“What is the meaning of life? That was all- a simple question; one that tended to close in on one with years, the great revelation had never come. The great revelation perhaps never did come. Instead, there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one.”
― from TO THE LIGHTHOUSE By Virginia Woolf, 1927
2024年11月9日 星期六
俄羅斯建築師康斯坦丁·梅爾尼科夫 (Konstantin Melnikov) ：我所知道的好書：Konstantin S. Mel'nikov and the construction of Moscow (2001?)。 蘇聯館是1925世博會 ， 70年代Bruce Chatwit 訪問Konstantin Melnikov: Architect 1988 莫斯科家/梅爾尼科夫之家Melnikov Houseelnikov: solo architect in a mass society.1978
Bruce Chatwit 《The Volga伏爾加河》 Kazan (Volga region) Federal University 校友 列寧革命、夫婦美學修養 對前衛藝術的容忍 ，托爾斯泰 RODCHENKO AND POPOVA。 高爾基故事。俄羅斯建築師康斯坦丁·梅爾尼科夫 (Konstantin Melnikov) 蘇聯館是1925世博會 ， 70年代Bruce Chatwit 訪問Konstantin Melnikov: Architect 1988 莫斯科家/梅爾尼科夫之家Melnikov Houseelnikov: solo architect in a mass society.1978
Iconic Houses • The Melnikov House • Videolecture by Jean-Louis Cohen • Van Schijndel House Utrecht ... (youtube.com/watch?v=NQQyuNBBst4).
Iconic Houses • The Melnikov House • Videolecture by Jean ...
YouTube·archinedtv·Jan 31, 2013
Konstantin Stepanovich Melnikov (Russian: Константин Степанович Мельников; August 3 [O.S. July 22] 1890 – November 28, 1974) was a Russian architect and painter. His architectural work, compressed into a single decade (1923–33), placed Melnikov on the front end of 1920s avant-garde architecture. Although associated with the Constructivists, Melnikov was an independent artist,[1] not bound by the rules of a particular style or artistic group. In the 1930s, Melnikov refused to conform with the rising Stalinist architecture[citation needed], withdrew from practice and worked as a portraitist and teacher until the end of his life.
The Melnikov House, as seen from Krivoarbatsky Street
The finest existing specimen of Melnikov's work is his own Krivoarbatsky Lane residence in Moscow, completed in 1927–1929, which consists of two intersecting cylindrical towers decorated with a pattern of hexagonal windows. His flow of commissions in 1926-1927 provided enough money to finance a three-story house of his dreams. At this time, many well-to-do Russians were into building their own city houses; Melnikov was one of the few who managed to retain his property after the fall of New Economic Policy. His request for land (790 square meters) had few chances to pass the district commission; to his surprise, a working class commissioner supported him, saying that "we can build public buildings anytime and anywhere, but we may never see this unusual house completed if we reject Melnikov".[18] The city endorsed Melnikov's draft as an experimental, one-of-a-kind project.
Rear of the Melnikov House
Melnikov preferred to work at home, and always wanted a spacious residence that could house his family, architectural and painting workshops. As the Russian idiom says, he designed the house starting "from the hearth"; existing white oven in his living room dates back to his 1920 drawings.[19] Floorplan evolved from a plain square to a circle and an egg shape, without much attention to exterior finishes. Melnikov developed the concept of intersecting cylinders in 1925-1926 for his Zuev Workers' Club draft (he lost the contest to Ilya Golosov). Twin cylinder floorplan was approved by the city in June 1927 and was revised during construction.[20]
The towers, top to bottom, are a honeycomb lattice made of brickwork. 60 of more than 200 cells were glazed with windows (of three different frame designs), the rest filled with clay and scrap. This unorthodox design was a direct consequence of material rationing by the state – Melnikov was limited to brick and wood, and even these were in short supply. The wooden ceilings have no supporting columns, nor horizontal girders. They were formed by a rectangular grid of flat planks, in a sort of orthotropic deck. The largest room, a 50 square meter workshop on the third floor, is lit with 38 hexagonal windows; equally large living room has a single wide window above the main entrance.[21]
Melnikov House video (2010 7:15)
In 1929, Melnikov proposed the same system of intersecting cyliitecture – is a honeycomb lattice shell made of bricks with hexahedral cells.[22] The similar lattice shells out of metal were patented and built by Vladimir Shukhov in 1896. Melnikov built his house in 1927–1929, and by that time in Russia there had been already built about 200 Shukhov's steel lattice shells as the overhead covers of buildings, hyperboloid water and other towers, including the famous 160 meter radio tower in Moscow (1922). Since Melnikov and Shukhov were well acquainted with each other and made joint projects (Bakhmetevsky Bus Garage, Novo-Ryazanskaya Street Garage), it is not surprising that the Melnikov's house in Krivoarbatsky pereulok was built in the form of an original lattice shell. The overhead covers of the own Мelnikov's house are the honeycomb lattice shells made of wooden boards placed edgewise.[23]
The pavilion of the Soviet Union was one of the most unusual in the exposition. It was created by a young Russian architect, Konstantin Melnikov, who in 1922 had designed the new central market in Moscow, and who also designed the sarcophagus in Lenin's mausoleum in Moscow. He had a very low budget, and built his structure entirely of wood and glass. A stairway crossed the structure diagonally on the exterior, allowing visitors to see the interior of the exhibit from above. The roof over the stairway was not continuous, but was made up of planes of wood suspended at an angle, which were supposed to let in fresh air and keep rain out, but visitors were sometimes drenched. The exhibits inside included models of projects for various Soviet monuments. The interior of the pavilion was designed by Alexander Rodchenko. The key element of the furnishings was the Workers’ Club which Rodchenko designed as an optimal model space for self-education and cultural leisure activities. The intent of the building was to attract attention, and it certainly succeeded; it was one of the most talked-about buildings in the exposition.[13]
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