Dwelling: Reprint

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Dwelling: Reprint
Dwelling: Reprint

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Video: Dwelling: Reprint
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"Dwelling" is probably the most famous book of the architect, constructivist and theorist Moses Ginzbrug, possibly after his very first "Style and Epoch", which allowed the avant-garde master to declare himself in 1924. Dwelling was published 10 years later, in 1934, and this is a book of a different genre - it summarizes the work of a group of specialists from the typification section of the Construction Committee of the RSFSR, dedicated to finding optimal approaches to housing construction of a new society. Moisei Ginzburg criticizes as “mass housing construction in Moscow in the first years after the revolution” - considering that the economic effect of the apartment building was higher; and at home-communes - for excessive socialization and overregulation of life in them. The aim of the section's research was to develop economical and at the same time comfortable housing - "cultural", and the presence of additional functions in the "communal house" typology was seen as a service that frees residents from everyday problems.

As a result of the work of the Stroykom section in the RSFSR, a total of six experimental residential buildings were built. The most famous of them is the Narkomfin House on Novinsky Boulevard in Moscow, which is considered one of the standards for searching for a format for new housing and construction, consonant with the research of the Bauhaus and Le Corbusier. Now the restoration of the Narkomfin building, which began in 2017, is close to completion.

The 1934 book "Housing" was reproduced in facsimile within the framework of the publishing project of the "Ginzburg Architects" bureau. The reprint can be purchased at Ozon, Books.ru, Alib.ru stores.

The complete English translation of the book was released two years earlier and can be found on Amazon.

Below we publish an excerpt from the book devoted to working with space, light and color when designing a Narkomfin house.

You can flip through the same passage here:

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    1/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

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    2/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

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    3/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

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    4/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

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    5/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

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    6/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

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    7/7 M. Ya. Ginzburg. "Housing: Five Years' Experience of Working on the Housing Problem." Reissue. M., 2019 Courtesy of Ginzburg architects

From the author

This work does not in any way claim to be an exhaustive solution to the housing problem. The author set himself a much more modest task: to convey to the Soviet public and other workers in this area the experience accumulated over the course of five years by a group of comrades who sincerely sought to contribute to our new housing culture.

This also determines the range of issues raised by this work, and partly the sequence in the presentation of the topic. It follows the main chronological stages in the development of the work itself and testifies to those aspects of the housing problem to which our attention was riveted at that time. 1928-1929 - our work was aimed at solving problems of housing construction in existing cities. Problems of a purely economic nature, the cheapening of construction, its technical reconstruction, the issues of typification and standardization in large housing blocks were posed simultaneously with the desire to create a new social type of dwelling with developing elements of a socialized economy.

1929-1930 - in connection with the rapid growth of our industry and the emergence of a number of new socialist cities, our work became more theoretical, more “problematic”, and the focus of attention was directed to finding new ways to solve these problems of limitless complexity and significance. This period of our work often suffered from extremes of conclusions and schematic decisions.

1931-1932 - Our work again focuses on more concrete practical tasks related to the construction of new settlements, mainly on lightweight prefabricated construction, while trying to rethink the social challenges we face.

The result of this work was some practical conclusions in the field of typification and industrialization of construction, the posing of issues of network services and, for the first time, the realized significance of the problem of district planning.

At all stages of our work, we tried to put it architecturally, in the sense of the word that seems to us the most correct, that is, in the interaction of social, technical and artistic problems. The selection of illustrative material for the book is also based on this principle. In view of the fact that all our work was carried out on the basis of a critical assimilation of the heritage of the past in the field of housing, the actual presentation of the experimental material is preceded by a chapter - "the culture of the dwelling", which does not set itself the tasks of a sociological study of this heritage, but only interprets the very nature of our creative development of the housing culture of various countries and eras. The work was carried out by the following team of architects, designers and economists:

Slender RSFSR. Typification Section, 1928–1929. Barshch M. O., Vladimirov V. N., Ginzburg M. Ya., Pasternak A. L., SumShik G. A.

State Planning Committee of the RSFSR. Section of Socialist Settlement, 1929, Afanasyev K. N., Barshch M. O., Vladimirov V. N., Ginzburg M. Ya., Zundblat G. A., Milinis I. F., Orlovsky S. V., Okhitovich M A., Pasternak A. L., Savinov G. G., Sokolov N. B.

Green City. Socialist settlement group. 1930, Afanasyev K. N., Barshch M. O., Vladimirov V. N., Ginzburg M. Ya., Zundblat G. A., Milinis I. F., Orlovsky S. V., Pasternak A. L., Puzis G. B., Savinov G. G., Sokolov N. B.

Hyprogor. Prefabricated building and planning group. 1931, Afanasyev K. N., Barshch M. O., Vladimirov V. N., Ginzburg M. Ya., Zundblat G. A., Leonidov I. I., Lisagor S. A., Lutskiy G. I., Milinis I. F., Orlovsky S. V., Pasternak A. L., Puzis G. B., Savinov G. G., Sokolov N. B., Urmaev A. A.

Hyprogor. Sector of Bashkir works, 1932. Adlivankin M. G., Barshch M. O., Biking P., Vegman G. G., Ginzburg M. Ya., Vladimirov V. N., Lisagor S. A., Lutskiy G. I., Milinis I. F., Mamulov M, O., Pasternak A. L., Pak A. Ya., Urmaev A. A.

M. Ya. Ginzburg

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chapter 4Space, light and color

(Experimental House NKF)

Housing design usually takes place in one horizontal projection (plan). Its individual elements, the usual dimensions of the premises, are multiplied by the usual height. As a result, the architect's eye loses its sense of space, scale, loses understanding of dimensions as three-dimensional quantities.

The construction of the Narkomfin building, like several other experimental structures, is essentially an experience in a truly architectural sense of the word. Here the problem of space was posed as an analysis of a multitude of simultaneously existing elements, of which a spatial-architectural whole is composed, changing its qualities immediately after a change in at least one of these elements.

These components: area, height, shape, dimensions, illumination, magnitude and nature of illumination, color and texture of all planes that limit the space.

First of all, it was necessary to feel the architectural scale in the size of living quarters in relation to a person. Four square meters, six square meters - that's where we started. Can this minimum serve a person?

From this point of view, the results of our experience are as follows: neither four nor six square meters in an isolated room can serve as a human dwelling. 4 and 6 m2- only the minimum dimensions of some processes serving a person. Spatially, these dimensions are so limited that without a serious decrease in the entire vitality of a person they cannot serve as the framework of his home. But on the other hand, for a number of such limited processes as cooking (a kitchen for one family, occupying, for example, in type K 4 m2), these sizes are quite possible.

The minimum the dimensions for the housing of one person can be considered based on the experience of the dormitory of the upper floor 10–12 m2… If necessary, the common height of the premises can be lowered sooner. For isolated living quarters of a small size, a height of 2.60 m can be considered satisfactory. This height was adopted in the aforementioned dormitory and gave practically good results.

There is no doubt that in a number of cases it is more rational to build a room of 10 m2 at a height of 2.60 m rather than 9 m2 at a height of 2.80 m.

For service rooms (kitchen, bathroom, restroom and front), even completely isolated, an acceptable height can be considered 2.30 - 2.50 m (of course, with ventilation). This height was adopted for all, without exception, the service premises of the residential building of the NKF building.

The situation is completely different with the spatial dimensions in more complex combinations of several interconnected volumes.

In the presence of two spatial quantities of different heights, the value of the individual dimensions varies greatly. A lot of experiments have been done in this direction in the NKF house. The residential building has a combination of heights 2.30 and 3.60 m (type F) 2.30 and 5.00 m (type K); 2.40 and 5.00 m (type K); 2.30 and 4.90 m (communal building) and 2.60, 2.30 and 5.10 m (communal building).

When the lower volume enters directly into the higher one, the height of 2.30 m is sufficient.

The more open a smaller volume is in relation to a larger one, the smaller its height can be.

A more accurate determination of the minimum heights follows from the extent of the smaller volume. When a person is in a smaller volume and looks towards a larger one, he is not worried about the height of the ceiling above him, so that with a minimum

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dimensions of a smaller volume (a small platform, a balcony, etc.), its height could be reduced to 2.10 m. But if the length of the smaller volume is such that a significant part of the ceiling enters the person's angle of view, the height should be increased … In this case, it is necessary to increase the height of the smaller volume in proportion to its depth extent. The sensations of a person in a higher volume and looking towards a smaller one are approximately the same, where, however, the decrease in heights of a low volume is less noticeable, because it corresponds to the natural perspective reduction of receding heights and makes the overall spatial sensation deeper. In general, the presence of two or more dimensions of heights in a common space is an extremely important point in the solution of an internal architectural space. It immediately gives the human eye a scale for understanding space, for its psychological perception. Less and more, in their collision, more sharply reveal their mutual qualities.

The experience of staying in these rooms suggests that the sensation of a larger space in many cases, especially when it is necessary to concentrate, pushes to a smaller one, and a visual sensation of a larger space from the limits of a smaller one seems necessary when the need for movement and activity arises.

In the NKF house, an experiment was made with completely isolated living quarters with a height of 2.30 m, but with an adjoining high room. The results of this experiment can be considered satisfactory. The presence of even a wall-insulated, but nevertheless, adjacent large spatial reservoir makes a small height quite bearable.

Particularly significant architectural possibilities are provided by such use of space with somewhat large dimensions of premises (for example, in premises of a public nature). Such an experiment was carried out in the communal building of the Narkomfin building and gave the most interesting results.

The entire communal building is a cubic volume (side of the Hume cube). It has two volumes of 5 meters in height. Each of them has different (higher or lower) heights in its individual parts and a different combination of dimensions of individual parts; in addition, the staircase partially opens into each of the volumes and unites all these spatial divisions. As a result, when moving along the staircase and individual rooms, the viewer receives a continuously changing spatial sensation. In essence, a small and simple in shape, the external volume, due to spatial division from the inside, seems large, complex and perceived only for a long time in the process of movement.

To talk about the dimensions of a space, not to mention the nature of the illumination of this space, is to say nothing. The same internal volume is perceived differently at different illumination levels. The light cutout in the wall, to some extent, destroys the boundary of the volume - the wall. At the same time, since the clearest boundary of the volume is the intersection of the plane of the walls and the ceiling, which acts most strongly in terms of the spatial expansion of the volume, the lighting system is a horizontal light strip pulled up to the ceiling itself. With this solution, part of the boundaries of the internal volume is psychologically erased, the volume expands spatially. We have experienced this many times.

It goes without saying that an all-glass wall will fulfill the same role to an even greater extent.

The maximum result that an architect can achieve is obtained when an entire wall or a significant part of it can move apart, fold, in a word, temporarily disappear.

At the same time, the dwelling as isolated from the ensemble from nature part of the space disappears: it becomes an integral part of the surrounding, its scale-visual frame.

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In experimental work, we became convinced that in our climatic conditions, the technical implementation of a sliding outer wall of any significant size is a difficult task.

But the possibilities of larger glazing were investigated by us in various proportions.

One of the walls of the communal building of the NKF house is completely glazed with a glass-to-floor ratio of more than 1: 1. The internal regime of this room in winter and summer is quite satisfactory. True, the glass surface faces north.

In general, in our opinion, the excess of illumination can be considered only from the point of view of economic, but not social and hygienic. The entire internal mode of glazed surfaces, with the correct technical solution to the issue, can be perfect at all seasons.

More difficult is the case with excessive insolation of glazed surfaces in the summer. In this case, the solution is either to turn large glass surfaces to the north or northwest, or to create thermal curtains that regulate insolation.

In living quarters, we studied various degrees of glazing from 1: 2 to 1: 6 floor area, and experience showed that here, too, the question is only to what extent the economy can be allowed to influence the determination of the hygienic norm of illumination. For practical verification of the theoretical study of the shape of the window opening, we used a horizontal window everywhere in the NKF house. Comparison of horizontal and vertical windows with the same glass surface (1: 5) confirmed the correctness of theoretical assumptions: a horizontal window gives much more uniform illumination.

However, in this case, the height from the floor to the beginning of the window and the height of the “upper forehead” above the window to the ceiling are extremely important.

Undoubtedly, an excessive (more than 1 m) height from the floor to the beginning of the window is undesirable, since already at 1.10 m to the window height, the window becomes only a source of illumination and ceases to perform the important function of connecting the housing with the surrounding space. On the other hand, the device of an excessively high forehead above the window (and here 1.00 m is the limiting value) with a large room is also undesirable, because at certain positions of the living, this dark forehead falls into the visual perspective of the eye.

These limits of the pre-window and above-window distances and the existing economic standards of glazing make it necessary to accurately determine the dimensions of the light openings in each specific case.

A huge role in solving spatial problems is also played by the color of the individual surfaces that limit the space.

The first experience of color resolution was carried out by us relatively long ago in the architectural office b. MVTU.

The material for the work was extremely unfavorable: a large room with vaults on the ceiling, with two vertical windows facing north into a cramped enclosed courtyard. The room was not only devoid of internal spatial clarity, but also discolored all objects in it.

In order to cope with the difficult situation, a strong range was chosen: yellow-lemon, orange and black. The outer wall and ceiling were painted black: the wall in order to increase the luminosity of the light coming from the windows by contrast and irradiation, the ceiling in order to destroy its unpleasant dissection (vaults).

[1] Produced by the Construction Committee of the RSFSR.

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The wall opposite the windows was painted lemon yellow, which, with its very low absorptive capacity, gives even a diffused light beam an almost solar saturation.

The other two walls were painted orange, partly in order to contrast with the rest of the colors to give a clear reading of all spatial dimensions, and partly to increase the overall warmth of the interior space, in which there is never the sun.

Basically, the problem was solved. The room became spatially active. The sensation experienced in this room was favorable at first. However, a longer stay forced to pay attention to the fact that all movements taking place against a yellow or orange background became silhouette and somewhat unnatural. The intensity of the background absorbed the person; the intensity of the color and its character excessively translated ordinary spatial sensations into flat language.

Long stay in this room was exhausting.

Further experiments were carried out mainly in the NKF house. The painting work was carried out here under the general guidance of the artist Sheper, prof. Bauhaus in Dessau.

For residential premises, two ranges were first tried - warm and cold. However, the overall intensity of the gamma was immeasurably weaker than in the previously described experiment.

Warm range mainly: ceiling - light ocher, walls - light yellow (lemon).

The cold range is mainly: the ceiling is blue (Braunschweig); the walls are grayish and gray-greenish.

As a result, experiments have shown that a warm scale spatially limits the volume: a cold one, on the contrary, seems to expand the room. If you want to spatially enlarge any room, coloring with cold, pale tones is extremely effective.

The close coexistence of warm and cold scales also enriches the spatial sensation, as does the presence of two adjacent volumes, contrasting in their heights.

So, in adjoining rooms next to the cold range, warm pink and yellow tones were introduced and, conversely, in the vicinity of the warm range, coldish, blue and gray. The results of these experiments can be considered satisfactory. Basically these general color resolution settings are correct. But it must be borne in mind that the smallest concrete fact sometimes introduces significant changes in the general complex of spatial coexistence and requires a revision of the entire solution. The most indisputable in the work on color can be considered the principle of the active use of color as a correction of all kinds of inferior orientations in the cardinal directions and general location in space.

As a result of not only experiments, but also a long stay in an environment of complete color design, we became convinced that color is one of the factors that have an extremely strong effect on the vitality of a person. Therefore, in housing, work premises, and especially in an individual room, which is sometimes the only place for a long stay of a person, you have to be extremely careful in choosing a color.

A brighter color is most likely permissible on the ceiling, because the plane of the ceiling enters consciousness only in separate, intermittent visual images. Therefore, as a rule, in all residential cells of the NKF house, we used the main color tone, so to speak, the “label tone” of the range, in the color of the ceilings.

Next, we set ourselves the following task: with the main color ceiling, give the walls of the rooms an invisible color, but a perceptible one (that is, use extremely subtle spatial-color shades of one almost monochrome scale). So, several rooms were painted. For example, with a pale blue (braunschweig) ceiling, the walls are cold white, pale gray and pale yellow. With a greenish ceiling, the walls are white with barely

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noticeable greenishness, with subtle brownish warmth and cold white color.

With a short visit to these rooms (especially in the evening with artificial lighting), the colors are almost not noticed. The rooms seem almost white. However, with a prolonged stay, the coloring begins to penetrate deeply and almost semi-consciously, without noticeable visual stimuli, into the sensation of the living, becoming not so much a factor of color as such, but a kind of purely spatial sensation.

It can be argued that for all the difficulty of such a solution, it is fundamentally the most correct for residential premises.

Among the color experiments carried out in the NKF house, one can also refer to the color processing, which was used by us for purely functional purposes - for easier orientation in the surrounding objects. This is, for example, painting each pair of adjacent doors in the corridor in black and white to make it easier to distinguish between the entrances to the upper and lower F. Such is, for example, the different colors of ceilings, staircases and corridors (orange, braunschweig, green earth, cobalt, vermilion, green veronese), allowing you to easily navigate from a distance in the general complex of similar and slightly different objects.

The problem of texture is directly related to the problem of color; moreover, the problem of color, which is not immediately posed as a problem of color-texture, becomes purely abstract and in practical application overturns all theoretical calculations.

For example, matte black differs from black varnish no less than red from yellow.

To even give an accurate indication of a color without mentioning its texture means saying almost nothing at all. The work on the texture, which has its own natural color index, is the main, most important task facing the Soviet architect, artist and technologist.

Not the selection of colors, but the selection of materials with their own texture and color indices - this is the task facing the construction industry. This is the solution not only of the entire amount of color-light-space problems, but also of the problem of color durability, its depreciation terms and the extremely important task of satisfying tactile and visual-tactile perceptions. Touching with the hand (and by developing the corresponding conditioned reflexes and visual perception) to cold, warm, smooth, rough, and the like material is a task, the solution of which is extremely important for a long stay in housing. We have not yet accepted the solution of the last problem. In the NKF house, we only attempted to use various textures of paints and varnishes.

In this area, serious laboratory work is needed on various materials and then the organization of the corresponding branches of the construction industry.

Otherwise, the solution to the problem of housing will always be incomplete.

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