Gothic Taste and Russian Culture of the 18th Century

This project was an experiment in widening the traditional borders of study in the field and looking at the phenomenon of Gothic taste in many genres and kinds of art. The Gothic taste was a major element in the cultural image of the Enlightenment both in western Europe and in Russia. It was an essential component in the world outlook of an educated person and without studying this phenomenon it is impossible to fully understand the thinking of artistic professionals, amateurs and users in Russian society in the 18th century. Mr. Khatchatourov first analysed the reasons for the importance of Gothic taste in the culture of the European Enlightenment and then studied its linguistic and lexicographic evolution in 18th century Russian culture. He sought to determine the semantic context which actively formed the human mind set in the Enlightenment, including potential users and producers of articles in the Gothic taste. He then looked at the process of absorption of this concept by those forms of art which express it most strongly, in particular architecture and the theatre. His study was based on a comprehensive historical and culturological study using a wide range of sources, a formal stylistic method approach considering the interaction of non-classical styles of the Enlightenment with the dominant classicism, and an iconographic approach which revealed the essential aspects in a new image synthesis of the culture of the Enlightenment.

The Man-Made Environment in Post-Stalinist Europe 1953-1968

This project looked at the various responses, both political and aesthetic, to the end of socialist realism and the return of pre-war modernism as a desirable ideal. It considered both the built environment and objects of daily use (furniture, radios, TV sets, etc.) in several countries of the region, including Estonia, Hungary, Poland, Russia and Romania, also comparing developments there with corresponding ones in the west. Among particular aspects considered were the effects of Kruschev's speech in December 1954 to workers in construction, machine-building and design industries, in which he argued against monumentalism and criticised both "classical architecture" and socialist realism. The team see the real issue in interpreting Eastern European architecture as its lack of a critical edge, since official discourses took the place of any form of criticism and architects sought to implement the "official line". Megastructures became increasingly popular from the 1960s onwards and in Romania, for instance, came to dominate the city in the late 1980s. Such structures proved an efficient way to control the environment in countries plagued by prefabrication and social housing, and the group see the exhibition of inflated concrete grids as perhaps the most important feature of Eastern European architecture in the 1960s and 1970s. They also point out the rarity of glass and steel architecture in the east, where the preferred material was concrete, a material seen as "revolutionary" as it was the product of heavy industry and was grey, i.e. the workers' colour. Tactile elements were more important here than the visual elements favoured in the west, and a solidity more in line with the dominant ideology than the ephemeral qualities of glass.