Stan książek
Nasze książki są dokładnie sprawdzone i jasno określamy stan każdej z nich.
Nowa
Książka nowa.
Używany - jak nowa
Niezauważalne lub prawie niezauważalne ślady używania. Książkę ciężko odróżnić od nowej pozycji.
Używany - dobry
Normalne ślady używania wynikające z kartkowania podczas czytania, brak większych uszkodzeń lub zagięć.
Używany - widoczne ślady użytkowania
zagięte rogi, przyniszczona okładka, książka posiada wszystkie strony.
CCCP. Cosmic Communist Constructions Photographed
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Frédéric Chaubin's "Cosmic Communist Constructions Photographed" was recognized as the architectural book of the year by the International Artbook and Film Festival in Perpignan, France. The book delves into 90 unique edifices across 14 former Soviet Republics, showcasing what Chaubin describes as the fourth era of Soviet architecture, spanning from 1970 to 1990. Unlike the distinct architectural movements of the 1920s and 1950s, this period is characterized by a lack of a unifying style, reflecting the disarray of a crumbling regime. Architects during this time broke away from strict modernist principles, either revisiting traditional roots or boldly innovating. Some audacious creations realized visions that the early Constructivists could only imagine, such as the Druzhba Sanatorium in Yalta, while others embraced expressionism, exemplified by the Palace of Weddings in Tbilisi. The Prometheus youth camp in Bogatyr, with designs echoing a prototype lunar base, demonstrates Suprematist influence. In the USSR's waning years, "speaking architecture" became prevalent, seen in structures like the crematorium in Kiev, adorned with concrete flames; the Institute of Scientific Research, also in Kiev, featuring a crashed flying saucer on its roof; and the House of Soviets in Kaliningrad, serving as a watchful political presence reminiscent of Big Brother.
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Frédéric Chaubin's "Cosmic Communist Constructions Photographed" was recognized as the architectural book of the year by the International Artbook and Film Festival in Perpignan, France. The book delves into 90 unique edifices across 14 former Soviet Republics, showcasing what Chaubin describes as the fourth era of Soviet architecture, spanning from 1970 to 1990. Unlike the distinct architectural movements of the 1920s and 1950s, this period is characterized by a lack of a unifying style, reflecting the disarray of a crumbling regime. Architects during this time broke away from strict modernist principles, either revisiting traditional roots or boldly innovating. Some audacious creations realized visions that the early Constructivists could only imagine, such as the Druzhba Sanatorium in Yalta, while others embraced expressionism, exemplified by the Palace of Weddings in Tbilisi. The Prometheus youth camp in Bogatyr, with designs echoing a prototype lunar base, demonstrates Suprematist influence. In the USSR's waning years, "speaking architecture" became prevalent, seen in structures like the crematorium in Kiev, adorned with concrete flames; the Institute of Scientific Research, also in Kiev, featuring a crashed flying saucer on its roof; and the House of Soviets in Kaliningrad, serving as a watchful political presence reminiscent of Big Brother.
