Brodsky & Utkin, by Alexander Brodsky, Ilya Utkin
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Brodsky & Utkin, by Alexander Brodsky, Ilya Utkin
Free PDF Ebook Brodsky & Utkin, by Alexander Brodsky, Ilya Utkin
From 1978 to 1993, the renowned Soviet "paper architects" Alexander Brodsky and Ilya Utkin created an incredible collection of elaborate etchings depicting outlandish, often impossible, buildings and cityscapes. Funny, cerebral, and deeply human, their obsessively detailed work layers elements borrowed from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master plans, and other historical precedents in etchings of breathtaking complexity and beauty.Back by popular demand following the sold-out original 1991 edition and 2003 reprint, Brodsky & Utkin presents the sum of the architects' collaborative prints and adds new material, including an updated preface by the artists' gallery representative, Ron Feldman, a new introductory essay by architect Aleksandr Mergold, visual documentation of the duo's installation work, and rare personal photographs.
Brodsky & Utkin, by Alexander Brodsky, Ilya Utkin - Amazon Sales Rank: #285052 in Books
- Brand: Brodsky, Alexander/ Utkin, Ilya/ Nesbitt, Lois (INT)/ Mergold, Aleksandr (INT)
- Published on: 2015-09-01
- Released on: 2015-09-01
- Original language: English
- Number of items: 1
- Dimensions: 12.25" h x .50" w x 9.25" l, .0 pounds
- Binding: Hardcover
- 88 pages
Brodsky & Utkin, by Alexander Brodsky, Ilya Utkin Review "Though times have certainly changed in Russia and beyond, Brodsky and Utkin's paper architecture is still poignant and pertinent: a timeless meditation on what it means to live in a city, whether that city is Moscow or Manhattan." - Forbes.com"Between 1978 and 1993, Soviet architects Alexander Brodsky and Ilya Utkin created a series of beautifully complex drawings of buildings they never expected would be built. In a new edition of a book collecting their work, Brodsky & Utkin, the range of their "paper architecture" is on display." - Slate"Highlighting the work of arguably one of the country's leading young architectural practices, MOS: Selected Works offers valuable insight into the pair's life and philosophy, not only as architecture professionals, but also as state-of-the-art designers and thinkers." - Wallpaper*"Looking at the images today, there is resonance with the enduring alienation of huge cities, and the desire for some presence in the fray." - Hyperallergic"Open this stylishly designed album and you will be immediately drawn into the world of poetic utopia. A claustrophobic endless labyrinth of the Intelligent Market. A Glass Tower, a vertical city striving to reach unto heaven. A Crystal Palace imag- ined as a beautiful but unrealizable dream. Going from one drawing to the next, you will discover new architec- tural dimensions as dreams, theater, storytelling, fables, memories... Now that our profession is obsessed with efficiency and pragmatism, this book reminds us why we wished to become architects in the first place." - Arquitectura Viva"The studio's greatest strength - as this book shows - is that its work surprises and delights but always with clarity and focus." - Surface"This 80-page collection of their work is proof that creativity always thrives, even under difficult conditions." - Selectism
About the Author Lois Nesbitt is a writer on art and architecture who lives in New York.
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Most helpful customer reviews
17 of 17 people found the following review helpful. Essays do not compensate for plates By Alan Tofighi this version comes with 30 plates while the 2003 edition has 70. I have treasured my 2003 edition for years and this new edition does not do justice.
7 of 7 people found the following review helpful. landmark in the history of paper architecture By curt dilger If you are familiar with the esteemed history of paper architecture, the unrealized visual fantasies of artists like Piranesi, with his carceri series, of Etienne Boullee, Ledoux and Lequeu, and into the modern era with such talents as John Hejduk and Raimond Abraham, then you are likely to be impressed by this great collection of etchings, done by the talented Russians Brodsky and Utkin. As students in Moscow, they created these amazing drawings, often as competition entries for Japan Architect's yearly conceptual design competitions. But there really was no competition; this work is in a class by itself.Like Brodsky and Utkin, I too was educated in the dark and confused time of 'postmodern' architecture, and it has left a legacy most would like to forget. There is very little left of lasting value from this era, and most of it is intellectual, theoretical. Robert Venturi's Complexity and Contradiction in Architecture is one important book, Aldo Rossi's Architecture of the City and A Scientific Autobiography some others. Rem Koolhaas' Delirious New York and Massimo Scolari's drawings also. After that, there is a yawning chasm of real quality, sad to say. But Brodsky and Utkin's work stands as a great contribution to paper architecture AND postmodern thought. Let me try to parse out why this is so.The postmodern condition was one of self conscious awareness, a mode of production deeply aware of its historical context. Venturi's catalog of his favorite architecture detailed many subtle formal aspects of space the moderns ignored; spatial ambiguity, different scales of formal intent in one composition, and more subtle attitudes about symmetry. He also discussed the value of signs in space, with his 'duck' and 'shed' polemic. Recent modern architecture has coopted many of the formal and iconographic lessons from Venturi's work and drained it of kitsch, often producing far more interesting results. Aldo Rossi's thesis about the persistence of the monument as a fixed sign in the city, a marker that helps define the city despite its internal functional transformations, is perhaps not as well understood and appreciated by today's modern crowd, although Dietz Jioppen's UFO building in Frankfurt seems a perfect example of what Rossi was on about in his architecture. Brodsky and Utkin occupy a dystopian space of forlorn imagination, spaces made more fantastical by their inability to be realized in the 'real' world. Most of these projects were never intended to be built; like much of the best paper architecture, its value lies in its articulation of the gap between our reality and our dreams, the space of the world and the unbridgable distance from our imagination. Sometimes the drawings are more like fairy tales or theatrical fantasmagoria. The value of Brodsky and Utkin's work in relation to the postmoderns is parallel to Italo Calvino's masterpiece Invisible Cities. Both attempt to describe architecture through the city's turbulent efforts to understand and define itself. These visions of life put architecture in the forefront of human expression. As a pawn or king of this process architecture acts as a sort of martyr of the city's need to signify, to BE something other than a dense cluster of buildings and people. Brodsky and Utkin capture this invisibility, shine a brief light on it, before it disappears back into oblivion. Take a look. Something profound is going on in this work. Highly recommended.
0 of 0 people found the following review helpful. Fascinating work - would be better in larger size By A Reader Fascinating artwork. I was drawn to this after seeing a few originals at the London Tate earlier this year. The book is not large enough to do justice to the intricate details of the prints. The print quality is decent but not great. Good for the price.
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