The era of Constructivism is associated with the time of building a new world, during which the model of the ‘new man’ who is mindful, and physically and intellectually developed, was envisioned and systematically shaped. Constructivist architects, whose creative drive aligned with the socio-political demands of the time, began designing and constructing spaces for a new way of life, creating ergonomic environments for work and daily living where people could finally live and work with purpose and joy.

The principle of rational organisation of labour and leisure was ground-breaking for its time and remains relevant today. It also contributed to the utopian nature of many ambitious architectural projects. The exhibition invites us to explore both the realised and unrealised ideas of the Constructivists, highlighting not only their practical ambitions but also their social mission to improve everyday life.

The exhibition features over 500 items from more than 30 museums, archives and private collections, including the Shchusev State Research Museum of Architecture, the State Museum of the History of St. Petersburg, the State Tretyakov Gallery, the State Russian Museum, the Museum of the History of the Moscow School of Architecture, the archives of Alexander Rodchenko and Varvara Stepanova, the MIRA Collection, the private collection of Roman Babichev and others.

The exhibition focuses on architectural projects designed for four major Russian cities: Moscow, St Petersburg, Yekaterinburg and Novosibirsk. The two floors of the centre also showcase paintings, graphics, sculptures, photographs and newsreels, offering a more comprehensive exploration of the exhibition's theme and creating a true anthology of life in the 1920s and 1930s.

The exhibition presents the projects of famous constructivists such as the Vesnin brothers, Moisei Ginzburg, Ivan Leonidov, Yakov Chernikhov, El Lissitzky, Ilya Golosov, and Alexander Nikolsky, who were among the first and most dedicated to applying the functional method aimed to address the specific utilitarian needs of the new Soviet state. It also highlights the work of their students and associates, including Mikhail Barshch, Nikolay Sokolov, Grigory Simonov and others. Unique materials from the Research Museum of the Russian Academy of Arts, including rare models from the 1920s created in Alexander Nikolsky's workshop, were restored for the exhibition. For the first time, the previously little-known archive of Leningrad architect Boris Smirnov is being showcased. Until the late 1930s, Smirnov focused on ergonomics, the science of adapting work and leisure spaces to ensure their safe and comfortable use.

The exhibition is divided into nine sections, corresponding to two stages in the development of new architecture in the 1920s. The first stage begins with the emergence and formation of Constructivism from 1917 to 1928, a period when humanist and modernist aspirations predominated in the country, and Constructivism became the spatial expression of these ideals. The second stage starts with the beginning of the First Five-Year Plan in 1928 and marks a shift in the focus of society, the authorities, and architects from the individual to the state. During this time, constructivist architecture shifts from the real world to the virtual one: it becomes a phantom, confined to the pages of periodicals, architectural drawings, and elaborately designed facades.

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Curators: Polina Streltsova and Irina Finskaya
Exhibition architecture: Treivas architectural bureau
Graphic design: Faro Studio
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