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Architecture in the Age of Stalin by Vladimir Paperny Pdf
Paperny examines the evolution of architecture in Russia during the Stalinist period. Defining two conflicting trends--Culture One and Culture Two--that have alternately prevailed in Russian culture, the author argues that the shift away from the architectural avant-garde of the 1920s was not entirely the result of Stalin's will. Rather, he demonstrates how the aesthetic choices of Stalin and his architects were conditioned by the prevailing cultural mechanisms of the 1930s and 40s. Combining academic precision with engaging narrative, Paperny leads the reader through the remarkable trajectory of architectural and cultural transformation that marked a pivotal moment of Russia's history.
Architecture and Ideology in Eastern Europe During the Stalin Era by Anders Åman Pdf
Since 1978, Anders Åman has been researching, photographing, and documenting the architectural style known as Socialist Realism. In the midst of the current statue toppling, this book records in over 200 illustrations the government-planned buildings, cities, parks, and monuments from the Stalinist postwar period in Eastern Europe, providing a valuable record and analysis of the relation between architecture and the state in Poland, Czechoslovakia, Hungary, Romania, Bulgaria, and former East Germany. Very little has been written on architecture and politics during the Cold War period for any country, and next to nothing is known about the architecture, or about state policies reflected in the architecture, of Eastern Europe. Åman not only illuminates these issues but also reveals the influence they had on the course of architectural history in the West. Following an overview of the Stalinist era and the ideological spread of Socialist Realism, Åman investigates several buildings in detail monumental structures such as the Palace of Culture in Warsaw and Stalinallee in East Berlin - and the socialist cities of Stalinstadt, Nowa Huta, Szt & a ́linv & a ́ros, and Dimitrovgrad. Sketching the lives of eight selected architects, he illuminates how their profession was affected by Socialist Realism. Åman also takes up such political works of art as the influential Polish painting "Pass me a brick!" and the Stalin monuments in Budapest and Prague, noting that even as history is being obliterated, Socialist Realism remains a key to understanding pictorial art and the built environment in Eastern Europe. He concludes with a discussion of how architecture is related to political ideologies. Anders Åman is Professor of the History and Theory of Art at Ume & a ́ University, Sweden. An Architectural History Foundation Book
Stalinist Architecture by Alexei Tarkhanov,Sergei Kavtaradze Pdf
This is a collection of contemporary paintings, plans and drawings of Stalinist architecture. The architectural competitions of the era were tools in the propagandistic mass culture which served as a form of control and this book uses these to chart developments and changes in architectural style.
Soviet Architectural Avant-Gardes by Danilo Udovicki-Selb Pdf
Conventional readings of the history of Soviet art and architecture show modernist utopian aspirations as all but prohibited by 1932 under Stalin's totalitarianism. Soviet Architectural Avant-Gardes challenges that view. Radically redefining the historiography of the period, it reveals how the relationship between the Party and practicing architects was much more complex and contradictory than previously believed, and shows, in contrast to the conventional scholarly narrative, how the architectural avant-garde was able to persist at a time when it is widely considered to have been driven underground. In doing so, this book provides an essential perspective on how to analyse, evaluate, and “re-imagine” the history of modernist expression in its cultural context. It offers a new understanding of ways in which 20th century social revolutions and their totalitarian sequels inflected the discourse of both modernity and modernism. The book relies on close analyses of archival documents and architectural works. Many of the documents have been rarely – if ever – discussed in English before, while the architectural projects include iconic works such as the Palace of Soviets and the Soviet Pavilion at the Paris 1937 World Exposition, as well as remarkable works that until now have been neglected by architectural historians inside and outside Russia. In a fascinating final chapter, it also reveals for the first time the details of Frank Lloyd Wright's triumphant welcome at the First Congress of Soviet Architects in Moscow in 1937, at the height of Stalin's Terror.
The story of Boris Iofan—designer of the iconic but unbuilt Palace of the Soviets—whose buildings came to define the language of Soviet architecture. What would an architect do for the chance to build the tallest building in the world? What would he sacrifice to stay alive in the midst of Stalin’s murderous purges? 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. When Stalin’s henchmen crushed the architectural avant-garde, it was Iofan who created the new national style, from the grand projects he realized—including the House on the Embankment, a megastructure of 505 homes for the Soviet elite—to even more ambitious unbuilt projects, in particular the Palace of the Soviets, a baroque Stalinist dream whose image was reproduced throughout the Soviet Union. His career took him to New York and Paris, and to the destroyed city of Stalingrad. He was a friend of Frank Lloyd Wright; a rival of Le Corbusier, Walter Gropius, and Erich Mendelsohn; and an enemy of Hitler’s architect Albert Speer, whose Nazi pavilion faced Iofan’s Soviet one at the Paris Expo in 1937. He kept silent when Stalin executed his friends, including Rykov; he also sacrificed his own talent by following the dictator’s instructions to the letter in creating the regime’s landmarks. Generously illustrated, with a wide range of previously unpublished material, 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.
Analyzing "totalitarianism from below" in a crucial area of Soviet culture, Hugh Hudson shows how Stalinist forces within the architectural community destroyed an avant-garde movement of urban planners and architects, who attempted to create a more humane built environment for the Soviet people. Through a study of the ideas and constructions of these visionary reformers, Hudson explores their efforts to build new forms of housing and "settlements" designed to free the residents, especially women, from drudgery, allowing them to participate in creative work and to enjoy the "songs of larks." Resolving to obliterate this movement of human liberation, Stalinists in the field of architecture unleashed a "little" terror from below, prior to Stalin's Great Terror. Using formerly secret Party archives made available by perestroika, Hudson finds in the rediscovered theoretical work of the avant-garde architects a new understanding of their aims. He shows, for instance, how they saw the necessity of bringing elite desires for a transformed world into harmony with the people's wish to preserve national culture. Such goals brought their often divided movement into conflict with the Stalinists, especially on the subject of collectivization. Hudson's provocative work offers evidence that in spite of the ultimate success of the Stalinists, the Bolshevik Revolution was not monolithic: at one time it offered real architectural and human alternatives to the Terror. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
An in-depth history of the Stalinist skyscraper In the early years of the Cold War, the skyline of Moscow was forever transformed by a citywide skyscraper building project. As the steel girders of the monumental towers went up, the centuries-old metropolis was reinvented to embody the greatness of Stalinist society. Moscow Monumental explores how the quintessential architectural works of the late Stalin era fundamentally reshaped daily life in the Soviet capital. Drawing on a wealth of original archival research, Katherine Zubovich examines the decisions and actions of Soviet elites—from top leaders to master architects—and describes the experiences of ordinary Muscovites who found their lives uprooted by the ambitious skyscraper project. She shows how the Stalin-era quest for monumentalism was rooted in the Soviet Union's engagement with Western trends in architecture and planning, and how the skyscrapers required the creation of a vast and complex infrastructure. As laborers flooded into the city, authorities evicted and rehoused tens of thousands of city residents living on the plots selected for development. When completed in the mid-1950s, these seven ornate neoclassical buildings served as elite apartment complexes, luxury hotels, and ministry and university headquarters. Moscow Monumental tells a story that is both local and broadly transnational, taking readers from the streets of interwar Moscow and New York to the marble-clad halls of the bombastic postwar structures that continue to define the Russian capital today.
Alexey Shchusev (1873-1949) was one of the most celebrated architects of the Soviet Union, famous for Lenin's Mausoleum in Moscow. Not only a gifted designer of many prominent buildings, his career was quite unique and closely intertwined with the turbulent course of Russian and Soviet history. He 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, wellknown 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. Combining a scholarly study of Shchusev's career with stunning photographs this book traces the development of this artistically and politically gifted architect through the architectural and historical changes in the first half of the twentieth century.
Architecture of Great Expositions 1937-1959 by Rika Devos,Alexander Ortenberg Pdf
This book investigates architecture as a form of diplomacy in the context of the Second World War at six major European international and national expositions that took place between 1937 and 1959. The volume gives a fascinating account of architecture assuming the role of the carrier of war-related messages, some of them camouflaged while others quite frank. The famous standoffs between the Stalinist Russia and the Nazi Germany in Paris 1937, or the juxtaposition of the USSR and USA pavilions in Brussels 1958, are examples of very explicit shows of force. The book also discusses some less known - and more subtle - messages, revealed through an examination of several additional pavilions in both Paris and Brussels; of a series of expositions in Moscow; of the Universal Exhibition in Rome that was planned to open in 1942; and of London’s South Bank Exposition of 1951: all of them related, in one way or another, to either an anticipation of the global war or to its horrific aftermaths. A brief discussion of three pre-World War II American expositions that are reviewed in the Epilogue supports this point. It indicates a significant difference in the attitude of American exposition commissioners, who were less attuned to the looming war than their European counterparts. The book provides a novel assessment of modern architecture’s involvement with national representation. Whether in the service of Fascist Italy or of Imperial Japan, of Republican Spain or of the post-war Franquista regime, of the French Popular Front or of socialist Yugoslavia, of the arising FRG or of capitalist USA, of Stalinist Russia or of post-colonial Britain, exposition architecture during the period in question was driven by a deep faith in its ability to represent ideology. The book argues that this widespread confidence in architecture’s ability to act as a propaganda tool was one of the reasons why Modernist architecture lent itself to the service of such different masters.
The Visibility of Modernization in Architecture by Gevork Hartoonian Pdf
This edited collection explores the visibility of modernization in architecture produced in different capitalist regions across the world and provides readers with a historico-theoretical and historico-geographical discussion. Focusing on a particular building type, an influential architect’s work, as well as relevant texts and documents, each chapter addresses the many facets of "delay" which are central to the problematization of capitalism’s progressive dissemination of technological and aesthetic regimes of modernism. This collection underlines the centrality of temporality for a critical understanding of colonialism, modernism, and capitalism. The book is primarily concerned with the historical timeline, the tangential point when a nation enters modernization processes. In exploring modernism in diverse regions such as East Asia, Pacific, Eastern Europe, and Iran, each chapter addresses the historiographic and architectonic unfolding of modernization beyond the western hemisphere. The exploration of these diverse case-studies will be of interest to students of architecture and researchers working on the collision of temporalities and the subject's critical importance for different country’s built-environments.
Boris Iofan (1891 - 1976) was considered Josef Stalin's 'court architect' due to his closeness to the dictator, whose design ideas he translated into reality. His name is associated with projects such as the House on the Embankment, the Soviet pavilion at the 1937 Paris World's Fair and the Palace of the Soviets, which was never realised. In the period from 1932 to 1947, he was one of the most important, if not the most important architect of the Soviet Union. This biography, a detailed study of Iofan's creative development, is based on previously unpublished documents. It also contains never-before-published visual material, including original drawings and sketches by the architect and his collaborators: most of this comes from Iofan's archive, which is now in the collection of the Museum für Architekturzeichnung in Berlin.
Soviet Architectural Avant-Gardes by Danilo Udovicki-Selb Pdf
Conventional readings of the history of Soviet art and architecture show modernist utopian aspirations as all but prohibited by 1932 under Stalin's totalitarianism. Soviet Architectural Avant-Gardes challenges that view. Radically redefining the historiography of the period, it reveals how the relationship between the Party and practicing architects was much more complex and contradictory than previously believed, and shows, in contrast to the conventional scholarly narrative, how the architectural avant-garde was able to persist at a time when it is widely considered to have been driven underground. In doing so, this book provides an essential perspective on how to analyse, evaluate, and “re-imagine” the history of modernist expression in its cultural context. It offers a new understanding of ways in which 20th century social revolutions and their totalitarian sequels inflected the discourse of both modernity and modernism. The book relies on close analyses of archival documents and architectural works. Many of the documents have been rarely – if ever – discussed in English before, while the architectural projects include iconic works such as the Palace of Soviets and the Soviet Pavilion at the Paris 1937 World Exposition, as well as remarkable works that until now have been neglected by architectural historians inside and outside Russia. In a fascinating final chapter, it also reveals for the first time the details of Frank Lloyd Wright's triumphant welcome at the First Congress of Soviet Architects in Moscow in 1937, at the height of Stalin's Terror.
Reflections on Stalinism by J. Arch Getty,Lewis H. Siegelbaum Pdf
Reflections on Stalinism distills decades of historical thought and research, bringing together twelve senior scholars of Soviet history who began their careers during the Cold War to examine their views of Stalinism. They present insights into the role of personality in statecraft, the social underpinnings of dictatorship and state terrorism, historians' attachments to their subjects, historical causality, the applicability of Marxist categories to Soviet history, the relationship of Soviet history to post-Soviet Russia, and more. Essays address the transformation of a peasant country into a superpower and the causes and scale of domestic bloodshed. Reflections on Stalinism ultimately tackles an age-old question: Do powerful people make history or are they the product of it?
