Bauhaus in Russia: 10 Places to Explore It

Soviet Constructivism is often considered a close relative of the German Bauhaus in the field of architecture. Constructivist buildings and the names of their authors, such as Ginzburg, Golosov, Shchusev, Melnikov, Leonidov, and others, are quite well known in Russia.

Nevertheless, there are also unique examples of the Bauhaus style in the country. Behind their architectural design and decoration are both teachers and graduates, as well as supporters of this architectural movement, which emerged from the famous school in Dessau.

In this article, we will tell you how architects representing the Bauhaus movement ended up in the Soviet Union. We will also present places where you can see elements of this style in cities such as Kaliningrad, Moscow, Yekaterinburg, Orsk, and even in the Russian Far East.

Foreign Experts in the Weimar Republic

In 1930, Ernst May, an innovator in urban planning from Frankfurt am Main, traveled to Moscow with 16 colleagues. They were invited by the Soviet government, which was seeking to attract qualified specialists who supported communist ideology to implement the ambitious tasks set out in Stalin's five-year plans.

May's team began developing master plans and building Magnitogorsk, as well as 19 other entirely new industrial centers, including Kuznetsk, Leninsk, Nizhny Tagil, and others. In place of temporary housing—barracks, dugouts, tents, and yurts—modern socialist cities intended for workers were to emerge.

On February 15, 1927, the Council of People's Commissars of the USSR adopted a resolution entitled "On the Attraction of Specialists from Abroad." This document emphasized that the invitation of foreign specialists would only apply to highly qualified professionals. The main goal was to attract experts to implement new technologies and production methods, as well as to modernize existing production processes.

Only in cases of acute shortage of necessary specialists would it be possible to attract semi-skilled workers from abroad.

The architects had no intention of leaving permanently. In 1933, May's contract expired, and the following year, 1934, he found himself in Africa. His fellow professionals also left the Soviet Union at different times.

Architects, urban planners and designers from Germany, Austria and Switzerland headed to the Soviet Union not only out of a desire to contribute to the realization of a socialist utopia. By 1930, the political situation in the German-speaking countries, especially in the Weimar Republic, began to shift significantly to the right.

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The Bauhaus had a significant influence on world architecture, design and art, shaping new approaches and ideas. Founded in Germany in 1919, this renowned art institute became a symbol of the desire to unite art and craft. Its philosophy was to create functional and aesthetically pleasing objects, leading to revolutionary changes in design.

One of the Bauhaus's greatest achievements is its emphasis on simplicity and minimalism, which became the foundation for many modern styles. The school's masters sought harmony between form and function, allowing them to create practical and beautiful objects, from furniture to buildings. This approach opened new horizons for designers worldwide, inspiring generations of creators.

Furthermore, the Bauhaus promoted the idea of ​​mass production, making quality design accessible to a wider audience. An important part of his legacy was also his focus on social aspects, where art was meant to serve society by improving people's daily lives.

Thus, the influence of the Bauhaus is still felt today, in modern design, architecture, and art, confirming its significance in history and culture.

On August 1, 1930, Hannes Meyer, who served as director of the school in Dessau and supported socialist views, was fired in one day. The official reason for his dismissal was "communist machinations." Unlike his predecessor, Walter Gropius, under whose leadership the Bauhaus remained clearly apolitical, under Meyer's leadership the student community became divided between "leftists" and "moderates."

Soon after the scandal erupted, Hannes Meyer began organizing a move to the Soviet Union. The plan worked, and seven Bauhaus students and graduates went with him, forming the so-called Red Brigade.

Representatives of the Bauhaus were invited to work at the State Institute, which is engaged in the design of buildings for higher technical educational institutions. In 1931, a group of designers took part in a competition to create a design for a large-scale Palace of Soviets, and in 1932, Hannes Meyer and his team presented their vision for a new master plan for Moscow. However, both of these projects were rejected due to their excessive emphasis on functionalism.

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The Palace of Soviets in Moscow was conceived as a grandiose structure symbolizing the power and achievements of the Soviet regime. The design of this building included ambitious ideas reflecting the ideological values ​​of the time. The architecture implied the use of modern technologies and materials for the time, which was supposed to make the building not only outstanding, but also functional.

According to the plan, the Palace of Soviets was to become the center of the cultural and political life of the country, a venue for important events and meetings. Its grand scale and imposing appearance were intended to impress and inspire citizens, emphasizing the grandeur of the Soviet state. The interior spaces were designed to accommodate a large number of people and provide comfort for event participants.

However, over time, the project encountered various difficulties and changes in the political situation. Ultimately, the planned building was never built, and another, less ambitious structure was erected in its place. Nevertheless, the ideas embodied in the concept of the Palace of Soviets continue to be etched in the history of Moscow architecture and urban development.

Myers served in the Union until 1936, teaching at the Architectural Institute. He also participated in the design of residential areas in Perm, developed the layout of Nizhnekuryinsk, and created the concept for a new socialist city for Jewish settlers in the Far East. Konrad Püschel designed the city of Orsk and was able to leave the country in 1937. Philipp Tolziner also participated in the design of Orsk and worked on the Palace of Soviets in Moscow, as well as designed educational institutions for factory training. He was transferred to Usollag, served as the architect of Little Berlin in Solikamsk, and remained in Russia until his death in 1996. Bela Scheffler, an architect at the Uralmash Plant's Capital Construction Department, was shot in 1942.

Historians studying the Bauhaus have determined that 62 people representing the school worked in the Soviet Union, including both administrative staff and teachers.

Let's explore where Bauhaus-style buildings are located in Russia, what their original forms were, and what they look like today.

Kaliningrad: A Stylish Footprint in the Spirit of Bauhaus

In our selection, examples of Bauhaus architecture from this city stand out in a special way.

First of all, at the time of their construction, the city was under German rule and was the central point of East Prussia, a strategically important region of the Weimar Republic, and from 1933, the German Reich.

Secondly, the authors of these projects were not graduates or teachers from Dessau, but architects who adhered to a functionalist approach. They opted for the Bauhaus style, also known as "new objectivity."

The architect was Gustav Carl Hans Hopp.

Construction period: 1928–1929.

Purpose: an educational institution for women specializing in crafts.

Currently, the Baltic Fleet Officers' Club is an important cultural and social center, serving as a venue for various events and meetings. This building, rich in history, continues to attract both military personnel and the civilian population. Concerts, exhibitions, and other events are held here, strengthening ties between the military and civilian communities. The Officers' Club remains a symbol of the traditions and heritage of the Baltic Fleet, providing a space for communication and cultural exchange.

The architect is Robert Liebenthal.

The construction period covers 1929 and 1930 Years.

Purpose of creation: Archive of a Prussian state institution.

Currently, the Regional Scientific Library hosts various events and activities aimed at developing cultural and educational activities. The library continues to fulfill its traditional functions, such as providing access to scientific literature and hosting lectures, seminars, and exhibitions. Visitors can access extensive resources, including books, journals, and electronic databases. The library also actively participates in projects that promote science and reading among the population.

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Bauhaus and VKHUTEMAS: Stages of design development in the 1920-1930s

In The 1920s and 1930s saw significant changes in the field of design that impacted architecture, art, and everyday objects. Two key movements that shaped the modern perception of design emerged during this time: the German Bauhaus school and the Soviet VKHUTEMAS. Founded in Germany in 1919 under the direction of Walter Gropius, the Bauhaus became a center for new ideas about how art and craft could coexist. The school's main goal was to unite various disciplines, such as architecture, painting, and design, to create functional and aesthetically pleasing objects. The Bauhaus emphasized simplicity of form and the use of new materials, which contributed to the creation of accessible and modern design. In turn, VKHUTEMAS, or Higher Art and Technical Workshops, was founded in Soviet Russia in 1920. This school of education pursued similar goals, but within the context of socialist ideology. VKHUTEMAS sought to develop design principles that would reflect the needs of the new society and serve the mass consumer. It also emphasized functionality, but with an emphasis on collectivism and social values.

Both schools, despite differences in approach and cultural contexts, strove to create new forms that could change the surrounding reality. The Bauhaus and VKHUTEMAS had a significant influence on the subsequent development of design, leaving a deep mark on the architecture and art of the 20th century. Their legacy lives on to this day, inspiring new generations of designers and architects.

Moscow: An Architectural Experiment in the Spirit of the Bauhaus

By the mid-1930s, Moscow had become a vast construction site. The capital of a country that was actively pursuing industrialization was acquiring major and large-scale infrastructure projects: a metro, modern wide roads, new residential areas, educational institutions, and administrative buildings.

The modern appearance of Moscow began to take shape during this period.

The architectural concept was developed by Boris Vilensky and Vladimir Ershov, with the active participation of Bauhaus representative Tibor Weiner.

Construction period: from 1935 to 1938.

Purpose: a metro station that connects the central part of the city with the airport on Khodynka Field — the first air terminal in the history of the capital.

Currently, the Zamoskvoretskaya line metro station is functioning, but the air terminal in this area is no longer operating.

The architectural team, consisting of Konrad Püschew, who is an honorary professor of the Bauhaus, as well as a group of Soviet experts.

The building was Built in 1934, the building's purpose is to provide modern facilities for a progressive university founded in 1930 in response to the needs of industrialization. This institution trained personnel to work with piston engines.

Currently, the building of Institute No. 2 MAI, which deals with aircraft, rocket engines and power plants, was reconstructed after a fire that occurred in 2009.

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Ekaterinburg: the architectural legacy of the industrial style

In 1933, the Ural Heavy Machinery Plant began its work. In parallel with the construction of industrial buildings, a residential area and the necessary infrastructure for workers were created - instead of temporary barracks and dugouts, a social city was built.

Architectural figures: Pyotr Oransky and Bela Scheffler, a graduate of the Bauhaus.

Construction period: from 1933 to 1935.

Purpose: administrative building for UZTM.

Currently, a business center is located on this site along with an office building. Some of its premises are rented out to various commercial organizations, while the other part continues to be used for the needs of the plant's management.

The architect who graduated from the Bauhaus is Bel Scheffler. According to legend, he created, among other things, such elements as lamps and chairs in one night.

The year the construction was completed is 1935.

Initially, it was conceived as a factory kitchen for ten thousand people. However, as construction work was completed, the building was converted into a community center.

Currently, it is a cultural center that houses educational facilities and art studios. Local residents call it “Old House of Culture.”

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Orsk: Bauhaus Architectural Heritage in the Endless Steppes

From the 17th to the 19th centuries, Orsk served as a fortress, serving as a stronghold for the military, who guarded the southern borders of the empire from attacks by nomadic peoples, and also served as a district town.

After the revolutionary events, as part of the first five-year plans, the Orsk-Khalilovskoye nickel deposit was discovered. The city began to actively develop as an industrial center, equipped with railways, combined heat and power plants, a nickel plant, and a number of other industries. The construction of the Socialist City began for the workers and their families.

In 1935, the architectural design for the development of the new district, called Quarter No. 8, was developed by a team of Bauhaus specialists, including Lotte Beese, Konrad Püschel, Philipp Tolziner, Hans Schmidt and Tibor Weiner.

The original design for the building located at 8 Muzykalny Pereulok was created by one of the members of this group.

Construction period: 1938–1941.

The purpose of this project is to create a crèche for children with a capacity of 120 places.

Currently, the emergency medical station has undergone significant changes in its appearance.

The architectural work belongs to Tibor Weiner.

Construction was completed in 1938.

The purpose of the construction was to create a residential building with retail space. This building was the first standard five-story structure in the Soviet Union, and its construction began on a virtually empty plot of steppe, where no development would occur for the next several years.

Currently, there is a residential building with commercial space on the ground floor.

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Birobidzhan: The Architecture of Political Ideas

In 1928, the concept of creating a Jewish Autonomous Region emerged. This was another initiative of the Soviet leadership aimed at the compact settlement of the Jewish population, this time in the Far East. It was hoped that granting Jews land, which they had been denied for centuries, would transform them from small traders and artisans into a stable, settled, and, most importantly, productive workforce capable of contributing to the country's industrialization.

In the early 1930s, people began to resettle in the small town of Birobidzhan. Among them were almost 1,500 people who came from abroad, including the United States, Argentina, various European countries, and regions of the Middle East.

Between 1933 and 1934, Hannes Meyer led a team at the State Institute for Urban Design Gosstroy (GIPROGOR), where architects worked on a design for a new Birobidzhan designed for 50,000 people.

A significant part of the planned project was never implemented. The city retains only a small amount of the legacy of the era when urban planners were concerned with the ethnic, political, and social issues associated with the "Far Eastern Zion."

Architect Naum Trachtenberg was not associated with the Dessau school, but his design fits harmoniously into the architectural complex of the hexagonal square, reflecting the Bauhaus style.

Completion date: 1934.

Purpose: a building intended for the administrative work of the party and Soviet authorities.

Today, the appearance of the city hall has undergone changes.

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The period from 1930 to 1940 was a significant stage in the development of design, marked by new directions and ideas. This period was a time of experimentation and transformation, when designers sought original approaches, combining functionality with aesthetics.

Art Deco elements, characterized by geometric shapes and bright colors, became popular in architecture and interiors. The desire for modernity was manifested in the desire to create unique and expressive spaces that reflected the spirit of the times. The use of new materials, such as glass and metal, made it possible to implement bold concepts.

Furniture design also underwent changes, with an emphasis on simplicity of lines and comfort. Designers sought ways to integrate new technologies into everyday life, resulting in the creation of functional and stylish furniture. While traditional forms gradually faded into the background, ergonomics and ease of use became paramount.

In graphic design, interest in typography and visual communication grew. Designers began to recognize the power of type and its impact on perception, which contributed to the development of new styles and approaches to printed matter. Poster art became an important tool for conveying social and political messages, especially in the context of world events of the time.

Thus, the 1930s and 1940s marked a time when design began to actively develop as an independent discipline, reflecting changes in society and technology, and laying the foundations for future directions.

Vladivostok: The Legacy of the Late Bauhaus

On January 18, 1960, the USSR Council of Ministers adopted a resolution entitled "On the Development of the City of Vladivostok." In accordance with this document, it was planned to build a new residential neighborhood in the developing city on the territory of Vtoraya Rechka, where a military airfield had been founded three decades earlier and Vladlag was located.

Philip Tolziner, a representative of the Bauhaus, participated in the development of the master plan. Having survived Usollag and the war, he remained in the Soviet Union and worked in Moscow in the 1960s at the Central Research Institute for Experimental and Standard Design of Housing Construction. His task was to determine the location of "panel" buildings on hilly terrain, as well as to design the main public and commercial center.

The architectural bureau TsNIIEP Housing, together with Philipp Tolziner.

The building was erected in 1965.

The goal of the project is to create both individual nine-story buildings and five-story buildings that will be connected by arched walkways. In addition, a chain of one-story shops and other infrastructure facilities is planned.

At the moment, the facades of the buildings have been updated, but the residential area has remained virtually unchanged.

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• Tadao Ando, ​​an outstanding Japanese architect, is known for his unique approaches to design and the harmonious interaction of architecture with nature. Let's consider five of his iconic projects that demonstrate his skill and philosophy.

  First on the list is the Church of Light, located in Osaka. This work of art is distinguished by the simplicity of its forms and the thoughtful use of light. The architect created an atmosphere of tranquility, where light penetrates through the cross, symbolizing hope and spirituality.

  The next project is the Museum of Contemporary Art in Nagoya. Ando used concrete and glass to create unique spaces that allow natural light to fill the exhibition halls. The museum became not only a space for exhibitions but also a space for reflection on contemporary art.

  The third project is Villa Supercube, located on the Japanese island of Kyushu. Here, the architect masterfully combines nature and architecture. Concrete walls and large windows open up views of the surrounding landscape, creating a sense of oneness with nature.

  The fourth creation is the Banpo Art Center. This building stands out for its original form and innovative solutions. Ando incorporated elements of sustainable design, making the center not only beautiful but also functional.

  Finally, the Island of Luminaries project in Osaka is worth mentioning. This complex is a unique combination of residential and public spaces, where every element is thought out to create a convenient and comfortable living environment.

  These five projects highlight Tadao Ando's unique style, his attention to detail, and his desire for harmony between architecture and the surrounding world.

• Gesamtkunstwerk GZ: Architectural Features of the Moscow State University Skyscraper

  The Moscow State University building, erected in the Stalinist Empire style, is one of the most striking examples of the integration of various arts in architecture. This structure is not just an educational institution, but also a symbol embodying the grandeur and ambitions of the Soviet era.

  The design of this high-rise building began in 1947 under the direction of architect Lev Rudnev, who sought to create something more than just a functional building. The skyscraper, topped with seven spires, harmoniously combines elements of architecture, sculpture, painting, and decorative art.

  The building's design was conceived with both aesthetic and practical aspects in mind. Not only does MSU stand out among its surrounding buildings, but it also serves as a focal point for students and faculty, creating a unique atmosphere for learning and research.

  The interior spaces are also meticulously designed: spacious classrooms, libraries, and laboratories are furnished with high-quality materials and artistic elements, underscoring the institution's status.

  Thus, the Moscow State University skyscraper is not only an architectural achievement, but also a cultural symbol reflecting the spirit of the times and the pursuit of knowledge, which makes it a true Gesamtkunstwerk.