Leading contemporary architects stated their adherence to the ideas of the Russian Avant-garde that could be “injected” into the Western cultural background and might regenerate or revitalize it. Their approach could be accounted as “superficial sliding”, but quite deep interpenetration to the ideas and images of this culture is also revealed. So the point is, in what ways the inheritance occurs and cross-temporal interaction works in a design culture? The purpose of this paper is to clarify a nature of the multiple links between the working concepts of the masters of the Russian Avant-garde and contemporary Western architects emerging while their creative activity in relation to spatial constructions and affecting the meanings of architectural forms and images. The essay tried to apply the process approach to study the architectural phenomena, treated as a development of structuralism and post-structuralism methods, involving the construction of both synchronic and diachronic models. Comparative analysis of individual ways of designing and creating forms specific to the architects is also used. As a result the individual semantic structures are identified and their interconnections are found out at the different levels of conceptualizing: “picture” imitation and transfiguration; fragmentation; reticulated constructions; cosmos generating; spatial primary units; animated stain; bionic movement; autopoiesis. Tracing the links and transferring the ideas is possible at the meta-level by comparison the whole semantic structures specific for the different times architects, identified by means of reconstruction of their individual creative processes and representation of the broad figurative-semantic fields, referring to the various cultural contexts.

It’s commonly recognized that Avant-garde creativity begins with almost complete negation and deconstruction of previous cultural background. But examination of architects’ creative work shows that such an act is preceded by their deep study of architectural history and form creation and derivation of their own sets of universal architectural forms and assemblage methods. The purpose of essay is to reconstruct the creative process of Avant-garde architect and to reveal the inclusion of forms, taken from architectural history and regarded as a cultural resource while city-like structures and architectural organisms becoming. The research uses a process approach to study architectural phenomena, interpreted as a further development of structuralism and post-structuralism methods, including analysis of an array of design data, modelling of dynamic structures and accounting the intrusions from alien contexts. Comparative analysis is also used to jointly consider borrowings from different historical contexts and avant-garde neologisms. As a result, it turns out that Golosov doesn’t break or deny, but mentally unscrews aggregate of historical forms to reintegrate the selected forms, in altered order, into the structure of new city-like complex. Hence, to harmonize his work he returns to composition and tectonics and refers to the historical contexts from where forms originated, and they evoke reminiscences.