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 Drawing on previously unpublished…mehr
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 Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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.
Inhaltsangabe
Introduction: The Communist Surround Socialist Objects as Critical Design The Communist Surround The Language of Soviet Design Late Socialism Conclusion Chapter 1: Art, Technology and Design in the Soviet Thaw Technical Aesthetics as a 'Science of Design' Theories of Design in Art and Aesthetics Problems of Design Foreign Influences From Chaos to Harmony The Production Art of the Future Objects of the Future Conclusion Chapter 2: Senezh Studio and the Emergence of a Critical Practice The Artist in Design Seminar for Design and Industrial Art - Programme of Work Summary of Courses in Colour and Composition, 1969 Industrial Policy and Labour Open Form Sites of Experimentation: Socialist Spaces of the Future Methodological Philosophy and the Reassessment of Artistic Projecteering The Domestic Information Machine Conclusion Chapter 3: Semiotics, Environment, and the Historical Turn Abandoning Industrial Design Redefining Visual Agitation Conservation of Architectural Heritage Retrospectivism, Memory and History Theatricalization Conclusion: Opening the Semiotic Cage Chapter 4: Design and the Projective Imagination Environment and the 'Museification' Debate 'Projectivism' and Design Icons of a Higher Reality Underground Culture Maiakovskii Square as a Theatre of Post-Authoritarian Urbanity Conclusion Chapter 5: A Quiet Conversation Among Things: Memory, Agency and Materiality at the End of History Background: Cultural Ecology and Projecteering in Pushchino The Abandoned House Perestroika and Time Photographs Tables Icons Conclusion Conclusion End Matter Appendix I - Complete List of Senezh Projects Appendix II - Key People Index
Introduction: The Communist Surround Socialist Objects as Critical Design The Communist Surround The Language of Soviet Design Late Socialism Conclusion Chapter 1: Art, Technology and Design in the Soviet Thaw Technical Aesthetics as a 'Science of Design' Theories of Design in Art and Aesthetics Problems of Design Foreign Influences From Chaos to Harmony The Production Art of the Future Objects of the Future Conclusion Chapter 2: Senezh Studio and the Emergence of a Critical Practice The Artist in Design Seminar for Design and Industrial Art - Programme of Work Summary of Courses in Colour and Composition, 1969 Industrial Policy and Labour Open Form Sites of Experimentation: Socialist Spaces of the Future Methodological Philosophy and the Reassessment of Artistic Projecteering The Domestic Information Machine Conclusion Chapter 3: Semiotics, Environment, and the Historical Turn Abandoning Industrial Design Redefining Visual Agitation Conservation of Architectural Heritage Retrospectivism, Memory and History Theatricalization Conclusion: Opening the Semiotic Cage Chapter 4: Design and the Projective Imagination Environment and the 'Museification' Debate 'Projectivism' and Design Icons of a Higher Reality Underground Culture Maiakovskii Square as a Theatre of Post-Authoritarian Urbanity Conclusion Chapter 5: A Quiet Conversation Among Things: Memory, Agency and Materiality at the End of History Background: Cultural Ecology and Projecteering in Pushchino The Abandoned House Perestroika and Time Photographs Tables Icons Conclusion Conclusion End Matter Appendix I - Complete List of Senezh Projects Appendix II - Key People Index
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