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构成主义建筑在苏俄的出现是现代设计革命中的一件影响深远的重大事件。然而,它本身在苏俄的夭折却又是一个历史性的遗事。 今天我们回过头再来看20年代在苏俄的构成主义,它只不过是一种设计观念上的、有一点探索性的设计思潮,甚至它只是一种现代艺术活动,既谈不上“主义”。也没有明显的政治色彩。它仅仅是一群建筑师和艺术家面向工业革命的技术进步。怀着理想上义者的激情,用他们的技术与艺术语言表达了他们的审美理想。他们的这种表达往往是非常戏剧化的,虽说很有感染力,大多数却是纸上谈兵的,至多是些绘画、模型或者建筑构想方案,真能兑现的却寥寥无几。 抽象艺术家K·马列维奇(KASIMIR MALEVICH 1878～1935)1913年提出了“至上主义”,与巴黎的立体派(CUBISM)遥相呼应;雕塑家N·加博(NAUM GABO 1890-1977)等,正视当代机械技术与材料科学的发展,熔未来派与立体派为一炉,发展成为所谓构成主义,这是一种艺术作风,它淡化了作品的主题性,试图打破艺术门类之间的界限,强调对于技术的表达,或者说对于技术的表现。作为一种艺术作风,它有其非理性的一方面。它的非现实性,或者说“超前性”,在苏俄革命初期有其激动人心的地方。然而,斯大林的集权作风和长期笼罩苏俄的民族主义情结是不能与这种过于有想象力
The emergence of constructivist architecture in Soviet Russia was a major and far-reaching event in the modern design revolution. However, its own death in Soviet Russia is a historic legacy. Today we look back at the constructivism in Soviet Russia in the 1920s. It is only a design idea with a little exploratory design trend. It is even a modern art activity, not to speak of “ism”. . There is no obvious political color. It is just a group of architects and artists who are advancing toward the industrial revolution. With the passion of the ideal and righteous, they express their aesthetic ideals with their technology and artistic language. Their expression is often very dramatic. Although they are very infectious, most of them are on paper, but at most they are paintings, models, or architectural plans. Abstract artist K. Malevich (KASIMIR MALEVICH 1878～1935) proposed “Suprematism” in 1913, echoing with the Cubism of Paris; and sculptor N. Gabor (NAUM GABO 1890-1977), etc. The development of mechanical technology and material science has melted futuristic and Cubism as a furnace, and it has developed into so-called constructivism. This is an art style. It downplays the themes of the works and tries to break the boundaries between the art categories and emphasizes The expression of technology, or the performance of technology. As an art style, it has its irrational aspect. Its non-reality, or “advancement,” has its exciting place in the early Soviet Russia revolution. However, Stalin’s authoritarian style and the long-standing nationalist sentiment that envelopes Soviet Russia cannot be combined with this imaginative force.