Soviet Cities Labour Life And Leisure

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.

The post-Soviet republics seen over four different seasons, by acclaimed Russian photographer, Instagram sensation and Soviet Cities author Arseniy Kotov In Soviet Seasons, Arseniy Kotov reveals unfamiliar aspects of the post-Soviet terrain in sublime photographs. From snow-blanketed Siberia in winter to the mountains of the Caucasus in summer, these images show how a once powerful, utopian landscape has been affected by the weight of nature itself. This uniquely broad perspective could only be achieved by a photographer such as Kotov. Singularly dedicated to exploring every corner of his country, Kotov often hitchhikes across vast distances. On these journeys he chronicles not only the architectural achievements of the Soviet empire, but also its overlooked or simply undocumented constructions. He writes: "In this book I want to show how beautiful and diverse the cities and nature of this vast region are at different times of the year. I have traveled widely across Russia and its neighboring countries, where I captured the landscape of post-Soviet cities and witnessed the seasonal changes."

Focusing on urban areas in the 1930s, this college professor illuminates the ways that Soviet city-dwellers coped with this world, examining such diverse activities as shopping, landing a job, and other acts.

From the founding of New Amsterdam until today, working people have helped create and re-create the City of New York through their struggles. Starting with artisans and slaves in colonial New York and ranging all the way to twenty-first-century gig-economy workers, this book tells the story of New York’s labor history anew. City of Workers, City of Struggle brings together essays by leading historians of New York and a wealth of illustrations, offering rich descriptions of work, daily life, and political struggle. It recounts how workers have developed formal and informal groups not only to advance their own interests but also to pursue a vision of what the city should be like and whom it should be for. The book goes beyond the largely white, male wage workers in mainstream labor organizations who have dominated the history of labor movements to look at enslaved people, indentured servants, domestic workers, sex workers, day laborers, and others who have had to fight not only their masters and employers but also labor groups that often excluded them. Through their stories—how they fought for inclusion or developed their own ways to advance—it recenters labor history for contemporary struggles. City of Workers, City of Struggle offers the definitive account of the four-hundred-year history of efforts by New York workers to improve their lives and their communities. In association with the exhibition City of Workers, City of Struggle: How Labor Movements Changed New York at the Museum of the City of New York

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).

The dacha is a sometimes beloved, sometimes scorned Russian dwelling. Alexander Pushkin summered in one; Joseph Stalin lived in one for the last twenty years of his life; and contemporary Russian families still escape the city to spend time in them. Stephen Lovell's generously illustrated book is the first social and cultural history of the dacha. Lovell traces the dwelling's origins as a villa for the court elite in the early eighteenth century through its nineteenth-century role as the emblem of a middle-class lifestyle, its place under communist rule, and its post-Soviet incarnation.A fascinating work rich in detail, Summerfolk explores the ways in which Russia's turbulent past has shaped the function of the dacha and attitudes toward it. The book also demonstrates the crucial role that the dacha has played in the development of Russia's two most important cities, Moscow and St. Petersburg, by providing residents with a refuge from the squalid and crowded metropolis. Like the suburbs in other nations, the dacha form of settlement served to alleviate social anxieties about urban growth. Lovell shows that the dacha is defined less by its physical location"usually one or two hours" distance from a large city yet apart from the rural hinterland—than by the routines, values, and ideologies of its inhabitants.Drawing on sources as diverse as architectural pattern books, memoirs, paintings, fiction, and newspapers, he examines how dachniki ("summerfolk") have freed themselves from the workplace, cultivated domestic space, and created informal yet intense intellectual communities. He also reflects on the disdain that many Russians have felt toward the dacha, and their association of its lifestyle with physical idleness, private property, and unproductive use of the land. Russian attitudes toward the dacha are, Lovell asserts, constantly evolving. The word "dacha" has evoked both delight in and hostility to leisure. It has implied both the rejection of agricultural labor and, more recently, a return to the soil. In Summerfolk, the dacha is a unique vantage point from which to observe the Russian social landscape and Russian life in the private sphere.

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.

A fascinating photographic study of the previously overlooked Soviet Sanatoriums and their treatments - stunning eastern bloc architecture meets crude-oil baths and radon water douches. Visiting a Soviet sanatorium is like stepping back in time. Originally conceived in the 1920s, they afforded workers a place to holiday, courtesy of a state-funded voucher system. At their peak they were visited by millions of citizens across the USSR every year. A combination of medical institution and spa, the era's sanatoriums are among the most innovative buildings of their time. Although aesthetically diverse, Soviet utopian values permeated every aspect: western holidays were perceived as decadent. By contrast, sanatorium breaks were intended to edify and strengthen visitors - health professionals carefully monitored guests throughout their stay, so they could return to work with renewed vigour. Certain sanatoriums became known for their specialist treatments, such as crude oil baths, radon water douches and stints in underground salt caves. While today some sanatoriums are in critical states of decline, many are still fully operational and continue to offer their Soviet-era treatments to visitors. Using specially commissioned photographs by leading photographers of the post-Soviet territories, and texts by sanatorium expert Maryam Omidi, this book documents over forty-five sanatoriums and their unconventional treatments. From Armenia to Uzbekistan, it represents the most comprehensive survey to date of this fascinating and previously overlooked Soviet institution.