The artistic principles of constructivism were built on the basis of formal solutions to a number of compositional tasks — this involves the search for artistic effect in the combinations of simple volumes, in the juxtaposition of vertical and horizontal lines, in the contrast of the solid masses of walls with large glass planes, etc. At a certain stage, this direction played a positive role, opening new possibilities in the field of form creation and the search for functional appropriateness; however, due to its clearly expressed abstractness and insufficient reflection of regional traits and national characteristics, it no longer met the full aesthetic demands of Soviet people, leading to misunderstanding and serious criticism.
The shortcomings of this stylistic direction in Kyrgyzstan were exacerbated by the low level of construction infrastructure and technology at that time, as well as the weak professional training of local architectural, engineering, and construction personnel. As a result, there was often unjustified complexity in form and structures, and the development of stylization.
In 1931, at the June Plenary of the Central Committee of the VKP(b), formalist trends in architecture were criticized. The increase in volumes and the pace of industrial and urban construction required the consolidation of architects' efforts, bringing them closer to the needs of real construction. The desire to unite and specify creative efforts came from the bottom up, so when in 1932 the Central Committee of the VKP(b) adopted the resolution "On the Reconstruction of Literary and Artistic Organizations," it was met with deep satisfaction.
Based on this resolution, unified creative unions of writers, artists, and architects of the country were established. The newly created Union of Architects was tasked with uniting creative efforts to address the real problems of construction. Starting from 1932, the development of Soviet architecture was marked by a decisive change in creative direction towards the mastery of classical heritage and the development of a creative method of socialist realism applicable to the specific nature of architecture.
Despite the complexity and contradictions of the first stage of post-revolutionary architectural development in Kyrgyzstan, it was of immense significance for the formation of creative principles of architecture in the young republic. Among the most important outcomes of this period was the establishment of the first design organization in the republic — "Kirgosprom" (1932). Prior to this, design work was mainly carried out by architectural and construction organizations from Moscow or local practicing engineers.
