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 Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives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.
Soviet Critical Design is the first monograph to explore the socialist design practice of 'artistic projecteering', which was developed by the USSR's Senezh Experimental Studio in the 1960s. Tom Cubbin first examines the studio as a site for the development of the design discipline in the optimistic environment of the Soviet Thaw of the 1960s. He then explores how designers adapted to new realities of the Soviet Union of the 1970s and 80s. Over two decades, designers at the studio worked on critical projects that highlighted how the Soviet state's treatment of citizens, urban heritage and the environment was manifest in daily life. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives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. Overall, it argues that artistic projecteering must be read as a utopian activity which privileged the political and ideological over the functional.
An authoritative life of Edward the Confessor, the monarch whose death sparked the invasion of 1066 One of the last kings of Anglo-Saxon England, Edward the Confessor regained the throne for the House of Wessex and is the only English monarch to have been canonized. Often cast as a reluctant ruler, easily manipulated by his in-laws, he has been blamed for causing the invasion of 1066—the last successful conquest of England by a foreign power. Tom Licence navigates the contemporary webs of political deceit to present a strikingly different Edward. He was a compassionate man and conscientious ruler, whose reign marked an interval of peace and prosperity between periods of strife. More than any monarch before, he exploited the mystique of royalty to capture the hearts of his subjects. This compelling biography provides a much-needed reassessment of Edward’s reign—calling into doubt the legitimacy of his successors and rewriting the ending of Anglo-Saxon England.
How the relationships between education and outer space have developed historically is exemplified in an incisive way by the decades that followed the "Sputnik shock" of 1957. The wake-up call that resulted from the Soviet space program set the global landscape of learning in motion. New schools and universities came into being against the backdrop of the reform euphoria and mood of catastrophe. At the same time, traditional pedagogical concepts were severely called into question—including the call to do away with institutions of education. What is shown in the architectures of learning is not only a politics of space, but also the educational shock that intensively shook up the global societies of the 1960s and 1970s, while they were gradually being transformed into knowledge societies.
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