20世纪50-60年代苏联城市环境设计中的俄罗斯宇宙主义

A. V. Astakhova
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引用次数: 0

摘要

介绍。本文的目的是说明俄罗斯宇宙主义哲学对20世纪50-60年代苏联城市环境形成的持续影响。作者设定的任务是揭示与实现共产主义理想有关的征服自然的动机符合俄罗斯共产主义的理想。宇宙主义在苏联艺术中随处可见,但在文本中,重点放在建筑作为在城市化高峰期形成城市系统的主要形式之一,并影响苏联人的意识。方法和来源。比较分析了俄国宇宙主义的哲学理念和苏联的扩张征服空间的思想。对来自苏联的期刊和艺术品进行了分析。本文还根据宇宙主义哲学创始人(N.F. Fedorov, K.E. Tsiolkovsky, V.I. Vernadsky)的著作,概述了哲学家的主要哲学范式。结果和讨论。它揭示了征服自然的动机,与共产主义理想的实现相关联,符合俄国共产主义的理想。苏联建筑的实用性和有机性是显而易见的。它表现在解决住房问题的街区建筑中,也表现在设计更复杂的结构中,以确认苏联人民的权力。它说明了苏联建筑中的宇宙形式被定义为两种形式:第一种形式是电视塔形式的火箭人格化,第二种形式是马戏团建筑体现的盘子人格化。结论。作者的结论是,天体建筑的图像,旨在快速探索宇宙,被年轻的浪漫主义建筑师从字面上理解,他们为自己的项目找到了理想的理由。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Russian Cosmism in the Design of the Urban Environment of the Soviet Union in the 50-60s of the Twentieth Century
Introduction . The purpose of the article is to illustrate the steady influence of the philosophy of Russian cosmism on the formation of the urban environment of the Soviet Union in the 50-60s of the 20th century. The authors set the task to reveal that the motives of conquering nature, associated with the achievement of the ideals of communism, correspond to the ideals of Russian cosmism. Cosmism is observed everywhere in Soviet art, but in the text the emphasis is placed on architecture as one of the main formations forming the city system at the peak of urbanization and influencing the consciousness of the Soviet person. Methodology and sources . A comparative analysis of the philosophical concepts of Russian cosmism and Soviet ideas of expansive conquest of space is carried out. Periodicals and works of art from the Soviet Union are analyzed. The article also outlines the main philosophical paradigms of philosophers based on the works of the founders of the philosophy of cosmism (N.F. Fedorov, K.E. Tsiolkovsky, V.I. Vernadsky). Results and discussion . It is revealed that the motives of the conquest of nature, associated with the achievement of the ideals of communism, correspond to the ideals of Russian cosmism. The practical and organic nature of Soviet architecture is evident. It was expressed in block construction in order to solve the housing issue, but also in more complex structures designed to confirm the power of the Soviet people. It is illustrated that the cosmic forms in Soviet architecture were defined literally in two formats: the first as the personification of rockets in the form of TV towers, the second as the personification of plates in the embodiment of the architecture of circuses. Conclusion . The author concludes that the images of celestial architecture, intended for the speedy exploration of the cosmic expanses, were literally perceived by young romantic architects who found the ideal justification for their projects.
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