Soviet Critical Design

Senezh Studio and the Communist Surround

AvTom Cubbin,Grace Lees-Maffei

Inbunden, Engelska, 2018

Del i serien Cultural Histories of Design

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Beskrivning

Soviet Critical Design is the first book to explore the socialist design practice of ‘artistic projecteering’, which was developed by the USSR’s Senezh Experimental Studio in the 1960s.Tom Cubbin examines the studio as a site for the development of the design discipline in the optimistic environment of the 1960s Soviet Thaw. He also explores how designers adapted to the fast-changing Soviet Union of the 1970s and 1980s, considering their approach to critical projects highlighting the Soviet state’s treatment of citizens, urban heritage and public spaces. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives insight into the creative strategies of designers who engaged their practice as a contribution to broader discussions on alternative models for socialist existence. Cubbin shows how artistic projecteering must be read as a utopian activity which privileged the political and ideological over the functional.

Produktinformation

Utgivningsdatum:2018-12-13
Mått:156 x 234 x 25 mm
Vikt:502 g
Format:Inbunden
Språk:Engelska
Serie:Cultural Histories of Design
Antal sidor:248
Förlag:Bloomsbury Publishing PLC
ISBN:9781350021990

Utforska kategorier

Konsthistoria inom Kultur
Designböcker inom Kultur

Mer om författaren

Tom Cubbin is a senior lecturer in design studies at the Academy of Design and Crafts, Gothenburg, Sweden. He contributed to the Bloomsbury Encyclopedia of Design, and has had several articles published in Home Cultures, Estonian Art, and the Calvert Journal.

Recensioner i media

[This book] should be valued for establishing new directions in late Soviet visual and material culture studies—and hopefully foreshadow[s] the dramatic increase of both scholarly and general interest in the achievements and limitations of socialist design.

Innehållsförteckning

Introduction: The Communist SurroundSocialist Objects as Critical DesignThe Communist SurroundThe Language of Soviet DesignLate SocialismConclusionChapter 1: Art, Technology and Design in the Soviet ThawTechnical Aesthetics as a ‘Science of Design’Theories of Design in Art and AestheticsProblems of DesignForeign InfluencesFrom Chaos to HarmonyThe Production Art of the FutureObjects of the FutureConclusionChapter 2: Senezh Studio and the Emergence of a Critical PracticeThe Artist in DesignSeminar for Design and Industrial Art – Programme of WorkSummary of Courses in Colour and Composition, 1969Industrial Policy and LabourOpen FormSites of Experimentation: Socialist Spaces of the FutureMethodological Philosophy and the Reassessment of Artistic ProjecteeringThe Domestic Information MachineConclusionChapter 3: Semiotics, Environment, and the Historical TurnAbandoning Industrial DesignRedefining Visual AgitationConservation of Architectural HeritageRetrospectivism, Memory and HistoryTheatricalizationConclusion: Opening the Semiotic CageChapter 4: Design and the Projective ImaginationEnvironment and the ‘Museification’ Debate‘Projectivism’ and DesignIcons of a Higher RealityUnderground CultureMaiakovskii Square as a Theatre of Post-Authoritarian UrbanityConclusionChapter 5: A Quiet Conversation Among Things: Memory, Agency and Materiality at the End of HistoryBackground: Cultural Ecology and Projecteering in PushchinoThe Abandoned HousePerestroika and TimePhotographsTablesIconsConclusionConclusionEnd MatterAppendix I – Complete List of Senezh ProjectsAppendix II – Key PeopleIndex