VKHUTEMAS: its significance and influence on the history of design

Contents:

• History: from the source
• Evolution of abbreviations in the context of revolutionary changes
• Evolution: the path to a planned economy

VKHUTEMAS is a key word in the field of design, which evokes associations with a socialist utopia, with outstanding innovators and with the belief that designers and engineers can create a new, just and beautiful world.

We study the origins of art and technical workshops and the reasons for their disappearance from historical memory.

History: from the source

1825 became a landmark year for St. Petersburg, when Count Sergei Grigorievich Stroganov opened a free School of Drawing, focused on arts and crafts. But what prompted him to take this step? To understand the founder's motivation, it's worth looking at his personality and the historical context of the time.

Stroganov came from one of the most famous dynasties of the Russian Empire. His lineage included barons, factory owners in the Urals, influential industrialists, and diplomats. Through marriage to a woman from his family, he also received the title of count, which added tens of thousands of peasants, who expanded his holdings, as well as a significant art collection.

He was highly educated, spent considerable time abroad, and shared the Enlightenment ideals that elites should share culture and knowledge with lower social classes. Later, he might be described as a thoughtful political economist who genuinely cared about his country.

By the early 1820s, Russia's industrial sector lagged significantly behind European countries, leading to a high dependence on foreign supplies. In 1822, the country introduced a protectionist system aimed at limiting the import of textiles. This contributed to the development of the weaving and dyeing industries, and, in particular, large manufactories began to emerge in Ivanovo.

Stroganov's initiative to create a specialized educational institution in the field of art fits into this concept. Such an institution became essential for the training of qualified draftsmen in Russia, oriented towards the domestic market. These were not just academic artists, but those who were expected to work in the field of crafts: "... master the art of drawing, without which no artisan is capable of creating products with the possible perfection."

The educational institution accepts students from different social strata, based on their gifts, talents, and artistic abilities - admission must be competitive. The school is entirely funded by Stroganov, who also ensures the support of poor students. Students have three areas of specialization:

• drawing work, geometric problems, creating images of cars;
• creating images of characters and animals;
• depiction of plants and ornaments.

In 1843, Stroganov transferred the educational institution to state control, and it became known as the Second Drawing School. Some time later, in 1860, the educational institution was renamed the Stroganov School of Technical Drawing.

Before the revolution, there would be two more name changes, and each of them would emphasize that the school's education was linked to the artistic practice necessary for work in the industrial sector.

The Evolution of Abbreviations in the Context of Revolutionary Changes

On April 24, 1918, the All-Russian Conference of Art Students was held in Petrograd, where the demand was voiced for the need to create a new art school, different from traditional and bourgeois approaches, corresponding to the spirit of the new time, state and man.

Revolutionary changes in the field of art education started from the lower levels. In April 1918, a conference of students of art educational institutions was held in Petrograd, at which the "Charter of the Free State Art Educational Workshop" was approved. The resolution of this conference proclaimed complete freedom for artists, the right to independently choose their leaders, the decentralization of art, as well as the expansion of the network of educational institutions in provincial regions.

At the conference, the participants formulated the main ideas that, in their opinion, should become the basis for both contemporary and future art. They stated: "We recognize leaders as first among equals in creative workshops. To understand lost skills, we create educational and work communes; by becoming masters, we will be able to respond to the demands of the state and the times; We are becoming an active element of the state system, providing specialists in all areas of art, promoting the idea of ​​the importance of art in society and democratizing it, relying on the great traditions of folk art."

Scientific and practical journal "Art and Culture", issue 3 (35) for 2019.

On August 2, 1918, the Decree of the Council of People's Commissars was adopted concerning the "Rules for Admission to Higher Education Institutions".

Every person, regardless of gender and citizenship, who has reached the age of sixteen, has the right to enter any higher educational institution without the need to provide a diploma, certificate or certificate of completion of high school or other educational organization.

It is prohibited to require any documents from applicants, with the exception of certificates confirming their identity and age.

All higher educational institutions of the Republic, according to the resolution "on the introduction of compulsory joint education" (Coll. Uzak., No. 387, Article 499), are required to accept students regardless of gender. Violations of this regulation may result in all responsible individuals being brought before the Revolutionary Tribunal.

On September 5, 1918, the Imperial Stroganov Central School of Industrial Art ceased to exist. Its premises and material resources were transferred to the First State Free Art Workshops.

Applications from all interested parties were opened in accordance with the instructions of the Council of People's Commissars.

On December 13, 1918, the Second State Free Art Workshops were established in Moscow on the basis of the School of Painting, Sculpture and Architecture.

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

The 1920s and 1930s saw significant changes in the design world, marked by the influence of two key educational institutions – the Bauhaus in Germany and VKHUTEMAS in Russia. These schools became centers of innovative thought and experimentation that set the vector for the development of modern art and design.

The Bauhaus, founded in 1919 in Weimar, sought to unite artistic and industrial art. This approach was expressed in the use of functional forms and simplicity of line, which was a relevant response to the demands of the time. Such renowned masters as Wassily Kandinsky and László Moholy-Nagy taught at the Bauhaus, whose ideas inspired students to create unique objects in harmony with the industrial era.

Conversely, VKHUTEMAS, which opened in 1920 in Moscow, also emphasized the integration of art and technology, but with a particular emphasis on socialist ideals. Here, projects were developed that were intended to serve society and reflect the new reality of post-revolutionary Russia. VKHUTEMAS became an incubator for many artists and designers, such as Alexander Rodchenko and Varvara Stepanova, who sought unconventional solutions and actively implemented new materials. Both schools, despite differences in philosophy and approach, left an indelible mark on the world of design. Their experimental methods and bold ideas inspired generations of creators, paving the way for further innovations in art, architecture, and design that continue to influence modern society. The educational institutions were administered by the Department of Fine Arts of the People's Commissariat of Education. Instead of the traditional structure of rectors and deans, there were Councils of Chief Masters, some of whom taught at both the First and Second Educational Institutions simultaneously.

Admission was without the need to pass exams, and there were no restrictions on gender, age, or level of previous education.

Classes were offered free of charge.

Students were free to choose a specific workshop or master, and were allowed to move freely between different areas.

The educational process was based on the joint work of students and mentors, each of whom taught classes using their own unique approach. In this context, strict academic methods and established norms were not followed.

There were no strict standards regarding the appearance of students, and there were no restrictions on behavior.

By September 1919, the Council of Masters of the Second Workshops ceased to exist. In July 1920, the First and Second Workshops merged, resulting in the formation of the Higher Artistic and Technical Workshops.

• The educational system underwent significant changes and acquired stricter frameworks, since the previously completely free education, without any rules, became one of the reasons for the reform. In 1923, the decision was made to restore entrance examinations.
• The new nation overcame the consequences of revolutionary chaos and military conflicts, striving to streamline its economy and develop the industrial sector. The leading circles of the party and the state apparatus realized that in order to strengthen proletarian power it was necessary to purposefully develop specialists, including professionals in the field of creativity.

Eight educational areas were created at VKHUTEMAS: architecture, painting, sculpture, printing, textiles, ceramics, woodworking and metalworking.

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A conversation with El Lissitzky about design and art 105 years later.

VKHUTEMAS was not limited to the status of an educational institution in Moscow, but represented an entire educational system with a fairly universal structure and a conceptually consistent program focused on architecture, industrial design and Design. Masters passed on their knowledge to students not only in Moscow, but also in cities such as Petrograd, Vitebsk (where the Vitebsk People's Art School was founded under the direction of Marc Chagall), and Yekaterinburg.

The method used at VKHUTEMAS stood out for its avant-garde nature not only because its workshops employed artists representing the avant-garde movement, but also because the school had a goal of innovation. The goal was not simply to teach drawing or design skills; Here they sought to train specialists capable of rethinking the organization of production, everyday life, and aesthetics in general.

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El Lissitzky: Creator of a New World

During the first two years of study, all VKHUTEMAS students took an introductory course in the main department. As part of this course, they became familiar with the basics of various specialties, including the humanities, and also mastered working with composition, color, volume, and spatial solutions. This approach distinguished the new school from traditional academic education.

Evolution: The Path to a Planned Economy

By 1926, VKHUTEMAS had finally moved away from revolutionary pursuits in the field of art and began to focus on tasks related to real production.

In 1927, the VKHUTEMAS in Moscow and Leningrad changed their name again, turning into even more structured institutions, receiving the status of Higher Artistic and Technical Institutes.

This transformation was not the result of random circumstances or the personal ambitions of individual school administrators; it was dictated by the current political conditions in the country. In December 1927, ten years after the October Revolution, the 15th Congress of the All-Union Communist Party (Bolsheviks) was held, defining a new vector of development aimed at collectivization and industrialization. During the congress, directives were approved, according to which economic processes in the country were to be implemented within the framework of specific five-year plans.

To accelerate economic progress, the country needed artists, architects, and designers capable of fulfilling industrial orders. They needed not only to destroy old traditions in the spirit of the avant-garde and build celestial dreams, but also to focus on developing technologies that could be immediately implemented in production, creating relevant and useful projects for today.

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The story related to the unique project "Flying City" belongs to the pen of Georgy Krutikov. This design has become a true symbol of innovation and creativity in architecture. The creation of such a conceptual space inspires thinking about a future where urban elements can merge with nature, representing a harmonious coexistence. Krutikov strove not only for aesthetics but also for functionality, exploring new horizons for urban life. His work opens up new perspectives for us, allowing us to imagine what our settlements might look like in the future.

At VKhUTEIN:

• The term of study in the main department was reduced from two years to one year.
• The term of study was increased from four to five years.
• Seven faculties were determined: the faculty of printing, the faculty of dermatology, the faculty of architecture, the faculty of painting, the faculty of sculpture, the faculty of ceramics and the faculty of textiles.

VKhUTEIN is forming a new generation of artists who are aimed at supporting industrial production, organizing everyday life and active participation in the cultural and political struggle of the working class.

Undoubtedly, VKHUTEIN plays an important role in the training of artist-engineers, which in turn contributes to the solution of significant problems in the field of economic development of the country. In the structure of higher technical education, it occupies a stable and clearly defined position. The main goal and meaning of its existence is to train qualified specialists who are necessary for the effective and high-quality development of socialist industry.

In addition, VKHUTEIN solves another important task. It trains highly qualified specialists who are necessary for the implementation of cultural socialist construction. The range of specializations continues to expand. Progress in industry is inextricably linked with the development of the proletarian cultural revolution.

P. In his work "On the Nature of VKhUTEIN," written on May 10, 1929, Novitsky examines the foundations and character of this artistic institution.

However, the changes at the art school were not limited to this – in 1930, a reform of the entire higher education system in the Soviet Union began.

In 1930, the Moscow VKhUTEIN ceased to exist, and independent educational institutions were created on the basis of its remains.

• Architectural.

It became the owner of the building of the Stroganov School, from which the history began, and this became the basis for the creation of the MARI.

• Printing.

Later, this educational institution acquired the status of the Moscow State University of Printing, and later became an integrated part of the Moscow Polytechnic University.

• Textile.

Currently, this institution is called the Moscow State Textile University named after A.N. Kosygin.

• Art.

Currently, it is the Moscow State Academic Art Institute, named after V.I. Surikov.

In April 1930, the Leningrad VKhUTEIN was transformed into the Institute of Proletarian Fine Arts, with the painting and sculpture departments transferred from Moscow's VKhUTEIN. Two years later, in 1932, this institution became the Leningrad Institute of Painting, Sculpture, and Architecture, now known as the Ilya Repin St. Petersburg Academy of Arts. That same year, 1932, painting and sculpture instruction returned to Moscow: first, a department was established at the Printing Institute, and then, on its basis, the Moscow Institute of Fine Arts emerged. Since 1948, this educational institution has been known as the V.I. Surikov Moscow State Academic Art Institute. Similar processes occurred at other institutions of higher education: departments were transformed into independent, specialized institutes. These institutions placed less emphasis on theoretical knowledge than academic universities, focusing instead on practical training—all of this was done with the goal of quickly training a large number of specialists in the context of the emerging industrialization.

In a separate article, we will tell you in detail about the teachers and students of VKHUTEMAS, as well as their achievements and contribution to art.

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• Constructivism in Design: Illustrations and Examples

  Constructivism as a design movement emerged in the early 20th century and became an important stage in the development of architecture and art. This movement emphasized functionality and practicality, and also sought to combine art with industrial production.

  Striking examples of constructivism include the works of such architects as Vladimir Tatlin and Moisei Ginzburg. Tatlin, for example, proposed the "Tatlin Tower" project, which was intended to symbolize the achievements of the Russian revolutionary movement. This project became not only an architectural but also a conceptual statement of the new era.

  Another significant example is the "Narkomfin" building in Moscow, designed by Ginzburg. This structure embodies the ideas of constructivism, combining functional elements and aesthetic solutions that reflect the spirit of the times.

  Constructivism also manifested itself in graphic design and art, for example, in the works of Alexander Rodchenko, who used new typographic techniques and compositional solutions to convey his ideas to the viewer. His posters and books became a model for many subsequent generations of designers.

  Thus, constructivism in design can be considered an important phenomenon that influenced the development of not only architecture, but also other fields of art and design.

• The Bauhaus had a significant impact on world culture and society as a whole. This unique artistic and architectural experiment, which emerged at the beginning of the 20th century, introduced new approaches to design that united art and craft. The movement emphasized functionality and simplicity of form, which ultimately changed ideas about how household objects, buildings, and even entire cities should look.

  The Bauhaus philosophy also brought into public life the idea that design could be accessible to everyone. It contributed to the democratization of art and called for the creation of aesthetically pleasing, yet practical objects. This was especially relevant in the post-war period, when there was a need to restore and modernize infrastructure.

  The influence of the Bauhaus is still felt today. Many modern architects, designers, and artists draw inspiration from the principles of this movement. The ideas of minimalism, rationality, and harmony with the environment, which formed its foundation, continue to be relevant in contemporary design and architecture. Thus, the legacy of the Bauhaus lives on in our homes, objects, and urban environments, shaping our view of the world.

• The Bauhaus, as a famous school of design and architecture, left its mark not only in Europe but also in Russia. Although there were no direct branches of this school in our country, the influence of its ideas is felt in the works of many Russian architects and designers. In particular, during the Soviet period, many Bauhaus principles were adapted and used in the design of public buildings and residential complexes.

  In modern Russian cities, you can find elements of the Bauhaus style in architecture, especially in such styles as functionalism and minimalism. Many architects, inspired by Bauhaus concepts, strive to create practical and aesthetically pleasing spaces. Furthermore, various exhibitions and educational programs continue to explore the ideas of this legendary school today, maintaining its legacy and relevance in the contemporary context.

  Thus, the influence of the Bauhaus in Russia is felt through its legacy in architecture, design, and educational initiatives, demonstrating its relevance in our time.

• The Narkomfin Building: What was the fate of an architectural utopia?
• Brutalism is an architectural style that emerged in the mid-20th century and is characterized by massive forms, functionality, and the use of concrete as the primary building material. The style is often associated with stark, unobtrusive structures that emphasize their constructive nature.

  The exterior of Brutalist buildings is typically characterized by rough textures and unfinished surfaces. Furthermore, their design is often based on utilitarianism and social responsibility, making them functional and accessible to the general public.

  To see examples of Brutalism, one can visit various cities around the world. Metropolises such as London, Paris, and Boston boast outstanding examples of this style. For example, the famous Broomley Arts Centre in London or the library building in Boston are striking examples of brutalist architecture.