Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frеdеric Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frеdеric Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frеdеric Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Фотограф Фредерик Шобен показывает 90 зданий, расположенных в четырнадцати бывших советских республиках, которые отражают то, что он считает четвертой эпохой советской архитектуры. В его поэтических картинах обнаруживается неожиданное возрождение воображения, небывалый расцвет, имевший место с 1970 по 1990 год. В отличие от 1920-х и 1950-х годов здесь не возникает никакой «школы» или основного направления. Эти здания представляют собой хаотический импульс, вызванный разлагающейся системой. Их разнообразие предвещало конец Советского Союза. Пользуясь рушащейся монолитной конструкцией, дырами в расширяющейся сети, архитекторы вышли далеко за пределы модернизма, возвращаясь к истокам или свободно внедряя инновации. О чем мечтали конструктивисты (санаторий «Дружба», Ялта), другие выражали свою фантазию в экспрессионистской манере (Дворец бракосочетаний, Тбилиси), летний лагерь, вдохновленный эскизами прототипа лунной базы, претендует на супрематическое влияние (молодежный лагерь «Прометей» , Богатырь).Затем идет распространенная в последние годы СССР «говорящая архитектура»: крематорий, украшенный бетонным пламенем (Крематорий, Киев), техноло гический институт с разбившейся на крыше летающей тарелкой (НИИ, Киев), политический центр, наблюдающий за вами как Большой Брат (Дом Советов, Калининград). Эта головоломка стилей свидетельствует обо всех идеологических мечтах того периода, от одержимости космосом до возрождения идентичности. В нем также описывается география СССР, показывая, как местные влияния сделали свои экзотические повороты, прежде чем страна была доведена до конца.Книга Фредерика Шобена «Космические коммунистические конструкции в фотографиях» была выбрана лучшей книгой по архитектуре 2010 года на Международном фестивале артбуков и фильмов в Перпиньян/Франция (Международный фестиваль художественной литературы и кино в Перпиньяне).Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium...

A photographic record of 90 weird and wonderful buildings from the last decades of the USSR Photographer Frederic Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end. Frederic Chaubin's Cosmic Communist Constructions Photographed is elected best book on architecture of the year by the International Artbook and Film Festival in Perpignan/France (Festival International du Livre d'Art & du Film Perpignan). The photographer: Frederic Chaubin has been, for the last fifteen years, editor-in-chief of the French lifestyle magazine Citizen K. Since 2000 he has regularly featured works combining text and photography. The CCCP collection research was carried out from 2003 to 2010, through an intuitive and creative travel process. This project has been shown throughout the world, from Japan to the United States.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Castles and fortresses of medieval Europe Follow photographer Frederic Chaubin as he embarks on a unique, century-spanning journey through Europe. Featuring images of more than 200 buildings in 21 countries, Stone Age presents the history and architecture of the most dramatic medieval castles of the continent in an unprecedented collection. Building on the success of his foray into Soviet design with CCCP, Chaubin once again documents the afterlife of highly rational structures that seem out of place in a modern-day world. Precursors of Brutalism, these castles value function over form and epitomize the raw materials and shapes that would go on to define so much of architectural history. Shot on film with a Linhof view camera, the collection is the outcome of five years of travel and investigation. Complete with a practical map and explanatory essay, its castles tell the story of 400 years, unfolding through the feudal Middle Ages into the 15th century. A photographic study of decay as much as endurance, Stone Age traces the history of some of these singular structures that continue to enchant their audiences today and that occupy a distinct, mystical place in our collective imagination.

Featuring an extensive, provocative introduction by historian Martin Malia, this authorized English translation of The Communist Manifesto, edited and annotated by Engels, with prefaces to editions published between 1872 and 1888, provides a new opportunity to examine the document that shook the world. In 1848, two young men published what would become one of the defining documents of modern history, The Communist Manifesto. It rapidly realigned political faultlines all over the world and its aftershock resonates to this day. In the many years since its publication, no other social program has inspired such divisive and violent debate. Ever since the collapse of the Soviet Union, the world’s first regime to adopt the Manifesto’s tenets, historians have debated its intent and its impact. In the current era of market democracy in Russia and Eastern Europe, nationalism on every continent, and an ever tightening global economy, does the specter of Communism still haunt the world? Were the seeds of Communism’s ultimate destruction already planted in 1848? Is there anything to be learned from Marx’s envisioned utopia? With an Introduction by Martin Malia and an Afterword by Stephen Kotkin.

Marx and Engels's revolutionary summons to the working classes - one of the most important and influential political theories ever formulated.

Featuring an extensive, provocative introduction by historian Martin Malia, this authorized English translation of The Communist Manifesto, edited and annotated by Engels, with prefaces to editions published between 1872 and 1888, provides a new opportunity to examine the document that shook the world. In 1848, two young men published what would become one of the defining documents of modern history, The Communist Manifesto. It rapidly realigned political faultlines all over the world and its aftershock resonates to this day. In the many years since its publication, no other social program has inspired such divisive and violent debate. Ever since the collapse of the Soviet Union, the world’s first regime to adopt the Manifesto’s tenets, historians have debated its intent and its impact. In the current era of market democracy in Russia and Eastern Europe, nationalism on every continent, and an ever tightening global economy, does the specter of Communism still haunt the world? Were the seeds of Communism’s ultimate destruction already planted in 1848? Is there anything to be learned from Marx’s envisioned utopia? With an Introduction by Martin Malia and an Afterword by Stephen Kotkin.

Marx and Engels's revolutionary summons to the working classes - one of the most important and influential political theories ever formulated.

It’s one giant leap for all boy-kind in Frank Cottrell Boyce’s out-of-this-world story: Cosmic. Liam is too big for his boots. And his football strip. And his school blazer. But being super-sized height-wise has its advantages: he’s the only eleven-year-old to ever ride the G-force-defying Cosmic rollercoaster - or to be offered the chance to drive a Porsche. Long-legged Liam makes a giant leap for boy-kind by competing with a group of adults for the chance to go into space. Is Liam the best boy for the job? Sometimes being big isn’t all about being a grown-up. This edition of Cosmic includes bonus material and discussion questions from Frank Cottrell Boyce and features fantastic cover artwork from Steven Lenton.

It’s one giant leap for all boy-kind in Frank Cottrell Boyce’s out-of-this-world story: Cosmic. Liam is too big for his boots. And his football strip. And his school blazer. But being super-sized height-wise has its advantages: he’s the only eleven-year-old to ever ride the G-force-defying Cosmic rollercoaster - or to be offered the chance to drive a Porsche. Long-legged Liam makes a giant leap for boy-kind by competing with a group of adults for the chance to go into space. Is Liam the best boy for the job? Sometimes being big isn’t all about being a grown-up. This edition of Cosmic includes bonus material and discussion questions from Frank Cottrell Boyce and features fantastic cover artwork from Steven Lenton.

The second novel from Anna Burns, critically acclaimed author of the Man Booker winning novel, Milkman An irate woman bursts into the best gun shop in the town of Tiptoe Floorboard, helps herself to a Kalashnikov rifle and sets off in a taxi on her mission of retribution. So begins this kaleidoscopic, surreal and enigmatic tale of dark deeds in a small town. At the centre of Anna Burns’s startling new novel lies the Doe clan, a closely knit family of criminals and victims whose internal conflicts and convoluted relationships propel this simultaneously funny and terrifying story. Bound together by love and loyalty, fear and secrets, the Does and other inhabitants of Tiptoe Floorboard make up an unforgettable cast of characters. In a voice that is by turns chilling and wickedly funny, the narrator documents their struggle to make and maintain connections with each other, and – weaving back and forth in time – examines what transpires when unspeakable realities, long pushed from consciousness, begin to break through. Anna Burns’s first novel ‘No Bones’ was shortlisted for the Orange Prize. This second work secures her reputation as a writer of mesmerising originality and rare talent.