Kompozitsiya Doma Narkomfina. Prakticheskoye voploshcheniye teorii arkhitekturnoy kompozitsii Moiseya Ginzburga (Composition of the Narkomfin House. Practical implementation of the theory of architectural composition by Moisei Ginzburg).

Traditionally, constructivism in architecture was considered, including by the creators themselves, as a rational method of creating an architectural object, in which form follows function. Much attention was paid to the development of a plan, structure, traffic schedule, as well as convenience and economic efficiency, the use of new technologies and materials. The aesthetic side of the issue remained, as it were, outside the brackets. In the late 1910s - early 1920s, the methodology for creating an artistic image of new architecture was developed by several architects. The best known and studied by specialists concept of rationalist architects led by Nikolai Ladovsky, which was reflected in the discipline "Space" of the main department of VKHUTEMAS. It was based on the analysis of spatial solutions and their perception by a person. The focus was on creating a spectacular artistic image, ease of orientation and psychophysiological impact. In parallel, Ilya Golosov developed his concept of the development of architectural organisms: in it, the architect explored ways of interpreting an artistic image without using decorative elements, based on a dynamic composition of a combination of volumes and masses, as well as rhythm. His concept is close to the theoretical works of Moisei Ginzburg. In the book "Rhythm in Architecture", written in 1922, Ginzburg analyzes the fundamentals of architectural creativity using the experience of the past as an example and tries to record patterns for creating the architecture of the future. It is in this book that the foundations of the creative method of the future leader of architectural constructivism are laid. In the article is presented the monument of constructivism, the Narkomfin House (a residential building for employees of the People's Commissariat of Finance, built according to the design of architects Moisei Ginzburg, Ignatius Milinis and engineer Sergei Prokhorov in 1928-1930 in Moscow on Novinsky Boulevard, 25, building 1) is examined from an unusual angle: the aesthetic side of the architect's work is analyzed. The period of Ginzburg's teaching of the course at VKHUTEMAS coincides with the heyday of constructivist architecture. Thus, his theory of architectural composition is one of the missing details that reveals the peculiarities of the Constructivists' work with the artistic image, and demonstrates how the functional method allowed for the creation of a "richness of simple, elegant forms." This, happened in an unexpectedly poetic way, by analogy with music: as if a well-coordinated orchestra of forms, proportions and composition plays the symphony of Constructivism.