Stalinist Architecture Essay

Introduction

Stalinist architecture has a deep connection to his beliefs, in his theology study in the United States; Stalin learned that art music and architecture had a great ability to inspire people to sacrifice their goals and resources towards the common goal of the society. With him coming into power, Stalin went on an architectural spree that was meant to make Russia like a modern architectural center. Some monumental buildings included the Moscow State University and Palace of Culture & Science in Warsaw. Architects in the Stalinist era experimented various styles including classical references such as the use of arches and columns. Modern styles of building were done away with, and architects in this era went for the gothic styles that displayed the Russian Baroque. Architects who were able to meet Stalinist architectural styles were awarded and lived lavishly. Lev Rudnev's was one of the architects who did so and therefore grew close with Stalin. Based on the closeness between the two, the paper gives an analysis of Lev Rudnev's major projects and how they were able to meet Stalinist Architecture demands, more focus will be on the Moscow State University and Palace of culture & science.

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In a nutshell, Stalinist Architecture focused on the state buildings, urban planning and residential construction (Brumfield). In urban planning, there were large streets with straight avenues that were meant to meet the needs of military parades and ceremonial functions. The streets not only strengthened the ideas of the Stalinist government but also a show of supremacy to the outside world (Brumfield). The state buildings were all consistent, there was symmetry, and they were quite large right from the layout. All buildings constructed during Stalin's' era were consistent even though they were designed by different architects. The government was involved in all construction projects, and it impacted on the final design (Orlov).

On the other hand, residential buildings at the ear were influenced by the social class, the building for those in power including government officials and the elites were made of expensive elements, and they were a display of opulence (Magdalena). For instance, balconies, arches, and columns were prominent features in all the buildings. On the other hand, the working class lived in simple buildings meant to reduce the overall construction cost; they were constructed to meet the basic housing needs (Poljan). In a nutshell, Stalinist architecture focused on the display of the Russian tradition and values in a modern world through buildings (Magdalena).

Background to Stalinist Architecture

Stalinist Architecture was instilled on the people; the system of governance ensured oppressions through deceiving means such as music and architecture. Therefore, many were willing to put their hand forward to ensure the success of the project. Stalin liked to organize mass ceremonies, and during his reign, it is evident that there was an acute shortage of public areas where he could hold the ceremonies. The need for avenues, decorated buildings, and ceremonies places arose. All this was sustained through a repressed system where every section of the nation was influenced by the state (Brumfield). The constructions programs that Stalin came up with were to be designed by the architects and prisoners provided the labor. It is evident that the successful architects were those who were able to meet Stalin's expectations (Magdalena).

How Lev Rudnev's Ideas Were Close To Stalin's

Lev Rudnev's understood Stalin's architectural demand, the building of Frunze academy was one of the pioneering buildings that displayed the creativity of Rudnev. It stood out among other Soviet architecture. As part of the requirements of Stalin's competitive program, the building was able to show the mighty and power of the red army though its design. The interior was meant to secure the status of the military and political training of the army commanders. Rudnev was able to meet the political and design needs of Stalin by constructing a building that displayed authority.

The new central building of the Moscow state university was a culmination of the architectural design. It was constructed in a way that it was able to display flamboyancy facilitated by authoritative design. The design of the building was more of a self-contained and strongly regulated community. It was a connection between utopian thoughts of communism and the elite era that came towards the end of Stalin's rule. Even thought the building has some elements of the manhattans skyscraper designs, the vastness of the building and the well-created symmetry is unique to it (Cracraft and Rowland). There is clear evidence of the waste in the interior spaces due to the design (Brumfield). Therefore, Rudnev was able to accomplish Stalin's goals through the building, create a sense of dominance in the city through architectural design.

Moreover, the buildings location and the air that surrounds it is part of the composition and an essential part of the construction itself (Brumfield). The university complex was built on the high plateau of river Moskva since it provided an opportunity for the construction of a new ensemble. The construction rhyming with nature and the emphasis given to the heights of the background hills help to display the prominence of the building; an idea that Rudnev conceived to help meet the needs of the ruler.

Display of Stalin's Ideas in Rudnev Architecture

Rudnev architecture was able to display Stalin's idea of political superiority. In one of the cases, Rudnev criticized other architects for failing to design buildings that would meet the political stature of the then ruler. To him, political symbolic building such as the proposed house of Soviets was supposed to show indestructibility of the Soviet Union (Cracraft and Rowland 77). Other plans were viewed as flawed as they were not able to ensemble the centerpiece design. Moreover, there was a need to have bigger buildings to extend the gaze that one would have while passing in the city. The symbolic content that Rudnev architecture held was in line with Stalin's desire to show boldness, happiness, and optimism as a nation.

Rudnev position was the creation of an organized city through the hierarchy. He did this to align with Stalin's desire to display authority and power. Through the architect, Rudnev advocated for all new buildings to be organized around the new state administrative building. The palace of culture and science was shown as a gift from the Soviets to the polish (Cracraft and Rowland). In the construction, the Soviets ideas dominated every sector including the plan and the number of workers who were involved. After the completion of the building, soviets events were taking place here, probably as a symbol to show that Russians had established their dominance.

The Intention of the Buildings

Immediately Stalin came into power; he had dreams for his country which included changing the national outlook and bringing about a national revolution. To do so, major projects were undertaken including change in agriculture practices, the growth of heavy industries and construction projects. The construction projects were a culmination of the other projects that Stalin made. For instance, the heavy industries provided the materials for the construction of the buildings. The Moscow state university is credited for having led in the utilization of innovative technology from home industries.

On the other hand, the masses that were moving from rural areas to urban areas needed work for sustainability. While agricultural land in the rural areas was maximized through machines and common farming practices, the people in urban areas were kept occupied through the construction projects. For instance, Stalin's center for culture and sciences employed more than five thousand Russians during the entire construction period. The use of prisoner's labor was intended to stimulate construction projects and reduce the cost of labor. The construction details reveal that the majority of the prisoners were criminals who committed fewer crimes or farmers who had opposed the indoctrination practices of the then leaders.

Symbolically, the buildings were a sign of uniqueness on the global scene. The foundations of the buildings were laid on the same day bringing about the thought of the seven pyramids. Moreover, the skyscrapers were built along the garden ring road, therefore, bringing about the historic downtown timeline. There were rumors spread regarding the buildings and their unique capabilities; all this may have been part of the leadership propaganda to ensure that people viewed the buildings with awe (Magdalena). The thought that Stalin intended to rebuild the Moscow skyline to look like the zodiac table with the nine skyscrapers representing the nine planets may have been symbolic (Sudakov). It was a move to ensure that people viewed him as insightful. Rudvez may have been aware of the leader's intention and probably why his designs were able to merge the gothic styles and modernism that Stalin intended to have in his art.

Public Perception Towards the Buildings

The palace of culture and sciences may not have been the best gift to the Polish as Stalin claimed; to them, it is a reminder of the harsh rules and external domination by the Russians (Pulse.ng). During the construction, there was a great violation of human rights and people lost their lives (Zhukov and Talibova). The construction that entails a cinema, food court a swimming pool and even a community center was seen to be wastage of funds especially at a time when people were living in deplorable conditions (Oliver).

Even though the building represents a decade of oppression and misery, it is the tallest building in Poland and also one of the tallest in the European Union. With the negative perception that people had during its construction, there have been calls to bring it down (Bernatt). The 2009 foreign minister called for the demolition of the building since it was quite expensive to maintain. Other leaders have termed it as an open symbol of depression and communist depression (Bernatt; Wolfe).

On the other hand, the Moscow state university building was a show of strength and might. It is credited for having pioneered the construction and design of other buildings across Russia. Through it, the idea of displaying Moscow as a great educational center was realized. So much was invested in the project to help realize the physical stature that it got. Prominent leaders in Russia have had their input, for instance, during the building construction and even after, those in power have continued to help in refurbishment of the building (Moscow State University). Moreover, the building was seen as a center of innovation as many original parts were developed to enable its completion. Being the tallest building in the world used for educational purposes, it carries a sense of significance to the nation (Nathaniel). Unlike the Stalin's centre of culture and sciences that is held lowly by the Polish (Bernatt), the Moscow state university building is an essential part of the Russian landmarks.

Russian Architectural Propaganda

The designs of the buildings were depicted as revolutionary, even though they were essentially the gothic structures but given a new taste and outlook. The Russian propaganda was able to depict the buildings as pioneered by a new Soviet man. The idea of a positive hero was conveyed, to emulate him, there was a need for citizens to be intellectuals and have the hard discipline (Brandenberger). Stalin was not driven by crude impulses, rather consciousness and self-mastery. A leader who was willing to ensure equality and sacrifice to ensure the socialist way...