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The future reconstruction of Ukrainian cities from wartime devastation will require an extensive discussion on strategies and concepts of preservation of cultural heritage – including the heritage of the Modern Movement. It should involve not only the technical aspects but political and historical issues as well. The history of the Palace of Culture of the Railway Workers in Kharkiv (architect Alexander I. Dmitirev, 1927-1932) provokes a number of questions on the essence of Ukrainian pre-war Modernism and Constructivism, the idea of the Sovietisation of the theater against the Great Theatre Reform movement or the role of Workers’ Clubs and Palaces as social condensers. Thus, its analysis cannot by limited to the form and content of the edifice itself, but should be perceived in the broader context of similar projects (for example the Kharkiv Opera House) and views on architecture in the 1920s and 1930s.The Palace of Culture in Kharkiv can be considered as an example of “architecture in transition” where evolving trends in art as well as a dynamic socio-political situation left their marks and created a multi-layered palimpsest. Dmitriev’s design included the Constructivist spirit as well as conservative monumentality. It seems to become a legacy of a revolution (in architecture, theater and society) which has never been really completed.
Ciarkowski et al. (Mon,) studied this question.