Alexander Brodsky and Ilya Utkin are the best known of a loosely organized group of Soviet artists known as Paper Architects, who practiced in the early days of Glasnost. Many of their elaborate etchings, in which they depicted outlandish, often impossible, structures and cityscapes of allegorical content, were collected in our 1990 book, Brodsky and Utkin. Now, with the addition of several never-before-published prints, we are pleased to announce a new edition of this almost impossible to find book. The designs of Brodsky and Utkin are funny, cerebral, and deeply human. They borrow from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master plans, and other historical precendents, collaging these heterogeneous forms in learned and layered scrambles. Underlying the wit and visual inventiveness is an unmistakable moral: that the dehumanizing architecture of the sort seen in Russian cities in the 1980s and 1990s, takes a sinister toll.
具體描述
讀後感
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用戶評價
有點塞拉菲尼抄本和皮拉內西的感覺，尤其喜歡museum of disappearing buildings 和 crystal palace
评分前蘇聯紙上建築設計師
评分內容有點少, 有些是很有意思的
评分有點塞拉菲尼抄本和皮拉內西的感覺，尤其喜歡museum of disappearing buildings 和 crystal palace
评分二十世紀七八十年代，冷戰時期，西方國傢開始玩味曆史與符號的後現代思潮，反思現代建築，産生瞭“空想建築”這一理念，其中有意大利建築師皮拉內西的監獄場景，法國的伊托尼-路易·布雷宏大的牛頓紀念館，以及法國的勒杜的球形農傢書屋等等。 但蘇維埃建築由於政治意識形態的原因，刻意限製西方建築美學，排斥曆史題材，大量的樓房由毫無設計與思想、教條嚴格的“社會主義”模式建造齣來。因此，蘇維埃空想建築師 Brodsky & Utkin的作品，給人一種奇妙的，臆想的，壓抑的，但又直射人性的概念場景。 他們藉鑒埃及的金字塔紀念性題材，勒杜（ledoux）的空想建築畫風，勒·柯布西耶的城市規劃理念，以及意大利未來主義建築，斯大林時期蘇維埃宮競賽等其他曆史上的建築學素材，將這些異質元素拼貼鋪陳齣一種混亂與純粹。
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