RAG Magazine Issue 1 by Isabel Kim

THE FIRST ISSUE

01 1

NEW

MPROVED CHEAPER

CLOSER BETTER

S I E R E TH NOTHING STOPPING YOU FROM

M U

THE RE-OPENING OF

GUM:THEDEPARTMENT STORE THE NEW AND IMPROVED

THE HISTORY OF THE UPPER TRADING ROWS/ GUM OPENING

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The Upper Trading Rows opened on December 2nd, 1893 after a competition was held in 1889 granting the design to Alexander Pomerantsev. The original design of the Upper Trading Rows featured 16 large individual buildings with glazed streets between them. It was designed as a city of Russian capitalism, which were carried out by Alexander II, to help the influx of proud Russian merchants entering Moscow. The new Rows were designed as a technologically advanced yet the most fashionable European department store. The ground levels had high end stores showing expensive silk and brocade fabrics from the Sapozhnikov brothers, watches, pastries and perfumes. The upper levels are used for cheaper products and the two-story basement was used for wholesale trade.

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In 1917, the shopping center was terminated, and all the goods were confiscated. Food Commissariat of Alexander Tsiuriupa, which carried out the policy of "food dictatorshipâ&#x20AC;?, was located here. The Upper Trading Rows was also home to the warehouse of requisitioned items and Soviet workersâ&#x20AC;&#x2122; dining-room.

re-OPEN

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In 1922, Lenin proposed the idea of the coexistence between capitalism and communism and through the restoration between the relation between the Western society and the Upper Trading Rows were reopened under the State Department Store (GUM). GUM was highly advertised with the use of many posters designed by Vladimir Mayakovsky and Alexander Rodchenko. GUM was a symbol towards a new economy based upon the New Economic Policy stated by Lenin in 1921.

Aleksandr Zelenskii (1924)

Cigarette advertisement for Sappho cigarettes.

KPACHAR MOCKBA TeZhe

, eyes r u o y e on our lips, s, h Z e “T on y ur cheek o kiss?” e h t Z o Te on y upposed e h s TeZ am I e r e wh

FRAGRANCE ottle in a b d e t in sen rand e, pre . uty b reams m a u e f b r ass pe ers mc scow mlin’s tow21, the first mverything froall class o M d e e 19 re st The R ling the Kstablished inywhere sellinggiene amongnefits! y r e b e h e , b v resemed by TeZhe ith shops e motes good ded health c w y pro for ad Produ iet Union mpan osmetics o v c o s S i the to c s. Th logne g vitamins to co n i d , ad levels

VARVARA STEPANOVA Textile Pattern

RAG РАГ

Aelita: Queen of Mars

Cinema and Imagination Headpiece

Martian Costume Design

The Ballets Russes

Workwear

An Interview with Rodchenko

Why We Paint Ourselves

The Nude Figure

Varvara Stepanova

K. Tsiolkovsky Space Elevator City

Prounametric

102

Moscow Printing Plants

110

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RAG Magazine is a student run publication platform for media and art inspired by the movements from the Russian Avant Garde.

Publishing

Executive Editors

Hannah Connolly

Get RAG Magazine delivered to your door every month.

htconnolly@uwaterloo.ca

Kathryn Cybulski

ISSUE 01

RAG

An ARCH 540 course production under the direction of Dr. Elizabeth C English in Russian Avant-Garde Architectural Theory.

Subscription for 1 year / 12 issues.

ka2cybulski@uwaterloo.ca

Isabel Kim

isabel.kim@uwaterloo.ca

Jieyu Wang

РАГ

jieyu.wang@uwaterloo.ca

Creative

Contributors

Words Hannah Connolly Kathryn Cybulski Isabel Kim Jieyu Wang

Featured Columnists Yannik Sigouin and Callum Nolan Caroline Brodeur and Anastasia Jaffray Philip Carr-Harris

Photography Kathryn Cybulski Isabel Kim Illustration RAG Team

Please be an environmentally conscious citizen - recycle this magazine responsibly

CREDITS

Fashion Hannah Connolly Jieyu Wang

Creative Models Simone Delaney Nini Chen Nicholas Lupescu Isabella Suppa Alifa Frebrian Camryn Anderson Callum Nolan Magdalena Kaczmarczyk

Kazimir Malevich (1878 - 1935)

Painter famous by his works in vanguardism, impressionism, futurism and cubism styles.

Editor’s Letter This body of work serves as an exploration and reinterpretation of the clothing and costume designs of the Russian Avant Garde movement. This collection includes looks inspired by Alexandra Exeter’s costume designs for Aelita: Queen of Mars, Leon Bakst’s costume designs for the Ballet Russes, Rodchecnko’s, Papova’s and Stepanova’s workwear, sportswear, and specialwear designs for the proletariat. The Russian Avant-Garde movement has had a large influence on contemporary culture, art, and fashion, and continues to inspire the work of many designers and artists today. Following an analysis of the materials, geometries and silhouettes used by Russian designers in the early 20th century, a collection of garments have been created and photographed. This project seeks to understand the overall ideas and driving forces of the Russian Avant Garde movement within the context of garment and textile design, specifically in the clothing of the everyday, the workday, and the cinema/theatre.

ARCH 540 Professor Elizabeth English Russian Avant-Garde Architectural Theory

АЭЛИТА

Aelita: Queen of Mars

An exploration of Alexandra Exter’s costume and set designs for a film that inspired generations of science fiction cinema. 14

Aelita: Queen of Mars (1924)

Aelita: Queen of Mars is based on a novel by Aleksey N. Tolstoy and depicts the harsh conditions of Soviet citizens during the Civil War (1917 - 1923), which caused famine and displacement in Moscow. The film depicts the building of a new nation through engineering and machinery. The economic downfall beginning in 1914 lead Vladimir Lenin to establish the New Economic Policy, an economic system including a free market and capitalism within the communist state. Provided with funding from a German organization hoping to support a global workers revolution through cinema, Moscowbased Mezhrabprom-Rus Studio planned Aelita as a large production rivalling German and American epics and supporting the goals of the Bolshevik revolution. Known Cubo-futurist painter Alexandra Exter was hired to design the Martian costumes. Exter was a leading figure in the European avant-garde, creating a unique cubist style notable for its use of bright colour. She designed costumes and sets for Alexander Tairov’s Kamerny theatre in Moscow, including a 1917 production of Oscar Wilde’s Salome. Art historian Andrei Nakov wrote that Exter’s designs for Salome caused the birth of

a new pathos for the machine age. Exter adapted her designs for Aelita to the monochromatic palette of black and white film stock, using a variety of industrial materials with distinct textures, such as glass, aluminum and steel. This allowed for high contrast images. Exter insisted that her costumes interact with the film sets, resulting in a unified image. The space-queen was conceived as a Soviet Barbarella, clothed in a swirling dress of orbiting loops, topped with a many-pronged head-dress that gives her the look of a human TV aerial. It exudes the excitement of what the promised revolution would bring, the humble engineer discovering a brave new world through hard work. The artistic interests of Exter herself lay in the field of studying colour, in its rhythms and influence. Her theatrical costumes and paintings are rich with colours. Costume design for black and white cinema served as a new form of creation that could not be influenced by colour. In Aelita: Queen of Mars, Martian costumes embodied the aesthetics of constructivism in its geometry. These costumes were met by Victor Simov’s set designs to achieve a stylistic unity to Martian scenes. Both dresses worn by Aelita are very narrow and paired with sculptural headdresses. These restrict certain movements, requiring a steady, balanced pace that aided in the regality of the queen’s role. The disks on the dress and headpiece evoke associations with the planets and

the whirlpool. In the costumes of the other Martian characters, Exter actively uses rectangles, circles, waves, broken lines, and triangles. These allow for a sharp contrast between non— standard materials, such as plastic, metal, and cardboard. The rigidity of the costumes reflect an established order. Actors moved like robots. Aelita and Ikhoshka wore crowns with tubes and antannas, twisted into rigid shapes and spirals. Soldiers wore helmets constructed in metal and plastic. Exter was known for her contributions to theatre set design. In her collaboration with Alexander Tairov between 1916 - 1921, she rejected the typical painted decorations and backdrop curtains. She instead focused on volumetric spaces distinguished by economical form and dynamism. This design for a constructivist stage set was designed by Exter in 1924. Intended for Tairov’s productions in Moscow, this design inspired the set designs of Aelita, in which Exter was responsible for some of the set designs. The rigid and austere quality of the design was considered futuristic, yet it highlights Exter’s core ideas about the creation of theatrical spaces. Exter’s knowledge of the changing approach to set design called for simplified structures that corresponded with the actor’s movement and strengthened the relationship between actor and audience.

In the film-stills, the constructivist focus can be observed through bare natural textures of structures. Exter combines metallic geometric constructions, such as interlinked red stairs and elevated walkways. These allow for new types of cinematic/theatrical circulation and allows for a degree of improvisation. Exter believed this architectonic set typology would better relate to dramatic movement and the internal rhythm of performance. She believed her role as set designer was to improve performance by providing the actor with unobstructed space.

Alexandra Ekster’s costume designs gave intriguing glimpses into Russian society and their mid-1920s idea of a Martian civilization. The aesthetics of Aelita are heavily influenced by the avant-garde “constructivist” style and in turn, influenced science fiction films in the years to follow.

HEADPIECE FOR CINEMA AND IMAGINATION A re-interpretation of Exter’s headpiece designs RAG Original Design Satin threading, metallic lace, pine needles painted in glitter Inspired by the powerful costume design for black and white cinema, and in particular, the head pieces as a staple component to “Martian” futurist design, a contemporary headpiece was created for the re-envisioned Aelita: Queen of Mars photo series. Exter who had been working in theatre, was forced to abolish the barrier between spectator and actor, created by the curtain. Her multidisciplinary work aided her input in the dynamism of cinema. She created the costumes to be the epitome of the movement of the characters, as they are impossible to represent in static. The headpieces are integral to the costume designs in the film, as their geometric shapes make them eye-catching and memorable. Playing with the compositional tools Alexandra Ekster used to manipulate the nature of black and white film, such as looking at the shades and tones of patterns and applying what would complement the black and white, materials for the headpiece were selected carefully as well. Playing with textures and geometric shapes much like Exter did, tassles and slender pointed feathers were placed compositionally on the head. The silver and metallic headpiece was paired in contrast to the model’s dark, curly hair. In attempts to achieve the notion of movement in the costume much like Exter did, each element of our headpiece points to the theme Drawing of Yakov Protazanov’s dreamlike style.

Photography: RAG Styling: RAG Model: Alifa Frebrian

AELITA: QUEEN OF MARS Headpiece Costume Design COSTUME DESIGN: FOR CINEMA AND THE IMAGINATION fig 1 - fig 2: Alexander Exter, costume design: Aelita: Queen of Mars fig 3: Alexander Exter, costume design sketch: Aelita: Queen of Mars inspired by Alexei Tolstoy’s novel Russian director Yakov Protazanov and Aleksandra Ekster’s costume designs, both pioneers in their fields while creating Aelita, gave intriguing glimpses into Russian society, and their mid-1920s idea of a Martian civilization. Aesthetics of Aelita are heavily influenced by the avant-garde “constructivist” style and in turn influenced science fiction films in the years to follow. Inspired by the powerful costume design for black and white cinema, and in particular, the head pieces as a staple component to “Martian” futurist design, a contemporary headpiece was created for the re-envisioned Aelita: Queen of Mars photo series. Exter who had been working in theatre, was forced to get rid of the barrier between spectator and actor, created by the curtain. Her multidisciplinary work aided her input in the dynamism of cinema. She created the costumes to be the epitome of the movement of the characters, as they are impossible to represent in static.

The headpieces are integral to the outfit designs in the film, as their geometric shapes make them eye-catching and memorable. Playing with the compositional tools Aleksandra Ekster used to manipulate the nature of black and white film, such as looking at the shades and tones of patterns and applying what would complement the black and white, materials for the headpiece were selected carefully as well. Playing with textures and geometric shapes much like Exter did, tassles and slender pointed feathers were placed compositionally on the head. The silver and metallic headpiece was paired in contrast to the model’s dark and curly textured hair. In attempts to achieve the notion of movement in the costume much like Exter did, each element of our headpiece points to the theme of Yakov Protazanov’s dreamlike style.

COSTUME DESIGN Martian costume design RAG Original Design Black linen, perferated steel ribbon, satin ribon, silver reflective spandex

The disks on the dress and headpiece, inspired by headpieces worn in the film, evoke associations with the planets. Atypical garment materials, such as metalic perferated sheets, plastics, and fringe, are used in the way that Exter used found materials in her costumes to convey a sense of material depth and sharp contrast.

Photography: RAG Styling: RAG Models: Callum Nolan, Magdalena Kaczmarczyk

БАЛЕТЫ

THE BALLETS RUSSES A study of Leon Bakst’s set and costume design for the Ballets Russes. Opposite: Costume design for Vaslav Nijinsky as the Faun from The Afternoon of a Faun, 1912, graphite, tempera, and gold paint on paper 34

Leon Bakst costume design

Narcisse - Nymph Echo, 1911

Leon Bakst costume design

Nijinsky as the Golden Slave in SchĂŠhĂŠrazade

CLOTHING FOR BEAUTY AND ESCAPISM Performance Wear RAG Original Design Makeup, hair, costume by RAG

Leon Bakst and Serge Diaghilev founded the Mir iskusstva (World of Art), which promoted Russian art through performances and exhibitions. An ititiative of this movement was the Ballets Russes, which offered an international stage for young Russian composers, dancers, choreographers and designers. In the early 20th century the Ballets Russes took Europe by storm and was relocated to Paris. Bakst was the companyâ&#x20AC;&#x2122;s creative director, and he designed many of the costumes and sets used in the productions. These avante garde, transportative performances provided viewers with a sense of escape, influenced by the Ancient East and abstract, cubist, and surrealist art. For this look, rich textured materials such as sheer reflective satin and metallic ornament were used. The deep blue colour of fabric, the striped velvet and satin skirt, and the hanging silver, ornamental beads, were used to recreate the oppulance of the Ballets Russesâ&#x20AC;&#x2122; costumes. Exposed midri and bare leg used in the Ballets Russes were a depature from the heavily corseted bodices and long skirts that Parisian audiences were previously accustomed to.

Photography: RAG Styling: RAG Models: Camryn Anderson

Leon Bakst Set Design Schéhérazade, 1910 44

Advertisement Poster for the Ballets Russes 1924

Dancers in the Ballets Russes

СПЕЦОД

WORK 48

ДЕЖДА

WEAR 49

СПЕЦОДЕЖДA:

WORKWEAR

Words: RAG Photography: RAG Styling: RAG

Russian constructivists saw the human body as a mobile vessel which required simple and light clothing to increase, rather than obstruct, the efficiency of the wearer at work and in daily life. They favored geometric shapes and complementing colours in their avant-garde designs. During this time they also used sparse, geometric forms and modest materials. From paintings to posters to textiles, they created a visual language out of forms that can be drawn with utilitarian instruments like compasses and rulers. The female workwear piece we designed was inspired by the designs of Constructivist artists Rodchenko and Stepanova.

An important aspect of Constructivist fashion design was an emphasis on functionality and comfort. Rodchenko and Stepanova’s design of the work outfit was practical for active work and the harsh climate of the Soviet Union. Featured in our first designs are loose coveralls, a utility belt to keep them positioned correctly, kneepads for kneeling, and sturdy work boots, arranged in a way that maintains these elements in a rectangular and geometric fashion similar to art created during the Constructivist movement. Inspiration was pulled from Rodchenko’s art, which featured stark, flat geometry and compositions akin to those of technical drawings. The most important feature of Rodchenko’s graphic compositions were the extreme precision of their lines and contours, a quality we attempted to convey in our design through the contrast of colored lines on our chosen fabrics.

DESIGNED FOR UTILITY AND FUNCTION Functional Workwear

RAG Original Design Makeup, hair, costume by RAG

Photography: RAG Styling: RAG Models: (In order) Nini Chen, Nick Lupescu, Simone Delaney

Our factory workwear design is made for a typical Russian worker in the mid-1920s focusing the on utility and function of the garment. of the Russian Constructivist concept of “prozodezhda.” Following the ideas of the Russian Constructivist concept of “prozodezhda” (production clothing) and “specodezhda” (specialized clothing), the design was simple, efficient and impersonal. Decorative elements that were not functional were abolished in the design and the only decorative elements in the design are the pockets which provide function for the busy worker.

This design is intended for factory workers and has no regard to individual aesthetic or social difference but rather emphasizes the practical role of the wearer in the community. As a unisex outfit, the idea of gender is absent in the design. Utility and neutrality becomes the main driving factors in design. Many Russian Constructivists who designed in this fashion includes Tatlin, Stepanova, Rodchenko and Popova. However, most of the clothing designs of this 1920’s era were not realized so we seek to turn the experimental dreams of the Russian Constructivists into reality. Through the ideologies of the Russian Constructivists we were able to create a purely utilitarian

fashion for the modern-day factory worker. As for the next sportwear uniform on the following pages, it is heavily inspired by the designs by Lyubov Popova’s and the idea of functionality and performance in design during the Russian Constructivist Era. Using the ideology of “production art” (art with a social meaning and practical purpose) the design focuses on the body and how the body functions while doing physical activity. The design proposed follows the Constructivist views that the body is a mobile vessel and the requirements of this vessel are heavily applied in the design. The practical and simple design seeks to increase performance and provide efficiency when performing activities rather than to obstruct.

top underneath. The styling of the outfit also consisted of arm and leg cuffs which compress the muscles of the user which reduces muscle fatigue and injury. We attempted to work towards the idea of using modern advances with the ideology of the Russian Avant Garde Constructivists throughout all of our designs.

For this design we worked with a striped material creating different shapes using various angles at the seams. The idea of working with fabric in an abstract form was inspiring when creating the sportswear design and we aimed to create an outfit that has equal importance in artistic vision and practical aims of sportswear. The design used simple geometric stipes in the fabric but the bright colours contrasted the minimal design. Taking the square necklines which is prominent in much of Popovas designs, we seek to modernize the outfit by replacing the heavily formal uncomfortable belt with a tank 53

Workwear

Womenâ&#x20AC;&#x2122;s factory outfit

Workwear

Menâ&#x20AC;&#x2122;s factory outfit

Workwear

Menâ&#x20AC;&#x2122;s factory outfit

Sportswear

Womenâ&#x20AC;&#x2122;s active wear

by Katty Cybulski Born in St. Petersburg on November 23, 1891 Alexander Rodchenko is one of the most versatile Constructivist and Productivist photographer, artist, sculptor, and graphic designer of the Russian Avant Garde, to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and his career is a model of the clash between modern art and radical politics. His lifeâ&#x20AC;&#x2122;s work explored a variety of media from painting to sculpture to graphic design to fashion design. 61

Katty: Hello Alexander. It is such a pleasure to sit here and talk with you today. How are you? Alexander: I am good, thank you for having me. K: Tell me, what was it like for you growing up? Did you always have a strong interest for art and design? A: Surprisingly no. I grew up in a fairly poor household. I mean, we were a working-class family but struggled to make ends meet a lot of the time and education was not really a priority. I had very little exposure to the art world growing up. I enjoyed flipping through my mother’s fashion magazines though. My dad passed when I was 18 which was hard. We ended up moving to Kazan and it kind of felt like a fresh start for all of us. I began studying at the Kazan Art School 62

under some really talented artists… also met my wife, Varvara [Stepanova], there. K: Tell us a little bit about Varvara. Has she influenced your design work at all? A: Absolutely, a very talented artist she is – poetry, philosophy, painting, graphic design, stage scenery construction, clothing design – she’s done it all. We’ve collaborated on many projects. K: What’s one of your favourites? A: In 1921 she was very passionate about the realm of production and felt that her designs could achieve their broadest impact in aiding the development of the Soviet society and I was right there with her. We were looking at ways in which we could free the body through design and emphasize the clothing’s functional use, rather than decorative qualities. We looked at the clothes through the lens of action and ending up producing a few

workwear pieces for the Soviet Union. K: Ah yes, I’ve seen the workwear, very nicely designed. Have you been able to produce any of your designed pieces yet? A: Not yet, that is most likely the next step, to actually produce some of the designs we’ve come up with together, I think that would be fun. We would probably keep the materials and the colours very modest, and keep the geometric forms that are pretty prominent in our drawn designs. K: Yea, absolutely. In your career thus far is there anyone else you draw inspiration from? A: I would say [Kazimir] Malevich’s work has inspired me a ton. I looked at his Suprematism work a lot during my artistic training at the Stroganov Institute in Moscow in 1914. I loved the way Malevich used these stark compositions and geometric forms against white backgrounds so there’s definitely an essence of his work in mine for sure. I would also say Vladimir Tatlin has been a large inspiration for me. I worked as his assistant for a bit and was able to learn so much from him that way. But yea, generally speaking, art from the Cubism and Futurism periods were so intriguing to me and definitely a huge inspiration for my own work. K: It looks as if though you’ve learned a lot from the artists around you throughout your development as an artist. Are there things you’ve experimented with on your own that have lead you to create your own philosophy on art and design?

“INSPIRATION CAN ONLY TAKE YOU SO FAR, AT THE END OF THE DAY YOU HAVE TO CREATE ART THAT IS FULFILLING TO YOU.”

A: Absolutely, in fact I would say the times when I’m experimenting by myself is where I learn the most. Inspiration can only take you so far, at the end of the day you have to create art that is fulfilling for you. I’ve been playing around with photography for the past couple years and there’s definitely aspects of that medium that I am able to implement into other mediums. I’ve slowly learned that one has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hold again and again. We must revolutionize our optical perception. We must remove the veil from our eyes. In order to educate man to a new longing, everyday familiar objects must be shown to him with totally unexpected perspectives and in unexpected situations. New objects should be depicted from different sides in order to provide a complete impression of the object. K: Interesting, I see. So what kind of projects are you currently working on? Anything photography-related? A: Yea I’m feeling heavily inspired by photography currently so I’m exploring my style in that. Only the camera seems to be really capable of describing modern life. I’ve been looking at a lot of photomontages too, done by German Dadaists, they’re pretty cool. My good friend Lilya Brik has been helping me with a photo series. We collaborated on a poster together last year titled “Books”, where she is featured with a cupped hand shouting “книги по всем отраслям знания.” People really loved that one. I don’t know, I want to take some quite incredible photographs that have never

been taken before… pictures which are simple and complex at the same time, which will amaze and overwhelm people… I must achieve this so that photography can begin to be considered a form of art. Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time.

“I WANT TO TAKE SOME QUITE INCREDIBLE PHOTOGRAPHS THAT HAVE NEVER BEEN TAKEN BEFORE [...] I MUST ACHIEVE THIS SO THAT PHOTOGRAPHY CAN BEGIN TO BE CONSIDERED A FORM OF ART.”

Alexander Rodchenko, Photomontage for Majakovski’s “Pro Eto”, 1923 with Lilya 65Brik

OURSELVES

the beginning of an invasion

Beyond, Russia. “How Russian Avant-Garde Artists Created Urban and Street Art in the Country.” Russia Beyond, August 19, 2018. https://www.rbth.com/arts/328979-russian-avant-garde-street-art.

WHY WE PAINT

In 1913, Ilya Zdanevich and Mikhail Larionov produced a manifesto entitled, Why We Paint Ourselves, where they declared “a beginning of an invasion” with intentions to paint their faces with bright colors. These are futurists who create a path from elitism to the people. Their hopes are to break the established rules of fine art and encourage men and women, the everyday people, to take to the streets with paint on their faces. A new revolution, it is an act of defiance. The most important vision of an art “invasion” in the decree formulated in 1918 by a group of Russian Futurists, including Vladimir Mayakovsky, David Burliuk and Vasily Kamensky. They wrote a manifesto decree and as No 1, they wrote ‘On the democratization of art,’ the artists stood up to “pick up paint pots, and with the brushes of one’s mastery illuminate, paint out all sides, foreheads, and chests of cities, train stations, and the everrunning flocks of rail wagons.”

SCRUTINY Natalia Goncharova, identified as one of the most radical female artists of the early 20th century, depicts female nude subjects in her paintings that are traditionally considered a man’s domain. During this time, nude artworks were favored by many male vanguard artists, yet Goncharova’s identity as a woman artist, being the producer of these female nudes were seen as contradictory and her behavior was criminally “sexed.” This controversial and challenging behavior led to her prosecution

and trials on a number of occasions for blasphemy and pornography. Her defiance with new female perspectives through her art were some of the earliest to ignite the avant-garde in Russia. Although painting the image of a nude is not forbidden territory to the female artist anymore, this photograph shown above is created to recognize Goncharova’s honest depictions which were unique to her position as a woman within the movement and to show new influenced works that remain untouched by the male gaze.

Goncharova painting the nude figure 70

Costlow, Jane T., Stephanie Sandler, and Judith Vowles. Sexuality and the Body in Russian Culture. Stanford: Stanford Univ Press, 1998.

THE SUBJECT OF PUBLIC

Photography: RAG Model: Isabella Suppa

& THE ARTIST

Stepanovaâ&#x20AC;&#x2122;s multi-level vision

74 Lavrentiev, Alexander, and John E Bowit. Varvara Stepanova: the Complete Work. Cambridge, MA: MIT Press, 1988.

RE - INVENTING THE ART

RE - INVENTING THE ART & THE ARTIST VARVARA STEPANOVA – is a “Constructivist” and a prime mover of the Russian Avant Garde. She is one of the AvantGarde’s most dynamic artists who is constantly questioning new concepts of design, and continues to express them in paintings, drawings and designs. With communication as the real justification of her art, her posters and book illustrations convey the message loud and clear; her rhythmical figures invite us to dance. Stepanova is recently tackling important milestones as an influential designer. Just within the last year, she became a professor of composition in Textile Department of VKhUTEMAS. Simultaneously, having worked with artist Liubov Papova, the two had involved themselves in the creation of new fabrics for the First State Textile Printing Works in Moscow. Stepping towards standardization – a principle valued by Constructivists – they hoped to create the ideal clothes for each trade. Regrettably, without the partnership of Papova now, Stepanova still continues to create designs for the First State Textile Printing Works. As a professor of composition in Textile Department of VKhUTEMAS she encourages students to go out, observe the changes in fashion on the streets so that the students are able to formulate design projects of their own. She also hopes to show students that this profession is not just confined to the preparation of fabric 76

designs but also deals with the design of the actual clothing, full ensemble and headgear. In mourning of Varvara Pavova, Stepanova is currently undergoing a transition in her design gaze, from being inspired by Parisian floral and wildlife pattern books, to shifting to a more complex composition, attracted by the potential for creating illusions of movement, of forms transmitting into one another. Stepanova’s current fabric designs consist of a multi-level colour-field, so that when we look at them we gradually discern forms in the depth of the pattern. Although the process is just simply printing a pattern onto monotone surface of fabric with only one or two colours, Stepanova is able to create an illusion of several spatial planes existing on the surface. Many superimposed geometric forms create a combination of almost structure-like parts to the fabric. When creating superimpositions, as a rule, she leaves points of intersections either white or the leaves the background colour to show through, thus creating the optical impression of a second plane. This construction on the surface of the fabric brings to mind an urban architectural complex which are also typical elements of her and Papova’s Constructivist paintings. Stepanova felt the artist should design the fabric “from within,” starting with rules governing its weaving so as to attain not just

Stepanova and Papova’s Textile Sketch

new decorative surfaces, but also fabrics with new physical properties. She starts with these rules, design starting from the textile, to the design of the construction and then the design of who wears it, when they wear it and how they use it. The close analysis of the functional demands of clothing enables her to identify 3 types: sport wear, production wear, and special wear .

Sportodezhda

SPORT WEAR

The most dynamic example of Stepanovaâ&#x20AC;&#x2122;s experiments in daily life wear are her projects for sportodezhdas. They are sports clothes that are dependent on bright colours for the clothing to be easily recognizable and the lightness of material for regulating body temperature. The basic principle was to apply sharply differentiated, colour graphic team emblems composed of large forms and contrasting colour combinations so it could be seen from far away.

Prozodezhda

WORK WEAR

The goal in designing the prozodeshda, is essentially to elaborate on a set number of basic models which could then be modified to fit a particular profession. The prozodezhda thus eventually becoming the product of mass production instead of an individually handcrafted object like many of the professional workwear of the past. Individual details are being introduced through the material and the detailing of the cut. The custom detailing will depend on the profession of the model, whether it is for an engineer in a printing shop, someone on a steamship or a worker for a metallurgical factory. Popova and Stepanova maintained that every profession (factory worker, teacher, actor, sportsman, doctor, etc.) needed its own uniform or costume which should be made in accordance with the standards of that profession. This is the start of an establishment of stereotypical or productional clothing becoming standardized and rationalized.

Spetzodezhda

SPECIAL WEAR

Special clothing. In addition to prozodezhda, Stepanova felt another type of special protective clothing was necessary. These are for surgeons, pilots, workers in acid factories, firemen, members of arctic expeditions… In other words, these are clothes for specific professional groups. Stepanova took this as her point of departure for the wearer’s working conditions. She considered the seams of the pattern, the fastenings, the pocket detailing, and more, all to express the nature of each profession’s clothing and what the worker would need to do. This wear should provide sufficient opportunities for the worker to do the task at hand in a more efficient and easy manner.

VARVARA STEPANOVA Textile Pattern 82

VARVARA STEPANOVA Textile Pattern 84

VARVARA STEPANOVA Textile Pattern 86

VARVARA STEPANOVA Textile Pattern 88

VARVARA STEPANOVA Textile Pattern

Tribute to Liubov Popova: A FOUNDING MEMBER, AND ONE OF THE FEMALE CONSTRUCTIVISTS OF THE AMAZONS IN THE EARLY 20TH CENTURY

PAINTERLY ARCHIETETONIC, 1917

K. TSIOLKOVSKY SPACE ELEVATOR CITY By Phil Carr-Harris

There are few tools as powerful as narrative in exploring new ideas. Science fiction is a form of narrative which, while imaginative and in many ways unlimited in its possibilities, still has deep roots in the natural sciences. In the Russian avant Garde, art and science were connected in creative work, allowing for both cognitive and technical breakthroughs. Michael Holquist names Konstantin Tsioklovsky as one of the most important figures of russian history to operate at the intersection of art and natural science. He is widely accepted as the father of all practical attempts at space travel and one of the pioneers of Russian Science-Fiction. Holquist does not suggest that Tsiolkovsky belongs to the Avant-Garde, but more so that he had an impact on a number of artists working in recognized Avant-Garde groups and those who wished to break away from the past through science and technology.

ture of perception characteristic of human beings, and what I shall call the “parabolic mandate,” that is, the human imperative to shape the world through allegories.

Tsiolkovsky’s importance is not confined to the specific features he influenced or shared with particular artists in the Russian avant-garde in the 1920s, for his career demonstrates even today the universal role of that emplotment plays in any attempt to organize information, independent of discursive considerations or speech genres. His achievement elucidates the relation between experimental method, the specific struc-

To understand Tsiolkovsky, it is crucial to understand Nikolai Fyodorovich Fyodorov, Tsiolkovsky’s teacher at the Chertikov Library. Fyodorov believed in the power of science and technology. He believed that that all conflicts and violence could be ended by drawing people’s effort to a common goal of overwhelming importance to all human beings. This goal is to overcome death with knowledge and action. He believed

Tsiolkovsky published On the Mood in 1893. The writer of the account and his unnamed physicist friend awake to find themselves in peculiar circumstances - they are on the moon. They do not focus on their reasons for being on the moon, but instead, indulge their curiosity as they explore their new environment. Throughout the story, the physicist explains why they are experiencing the things they are and does a number of practical experiments to illustrate the difference between the moon and the earth. On the Moon is a great example of Tsiolkovsky’s interest in both science and narrative and his drive to explore and discover space.

that all of our ancestors could be brought back to life which would stop the need for human reproduction and put an end to the desires of the flesh. With people being brought back from the dead, the earth would face overpopulation, so we would need to colonize the cosmos. Holquist argues that Tsiolkovsky’s inventions and research was in service of the “the philosophy of the common task” and that in turning his science into fiction, Tsiolkovsky inspired the avant-gardes yet to come with his parabolic visions. This project is inspired by Fyodorov and Tsiolkovsky and operates in the delicate balance between science, fiction, and allegory. A project that deals with science and narrative at the same time and is, in Holquist’s words, “narratological”. A series of four space-elevator cities along the equator. One in the Atlantic Ocean, one in the Indian Ocean, and two in the Pacific Ocean. These will allow for a people to permanently live beyond Geostationary orbit and pave the way for long-term space travel and colonization of the cosmos. These cities are physical manifestations of humanity’s drive to explore, discover, and improve.

The relationship of the inhabitants of the Tsiolkovsky space station to the outside is negotiated with a translucent ETFE panel system. This system sits under a layer of glass in order to minimize discomfort due to the rotation of the space station while at the same time, allowing for sunlight to pass through.

The tubular form is most efficient because it performs well with pressure being applied from all directions. The torus is also good in this application because it provides rotational stability.

The Tsiolkovsky space station acts firstly as a stepping stone to greater space exploration and secondly, as a research facility. For both of these reasons, one of the livable rings is dedicated to agriculture. The plants are taken care of autonomously by machines and provide a place for residents to connect with the earth.

The second ring is dedicated to residences. All of the residences are prefabricated dwellings with courtyards to take full advantage of the artificially controlled environment. There is a wide variety of vegetation to increase mental health.

K. TSIOLKOVSKY SPACE ELEVATOR CITY SPACE STATION - DECONSTRUCTED AXONOMETRIC OF LIVING AREA

100

THIS PROJECT IS A DESIGN EXPLORATION OF THE PRINCIPLES OF A SPACE ELEVETOR AND HOW THAT CAN INFLUENCE LONG DISTANCE SPACE EXPLORATION AND CONOLIZATION OF OTHER PLANETS.

scale 1:1250

25m

PROJECT

K. TSIOLKOVSKY SPACE ELEVATOR STUDENT

PHIL CARR-HARRIS DATE

19/12/11

07/08

3 1000 500

radius of station, [m]

100

r th

]

5 10 5 0.1

1. Low gravity manufacturing bay. For materials with high strength values as well as materials that conduct information with minimal losses, zero-gravity can be a greatly advantageous environment. Microgravity allows materials to grow without any restrictions and to mix evenly.

0.5

station rotation rate, [rpm]

2. Mirror array. The mirror array allows for the livable floors to get natural sunlight. The mirrors direct sunlight through translucent panels that reduce did-orientation on the spinning space station.

3. Space arena. The space arena is for a new form of sports arena in zero gravity. It has a seating array at the bottom where spectators can buckle in to watch teams from different stations compete.

4. Elevator and space port. This is the main transportation hub for the space station. It combines a space port with docks for ships to dock and the terminals that accept the space elevators. There are customs that process new arrivals, whether the traveler is staying at the station or just passing through.

K. TSIOLKOVSKY SPACE ELEVATOR CITY SPACE STATION - AXONOMETRIC OVERVIEW

5. Living tubes. The living tubes are separate from the main axil of the space station where the manufacturing and transit bays are located. They are 2km in diameter and rotate at 1 rpm. This simulates a comfortable gravitational force of 1g.

PROJECT

K. TSIOLKOVSKY SPACE ELEVATOR

101

STUDENT

PHIL CARR-HARRIS DATE

19/12/11

102

PROUNAMETRIC By Callum Nolan and Yannik Sigouin

EL LISSITZKY

PROUN SERIES

PROUNAMETRIC

El Lissitzky (1890 – 1941) was a Russian artist, designer, photographer, typographer and architect. Best known for his role as a leading figure in Russian avant-garde movement, he helped to develop supremetism, a precursor to the later Bauhaus and Constructivist movements. Suprematism rejected organic and natural shapes, and instead favoured pure geometric forms.

Throughout his career, Lissitzky blurred disciplinary boundaries, combining painting, architecture and graphic design principles. This is most evident in his Proun series.

Seemingly arbitrary, Lissitzky’s Prouns actually follow a remarkably similar language. By arranging the paintings chronologically and distilling them to their basic elements, we were able to pick out common themes and patterns in his work as he veered further and further from traditional suprematism. Similar to how Lissitzky was interested in using his series to create 3D space using a 2D medium, we were interested in translating 2D Prouns into digital 3D environments. Based on our analysis, we defined parameters and wrote a script that generates randomized 3D “paintings” from simple user defined forms. However, rather than focusing solely on the formal qualities of Lissitzky’s paintings, we also incorporated the temporal aspect of his work; that is to say that each generated “painting” is Proun series. While we’re happy with the results, we’re still interested in Lissitsky’s continual redefinition of the “new.” Further exploration would include: How would our generated environments manifest themselves in physical rather than digital space? Could these paintings iterate on themselves, creating compositions even farther from Lissitzky’s postsuprematist intent?

Despite being formally trained as an architect, Lissitzky focused primarily on graphic design, painting and teaching, partially due to the political climate in Russia during the 1910s and 20s. During this time, Lissitsky produced soviet propaganda posters and paintings, depicting the power struggle between the reds (communists) and whites (monarchists, liberals and socialists who opposed the Bolshevik revolution). Through his propaganda, Lissitzky began to develop his own suprematist style, moving away from the wholly non- objective style of his suprematist peers.

Left: the constructor, self portrait El Lissitzky, 1924

The Proun series, ambiguously described by the artist as, “the station where one changes from painting to architecture,” is a collection of paintings spanning from 1915-1927. The collections’ name is an acronym of the Russian phrase the “new,” emphasizing Lissitzky’s desire revolutionary Russia. At its core, Proun was Lissitzky’s attempt to represent 3D space in 2 dimensions; being an architect, he was interested in expanding suprematism beyond axes and multiple perspectives, he created distinctly architectonic images, incorporating principles of volume, mass, rhythm, colour and space.

103

ANALYZE ANALYZE

Proun Composition layered analysis

2XU Ă°UVW VWHS ZDV DQDO\]LQJ D GLYHUVH VDPSOH RI Lissitzkyâ&#x20AC;&#x2122;s Proun series, spanning 10 years. The Our first stepwere was arrayed analyzingchronologically a diverse sample of Lissitzkyâ&#x20AC;&#x2122;s paintings and broken Proun series, spanning 10 years. The paintings were arrayed down into their essential elements â&#x20AC;&#x201C; both formal chronologically and broken down into their essential 2D composition and implied 3D space, as well as elements â&#x20AC;&#x201C; both formal 2D composition and implied 3D colour. The 2D elements analyzed included negative space, as well as colour. The 2D elements analyzed included space, basic shapes, focal point, solid outline and negative space, basic shapes, focal point, solid outline and leading lines; whereas the 3D elements analyzed leading lines; whereas the 3D elements analyzed included included planes, intersection of 2D and 3D, and planes, intersection of 2D and 3D, and outline of 3D elements, outline of 3D elements, while the colour was broken while the colour was broken down into average tonality and down into average tonality and RGB values. RGB values.

104

SET

Proun Composition analy

These element created, forme script. Basic determined wh Leading lines, SHUSHQGLFXODU object. The fo within the fram the layer, and t planes determ deleted.

2D AND 3D INTERSECTION

INTERIOR AND EXTENDED PLANES ORIENTATION LINES

NEGATIVE VS. POSITIVE / BASIC SHAPES OUTLINE / CENTROID PROUN 1 A. BRIDGE I PROUN 23, NO.6 PROUN 1 C PROUN 5 A PROUN 30 PROUN 4 B PROUN 30 T PROUN 3 A

PROUN 4 B

1920

105

SET PARAMETERS

1915-1920

VDPSOH RI years. The and broken both formal as well as ed negative outline and s analyzed nd 3D, and was broken ues.

106

Proun Composition analysis breakdown

1921-1925

These elements, combined with the year each painting was created, formed the parameters of our painting-generating These elements, combined and with the each painting created, script. Basic shapes theyear number of 3Dwas elements formed the parameters of our painting-generating script. Basic shapes determined whether or not objects got extruded or sheared. and the number of 3D elements determined whether or not objects got Leading lines, and whether they trend towards parallel or extruded or sheared. Leading lines, and whether they trend towards SHUSHQGLFXODU GHĂ°QHG WKH URWDWLRQ RI HDFK LQGLYLGXDOO\ FUHDWHG parallel or object. The focal point was used to balance the objects object. The focal point was used to balance the objects within the frame. Average colour and tonality determined the layer, and within the frame. Average colour and tonality determined therefore colour of each object. The density of planes determined how the layer, and therefore colour of each object. The density of many digital polysurface-planes got deleted. planes determined how many digital polysurface-planes got deleted.

Finally, we gen FUHDWHG XVLQJ Y our sample set of our 3D â&#x20AC;&#x153;paint Lissitzky still m and the other f more natural fo same methodo XV WR JDJH WKH resultant analys

Produce extended leading lines to show the orientation of prominent subject matter.

Outline the objects within the painting.

Using the outlines of the objects within a painting to locate the centroid, or focal point, of the painting.

Overlayed over the outlines of the image, labels of the basic shapes are produced - rectangle(s), triangle(s), circle(s) - to show the complexity of shapes within the painting.

Utilizing the outlines of the objects, produce a white fill to demonstrate the contrast between negative and positive space of the painting.

Locate planes of prominent subject matter and create numerous lines to visually represent.

Extend the plane lines to derive multiple vanishing points within the painting to understand 3D spaciality.

START

DEFINE VARIABLES 50%

1915 - 1920 up to 7

RECTANGLE

50%

1921 - 1925 up to 4

ORGANIC

CIRCLE

SURFACE if

1915 - 1920

1921 - 1925

107

TERS

GENERATE GENERATE

1915-1920

1921-1925

ch painting was ting-generating f 3D elements ded or sheared. ards parallel or YLGXDOO\ FUHDWHG ce the objects lity determined . The density of face-planes got

108

Finally, we generated our 3D â&#x20AC;&#x153;paintings.â&#x20AC;? 40 samples were our sample set

Finally, we generated our 3D â&#x20AC;&#x153;paintings.â&#x20AC;? 40 samples were as much as possible. Of the 40, we selected 2 of our 3D â&#x20AC;&#x153;paintingsâ&#x20AC;?, one FUHDWHG XVLQJ YDVWO\ GLĎ&#x192;HUHQW XVHU LQSXWWHG IRUPV WR GLYHUVLI\ meant to be from before 1920, when Lissitzky still mostly conformed our sample set as much as possible. Of the 40, we selected 2 to suprematist principles, and the other from after, once he started of our 3D â&#x20AC;&#x153;paintingsâ&#x20AC;?, one meant to be from before 1920, when experimenting with more natural forms. We analyzed these two in depth, Lissitzky still mostly conformed to suprematist principles, using the same methodology as with the original Prouns. This allowed us to and other fromofafter, oncebyhe started the experimenting with gage the the affectiveness our script, comparing resultant analysis to more natural forms. We analyzed these two in depth, using the the that of the original dataset. same methodology as with the original Prouns. This allowed XV WR JDJH WKH HĎ&#x192;HFWLYHQHVV RI RXU VFULSW E\ FRPSDULQJ WKH resultant analysis to the that of the original dataset.

1915 - 1920

1921 - 1925

OUR PROUN SERIES

109

MOSCOW PRINTING PLANTS By Caroline Brodeur and Anastasia Jaffray

110

111

Levenson Printing Works

Sytin Printing House

Architect: Fyodor Shektel Year Built: 1900 Patron/Client: A.A. Levenson Intended Use: Editorial Building Current Use: Offices

Architect: Adolf Erikhson Year Built: 1907 Patron/Client: Ivan Sytin Intended Use: Editorial Offices and Sytin Family Living Quarters Current Use: Offices

Utro Rossii Building

Pravda Printing Plant

Architect: Fyodor Shekhtel Year Built: 1907 Patron/Client: Utro Rossi Newspaper Intended Use: Office and Printing Works Current Use: Offices

Architect: Aleksandrovich Golosov Year Built: 1935 Patron/Client: Pravda Newspaper Intended Use: Printing Plant Current Use: Hillsong Church Moscow and Commercial Plant

112

Leningradskaya Pravda

Architect: Vesnin Brothers (Alexander Vesnin) Year Built: 1924 Patron/Client: Pravda Newspaper Company Intended Use: Advertising and Editorial Office

Architect: Constantin Melnikov Year Built: 1924 Patron/Client: Pravda Newspaper Company Intended Use: Advertising and Editorial Office

Izvestia Building Entry

Izvestia Building

Architect: Grigory Barkhin Year Built: 1927 Patron/Client: Izvestia Newspaper Company Intended Use: Office and Printing Company

113

114

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RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG 116 RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG RAG