Postconstructivism

The term postconstructivism was coined by Selim Khan-Magomedov, a historian of architecture, to describe the product of avant-garde artists' migration to Stalinist neoclassicism.

[1][2] Khan-Magomedov identified postconstructivism with 1932–1936, but the long construction time and vast size of the country extended the period to 1941.

Existence of this style is evident, but Khan-Magomedov's explanation of its evolution as a natural process inside the architectural community, rather than as a result of political direction by the Party and State, is strongly disputed.

At this time, the architectural profession was divided into three generations: According to Khan-Magomedov, two forerunners of the style were Ivan Fomin and Ilya Golosov.

Fomin's concept, easily formulated, erected in steel and granite in Moscow (Dynamo Building), was well understood even by the inexperienced youth.

Golosov and his followers deliberately replaced the proven historical details (columns, capitals, friezes, and cornices) with their inventions – to differentiate themselves from pure Revivalists.

Another benefit in a time of total rationing was that, unlike Constructivism, the new style minimized use of steel and cement, turning back to primitive masonry with wooden floors and partitions.

Evolution – Constructivism to Postconstructivism to Stalinism (Moscow)[5] By 1936, the left-wing "class of 1929" and younger (Mordvinov, Alabyan) had gained some practical experience.

Authors like Dmitry Khmelnitsky[6] appreciate Khan-Magomedov's studies of the 1920s and 1930s, but completely disagree with him on the origins and evolution of early Stalinist architecture [7] and the demise of Constructivism.

Khan-Magomedov barely mentions the role of State (or Joseph Stalin personally) in those events, presenting the demise of avant-garde as a natural evolution within the professional community.

Khan-Magovedov discusses the 1929–1931 political assaults by VOPRA at length, but fails to mention that they were part of an all-out national campaign.

In fact, Schuko was a seasoned Neoclassicist and the Library was his attempt to differentiate into proletarian classic with Art Deco tools.

Praised by Khan-Magomedov, the only Postconstructivist building entered on the national monument register, the school was reconstructed in 2001 to modern safety standards.

On a smaller scale, Russian architectural firms design country houses in true postconstructivist shape.