With the aid of extensive interviews with architects, designers and executives, this book sets out to show how a range of architects, from leading professionals to theme-part designers originally trained as animators, have integrated spectacular buildings into the far-flung Disney empire of theme parks, film studios and resorts.

    Ransacking the urban planning of the grand imperial past, it set out to transform everyday life, its sweeping boulevards, epic high-rise and vast housing estates an emphatic declaration of a non-capitalist idea. Now, the regimes that built them are dead and long gone, but from Warsaw to Berlin, Moscow to post-Revolution Kiev, the buildings, their most obvious legacy, remain, populated by people whose lives were scattered and jeopardized by the collapse of communism and the introduction of capitalism.Landscapes of Communism is an intimate history of twentieth-century communist Europe told through its buildings; it is, too, a book about power, and what power does in cities. In exploring what that power was, Hatherley shows how much we can understand from surfaces - especially states as obsessed with surface as the Soviets were. Walking through these landscapes today, Hatherley discovers how, in contrast to the common dismissal of 'monolithic' Soviet architecture, these cities reflect with disconcerting transparency the development of an idea over the decades, with its sharp, sudden zigzags of official style: from modernism to classicism and back; to the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces and secret policemen's castles; East Germany's obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant garde ever dared.But most of all, Landscapes of Communism is a revelatory journey of discovery, plunging us into the maelstrom of socialist architecture. As we submerge into the metros, walk the massive, multi-lane magistrale and pause at milk bars in the microrayons, who knows what we might find?

    ContentsIllustrationsIntroductionChildhoodWhat Do Little Princesses Dream Of?The King of PrussiaHoly RussiaPeter the GreatPeter's SuccessorsElizabethThe Child of KielElizabeth & Her NephewCinderella at CourtSophiaYoung Love & Court IntrigueThe Grand Duchess CatherineJourney to Kiev, Family & Other TroublesA CatastropheTheir Imperial HighnessesThe WeddingThe NewlywedsPolitics & PlayRussiaThe CourtTroubles for the Grand Duke & DuchessThe Apprentice YearsLove & Reasons of StateThe Succession EnsuredPaul PetrovichLove & PoliticsAn Odd CoupleNew ThreatsThe Turning PointLove & ConspiracyMock EmperorThe Coup d'Etat of June 1762Assassination of the EmperorShe Who Would ReignThe New EmpressThe Faithful ServantsThe Neglected LoverThe EmpressThe PeoplePrivate Life of an EmpressMother & GrandmotherThe SovereignThe Semiramis of the NorthThe Empress DiesConclusionChronological TableGenealogical TableNote on the Princess of Anhalt-ZerbstBibliographyNotes & References

    Between Russia and Germany lay Poland, a nation that had only just recovered its independence after more than a century of foreign oppression. But it was economically and militarily weak and its misguided offensive to liberate the Ukraine in the spring of 1920 laid it open to attack. Egged on by Trotsky, Lenin launched a massive westward advance under the flamboyant Marshal Tukhachevsky. All that Great Britain and France had fought for over four years now seemed at risk. By the middle of August the Russians were only a few kilometers from Warsaw, and Berlin was less than a week's march away. Then the Miracle of the Vistula occurred: the Polish army led by Jozef Pilsudski regrouped and achieved one of the most decisive victories in military history. As a result, the Versailles peace settlement survived, and Lenin was forced to settle for Communism in one country. The battle for Warsaw bought Europe nearly two decades of peace, and communism remained a mainly Russian phenomenon, subsuming many of the autocratic and Byzantine characteristics of Russia's tsarist tradition.

    It takes into account new finds as well as new ideas and attitudes to the subject, and emphasizes that Greek art should be seen in its proper context, not that of galleries and museums. 302 illustrations, 73 in color

    Through ethnographic essays and short stories based on her experiences with Eastern Europe between 1989 and 2009, Kristen Ghodsee explains why it is that so many Eastern Europeans are nostalgic for the communist past. Ghodsee uses Bulgaria, the Eastern European nation where she has spent the most time, as a lens for exploring the broader transition from communism to democracy. She locates the growing nostalgia for the communist era in the disastrous, disorienting way that the transition was handled. The privatization process was contested and chaotic. A few well-connected foreigners and a new local class of oligarchs and criminals used the uncertainty of the transition process to take formerly state-owned assets for themselves. Ordinary people inevitably felt that they had been robbed. Many people lost their jobs just as the state social-support system disappeared. Lost in Transition portrays one of the most dramatic upheavals in modern history by describing the ways that it interrupted the rhythms of everyday lives, leaving confusion, frustration, and insecurity in its wake.

    Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' demands that art should move from depicting to transforming the world. The revolutionaries of October 1917 promised to create a society that was not only more just and more economically stable but also more beautiful, and they intended that the entire life of the nation be completely subordinate to Communist party leaders commissioned to regulate, harmonize, and create a single "artistic" whole out of even the most minute details. What were the origins of this idea? And what were its artistic and literary ramifications? In addressing these issues, Groys questions the view that socialist realism was an "art for the masses." Groys argues instead that the "total art" proposed by Stalin and his followers was formulated by well-educated elites who had assimilated the experience of the avant-garde and been brought to socialist realism by the future-oriented logic of avant-garde thinking. After explaining the internal evolution of Stalinist art, Groys shows how socialist realism gradually disintegrated after Stalin's death. In an undecided and insecure Soviet culture, artists focused on restoring historical continuity or practicing "sots art," a term derived from the combined names of socialist realism (sotsrealizm) and pop art. Increasingly popular in the West, sots-artists incorporate the Stalin myth into world mythology and demonstrate its similarity to supposedly opposing myths.

    Presenting 48 joints, selected from among the several hundred known and used today, this visually exciting book will please anyone who has ever been moved by the sheer beauty of wood. With the clear isometric projections complementing the 64 pages of stunning photographs, even the weekend carpenter can duplicate these bequests from the traditional Japanese carpenter, which can be applied to projects as large as the buildings for which most of them were originally devised or to projects as small as a sewing box.

    Stunned by the intensity of the work, Durand offered Maslov a modest advance to quit his job and finish the book. The result is this extraordinary visual portrayal of Russian life and spirit.Awash in alcohol from the first pages to the last, Siberia charts Maslov’s bleak path through the labyrinths of the Soviet system, from the desolate Siberian countryside, to military service with the Red Army in Mongolia, to the psychiatric hospital where he was admitted after his brother’s death. Drawn entirely in pencil on paper, the book’s nuanced gray tones document with unremitting clarity and delicate nuance the austere Siberian landscape, the bad vodka, the daily brawls, the cynicism and violence of life in Siberia, but also the perseverance and hope of those in this often neglected but fascinating part of the world.

    Fay has gone back to primary documents: Shostakovich's many letters, concert programs and reviews, newspaper articles, and diaries of his contemporaries. An indefatigable worker, he wrote his arresting music despite deprivations during the Nazi invasion and constant surveillance under Stalin's regime. Shostakovich's life is a fascinating example of the paradoxes of living as an artist under totalitarian rule. In August 1942, his Seventh Symphony, written as a protest against fascism, was performed in Nazi-besieged Leningrad by the city's surviving musicians, and was triumphantly broadcast to the German troops, who had been bombarded beforehand to silence them. Alone among his artistic peers, he survived successive Stalinist cultural purges and won the Stalin Prize five times, yet in 1948 he was dismissed from his conservatory teaching positions, and many of his works were banned from performance. He prudently censored himself, in one case putting aside a work based on Jewish folk poems. Under later regimes he balanced a career as a model Soviet, holding government positions and acting as an international ambassador with his unflagging artistic ambitions. In the years since his death in 1975, many have embraced a view of Shostakovich as a lifelong dissident who encoded anti-Communist messages in his music. This lucid and fascinating biography demonstrates that the reality was much more complex. Laurel Fay's book includes a detailed list of works, a glossary of names, and an extensive bibliography, making it an indispensable resource for future studies of Shostakovich.

    The program, which concentrated on the Los Angeles area and oversaw the design of 36 prototype homes, sought to make available plans for modern residences that could be easily and cheaply constructed during the postwar building boom. The program's chief motivating force was Arts Architecture editor John Entenza, a champion of modernism who had all the right connections to attract some of architecture's greatest talents, such as Richard Neutra, Charles and Ray Eames, and Eero Saarinen. Highly experimental, the program generated houses that were designed to re-define the modern home, and thus had a pronounced influence on architecture. With comprehensive documentation, brilliant photographs from the period and, for the houses still in existence, contemporary photos, floor plans and sketches.

    While these buildings might stand as ghosts of the past today, their stories live on within these pages. The team behind BuildingsofDetroit.com brings you the memories of those who caught trains out of the majestic Michigan Central Station, necked with girlfriends in the balcony of the palatial Michigan Theatre, danced the night away at the Vanity Ballroom and kicked out the jams at the Grande Ballroom. As Detroit Free Press Architecture Critic John Gallagher said, the buildings in these pages held a central place in the story of Detroit's Auto Century. It was America's story, too. Detroiters lived, loved, toiled, played, celebrated and dreamed great dreams in these buildings and thereby helped shape a nation."

    Anguished by the death of friends and discouraged by the loss of commissions to younger artists, this supreme painter and sculptor began carving his own tomb. It was at this unlikely moment that fate intervened to task Michelangelo with the most ambitious and daunting project of his long creative life.Michelangelo, God's Architect is the first book to tell the full story of Michelangelo's final two decades, when the peerless artist refashioned himself into the master architect of St. Peter's Basilica and other major buildings. When the Pope handed Michelangelo control of the St. Peter's project in 1546, it was a study in architectural mismanagement, plagued by flawed design and faulty engineering. Assessing the situation with his uncompromising eye and razor-sharp intellect, Michelangelo overcame the furious resistance of Church officials to persuade the Pope that it was time to start over.In this richly illustrated book, leading Michelangelo expert William Wallace sheds new light on this least familiar part of Michelangelo's biography, revealing a creative genius who was also a skilled engineer and enterprising businessman. The challenge of building St. Peter's deepened Michelangelo's faith, Wallace shows. Fighting the intrigues of Church politics and his own declining health, Michelangelo became convinced that he was destined to build the largest and most magnificent church ever conceived. And he was determined to live long enough that no other architect could alter his design.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    As if rising from an uneasy grave, Palchinsky's ghost leads us through the miasma of Soviet technology and industry, pointing out the mistakes he condemned in his time, the corruption and collapse he predicted, the ultimate price paid for silencing those who were not afraid to speak out. The story of this visionary engineer's life and work, as Loren Graham relates it, is also the story of the Soviet Union's industrial promise and failure.We meet Palchinsky in pre-Revolutionary Russia, immersed in protests against the miserable lot of laborers in the tsarist state, protests destined to echo ironically during the Soviet worker's paradise. Exiled from the country, pardoned and welcomed back at the outbreak of World War I, the engineer joined the ranks of the Revolutionary government, only to find it no more open to criticism than the previous regime. His turbulent career offers us a window on debates over industrialization. Graham highlights the harsh irrationalities built into the Soviet system--the world's most inefficient steel mill in Magnitogorsk, the gigantic and ill-conceived hydroelectric plant on the Dnieper River, the infamously cruel and mislocated construction of the White Sea Canal. Time and again, we see the effects of policies that ignore not only the workers' and consumers' needs but also sound management and engineering precepts. And we see Palchinsky's criticism and advice, persistently given, consistently ignored, continue to haunt the Soviet Union right up to its dissolution in 1991.The story of a man whose gifts and character set him in the path of history, The Ghost of the Executed Engineer is also a cautionary tale about the fate of an engineering that disregards social and human issues.