• Korean Institute of Interior Design Journal
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• no.29
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• pp.35-42
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• 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.

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.59-73
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• 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.

• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 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.

• Journal of International Area Studies (JIAS)
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• v.14 no.2
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• pp.477-498
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• 2010

The Reasons which Rose Revolution, Orange Revolution, and Lemon Revolution had been much argued in international society are as follows: Firstly, the important fact was that authoritarian governments in Georgia, Ukraine and Kyrgyzstan were collapsed not by physical violences and military forces, but by unblooded civil movements, so called Civil Revolution. And it is also called as Colorful Revolution. Secondly, during the advance of three Civil Revolution, hegemony conflicts between Russia and western powers including US appeared. In fact, tensions between the two countries, Russia and US had already occurred in Post-soviet region after dissolution of Soviet Union. Thirdly, as a result of three Civil Revolution, there were built up fullest attentions in international societies about the possibilities of other civil revolutions, that is to say, 'Colorful Revolution' among the countries which were the republics of former USSR. In this respect, in this investigation of Lemon Revolution in Kyrgyzstan as like Rose Revolution in Georgia and Orange Revolution in Ukraine, this article examined the roles and supports toward NGOs of Western powers including US. To my opinion, it is likely that NGOs, with powerful sponsors, become political bodies working through networks and media rather than being rooted in civil society and acting on behalf of citizens. And that powerful sponsors, directly or indirectly financed by outside governments, become involved in political activities. So NGOs have been important roles in promoting civil revolution as political agencies and more political instruments of foreign governments. In the long run, through the Colorful Revolution, it is better to understand that hegemony struggle is beginning between external concerned superpowers including US and Russia, rather than hegemony struggle having directly broke out.

• 중국학논총
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• no.65
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• pp.193-213
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• 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.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.2
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• pp.23-39
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• 2004

The Bolshevik Revolution of 1917 resulted not only in the establishment of the Socialist regime, but also in the critical changes in the Russian archival system. The Soviet government issued "Decree On the Reorganization and Centralization of Archival Affairs in the Russian Socialist Federated Soviet Republic", which prepared the ground for the archival administration in USSR. After having been revised and supplemented in the 1920's, the decree, signed by V. I. Lenin, was changed into "The Decree on the Archival Administration of Russian Soviet Federated Socialist Republic", by which the Bolshevik government was able not only to develop the conception of the State Archival Fond with the Single Archival Fond, but also to enlarge the archival collection. Besides, it was remarkable that the archival decree of 1929 provided the justification for actual developments of the archival institution. And from the practical point of view, the decree improved the archival affairs by means of the defining of the conservation period. It was at the beginning of the Stalin's period that the decree of 1929 was issued. Therefore, it may be said that the decree was one of the proofs as well as the agricultural collectivization and the industrialization that Stalin gained the overall control of the Soviet government. It was confirmed when the Second Conference of Soviet Archivists was held from 25 May to 1 June in 1929. After this meeting, M. N. Pokrovskii, who was the director of the Archival Administration in the course of the 1920's, lost the influence over the Soviet archival organizations, which meant that the autonomy of the Soviet archivists was reduced in a great degree. The Central Archival Administration of the Bolshevik regime experienced the analogous changes. It was changed into the Central Archival Agent in 1929 when the Stalinist system became strengthened. At the same time, it was significant that the Central Archival Administration of USSR was established. However, the Soviet archival affairs became under the direct control of the N. K. V. D. in the period of the Great Purge.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.108-127
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• 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.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.4
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• pp.93-102
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• 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.

• The Korean Journal of Archival Studies
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• no.10
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• pp.324-370
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• 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.

• Korean Institute of Interior Design Journal
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• no.26
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• pp.64-71
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• 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.