Download Free Soviet Metro Stations Book in PDF and EPUB Free Download. You can read online Soviet Metro Stations and write the review.

Following his bestselling quest for Soviet Bus Stops, Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, Soviet Metro Stations documents this wealth of diverse architecture.
Visions of Utopia: Palaces for the Working Class
Photographer Christopher Herwig has covered more than 30,000 km by car, bike, bus and taxi in 13 former Soviet countries discovering and documenting these unexpected treasures of modern art. From the shores of the Black Sea to the endless Kazakh steppe, these bus stops show the range of public art from the Soviet era and give a rare glimpse into the creative minds of the time. These books represent the most comprehensive and diverse collection of Soviet bus stop design ever assembled from: Kazakhstan, Turkmenistan, Uzbekistan, Kyrgyzstan, Tajikistan, Ukraine, Moldova, Armenia, Abkhazia, Georgia, Lithuania, Latvia and Estonia. With a foreword by writer, critic and television presenter Jonathan Meades. --Volume 1.
“I am Moscow’s underground son, the result of one too many nights on the town,” says Mbobo, the precocious twelve-year-old narrator of Hamid Ismailov’s The Underground. Born from a Siberian woman and an African athlete competing in the 1980 Moscow Olympics, Mbobo navigates the complexities of being a fatherless, mixed-raced boy in the Soviet Union in the years before its collapse, guided only by the Moscow subway system. Named one of the "ten best Russian novels of the 21st Century" (Continent Magazine), The Underground is Ismailov’s haunting tour of the Soviet capital, on the surface and beneath. Though deeply engaged with great Russian authors of the past—Dostoyevsky, Nabokov, and, above all, Pushkin—Ismailov is an emerging master of Russian writing that reflects the country’s diversity today. Reviews "Hamid Ismailov has the capacity of Salman Rushdie at his best to show the grotesque realization of history on the ground." —Literary Review "The dream of grandeur is more than justified by the artfulness of The Underground, which...create[s] the motifs of blackness, subterranean movement, and isolation that are the novel’s strongest effects." —Transitions Online Hamid Ismailov is an Uzbek journalist, writer, and translator who was forced to flee Uzbekistan in 1992 for the United Kingdom, where he now works for the BBC World Service. His works are still banned in Uzbekistan. His writing has been published in Uzbek, Russian, French, English, and other languages. He is the author of novels including Sobranie Utonchyonnyh, Le Vagabond Flamboyant, Two Lost to Life, The Railway, The Underground, A Poet and Bin-Laden and The Dead Lake; poetry collections including Sad (Garden) and Pustynya (Desert); and books of visual poetry Post Faustum and Kniga Otsutstvi. Carol Ermakova studied German and Russian language and literature and holds an MA in translation from Bath University. She first visited Russia in 1991. More recently, Ermakova spent two years in Moscow working as a teacher and translator. Carol currently lives in the North Pennines and works as a freelance translator.
A passenger train hurtling through the night. An unwed teenage mother headed to Moscow to seek a new life. A cruel-hearted soldier looking furtively, forcibly, for sex. An infant disappearing without a trace. So begins Martin Cruz Smith’s masterful Three Stations, a suspenseful, intricately constructed novel featuring Investigator Arkady Renko. For the last three decades, beginning with the trailblazing Gorky Park, Renko (and Smith) have captivated readers with detective tales set in Russia. Renko is the ironic, brilliantly observant cop who finds solutions to heinous crimes when other lawmen refuse to even acknowledge that crimes have occurred. He uses his biting humor and intuitive leaps to fight not only wrongdoers but the corrupt state apparatus as well. In Three Stations, Renko’s skills are put to their most severe test. Though he has been technically suspended from the prosecutor’s office for once again turning up unpleasant truths, he strives to solve a last case: the death of an elegant young woman whose body is found in a construction trailer on the perimeter of Moscow’s main rail hub. It looks like a simple drug overdose to everyone—except to Renko, whose examination of the crime scene turns up some inexplicable clues, most notably an invitation to Russia’s premier charity ball, the billionaires’ Nijinksy Fair. Thus a sordid death becomes interwoven with the lifestyles of Moscow’s rich and famous, many of whom are clinging to their cash in the face of Putin’s crackdown on the very oligarchs who placed him in power. Renko uncovers a web of death, money, madness and a kidnapping that threatens the woman he is coming to love and the lives of children he is desperate to protect. In Three Stations, Smith produces a complex and haunting vision of an emergent Russia’s secret underclass of street urchins, greedy thugs and a bureaucracy still paralyzed by power and fear.
When communism took power in Eastern Europe it remade cities in its own image, transforming everyday life and creating sweeping boulevards and vast, epic housing estates in an emphatic declaration of a noncapitalist idea. The regimes that built them are now dead and long gone, but from Warsaw to Berlin, Moscow to postrevolutionary Kiev, the buildings remain, often populated by people whose lives were scattered by the collapse of communism. Landscapes of Communism is a journey of historical discovery, plunging us into the lost world of socialist architecture. Owen Hatherley, a brilliant, witty, young urban critic shows how power was wielded in these societies by tracing the sharp, sudden zigzags of official communist architectural style: the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces, and secret policemen’s castles; East Germany’s obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant-garde ever dared. Throughout his journeys across the former Soviet empire, Hatherley asks what, if anything, can be reclaimed from the ruins of Communism—what residue can inform our contemporary ideas of urban life?
A fantastic collection of Soviet Asian architecture, many photographed here for the first time Soviet Asia explores the Soviet modernist architecture of Central Asia. Italian photographers Roberto Conte and Stefano Perego crossed the former Soviet republics of Kazakhstan, Kyrgyzstan, Uzbekistan and Tajikistan, documenting buildings constructed from the 1950s until the fall of the USSR. The resulting images showcase the majestic, largely unknown, modernist buildings of the region. Museums, housing complexes, universities, circuses, ritual palaces - all were constructed using a composite aesthetic. Influenced by Persian and Islamic architecture, pattern and mosaic motifs articulated a connection with Central Asia. Grey concrete slabs were juxtaposed with colourful tiling and rectilinear shapes broken by ornate curved forms: the brutal designs normally associated with Soviet-era architecture were reconstructed with Eastern characteristics. Many of the buildings shown in Soviet Asia are recorded here for the first time, making this book an important document, as despite the recent revival of interest in Brutalist and Modernist architecture, a number of them remain under threat of demolition. The publication includes two contextual essays, one by Alessandro De Magistris (architect and History of Architecture professor, University of Milan, contributor to the book Vertical Moscow) and the other by Marco Buttino (Modern and Urban History professor, University of Turin, specializing in the history of social change in the USSR).
Twenty years after Doomsday, survivors of World War Three live in an underground world they have created in the subway system of Moscow. The most stubborn of the survivors, Artyom, will give anything to find and lead his own people to life again on the earth's surface.
First English U.S. PREMIUM HARDCOVER Edition of the cult dystopia "METRO 2033". * * * Metro 2033 tells the story of a young man named Artyom who goes a long way to save his world from mortal danger. The book describes the consequences of an atomic war. Its only survivors strive for existence in the mazes of the Moscow subway (Metro) some two decades after the nuclear Holocaust. Formally a sci-fi novel, Metro 2033 describes a dystopia, in which Russia's present-day society is superficially analyzed and described. It also critically examines communism in the former Soviet Union and the rise of fascism in modern Russia. Over 2,000,000 copies of Metro 2033 have been sold worldwide. Foreign book rights have been sold to more than 37 countries. The franchise gave birth to two cult video games, Metro 2033 and Metro Last Light. Film rights were optioned by MGM Studios in Hollywood.
The Soviet dream of modernist architecture for all, portrayed on the brink of its erasure In recent years Russian cities have visibly changed. The architectural heritage of the Soviet period has not been fully acknowledged. As a result many unique modernist buildings have been destroyed or changed beyond recognition. Russian photographer Arseniy Kotov intends to document these buildings and their surroundings before they are lost forever. He likes to take pictures in winter, during the "blue hour," which occurs immediately after sunset or just before sunrise. At this time, the warm yellow colors inside apartment-block windows contrast with the twilight gloom outside. To Kotov, this atmosphere reflects the Soviet period of his imagination. His impression of this time is unashamedly idealistic: he envisages a great civilization, built on a fair society, which hopes to explore nature and conquer space. From the Baikonur Cosmodrome in the desert steppes of Kazakhstan to the grim monolithic high-rise dormitory blocks of inner-city Volgograd, Kotov captures the essence of the post-Soviet world. "The USSR no longer exists and in these photographs we can see what remains--the most outstanding buildings and constructions, where Soviet people lived and how Soviet cities once looked: no decoration, no bright colors and no luxury, only bare concrete and powerful forms." This superbly designed volume is the latest in Fuel's revelatory and inspiring series on Soviet-era architecture.