Constructivism has not gone unnoticed in the history and practice of architecture. The round and faceted multi-story bay windows are found on the facades of houses in the center of Moscow without any claims to the uniqueness of the building, but simply as one of the methods of housing construction. Even in the monster-shaped office buildings of the 1990-s appear some details of the constructivist fantasies of the avant-garde creators, but their use, as a rule, conflicted with pseudo-classics and even outright popular vulgarity of “court” architects, who were striving to impress the savage customer, greedy for bright trinkets. In one way or another, the discoveries of the avant-garde artists of the first half of the 20th century found and find their application in the everyday practice of building and decorating modern life. Purified from the ideological layers of the outgoing era of the rational management of society, constructivism in architecture and related constructivism in visual arts have become legitimate components of modern culture, regardless of “which millennium, my dears, is there outside?”