10 Aleksandr Vatlin, ‘Terror raionnogo masshtaba: Kuntsevo’, in Butovskii poligon, 1937–1938 gg.: kniga pamiati zhertv politicheskikh repressii, no. 5 (Moscow, 2001), pp. 13–21.
Chapter 38 The Foundation Pit
1 G. Gigor'ev, ‘Pamiatnik epokhi’, Ogonek 20–1 (1937), pp. 23–5, here p. 23.
2 See, e.g., Vecherniaia Moskva, 23 December 1936, but above all the magazines devoted to building and architecture, such as Stroitel'stvo Moskvy, under the heading ‘Na stroitel'stve Dvortsa Sovetov’ or ‘Moskva na stroike’. Stroitel'stvo Moskvy 9 (1937), pp. 26–7: ‘Sooruzhenie fundamentov Dvortsa Sovetov’.
3 E. V. Mandel and A. F. Radin, ‘Raion Dvortsa Sovetov’, Stroitel'stvo Moskvy 9 (1937), pp.19–20, 56–61.
4 For all this, see Dvorets Sovetov, ed. Otdel Tekhnopropagandy Stroitel'stva Dvortsa Sovetov (Moscow, 1939).
5 Memoirs of M. L. Pasternak, in Razrushenie Khrama Khrista Spasitelia (London, 1988), pp. 30–8 [with photographs]; Sergei Romaniuk, Moskva: utraty (Moscow, 1992), pp. 7–86.
6 Sebastian Kempgen, Kirchen und Klöster Moskaus (Munich, 1994), p. 205. On the construction history, see E. I. Kirichenko, Khram Khrista Spasitelia – pamiatnik arkhitektury 1830–1850 (Moscow, 1996); Razrushennye i oskvernennye khramy: Moskva i sredniaia Rossiia s poslesloviem ‘predely vandalizma’ (Frankfurt am Main, 1980).
7 See Razrusheniie Khrama Khrista Spasitelia.
8 On the competitions, see Catherine Cook and Igor Kazus, Sowjetische Architekturwettbewerbe 1924–1936 (Basel, 1991); Beate Moser (ed.), Naum Gabo und der Wettbewerb zum Palast der Sowjets Moskau, 1931–1933 (Berlin, 1992); Peter Noever (ed.), Tyrannei des Schönen: Architektur der Stalin-Zeit (Munich and New York, 1994); Christian Borngräber, ‘Der Sowjetpalast im Zentrum von Moskau: Chronologie der sieben Entwurfsphasen bis zum Baubeginn am Ende der 30er Jahre’, in Jürgen Harten (ed.), ‘Die Axt hat geblüht …’: Europäische Konflikte der 30er Jahre in Erinnerung an die frühe Avantgarde (Düsseldorf, 1987), pp. 417–25.
9 Andrey Platonov, The Foundation Pit, trans. Robert Chandler and Geoffrey Smith (London, 1996), p. 26.
10 Karine Ter-Akopyan, ‘Projektierung und Errichtung des Palasts der Sowjets in Moskau: Ein historischer Abriss’, in Moser (ed.), Naum Gabo und der Wettbewerb zum Palast der Sowjets Moskau, 1931–1933, p. 185.
11 Ibid., pp. 202–9.
12 Igor A. Kazus, ‘Stalin und der Palast der Sowjets’, in Noever (ed.), Tyrannei des Schönen, pp. 51–4.
13 Helen Adkins, ‘Die internationale Beteiligung am Wettbewerb zum Palast der Sowjets’, in Moser (ed.), Naum Gabo und der Wettbewerb zum Palast der Sowjets Moskau, 1931–1933, pp. 197–201.
14 Interview with Frank Lloyd Wright, in Peter Lizon, The Palace of the Soviets: Change in the Direction of Soviet Architecture (Ann Arbor, MI, 1972), pp. 173–5; see also Donald Leslie Johnson, ‘Frank Lloyd Wright in Moscow, June 1937’, Journal of the Society of Architectural Historians 46/1 (1987), pp. 65–79.
15 Isaak Yu. Éĭgel, Boris Iofan (Moscow, 1978), p. 93.
16 ‘Gel'freikh, Iofan, Shchuko: arkhitekturnaia dominanta Moskvy’, Stroitel'stvo Moskvy 19–20 (1937), pp. 11ff.
17 E. Veniaminov, ‘Torzhestvo peredovoi tekhniki’, ibid., pp. 15–17.
18 The best account is still to be found in Eigel, Boris Iofan.
19 Isaak Ejgel, ‘Der Tyrann und der Baumeister’, in Noever (ed.), Tyrannei des Schönen, pp. 192–6, here p. 195.
20 This was demonstrated for the first time in the exhibition of the work of Armando Basini in the Shchusev Museum of Architecture in Moscow: Il Palazzo Italiano di Soviet: Italyansky Dvorets Sovetov, catalogue from the Schusev State Museum of Architecture, Moscow, 15 December 2006–20 February 2007. See there, especially, Vladimir Sevod, ‘Italianskii Dvorets Sovetov’, pp. 52–96, and Sergei Nikitin, ‘Na puti k Dvortsu Sovetov: zhizn' i tvorchestvo Borisa Iofana v 1920-e gody’, pp. 120–7.
21 The statue was increased in height from 75 to 100 metres – i.e. by a quarter of the overall height; see Eigel, Boris Iofan, p. 99.
22 See the drawings ibid.
23 Albert Speer, Erinnerungen (Berlin, 1969), p. 183.
24 Rem Kolhaas has drawn attention to Diego Rivera’s Lenin fresco in the Rockefeller Center, which was painted over and is discussed in ‘Kremlin on Fifth Avenue’, in Delirious New York: A Retroactive Manifesto for Manhattan (New York, 1994), pp. 220–9. In reality, however, it is a matter of the relation not to the Kremlin but to the Palace of the Soviets.
25 Among its patrons was the author of this book, who many years ago began his exploration of a Moscow that had become invisible. See Karl Schlögel, Moskau lesen (Berlin, 1984), in the chapter ‘Der Schatten eines imaginären Turms’ [The Shadow of an Imaginary Tower], pp. 56–64.
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