Having become static in the 20th century, classic design no longer revealed the energy that would allow it to develop and undergo creative variations. It ceased to be viable and “productive”. A sign of its departure was the “moderne” [Art Nouveau], a farewell, shrill note to the entire old culture.

A particular feature of the 1920s was the fact that architecture, following music and other forms of art, experienced a condition that musicians call a “decrease of the complexity level.” It is worth noting that in Europe at that time a term “elementarism” was appearing, which quite accurately characterized the aesthetic level of most buildings of those years.

In 1930 Iakov Chernikhov published his first major book in the field of architecture, "Fundamentals of Modern Architecture", where he reinterpreted the fundamental concepts of architecture, such as space, harmony, statics, functionality, construction, and composition proceeding from an earlier proposed postulates concerning a basic shift of rhythms in favor of a rhythm of proportions and the predominance of asymmetry.
“Fundamentals of Modern Architecture” contains samples of abstract-compositional work in the field of architectural forms. At the same time, the method of constructing these compositions allows their author to receive in each case a very concrete construction image, which expresses specific aspirations and clearly articulated thoughts. The appearance of “Fundamentals” at a time when the new style’s quests had basically just started was very timely. The book, in essence, became not just a declaration of new architecture, but also its “primary” guide.

“Since 1919 I have been conducting experiments in the field of architectural problems. By 1924 the work to acquire the character of a definite and precise system has began . My book “Fundamentals of Modern Architecture” is a series of tests, experiments, and endeavors in which I attempted to find those forms and those paths that might help create a new image. By fundamentals of architecture one should understand the beginning or first-formation of architectural forms, architectural settings, and architectural principles. The fundamentals are built on the principles of asymmetry, rhythm of the masses, the harmony of components, the rhythm of proportions, the shock of the expressivity of participating elements.”

“By rejecting naked, ascetic, "boxed" architecture, which offers no architectural saturation of space and does not satisfy our eye from the aesthetic side or the side of emotional experience, I tried through consonance of basic masses to achieve a truly expressive architectural image in new forms.”

“Architecture becomes an art only when its form-creations are perceived as values of the ‘artistic order’.”

“The architect should not limit the sphere of his work with narrow frames and servile imitations, but, where necessary, should overcome obstacles by means of his powerful fantasy and bravely move forward. Those who think that the architect’s activity should embrace only current realistic requirements are thinking incorrectly and falsely.”

The way chosen by me from the very beginning gave me a complete and firm sense of confidence that the “system” I had created was a system of “concrete virtues.” Everything detached, object-free, abstract, fantastic, thought up, ephemeral, illusory, utopian – all that took place along the path of my creative searches – all this represents the separate stages of creative processes which are essential in their very being and capable of being fully employed for the highest artistic and utilitarian goals.”

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