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>Urbanotopia and the frontier: Reaching heights before the crash in Moscow and New York at the end of the 1920s (Russia, Georgii Tikhonovich Krutikov, Hugh Ferriss).
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Urbanotopia and the frontier: Reaching heights before the crash in Moscow and New York at the end of the 1920s (Russia, Georgii Tikhonovich Krutikov, Hugh Ferriss).
My dissertation investigates, at its broadest level, the visualization of the future city in Moscow and New York at the end of the 1920s. In particular I examine two imaginative designs executed in the form of "paper architecture." One proposition was delivered by Georgii Tikhonovich Krutikov, a Soviet student of architecture, who in 1928 presented a diploma project called Gorod budushchego (City of the Future), and the other model was suggested by Hugh Ferriss, an architectural renderer, in his book entitled The Metropolis of Tomorrow, published in 1929. I want to discover the circumstances that prompted these two architects to suggest intriguing concepts of the ideal city, in which both authors employed similar metaphors, associated with height and a skyward trend applied to urban space. Evidently their projects announced novel ways to rethink the form of a modern city, but why is the improbable concept of "flying" such an important part of Krutikov's gorod, and why does Ferriss's metropolis evoke mountainous formations? What were the conditions at play at the end of the 1920s that prompted both architects to propose such eccentric visions?; Since Krutikov's professional debut coincided with the Communist Party's adoption of Stalin's First Five-Year-Plan (October 1928--December 1932), and Ferriss's publication concurred with the Wall Street Crash in 1929, my interest leads me to reevaluate these two projects according to issues and ideas residing outside of aesthetics and to disclose the politics of representation involved in their production. Hence, my work considers how artistic practice is interconnected with socio-political issues in albeit politically and culturally distinguishable centres.; As this thesis demonstrates, Krutikov and Ferriss responded to these growing tensions by imbuing their utopian urban spaces with concepts related to boundaries and limits, and by applying rhetoric and visual vocabulary that resound with issues occupying the Soviet and American "frontier" paradigm, respectively. However, as this study concludes, while appreciating Krutikov's and Ferriss's great imagination and the dilemmas each of them faced, we should recognize the vicissitudes of their concepts, and how the following events, especially of the 1930s, revealed that utopian thinking is vulnerable, or perhaps induced to become a dystopian reality.
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机译：我的论文从最广泛的角度研究了1920年代末莫斯科和纽约的未来城市的可视化。特别是，我考察了以“纸质建筑”形式执行的两个富有想象力的设计。苏联建筑学专业的学生乔治·季赫霍诺维奇·克鲁蒂科夫（Georgii Tikhonovich Krutikov）提出了一个建议，他于1928年提出了一个名为Gorod budushchego（未来之城）的文凭项目，另一种模型是由建筑渲染器设计师休·费里斯（Hugh Ferriss）在他的书中提出的。明天的大都会（Metropolis of Tomorrow）于1929年出版。我想发现促使这两位建筑师提出理想城市构想的环境，两位作者在其中都运用了类似的隐喻，并将其与城市空间的高度和向天空趋势相关联。显然，他们的项目提出了重新思考现代城市形态的新颖方法，但是为什么“飞”这个不可思议的概念如此成为克鲁蒂科夫戈罗德的重要组成部分，为什么摩天大都会唤起山区的形成？在1920年代末，促使两位建筑师提出这种古怪的设想的条件是什么？由于Krutikov的职业生涯首次亮相恰逢共产党通过斯大林的第一个五年计划（1928年10月至1932年12月），并且Ferriss的出版物与1929年的《华尔街大崩溃》同时发生，我的兴趣使我重新评估了这两个项目，根据存在于美学之外的问题和观念，并揭示其生产中涉及的代表政治。因此，我的作品考虑了在政治和文化上可区分的中心，艺术实践如何与社会政治问题联系在一起。正如本论文所表明的那样，克鲁蒂科夫和费里斯通过对与边界和界限有关的概念充实其乌托邦式的城市空间，并通过运用修辞和视觉词汇来应对这些日益紧张的局势，这些词汇与苏联和美国的“前沿”范式所占据的问题有关。但是，正如本研究的结论，在欣赏克鲁蒂科夫和费里斯的巨大想象力以及他们各自面临的困境时，我们应该认识到他们的观念的沧桑，以及随后的事件，尤其是1930年代的事件如何揭示了乌托邦思想是脆弱的，或者也许诱使成为反乌托邦现实。
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