirit or idea of the thing which is being created. The architect must be freed from style, in the old sense of the word, and must himself create the style which emerges as a result of a correspondence between the architectural forms and the content or purpose, the idea, which they serve.
"We should not be working for the applause of the crowds, but for the serious evaluation of our activity. We must be working to achieve a solid basis for our work in principles that can become the foundations for the renaissance of architecture that is meaningful and expressive, in harmony with its epoch. We should not be actors-out of historical architecture, but creators of forms that are rational for the age in which they arose."
Ilia Golosov. from Ilia Golosov. "New Paths in Architecture", Architectural Design: The Avant-Garde Russian Architecture in the Twenties. p29.
Sources on Zuyev Club
Catherine Cooke. "Professional Diversity and its Origins", Architectural Design: The Avant-Garde Russian Architecture in the Twenties. New York: St Martin's Press, 1991. ISBN 0-312-06793-3. NA1.A563 v.61 no. 9-10 1991. discussion p17-18.
Kenneth Frampton. Modern Architecture 1851-1945. New York: Rizzoli International Publications, 1983. ISBN 0-8478-0565-9. LC 83-61363. NA642.F7 1983. discussion p282. ground floor plan, p282. upper floor plan, p283. Available at Amazon.com
Ilia Golosov. "On Architecural Education", Architectural Design: The Avant-Garde Russian Architecture in the Twenties. New York: St Martin's Press, 1991. ISBN 0-312-06793-3. NA1.A563 v.61 no. 9-10 1991. discussion, p28.
Dr. Andreas C. Popadakis. Architectural Design Profile Number 93. New York: St Martin's Press, 1991. exterior photo from below, p1.
Dennis Sharp. Twentieth Century Architecture: a Visual History. New York: Facts on File, 1990. ISBN 0-8160-2438-3. NA680.S517. exterior photo from street, p88, plan drawings, p88. Available at Amazon.com
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