Огастес Пьюджин: архитектор как консервативный революционер

Архитектор Огастес Уэлби Нортмор Пьюджин и категории «историзма», 2018

Vladislav Degtyarev. Architect Augustus Welby Northmore Pugin and the Category of Historicism (in Russian). Turning to the past in order to solve the problems of the present is a very fruitful, though not the only strategy for the development of cultural identity. The activity of the English architect Augustus Welby Northmore Pugin is interpreted in literature as one of the key phenomena of historicism in the 19th century. However, the picture of the world, revealed in the writings of the architect, is decidedly non-historical. A.W.N. Pugin, whose activities unfolded in the 1st half of the 19th century, could have chosen between three strategies of using the past — classicism, historicism and antiquarian tradition (passeism). Classicism is actively changing the world in the name of ideal outside of the historical context. Historicism deals with cultures of the past, but does not pretend to total transformation of the world on the model of any of them. Among many models, he is looking for one, which is not ideal, but complimentary to his mood or to the mood of the moment. Antiquarian tradition deals with some previous state of its culture and seeks (in some cases) to restore it. The figure of A.W.N. Pugin is important in that context as an example of serious and straight connection to the historical prototypes, combined with the aesthetic criticism of the contemporary society. Due to the peculiarities of his upbringing and way of life, A. W. N. Pugin took the architecture of the 1st half of the 19th century from the sidelines as the outcast or underdog. Nevertheless, he managed to have a significant impact on it, and the article attempts to show that this influence was a natural consequence of his views. World vision of A. W. N. Pugin and his writings (especially in “Contrasts”) are entirely anachronistic to his time, since they extend antiquarian traditions of the 16th and 17th centuries. It is paradoxical, but it is this anachronism allowed him to become a reformer of architecture: not recognizing the significance of the changed social conditions, he tried to return architecture to a kind of ideal condition, assuming that was the Gothic. Keywords: Pugin, historicism, architecture, history, concepts of the past.

В.В. Дегтярев. Архитектор Огастес Уэлби Пьюджин и антикварная традиция, 2017

Vladislav Degtyarev. Architect Augustus Welby Pugin and the antiquarian tradition (in Russian). A.W.N. Pugin’s work is frequently seen as the central phenomenon of historicist architecture of the 19th century. Nevertheless, the historicist paradigm differs greatly from what is deduced out of Pugin’s writings. The aim of the following paper is to clarify Pugin’s relations with the antiquarian tradition of the previous centuries and to derive his notion of “truthfulness” in architecture from this tradition. Keywords: architecture, antiquarian tradition, Gothic Revival, Pugin.

Journal of Integrative Cultural Studies, 2022

Augustus Welby Northmore Pugin (1812-1852) is traditionally characterized as the most influential figure among all the masters of the XIX-century Gothic revival. However, the nature of his influence on his contemporaries (which was evident for them) a century and a half later looks rather enigmatic. The inconsistence of Pugin’s texts, his obvious logical flaws and the general irreality of his Gothic project seem striking. All this should be somehow conciliated with that tremendous effect his writings produced on 19th-century architectural thought. Here we make an attempt to discuss the Pugin’s personal version of Gothic Revival in the terms of Gesamtkunstwerk which may help us to get rid of the contradiction.

Концепция Gesamtkunstwerk в архитектуре и архитектор О. У. Пьюджин, 2019

The Concept of Gesamtkunstwerk in Architecture and Architect A. W. N. Pugin (in Russian). The concept of Gesamtkunstwerk or total work of art formulated by Richard Wagner is rarely applied to architecture, apart from 20th-century Avant-garde movements. Nevertheless, in Hans Sedlmayr’s 'Loss of the Middle' the entire history of European art since the Middle Ages is treated as a succession of total works of art based on certain building types (church, palace, etc.). It is worth noticing that Sedlmayr speaks of architecture as of active force, capable of organizing all the settings required by the culture of the corresponding period, while for Wagner it is a mere shelter for the universal drama. Some texts written by the Gothic revival architect A. W. N. Pugin bear a striking resemblance to Sedlmayr’s concept. Pugin’s activity as an architect and writer is usually treated as one of the central events of 19th-century historicism. Strangely enough, his worldview, as reconstructed through his writings, is obviously ahistorical. Pugin advocates Gothic as an ideal type of architecture, in which function is inseparable from the cluster of symbolic (i. e. Christian) meanings.

2018

Всемирную славу Руди Риччиотти принесли проекты, относящиеся к переходным зонам. В первую очередь это мосты и культурные центры с прозрачными, ажурными фасадами, выплескивающиеся в городскую среду и впускающие среду внутрь здания. В работах этого поэтичного мастера интерьер города плавно и незаметно перетекает в интерьер здания, а мосты соединяют фрагменты города, как межкомнатные двери. Для современного горожанина, живущего в искусственной среде, пространство города за пределами квартиры или офиса воспринимается как среда относительно естественная, не подлежащая полному человеческому контролю. В пространстве города бывает дождь и снег, могут встретиться не вполне одомашненные животные, птицы, растения. . . В работах Риччиотти размывается граница между тотально искусственной средой интерьера здания и интерьером города, искусственным лишь частично. Вероятно, по мере того, как городская среда становится все более подконтрольной человеку, но одновременно нарастает и ностальгия по естес...

Boris Iofan. Puti arkhitektury 1920-1940-x godov, 2023

Da Hyung Jeong, "Boris Iofan i pozdnesovetskaia istorizatsiia arkhitektury sotsialisticheskogo realizma" (Boris Iofan and the Late Soviet Historicization of Socialist Realist Architecture), in Anna Vyazemtseva, Ksenia Malich and Stephan Gaessler, eds., Boris Iofan. Puti arkhitektury 1920-1940-x godov (Moscow: Kuchkovo pole, 2023), 259-271.

Вестник Православного Свято-Тихоновского гуманитарного университета. Серия 5: Вопросы истории и теории христианского искусства, 2012

Пер. Е. А. Ванеян

Dmitri S. K hmelnizki What is “Socialist Realism” in architecture? According to an architectural legend, Alexei Shchusev ones told that he was ready to give his monthly salary to anyone who could explain him, what is “Socialist Realism” in architecture? “Socialist Realism” as a term was introduced by Stalin in 1932. Today this term is widely used for general embracing of creative works in arts of that epoch. The term of “Socialist Realism” was necessary for contradiction of the only right concept, from the official ideological point of view, to various art tendencies (primarily used for literature, the term was applied to other spheres of arts as well). From the very start there were no definite artistic contents in the term. In Soviet times, “Socialist Realism” in architecture included everything that was in accordance with censorship directions at the moment. Since directions were changeable, there was no constant meaning of the term. In the paper, author analyses interpretations of the term among those who had introduced it and those who used it later. Besides, the publication is focused on possible meaning of a phrase like “Socialist Realism in architecture” in contemporary studies on history of architecture. "Sztuka polska, sztuka rosyjska i polsko-rosyjskie kontakty artystyczne XX-XXI wieku". Polski Instytut Studiów nad Sztuką Świata & Wydawnictwo Tako. Tom II. Warszawa–Toruń 2014, S. 255-265

Автор из Великобритании анализирует социально-экономическое и культурно-художественное развитие мировой архитектуры, начиная с XVIII в. вплоть до наших дней. Детально рассмотрены различные твор- ческие течения в архитектуре (Чикагская школа, венская школа, «Стиль», Баухаус и др.) и работы таких ведущих архитекторов Запада, как Ф. Л. Райт, Ле Корбюзье, Мис ван дер РОЭ и др. Рассказано также о творческих направлениях в архитектуре, не получивших отражения в ранее изданных произведениях.