Ten key examples of Tashkent's Soviet modernist architecture

由专筑网椰子，小R编译

塔什干的现代主义建筑是最近举行的“塔什干在世界何处”会议的焦点。在这里，组织者挑选了乌兹别克斯坦首都 20 世纪 60、70 和 80 年代的 10 座重要建筑。

此次会议是乌兹别克斯坦艺术与文化发展基金会领导的“塔什干现代主义 XX/XXI 研究与保护项目”的一部分，旨在唤起人们对这座城市现代主义建筑遗产的关注，并讨论其未来。

米兰Grace建筑工作室、学者Boris Chukhovich、米兰理工大学和 Laboratorio Permanente 领导的团队对该市的现代主义建筑进行了调查，这也是项目的一部分。

Tashkent's modernist architecture was the focus of the recent Where in the World is Tashkent conference. Here the organisers pick 10 significant buildings in Uzbekistan's capital from the 1960s, '70s and '80s.
Created as part of the wider Tashkent Modernism XX/XXI research and preservation project led by the Uzbekistan Art and Culture Development Foundation, the conference aimed to draw attention to the city's modernist architectural heritage and discuss its future.
As part of the project, a team led by Milan-based architecture studio Grace, academic Boris Chukhovich, the Politecnico di Milano and Laboratorio Permanente has carried out a survey of the city's modernist architecture.


选定保护的建筑

作为前苏联人口最多的城市之一和中亚地区最大的城市，塔什干市拥有众多现代主义时期的市政、文化和住宅建筑。

调查结果是此次会议同期举办的展览的基础，最终选定了 24 座建筑进行保护。乌兹别克斯坦艺术与文化发展基金会目前正在探索将这些建筑申请列入联合国教科文组织世界遗产名录。

下面，Chukhovich 和Grace创始人兼塔什干现代主义 XX/XXI 协调员Ekaterina Golovatyuk选择了 10 座建筑，这些建筑展示了塔什干现代主义建筑的广度和质量：

Buildings selected for conservation
As one of the most populated cities within the former Soviet Union and the largest in Central Asia, Tashkent contains numerous municipal, cultural and residential buildings from the era.
The results of the survey, which form the basis of an exhibition opened alongside the conference, led to 24 buildings being selected that will be conserved. The Uzbekistan Art and Culture Development Foundation is now exploring a UNESCO World Heritage listing application for the collection of buildings.
Below, Chukhovich and Grace founder and Tashkent Modernism XX/XXI coordinator Ekaterina Golovatyuk select 10 buildings that demonstrate the breadth and quality of modernist architecture in Tashkent:



全景电影院 / Vladimir Beryozin，1964 年

这座电影院是塔什干最具标志性的建筑之一，其所在的建筑群以多米诺骨牌柱为造型基础。相邻的透明长条形建筑内曾设有门厅和咖啡厅，不过现在已被封堵。

Golovatyuk 和 Chukhovich 说：“全景影院（艺术宫）是中亚首例，也是苏联第一座用于观看全景和宽银幕电影的沉浸式影厅。”

“它的美学、独创的布局和独特的设计使其毫无疑问地成为塔什干现代主义的主要杰作和 20 世纪塔什干最著名的建筑作品。”

Panoramic Cinema by Vladimir Beryozin, 1964
One of Tashkent's most iconic buildings, this cinema hall occupies a block that has a form informed by a doric column. An adjacent long, transparent block previously contained the foyer and cafe, although this has now been blocked up.
"The Panoramic Cinema (Palace of Arts) is the first in Central Asia and one of the first in the USSR immersive halls for viewing panoramic and widescreen films," said Golovatyuk and Chukhovich.
"Its aesthetics, the original layout and the unique design make it unequivocably the main masterpiece of Tashkent modernism and the most famous work of Tashkent architecture of the 20th century."



列宁博物馆 / Yevgeny Rozanov and Vsevolod Shestopalov，1970 年

这座建筑是为纪念弗拉基米尔·列宁诞辰一百周年而建，是最早的纪念前苏联领导人的博物馆之一。它是苏联其他 13 座博物馆的原型。

Golovatyuk和 Chukhovich说：“列宁博物馆（历史博物馆）是一座对塔什干起着关键作用的建筑，它一方面证明了在乌兹别克斯坦现代建筑中引入经过改造的传统元素的可能性，另一方面也证明了它对苏联的重要性，它成为纪念博物馆的典范，在苏联其他共和国被反复复制。”

“博物馆的一个重要意义是，即使是在意识形态上反对在现代建筑中使用历史建筑形式的人，也承认该建筑的质量、优雅和高贵。”

Lenin Museum by Yevgeny Rozanov and Vsevolod Shestopalov, 1970
Built to mark the centennial of Vladimir Lenin's birth, this building was one of the earliest museums dedicated to the former Soviet leader. It acted as a prototype for the other 13 built across the Soviet Union.
"The Lenin Museum (Museum of History) is a building that played a key role for Tashkent, on the one hand proving the possibility of introducing reworked traditional elements into the modern architecture of Uzbekistan, and for the USSR on the other, becoming a model of a memorial museum, repeatedly reproduced in other Soviet republics," said Golovatyuk and Chukhovich.
"An important indicator of the significance of the museum was the fact that even ideological opponents of the use of historical architecture forms in modern buildings recognised the quality, the grace and the elegance of the building."



乌兹别克斯坦酒店，1974 年

这座 17 层高的酒店是矗立在塔什干新旧中心之间的地标性建筑，主要是为来访的苏联外交官建造的，可容纳 930 名游客。

Golovatyuk 和 Chukhovich说：“外墙被设计成全高悬挂式遮阳板。”

“作为不朽的‘滨海大道’的高层地标，它至今仍是城市天际线的主要参照物，标志着塔什干中心现代主义改造计划的起点。”

Hotel Uzbekistan, 1974
A landmark that stands between the old and new centres of Tashkent, this 17-storey hotel was built largely for Soviet diplomats visiting the city and contained accommodation for 930 visitors when it opened.
"The facade was conceived as a full-height suspended sunscreen," said Golovatyuk and Chukhovich.
"Created as a high-rise landmark of the monumental 'esplanade', it remains to this day the main reference in the city skyline, marking the location from which the modernist plan for the transformation of Tashkent centre began."



国家艺术博物馆 / Iskander Abdulov and Anatoly Nikiforov， 1974 年

国家艺术博物馆是“塔什干在哪里”会议的举办地，也是乌兹别克斯坦艺术与文化发展基金会的总部。

作为前苏联第一批专门建造的现代艺术博物馆之一，该建筑最初由一系列抽象的方形板块组成。20 世纪 90 年代，博物馆进行了翻新，增加了新的外墙，现在该组织正在考虑将建筑恢复原状。

Golovatyuk 和Chukhovich说：“艺术博物馆是塔什干现代主义最抽象、最神秘的作品，它证明了即使在标准化的建筑行业中，也可以将建筑设计成艺术品。”

“这是中亚设计的第一座现代艺术博物馆，也是苏联设计的第一座现代艺术博物馆之一。受新材料可能性的启发，这座建筑也透露出建筑师希望将博物馆改造成一座具有形而上学和超凡脱俗特质的寺庙的愿望。”

State Museum of Arts by Iskander Abdulov and Anatoly Nikiforov, 1974
The venue for the Where in the World is Tashkent conference, the State Museum of Arts is the headquarters of the Uzbekistan Art and Culture Development Foundation.
One of the first purpose-built modern-art museums in the Soviet Union, the building was originally clad in a series of abstract, square panels. In the 1990s, it was renovated with new facades added and now the organisation is now considering returning the building to its original state.
"The most abstract and hermetic work of Tashkent modernism, the Museum of Art remains a testament to the possibility of designing a building as a work of art, even in a standardised construction industry," said Golovatyuk and Chukhovich.
"It was the first modern-art museum designed in Central Asia and one of the first in the USSR. Inspired by the possibilities of new materials, the building also betrays the architects' desire to transform the museum into a temple with its metaphysical and transcendental qualities."


Photo by Monticello

《国家马戏团》/ Genrikh Aleksandrovich and Gennady Masyagin，1976 年

国家马戏团外形酷似飞碟，是前苏联各大城市建造的众多马戏团之一。然而，与大多数遵循莫斯科批准的固定设计的马戏团不同，塔什干马戏团具有独特的未来主义特征。

Golovatyuk 和Chukhovich说：“塔什干马戏团是塔什干建筑师创造性举措的一个范例，在其他城市的建筑师只能改造典型的莫斯科项目时，他们捍卫了创造独特本地建筑的权利。”

“穹顶的定制设计、观众厅的新概念、设计与历史悠久的哈德拉广场的紧密联系——所有这些都使马戏团成为在正确的时间、正确的地点出现的物件，标志着这座古老城市的新生。”

State Circus by Genrikh Aleksandrovich and Gennady Masyagin, 1976
With a UFO-like form, the State Circus was one of numerous built in major cities across the Soviet Union. However, unlike the majority that follow a set Moscow-approved design, the Tashkent circus has a unique, futuristic identity.
"The Tashkent circus is an example of a creative initiative of Tashkent architects who defended the right to create unique local architecture at a time when architects in other cities could only adapt typical Moscow projects," said Golovatyuk and Chukhovich.
"The custom design of the dome, the new concept of the spectator foyer, the strong connection of the design with the historical Khadra Square – all this makes the circus an object that appeared at the right time in the right place, marking the new birth of the old city."


Photo by Tom Ravenscroft

Chorsu Market / Vladimir Azimov and Sabir Adylov， 1980 年

这座建筑是该市最大的农贸市场，其绿色装饰穹顶包围着一个大型室内市场，市场内展示着钢结构框架。

Golovatyuk 和Chukhovich说：“长期以来，历史学家都认为乔尔苏市场的灵感来源于莫斯科建筑师Andrey Kosinsky的作品。然而，我们设法确定了这一大胆项目的更多意想不到的起源，它就位于塔什干中世纪地区的中心。”

他们继续说：“这个过程始于阿尔及利亚城市Sidi Bel Abbas，以在乔尔苏古城建造一个巨大的圆顶而告终，它可以清楚地说明‘文化转移’的概念，通过这个概念，世界上一个地方发展起来的建筑模式在其他地方发生了翻天覆地的变化，获得了接受它们的环境的特征和文化特性。”

Chorsu Market by Vladimir Azimov and Sabir Adylov, 1980
The city's largest farmers market, this building has a decorative green dome that encloses a large indoor market where the structure's steel frame is on display.
"For a long time, historians believed that the inspiration for the creation of the Chorsu market was the work of the Moscow architect Andrey Kosinsky," said Golovatyuk and Chukhovich. "However, we managed to establish more unexpected origins of this daring project, embedded in the very heart of the medieval part of Tashkent."
"The process, which began in the Algerian city of Sidi Bel Abbas and ended with the construction of a huge dome in the old city of Chorsu, could be a clear illustration of the concept of 'cultural transfers', through which architectural models developed in one part of the world are transformed beyond recognition in others, acquiring features and cultural characteristics of the context that accepts them," they continued.


Photo by Tom Ravenscroft

人民友谊宫 / Yevgeny Rozanov，1981 年

这座建筑由创建列宁博物馆的莫斯科同一家设计院设计，也是苏联各地建造的几座同类型建筑之一。

它的风格非常具有勃列日涅夫时代建筑的代表性，建筑外立面以技术为灵感，用混凝土表现螺栓头。

Golovatyuk和Chukhovich说：“人民友谊宫在规模、构图、结构体系、材料色调、纪念性艺术数量等方面都是前所未有的。如果我们必须规定它在塔什干建筑史上的地位，那么这座宫殿可以被视为现代主义版本的Shchusev's Navoi剧院。”

他们继续说道：“这座巨大的建筑反映了莫斯科建筑师对乌兹别克斯坦传统建筑的看法，它以几乎不变的形式保存至今。这座宫殿不仅在美学方面独一无二，而且在应用的建筑技术方面也是如此。”

People's Friendship Palace by Yevgeny Rozanov, 1981
Designed by the same Moscow institute that created the Lenin Museum, this building was also one of several of the same typology that were built across the Soviet Union.
Its style is very representative of Brezhnev-era architecture and the building is wrapped in a facade informed by technology, with concrete representations of bolt heads.
"The Palace of Friendship of Peoples is unprecedented in size, composition, constructive system, palette of materials, the amount of monumental art," said Golovatyuk and Chukhovich. "If we had to prescribe its place in the history of Tashkent architecture, the Palace could be considered a modernist version of the Shchusev's Navoi theater."
"The gigantic building, in which Moscow architects reflected their ideas about the traditional architecture of Uzbekistan, has survived to this day in almost unchanged form," they continued. "The Palace is unique not only in terms its aesthetics, but also for the construction technologies applied."



宇航员大道地铁站 / Spartak Ziganshin，1984 年

顾名思义，这座建于 1984 年的地铁站为纪念苏联宇航员而建。车站用大理石和装饰玻璃灯饰进行了丰富的装饰，两侧是艺术家Boris Klochkov为苏联航天先驱创作的浮雕。

“塔什干地铁自 1977 年开始运营，是中亚第一条地铁。在城市规模上，它代表了城市现代化进程中非常重要的一步，不仅仅是一个交通系统。”Golovatyuk 和 Chukhovich说，“它不仅具有战略防御功能，还具有意识形态功能，因为它必须通过车站的建筑设计来证明国家的历史和身份。”

他们继续说：“由 S Sutyagin 监督的当地建筑师团队设计了宇航员大道站，其独创性在于空间质量高、装饰精美，并有大量不朽的艺术作品，其灵感来自于征服太空的英雄主义。”

Metro station Prospekt of Cosmonauts by Spartak Ziganshin, 1984
Built in 1984, as the name suggests, this station is dedicated to the Soviet Union's cosmonauts. Richly decorated with marble and decorative glass lighting, the station is flanked with reliefs dedicated to Soviet space pioneers created by artist Boris Klochkov.
"Tashkent's metro, operating since 1977, was the first in Central Asia. At the urban scale, it represented a very important step in the modernization of the city and was seen as more than a transportation system," said Golovatyuk and Chukhovich. "It had not only strategic defensive but also ideological functions, as it had to testify the country's history and identity by means of the architecture of the stations."
"A team of local architects supervised by S Sutyagin designed the Cosmonauts Avenue station, quite original for its high spatial quality, fine finishes and numerous works of monumental art, inspired by the heroic conquest of space," they continued.



Zhemchug / Ophelia Aidinova，1985 年

这座塔式住宅楼旨在重现中亚传统马哈拉（mahallas）的传统集体居住环境，包含一系列层叠的三层庭院。

“建筑师Ophelia Aidinova决定反对在工厂制造并安装在建筑工地上的廉价预制混凝土房屋，转而采用意味着就地建造的更廉价的建筑技术。”Golovatyuk 和 Chukhovich说。

他们继续说：“尽管新技术最终并不像宣布的那样经济，但塔什干赢得了一个野蛮主义杰作，吸引了来自世界各地的建筑师。‘珍珠’（Zhemchug）的概念和布局在世界上是绝无仅有的——它的形状源自乌兹别克传统单层街区（mahallas）的社会联系，Ophelia Aidinova决定重新诠释这种联系，建造一座带有集体悬挂庭院的多层建筑。”

Zhemchug by Ophelia Aidinova, 1985
Designed to recreate the traditional collective living environments of traditional central Asian mahallas, this residential tower block contains a series of stacked, three storey courtyards.
"The architect Ophelia Aydinova decided to oppose the cheap prefabricated concrete housing, manufactured at the factory and mounted on the construction site, [for] the even cheaper construction technique implying construction in situ," said Golovatyuk and Chukhovich.
"Though the new technology ended up not being as economical as announced, Tashkent earned a brutalist masterpiece, attracting architects from across the world," they continued. "The concept and the layout of Zhemchug – the Pearl – has no analogues in the world – its shape was generated by the social ties in traditional Uzbek one-story neighborhoods (mahallas), which Aidinova decided to re-interprete by erecting a multi-storey building with collective hanging courtyards."


Photo by Tom Ravenscroft

Heliocomplex Sun，1987 年

SUN综合体位于距离塔什干约 45 公里的一座小山上，是世界上最大的太阳灶之一。

作为前苏联开发的最后一个重大科学项目之一，它的外形极具未来感，拥有 12090 面镜子，可将材料加热到 3000 摄氏度。

Golovatyuk和Chukhovich说：“从技术角度看，世界上有两个类似的太阳炉：一个在法国比利牛斯山的奥代洛市，另一个在塔什干附近的帕肯特山麓。法国的建筑最早出现，但乌兹别克的后继建筑更具雄心。”

“Odeillo的建筑群完全是功利性的，而Parkent的太阳能建筑群则受到未来主义建筑和宇宙梦想的启发。太阳研究所至今仍在运作，它不仅证明了现代主义建筑原则的普遍性，还证明了其适应地球上各种地貌的能力。”

Heliocomplex Sun, 1987
Located on a hill around 45 kilometres from Tashkent, the Heliocomplex Sun is one of the largest sun furnaces in the world.
Built as one of the last major scientific projects developed by the Soviet Union, it has a futuristic form and with 12,090 mirrors can heat materials up to 3,000 degrees Celsius.
"From a technological point of view, there are two similar solar furnaces in the world: in the city of Odeillo in the French Pyrenees and the Parkent foothills near Tashkent," said Golovatyuk and Chukhovich. "The French building appeared first, but its Uzbek successor was more ambitious."
"While the complex at Odeillo is completely utilitarian, the solar complex at Parkent was inspired by futuristic structures and cosmic dreams," they continued. "Functioning to this day, the sun institute testifies not only to the universality of the principles of modernist architecture, but also to its ability to adapt to various landscapes of the planet."