Soviet architecture of the 1930s was stylistically extremely diverse and the terminological apparatus in its description is still in its infancy. However, a number of domestic researchers are ready to designate the Soviet version of Art Deco as one of the directions of the 1930s, emphasizing the closeness of artistic manifestations in the USSR and abroad. This is the approach expressed in monographs and articles - I. A. Azizyan, A. V. Bokova, A. Yu. Bronovitskaya, N. O. Dushkina, A. V. Ikonnikova, I. A. Kazusya, T. G. Malinina, E. B. Ovsyannikova, V. L. Hayta and others. And it is the use of the term "Art Deco" that allows us to consider the Soviet style of the 1930s in the context of foreign architecture. And the first examples of this style seem to date back to before the First World War. However, what was the manifestation of the Art Deco style in the Soviet architecture of the 1930s? The purpose of this article is to try to briefly answer this question.
The interwar period became a true flowering of art and architecture around the world - it was the "era of jazz", "the era of skyscrapers" and "the era of the 1925 exhibition in Paris." [1] So by the name of the "International Exhibition of Decorative Arts and Art Industry", held in 1925 in Paris, or rather in connection with the 40th anniversary of its opening, the term "Art Deco" since the 1960s entered the science of art and took over, first of all, a chronological generalization of the monuments of the interwar period.
The culmination of the development of the Art Deco style was the high-rise buildings built in the cities of America at the turn of the 1920s and 1930s. However, stylistically they were extremely diverse. Such were even the buildings of one architect, R. Hood, F. Cret, and others. The decorativeness of skyscrapers could take on a variety of forms - from the geometrization of historicism and plastic fantasy, to authentic neoarchaism or extreme, abstract asceticism. Nevertheless, the skyscrapers of the 1920s and 1930s appear as an integral, recognizable style. Common to them was the characteristic combination of the neo-Gothic "ribbed style" and neoarchaic ledges. [2] And for the first time this ribbed-ledge style was demonstrated by Saarinen's project at the Chicago Tribune competition in 1922. The building was eventually built according to the project of R. Hood in an authentic neo-Gothic style dating back to the towers of Rouen. However, after the competition, Hood follows Saarinen, in 1924 in New York he creates an Art Deco masterpiece - the Radiator Building. It became the first, accessible to New York architects, the embodiment of the transformation of architectural form. It was a rejection of the authentic reproduction of motives (in this case, Gothic), and at the same time a new understanding of tradition. The aesthetics of geometrized historicism (Art Deco) was presented.
Varying ribbing and yielding, Art Deco architects sought to reproduce one image that amazed everyone - Saarinen's design at the 1922 Chicago Tribune Competition. Moreover, this new aesthetics appeared in Saarinen's works as early as 1910s, starting with the famous station tower in Helsinki. In 1922, Saarinen sensationally combines neo-Gothic ribbing with neoarchaic ledges, this will be the archetype of the Art Deco skyscraper. This is how high-rise buildings in American cities and projects of B. M. Iofan - the Palace of Soviets, the People's Commissariat of Heavy Industry in Moscow, the USSR pavilions at international exhibitions in 1937 and 1939 - were solved. This was the master's answer to the Rockefeller Center building just built by R. Hood in New York. And it was in the ribbed style (Art Deco) that a whole series of works by domestic masters of the 1930s was conceived, such are the projects and buildings of the 1930s - A. N. Dushkin, I. G. Langbard A. Y. Langman, L. V. Rudnev, K. I. Solomonov, D. F. Fridman, D. N. Chechulin and others.
The Moscow masterpiece of the ribbed style (art deco) was supposed to be the Palace of Soviets designed by B. M. Iofan (1934). This was how the project of the American architect G. Hamilton (which received one of the first prizes at the 1932 competition) and the final image designed in 1934 by the group of B. M. Iofan, V. A. Shchuko and V. G. Gelfreich were solved. The Palace of the Soviets was to become the tallest building in the world (415 m), and surpass the newly built Empire State Building (380 m). Competition in height required competition in style. And it was the ribbed style that made it possible to effectively and in a short time solve the facade of a grandiose height. [3] The design of the Palace of Soviets in the form of a ribbed skyscraper became the clearest proof of the development in the USSR of its own version of Art Deco, and the Palace of Soviets became the pinnacle of this style.
Art Deco architectural techniques did not just penetrate the Iron Curtain, but they were deliberately imported (and so was the automotive fashion). [4] And therefore the term "Art Deco", as a synonym for the ribbed style of skyscrapers and the Palace of Soviets, allows one to generalize and compare the stylistic manifestations of the 1920s and 1930s in the USA, Europe and the USSR. So in Art Deco, as the researchers note, the most vivid and gifted images of Soviet art of the mid-1930s were created - the USSR pavilion at an exhibition in Paris, crowned with the sculpture "Worker and Kolkhoz Woman" by V. Mukhina and the metro station A. N. Dushkin, "Mayakovskaya" and "Palace of the Soviets". [5]
The ribbed style of high-rise buildings of the 1930s could be analyzed in addition to the issues of etymology and semantics of the term "Art Deco". Already the competition for the building of the Chicago Tribune in 1922, breaking the monopoly of historicism, for the first time showed all possible versions of the skyscraper - both retrospective and solved in Art Deco (fantasy-geometrized). Nevertheless, the use of the style of the Parisian exhibition in the decorative design of American skyscrapers connected both phenomena, and in many studies gave the style definition of the towers of the 1920s and 30s. However, the architecture of the interwar period appears not as a single style, but as a parallel development of several currents and groups. This was the style picture in the interwar years both in the USA, and in the USSR and Europe (Italy), it can be presented as a kind of "stranded wire" of various trends and ideas. And in this period of the heyday of Art Deco recalls the turn of the XIX-XX centuries, the variety of trends of the Art Nouveau era.
And for the first time, the key techniques of the Art Deco style - the geometrization of the forms of historicism and the fascination with archaism - are noticeable even in a whole series of monuments created before the 1925 exhibition in Paris. Such are the buildings of L. Sulliven and F. L. Wright, the stupid towers of E. Saarinen of the 1910s and the first New York skyscrapers in the Art Deco style - the Barlay-Vezier building (R. Walker, from 1923) and the Radiator building (P Hood, 1924), as well as the well-known works of J. Hoffmann (Stoclet Palace, 1905) and O. Perre (Theater of the Champs Elysees, 1911), etc. Such was the range of early Art Deco monuments.
High-rise buildings of the Art Deco era embodied a unique fusion of non-archaic and medieval techniques, compositional and plastic. And if in the USA their concession was determined by the zoning law of 1916, then the use of flattened bas-reliefs was already a response to the art of Mesoamerica and the pioneers of national architecture - L. Sullivan and F. L. Wright, who opened for Art Deco neoarchaic, neoaztec aesthetics in a unique the artistic strength of Unity Temple in Oak Park (1906); and the style of mansions in Los Angeles in the early 1920s. And it was through the prism of their own heritage - ancient and contemporary, the works of Sullivan and Wright - that the style of the Paris exhibition of 1925 was perceived in the United States.
Art Deco appears not only as a ribbed style, but as the development of several trends. [6] And the common thing in this variety of American skyscrapers was powerful neoarchaism, compositional and plastic. And although such towers were not erected in Europe and the USSR in the 1930s, nevertheless, here the key art deco techniques - the geometrization of historicism forms and the fascination with archaism - found their architectural embodiment. This was, for example, the use of the Neo-Egyptian fillet cornice in the works of IA Golosov, DF Fridman and LV Rudnev. [7] A similar cornice in Moscow could be seen in the house of A. M. Mikhailov (architect. A. E. Erichson, 1903), and its source was the ancient temples of Egypt and Ancient Rome (the tomb of Zechariah). In London, a similar neo-Egyptian cornice was used to complete the building of the Adalaid House (architect T. Tait, 1924). This is how the residential houses of I. A. Golosov on Yauzsky Boulevard and Garden Ring, the building of the People's Commissariat of Defense Rudnev on Arbatskaya. [8] Such stylistic parallels can be captured by the term "Art Deco".
The competition for the Palace of Soviets launched the search for a new Soviet style in architecture, however, taking them away from the avant-garde, he did not limit them to authentic classics. In May 1933, the victory in the competition of the Palace of Soviets was awarded to the project of B. M. Iofan, sustained in ribbed Art Deco. IA Golosov chooses the image of the Roman mausoleum of Cecilia Metella for his project of the Palace of Soviets, but after the competition he avoids neoclassical prototypes and creates a certain new style, it was decorative and monumental. That is why it is close to Art Deco aesthetics, the iconic monuments of the avant-garde did not have such motives.
The search for an alternative to the classical order began in the 1910s, and the general European nature of this phenomenon was due to the classical heritage common to the masters and the rejection of its canons. So in the caisson-covered monumental works of L. V. Rudnev one could see an example of the so-called. totalitarian architecture. However, similar samples can be found in Europe, for example, the building of the Zoological Institute in Nancy (architect J. André, 1932). And the plastic techniques of this style - the geometrized order and the caisson windows appear for the first time in the practice of the European masters of the 1910-20s. Such were the works of O. Perret (Theater of the Champs Elysees, 1911) and the proposals of G. Vago at the competitions of the Chicago Tribune (1922) and the League of Nations (1928). The motif of a rectangular portal and frames, which became a characteristic technique of I. A. Golosov in the 1930s, can be found in buildings in both London (the Daily Telegraph building, architect T. Tyt, 1927), and Milan (the building of the Central Station, W. Stacchini, 1915- 31). Such geometrized details and facade techniques seemed to be the implementation of a kind of "proletarian aesthetics" in the USSR, but they can be found in European practice in the 1920s and 1930s. Thus, the style of the House of Culture of the Pravda publishing house in Moscow (1937) echoed the Italian buildings of the Mussolini era, for example, the post office in Palermo (1928) or the Palace of Justice in Latina (1936). This was the phenomenon of stylistic parallelism between domestic and foreign practice in the 1910s and 1930s, and it can be traced back to a whole series of examples.
Various geometrized details, caisson windows and an order without bases and capitals - all these techniques of the 1930s style appeared for the first time even before the First World War. [9] But these were innovations of European architecture and the motives for their appearance were abstract, visual. It was the impact of a global style trend - geometrization of architectural form. Therefore, style parallelism in the 1930s is not surprising, but logical. Such was the global fashion for the heritage of the archaic, innovations of the 1910s and motives of early Art Deco.
The skyscrapers of the United States became the symbol of the era of the 1920s and 1930s, but they were involved in the orbit of Art Deco and order architecture. So the pavilions of the 1925 exhibition in Paris were extremely diverse, and if the first of them influenced the style of American skyscrapers, the latter embodied a new interpretation of the order. The Grand Palais staircase at the exhibition in Paris in 1925 (architect S. Letrosne) was solved by an elongated anta order and, going back to the innovations of Hoffman and Perret, undoubtedly formed the style of the library to them. V. I. Lenin. The bas-relief frieze of the Shchuko portico echoed another pavilion of the exhibition - the House of the Collector P. Pat.
Thus, the international interest of the interwar period in the warrant of the 1910s, embodied in the pavilions of the 1925 exhibition in Paris, allows us to consider the works of I. A. Fomin and V. A. Shchuko, I. G. Langbard and E. A. Levinson (and architects Mussolini), not only as a national phenomenon, but as a manifestation of a large wave of style changes - geometrization of architectural form. And it began its action before and besides the revolution of 1917, such is the order in the works of J. Hoffman, G. Tessenov, P. Behrens and O. Perre. The geometrized order of the 1910s-1930s was ascetic, that is, it was no longer close to the classical tradition, but to the harsh archaism and abstraction of modernism. And it is this duality that underlines its similarity to Art Deco methods.
The main features of Art Deco in architecture - the geometrization of historicism forms, plastic and compositional neoarchaism, duality (i.e. work at the intersection of tradition and avant-garde, scenery and asceticism), appeal to the innovations of the 1910s - were also characteristic of the style of American skyscrapers. and for the geometrized order of the 1910-30s. [10] This allows us to consider a significant part of the order architecture of the 1910-30s not as a simplified, mutilated classics, but to see in it some new content, understanding by Art Deco not only the ribbed style of high-rise buildings, but a wide range of compromises between the poles of the authentic classics and the abstraction of the avant-garde … And examples of this group of monuments - this neoclassical branch of Art Deco - can be found in Rome and Paris, Leningrad and Moscow.
This transformation in the spirit of Art Deco was varied - from luxurious (the Lenin library) to ascetic (the house "Dynamo"). However, this group of monuments also had the most important unifying principle - the rejection of the classical order canon and often even the very monumentality, the introduction of fantastically geometrized details. This is how the numerous buildings in Italy of the Mussolini era, the pavilions built in Paris for the 1937 exhibition were solved [11] The pinnacle of the Leningrad Art Deco was the work of E. A. Levinson. The interstyle geometrized order allowed the masters of the 1920s and 1930s to express their time and respond to the innovations of early Art Deco.
The style of the interwar period widely used innovations of the 1900-10s - an order going back to the archaic without bases and capitals, as well as Hoffman's cannulated pilasters of the 1910s. In the 1930s, such architecture, created at the junction of Art Deco and neoclassicism, began to actively develop both in the United States and in the USSR. Suffice it to compare the Lefkowitz building in New York (architect V. Hogard, 1928) with the Moscow building of the STO (architect A. Ya. Langman, 1934). The style of the library to them. Lenin in Moscow (1928) echoed two Washington buildings by F. Crete, the Shakespeare Library created in the same years (1929) and the Federal Reserve Building (1935).
The construction of the skyscraper of the Palace of the Soviets was interrupted by the outbreak of the Great Patriotic War, and in the 1930s there were no other ribbed towers in Moscow. However, it is impossible to deny the existence of the ribbed style (and hence Art Deco) in the USSR. Shortly before and immediately after the victory in the competition of the Palace of Soviets, the style of Hamilton and Iofan was implemented in a whole series of buildings located in the very center of Moscow. [12] This is reminiscent of the Central Post Office in Chicago (1932) by A. Ya. Langman - the building of the service station (since 1934) and the dwelling house of the NKVD workers with fluted shovels, as well as the building of the State Archives (1936) and the Metrostroy House (1934), and D. F. Friedman was the author of a series of designs and structures in the ribbed style in the 1930s. [13] Such were the pointed ribs of the NKVD corps (A. Ya. Langman, 1934) and the automatic telephone exchange of the Frunzensky region (K. I. Solomonov, 1934), the flattened blades of the People's Commissariat of the Ground Forces (L. V. Rudnev, from 1939), and just such Moscow buildings help to reconstruct the likely impression of Iofan's Palace of the Soviets.
The epoch of the 1930s appears as a period of acute architectural rivalry between various styles, as it was in the USSR and in the USA. This required the craftsmen to seek and use the brightest motives and impressive artistic means. And both Art Deco and neoclassicism (historicism), which were awarded at the Palace of Soviets competition, allowed Moscow to compete with the architectural capitals of Europe and the United States. In the cities of America, this competition between the two styles continued throughout the 1920s and 1930s, such as, for example, the development of Center Street in New York. Monuments of two styles grew side by side, and just as in Chicago the high-rise building of the Stock Exchange in Art Deco was adjacent to the neoclassical Municipality, so in Moscow, for in-person comparison by the customer, the Neopalladian creation of Zholtovsky, the house on Mokhovaya was erected in 1934 simultaneously and next to the ribbed house STO A. Ya. Langman.
Soviet architecture of the 1930-50s was not stylistically monolithic, as the pre-war era contained a significant component of Art Deco. However, neoclassicism and neo-Renaissance also received support from the authorities. IV Zholtovsky's style was academic, and one might say old-fashioned, but modern, similar to the neoclassical style of the United States, designed to reach the heights of European culture. There were similar motives in the USSR, only Iofan had to surpass the towers of New York, Zholtovsky - the ensembles of Washington.
The Zholtovsky House on Mokhovaya Street was one of the most notable monuments of the Moscow neo-Renaissance school. However, in the constructions of the master, one can feel not only a reliance on the powerful Italian culture, but also an acquaintance with the experience of the United States (for example, the grandiose City Hall in Chicago). And therefore, in the context of the victory in the competition of the Palace of Soviets of Iofan's version, as an example of world architectural fashion, Zholtovsky needed to emphasize not only the Palladian roots of his style, but also the overseas ones. An example for the Moscow neo-Renaissance school is the American architecture of the 1900-10s, the development of Park Avenue in New York, the work of the McKim Mead White firm. The architecture of the USA provoked, convinced the client of the artistic effectiveness of his neoclassical choice.
Architectural rivalry with the skyscrapers of the United States had a significant impact on the style of the Palace of Soviets B. M. Iofan, and on Moscow high-rise buildings at the turn of the 1940s-1950s. And therefore, their facade techniques were designed to compete not only with the national heritage, but with the world. So the high-rise building of the Ministry of Foreign Affairs became the most expressive and close to the Art Deco style. And originally designed without a spire, it exactly coincided in height with its overseas counterparts - the neo-Gothic skyscrapers Gulf Building in Houston and Fisher Building in Detroit. The characteristic combination of neo-Gothic ribbing and neo-Aztec tectonism, the hypertrophy of fantastically geometrized details, speaks of the fact that the building of the Ministry of Foreign Affairs is Art Deco. So the symbiosis of different traditions - motives of pre-Petrine Russia and neo-Gothic ribbing, neoarchaic yielding and neoclassical elements, already partially embodied in the skyscrapers of the United States, formed the style of post-war high-rise buildings.
Moscow's high-rise buildings were the culmination of a government-initiated return to historicism, which made it possible to compete with pre-revolutionary and foreign architecture. And it was precisely the peculiar aesthetics of Art Deco, different from the order architecture, that became the main artistic rival and formal source of inspiration for the Soviet masters of the 1930-50s. Art Deco convinced Soviet architects and customers of the admissibility and success of a seemingly risky, eclectic combination of traditional, classical and transformed, invented techniques. The style of the Palace of Soviets and Moscow high-rise buildings resembled overseas samples, and therefore Art Deco, one might say, turned out to be the stylistic basis of the so-called. Stalinist Empire style. [14]
Thus, it is the term “Art Deco” that allows us to record examples of stylistic parallelism observed in Soviet and foreign architecture both before the start of the Great Patriotic War and after its end. And only in such a coordinate system, not in isolation, but in a wide world context, are the advantages and advantages of the pre-war domestic architecture felt. The identified style parallels in the architecture of the 1930s are not surprising, but are similar to how the world architectural styles of other eras - baroque, classicism, eclecticism and modernity - were embodied in Russia. This is how the Art Deco style also acquired a domestic version.
Two styles - neoclassic and art deco - shaped the artistic range of the 1920s and 30s around the world and dominated international architectural practice. This was the style of exhibitions in Paris in 1925-1937, buildings in the 1930s in New York and Washington, Rome, Leningrad and Moscow. And it was she who allowed Soviet architects to achieve and surpass the achievements of pre-revolutionary and foreign architecture by their own means - stylistic techniques of neoclassicism and art deco. [1] The skyscrapers of New York and Chicago became the triumph of Art Deco, but during their heyday their style received other names that did not take root. Contemporaries called Art Deco architecture "zigzag-modern" and even "jazz-modern", [11: 7] [2] The term "ribbed style" in this article is understood, of course, not as a "big style", but as a community of certain architectural techniques of a group of projects and buildings. The classic order was replaced in the 1920s and 1930s by fluted pilasters and flat blades without bases and capitals, elongated, narrow ribs and other pointed neo-Gothic forms. So, along with flattened reliefs, ribbing has become the main architectural technique of Art Deco in America. [3] That is why Iofan, who worked on the project of the Palace of Soviets as the tallest building in the world, took the style of the already built American skyscrapers as a basis. However, the import of architectural images also required the import of construction technologies. This was connected with the trip to the USA of Soviet architects, winners of the DS competition, carried out in 1934. Foreign experience was also studied in the design of the Moscow metro. As Yu. D. Starostenko points out, in the early 1930s, the chief architect of the Metroproject S. M. Kravets was sent abroad to get acquainted with the experience of metro construction. [8: 126] [4] biennium was known to domestic masters both from foreign magazines, and from the magazine "Architecture Abroad" published in the USSR, and individual articles in "Architecture of the USSR". Already in 1935, V. K. Oltarzhevsky returned from the United States, in the period from 1924 he studied and worked in New York. [5] According to A. V. Bokov, the Moscow metro stations, including Sokol, Dynamo, Airport, Mayakovskaya, Palace of Soviets (now Kropotkinskaya). A similar position is expressed by IA Azizyan, TG Malinina, YD Starostenko [3:89, 6: 254-255, 8: 138] [6] Within the framework of Art Deco architecture, several independent trends can be counted. This, as C. and T. Benton and G. Wood point out, is the difference between Art Deco and traditional historical styles. As B. Hillier and S. Escritt write, the Art Deco style strived to be "luxurious and ascetic, archaic and modern, bourgeois and mass, reactionary and radical." (10: 112) (12: 16) [7] The Soviet version of Art Deco was also varied. So, according to V. L. Hayt “the Moscow version of Art Deco was most vividly manifested in the works of V. A. Shchuko, I. A. Fomin, L. V. Rudnev, B. M. Iofan, D. F. Fridman, D. D. Bulgakov, I. A. Golosov. " [9: 219] [8] So the authors of the architectural guide "Architecture of Moscow 1920-1960" attributed the following monuments to the Soviet version of Art Deco - the building of the Library. VI Lenin, Danilovsky department store, cinema "Rodina", the building of the Academy of the Red Army named after MV Frunze and the People's Commissariat of Defense on Arbat Square, D. D. Bulgakov's residential building on the Garden Ring. See [3] [9] Note that both ribs, fluted pilasters and flat blades, and coffered windows, as techniques of the Art Deco style of the 1910-30s, were popular after the Second World War. And they became the characteristic facade motifs of the monuments of the 1970s both in the USA and in the USSR. [10] This duality is the complexity of the style of the 1920s and 30s. Art Deco, as noted by S. and T. Benton and G. Wood, was an era of a wide artistic spectrum, including examples of "modernized historicism" and "decorated modernism." [12: 245] [11] These stylistic parallels between the Russian architecture of the 1930s and the style of the exhibition in Paris in 1937 are also noted by V. L. Hight. [9: 221] [12] According to A. V. Bokov, “Iofan and Hamilton look at the competition of the Palace of Soviets as representatives of one company” [2: 89] [13] Recall that the innovations of the 1910s, the experience of German Expressionism and American Art Deco A. Ya. Langman saw it live, studying in Vienna in 1904-11 and visiting Germany and the USA in 1930-31. [14] Note that researchers of the Soviet architecture of the 1930s are trying not to use such generalizations as "Stalinist Empire" or "totalitarian architecture". After all, as I. A. Azizyan, the term "Stalinist Empire" carries a deliberately negative value assessment of the architecture of the 1930-50s. [1:60] While the spiritual and creative atmosphere of the 1930s was extremely complex, dramatic and yet capable of creating real art. The pre-war era was full of a desire for self-realization and a utopian dream that arose in spite of censorship and repression. This is how A. I. Morozov - "The revolutionary utopia gave impetus to the art of cynical propaganda aggression, and the art of pure faith, and art, in its own way, as if" speaking out pain. " [7: 83]
Literature:
1. Azizyan I. A. Art Deco otherness in Russian architecture // Architecture of the Stalin era: An experience of historical comprehension M.: KomKniga, 2010.
2. Bokov A. V. About Art Deco. // Project Russia. - 2001. - No. 19
3. Bronovitskaya A. Yu., Bronovitskaya N. N. Architecture of Moscow 1920-1960 "Giraffe", M., - 2006.
4. Zueva P. P. Skyscrapers of New York 1900-1920. // Architecture and construction of RAASN. - No. 4. -2006.
5. Art of the era of modernism. Art Deco style. 1910-1940 / Collection of articles based on the materials of the scientific conference of the Scientific Research Institute of the Russian Academy of Arts. Resp. ed. T. G. Malinina. M.: Pinakothek. 2009.
6. Malinina T. G. Formula of style. Art Deco: origins, regional variants, evolution features. - M.: Pinakoteka, 2005.
7. Morozov AI, The End of Utopia. From the history of art in the USSR in the 1930s. - M.: Galart, 1995.
8. Starostenko Yu. D. Art Deco of the Moscow Metro 1930-1940s // Problems of design - 3. // Collection of articles of the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts. 2005 year
9. Hayt V. L. "Art Deco: Genesis and Tradition" // On architecture, its history and problems. Collection of scientific articles / Preface. A. P. Kudryavtseva. - M.: Editorial URSS, 2003
10. Hillier B., Escritt S. Art Deco Style - M.: Art - XXI century, 2005.
11. Bayer P. Art Deco Architecture. - London: Thames & Hudson Ltd, 1992.
12. Benton C. Art Deco 1910-1939 / Benton C. Benton T., Wood G. - Bulfinch, 2003.
13. Borsi F. The Monumental Era: European Architecture and Design 1929-1939 Rizzoli, 1987
14. Weber E. American Art Deco. - JG Press, 2004
annotation
The architecture of the 1930s was stylistically extremely diverse, and these were the key achievements of the Art Deco style - the pavilions of the 1925 exhibition in Paris, high-rise buildings built at the turn of the 1920s and 1930s in American cities. The historical sources of this style were also varied. And yet, Art Deco appears to be a coherent, recognizable aesthetics. And its examples can be found in the Soviet architectural heritage of the 1930s, and this is exactly what some works of Russian researchers are devoted to. Art Deco appears to be the world architectural fashion of the interwar period. This article is intended to briefly describe the phenomenon of stylistic parallelism observed in Russian and foreign architecture of the 1930s.
