Russian Constructivism

So far in our journey back into the history of modern architecture, nothing has shocked me more than the planned construction of the Palace of the Soviets—an overpowering monument that if it had not been hindered by the German Invasion in Russia, would have been the tallest tower of its time.

This building was shocking to me because it is just so ridiculous in how literal it is in its intention of superiority. Other than being extremely massive, the building is built up like a ziggurat, a place dedicated to honoring and worshiping the government. This sort of literal representation of the government’s attitude in dominating its people is very telling in the design. The building was meant to be intimidating to all, challenging of all, and it had to be the most, the best, and the greatest. Not just in this building, but also in the other buildings of the Russian Constructivism movement.

Another example of architecture literally posing a challenge can be seen in Vladimir Tatlin’s design for his challenge against the Eiffel Tower, so modestly named, Tatlin’s Tower. The Eiffel tower, at the time of its erection, was a controversial move. This exploration with then-innovative materials resulted in something that was much different from anything that had come out of Paris before—but it was a success. The Eiffel tower was a big deal, whether you loved it or despised it. It became a symbol that elevated France in world powers—something that Russia may have been very jealous of. I use the word jealously playfully, but honestly, it holds some truth. If a single person had designed the Palace of the Soviets for themselves would have been regarded as someone competitive and insecure in the strength of their power. This was the attitude of Russia at this time, striving to be the best of everything. This is also why when Vladimir Tatlin was “inspired” by the Eiffel tower, he didn't just let it influence his design, rather, the Eiffel Tower was something for Tatlin’s design to conquer. Not surprisingly, the resulting design was as loud and eccentric as would be expected. And of course, it was a little bit taller than the Eiffel tower.

This was the Russian Constructivist movement. Things had to be bigger and better—and by a mile, not an inch. This new step in design required a great technical understanding of materials, in order to appear innovative and knowledgeable The designs of this movement also shied away from ornamentation. Perhaps this was because ornamentation was considered by some to be “not architecture,” but just additions to architecture that falls short. Ornamentation can also be seen as feminine and weak, while industrial features and strong verticality can be seen as masculine and powerful. These are all ideas that personify the power-hungry attitudes of the time when Russia was to become a communist society.