The circus and other stories
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In 1920s Soviet Russia, writer and poet Samuil Marshak and graphic artist Vladimir Lebedev came together to bring the energy and boldness of Russian avant-garde art into children’s publishing. The results of this remarkable collaboration were a series of stunning picture books, four of which are collected and reproduced in full here, newly translated, together in one(...)
The circus and other stories
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In 1920s Soviet Russia, writer and poet Samuil Marshak and graphic artist Vladimir Lebedev came together to bring the energy and boldness of Russian avant-garde art into children’s publishing. The results of this remarkable collaboration were a series of stunning picture books, four of which are collected and reproduced in full here, newly translated, together in one volume for the first time.
Littérature jeunesse
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These(...)
Monographies photo
septembre 2010
Cosmic communist constructions photographed
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Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR : a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.
Monographies photo
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Les architectures et les paysages témoignent de chronologies paradoxales. Comme l'ont illustré l'effet de la « dé-communisation » issue de la révolution de Maïdan et l'immédiate mise en musée des événements dans le Donbass, une partie de l'histoire est supprimée pour être tout de suite remplacée par une autre. Ce livre explore une Ukraine construite en diachronie,(...)
L'Ukraine Post-Euromaïdan dans ses liens intangibles avec l'Union Soviétique
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Les architectures et les paysages témoignent de chronologies paradoxales. Comme l'ont illustré l'effet de la « dé-communisation » issue de la révolution de Maïdan et l'immédiate mise en musée des événements dans le Donbass, une partie de l'histoire est supprimée pour être tout de suite remplacée par une autre. Ce livre explore une Ukraine construite en diachronie, constamment modifiée par les révolutions et les guerres. // The architectures and landscapes reveal the paradoxical chronologies that Ukraine cannot hide. As illustrated by the effect of 'decommunisation' post Maïdan, paralleled with the immediate establishment of the current affairs in Donbass, part of the history is suppressed to be immediately replaced with another. This book explores a Ukraine built in a diachrony, constantly modified by revolution and war.
Photographie par région
livres
The road to Oxiana
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In 1933, the delightfully eccentric travel writer Robert Byron set out on a journey through the Middle East via Beirut, Jerusalem, Baghdad and Teheran to Oxiana, near the border between Afghanistan and the Soviet Union. The Road to Oxiana serves as a rare account of the architectural treasures of a region now inaccessible to most Western travelers, and a nostalgic(...)
The road to Oxiana
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In 1933, the delightfully eccentric travel writer Robert Byron set out on a journey through the Middle East via Beirut, Jerusalem, Baghdad and Teheran to Oxiana, near the border between Afghanistan and the Soviet Union. The Road to Oxiana serves as a rare account of the architectural treasures of a region now inaccessible to most Western travelers, and a nostalgic look back at a more innocent time.
livres
septembre 2007
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Featuring a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, this densely illustrated book includes a wide array of interviews, essays, letters, articles and lectures. It covers virtually everything regarding the field and history of graphic design, from Soviet revolutionary posters and designers in(...)
About graphic design: Richard Hollis writings
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Featuring a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, this densely illustrated book includes a wide array of interviews, essays, letters, articles and lectures. It covers virtually everything regarding the field and history of graphic design, from Soviet revolutionary posters and designers in Nazi Germany to Penguin book covers, New 'New' Typography, Max Bill and Nicolete Gray.
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Urbanism in dictatorship has been discussed from the national view only, but urbanism has always been an instrument to gain recognition by other states. The book analyses dictatorship in Italy, Portugal, Spain, Germany and the Soviet Union, discusses the current state of research, and presents new research. An overall view helps to understand the characteristics of each(...)
Théorie de l’urbanisme
septembre 2015
Urbanism and dictatorship: a european perspective
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Urbanism in dictatorship has been discussed from the national view only, but urbanism has always been an instrument to gain recognition by other states. The book analyses dictatorship in Italy, Portugal, Spain, Germany and the Soviet Union, discusses the current state of research, and presents new research. An overall view helps to understand the characteristics of each country and prevents to oversimplify the understanding of dictatorship.
Théorie de l’urbanisme
Katso Koota/ Look at K
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Olavi Laiho (1907-1944) was a writer, political organiser, and communist agitator, who was first imprisoned in 1932—a time when "communist laws" were in effect in Finland—for producing political material and running an illegal printing press in his home. He opposed Finland's WW2 era fighting alongside Nazi Germany against the Soviet Union, edited illegal journals, but(...)
Katso Koota/ Look at K
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Olavi Laiho (1907-1944) was a writer, political organiser, and communist agitator, who was first imprisoned in 1932—a time when "communist laws" were in effect in Finland—for producing political material and running an illegal printing press in his home. He opposed Finland's WW2 era fighting alongside Nazi Germany against the Soviet Union, edited illegal journals, but also planned armed resistance and facilitated correspondence between the party's leadership in Helsinki and the Soviet embassy in Stockholm. Just a couple of weeks before his execution, Laiho wrote a remarkable essay "Katso Koota" [Look at K], using only words starting with the letter K. "Katso Koota" is an early example of Finnish modern alliterative writing, a lipogram, a literary technique in which every word must start with the same letter. Laiho's "Katso Koota" predates the French Oulipo ("workshop of potential literature") of the 1960s. Considering that he produced his "constrained writing" under conditions of extreme political and cultural confinement, it can be considered a true form of avant-garde subversion.
Théorie/ philosophie
The lost vanguard
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The Lost Vanguard documents the work of modernist architects in the Soviet Union during the years following the 1917 revolution and civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life.(...)
Modernisme
juin 2007, New York
The lost vanguard
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The Lost Vanguard documents the work of modernist architects in the Soviet Union during the years following the 1917 revolution and civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life. Rarely published and virtually inaccessible until the collapse of the Soviet regime, these important buildings have remained unknown and unappreciated. Richard Pare's photographs reveal the powerful forms of these structures, some still in use but many now abandoned and decayed. Massive industrial complexes like the Dnieper River Dam and MoGES, which supplies electricity to the city of Moscow; vast communal houses for workers, including Ginzburg's Narkomfin; commercial buildings and government offices; and smaller clubs and theaters were all built in this brief period. In an incisive essay, architectural historian Jean-Louis Cohen surveys the history of the period, providing a context for the emergence of this startling new architecture in parallel to contemporary experiments in Europe.
Modernisme
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Following the liberation and subsequent occupation of Austria at the end of World War II in spring 1945 by the victorious powers Britain, France, the United States, and the Soviet Union, Vienna soon became a central stage for the quickly emerging Cold War. The struggle of differing political systems was also carried out in the field of architecture. Cold War and(...)
Cold war and architecture: the competing forces that reshaped Austria after 1945
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Following the liberation and subsequent occupation of Austria at the end of World War II in spring 1945 by the victorious powers Britain, France, the United States, and the Soviet Union, Vienna soon became a central stage for the quickly emerging Cold War. The struggle of differing political systems was also carried out in the field of architecture. Cold War and Architecture sheds new light on the building activity in postwar Austria and its main protagonists. For the first time, this book explores the lines of architectural debates of the time in the context of the global political and cultural conflict of East vs. West. With its transnational perspective, it changes our view of architectural history and postwar society. During the ten-year occupation period, Austria experienced a transition from authoritarian government to democratic consumer society. Each of the four Allied powers established its own extensive cultural program. Architectural exhibitions became important instruments of such educational schemes with the objective of a new social order. British, American, French, and Soviet cultural policies served as catalysts for ideological convictions.
Modernisme
CCCP (Multilingual Edition)
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This publication explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying(...)
CCCP (Multilingual Edition)
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This publication explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the “speaking architecture” widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).
Photographie par région