tokarev artur bychkov igor architectural guide the south of russia buildings of the soviet avant garde 1922–1936
Tokarev Artur, Bychkov Igor Architectural guide. The South of Russia. Buildings of the Soviet Avant-Garde 1922–1936
The architecture of the Soviet avant-garde of the 1920s and mid-1930s is attracting more and more attention from both domestic and foreign researchers, but in spite of this, entire regions remain unexplored. One of them, until recently, was the South of Russia - an area that encompasses the Southern Federal District and the North Caucasus Federal District. The state of this architectural heritage deserves special mention. In the South of Russia during the Second World War, there were active hostilities and mass destruction. Over the course of post-war reconstruction, many buildings were rebuilt in a neoclassical style, and a whole layer of avant-garde works nearly disappeared. During the post-Soviet years, the management of these buildings was no less destructive. The product of extensive research, this guidebook divides the objects in question into two groups: those that have survived and those that have been lost forever. Fortunately, Architectural Guide The South of Russia allows readers to see more than 100 selected buildings of the Soviet avantgarde with their own eyes.
3833 Руб.
Artur Tokarev. Architectural guide. The South of Russia
Архитектура советского авангарда 1920-х — середины 1930-х годов привлекает все больше внимания как отечественных, так и зарубежных исследователей, но, несмотря на это, целые регионы остаются неисследованными. Одним из них до недавнего времени был Юг России - территория, охватывающая Южный федеральный округ и Северо-Кавказский федеральный округ.Отдельного упоминания заслуживает состояние этого архитектурного наследия. На Юге России в годы Второй мировой войны шли активные боевые действия и массовые разрушения. В ходе послевоенной реконструкции многие здания были перестроены в неоклассическом стиле, практически исчез целый пласт авангардных произведений. В постсоветские годы управление этими зданиями было не менее деструктивным.Этот путеводитель, являющийся результатом обширных исследований, делит рассматриваемые объекты на две группы: те, что сохранились, и те, которые были потеряны навсегда. К счастью, «Архитектурный путеводитель Юг России» позволяет читателям увидеть своими глазами более 100 избранных зданий советского авангарда.The architecture of the Soviet avant-garde of the 1920s and mid-1930s is attracting more and more attention from both domestic and foreign researchers, but in spite of this, entire regions remain unexplored. One of them, until recently, was the South of Russia - an area that encompasses the Southern Federal District and the North Caucasus Federal District.The state of this architectural heritage deserves special mention. In the South of Russia during the Second World War, there were active hostilities and mass destruction. Over the course of post-war reconstruction, many buildings were rebuilt in a neoclassical style, and a whole layer of avant-garde works nearly disappeared. During the post-Soviet years, the management of these buildings was no less destructive.The product of extensive research, this guidebook divides the objects in question into two groups: those that have survived and those that have been lost forever. Fortunately, Architectural Guide The South of Russia allows readers to see more than 100 selected buildings of the Soviet avantgarde with their own eyes.
4290 Руб.
Chmelnizki Dmitrij Alexey Shchusev Architect of Stalin's Empire Style
Alexey Shchusev (1873?–?1949) was one of the very few architects who managed to rise to the top of the architectural hierarchy under the tsars and then to repeat this success under Soviet rule. Already before the Revolution of 1917, Shchusev was an acclaimed Revivalist architect, well-known for his church designs and Moscow’s Kazan Station. In the 1920s, he became a renowned Constructivist. Following the official renunciation of Avant-Garde architecture ordered by Stalin, Shchusev swiftly became an advocate of Socialist Classicism, designing many projects in the dictator’s favoured Empire Style in order to satisfy the Stalinist state’s needs for monumental representation. This monograph offers a critical view on Alexey Shchusev’s work. The architectural historian Dmitrij Chmelnizki pursues the mysteries of one of the most famous Soviet architects whose name and work has remained a marginal note outside the Russian-speaking academic world to this day. But the book also shows that Shchusev’s planning assignments in the twilight Soviet society require more intensive research. A future generation of architectural historians may be better able to answer the question of how independent such research will be possible in today’s Russia.
2224 Руб.
Krasnyanskaya Kristina, Semenov Alexander Soviet Design. From Constructivism To Modernism. 1920-1980
The Soviet Union has left a vast heritage in interior design that is largely unknown in the West. Other than architecture and graphic or product design, interior design from the Soviet era has not yet been thoroughly investigated. For the first time ever, this book offers a comprehensive survey of the country's interior design culture between revolutionary avant-garde and late Soviet modernism. Drawing on archives that were inaccessible until recently and featuring a wealth of previously unpublished material, it documents the achievements of seven decades in the former socialist empire. Soviet design is often discredited as massive, non-ergonomic and monotonous. Yet a remarkable variety of original styles have emerged behind the iron curtain. The 1920s were marked by bold exploration and experiments at Vkhutemas and by constructivism, rationalism, and suprematism. Early in Stalin's reign constructivism was heavily criticised and post-constructivism and Soviet neo-classicism appeared alongside what became known as 'agitational furniture', inspired by the regime's propaganda. The 1930s brought Soviet Art Deco and eventually Stalinist Empire, which has produced some of the Soviet Union's most iconic buildings. In the late 1950s, after Stalin's death, the last Soviet 'big style' originated modernist and functionalist furniture, mass-produced to fit the small apartments in the Khrushchyovka multi-unit housing developments that were built in cities on a large scale. The 1960s mark the Golden Age of Soviet interior design, showing again influences by the early Soviet Avant-Garde and the Bauhaus, while most of the visionary work of a new generation of designers in the 1970s and 1980s remained unrealised.
19114 Руб.
Bronovitskaya Anna, Malinin Nikolay, Palmin Yiri Moscow. A Guide to Soviet Modernist Architecture 1955-1991
Moscow: A Guide to Soviet Modernist Architecture 1955-1991 provides descriptions of almost 100 buildings from the most underrated period of Soviet architecture. This is the first guide to bring together the architecture made during the three decades between Khrushchev and Gorbachev, from the naive modernism of the "thaw" of the late 1950s through postmodernism. Buildings include the Palace of Youth, the Rossiya cinema, the Pioneer Palace, the Ostankino TV Tower, the TASS headquarters, the "golden brains" of the Academy of Sciences and less well-known structures such as the House of New Life and the Lenin Komsomol Automobile Plant Museum. The authors situate Moscow's postwar architecture within the historical and political context of the Soviet Union, while also referencing developments in international architecture of the period.
2571 Руб.
Bronovitskaya A., Malinin N., Palmin Y. Moscow: A guide to soviet modernist architecture 1955-1991
Moscow: A Guide to Soviet Modernist Architecture 1955-1991 provides descriptions of almost 100 buildings from the most underrated period of Soviet architecture. This is the first guide to bring together the architecture made during the three decades between Khrushchev and Gorbachev, from the naive modernism of the "thaw" of the late 1950s through postmodernism. Buildings include the Palace of Youth, the Rossiya cinema, the Pioneer Palace, the Ostankino TV Tower, the TASS headquarters, the "golden brains" of the Academy of Sciences and less well-known structures such as the House of New Life and the Lenin Komsomol Automobile Plant Museum. The authors situate Moscow's postwar architecture within the historical and political context of the Soviet Union, while also referencing developments in international architecture of the period.
1601 Руб.
Bronovitskaya A., Malinin N., Palmin Y. Moscow: A guide to soviet modernist architecture 1955-1991
Moscow: A Guide to Soviet Modernist Architecture 1955-1991 provides descriptions of almost 100 buildings from the most underrated period of Soviet architecture. This is the first guide to bring together the architecture made during the three decades between Khrushchev and Gorbachev, from the naive modernism of the "thaw" of the late 1950s through postmodernism. Buildings include the Palace of Youth, the Rossiya cinema, the Pioneer Palace, the Ostankino TV Tower, the TASS headquarters, the "golden brains" of the Academy of Sciences and less well-known structures such as the House of New Life and the Lenin Komsomol Automobile Plant Museum. The authors situate Moscow's postwar architecture within the historical and political context of the Soviet Union, while also referencing developments in international architecture of the period.
1601 Руб.
Marina Kavalirek. Architectural guide: Rome
Rome has had an enormous influence on European art and art history for over 2,000 years. Indeed, the city was the birthplace of the foundations of western architecture. This architectural guide encourages visitors to go beyond the most frequently visited historical landmarks to explore the hidden architectural pearls of Rome. The focus is on unusual – yet less-known – buildings that were built from the second half of the 20th century onwards. From cultural and educational institutes, sport facilities, and residential buildings to sacred and mixed-use buildings through to transport infrastructure: this book presents 140 projects that cover a wide range of architectural styles and typologies.
3990 Руб.
Yuri Avvakumov. Paper Architecture
The traditions of paper architecture derive from French and Italian designs of the eighteenth century and avant-garde projects produced in the Soviet Union in the 1920s and 1930s. The latter were denounced at the time for their detachment from reality, practice, and ideology, which made them unsuitable for promoting the building of socialism In the early 1980s, a group of students at Moscow Architectural Institute found a way around the censor and began sending entries to Japanese ideas competitions. They immediately started winning. Yuri Avvakumov was one of the key figures in the paper architecture movement of the time and amassed a large collection of works by his friends and colleagues. As well as an introductory essay by Avvakumov, the book includes a selection of press cuttings, many of which are translated to English for the first time. Paper Architecture. An Anthology was first published in Russian in 2019. It won The Art Newspaper Russia Book of the Year award.
2290 Руб.
Herwig Christopher Soviet Bus Stops Volume II
On the heels of his bestselling Soviet Bus Stops, photographer Christopher Herwig locates fresh wonders of the Soviet vernacular in Georgia, Ukraine and Russia itself After the popular and critical success of his first book, Soviet Bus Stops, photographer Christopher Herwig has returned to the former Soviet Union to hunt for more. In this second volume, as well as discovering new stops in the remotest areas of Georgia and Ukraine, Herwig turns his camera to Russia itself. Following exhaustive research, he drove more than 9,000 miles from coast to coast across the largest country in the world, in pursuit of new examples of this singular architectural form. A foreword by renowned architecture and culture critic Owen Hatherley reveals new information on the origins of the Soviet bus stop. Examining the government policy that allowed these small architectural forms to flourish, he explains how they reflected Soviet values, and how ultimately they remained-despite their incredible individuality-far-flung outposts of Soviet ideology. The diversity of architectural approaches is staggering: juxtaposed alongside a slew of audacious modern and brutal designs, there are bus stops shaped as trains, birds, light bulbs, rockets, castles, even a bus stop incorporating a statue of St. George slaying the dragon. An essential companion to the first volume, this book provides a valuable document of these important and unique constructions.
7394 Руб.
Weissbach Heiko Aarhus. Architectural Guide
Aarhus is an architectural jewel on the periphery of Continental Europe. The self-proclaimed world's smallest city has borne the pet name City of Smiles for many decades in order to promote itself and its good vibe. Today, the Danish city is primarily a city prominent for education and training with a School of Architecture which is highly conducive to Aarhus having the highest density of architects throughout the country. In addition to key buildings from the twentieth century, the Architectural Guide Aarhus seeks to present spectacular new buildings from recent years. Ten tours, which are classified according to their geographic scope, provide an overview of almost 150 buildings and projects. Complementary essays provide background knowledge on urban history, the history of specific quarters and renowned architects who have contributed to making Aarhus an European architectural metropolis - and not only since the City of Culture year of 2017.
1182 Руб.
Nikiforov Yevgen, Baitsym Polina Ukraine. Art for Architecture. Soviet Modernist Mosaics 1960 to 1990
In the times when the Ukrainian art sphere was regulated by the Soviet institutions, local monumental and decorative arts existed at the frontier of the Party's propaganda and the artistic thirst to experiments. Nowadays, Ukrainian mosaics are wrested out of the architectural context of the country in both literal and metaphorical ways. The artworks are liquidated from the buildings they were specifically created for and indiscriminately despised as ideological pieces of no value. Furthermore, in legal terms mosaics are not defined as objects of art that makes them unguarded in the face of the decommunization process. Initially incepted as a guide, this book is an equally beneficial companion for the journey through space (in the context of the geographical area of modern Ukraine) and hitchhiking through time (in terms of Ukrainian cultural history). It incorporates the selection of Ukrainian mosaics which undermines the simplified perspective on the Soviet art heritage in Ukraine. The volume is generously supplemented with unique photographs of the documentary photographer Yevgen Nikiforov who continues the research, initially presented in the book Decommunized: Ukrainian Soviet Mosaics (2017). Together with the art historian Polina Baitsym who reveals striking linkages of the mosaics' plots with broader historical context, he will guide you through the testimonies of the genuine creativity of Ukrainian monumental artists which managed to flourish on the most infertile soil.
3559 Руб.
Akmal Imelda Architectural guide. Indonesia
How does the world’s fifth largest population express itself in terms of architecture? Is there any common language when it comes to planning and construction? For the past seven decades, both Indonesian and international architects have developed new ideas in order to fulfill the demands of the country’s 250 million inhabitants, in line with economic progress. Imelda Akmal’s Architectural Guide Indonesia presents over one hundred must-visit buildings which date from the post-independence era, starting in 1945, to the present day. This book explores buildings that still embrace traditional Indonesian architectural heritage as well as those whose design is based on practical considerations, thus offering a valuable insight into the works of emerging and established architects. In total the guide features carefully selected buildings with all salient information as to their dates of construction, architects and locality by way of QR codes.
3559 Руб.
Sub-Saharan Africa. Architectural Guide (7 volumes)
Despite the growing interest in Africa, the continent’s built environment is still largely unfamiliar in many parts of the world. The seven volumes of the Sub-Saharan Africa Architectural Guide form the first comprehensive overview of architecture south of the Sahara that does justice to the region’s wealth of buildings. In 49 chapters, each focusing on one country, richly illustrated texts by more than 350 authors from Africa and across the globe come together to produce a superlative work. On the basis of 850 selected buildings and over 200 thematic articles, the continent’s building culture is elucidated and contextualised. The diverse contributions paint a multifaceted picture of Africa’s architecture in the twenty-first century, a discipline shaped by traditional and colonial roots as well as today’s global interconnections and challenges. An introductory volume on the history and theory of African architecture provides essential background knowledge.
13705 Руб.
Bronovitskaya A. Leonid Pavlov
The architect Leonid Pavlov's unique talent fully flourished in the period between I960 and 1980. But the path that led him to the creation of his most significant works is no less interesting. Pavlov is one of those who embody the living connection between the avant-garde and post-Stalin Modernist architecture. In fact, his experience shows that two decades of the enforced historicism of the Stalin era could be seen as a kind of school, enriching architects' skills and giving them a more profound understanding of their art. Similarly, Khrushchev's reform of 1955, considered by many as the end of the architectural profession itself, offered Pavlov both a liberating path and a chance to try out new and exciting directions. An engaged flexibility helped him adapt to the "official point of view" and current trends and - combined with his inner integrity - allowed him to work productively throughout his life. Unfortunately, none of his rare Constructivist buildings have survived to this day (there were few of them, as he only started practicing architecture in 1930). However, his highly personal versions of Neoclassicism, post-Stalin Modernism and Postmodernism are of very high value. Especially noteworthy is his successful treatment of the latter style, mostly represented in Russian architecture, traumatized by the enforced historicism of the Stalin years by inferior eclectic buildings. For Pavlov there was no contradiction between the Classical and the Modern. He would use the golden ratio, refer to Palladio and to Old Russian church styles even when creating his Modernist buildings. Perhaps then it is only natural that he would start later using historical references more conspicuously. A closer look at the biography of Leonid Pavlov, then, his main creative works and texts where he describes his attitude to the art of architecture and the profession itself, will help us better understand the history of Soviet architecture.
7494 Руб.
Bronovitskaya A. Leonid Pavlov
The architect Leonid Pavlov's unique talent fully flourished in the period between I960 and 1980. But the path that led him to the creation of his most significant works is no less interesting. Pavlov is one of those who embody the living connection between the avant-garde and post-Stalin Modernist architecture. In fact, his experience shows that two decades of the enforced historicism of the Stalin era could be seen as a kind of school, enriching architects' skills and giving them a more profound understanding of their art. Similarly, Khrushchev's reform of 1955, considered by many as the end of the architectural profession itself, offered Pavlov both a liberating path and a chance to try out new and exciting directions. An engaged flexibility helped him adapt to the "official point of view" and current trends and - combined with his inner integrity - allowed him to work productively throughout his life. Unfortunately, none of his rare Constructivist buildings have survived to this day (there were few of them, as he only started practicing architecture in 1930). However, his highly personal versions of Neoclassicism, post-Stalin Modernism and Postmodernism are of very high value. Especially noteworthy is his successful treatment of the latter style, mostly represented in Russian architecture, traumatized by the enforced historicism of the Stalin years by inferior eclectic buildings. For Pavlov there was no contradiction between the Classical and the Modern. He would use the golden ratio, refer to Palladio and to Old Russian church styles even when creating his Modernist buildings. Perhaps then it is only natural that he would start later using historical references more conspicuously. A closer look at the biography of Leonid Pavlov, then, his main creative works and texts where he describes his attitude to the art of architecture and the profession itself, will help us better understand the history of Soviet architecture.
7494 Руб.