December, 2015

Assistant Editor

Barbara Terrell

Production Editors

Susan McNally

Table of Contents 


The Political Context: 1928-1930, A Turning Point Between Revolution and Counter-Revolution by Danilo Udovički-Selb

Narkomfin Narratives: Dreams and Realities by Vladimir Papemy

Double-height Spaces: From Ateliers to "Cathedrals" by Wilfried Wang

The Communist Egosphere: The Single Room Abode in the Russian 1920s by Tijana Vujošević

Sources of the Narkomfin: The New Byt and the Collectivization of Everyday Life by Danilo Udovički-Selb

Moisej Ginzburg and Soviet Residential Architecture by Dmitry Khmelnitsky

Invisible Colors: The Narkomfin House-Painting Experiment by Alla G. Vronskaya

Ginzburg: Architect, Architectural Theoretician, Methodologist, Experimenter, Design Practice Organizer by Yury Volchok

The Narkomfin's Building Experiment: A Dialogue Between Culture and Civilization by Yury Volchok

The Narkomfin is more than a housing building. It is the converging point of the history of Constructivism. It is the most sophisticated expression of a "social condenser," in Moisej Ginzburg's words, where purposefully reassembled functional spaces are given an active role in transforming social behavior. Echoing the Russian Formalist method of analytic editing— like the cinematic "montage of attractions," to use Eisenstein’s expression— it represents a reconfigured semantic series of the notion of dwelling. These new associations, in turn, contribute to the transformation of everyday life— the byt. In this sense, the Narkomfin is more than a symbol; it is, in a nutshell, the program of Constructivism. It is also the highest point the construction House of Communes ever reached, the vast experimental field of numerous architects, and architectural workshops conducted in its most prolific time between 1926 and 1930.

O'Neil Ford Monograph, Volume 6: Narkomfin, Moisej J. Ginzburg, Ignatij F. Milinis  cover