Avant-gardearchitectureandartofthe1920s–1930sinUkraine /Architektura i sztuka w latach 1920–1930 na Ukrainie 17
1930). It was German, Austrian, Dutch and Swiss archi-
tects and engineers (Dutch Mart Stam, Austrian Margarete
Schütte-Lihotzky etc.; a list of their names was given in
a study by T. Flierl [17, p. 191]). They were specialists in
different areas of urban planning and architecture, which
could solve the whole range of issues in planning new cit-
ies and designing new types of buildings. The May’s Bri-
gade developed the master plan of the “socialist city” Ma-
keevka [20, p. 6, 7] for workers and miners in the Donbass
region of Ukraine, where Mart Stam applied the principle
of row housing and an expanded residential quarter with
all types of social and consumer services (Fig. 9).
Historical distance allows us, without prejudice inher-
ent in previous periods, to discern many common features
in the work of Western and domestic pioneers of contem-
porary art. Despite geographic boundaries and ideological
and political differences between states, “parallel” devel-
opment of professional thinking was fuelled by interpen-
etration of ideas, the availability of information about the
most progressive trends and achievements in the eld of
architecture, art, design, which was based on the support
of mutual contacts. Openness to the world and, in this
sense, the democratic nature of the professional architec-
tural and artistic community in the rst decades after the
revolution, the desire to absorb cutting-edge ideas and de-
velopments, the thirst for knowledge of the best that was
already created in theory and practice, contributed to the
birth in the 1920–1930s of the new modern avant-garde
art and architecture in the fertile Ukrainian ground.
Translated by
Svitlana Smolenska
Fig. 9. The prospect of a quarter-complex in Makeevka
(arch. M. Stam, early 1930s) (source: [20])
Il. 9. Widok kwartału kompleksu w Makiejewce
(arch. M. Stam, wczesne lata 30. XX w.) (źródło: [20])
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Abstract
The 1920s and 1930s were the period of unprecedented owering of Ukrainian art and architecture. The Soviet avant-garde in Ukraine gained world
recognition then. It developed in line with European modernism. In what ways did the intermingling of Western and Ukrainian culture take place in
those years? The most important methods of interaction between the European and Ukrainian avant-garde are presented in the article: wide coverage
of European achievements in the All-Union (USSR) and Ukrainian press; free access of Ukrainian architects and artists to foreign professional perio-
dicals; participation of Ukrainian and European artists and architects in international exhibitions and competitions; direct involvement of renowned
foreign architects in the work on projects on the territory of Ukraine.
The main statements of the article are based on the analysis of publications in the avant-garde press of the 1920s–1930s, as well as on authentic
materials from several Ukrainian archives.
Key words: modernism, avant-garde, Ukraine, interpenetration of ideas