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The origin of the design in the Soviet Union
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1. Background of the art design. Create VHUTEMAS and VHUTEIN
2. Creativity of Rodchenko. Creativity of Tatlin.
1. The first decade of the Soviet state has left us rich contradictions of their achievements and creative heritage reflected the search for a new, modern and in tune with its era of artistic assimilation of reality. In those years created aesthetic values, for all their ambiguity, controversy, will remain in the history of socialist culture.
It is also noteworthy that the revolution has created the social conditions of artistic construction in those years when our industry, as well as all the national economy, were devastated imperialist and civil warriors.
The establishment of objective surrounded that meets the new social ideals and implementation of the artistic creativity has been put into the production on the national scale as early as 1917. When the Department of Fine Arts of Narkomprossa was organized the subdivision art industry and the Scientific and Technical Department of the Supreme Economic Council was created artistic and industrial commission, which along with the artists included management and engineering production workers.
The Commission published this Declaration, in particular, it’s said “the people’s life in all its manifestations must be pleasing to the eye, should be manifested in all suitable comfort, you need to decorate the rest of the working man and give him a comfortable home”.
Soon the question was raised and the preparation of special artists with technical bias.
2. Decree of People’s Commissars signed by V. I. Lenina published December 25, 1920 and organized by the Moscow State Higher Artistic and Technical Workshops (abbreviated -VHUTEMAS). This was to be a special institution of the higher education with a view to the preparation of “artists-craftsmen of the highest qualification for the industry”.
VHUTEMAS formed originally by the merger of the former Stroganov School and former.
VHUTEMAS was transformed into Institute (VHUTEIN) which lasted until 1930.
The new institution the artistic creativity treated as broad in scope and which included the creation of works of art and artistic and valuable household items and appliances. The training program gropes pretty quickly. More or less final training technique to work to 1922-1923 years but the discipline of artistic and technical cycles are often in conflict, their relationship changed which led to the famous isolation from each other. All this is understandable - create a new specialty.
The first two years of training where students receive the all-art education and have been named the main compartment. During the formation of this division it has been done methodological findings. This course with the course of “Bauhaus” substantially all anticipated introductory courses modern design schools.
Leaders of VKhUTEMAS and VHUTEIN regarded the artist production of the worker training as a synthetic training task comprehensively and harmoniously developed employee of the new society.
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Faculties of metal and wood have made very big work paving the way - the future of design. Headed metalfaculty Alexander Rodchenko wrote, “Set the task to release a designer for our industry for artistic and technical processing of the metal up to the internal hardware of the car and the airplane: the artist-designer with creative thinking and technically prepared”. This essential training program has already been for the first Soviet designers”.
When VHUTEMAS and VHUTEIN work and research laboratories which aims to create a truly science-based teaching and research into the nature of artistic disciplines. The first squad of architects, art historians and artists set a goal - the fusion of his art with a new life saw the purpose of the development of art entering it into industrial production, “making things”. They were called “production workers” despite of the sincere desire to engage in the productive life and to bring concrete benefits to the people; they were very far from the real problems of production at that time. The real problem of 1919-1920 seemed to them very small, they are attracted vaguely conscious of the ideals of the future communist society, a society of universal brotherhood. They believed that the old culture should be completely destroyed and on its ruins to build a completely new collectivist culture, a world commune.
One of the most interesting representatives of this new currents in art were V. Tatalin, Alexander Rodchenko, L. Popov.
3. Vladimir Tatlin (1885-1953) was a master of a wide scope of creativity: a painter, stage designer, architect and inventor. Even before the revolution in the mid-1910s he led a new trend in art he dubbed the “constructivism”. The main idea of this trend is a creation of art of the future - tomorrow or even the day after tomorrow. This man could not dream. He could do with their hands perfect Pandora unprecedented chair, designed ornithopter for manned using muscle power, which was named by the author “Letatlin”, and create a project and model openwork metal monument of “III International”.
This latest project fascinates boldness and grandeur of his plan today as established in the twenties samples overalls, dishes, furniture. Tatlin was far ahead of his time. Many products of the artist and now look as if they are designed yesterday. In “Letatlin” patterns anticipated after many years of bionics, sciences related to biology techniques.
4. Alexander Rodchenko (1891-1956) can also be considered one of the recognized pioneers of a new kind of creative design. From numerous experiments with abstract design space forms, he gradually moved to the construction of real things. With enthusiasm, he worked in advertising and propaganda poster with Mayakovsky.
Design development of Rodchenko show that he paid a great attention to the artistic formation which is considered related closely to the social and ethical role of things in a new society. In 1925 he developed a complete set of the equipment for working club. The simplicity of a form as if there was a new aesthetic ideal opposes bourgeois luxury. The equipment includes in addition to furniture and lighting, collapsible grandstand, the wall - the screen for the display of an illustrated material. Commonly used methods of the transformation (one subject could easily be turned into another sofa turned into a desk, a chair - in bed, etc.)
Rodchenko put into practice new principles of the objective surrounding. When this was not possible in real life he spent his ideas in film or on stage.
Control questions
1. What can you tell about the design in the early years of the revolution?
2. Background of the art design.
3. Create VKhUTEMAS and VHUTEIN
4. What can you tell about the activities of V. Tatlin?
5. Creativity of Rodchenko
6. What can you tell about the peculiarities of the Rodchenko’s creativity?
Lecture 16
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