Konstantin Melnikov

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Konstantin Stepanovich Melnikov

Mel’nikov, Konstantin Stepanovich


Born July 22 (Aug. 3), 1890, in Moscow. Soviet architect. Honored Architect of the RSFSR (1972).

Mel’nikov graduated from the Moscow School of Painting, Sculpture, and Architecture in 1917. He taught at the Moscow Vkhutemas (State Higher Arts and Technical Studios) from 1921 to 1925, Vkhutein (Higher Art and Technical Institute) from 1927 to 1929, and the Moscow Architectural Institute from 1934 to 1937. He has also taught at the V. V. Kuibyshev Moscow Institute of Civil Engineering (from 1951; professor) and the All-Union Correspondence Institute of Civil Engineering (from 1960). Mel’nikov was a member of the Asnova (Association of New Architects).

In the 1920’s and 1930’s, Mel’nikov designed new types of public buildings and other structures and was one of the first to propose the idea of transforming internal space. His works are marked by dynamic, expressive forms and by bold, sometimes paradoxical design solutions. Examples of Mel’nikov’s architecture in Moscow are the Makhorka wooden pavilion at the First All-Russian Exhibition of Agriculture and Cottage Industry (1923), the I. V. Rusakov Club (1927-29), the architect’s house on Krivoi Arbat Lane (1927-29), and the club of the Burevestnik Factory (1929).


Lukhmanov, N. Arkhitektura kluba. Moscow, 1930.
Gerchuk, lu. “Arkhitektor Konstantin Mel’nikov. “ArkhitekturaSSSR, 1966, no. 8.
References in periodicals archive ?
Along with painting, these include the history of utopian projects, such as those undertaken by visionary intellectuals and architects, among them Claude-Nicolas Ledoux in eighteenth-century France and Konstantin Melnikov in twentieth-century Russia, with which Kiaer has long been fascinated.
What results is an expansive, disk-shaped postmodernlst building that embraces both Yoruba culture, a way of life close to Adjaye's African roots, and Russian constructivism, namely the work of 1920s avant-garde architect Konstantin Melnikov.
There have been some positive stories from Moscow regarding avant-garde architecture,' she says, 'such as the successful adaptation of the Bakhmetevsky Bus Garage [by architect Konstantin Melnikov and engineer Vladimir Shukhov], soon to be reopened as the Garazh Centre for Contemporary Culture to designs by British architect Jamie Fobert.
Konstantin Melnikov, an architect famous for his workers' clubs, was similarly devoted to allowing vast amounts of light into his buildings through glass forms.
There was Le Corbusier's Pavillon de l'Esprit Nouveau, but perhaps even more remarkable was the pavilion representing Soviet Russia designed by the Constructivist Konstantin Melnikov, described by one architect visitor as expressing 'the aspirations of the revolution in an exciting and spontaneous manner' (Fig.
8 KONSTANTIN MELNIKOV, CYLINDRICAL HOUSE STUDIO (MOSCOW, 1929) Melnikov didn't choose his isolation but, subject to the malice of Stalin's purges, was forced into it.
When most British architects were adding footnotes to the work of Mies and Le Corbusier, the building drew on new sources, crucially the industrial vernacular as celebrated by the functional tradition, highlighted by the AR in 1957, and the little-known work of Konstantin Melnikov.
Constructivism in general and the work of the inventive individualist Konstantin Melnikov, in particular, were ignored in the classic studies of 20th-century Modernism by Giedion and Hitchcock.
Occupying the landmark architectural edifice that is currently providing the GCCC with a temporary home--a structure designed by the Constructivist architect Konstantin Melnikov in 1926--the artists' imaginary institution was a sterile and serene labyrinth filled with paintings, sculptures, and the like.
I was fortunate enough to meet Viktor Melnikov twice; both times at home, and both times within and surrounded by an extensive collection of his father's work--the frustrated Russian Constructivist architect, Konstantin Melnikov (1890-1974).
On the other hand, the project reminded the public that a lot of prominent works of architecture of the 1920s and '30s, like Narkomfin house by Moisei Ginzburg, several clubs for workers and the private house of Konstantin Melnikov, are in terrible condition and need urgent restoration.
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