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Paper architecture. Everything interesting in art and not only Paper architecture as a social phenomenon

Information market or sanctuary of 11 oracles.

An apartment for an islander family.

"Atrium, or a space where everyone can be big and small"

Museum of equestrian sculpture without riders. 1983

"Tombstone skyscraper, or city self-erecting columbarium", (together with Yuri Avvakumov) 1983

Theater of the Lonely Red Lady.

Architect: Mikhail Filippov

Resistance shaft. 1985

Tower of Babel. 1989

Atrium. First prize at the international competition 1985

information market. Honorable Mention Prize at the International Competition 1986

Monument in 2001. Honorable Mention Award at the International Competition 1987

Architects: Alexander Brodsky and Ilya Utkin

Ilya Utkin and Alexander Brodsky

doll house

House for Winnie the Pooh.

Museum of the Disappeared Houses (Columbarium) - the first sheet.

Museum of Disappeared Houses (Columbarium) - second sheet.

Mountain-hole.

Villa Nautilus

Bridge over the abyss

city ​​turtle

Crystal Palace of the 20th century.

Museum of Urban Sculpture. Island of stability.

Bridge city.

Dome. 1990

A theater without a stage, or a wandering auditorium. 1986

Nameless river.

Ship of fools.

Opera Bastille.

Museum of Architecture.

Temple city.

Villa claustrophobia.

glass monument.

Untitled.

Forum of a Thousand Truths 1987

Monument 2000

Filippov Mikhail Anatolievich. R was born in 1954 in Leningrad.

Education:

In 1979 he graduated from the Leningrad State Academic Institute of Painting, Sculpture and Architecture. I. E. Repina.
In 1983 he joined the Union of Architects of Russia, in 1984 - the Union of Artists of Russia.

Urban planning projects:

  1. . 2009.
  2. (Moscow region).

Separate objects:

  1. Reconstruction of GUTA-Bank (Moscow). Diploma of the festival "Architecture-97" - 1996-1997;
  2. Executive mansion (Moscow, B. Afanasevsky per.) 1998;
  3. State Jewish Musical Theater (Moscow, Taganskaya Square) - 1997. Diploma of the Quadriennale in Prague (1999), diploma of the II degree of the festival "Architecture-97", diploma of the I degree of the festival "Architecture-98", prize of the "Golden Section" MOCA (1997 ), Diploma of the Union of Designers (1998). Nominated for the State Prize;
  4. Representative complex (settlement Gorki Leninskie, Moscow region) - 1998. Diploma of the festival "Architecture-98";
  5. Project for the reconstruction of the area of ​​the sea station and the harbor of the city of Sochi 2000 - 1999;

Contests:

  • Sculpture Museum, Central Glass, Tokyo. Second Prize - 1983;
  • "Style 2001", JA, Tokyo. First Prize - 1984;
  • "Atrium", Central Glass (for atrium space solution), Tokyo. First Prize - 1985;
  • "Roll of Resistance", JA, Tokyo. Honorable Mention - 1985;
  • "Information Market", Central Glass, Tokyo. Honorable Mention - 1986;
  • "Monument 2001", JA, Tokyo. Honorable Mention - 1987;
  • Ostrov, Moscow Committee for Architecture (commissioned by the Academy of Architecture of the Russian Federation). Diploma - 1998.

Main exhibitions:

  • Milan Triennale - 1988;
    State Russian Museum, St. Petersburg (personal) - 1992;
  • Milan Triennale - 1996;
  • State Museum of Architecture. A. V. Shchuseva, Moscow (personal) -1998;
  • VII Venice International Architectural Biennale (personal exhibition "Ruins of Paradise" in the Russian pavilion). 2000;
  • "Marmomak-2000", Verona (personal). 2000;
  • State Museum of Architecture. A. V. Shchuseva, Moscow. 2000;
  • "10 years - 10 architects", Royal Institute of British Architects (RIBA), London. "10 best architects of Russia". 2002;

Creative creed:

"Canonical order architecture — architecture of post-consumer society»

Claustrophobia Villa

"So the nightingale sings,
As if the bars of a cage
Can't see ahead."

"A house with an atrium is like a closed person, completely immersed in the endless spaces of his Inner World - the Inner Courtyard. The Inner Courtyard is the whole Universe for those who cannot or do not want to go outside. Our Atrium is a mirror funnel inserted into a stone house, having no windows. The funnel is mirrored from the side of the courtyard and is transparent when viewed from inside the building. All the rooms located along the perimeter - let's call them rooms, or cells, or cells, or chambers, it doesn't matter - go into the funnel with one glass wall. The inhabitants of the house look from their rooms to each other, but they see infinity."

Bridge over a precipice in high mountains

"A chapel with glass walls, a glass roof and a glass floor, standing over an endless, bottomless crack between two abysses."

"Forum of a Thousand Truths"

"You can't grasp the immensity. We spend years and years wandering in the wilds and feverishly collecting knowledge and in the end we realize that we have learned nothing. Nothing that we really needed. Information that can be bought for money is not worth it pay for it. We can't take in it at a glance, we can't get enough of it. It always contains an admixture of lies, because it comes from people, even when perceived through a computer. But no computer will tell us the most important. Real information It is available to those who can look, listen, think. It is scattered everywhere - in every spot, crack, stone, puddle. One word of friendly conversation gives more than all the computers in the world. Floating through the forest, walking through the field, the visitor The Forum may find its truth - one of the thousands."

"Inhabited Columbarium"

"We present works from a series of projects made by us for competitions of the magazine "J.A." from 1982 to 1986. The project "Inhabited columbarium" (competition "Cube 300x300x300") - a building in the city in the form of a huge concrete cube. What is its meaning? "A house dies twice. The first time - when people leave it, that is, a person is a soul Houses. The second time, and finally - when it is destroyed ... In some imaginary city, where the new architecture almost completely replaced the old one, small old houses are still preserved - each with its own long history and with people merged with it into one whole. All of them are doomed - they must be demolished to make room for something new. One fine day, some people come to the owner of a small old house and put him before a choice: he can renounce his house and move to a large new building. Then the old house is destroyed, and its facade is placed in one of the niches on the facade of the Columbarium. The owner can always come and, having risen to the desired floor, stand next to the wall behind which he has lived for so many years. If he wants to save the life of his house, the humane administration goes to meet them: the house is carefully transported inside the Columbarium and placed in one of the deep internal niches, connecting it to the necessary communications. However, this is done on one condition: the owner must continue to live in his house, despite all the oddities of life on a shelf in a huge concrete crypt. As long as people live in the house, the house is also alive. But as soon as they can't stand it and give up, the house disappears and its facade, like a death mask, appears in a niche outside.

"Museum of the Lost Houses"

"A theater without a stage or a wandering auditorium with 198 seats"

"Have you ever seen people being driven around the city in a covered truck, and they, having pushed back the canvas curtain, look out with curiosity - at ordinary streets, houses and people?
The life of the city - constantly changing, unpredictable and mysterious - is a spectacle for those who know how to watch. You need to feel like a spectator, look at the streets, courtyards, people and cars through the frame of the theatrical portal - and then the meaning of the performance will begin to open up, where everyone plays their own small unique role. Our theater does not have a permanent stage - in its endless journey through the city, it stops at the most unexpected places and raises the curtain in search of new performances, new scenery, new actors. A professional troupe can also perform on its stage, but also a casual passer-by playing his mysterious improvisation, having caught the eye of the audience, can break a storm of applause ... "

"Theatre of the Future"

"A ship of fools or a wooden skyscraper for a cheerful company"

"Island of Stability or Open Air Sculpture Museum"

Villa "Nautilus" or Stronghold of Resistance

"Glass Tower"

"Intellectual Market"

"Dollhouse"

"Nameless River" Glass monument 2001

"Crystal Palace"

"Modern Museum of Architecture and Arts"

"A Hill with a Hole"



"Wandering Turtle"

What is paper architecture? This is a very interesting phenomenon, which can not be described in a nutshell. Nevertheless, I would like to introduce you to paper architecture, especially since a lot of geniuses have grown on this soil.

The first paper architects are considered to be the Italian Giovanni Battista Piranesi (who built only one church in his entire life, but became famous for his architectural ideas).

Piranesi

Portrait of Piranesi

There are also quite a few French neoclassicists, such as Etienne-Louis Boulet (who also built little, but created more than 100 projects on paper).


In relation to the Soviet avant-garde, the term began to be used pejoratively: since the late 1920s, utopian paper projects have been condemned, including for "breaking away from reality." This meaning stuck: "paper architecture" was called impossible projects.



This is the work of Alexander Brodsky and Ilya Utkin, the main ideologists of the movement.

But not so much time passed, as this phrase acquired a completely different meaning. It happened in the early 80s.


Then the graduates of the Moscow Architectural Institute found a way to send their projects to international competitions of architectural ideas and began to win prizes there (in total they received more than 50 awards).

Alexander Brodsky and Ilya Utkin

An informal group of young architects arose, about 50 people who in any case had no opportunity to translate their ideas into reality, so they began to create projects that were initially utopian and completely free.

Alexander Brodsky and Ilya Utkin

Since then, "Paper Architecture" - projects created for the search for new forms without the purpose of their subsequent materialization. There was a lot of wit, gloomy irony, graceful constructions and implicit longing, all this was far from reality and did not aspire to it in any way.

J. J. Leke. hunting lodge project

Bule. Opera Project

Bule. Newton's cenotaph project

paper architecture- architectural projects that are not feasible in reality due to their technical complexity, cost, scale or censorship considerations. The most famous period of "paper architecture" is France of the Baroque and Classicism eras.

“Paper architecture is the art of utopia. It reflects the boundless imagination of the author, being an experimental field of formal searches for artistic style.

Story

Giovanni Battista Piranesi is considered the father of this trend. During his life, he built only one building, but he created a huge series of engravings with images of Roman and unprecedented architecture invented by him.

Utopian approaches are characteristic of neoclassical-baroque romantic thinking. In the history of art, compositions of ornamental artists perform similar functions.

France

The utopian social ideas of the Enlightenment were expressed in the activities of megalomaniacs in France in the second half of the 18th century. Among them are the architects Ledoux and Bullet, who submitted to the competitions of the Paris Academy of Architecture obviously impracticable projects of gigantic public buildings.

Russia

A conceptual trend in the architecture of the 80s, which arose as an alternative to the official Soviet architecture. It appeared when young architects began to participate en masse in competitions announced by Western architectural magazines and receive prizes for them. Projects existed only on sheets of whatman paper, being really "paper architecture". Thanks to this, the authors have untied their hands; ideas that could not be realized in construction were developed into the form of a purely artistic work. Enthusiasts, among them Yuri Avvakumov, Mikhail Belov, Alexander Brodsky, Totan Kuzembaev, Ilya Utkin, Mikhail Filippov and others, came up with their own architectural world.

The founders were Alexander Brodsky, Ilya Utkin, Mikhail Belov and Maxim Kharitonov. It all started in 1982, when Moscow architects Mikhail Belov and Maxim Kharitonov received the first prize at the international competition House-Exhibit on the Territory of a Museum of the 20th Century organized by the Japanese magazine Japan Architect. In 1982-88, their work was awarded a number of prestigious international awards. The direction appeared along with the rise of freethinking in the USSR, when by the end of the 20th century the communist regime began to weaken. Brodsky and Utkin in 1975 (3rd year) began to work together on the creation of a wall newspaper, in which they depicted some nonsense in the style of Brueghel or Bosch. Later, they worked together and effortlessly did the tasks of all competitions from the late 1970s to the early 1990s in the style of a wall newspaper. For each task, they worked out a hundred options. They did not try to systematize their work or describe a certain manner - this is the task of others. The authors knew that their projects would not be realized, so they tried to make them beautiful graphically. According to Ilya Valentinovich, their activities can be divided into the children's period, the period of competitions, then Japanese competitions, exhibition.

The inspiration for the "wallets" were ancient designs. Ilya Utkin admitted that they also liked Rob Cree (English) and Leon Cree (English) .

The term "paper architecture" was introduced by Yuri Avvakumov. Ilya Utkin himself believes that this is not a special period in the history of architecture, but the natural movement of nature. Nothing new has been invented since the 20s of the century, but Avvakumov was able to collect all the drawings together and became the organizer of exhibitions in Moscow, Volgograd, Ljubljana, Paris, Milan, Frankfurt, Antwerp, Cologne, Brussels, Zurich, Cambridge, Austin, New Orleans , Amherst

In the USSR, the "paper boom" arose during the period, in the words of the art historian A.K. Yakimovich, "late Soviet civilization". By the beginning of the 1980s, the era of a rigid and uncompromising division into “ours” and “yours” gradually became a thing of the past, exposing “totalitarian anarchy” in the socio-political sphere, when confused and misguided moods prevailed in society. In the book "Flights over the abyss. Art, culture, picture of the world. 1930 - 1990" Yakimovich, in order to understand the context of the fine arts of the eighties, suggests paying attention to the work of the Soviet thinker Merab Mamardashvili "How I Understand Philosophy", where the philosopher addresses the existential problem of a confused person. Yakimovich draws parallels with Mamardashvili's discourses on the theme of being and non-conformism, but we can go a little further and throw a similar bridge on conceptual paper architecture.

Indeed, the plots and moods that are taken into account by architects-"wallpapers" are in many respects close to Mamardashvili's ideas. The philosopher writes about the use of tradition, which creates the appearance of continuity of development, erasing the boundaries between “old” and “new”, he is concerned about the historical formation of man, his loneliness, total lack of independence: “he constantly returned to the theme of the anthropological catastrophe hanging over people. The thinker had in mind nothing more than the loss of orientation and the inability to rely on any criteria.<…>The human personality has become disorganized and vague.” These theses were explicitly or implicitly reflected in the projects, experiments, and installations of conceptual architects. For example, the theme “survival as a philosophical problem”, which is clearly read in the graphics of Anatoly Zverev and Dmitry Pavlinsky, also slips into the works of wallets associated with plots of imaginary stability, the creation of a home and the death of a utopia.

Along with personal problems, the “walletmakers” were also concerned about professional problems, which they smoothed over by going into graphics: in the absence of real practice, the helplessness of the architect as an architect appeared, i.e. formed professional dysfunction, the inability to be a master of his craft. And here, of course, the general crisis of self-identification and the formation of an artist, associated with the costs of postmodernism, is exposed. Although outwardly wallets cannot be called suffering, their work, no matter how trite it may sound, is rather a reflection of the era. Hide, hide, dissolve, disappear - these are the main postulates, most often laid down not even by the wallets themselves, but by the organizers of the competitions, which made it possible to speak out and reflect on the topic.



Of course, when talking about a new type of philosophy in paper architecture, the question inevitably arises of the role of "wallets" in Soviet culture. Judging by the art criticism of that time, then until the end of the nineties, i.e. before the decline in interest in paper projects, there was a widespread opinion that the "wallets" are the successors of the architectural trends of the 1920s and 30s, and revive the utopian ideas of Soviet constructivists. Such a comparison suggested itself due to the fact that the place of "wallets" in Soviet culture remained unclear due to the short duration of the phenomenon. But now it is obvious that in addition to some similarities in style, the difference between these periods is great. Even if we look at the fantasies of Leonidov and Chernikhov, we will see work with forms for their subsequent embodiment in real buildings, while the "wallets" simply do not have such a goal. “The projects of the 20s were a positive and constructive dream of the future, albeit temporarily unattainable for technical or other reasons, but preserving the desirability of implementation,” writes I. Dobrytsyna. “The wallet projects for the most part did not openly join this, insisting that their projects are free architectural fantasies and there is no point in realizing them.” By and large, the "wallets" of the eighties were not at the forefront of architectural thought and were not ahead of their time, but worked with the present, while reviving some images of a bygone era and carrying out its partial reminiscence.

A.G. Rappaport, through whose efforts the paper architecture of the 1980s. quite accurately recorded both in the domestic and foreign press, constantly trying to draw a historical analogy for it. As if not believing in the independence of the phenomenon, in his recent article “Once again about paper architecture”, he proposes to compare the work of the “wallpapers” not with constructivists, but with OBERIU, emphasizing the similarities in the use of scientific and philosophical culture by both sides. As an example, A.G. Rappaport cites the poem “Objectless Youth” by A.N. Egunov, a writer from the circle of the Oberiuts. The irony over the utopian consciousness, which became widespread in his poem, in his opinion, 50 years later moved to the paper projects of Moscow architects, allowing them to create a metaphorical poetic game by means of graphics. But the comparison of these philosophies is already inherently not entirely correct, since the historical conditions and the very existence of the Oberiuts and the “wallets” of the eighties are strikingly different: the latter, as a rule, came from intelligent prosperous families, did not live in cramped conditions and were neutral towards authorities, which is felt in the non-politicized nature of their work, while almost all Oberiuts were subjected to repression.



It is interesting that in his early articles of the era of paper architecture, A.G. Rappaport was just trying to shift the focus towards politics, which fueled interest in "wallets" in the West. If you look at the publications of those years, you can see that the domestic press, through the efforts of critics close to the circle of architects, is rather neutral, while the western one (the East, despite the popularity of "wallpapers", also remained out of political assessments) tends to classify "wallpapers" as nonconformism era of post-totalitarianism. Foreign publications somewhat artificially insisted that paper architecture is a politicized protest, in particular, this can be seen from the catalogs Postmodernism. Style and Subversion 1970-90" and "Papierarchitektur: neue Projekte aus der Sowjetunion". For example, the last of the catalogs says the following: “Paper architecture, of course, is only a part of that nonconformist culture that is gradually gaining the right to exist in the USSR. The necessary revision of the principles of socialist realism is becoming one of the main problems for all areas of artistic activity. However, the development of such thoughts can be detected, including now, by looking into books on architectural postmodernism: “paper projects,” writes the historian and theorist of architecture I. Dobrytsyna, “is a form of thinking about how many ideas of existential content could to express architecture through metaphor without being so shackled by economics and ideology.” And it seems that, formally, all this is true, but with regard to "wallets" this is said with an exaggeration. Ideology did not excite architects as much as it was commonly believed in the West, and now the "wallets" themselves are unanimously talking about this, not inclined to give a non-conformist meaning to their youthful searches. For international competitions, of course, the political background was important, since interest in the closed country of the USSR was heightened, and therefore, in each paper project, they looked for features of infringement and discontent. However, the projects of the wallets were easily censored and sent to competitions far beyond the borders of the country, and it should be assumed that this was not at all due to the fact that, as Rappaport writes in articles of that time, censorship critics did not know how to react to these ironic work. It’s just that ideologically, the “wallets” were not dissidents at all, but retained imperturbable political indifference, showed initiative even in cramped circumstances in the absence of real creative work, ironically, but absolutely without malice joking at Soviet realities.

Although, of course, it is worth noting that in terms of the type of organization, the use of artistic citation of cultural abstractions and concepts, the predominance of a comic beginning, “wallets” are quite close to the circle of Moscow conceptualists, who are usually referred to as unofficial art. With their dashing and cheerfulness, the projects of the "wallets" resemble the works of D. Prigov, I. Kabakov, E. Gorokhovsky, E. Bulatov, V. Pivovarov. But if the work of the latter was often quite politicized, and their postmodernism was indirectly or directly addressed to the authorities, then such a tendency was almost not observed among paper architects. Ilya Kabakov, who preserved in book format Notes on Unofficial Life in Moscow for the period 1960-70s, noted that both in the seventies and in the first half of the eighties, a distinctive feature of typical unofficial art, in addition to ideological positions and life in permanent fear, there was also a purely economic factor: as a rule, cramped life circumstances and the need to earn money by trying to sell paintings, doing book illustration, etc. "Wallet"-conceptualists received cash prizes for winning competitions; therefore, of course, apart from stylistic and symbolic moments, nothing brings them closer to unofficial art. According to A. Yakimovich, the very division into unofficial and official art took place not on stylistic grounds, but on sociopolitical grounds: “those who were not allowed to attend authorized official exhibitions or who did not want to participate in them themselves became “unofficial””. But in the 1980s. an artist of a completely new type began to take shape, who pretended that the ideological imperative did not exist at all. It is precisely this type that “wallets” began to gravitate to, ignoring questions of ideology. They, as G. Revzin noted in a project dedicated to Mikhail Belov, looked like hippies, lived in their own small commune and created the world and system around themselves. “Wallets” are among the first who began to work in groups in conceptualism and paper architecture.

There is a theory that the culture of postmodernism is “radical conservatism”, which revives the old aesthetic categories and beats them in its own way. According to the art critic A.K. Rykov, postmodernism encourages emotionality and pays great attention to quality criteria, welcomes originality and the author's beginning, while refusing the cult of novelty and the creation of new types of artistic creativity. In this sense, “wallets”, consciously following the traditions, clearly represent the meanings of postmodernism, since they take the forms that have become classics as a basis and add their own conceptual “stuffing” to them. Moreover, they also play with dystopia, another characteristic of postmodernism, by appropriating its ideas of destructive progress. But here there is also a discrepancy with postmodernity, which does not have a pronounced romantic beginning: moving towards irony, the "wallets" in their projects retain the opportunity for the author's and audience's dreams, maxims and dreams.

The era of paper architecture, which ended in the early 1990s, crossed out all further development of this genre, as virtual architecture picked up the baton. Gradually, according to real, and not fantasy projects, “wallets” began to build houses in Moscow and in the Moscow region, and many of them were replaced with computer technology. Layered projects, axonometry, sections and plans captured in etchings are a thing of the past, and it became possible to immediately see the final object on the screen. And if the desired result can be carefully considered in 3D models, then the need to use allusions and symbols to reveal the image is a thing of the past. The current architectural fantasies (or, as G. Revzin calls them, “fantasies”), for example, by the futurologist Artur Skizhali-Weiss, are already completely far from the philosophy that was formed in the 1980s, there is no intellectual game or joke in them, this just a qualitative construction of some future on the ruins of the past, including the remains of conceptual paper architecture.

Now, a quarter of a century later, we can confidently speak about the influence of the "paper" stage on the creative biography of the founders of this direction. Alexander Brodsky turned from a “paper” architect into an artist: he reproduces atriums and fantastic structures made of glass and wood not in etchings, but in museum spaces, creating conceptual installations and art objects. Open to all winds, his huge wooden Rotunda stands in the Nikola-Lenivets park, with its open form clearly reminiscent of numerous graphic villas created in collaboration with Ilya Utkin, who, unlike his colleague, founded an architectural studio and actually builds residential country houses. At first glance, in his projects, little remains of the "paper" period, but sometimes the capitals and marble lining seem to repeat the details of theatrical etchings or interior elements of the Atrium restaurant. It is interesting that in 2011 I. Utkin together with P. Angelopoulou at the Museum of Architecture. A.V. Shchusev in Moscow created the installation "Children's Reliquary", apparently immersed in nostalgia for the conceptual games of the 1980s (Fig. 58). His "reliquary" is a precious chest, a real home for a child, where he can be left alone with his fantasies and store his relics. Mikhail Belov, who already at the "paper" stage was balancing between neoclassicism and postmodernism, now adheres to the same sentiments in real architecture. Playgrounds in the Lego style in the spirit of Aldo Rossi (Fig. 59) side by side with classicist mansions and "imperial" and "Pompeian" houses, and the "English Quarter" resembles the Towers of Babel. Mikhail Filippov, according to G.A. Revzin, continues the mood of the “World of Art Petersburg” in architecture, creating mansions in Moscow and new ski villages in the Olympic Sochi. Dmitry Bush also operates with complex forms, but not in graphics, but when designing multifunctional stadiums. The former “walletmakers” are no longer faced with the task of balancing on the verge of official and unofficial art or choosing a “third” path, they have gained fame and are free to choose an architectural direction, but in the absence of regular fantasizing on a given topic, it is now much more difficult for them to show their individuality, as it was in the "paper" period.

Conclusion

Putting forward the thesis that the Soviet paper architecture of the 1980s became a socio-cultural phenomenon, we took into account the context of Soviet realities, without drawing comparative analogies with foreign processes, since this is a separate rather extensive topic. However, in conclusion, it is appropriate to explain why international competitions were won mainly by "wallets" from the USSR. The fact is that in the competitions held by Japan Architect, OISTAT or UNESCO, their works were presented mainly by architects under construction from Europe and the USA, who, in addition to competitive activities, were engaged in real design, while Soviet architects were completely concentrated on "paper" construction. Moreover, these competitions were numerically dominated by participants from the USSR, since the very first prizes they won aroused active interest and healthy competition among Soviet architects who were ready to fantasize for the sake of fantasizing, and were not burdened with current projects. Therefore, it is important that, despite the short duration and transience of the competitive period, it involved a large number of architects starting their way.

The existence of the phenomenon of conceptual paper architecture in the 1980s in the USSR was due, firstly, to the lack of initiative in the real planning sector, secondly, the participation of young architects in numerous international competitions, and thirdly, the interest that arose in Soviet "wallets" at first abroad, and then in their own country, which provoked a long exhibition stage for them. The concept of “paper architecture”, which was revived again in 1984, entered the international level, acquired a fundamentally different meaning and formed a new typology, since it combined rich cultural and historical allusions with trends characteristic of the actual artistic processes of that time. In their works, “wallets” approached revealing the very essence of the theme given by the competition, its ideas and poetics through architectural citation and a strong connection with literature, and “fantasizing on the theme” on such a scale and of such quality became a truly extraordinary phenomenon. The autonomy of the conceptual paper architecture in the USSR of the 1980s is also confirmed by the fact that its philosophy remained independent and only partially coincided with the cultural paradigms of society, and socio-political factors influenced only the topics raised in the "paper" projects, but not the very structure of this direction. Thus, based on the study of the above materials and the analysis of the historical context, it can be argued that the Soviet paper architecture of the 1980s formed its own aesthetics and became a sociocultural phenomenon at the intersection of architecture and fine arts.

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