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By Jay Doblin

This booklet is for designers, scholars, draftsmen, and all who use standpoint.

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63 Its basement was the depot whence guns and bombs were issued to a somewhat uncontrolled range of dissidents which included (said the Bolsheviks) White Guard officers and criminal vandals as well as their own Black Guards. 64 The former owner of the house, Alexei Vikulovich Morozov, was a member of Moscow’s biggest multi-millionaire dynasty. Gothic interiors had been done by Shekhtel with vast Faustian murals commissioned from Moscow’s leading symbolist painter, Vrubel. 67 To what extent it was this shared concern of Bolsheviks and anarchists for protecting the heritage that brought artists like Tatlin and Malevich into contact with anarchism and Gan, and to what exent they were already involved in the movement, is not so far clear.

Lunacharsky, Ob iskusstve (On Art), Moscow, 1982, vol. 2, pp. , pp. 94–100. Preobrazhensky, Azbukha kommunizma, Moscow, 1919, translated 34 Catherine Cooke as The ABC of Communism, London, 1969, pp. 63–4. 44 Gan, Konstruktivizm, pp. 63–4. Gan, ‘Kino v shestom oktiabre’ (Cinema at the sixth anniversary of the Revolution), Zrelishcha (Spectacles) 61, 1923, pp. 20–2. 46 Gan, Konstruktivizm, p. 65. Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution, Oxford, 1989, p.

In a profession such as architecture, those who led the way were inevitably those who combined a suitable predisposition with useful prior experience; the vast majority of its members were essentially ignorant of the minority ideology which now ruled them. At all Alexei Gan and the Moscow Anarchists 17 three levels of the built-environmental task, at the levels of urbanism, architecture and theory, the early work of professionals reveals a complete ideological vacuum. An Architectural Studio for the Replanning of Moscow was set up by the city council, Mossoviet, in August 1918, just five months after the Party leaders moved into the Kremlin.

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