Soviet Metro Stations

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.

For us, said Soviet leader Nikita Khrushchev in his memoirs, there was something supernatural about the Metro. Visiting any of the dozen or so Metro networks built across the Soviet Union between the 1930s and 1980s, it is easy to see why. Rather than the straightforward systems of London, Paris or New York, these networks were used as a propaganda artwork, a fusion of sculpture, architecture and art that combined Byzantine, medieval, baroque and constructivist ideas and infused them with the notion that communism would mean a 'communal luxury' for all. Today these astonishing spaces remain the closest realization of a Soviet utopia. 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. Along the way Herwig captures the elements that make up this singular Soviet experience: neon, concrete, escalators, signage, mosaics and relief sculptures all combine to build a vivid map of the Soviet Metro. 'Soviet Metro Stations' includes an essay by the leading architectural and political writer Owen Hatherley, author of the acclaimed books Landscapes of Communism (2015), Trans-Europe Express (2018) and The Adventures of Owen Hatherley in the Post-Soviet Space.

The year is 2033. The world has been reduced to rubble. Humanity is nearly extinct. The half-destroyed cities have become uninhabitable through radiation. Beyond their boundaries, they say, lie endless burned-out deserts and the remains of splintered forests. Survivors still remember the past greatness of humankind. But the last remains of civilisation have already become a distant memory, the stuff of myth and legend. More than 20 years have passed since the last plane took off from the earth. Rusted railways lead into emptiness. The ether is void and the airwaves echo to a soulless howling where previously the frequencies were full of news from Tokyo, New York, Buenos Aires. Man has handed over stewardship of the earth to new life-forms. Mutated by radiation, they are better adapted to the new world. Man's time is over. A few score thousand survivors live on, not knowing whether they are the only ones left on earth. They live in the Moscow Metro - the biggest air-raid shelter ever built. It is humanity's last refuge. Stations have become mini-statelets, their people uniting around ideas, religions, water-filters - or the simple need to repulse an enemy incursion. It is a world without a tomorrow, with no room for dreams, plans, hopes. Feelings have given way to instinct - the most important of which is survival. Survival at any price. VDNKh is the northernmost inhabited station on its line. It was one of the Metro's best stations and still remains secure. But now a new and terrible threat has appeared. Artyom, a young man living in VDNKh, is given the task of penetrating to the heart of the Metro, to the legendary Polis, to alert everyone to the awful danger and to get help. He holds the future of his native station in his hands, the whole Metro - and maybe the whole of humanity.

The death of an elegant young woman whose body is found in a construction trailer on the perimeter of Moscow's main rail hub puts Investigator Arkady Renko's skills to the test.

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).