• 한국실내디자인학회논문집
• /
• 제29호
• /
• pp.35-42
• /
• 2001

As a part of Avant-Garde movement centered in Russia before and after the Revolution in 1917, Russian Constructivism was born as most experimental and avant-garde modernity artistic movement. Russian Constructivism played a significant part in relative to Avant-Garde in the beginning of twentieth century and has contributed to a series of artistic movement, it deserves a status befitting its contribution to modem abstract art. Noticing the fact that Constructivist approaches are being attempted in modern architecture with the new rise of Constructivist design theory and increased interest in Constructivism, this thesis explores the design elements characterizing Constructivism in art and architecture To be specific, it suggests the relation of Plastic paradigm in formalistic, elemental and technical aspects and categories into Plastic characteristics. Thereby, the thesis aims to categorize the elements in terms of contradicting two trends of pure plastic and scientific expressions, and to analyze comparatively the related Plastic trends represented in modern space design. The thesis recolonizes that attempts to break out from stereotypes of Constructivism to reinvent itself constantly have contributed to an unconventional forms and new aesthetic standards and have a great impact on idealistic forms in many genres.

• 복식
• /
• 제51권3호
• /
• pp.59-73
• /
• 2001

This paper is to examine the meaning of activities of a number of artists who belong to Constructivism in the fashion design area during early twentieth century. After Russian Revolution, the artists like Nadeshda Lamanowa, Ljubow Popowa and Warwara Stepanova decided to devote to practical art area for many People. It's very meaningful for them to jump into real work places like a textile mill and a clothing workshop instead of staying in fine art area. Constructivism is more related to social interest rather than individual thing. The artists tried to apply their modeling principles in fine art to dress making. We can see the geometrical lines and shapes and big differences In colors and material in their dress. The artists had also shown personal tastes to dress works. This idea of togetherness with their time and even to create the style of it. was very renovative at that time and gave an influence on the later styles.

• 복식
• /
• 제36권
• /
• pp.183-203
• /
• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• 국제지역연구
• /
• 제14권2호
• /
• pp.477-498
• /
• 2010

기존의 장미혁명과 오렌지혁명에서도 나타났듯이, 레몬혁명에서 발생한 미국 및 서방세력의 지역패권 장악 의도는 시민혁명의 선거과정에 직접적으로 개입하거나, 혹은 선거활동을 하는 NGO 단체들을 재정적, 도덕적, 이념적 차원에서 직간접적으로 지원하여 자국에게 유리한 정권을 창출하고자 하는 형태로 나타났다. 비록 NGO 단체들에 의해 지원받은 시민단체들이 순수한 차원에서 시민운동을 조직하였다고도 볼 수 있으나, NGO 단체 역시 정부의 지원을 받아 운영되는 경우가 대부분이기 때문에 정치색이 배제된 순수한 민간단체라고 보기는 어렵다. 따라서 특정한 목적을 가지고 접근하였을 때, 시민단체가 가지는 본연의 목적을 유지하기가 힘들어진다. 장미혁명이나 오렌지혁명, 레몬혁명에서 활동하였던 시민단체들은 모두 서방의 지원을 받는 NGO 단체들이었다. 색깔혁명에서 미국을 비롯한 서방세력과 러시아의 헤게모니 쟁탈전이 직접적으로 발생했다기보다는 색깔혁명을 통해 주변 강대국들의 패권경쟁이 가시화되었다고 보는 것이 더욱 타당할 것이다. 미국이 주도하는 세계질서가 강화되어 포스트 소비에트 공간에서 러시아의 국가이익이 침해받거나, 과거 앞마당이었던 이 지역에서 러시아의 입지가 약화될 경우, 지역패권을 둘러싼 미국 및 서방세력과 러시아의 갈등은 지속될 것이며, 러시아는 서방세계를 견제할 수 있는 SCO, CSTO, EurAsEC과 같은 역내 다자간 협력기구를 통해 중국, 인도 등 주변의 강대국들과 전략적 협력을 추진할 것이다.

• 중국학논총
• /
• 제65호
• /
• pp.193-213
• /
• 2020

Chen Du-xiu, a leading thinker and revolutionist in modern China, is the person who showed an ideological upheaval from liberalism to socialism. He called for personal freedom and the values of the individual, but when he came upon a national crisis and the Russian Revolution succeeded, he converted to socialism. In the process, he combined democracy with ethnicity to lay the foundation for Chinese social democracy. As one of representative thinkers of modern China, he changed his position for Chinese people and Chinese society, and it soon formed the basis of modern Chinese socialism, emphasizing the right to the survival of the people and people's democracy.

• 한국기록관리학회지
• /
• 제4권2호
• /
• pp.23-39
• /
• 2004

1917년에 발발한 러시아혁명은 사회주의 정권의 수립이라는 점 이외에도 기록물관리제도라는 측면에서 볼 때에도 러시아 역사의 전환점을 이루었다. 우선 법적인 측면으로 보자면, 소련 정부는 러시아 혁명 직후인 1918년 6월 1일에 공포한 "러시아사회주의연방의 기록업무의 재조직 및 중앙집중화에 관하여"라는 법을 통하여 기록물 관리의 기반을 닦아놓았다. 레닌에 의하여 서명된 이 법은 1920년대 들어서 수정 및 보완 과정을 거치다가 1929년 4월에 "러시아소비에트사회주의연방공화국의 기록관리에 관한 법"으로 연결되었다. 이를 통하여 소련은 단일국가기록폰드로부터 국가기록폰드로의 개념적인 발전을 이룸과 아울러, 국가기록폰드의 대상을 보다 확대시켜놓을 수 있었다. 뿐만 아니라, 이 법으로 인하여 소련 정부가 중앙기록물관리기관의 역할을 크게 확대시키고 다양화시켜놓았다는 점도 주목할 만한 사실이었다. 또한 기록물의 보존 기간도 새롭게 규정됨으로써 기술적인 측면에서도 기록물의 보존 업무가 개선되었다는 측면도 무시할 수 없었다. 그런데 문제는 이 법령이 순수하게 기록물 관리와 관계된 법적인 토대를 정비하는 데에만 그치지는 않았다는 점에 있었다. 더구나 이 법령이 공포된 시점은 스탈린이 명실상부하게 소련의 최고 권력자로 부상하여 스탈린 시대의 막을 연 때였다. 따라서 이 법은 공업화나 농업 집단화와 마찬가지로 중앙의 강력한 통제력을 기록관리 분야에다가 적용시킨 사례라고 말할 수도 있었다. 이 점은 1929년 5월 25일부터 6월 1일 사이에 개최된 러시아소비에트연방사회주의공화국의 기록관리종사자들의 제2차 대회에서 분명히 확인될 수 있었다. 러시아 혁명 이후 기록물 관리 분야의 주요 책임자 중 한 사람이었던 포크로프스키가 이 대회를 마지막으로 더 이상 영향력을 발휘할 수 없게 되었던 예에서 분명히 알 수 있듯이, 소련의 기록전문가들이 가지고 있던 자율성은 1929년 법이 제정된 이후로 점차로 축소되어가고 있었다. 러시아 혁명 이후의 중앙기록물관리기구도 법적인 측면과 유사한 변화 과정을 겪게 되었다. 소련 시기에 설치된 최초의 중앙기록물 관리기구인 기록관리총국은 스탈린 체제가 강화되던 1929년에 이르러 중앙기록관리부로 재편되었다. 이와 동시에 기록관리기구라는 측면에서 의미 있는 사건은 소련의 개별 공화국이 아니라 소련 전체를 대상으로 하는 소련중앙기록관리부가 설치되었다는 사실이었다. 그렇지만 소련의 기록관리 업무는 대숙청이라는 시대적인 배경을 두고 결국 기록관리총국을 통하여 소련내무인민위원부의 직접적인 통제하에 들어가고 말았다.

• 복식문화연구
• /
• 제14권1호
• /
• pp.108-127
• /
• 2006

The purpose of this study is to examine the principles of clothing design and the way of design approach in Lamanova. She caused a revolution in the art of dress and created the foundation for costume design theory. She Addressed Art in everyday life to self-taught dressmakers. The distinguishing feature of the design is simplicity and functionality. In an article "The Russian Style", Lamanova raised the question of the new Soviet costume and traditional costume. In "On Contemporary Costume" she classified the new forms of clothes into everyday and holiday attire, showed the principles of costume, and analyzed in detail the necessity of constructing a costume to suit the individual figure. In "On the Rationality of Costume", she found a basis theory for clothing design which is for whom, from what, and for what purpose. Lamanova's theory was made public in full in 1928 and was presented at the exhibition of Handmade Textiles and Embroidery in Women's Contemporary Costume. The main contents are the costume's purpose, it's material, the figure of its wearer, and its form. She argued that the new costume could be in line with the new life and her theory could be the creed of clothing designers. The principles of Lamanova's theory can still be applied today, not only in Russian traditional and contemporary costume, but in contemporary world fashion.

• 대한건축학회논문집:계획계
• /
• 제35권4호
• /
• pp.93-102
• /
• 2019

In 1960s Russian avant-garde architects such as Moisei Ginzburg, Konstantin Melnikov and Ivan Leonidov were rediscovered in the western architectural society. In this period Rem Koolhaas investigated the projects of Ivan Leonidov with great enthusiasm. In late 1920s and early 1930s when the hope and fantasy to the social revolution and technology reached the climax, The third generation of Russian avant-garde intended to find the new synthesis of the technology, the form and the social ideology. In this context, Leonidov proposed audacious projects from the small scale to the urban scale in the influence of Malevich's suprematism, Vesnin's technological fantasy and Ginzburg's concept of "social condenser". These projects seriously affected Koolhaas. This relationship of Leonidov and Koolhaas was indicated but not investigated in concrete manner. This study intends to analyze the projects of Leonidov and to investigate the relationship of Leonidov and Koolhaas in Delirious NewYork and in the projects of Koolhaas. We will analyse this relationship in three categories : hedonistic technology, social collectivity and pure geometry.

• 기록학연구
• /
• 제10호
• /
• pp.324-370
• /
• 2004

This paper aims to research the historical development of the archival systems in the Soviet Union from 1917 to the 1920's. The Russian revolution was the turning point not only for the political and social changes but for the archival administration in Russia, as it provided the new Soviet regime with the chances to reorganize the archival institutions under Bolshevik rule. However, we must not forget the fact that the Russian Archival Workers' Union had taken part in the organization of the archival systems together with the Bolshevik revolutionaries. The Soviet government intended to transform the decentralized and poorly organized archival systems in the prerevolutionary years into the centralized and bureaucratized ones. In this meaning, the decree signed be V. I. Lenin on 1 June 1918 was estimated as the real basis for the Soviet archival centralization. Lenin's archival decree of 1918 encompassed the entire national documentary legacy, which was gradually extended to all types and categories of manuscripts and archival records by successive legislation. The concept of state proprietorship of all documentary records was designated "Single State Archival Fond"(Edinyi Gosudarstvennyi arkhivnyi fond), which was renamed as "Archival Fond of the Russian Federation" after the collapse of the USSR. The independent state administrative agency, that is, "Main Administration of Archival Affairs"(Glavnoe upravlenie arkhivnym delom) was charged with the management of the entire "Single State Archival Fond". While the Soviet Union reorganized its archival systems in the twenties, the archival institutions became under the severe control of the government. For example, M. N. Pokrovskii, the well-known Marxist historian and the political leader, headed the organizational work of archives in the Soviet Union, which resulted in the exclusion of the prerevolutionary specialists from the archival field in the Soviet Union. However, the discussions over the concept of "the Archival Fond" by B. I. Anfilov helped to develop the archival theories in the USSR in the twenties. In conclusion, the Soviet Union, having emphasized the centralization of the archives, developed its archival systems from the early period, which were the basis of the systematic archival institutions in Russia.

• 한국실내디자인학회논문집
• /
• 제26호
• /
• pp.64-71
• /
• 2001

After Industrial Revolution, new thought system is needed to subdue multi-chanties and complexities of society. Nowadays under 'system theory', these efforts are theorized and organized in fields of science, philosophy and others. From Industrial revolution, before establishing the system theory, system has been needed by the expression methods. From that time, as it could be done, standardization, has been continued. Finally these conclusion reached at the systematic expression methods and when the system was build up, this theory was come true in Art such as De Stijl, Neo-Pasticism, Russian Suprematism and Constructism. For that reason, formal solution to achieve mass reductions was found in Art, so people connected Industry with Art at that time. Systematic expression methods in Art have characteristics of system and reflect mathematics and geometry theory which is based on the system theory. This study analyzes the systematic methods in contemporary interior space through the concept of systematic expression methods in Swiss Allianz's works which used the systematic expression methods and also inquires how the common meaning of system after recent times effect to contemporary design.