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  • 17.95
    Sale! Soviet Bus Stops: Christopher Herwig

    Soviet Bus Stops: Christopher Herwig

    £24.95 Original price was: £24.95.£17.95Current price is: £17.95.     Add to basket
  • 19.50
    Sale! front cover Soviet Asia

    Soviet Asia: Soviet Modernist architecture in Central Asia by Fuel

    £24.95 Original price was: £24.95.£19.50Current price is: £19.50.     Add to basket
  • 17.50
    chernobyl with guide and urban explorer

    Chernobyl: A Stalkers’ Guide

    £17.50     Add to basket

@Barbican_City_of_London
Happy International Women’s Day! Remembering Eil Happy International Women’s Day! Remembering Eileen Gray and the terrific work of @capmoderneuk in preserving her legacy. Eileen Gray spent almost 50 years forgotten and it has taken the intervening 55 years from the 1970s to return her to rightful recognition as a icon of Modernism. Born in 1878 into Irish aristocracy in Enniscorthy, Ireland, Kathleen Eileen Moray Smith, the daughter of an artist was the first woman to be invited to study at Slade School of Art in London. In 1902 she headed to Paris to study at the Académie Colarossi (something of a pitstop) until studied at the highly thought of Académie Julian. An interest in the technique of Japanese lacquering and decorative panels had been fostered in London. Eileen met Japanese master of the art, Seizo Sugawara, with whom she trained and opened a lacquer workshop in 1910. In the early 1920s, she opened her own shop Galerie Jean Désert (it is said that she purposefully used a non-gender specific name for the business – a reflection of how female artists were considered at that time). Her co-designer of the store? Jean Badovici, the man with whom she conceived the idea of and built E-1027. Bearing in mind that she was not a trained architect and was by standards of the time, middle-aged – the idea of deciding to build a house on the hills overlooking the Mediterranean spoke not to foolhardiness, rather to everything that makes Eileen Gray, to her fans, rightfully one of the greatest designers of the 20th Century and unhesitatingly deserving of her place in Siobhan Parkinson’s book Rock the System about unique, fearless Irish women. We’d like to think she didn’t so much rock the system as break it. She would not let anything be a barrier.
The mighty, abstract concrete “spomeniks” are uniq The mighty, abstract concrete “spomeniks” are unique not just in their vaunting ambition to render in concrete, stone, metal and other materials the horror, the courage and the endurance of people’s resistance against Nazism but that Yugoslavia under Tito, a relatively short-lived unified country, shared a common concept of how to express the inexpressible. This is Spomen-Dom, the Memorial House in Kolašin Montenegro, 1971-75, architect Marko Mušič. The building is defined by a dramatic roofscape of interlocking pyramidal forms inspired by the steep roofs of traditional mountain houses in northern Montenegro. In 2015 American Donald Niebyl happened on Belgian photographer Jan Kempanaers’ images of incredible memorial sculptures the likes of which he never could have imagined. He was instantly captivated and did all he could to learn more about them. These forms were communicating a huge amount of symbolic language and history from a region that to him seemed hopelessly out of reach. Determined to learn about the history of these works, who created them, why were they created and why were they situated in such remote locations. Donald then travelled to the former Yugoslavia between jobs to see the monuments for himself. Tracking the locations consisted largely of scouring Google Map satellite images until he spotted them. During his first trip in 2016, Donald found about 50 spomeniks, which he meticulously documented while friends he made along the way helped with the history, translating inscriptions and deciphering symbolism. This was the beginning of the @spomenikdatabase Link to book in our bio
Let’s start talking about architect Ernö Goldfinge Let’s start talking about architect Ernö Goldfinger, this is one of his ‘ greats’, Trellick Tower (add in Balfron and Willow Road, but that would be ignoring the varied and amazing career of a man who transcended one world to become fully entrenched in another. An architect, furniture and toy designer, he was born in Budapest to a family in the lumber business which led to Ernö spending his early years deep in the heart of the Austro-Hungarian Empire in Szaszregen, Transylvania in the Carpathian Mountains and in the Austrian Alps. When he was ten, Ernö was brought back to Budapest to be educated and later continued his studies in Vienna. By the time he’d finished school, the Empire had collapsed, the family had moved to Vienna, there was an assumption he would study engineering and remain close to home. Paris Instead, he headed to Paris in 1920 to study at the École des Beaux-Arts. He hung out with the best, Man Ray, Lee Miller, Max Ernst and more, visiting every important exhibition, including the 1925 Exposition. Goldfinger entered design competitions, ingested the Parisienne cultural vibe and revelled in the best of the city during les années folles; it was here that his political views became fully formed or perhaps another way of thinking of it, Paris was the place where he publicly defined himself as communist, at least in name ….. Link to full article in bio. This brilliant video was created by @fieldmotionn

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