Embroidered city : industrial towel KhTZ
We recreate the city's saga through every detail and pattern, interweaving time and threads into one story of Kharkiv.
The texture of the city, alive with threads of tradition
Stitch by stitch, thread by thread, we embroider the spirit of industrial Kharkiv, reflecting its unique urban melody.
When technology meets tradition
We weave our heritage into the future, creating patterns where each turn is a piece of KhTZ intertwined with eternity.
Embroidered city : industrial towel KhTZ
This is a cultural project that aims to combine the traditional Ukrainian art of embroidery with modern industrial motifs of the KhTZ district in Kharkiv. The project is designed to restore and promote the cultural heritage of the district by transforming industrial elements into art objects that highlight the history and modernity of the city.
Project aim
to create a series of embroidered works that integrate industrial symbols and elements of the KhTZ district using traditional Ukrainian embroidery techniques. These works not only reflect the beauty of Ukrainian folk art, but also tell the story of industrialisation, progress and their impact on modern art and culture.
Why KhTZ?
The KhTZ (Kharkiv Tractor Plant) district is a significant industrial centre that has historically influenced the development of Kharkiv and the whole of Ukraine. Through the art of embroidery, we aim to reinterpret the industrial heritage of the district, bringing new life and meaning to it.
How do we do this?
The project involves several stages of implementation: from the identification and analysis of industrial visual elements to the development of design and creation of the final embroideries. The project team consists of an artist, an anthropologist, and a historian, each of whom makes a unique contribution to the project's development.
Results
It is expected that the project will not only enrich the cultural landscape of Kharkiv, but will also become the basis for future cultural initiatives that include the preservation of industrial heritage through art and design. The results of the project will be presented at exhibitions, in publications, and as part of educational programmes.
Constructivism, which emerged in the 1920s and 30s, is considered one of the key movements of modernism, especially in the context of the post-Soviet space, including Ukraine. This architectural style emphasises simplicity, functionality and the use of modern materials such as concrete and glass, which were new at the time.
Constructivism rejected unnecessary ornamentation in favour of spatial efficiency and technical expressiveness of structures. In Ukraine, this style was particularly widespread in industrial cities, where there was a need to quickly erect functional buildings.
One of the most famous examples of constructivism in Ukraine is the Derzhprom building in Kharkiv, built in 1928. This building has become a symbol of industrial revival and architectural innovation. Its uniqueness lies in the mix of functionality and scale, which embodies the main ideas of constructivism.
Today, constructivism not only remains the subject of historical research, but also continues to inspire contemporary architects who value its principles of minimalism and economy in the context of high technology and sustainable development.
The social city of New Kharkiv (now part of the industrial district), founded in 1930 as an industrial hub, became a place where constructivism was used as a style to embody the ideals of industrial power and technological progress.
Between the early 1920s and the mid-1950s, several master plans were developed in Kharkiv, each aimed at adapting the city to changing economic, social and political conditions. In the 1920s, the city was planned without a unified urban planning concept, which continued the historical trend of the city without any major changes. The first serious master plan was developed in 1927. Its main goal was to create optimal conditions for industrialisation and meet the needs of a rapidly growing population. The plan envisaged expanding the city's boundaries, creating new residential areas and industrial zones. Special attention was paid to improving transport infrastructure and public services.
In 1931, the second master plan was presented, which aimed to integrate new districts and further expand the city. This plan laid the foundation for the modern structure of Kharkiv, envisaging the creation of large industrial hubs on the outskirts of the city and the development of residential areas in the form of dormitory blocks for the workers of these factories. The 1931 plan envisaged the development of five main districts of Kharkiv. The central district was to be expanded at the expense of Pavlov Pole. The Losevo-Osnovianskyi and Novo-Bavarskyi districts were focused on residential development, while the Saltivskyi selbyshchyi district was planned as a large residential area for 300,000 inhabitants.
Map of Kharkiv in 1924
With the transfer of the capital to Kyiv in 1934, Kharkiv continued to be an important industrial and cultural centre. This period was also characterised by active reconstruction and modernisation of the city's infrastructure, including the fight against spring floods and the improvement of the city's sanitary conditions.
The third general plan of Kharkiv, developed in 1937, took into account the need for modernisation and renewal of the city's infrastructure in the context of the overall development of the city. The plan emphasised the importance of developing cultural and educational institutions, and included projects for green spaces and parks to improve the city's environmental condition.
Reconstruction project of a residential area in the Chervonozavodskyi district of Kharkiv. Arch. Yesskov
After the war, in 1946, the fourth master plan was developed, the main task of which was to renovate the war damage and create conditions for further industrial development. The plan envisaged a large-scale reconstruction of the housing stock and the development of public transport.
The main directions of the master plan included:
1. Renovation of existing residential areas and industrial facilities. It was planned to quickly restore the main residential areas and key industrial enterprises to restore the city's economic activity as soon as possible.
2. Expansion of the city boundaries. The Master Plan envisaged the expansion of the city to accommodate new residential and industrial areas, which was aimed at separating industrial and residential areas to improve the city's environmental status.
3. Improvement of transport infrastructure. The plan included the development of roads, bridges and transport hubs to improve connectivity between different parts of the city and ensure more efficient traffic flow.
4. Creation of green areas and open spaces. Due to the extensive damage, it was possible to redesign urban spaces to include recreational areas, parks and squares to improve the quality of life of residents.
5. Social infrastructure. The masterplan also drew attention to the need to build schools, hospitals, cultural and sports facilities that had been destroyed during the war.
Each of these master plans played an important role in shaping the modern face of Kharkiv, reflecting the evolution of urban planning ideas and methods of the time.
Map of Kharkiv in 1932
In the 1920s and 1930s, Kharkiv experienced a period of intense urbanisation and urban planning experiments, influenced by socialist utopian ideas that attempted to transform the urban environment in line with new ideological goals. An important element of this period was the idea of the ‘garden city’, which emerged from social utopias and was developed in Soviet urban planning projects. Based on Ebenezer Howard's book Garden Cities of the Future, which was originally a utopian project but later became an important urban planning guide, Kharkiv and many other cities tried to implement the idea of organically combining residential areas with green spaces and public spaces.
In Kharkiv, in particular, the establishment of the Society of Garden Cities of Ukraine in 1922 was a response to the need to update urban planning and create new residential areas that integrated elements of nature and recreation to improve the quality of urban life. During this period, several districts were created that reflected the principles of the garden city, such as Yuzhnyi, Vysokyi, Zelenyi Hai, Dzherelo and Lipova Roshcha, which served as suburban recreation areas and living close to nature, which was an innovation for the time.
Other significant projects of the time included an attempt to create a ‘sotsmisto’, or socialist city, which would completely reject the disadvantages of the capitalist city. This project envisaged shaping urban space in such a way that it would facilitate the easy transformation of socialist life into communist life. Unfortunately, many of these utopian projects were never fully realised, but some aspects that were implemented were innovative and influenced the further development of Kharkiv's urban landscape.
These urban planning experiments of that time involved many foreign and domestic specialists and used the latest approaches to urban space planning. Unfortunately, many of the suburban projects remained on paper, and some of the completed projects were eventually destroyed or rebuilt. Nevertheless, Kharkiv in the 1920s and 30s became one of the centres of urban planning innovation in the USSR, which influenced the further formation of urban policy in the country.
Kharkiv Tractor Plant (HTZ): History and Role in Industrialisation.
Origins and Context
Kharkiv Tractor Plant (‘KhTZ’) was one of the key industrial projects of the first Soviet Five-Year Plan. Its creation was crucial for the implementation of plans for collectivisation and mechanisation of agriculture, which were among the main goals of the Soviet leadership in the late 1920s and early 1930s.
Design and construction
The design of the plant was developed with the participation of American engineers from Albert Kahn, Inc. which had extensive experience in building industrial facilities for Henry Ford. The plant was designed and built in the USA, after which its components were transported to Kharkiv for installation. This allowed us to significantly reduce the construction time and ensure high quality of work.
Construction of the plant began in a field near Losevo station, about 15 km from Kharkiv. In March 1930, workers began laying the foundation, and a year and a half later, on 1 October 1931, the plant was inaugurated. The impressive pace of construction was made possible by efficient labour organisation, the use of advanced construction methods and the active participation of foreign specialists.
Kharkiv is being built [photo album] 1931
Production Achievements
The first tractors produced at KhTZ rolled off the assembly line in August 1931. The plant specialised in the production of wheeled tractors SKTZ 15/30 and tracked tractors SKTZ NATI. The company quickly increased production volumes: 50 tractors were manufactured in the first month of operation, and in April 1932, KhTZ was producing 90 tractors a day.
Contribution to industrialisation
KhTZ became a symbol of Soviet industrialisation and an important element in the development of agriculture in the USSR. Tractors produced at the plant helped to mechanise collective and state farms. The plant also played an important role in training qualified personnel for industry and agriculture.
Challenges and further development
Despite its initial successes, KhTZ faced numerous challenges, including a shortage of skilled workers, problems with the supply of materials and equipment. During the Second World War, KhTZ was evacuated to Stalingrad, where it continued to produce tractors and military equipment. After the war, the plant returned to Kharkiv and resumed its operations, becoming one of the leading tractor manufacturers in the USSR.
Current status
Today, Kharkiv Tractor Plant continues to operate, although it faces new challenges in a market economy. The plant is modernising its production facilities and introducing new technologies to maintain its competitiveness in the agricultural machinery market.
Kharkiv is being built [photo album] 1931
Social City ‘New Kharkiv’: History and Architectural Ideas.
History of creation
The New Kharkiv Social City is one of the outstanding examples of the implementation of Soviet architectural ideas of the 1920s and 1930s. The project was developed under the leadership of Kyiv architect Pavlo Aleshyn and his team, which included young architects from the Kyiv and Kharkiv Art Institutes. The project's objective was to create a new settlement for the workers of the Kharkiv Tractor Plant (KhTP) with a population of over 100,000 people.
Concept and Planning
The design of the social city began at the end of 1929, and in January 1930 a detailed design programme was completed. The final design was presented in March 1930, and in April the work was handed over to the Kharkiv branch of Giprograd, which completed the project in 40 days.
The main idea of the project was to combine the rational planning of urban zones with the idea of the city's development over time. This is reflected in the linear nature of the layout, with industrial areas located along the railways and residential areas along motorways. The architects also paid attention to the creation of a cultural and administrative centre and the integration of landscape elements into the urban environment.
Architectural features
The New Kharkiv social city was one of the first projects to use the current-functional zoning scheme developed by N.A. Milyutin. It provided for a clear delineation of residential and industrial zones, with an emphasis on convenience for residents. The project envisaged the creation of 36 residential complexes, each of which was to include all the necessary service elements - schools, kindergartens, nurseries, etc.
The architectural solution included a variety of building heights to avoid monotony. Residential buildings were designed for 4 and 7 floors, and public buildings for 1-2 floors, which ensured a harmonious combination of different architectural forms. Landscaping, including parks and green spaces, was also an important element, creating a comfortable environment for residents.
Social and Cultural Aspects
One of the main ideas of the social city was to socialise the way of life of the residents as much as possible. For example, the apartments were not equipped with kitchens, which was supposed to encourage residents to visit public catering facilities. This was part of a broader strategy aimed at collectivising everyday life and promoting a socialist lifestyle. It was also envisaged that each housing estate would have a full range of cultural and community services, including schools, kindergartens, nurseries, hospitals, clubs and sports facilities.
Evolution and Degradation
After its completion, the Novyi Kharkiv social city became one of the most exemplary districts of the city. However, over time, due to economic difficulties and political changes, the area began to decline. The events of the Second World War and the subsequent collapse of the Soviet Union had a particularly negative impact on its condition. Today, many of the buildings are in a state of disrepair, and the social infrastructure has lost its functionality.
The New Kharkiv social city is a vivid example of the implementation of utopian architectural and social ideas of the Soviet era. Despite numerous challenges and problems, this project has left a significant mark in the history of urban planning and remains an important object for research and protection of architectural heritage. Studying it helps to better understand not only the architectural trends of its time, but also the social and political contexts that shaped the lives of socialist cities' residents.
In Soviet culture and ideology, the idea of the ‘new person’ became a symbol of the socialist transformation of society. Launched after the 1917 revolution, this concept envisaged the creation of an ideal of a person who lives not only for his or her own good, but also for the good of the collective - a society striving for communism.
The ‘new person’ was supposed to be free of bourgeois influences, and to undergo a metamorphosis of internal beliefs and external behaviour. The Soviet government saw education, art, literature, and science as tools for modelling such personalities. Through cinema, theatre and literature, the images of heroic workers and collective farmers selflessly working for the benefit of the family and the Motherland, the Soviet state, were actively promoted.
This ‘new person’ was supposed to be morally pure, physically healthy, intellectually developed, and, most importantly, ideologically conscious. He or she was portrayed as an active participant in public life, tirelessly working on his or her own self-improvement and at the same time contributing to the socialist future of the country.
At the same time, the notion of the ‘new person’ also had a dark side: ideological steadfastness often turned into repressive methods of control over the individual. Dissident opinions or deviations from generally accepted norms were considered a betrayal of socialist ideals and could lead to serious consequences, including persecution.
Thus, the idea of the ‘new person’ served both as an instrument of hope for a better future and as a mechanism of political control that forced citizens to conform to the established ideal. It became one of the key concepts in the formation of Soviet society and continues to arouse interest among researchers analysing the impact of ideologies on human consciousness and behaviour.
In the late 1920s, the ideas of socialising everyday life in the context of creating new socialist cities were actively discussed in the USSR. Urbanists and de-urbanists worked on city projects that focused on the creation of industrial enterprises that determined the structure and life of cities. Living space was conceived as unified and standardised, with social labelling of living in the city centre or on the outskirts of the city fading into the background.
Among the proposed projects were cities such as Velykyi Zaporizhzhia and Novyi Kharkiv. The main ideas were to create housing estates with minimal housing units and communalised services such as factory kitchens, repair shops, etc., reflecting pre-war aspirations to ‘old bourgeois life’ and the desire to change the traditional family structure.
These ambitious plans were aimed at changing social relations and creating a new man - a ‘true communist’. However, most of these socialist cities were never completed as planned. The projects often underwent significant changes during construction or were not implemented at all due to various social and economic difficulties.
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Community projects and initiatives in the KhTZ district
Within the framework of our project, it is important to mention several community initiatives and projects that have been carried out in the district since 2019. Each of these events has its own unique contribution to the realisation of a large common goal - ‘Restoring local identity and creating new cultural narratives’ through community activation. From festivals that demonstrate the diversity and openness of the community to roundtables and workshops that facilitate discussion and planning of further steps to revitalise the area. These events not only enrich the cultural life of the district, but also encourage local residents to reflect on their past and plan for the future, increasing their participation in urban development processes.
A special aspect of such events is to change the stigmatised image of KhTZ, emphasising its potential as an attractive place to live and work. Events such as the Retro-Autumn festival or artistic residencies reflect the desire to transform KhTZ into a neighbourhood where historical heritage and contemporary cultural practices coexist and interact, creating a new dynamic identity.
- Festival ‘My comfortable Kharkiv’
- Workshop Dreaming up the KhTZ
- Festival ‘Retro - Autumn’
- Round table ‘Revitalisation of the cultural heritage of the Industrial District’
- Festival ‘Family holiday’
- ‘Constructivism on the streets of KhTZ’
- ‘KhTZ social city: from concept to implementation’
- Residence ‘Our school KhTZ’
- ‘Summer marathon on mapping the KhTZ district’
The My Comfortable Kharkiv festival in Zelenyi Hai Park turned into a real community celebration where the city found its ‘human face’. This year's Independence Day celebrations were remarkable as they focused on decentralisation and the distribution of attention and resources between the city centre and its outskirts.
Among the dominant trends of centralisation, which usually cover only the main streets and squares, this event stood out for its organisation on the periphery. This was possible thanks to the efforts of the NGO ‘Novy KhTZ’ and other organisers, who decided to resist the usual ideas of celebration and create an event that would unite the community on a more personal and meaningful level.
Instead of standard food courts and large-scale shows, the festival offered workshops, masterclasses and performances that stimulated dialogue and active participation of residents. The lack of official support did not stand in the way, on the contrary, it encouraged a more creative approach to interacting with the community, demonstrating that people want not only entertainment, but also a sense of comfort and order, where everyone can feel like a host, not just a visitor.
This festival has become a vivid example of how public initiatives can restore and revitalise urban spaces, giving them new life and meaning, even in areas that have not usually been touched by landscaping.
The festival was held on 24 August 2019.
Organisers:
RIC ‘Novy KhTZ’
Ukrainian Peacekeeping School
NGO ‘Art Oborona’
Charitable Foundation ‘Kharkiv with You’
Kharkiv Foundation for Psychological Research
Adaptation and cultural centre AKCentre
Chernobyl historical workshop
Hospital clowns
Playback theatre
Maidan Monitoring
Initiative IDPs
From 7 to 11 October 2019, an interdisciplinary workshop called ‘Dreaming up the KhTZ’ was held in the industrial district of Kharkiv. The event was aimed at developing new scenarios for the development of the area, which is traditionally considered an industrial centre.
The workshop participants, including experts in architecture, urban planning, political and social sciences, and urban development management, explored the possibilities of transforming KhTZ into a modernised urban space. The event discussed large-scale utopian and modernist approaches to urban planning that would allow us to imagine the future of KhTZ as a new city with its own unique identity.
The main topics of discussion were ways to integrate KhTZ into the wider urban context, rethink the Soviet industrial heritage and change the attitude towards the area as a potential ‘growth island’ that meets the needs of globalised capital. One of the key questions was whether KhTZ could become an extension of urban spaces, not only preserving but also revitalising its industrial landscape.
The results of the groups' work during the workshop included proposals to establish the boundaries of the Social City, change the functions of the Soviet infrastructure and intensify cultural life in the area to increase its attractiveness and impact on the city's context.
This workshop was an important event that allowed to discuss and propose concrete steps for the future development of KhTZ, emphasising the importance of involving the public and local initiatives in urbanisation and planning processes.
Organiser: Kharkiv School of Architecture.
On 14 October 2019, the Retro-Autumn festival was held in the Kharkiv KhTZ district, changing the common perception of one of the most stigmatised areas of the city. The event was held in Zelenyi Hai Park, where local residents and activists organised a celebration, demonstrating the strong community spirit and desire for positive change.
The festival, organised by the Novy KhTZ initiative group, attracted a large number of participants, including families with children, who enjoyed music, art performances and other entertainment activities. There were representatives of different age groups, which indicates a broad interest in the event and its importance for the local community.
The festival had a warm and friendly atmosphere. Smiling faces, children having fun and good neighbourly interactions confirmed that KhTZ has the potential to become a comfortable and attractive place to live and relax. This was a vivid example of how an area that was once considered marginal can come to life and revive.
Observation of the Retro-Autumn has shown that the initiatives of local activists are of great importance for the development of the neighbourhood. They not only help strengthen the community spirit, but also open up new opportunities for its further cultural and social development. Interaction with residents of other districts of Kharkiv has also helped to break down stereotypes associated with KhTZ, showing that the perception of the district is changing for the better.
On 11 March 2020, Karazin University hosted a roundtable discussion ‘Revitalisation of the Cultural Heritage of the Industrial District of Kharkiv as a Resource for Community Development’.
The event was organised by the Department of Ukrainian Studies and the D.I. Bahaliy Centre for Ukrainian Studies of the School of Philosophy of Karazin University, the NGO ART OBORONA, and the Scientific and Methodological Centre for the Development of Museum and Monument Studies of the People's Ukrainian Academy of Kharkiv Humanities University.
The purpose of the roundtable was to introduce the community of the Industrial District to experts in the field of preservation and use of cultural heritage, to create a communication platform for planning joint events and projects and promoting them through grant programmes.
The roundtable was moderated by Natalia Aksenova, Associate Professor of the Department of Ukrainian Studies, D.I. Bagaliy Centre for Ukrainian Studies of the Faculty of Philosophy, Associate Professor of the Department of Travel Business and Country Studies of the Faculty of International Economic Relations and Travel Business.
During the event, representatives of NGOs and activists from the Industrial District of Kharkiv met with experts in the field of historical and cultural heritage research and cultural management. A presentation of the programme of the Other Way project and research group for the revitalisation of Zelenyi Hai Park and the surrounding area was held.
The attendees got acquainted with the concept of the ‘Festival of Constructivism’ by the NGO ‘ART OBORONA’ and a presentation of the capabilities of the cultural and creative cluster of Kharkiv, the scientific and methodological centre for the development of museum and monument studies of the Kharkiv Humanities University ‘People's Ukrainian Academy’.
On 7 June 2020, a unique event called Family Stories Against the Background of Constructivist Buildings was held as part of the Family Holiday festival. The event was aimed at providing new perspectives on the history of the KhTZ district in Kharkiv, where every corner of the street and buildings carried the memory of its past decades.
The participants of the event, including Dmytro Skurikhin, Alina Muratova, Yulia, Lyuba and Liudmyla, shared their personal family stories that were intertwined with the architectural and historical changes in the neighbourhood. They talked about their mental maps, the history of the neighbourhood's settlement and the widespread practices associated with KhTZ.
One of the most fascinating stories was about the love affair between a resident of KhTZ and a Chinese delegation member who wore an embroidered shirt and liked to be photographed in front of the State Industrial Building. This story highlighted how an industrial area could become a meeting place for cultures and dollars.
Dmytro Skurikhin shared his grandfather's memories of the colony on the site of the Vostok stadium, where prisoners of war were held during World War II. These stories again reflected the complex multi-layered history of the area.
The artist Sergey Koval visualised these stories in the form of sketches, which helped the participants to visualise the stories about the past of KhTZ. His works became a vivid addition to the oral narratives, adding depth and emotion to the memories.
The event not only strengthened the ties between the residents of KhTZ, but also provided a platform for understanding the historical heritage of the area and its impact on modern life.
On 7 June 2020, Kharkiv hosted a meeting organised by the Ukrainian Conversation Club in cooperation with the Constructivism.Kharkiv initiative and the Chekhov Library of the Industrial District. The event, titled ‘How we played Constructivism on the streets of HTZ’, was held under conditions that allowed us to maintain all quarantine measures, including a limited number of participants, the use of masks and disinfectants.
The meeting was dedicated to architectural constructivism, a style that was popular in the 1920s and 1930s and had a significant impact on the urban landscape of Kharkiv. Participants learned about the importance of this style and its impact on the modern city, as well as about the main figures who contributed to the development of Kharkiv constructivism, such as Les Kurbas, Vadym Meller, and Mykhailo Semenko.
Particularly noteworthy are the interactive activities that took place during the event, including a sketch mapping of the area and the identification of architectural styles that preceded modernism. Participants also had the opportunity to share their impressions and stories related to the KhTZ area, providing valuable feedback to the organisers.
The completion of the event highlighted not only the cultural significance of Constructivism for Kharkiv, but also the active participation of the community in this process, demonstrating a deep desire to preserve the understanding and this heritage. The initiative had a great resonance among the participants and encouraged further cultural events to be planned in the future.
Dmitry Skurikhin. The social city: from concept to implementation. Observations of a local resident - 20 April 2021.
In July 2021, Kharkiv hosted a unique cultural and artistic residency called Our School of KhTZ, which in four weeks became a real showcase of the transformational potential of art. Artists from seven countries took part in the event, exploring and rethinking social issues through the lens of art, using the context of Kharkiv as a canvas for their creative experiments.
The residency allowed the artists to dive deep into the historical and cultural heritage of Kharkiv, in particular the KhTZ district, which is famous for its industrial past. Through artistic interventions, performances and installations, the residency participants were able to understand and express various aspects of the relationship between the government and society, as well as identify ‘other spaces’ - zones of opportunity and change.
A significant challenge for the participants was limited funding and lack of support from the authorities, but this did not prevent the project from being implemented. The National Science Centre Kharkiv Institute of Physics and Technology opened its premises for artistic activities, which was a bold step on its part, given its conservative reputation and strategic importance.
The residency ‘Our School KhTZ’ opened a new page in the cultural life of Kharkiv, demonstrating how art can serve as a catalyst for social transformation.
The residency was organised by the Open Place NGO.
In the summer of 2021, Kharkiv hosted an ambitious project to create an interactive Google map showing youth spaces and activity centres in the KhTZ area. The project, initiated by community activists, students and schoolchildren, aims not only to collect data but also to actively engage local youth in learning about and understanding their community.
Over the summer, project participants explored the designated locations, described their impressions and suggested ways to improve youth infrastructure.
The first meeting of volunteers took place on 16 June, where the mapping methodology adapted from the Sever Zmin initiative was presented. Participants had the opportunity to test the methodology on the example of the Kharkiv City Youth Leisure Centre, as well as discuss and supplement it according to their own wishes.
This project is not only aimed at creating a useful resource for young people and the public, but also at strengthening civic awareness and activism among young people. It allows local residents not only to learn more about their neighbourhood, but also to influence its development and improvement.
Project organisers: Theatre of Change and BUR Kharkiv.
Research framework
The project's research framework is based on the concepts discussed during Anastasiia Bozhenko's lectures on understanding cultural heritage through art and symbols. The project uses embroidery as a channel to explore the interaction between history and modernity, as well as a way to preserve and transmit identity and historical memory across generations.
An important aspect of the research is the integration of historical symbols and motifs that reflect the industrial era and its impact on local culture and identity. Through embroidery, the motifs of the socialist architectural heritage are explored, as well as the reinterpretation of historical narratives and local traditions that have been the focus of analysis of postcolonial culture and the decolonisation of memory.
This research framework also reflects the desire to use traditional techniques in a contemporary context where cultural practices are reinterpreted to create new forms of cultural expression. In particular, it considers how historical embroidery techniques can be adapted to express contemporary cultural ideas, reflecting global trends in the preservation and revitalisation of cultural heritage.
Methodology
The methodological approach of the project is based on the analysis of historical, cultural and contemporary contexts, which provides a comprehensive understanding of embroidery. The main aspects of the methodology include:
1. Historical analysis. The study of historical records and literature allows us to identify key events in the history of KhTZ. This analysis establishes links between the history of the factory and cultural practices.
2. Researching the sources of Slobozhanska embroidery. Analysis of existing works on techniques, motifs and symbols of Slobozhanska embroidery. The research includes the study of traditional methods, colour schemes and the use of techniques that reflect the cultural identity of the region.
3. Semiotic analysis. Interpretation of embroideries as cultural texts that carry certain symbols and meanings. This approach allows us to reveal deep cultural connections and meanings embedded in the motifs of embroidery.
4. Visual analysis. A detailed study of embroidery samples through photographic and video materials, which allows us to analyse styles, colour schemes and compositional solutions. This approach reveals the aesthetic and technical features of embroidery.
5. Comparative analysis of symbols. A. Bozhenko analysed how different symbols are integrated into the embroidery traditions of different countries in the modern world. This study includes a comparison of embroidery symbols from different cultures, which helps to understand the global context and influences.
Illustrations from the book "Traditional folk costumes of Kharkiv region: Album"
Traditional folk costumes of the Kharkiv region: An album / compiled by. H.V. Lukianets - Kharkiv: Tochka Publishing House, 2018, 141 p.
A woman's shirt from the village of Yakovenkove, Balakliia district
A woman's shirt from Verbivka village, Balakliya district
Women's shirt from Chuhuiv
Women's shirt from Mala Komyshuvakha village, Izyum district
A woman's shirt from the village of Oliynykove, Shevchenkivskyi district
A woman's shirt from the village of Oliynykove, Shevchenkivskyi district
Women's shirt from the village of Velyki Khutory, Shevchenkivskyi district
Women's shirt in Lozova
Women's shirt from Nova Vodolaha village
A woman's shirt from the village of Ocheretove, Valky district
Women's shirt Valkyvka Museum
A woman's shirt from the village of Kolontaiiv, Krasnokutsk district
Results
1. Reconstruction of historical motifs. The study of Slobozhanska embroidery allowed us to accurately reconstruct traditional motifs and techniques while maintaining historical accuracy in embroidery patterns. This became the basis for creating embroidery that reflects the cultural and historical identity of KhTZ.
2.Integration of modern symbols. The analysis of how modern symbols are integrated into the embroidery of different countries inspired the inclusion of industrial elements in traditional motifs. This allowed us to create compositions that reflect Kharkiv's industrial past.
3. Semiotic enrichment. The embroidery received a new semiotic meaning through the integration of motifs with deep cultural and historical significance. This helped to create deeper connections between the past and the present, while preserving the cultural memory of the community.
4. Visual interpretation. Careful visual analysis of the embroideries during the project ensured a high quality of artistic expression. The embroidery not only recreates historical motifs but also adapts them to contemporary visual language, making the embroidery relevant and appealing to a wider audience.
5. Cultural dialogue. The project promoted cultural dialogue between different generations, emphasising the universality and adaptability of embroidery as an art form. Embroidery has become a bridge connecting historical ‘embarrassing heritage’ heritage with modern approaches to design and cultural expression.
References
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Бебешко Л. Українська вишиванка. Мальовничі узори, мотиви, схеми крою. Книжковий клуб «Клуб Сімейного Дозвілля», 2023, 128 с.
Відбілене сльозами полотно мережила, жила, переживала.../ Передмова Володимира Гальперіна; переднє слово Мирослави Семенової; збирач матеріалів і автор статей Олена Тройно; упоряд. та підготовка тексту Світлани Телегіної. — X: Регіон-інформ, 2005, 164 с.
Рушникова традиція центральної Слобідської України : Альбом / автор передм. та упорядн. Г. Лук'янець. – Харків: Видавець Олександр Савчук ; КЗ «обласний організаційно-методичний центр культури і мистецтва», 2022, 36 с.
Традиційне народне вбрання Харківщини : Альбом / Упоряд. Г.В. Лук’янець. – Х. : Видавництво «Точка», 2018, 141 с.
Анненков П., Родионов В., Рождённый дважды, Харьков, «Прапор», 1971, 255 с.
Найман С. Нема Тракторобуду - є Харківський тракторний завод. Будівництво. 1931. № 9. С. 3–4.
Маторін А. Квартал жилих будинків ХТЗ. Архітектура і будівництво. 1953. № 5. С. 15–17.
Мус'єв С. Трактороград. Харків : Пролетар, 1931. 60 с.
Орленко И., Туристу о Харькове. Путеводитель. — Харьков: Прапор, 1986. — С. 140—142.
Плотніков В. Побутове будівництво Харківського тракторного заводу. Архітектура радянської України. 1939. № 5. С. 18–22.
«Трактор ХТЗ-СТЗ», под ред. Альбова П., Харьков – Киев, 1936, 309 с.
«Харків iндустріальний» Харків, «Прапор», 1972, 128 с
Lectures
As part of the project Embroidered City: KhTZ Industrial Towel, a series of lectures were held by Anastasiia Bozhenko, PhD in History, an expert in public history and memory studies.
This series of lectures raises important issues of heritage and identity, from the historical impact of totalitarian regimes to post-socialist rethinking and the challenges that arise when interpreting Soviet cultural heritage. Each lecture focuses on a different aspect of historical and cultural heritage, covering a wide range of topics from ‘Inconvenient Heritage’ to ‘Vernacular Districts and Local Identity’.
The lectures look at both tangible and intangible aspects of heritage, their impact on contemporary society, and how this is perceived and reinterpreted through different cultural and historical contexts. They also highlight the importance of memory and shared history in shaping public identity and personal relationships to the past.
The lectures offer an in-depth look at the complexity and diversity of heritage topics, from personal narratives to national debates, emphasising the importance of critical thinking and active engagement in the processes of preserving and rethinking history.
Лекція 1 "Незручна спадщина" занурює нас у роздуми про складність історичної спадщини, зокрема тоталітарних режимів минулого століття, і як суспільство може або повинно ставитися до неї сьогодні.
Поняття незручної спадщини: Розглядається як матеріальні, так і нематеріальні аспекти історичної спадщини, включаючи пам'ять про події, практики, що були пов'язані з тоталітарними режимами. Виділяється, що важливо не лише зберігати "добре" і відкидати "погане", але й займатися критичним аналізом історії.
Універсальність незручної спадщини: Наголошується на тому, що незручна спадщина є універсальним явищем, яке охоплює не лише радянську спадщину в Україні, а й колоніальну спадщину в інших країнах, а також місця трагедій, такі як Чорнобильська зона.
Різні трактування спадщини: Подано приклади, як одні й ті ж історичні об'єкти можуть бути сприйняті по-різному в залежності від культурного та історичного контексту, підкреслюючи складність теми і необхідність багатогранного підходу до неї.
Спадщина як ресурс: Обговорюється, як незручна спадщина може стати ресурсом для суспільства, якщо до неї підійти з розумінням і відповідальністю. Важливість пам'яті та її вплив на формування ідентичності та історичної свідомості. ? Питання пам'яті та забуття: У лекції ставиться запитання про те, як ми обираємо пам'ятати чи забувати про незручні сторінки нашої історії, і як це впливає на наше сьогодення та майбутнє.
Це відео спонукає до роздумів про складність нашої історії та важливість критичного мислення щодо минулого для розуміння нашого місця в сучасному світі та відповідального ставлення до спадщини.
Лекція 2 "Постсоціалістичний контекст" пропонує глибокий аналіз постсоціалістичної спадщини, акцентуючи на тому, як сучасні суспільства ставляться до архітектурної та культурної спадщини радянського періоду. Авторка досліджують виклики, можливості та різноманітні підходи до інтерпретації та використання цієї спадщини в сучасному контексті.
Архітектурна спадщина: Відео звертає увагу на важливість архітектурних об'єктів постсоціалістичного періоду, які часто сприймаються як непривабливі або небажані. Розглядається, як ця спадщина може бути переосмислена та адаптована до потреб сучасного суспільства.
Культурні проєкти: Описуються ініціативи, які прагнуть привернути увагу до значення і потенціалу постсоціалістичної спадщини через мистецтво, виставки та освітні заходи. Підкреслюється роль культурних проєктів у створенні нових наративів і сприйняття цієї спадщини.
Переосмислення спадщини: Дискусія про виклики та можливості, пов'язані з переосмисленням та інтеграцією постсоціалістичної спадщини у сучасний культурний та соціальний контекст. Обговорюється, як ці зусилля можуть сприяти культурній ідентифікації та розвитку громад.
Громадська участь: Важливість участі громадськості в процесах прийняття рішень щодо збереження та використання постсоціалістичної спадщини. Наголошується на потребі врахування думок і переваг мешканців у плануванні майбутнього цих об'єктів.
Майбутнє спадщини: Роздуми про майбутнє постсоціалістичної спадщини та її роль у формуванні культурного ландшафту. Обговорюється, як збереження та адаптація цих об'єктів можуть слугувати засобом збереження історичної пам'яті та стимулювати культурний та економічний розвиток.
Ця лекція надає комплексний погляд на складність взаємодії сучасного суспільства з постсоціалістичною спадщиною, висвітлюючи виклики, можливості та різні підходи до цієї теми.
Лекція 3 "Індустріальна спадщина як незручна. Кейс ХТЗ" занурює нас у розгляд Харківського тракторного заводу (ХТЗ) як прикладу індустріальної спадщини, що може викликати незручності та виклики у пострадянському контексті. Через детальний аналіз цього кейсу, висвітлюється складність управління такою спадщиною та її значення для сучасного суспільства.
Індустріальна спадщина і її сприйняття: Розглядається як ХТЗ, заснований у період індустріалізації, є важливою частиною історії та культури, одночасно викликаючи дискусії про тоталітарне минуле та постколоніальні наративи.
Вплив на громаду і місцевий розвиток: Відео підкреслює важливість заводу не лише як індустріального об'єкта, але й як центру соціального життя, демонструючи його значення для місцевої громади та економіки.
Виклики збереження та адаптації: Обговорюється складність збереження індустріальної спадщини в умовах сучасного розвитку та потреби у реадаптації старих промислових об'єктів до нових функцій.
Пошук балансу між збереженням та розвитком: Відео наголошує на необхідності знаходження балансу між прагненням зберегти історичну та культурну цінність об'єкта та потребами сучасного суспільства та економіки.
Переосмислення індустріальної спадщини: Представлено різні погляди на можливості переосмислення та нового використання індустріальних об'єктів, включаючи роль у формуванні культурного простору та сприяння громадському діалогу.
Ця лекція відкриває глибокий розгляд проблеми індустріальної спадщини, її значення для ідентичності та меморіалізації, а також шляхи її інтеграції у сучасний культурний та економічний контекст.
Лекція 4 "Війна пам’ятей що робити з минулим?" проникає у складну тему взаємодії сучасного суспільства зі своїм історичним минулим, зокрема, зосереджуючись на викликах, які виникають у контексті спадщини тоталітарних режимів.
Через аналіз українського досвіду у вирішенні цих викликів, відео висвітлює як змінюються наративи пам'яті та як суспільство може обирати, що зберігати, а що переосмислювати або відкидати.
Законодавчі ініціативи: Лекція починається з розгляду українських законодавчих актів, які засуджують тоталітарні режими та забороняють пропаганду їхньої символіки. Ці заходи є частиною ширшого зусилля з деколонізації пам'яті та публічного простору.
Демонтаж пам'ятників: Один з видимих наслідків таких ініціатив – активний демонтаж пам'ятників, що асоціюються з радянською та нацистською спадщиною. Цей процес, відомий як "ленінопад" в Україні, символізує боротьбу з минулим та намагання створити нову національну ідентичність.
Європейська інтеграція: Зміна пам'яткової символіки та відзначення нових дат, які відповідають європейським традиціям вшанування жертв війни та тоталітаризму, вказує на бажання України інтегруватися в європейський культурний та історичний простір.
Суперечності у суспільній думці: Відео також торкається розбіжностей у суспільній думці щодо цих процесів, що відображає складність і болісність процесу переосмислення історичного минулого.
Пам'ять та примирення: Завершальна частина відео акцентує на необхідності балансу між збереженням пам'яті про минуле та прагненням до примирення та будівництва майбутнього, що не обтяжене трагічними подіями історії.
Ця лекція висвітлює важливість і складність роботи з історичною пам'яттю, демонструючи, як суспільні вибори щодо минулого впливають на ідентичність, культурні практики та політику в сучасному світі.
Сьома лекція "Спіймати на камеру genius loci": Захоплюючий погляд на візуальну архітектуру та дух місця!
Ми дізналися більше про те, як візуальні засоби, зокрема фотографія, впливають на наше розуміння історичної архітектури та формування "духу місця". Ця лекція підняла важливі питання про інтеракцію між архітектурою, її фотографічним зображенням та сприйняттям цих зображень аудиторією.
Критичний аналіз візуальних джерел: Було обговорено, як фотографії можуть слугувати як ключові документи для аналізу змін у міському ландшафті, від історичних забудов до сучасних реконструкцій.
Вплив фотографії на архітектурну практику: Лекція висвітлила, як архітектурні фотографії не просто фіксують вигляд будівель, але й можуть впливати на сприйняття архітектурної краси та значимості споруд.
Антропологічний аспект: Значення фотографії у фіксації соціальних змін, взаємодій між людьми та архітектурним простором, показуючи, як місця "живуть" і змінюються разом з їхніми мешканцями.
Роль візуального матеріалу у формуванні пам'яті: Обговорення того, як фотографії сприяють збереженню колективної пам'яті та ідентичності, особливо в контекстах, де архітектурна спадщина перебуває під загрозою зникнення.
Фотографія як мистецтво та інструмент дослідження: Лекція підкреслила, як архітектурна фотографія сама по собі може бути виразною художньою формою, яка допомагає краще зрозуміти і оцінити архітектурні та урбаністичні простори.
Восьма лекція "Вернакулярні райони та локальна ідентичність".
Визначення вернакулярних районів: Відео розглядає концепцію вернакулярних районів як територій, які мають унікальне значення та ідентичність для місцевих мешканців, відрізняючись від офіційних адміністративних районів.
Сприйняття та використання районів: Обговорення того, як місцеве населення використовує власні назви для опису мікрорайонів, що відрізняється від адміністративного поділу і часто не відображається на мапах.
Вплив історичних поселень: Розглядаються приклади районів, які отримали назви від історичних поселень, але зараз є частиною більших міських територій.
Локальна ідентичність через вернакулярні райони: Відео підкреслює важливість локальної ідентичності, яка формується через повсякденне використання та сприйняття цих місцевих районів.
Роль і значення локальної ідентичності: Огляд того, як місцеві ідентичності сприяють соціальній єдності та громадській активності, зокрема через заходи, що об'єднують людей в рамках спільних ініціатив.
The development of the embroidery design began with a study of traditional embroidery techniques and colour schemes historically used in Slobozhanshchyna, with particular attention to the choice of materials and colours that would meet historical standards.
In order to integrate local symbols and architectural features into the embroidery, designer Vira Chypurko studied visual information not only about the industrial symbols of the area, but also about architectural details and historical planning. This visual data became the basis for creating patterns that reflected the distinctive features of the neighbourhood.
When studying the colour palette in detail, the designer relied on traditional natural dyes used in the past. Particular attention was paid to the choice of ochre and grey shades to accurately convey the nuances that were popular in the region in the early 20th century.
During the design process, Vira also considered the historical significance of various patterns and symbols traditionally used in folk embroidery. In particular, she paid attention to the stylisation of floral motifs, which often had a deep symbolic meaning, reflecting rebirth and connection with nature. The designer also actively integrated industrial symbols that reflect KhTZ's industrial past. This is especially evident in the use of motifs that resemble elements of machines and tools that were typical of factory production. She experimented with geometric shapes reminiscent of gears, shafts and levers, and stylised some of the patterns to visually match the structural features of the factory buildings. This use of industrial symbols not only honours the region's historical past, but also gives the embroidery a contemporary feel, making it an important element of cultural identity and industrial pride. This detailed work with symbols not only enriches the embroidery, but also tells the story of the transformation of the area from the industrial era to the modern revival, reflecting it through the lens of art and heritage. The designer adapted these motifs while maintaining a sense of historical continuity.
Each element of the embroidery was carefully planned and executed with historical accuracy in mind, resulting in pieces that are not only beautiful but also deeply meaningful. This approach not only ensured the aesthetic and cultural value of the embroideries, but also played a key role in preserving and restoring cultural heritage through the art of embroidery, becoming a means of cultural communication between generations and reflecting the historical memory of the community.
Embroidered city: industrial towel KhTZ project is supported by the European Union under the House of Europe programme.
