phenomena, operating in a coordinated way upon our psyche and giving us the possibility to feel a higher form of emotional sensation.”61 The implications are clear; Chernikhov considers the influences of architecture (paper architecture or built architecture) on individuals and society to be of paramount importance. As a matter of a social condenser, he is even more explicit: “Any worker can work better amidst the very best combination of surrounding walls and ceilings. Coming to the factory, or leaving it, the worker must perceive an interaction of exterior forms that helps raise his mood, and stimulate him to life, work and creativity.”62 From here, we have a better understanding of Chernikhov’s Architectural Fantasies. Not only are they formalistic drawings demonstrating an amazing compositional skill, they also showcase his specific investigation of new programs, even ones that he himself cannot yet conceive of. In each drawing, Chernikhov utilizes an understanding of rhythm, split in an understanding of movement: horizontal and forward (feeling), horizontal and sideways (will and influence), vertical and upward (thoughtful), and vertical in depth (confidence).63 This representation is skillfully utilized throughout the 101 Architectural Fantasies. Fantasy number five is clearly intended to convey an idea that the mass moving forward into the foreground is floating, a solid, curving bar held in place by lightweight construction; it is certainly more of a social or cultural architecture. In contrast, the rhythm of a construction like Fantasy number 22 has a very significant implication of depth and breadth, solidifying its role as a more industrial utility.
These fantasies illustrate an understanding of the potentiality of representation and social engagement. Here, Chernikov sees the potentiality of Constructivism to be built for a society and work for the continued advancement of that society and the individuals in it. It looked for engagement in all citizens, knowing that the most applicable architecture could take as much of those ideas as possible into account.
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Iakov Chernikhov, “Fantasy and Construction” as translated by Catherin Cooke, page 29 Iakov Chernikhov, “Fantasy and Construction” as translated by Catherin Cooke, page 31 Iakov Chernikhov, “Fantasy and Construction” as translated by Catherin Cooke, page 32