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Soviet Critical Design is the first book to explore the socialist design practice of 'artistic projecteering', which was developed by the USSR's Senezh Experimental Studio in the 1960s. Tom Cubbin examines the studio as a site for the development of the design discipline in the optimistic environment of the 1960s Soviet Thaw. He also explores how designers adapted to the fast-changing Soviet Union of the 1970s and 1980s, considering their approach to critical projects highlighting the Soviet state's treatment of citizens, urban heritage and public spaces. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives insight into the creative strategies of designers who engaged their practice as a contribution to broader discussions on alternative models for socialist existence. Cubbin shows how artistic projecteering must be read as a utopian activity which privileged the political and ideological over the functional.
Soviet Critical Design is the first monograph to explore the socialist design practice of 'artistic projecteering', which was developed by the USSR's Senezh Experimental Studio in the 1960s. Tom Cubbin first examines the studio as a site for the development of the design discipline in the optimistic environment of the Soviet Thaw of the 1960s. He then explores how designers adapted to new realities of the Soviet Union of the 1970s and 80s. Over two decades, designers at the studio worked on critical projects that highlighted how the Soviet state's treatment of citizens, urban heritage and the environment was manifest in daily life. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives insight into the creative strategies of designers who engaged their practice as a contribution to broader discussions on alternative models for socialist existence. Overall, it argues that artistic projecteering must be read as a utopian activity which privileged the political and ideological over the functional.
Spatial Revolution is the first comparative parallel study of Soviet architecture and planning to create a narrative arc across a vast geography. The narrative binds together three critical industrial-residential projects in Baku, Magnitogorsk, and Kharkiv, built during the first fifteen years of the Soviet project and followed attentively worldwide after the collapse of capitalist markets in 1929. Among the revelations provided by Christina E. Crawford is the degree to which outside experts participated in the construction of the Soviet industrial complex, while facing difficult topographies, near-impossible deadlines, and inchoate theories of socialist space-making. Crawford describes how early Soviet architecture and planning activities were kinetic and negotiated and how questions about the proper distribution of people and industry under socialism were posed and refined through the construction of brick and mortar, steel and concrete projects, living laboratories that tested alternative spatial models. As a result, Spatial Revolution answers important questions of how the first Soviet industrialization drive was a catalyst for construction of thousands of new enterprises on remote sites across the Eurasian continent, an effort that spread to far-flung sites in other socialist states—and capitalist welfare states—for decades to follow. Thanks to generous funding from Emory University and its participation in TOME (Toward an Open Monograph Ecosystem), the ebook editions of this book are available as Open Access volumes from Cornell Open (cornellpress.cornell.edu/cornell-open) and other repositories.
This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema's connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement. Drawing on set design sketches, archival documents and film-makers' memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost ́, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.
This book is the first critical assessment of the likelihood and implications of such a contract. Linda Cook pursues the idea from Brezhnev's day to our own, and considers the constraining effect it may have had on Gorbachev's attempts to liberalize the Soviet economy.
This innovative volume brings together international design scholars to address the history and present-day status of national and international design organizations, working across design disciplines and located in countries including Argentina, Turkey, Estonia, Switzerland, Italy, China and the USA. In the second half of the 20th century, many non-governmental organizations were created to address urgent cultural, economic and welfare issues. Design organizations set out to create an international consensus for the future direction of design. This included enhancing communication between professionals, educators and practitioners, raising standards for design, and creating communities of designers across linguistic, national and political borders. Shared needs and agendas were identified and categories of design constantly defined and re-defined, often with overt cultural and political intents. Drawing on an impressive range of original research, archival sources and oral testimony, this volume questions the aims and achievements of national and international design organizations in light of their subsequent histories and their global remits. The Cold War period is central to the book, while many chapters draw on post-colonial perspectives to interpret how transnational networks and negotiations took place at events and congresses, and through publication.
Revolution, war, dislocation, famine, and rivers of blood: these traumas dominated everyday life at turn-of-the-century Russia. As Modernity, Domesticity and Temporality in Russia explains, amidst such public turmoil Russians turned inwards, embracing and carefully curating the home in an effort to express both personal and national identities. From the nostalgic landed estate with its backward gaze to the present-focused and efficient urban apartment to the utopian communal dreams of a Soviet future, the idea of time was deeply embedded in Russian domestic life. Rebecca Friedman is the first to weave together these twin concepts of time and space in relation to Russian culture and, in doing so, this book reveals how the revolutionary domestic experiments reflected a desire by the state and by individuals to control the rapidly changing landscape of modern Russia. Drawing on extensive popular and literary sources, both visual and textual, this fascinating book enables readers to understand the reshaping of Russian space and time as part of a larger revolutionary drive to eradicate, however ambivalently, the 19th-century gentrified sloth in favour of the proficient Soviet comrade.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hack-work and plagiarism that resulted in a shabby world of commodities. This book offers a new perspective on the history of Soviet design by focusing on the notion of the comradely object as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, hand-made as well as machine made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. This is a study of post-avant-garde Russian productivism at the intersection of intellectual history, social history and material culture studies, an account attentive to the complexities and contradictions of Soviet design.
In 1978, the South African activist and novelist Alex La Guma (1925–1985) published A Soviet Journey, a memoir of his travels in the Soviet Union. Today it stands as one of the longest and most substantive first-hand accounts of the USSR by an African writer. La Guma’s book is consequently a rare and important document of the anti-apartheid struggle and the Cold War period, depicting the Soviet model from an African perspective and the specific meaning it held for those envisioning a future South Africa. For many members of the African National Congress and the South African Communist Party, the Soviet Union represented a political system that had achieved political and economic justice through socialism—a point of view that has since been lost with the collapse of the USSR and the end of the Cold War. This new edition of A Soviet Journey—the first since 1978—restores this vision to the historical record, highlighting how activist-intellectuals like La Guma looked to the Soviet Union as a paradigm of self-determination, decolonization, and postcolonial development. The introduction by Christopher J. Lee discusses these elements of La Guma’s text, in addition to situating La Guma more broadly within the intercontinental spaces of the Black Atlantic and an emergent Third World. Presenting a more expansive view of African literature and its global intellectual engagements, A Soviet Journey will be of interest to readers of African fiction and non-fiction, South African history, postcolonial Cold War studies, and radical political thought.
This volume features new research on Russia’s historic relationship with Asia and the ways it was mediated and represented in the fine, decorative and performing arts and architecture from the mid-eighteenth century to the first two decades of Soviet rule. It interrogates how Russia’s perception of its position on the periphery of the west and its simultaneous self-consciousness as a colonial power shaped its artistic, cultural and national identity as a heterogenous, multi-ethnic empire. It also explores the extent to which cultural practitioners participated in the discursive matrices that advanced Russia’s colonial machinery on the one hand and critiqued and challenged it on the other, especially in territories that were themselves on the fault lines between the east and the west.