FACULTIES

FACULTIES

The team of painters, sculptors and architects created the Main Course. In 1920–1923 the heads of the workshops at the faculty of painting  were Baranov-Rossine, A. Vesnin, Drevin, Kliun, Osmerkin, Popova, Rodchenko, Udaltsova, G. Fedorov and Ekster. They wrote programs for particular workshops. Each workshop was to solve a peculiar technical problem. Therefore, the “Discipline of Synchronized Shapes and Colors” was conducted by Baranov-Rossine,“Plane, Color and Spatial Design” by Kliun,  “A graphic construction on a plane surface” by Rodchenko, the discipline “Color” by Popova and Vesnin.

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MARKHI is the heir of VKHUTEMAS. In 1930, the VKHUTEMAS faculty of architecture became an independent educational institution – the Institute of Architecture and Civil Engineering, from which links stretch to the Moscow Institute of Architecture.

At the same time, many other powerful schools inherited from the faculty of architecture of VKHUTEMAS…

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OBMAS– United studios

The foundations of the studio’s ideological component were laid in the Commission of synthesis of painting, sculpture and architecture…

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At the faculty of painting, the main problems of the university (the struggle for objective teaching methods, for the creation of masterpieces versus art for the mass consumer and others) turned into a struggle for or against easel art. The objectivity of the methodology from 1922–1923 was provided by the connection of the faculty with the Main Course.The Theory of Composition course played an important unifying role, it was given by Favorsky simultaneously for all departments of the faculty. Students were prepared to communicate with the mass audience through theatrical design, monumental art and propaganda work…

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The faculty of metalwork arose as a result of the merger of several studios of the Stroganov School, preserved as part of the 1st State Agricultural School, in which various metalwork processes were carried out: mounting, chasing, casting, filigree metalwork. At the first stage, which coincided with the introduction of The New Economic Policy, the activities of the faculty continued as traditional training in crafts and the creation of applied products...

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The formation of the woodwork faculty from the workshops of the 1st Free State Art Studios is close to the process that took place at the metalwork faculty.

Continuing the line of development of Free State Art Studios, the faculty was engaged in the design of furniture and decorative processing of wood, which became the main direction of the woodwork faculty. In 1922 new principles of teaching at the faculty were introduced in connection with the transition of tutors of the Main Course Kiselyov and Lavinsky to the faculty

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The formation of the woodwork faculty from the workshops of the 1st Free State Art Studios is close to the process that took place at the metalwork faculty.

Continuing the line of development of Free State Art Studios, the faculty was engaged in the design of furniture and decorative processing of wood, which became the main direction of the woodwork faculty. In 1922 new principles of teaching at the faculty were introduced in connection with the transition of tutors of the Main Course Kiselyov and Lavinsky to the faculty

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From the very first steps the faculty was thought of as “industrial” – “printing”. Already in 1921 the faculty had received an order for a gift album for delegates to the III Congress of the Comintern. Later, in the curriculum of the Faculty, industrial practice took the most time in comparison with other faculties and took place in its own printing house VKHUTEMAS-VKHUTEIN.

In the process of evolution there was a transition from simple application of graphic printing techniques for creating books, posters and other products to the artistic design of the book as a single organism

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Like other production faculties, the textile faculty grew out of the workshops of the  1st Free State Art Studios. Repeating the specialization of Stroganov’s workshops, at first the faculty had three departments: weaving, stuffing and embroidery; in 1923-1926 – stuffing and weaving, in 1926 knitwear was added to them. The old material base – manual and mechanical weaving machines – was also preserved. Tutors were mainly textile practitioners who tried to bring textile production to a new level and equip students with theoretical and historical knowledge

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Innovative tutors played an active role at the faculty. The main ideologist and methodologist of the faculty was Korolev. Sculpture was taught by Babichev. Until 1923 sculptural classes were led by Lavinsky, until he moved to the woodwork faculty (as an active supporter of industrial art). Korolev advocated the application of formal principles to figurative forms, his programs became the basis of the faculty’s activity. After his departure from VKHUTEMAS, these ideas were largely continued by Chaikov. At the end of the 1920s there was a growing interest among students in the links between sculpture and architecture

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