An architectural drawing by El Lissitzky depicting his 1924 proposal for a horizontal skyscraper in Moscow. This Constructivist design features cantilevered office blocks supported by vertical pylons.

El Lissitzky designed the Wolkenbügel, or "Cloud-iron", as a series of eight horizontal skyscrapers for Moscow. This drawing depicts the proposal for Strastnoy Boulevard. The concept addressed the lack of space in the city centre by elevating office space on three vertical pylons. These pylons functioned as lift shafts and stairs. They were intended to connect directly to underground metro stations. This vertical-horizontal configuration allowed for maximum floor space without occupying a large footprint on the ground. The composition uses a low perspective to define the scale of the structure. Lissitzky employed sharp geometric forms and a monochromatic palette. The horizontal cantilevered blocks extend over the street. This creates a sense of weightlessness despite the industrial materials. The design rejected the American vertical skyscraper model. Lissitzky preferred a horizontal approach that integrated with the urban fabric. The use of glass and steel reflected the industrial ambitions of the period. Lissitzky was a member of the Constructivist movement. He believed that architecture should be functional and serve the needs of the Soviet state. The Wolkenbügel remained unbuilt. However, the project influenced modern architectural theory. The drawing shows the use of precise lines and tonal shading to define the surfaces. Handwritten German inscriptions at the top and bottom of the sheet provide context for the specific location. One inscription reads "der Wolkenbügel für Moskau", identifying the project. Another note mentions "Blick gegen Strastnoy Blvd", indicating the view towards the boulevard. The artist used a combination of drawing and collage techniques. This approach allowed for a clear representation of the structural elements. The sky is rendered with soft shading, providing a contrast to the hard edges of the building. This contrast emphasises the modern nature of the proposal against the traditional city. The work represents a period of intense experimentation in Soviet art and design.