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"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.(...)
septembre 2019
Moscow: a guide to Soviet modernist architecture 1955-1991
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"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.
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The golden calf
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Ostap Bender, the "grand strategist," is a con man on the make in the Soviet Union during the New Economic Policy (NEP) period. He's obsessed with getting one last big score—a few hundred thousand will do—and heading for Rio de Janeiro, where there are "a million and a half people, all of them wearing white pants, without exception." When Bender hears the story of(...)
The golden calf
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Ostap Bender, the "grand strategist," is a con man on the make in the Soviet Union during the New Economic Policy (NEP) period. He's obsessed with getting one last big score—a few hundred thousand will do—and heading for Rio de Janeiro, where there are "a million and a half people, all of them wearing white pants, without exception." When Bender hears the story of Alexandr Koreiko, an "undercover millionaire"—no Soviet citizen was allowed to openly hoard so much capital—the chase is on. Koreiko has made his millions by taking advantage of the wide-spread corruption and utter chaos of the NEP, all while serving quietly as an accountant at a government office and living on 46 rubles a month. He's just waiting for the Soviet regime to collapse so he can make use of his stash, which he keeps hidden away in a suitcase.
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décembre 2009
Expositions en cours
Soviet bus stops
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Photographer Christopher Herwig first noticed the unusual architecture of Soviet-era bus stops during a 2002 long-distance bike ride from London to St. Petersburg. Challenging himself to take one good photograph every hour, Herwig began to notice surprisingly designed bus stops on otherwise deserted stretches of road. Twelve years later, Herwig had covered more than(...)
Soviet bus stops
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Photographer Christopher Herwig first noticed the unusual architecture of Soviet-era bus stops during a 2002 long-distance bike ride from London to St. Petersburg. Challenging himself to take one good photograph every hour, Herwig began to notice surprisingly designed bus stops on otherwise deserted stretches of road. Twelve years later, Herwig had covered more than 18,000 miles in 14 countries of the former Soviet Union, traveling by car, bike, bus and taxi to hunt down and document these bus stops. The local bus stop proved to be fertile ground for local artistic experimentation in the Soviet period, and was built seemingly without design restrictions or budgetary concerns. The result is an astonishing variety of styles and types across the region, from the strictest Brutalism to exuberant whimsy.
Monographies photo
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Ambitious and interdisciplinary, "Moscow vanguard art: 1922-1992 tells the story of generations of artists who resisted Soviet dictates on aesthetics, spanning the Russian avant-garde, socialist realism, and Soviet postwar art in one volume. Drawing on art history, criticism, and political theory, Margarita Tupitsyn unites these three epochs, mapping their differences and(...)
août 2017
Moscow vanguard art : 1922-1992
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Ambitious and interdisciplinary, "Moscow vanguard art: 1922-1992 tells the story of generations of artists who resisted Soviet dictates on aesthetics, spanning the Russian avant-garde, socialist realism, and Soviet postwar art in one volume. Drawing on art history, criticism, and political theory, Margarita Tupitsyn unites these three epochs, mapping their differences and commonalities, ultimately reconnecting the postwar vanguard with the historical avant-garde. With a focus on Moscow artists, the book chronicles how this milieu achieved institutional and financial independence, and reflects on the theoretical and visual models it generated in various media, including painting, photography, conceptual, performance, and installation art. Generously illustrated, this ground-breaking volume, published in the year that marks the centennial of the October Revolution, demonstrates that, regardless of political repression, the spirit of artistic experiment never ceased to exist in the Soviet Union.
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Les représentations idéales de l’Amérique, à la fois comme horizon prometteur et comme menace, ont joué un rôle déterminant dans la formation de l’architecture et de l’urbanisme russes de la Révolution américaine à la dissolution de l’Union soviétique. Jean-Louis Cohen retrace l’origine du concept d’"amerikanizm" et son impact sur l’environnement bâti de la Russie de(...)
Construire un nouveau Nouveau Monde : L’amerikanizm dans l’architecture russe
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Les représentations idéales de l’Amérique, à la fois comme horizon prometteur et comme menace, ont joué un rôle déterminant dans la formation de l’architecture et de l’urbanisme russes de la Révolution américaine à la dissolution de l’Union soviétique. Jean-Louis Cohen retrace l’origine du concept d’"amerikanizm" et son impact sur l’environnement bâti de la Russie de l’intérêt précoce de l’intelligentsia pour l’Amérique révolutionnaire et la découverte des expositions universelles du XIXe siècle jusqu’aux grands magasins, aux gratte-ciel et aux usines construits en Russie selon les méthodes américaines au cours du XXe siècle. Les images de l’Amérique ont également captivé l’avant-garde russe, d’El Lissitzky à Moïsseï Guinzbourg, et Cohen explore la relation spéculaire entretenue entre les deux pays au milieu du siècle dernier et à la fin de l’ère soviétique, dans une concurrence stratégique aiguisée par la Guerre Froide. Dans cette première grande étude de l’américanisme dans l’architecture russe, la trame tissée par Jean-Louis Cohen entrecroise les trajectoires d’écrivains, d’hommes politiques et d’urbanistes russes à travers le sol américain, met en avant le flux constant de transferts culturels et technologiques des États-Unis vers la Russie, et révèle la fascination parallèle des intellectuels russes et américains face à la poursuite inexorable de l’occupation et l’exploitation du territoire au sein de leurs frontières respectives. Construire un nouveau Nouveau Monde : L’amerikanizm dans l’architecture russe apporte une contribution opportune à notre compréhension de la géopolitique des édifices et des formes urbaines.
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décembre 2019
Publications du CCA
Ma découverte de l'Amérique
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"Un document d'une importance inconttestable" (Colum McCann) L'envie de Maïakovski de se rendre en Amérique tient à l'attrait profond que ce pays exerce sur lui - pays qu'il considère comme celui du futur et de la technologie, un véritable modèle pour le développement de la jeune Russie soviétique -, et ce malgré le fait que les États-Unis soient à ses yeux la terre du(...)
Ma découverte de l'Amérique
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"Un document d'une importance inconttestable" (Colum McCann) L'envie de Maïakovski de se rendre en Amérique tient à l'attrait profond que ce pays exerce sur lui - pays qu'il considère comme celui du futur et de la technologie, un véritable modèle pour le développement de la jeune Russie soviétique -, et ce malgré le fait que les États-Unis soient à ses yeux la terre du capitalisme. Sa séparation, en 1924, d'avec sa maîtresse Lily Brik, lui donne l'occasion de ce voyage. Profondément bouleversé par cette rupture, Maïakovski envisage pour commencer un tour du monde. Contraint par des raisons financières (il se fait voler son argent à Paris où il fait escale pour rejoindre le port de Saint-Nazaire), il se contente d'un séjour sur le continent américain. Après une traversée qui le mène à La Havane, il entre aux États-Unis par le Mexique, en se faisant passer pour peintre - sa position de poète officiel donnant souvent à ses voyages un caractère de propagande, son visa lui est plusieurs fois refusé. New York, Cleveland, Detroit, Chicago, Philadelphie, Pittsburgh?: durant son séjour, il donne de nombreuses conférences, lors desquelles il déclame ses poèmes, évoque l'Union soviétique et parle de ses impressions sur les États-Unis. Et ce devant un auditoire nombreux et enthousiaste.
Trajets
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This is the first major publication on the remarkable life and career of Boris Iofan (1891–1976), state architect to Joseph Stalin. Iofan's story is an insight into the troubled relationship of all successful architects with power. A gifted designer and a committed Communist, Iofan became the Soviet Union's most celebrated architect after Alexei Rykov, Lenin's successor,(...)
Stalin's architect: power and survival in Moscow
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This is the first major publication on the remarkable life and career of Boris Iofan (1891–1976), state architect to Joseph Stalin. Iofan's story is an insight into the troubled relationship of all successful architects with power. A gifted designer and a committed Communist, Iofan became the Soviet Union's most celebrated architect after Alexei Rykov, Lenin's successor, persuaded him to return to Moscow from Rome with his aristocratic wife, Olga Sasso-Ruffo. Iofan was at the heart of political life in the Soviet Union and his work is key to understanding its official culture. This book is an exploration of architecture as an instrument of statecraft. It is an insight into the key moments of 20th-century politics and culture from a unique perspective, and the personal story of a remarkable individual who witnessed many of the most dramatic turning points of modern history.
Théorie de l’architecture
Baku: oil and urbanism
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Baku, the capital of Azerbaijan and formerly part of the Russian Empire and Soviet Union, is the original oil city, with oil and urbanism thoroughly intertwined—economically, politically, and physical—in the city’s fabric. Baku saw its first oil boom in the late nineteenth century, driven by the Russian branch of the Nobel family modernizing the oil fields around Baku as(...)
février 2019
Baku: oil and urbanism
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Baku, the capital of Azerbaijan and formerly part of the Russian Empire and Soviet Union, is the original oil city, with oil and urbanism thoroughly intertwined—economically, politically, and physical—in the city’s fabric. Baku saw its first oil boom in the late nineteenth century, driven by the Russian branch of the Nobel family modernizing the oil fields around Baku as local oil barons poured their new wealth into building a cosmopolitan city center. During the Soviet period, Baku became the site of an urban experiment: the shaping of an oil city of socialist man. That project included Neft Dashlari, a city built on trestles in the Caspian Sea and designed to house thousands of workers, schools, shops, gardens, clinics, and cinemas as well as 2,000 oil rigs, pipelines, and collecting stations. Today, as it heads into an uncertain post-oil future, Baku’s planners and business elites regard the legacy of its past as a resource that sustains new aspirations and identities.
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde(...)
Avant-garde as method: Vkhutemas and the pedagogy of space 1920-1930
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde as method,'' architect and historian Anna Bokov explores the nature of art and technology education in the Soviet Union. The pedagogical program at Vkhutemas, she shows, combined longstanding academic ideas and practices with more nascent industrial era ones to initiate a new type of pedagogy that took an explorative approach and drew its strength from continuous feedback and exchange between students and educators. Elaborating on the ways the Vkhutemas curriculum challenged established canons of academic tradition by replacing it with open-ended inquiry, Bokov then shows how this came to be articulated in architectural and urban projects within the school’s advanced studios.
Modernisme
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This book contains hightlights from Russian artist Vladimir Arkhipov's collection of unique artifacts. Objects made by ordinary Russians inspired by a lack of immediate access to manufactured goods during the collapse of the Soviet Union. The archive includes hundreds of objects created with often idiosyncratic functional qualities made for both inside and outside the(...)
Home-Made: contemporary russian folk atifacts
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This book contains hightlights from Russian artist Vladimir Arkhipov's collection of unique artifacts. Objects made by ordinary Russians inspired by a lack of immediate access to manufactured goods during the collapse of the Soviet Union. The archive includes hundreds of objects created with often idiosyncratic functional qualities made for both inside and outside the home, such as a tiny bathtub plug carefully fashioned from a boot heel; a back massager made from an old wooden abacus; a road sign used as a street cleaner's shovel; and a doormat made from beer bottle tops. Featuring over 220 individuals artifeacts of Soviet culture, each accompanied by a photograph of the creator, their story of how the object came about, its function and the materials used to create it.
Design d’intérieur