The most comprehensive photographic document of the London council estate, with fascinating images from every London borough and the City, featuring some 300 estates built between 1947 and 1981. Why are some London council estates considered notorious, while others are arguably the most desirable places to live in the capital? As the most comprehensive photographic document of the London council estate, this book provides an insight, featuring some 300 estates from every borough and the City. London Estates features the first post-war housing in Paddington, Islington and Romford; the Modernist schemes in Finsbury, Bethnal Green, Poplar, Wandsworth, Camberwell and the Cities of London and Westminster; the acclaimed 1960s estates of Camden and Lambeth; and the lesser-known 1970s estates of Kingston, Haringey, Havering, Hillingdon and Tower Hamlets. There are designs from a broad range of architects including Denys Lasdun (Keeling House, Trevelyan House); Chamberlin, Powell & Bon (Golden Lane Estate), Erno Goldfinger (Balfron Tower, Trellick Tower); Basil Spence (Stock Orchard Estate, Tustin Estate), and Kate Macintosh (Dawson’s Heights). A huge range of architectural styles are represented – from prefabricated and ‘self-built’ schemes, to Modernist and brutalist designs, including over 30 protected historic buildings. This book celebrates London council estates in all their diversity, championing the neglected alongside the distinguished, honouring their immeasurable contribution to the social and architectural fabric of the capital.

The Russian Criminal Tattoo Archive presents highlights from FUEL’s singular collection of authentic material on this subject. Previously unpublished in its original form, this work comprises ink on paper drawings by Danzig Baldaev, the photographic albums of Arkady Bronnikov and prisoner portraits by Sergei Vasiliev. The selection is contextualised with insights from Mark Vincent PhD (author and academic specialising in the Soviet Gulag) and Alison Nordström (photography scholar, writer and curator). The meticulous depictions of tattoos by prison guard Danzig Baldaev are reproduced in facsimile, authenticated by his signature and stamp, alongside his handwritten notes on the reverse. The paper has yellowed with age, giving the exquisite drawings a visceral temporality – almost like skin. Sergei Vasiliev’s photographs portray inmates in startling intimacy. He achieves a remarkable level of trust within the closed criminal society, a strict hierarchy, where outsiders are viewed with hostile suspicion. Arkady Bronnikov’s collection of photographs are shown in the albums in which they were collected. Used exclusively to aid police in their investigations, they depict a motley line-up of assorted body parts. This unique book is the only publication of primary material on this subject, highlighting the pioneering methods of these three individuals used to document this unique phenomenon.

In recent years Russian cities have visibly changed. The architectural heritage of the Soviet period has not been fully acknowledged. As a result many unique modernist buildings have been destroyed or changed beyond recognition. Russian photographer Arseniy Kotov intends to document these buildings and their surroundings before they are lost forever. He likes to take pictures in winter, during the 'blue hour', which occurs immediately after sunset or just before sunrise. At this time, the warm yellow colours inside apartment block windows contrast with the twilight gloom outside. To Kotov, this atmosphere reflects the Soviet period of his imagination. His impression of this time is unashamedly idealistic: he envisages a great civilization, built on a fair society, which hopes to explore nature and conquer space. From the Baikonur Cosmodrome in the desert steppes of Kazakhstan to the grim monolithic high-rise dormitory blocks of inner city Volgograd, Kotov captures the essence of the post-Soviet world. 'The USSR no longer exists and in these photographs we can see what remains - the most outstanding buildings and constructions, where Soviet people lived and how Soviet cities once looked: no decoration, no bright colours and no luxury, only bare concrete and powerful forms.'

A ‘dacha’ is a country house, made of wood, used by Soviet citizens to escape the rigors of the city for rural idyll. Widespread in the countries of the former USSR, this important cultural and architectural form has been largely ignored academically. In Dacha Fyodor Savintsev documents this particularly Russian phenomenon, his photographs constitute a unique record of a rapidly vanishing fairytale wooden world. The word ‘dacha’ has been used to describe constructions ranging from grand imperial villas to small sheds. Originally bestowed by the Tsar to reward courtiers, this custom continued following the revolution, with Soviet cooperatives building dachas for their members. Supposedly for the benefit of labourers, in reality they were destined for those favoured by the State, including famous writers, architects and artists – from Pasternak to Prokofiev. The fall of the Soviet Union accelerated their use, as economic uncertainty forced city dwellers towards self-sufficiency. The dacha tradition has survived Revolution, war and the collapse of Communism, becoming an integral part of life in the process. Using contemporary photographs to showcase these uniquely individual buildings for the first time, alongside an introduction explaining their historical and cultural context, Dacha is the only publication of its kind.

The Russian invasion of Ukraine in February 2022 has led to widespread sanctions being imposed on Russia. As the effects of these measures begin to take hold, the lives of ordinary Russian people will be subject to the type of austerity they last endured over 30 years ago, following the collapse of the USSR. A reprinted edition of the highly popular book from 2006. Home Made Russia features over 220 artefacts of Soviet culture, each accompanied by a photograph of the creator, their story of how the object came about, its function and the materials used to create it. The Vladimir Arkhipov collection includes hundreds of objects created with often idiosyncratic functional qualities, made for use both inside and outside the home, such as a tiny bathtub plug carefully fashioned from a boot heel; a back massager made from an old wooden abacus; a road sign used as a street cleaner's shovel; and a doormat made from beer bottle tops. Home Made Russia presents a unique picture of a critical period of transition, as the Soviet regime crumbled, but was yet to be replaced with a new system. Each of these objects is a window, not only into the life of its creator, but also the situation of the country at this time. Shortages in stores were commonplace, while wages might be paid in goods, or simply not paid at all. These exceptional circumstances lent themselves to a singular type of ingenuity, respectfully documented in intimate detail by Vladimir Arkhipov.

Chosen as one of the Best Architecture and Design books Summer 2022 by the Financial Times. Why British record store carrier bags are graphic design icons: While they've never carried the kudos of sleeve designs and music posters, record shop bags offer a fascinating insight into 20th century British music culture, high-streets and more. - Creative Review Jonny Trunk's extensive collection of record shop bags weaves together a less conventional history of British music, celebrating the shops where musicians and fans bought and sold their first LPs. This book is a love letter to these forgotten spaces, accompanied by a juicy selection of anecdotes and little known facts about the record shops and their bags. Readers, gear up for a "brilliant ride down the old British high streets and low streets too." - It's Nice That Jonny Trunk and FUEL present A-Z of Record Shop Bags - a publication celebrating the humble record store bag. This exhaustive collection of the record shop bag provides a unique perspective of record shopping in the UK over the last century, bringing together over 500 incredible bags (some possibly the only surviving examples) to document the fascinating story of British high street record shopping. Bags from famous chains such as NEMS, Our Price and Virgin (the amazingly rare Roger Dean bags), sit alongside designs from local shops run by eccentric enthusiasts. Packed with stories such as the first Jewish ska retailer, the record sellers who started the premier league, famous staff (David Bowie, Dusty Springfield, Morrissey, etc.) and equally infamous owners, these anecdotes of mythical vinyl entrepreneurs will entertain and delight. With vinyl record sales at their highest ever for decades (outselling CDs in the US), this publication acts as an amazing insight into the history, culture and visual language of record collecting. Following Own Label, Wrappers Delight and Auto Erotica - A-Z of Record Shop Bags: 1940s to 1990s is the next book in the series by Jonny Trunk and FUEL, examining overlooked aspects of our collective past.

The first book of its kind - a car book like no other - offering a deeply nostalgic look at beautiful vintage cars through the superb literature, leaflets and pamphlets that sold them to us. Auto Erotica covers the gamut of motoring in Britain during the 1960s, 1970s and 1980s. These rare ephemeral booklets are full of unusual graphic ideas and concepts. Their fabulous photography, dazzling colour charts, daring typography, strange fold outs and inspiring styles symbolise the automobile aspirations of generations of Britons. The book is also packed full of era-defining classic cars, from those we love to those you can't remember. Expect fast Fords, the XJS, the TR8, MGs, minis, Maxis, Renaults, Beemers, VWs, Vivas, Citroens, DeLoreans and a whole lot more - amazing motors from the past and even some from the future - as you've never seen them before.

Despite the borders of the USSR being closed to majority of its population, Soviet citizens were among the world's most frequent flyers. Following the 1917 Revolution, Vladimir Lenin made the development of aviation a priority. Assisted by advertising campaigns by artists such as Alexander Rodchenko, Soviet society was mobilised to establish an air fleet - from the very beginning of the USSR through to its demise in 1991, Soviet aviation flew its own unique path. This book unfolds the story of Soviet air travel, from early carriers like Deruluft and Dobrolet, to the enigmatic Aeroflot. Organised like an Air Force, with a vast fleet of aircraft and helicopters, Aeroflot was the world's biggest air carrier of passengers and cargo, responsible for a wider range of duties than any other airline. In an era when it was still common to smoke on board, the Aeroflot emblem appeared on cigarette packets, matchboxes and many other everyday goods. Aeroflot publicity alerted domestic passengers to new destinations or proudly presented the introduction of faster, more comfortable aircraft, while colourful advertising enticed Western travellers to use Aeroflot's international services. Aeroflot - Fly Soviet uses this ephemera to illustrate a parallel aviation universe that existed for 70 years. It pays tribute to generations of aircraft engineers, designers, pilots, ticket sellers, flight dispatchers, air traffic controllers, ground handlers and flight attendants, who jointly created this remarkable chapter of Soviet civil aviation history.

In Soviet Seasons Kotov's photographs reveal unfamiliar aspects of the post-Soviet terrain. From snow-blanketed Siberia in winter, to the mountains of the Caucasus in summer, these images show how a once powerful, utopian landscape has been affected by the weight of nature itself. This uniquely broad perspective could only be achieved by a photographer such as Kotov. Singularly dedicated to exploring every corner of his country, Kotov often hitch-hikes across vast distances. On these journeys he chronicles not only the architectural achievements of the Soviet empire, but also its overlooked or simply undocumented constructions. Arseniy Kotov: 'In this book I reveal the beauty and diversity of this vast region, showing both cities and nature at different times of the year. I have travelled widely across Russia and its neighbouring countries, where I captured the landscape of post-Soviet cities and witnessed the seasonal changes.'

Charles Holden's designs for the London Underground from the mid-1920s to the outbreak of World War II represent a high point of transport architecture and Modernist design in Britain. His collaboration with Frank Pick, the Chief Executive of London Transport, brought about a marriage of form and function still celebrated today. Pick used the term ‘Medieval Modernism’ to describe their work on the underground system, comparing the task to the construction of a great cathedral. London Tube Stations 1924 – 1961 catalogues and showcases every surviving station from this innovative period. These beautiful buildings, simultaneously historic and futuristic, have been meticulously documented by architectural photographer Philip Butler. Annotated with station-by-station overviews by writer and historian Joshua Abbott, the book provides an indispensable guide to the network's Modernist gems. All the key stations have a double page spread, with a primary exterior photograph alongside supporting images. A broader historical introduction, illustrated with archival images from the London Transport Museum, gives historical context, while a closing chapter lists the demolished examples alongside further period images.These stations, as famed architectural historian Nicholas Pevsner later noted, would "pave the way for the twentieth-century style in England".

London is Patrick Keiller's highly imaginative psychogeographic journey through (and history of) London, as undertaken by an unnamed narrator and his companion, Robinson. The unseen pair complete a series of excursions around the city, in an attempt to investigate what Robinson calls 'the problem of London', in so doing the palimpsest of the city is revealed. London is a unique take on the essay-film format, with scathing reflections on the recent past, enlivened by offbeat humour and wide-ranging literary anecdotes. The amazing locations reveal the familiar London of the near past: Concorde almost touches suburban houses as it takes off; Union Jacks fly from Wembley Stadium's Twin Towers and pigeons flock around tourists in Trafalgar Square. These images, in combination with the script, allow us to see beyond the London presented on the page. It is both a fascinating reflection on the diverse histories of Britain's capital and an illuminating record of 1992, the year of John Major's re-election, IRA bombs and the first crack in the House of Windsor. The book is the first time the film has been fully reproduced in print and contains an introduction from the director.

Since the first atomic bomb was dropped, humankind has been haunted by the idea of nuclear apocalypse. That nightmare almost became reality in 1986, when an accident at the USSR's Chernobyl Nuclear Power Plant triggered the world's worst radiological crisis. The events of that night are well documented - but history didn't stop there. Chernobyl, as a place, remains very much alive today. In Chernobyl: A Stalkers' Guide, researcher Darmon Richter journeys into the contemporary Exclusion Zone, venturing deeper than any previously published account. While thousands of foreign visitors congregate around a handful of curated sites, beyond the tourist hotspots lies a wild and mysterious land the size of a small country. In the forests of Chernobyl, historic village settlements and Soviet-era utopianism have lain abandoned since the time of the disaster - overshadowed by vast, unearthly mega-structures designed to win the Cold War. Richter combines photographs of discoveries made during his numerous visits to the Zone with the voices of those who witnessed history - engineers, scientists, police and evacuees. He explores evacuated regions in both Ukraine and Belarus, finding forgotten ghost towns and Soviet monuments lost deep in irradiated forests. He gains exclusive access inside the most secure areas of the power plant itself, and joins the 'stalkers' of Chernobyl as he sets out on a high-stakes illegal hike to the heart of the Exclusion Zone.

A new expanded edition of this must-have book for all graphic designers In 1962, when Peter Dixon joined the Sainsbury's Design Studio, a remarkable revolution in packaging design began. The supermarket was developing its distinctive range of Own Label products, and Dixon's designs for the line were revolutionary: simple, stripped down, creative, and completely different from what had gone before. Their striking modernity pushed the boundaries, reflecting a period full of optimism. They also helped build Sainsbury's into a brand giant, the first real 'Super' market of the time. This book examines and celebrates this paradigm shift that redefined packaging design, and led to the creation of some of the most original packaging ever seen. Produced in collaboration with the Sainsbury family and The Sainsbury Archive, the book reveals an astonishing and exhaustive body of work. A unique insight into what and how we ate, the packaging is presented using both scanned original flat packets and photographic records made at the time by the design team. An essential book for graphic designers and those interested in the culture of consumerism, these designs remain fresh and relevant today. This feast of nostalgia taps into the fond memories of a generation brought up on these beautifully packaged goods.

Drawings from the Gulag consists of 130 drawings by Danzig Baldaev (author of the acclaimed Russian Criminal Tattoo Encyclopaedia series), describing the history, horror and peculiarities of the Gulag system from its inception in 1918. Baldaev's father, a respected ethnographer, taught him techniques to record the tattoos of criminals in St. Petersburg's notorious Kresty prison, where Danzig worked as a guard. He was reported to the K.G.B. who unexpectedly offered support for his work, allowing him the opportunity to travel across the former U.S.S.R. Witnessing scenes of everyday life in the Gulag, he chronicled this previously closed world from both sides of the wire. With every vignette, Baldaev brings the characters he depicts to vivid life: from the lowest zek (inmate) to the most violent tattooed vor (thief), all the practices and inhabitants of the Gulag system are depicted here in incredible and often shocking detail. In documenting the attitude of the authorities to those imprisoned, and the transformation of these citizens into survivors or victims of the Gulag system, this graphic novel vividly depicts methods of torture and mass murder undertaken by the administration, as well as the atrocities committed by criminals upon their fellow inmates.

Stunning photographs of Soviet Metro Stations from across the former states of the USSR and Russia itself, many of which have never previously been documented For us, said Nikita Khrushchev in his memoirs, 'there was something supernatural about the Metro'. Visiting any of the dozen or so Metro networks built across the Soviet Union between the 1930s and 1980s, it is easy to see why. Rather than the straightforward systems of London, Paris or New York, these networks were used as a propaganda artwork - a fusion of sculpture, architecture and art, combining Byzantine, medieval, baroque and Constructivist ideas and infusing them with the notion that Communism would mean a 'communal luxury' for all. Today these astonishing spaces remain the closest realisation of a Soviet utopia. Following his best-selling quest for Soviet Bus Stops, Christopher Herwig has completed a subterranean expedition - photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, Soviet Metro Stations documents this wealth of diverse architecture. Along the way Herwig captures individual elements that make up this singular Soviet experience: neon, concrete, escalators, signage, mosaics and relief sculptures all combine build an unforgettably vivid map of the Soviet Metro. The photographs are introduced by leading architecture, politics and culture author and journalist Owen Hatherley.

The first ever spomenik guidebook, with over 75 examples alongside map references and information on why they exist and who built them. Spomenik' the Serbo-Croat/Slovenian word for 'monument' - refers to a series of memorials built in Tito's Republic of Yugoslavia from the 1960s-1990s, marking the horror of the occupation and the defeat of Axis forces during World War II. Hundreds were built across the country, from coastal resorts to remote mountains. Through these imaginative forms of concrete and steel, a classless, forward-looking, socialist society, free of ethnic tensions, was envisaged. Instead of looking to the ideologically aligned Soviet Union for artistic inspiration, Tito turned to the west and works of abstract expressionism and minimalism. As a result, Yugoslavia was able to develop its own distinct identity through these brutal monuments, which were used as political tools to articulate Tito's personal vision of a new tomorrow. Today, following the breakup of the country and the subsequent Yugoslav Wars of the 1990s, some have been destroyed or abandoned. Many have suffered the consequences of ethnic tensions - once viewed as symbols of hope they are now the focus of resentment and anger. This book brings together the largest collection of spomeniks published to date. Each has been extensively photographed and researched by the author, to make this book the most comprehensive survey of this obscure and fascinating architectural phenomenon. A fold-out map on the reverse of the dust jacket shows the exact location of each spomenik using GPS coordinates.

Soviets features unpublished drawings from the archive of Danzig Baldaev. They satirize the Communist Party system, exposing the absurdities of Soviet life from drinking (Alcoholics and Shirkers) to the Afghan war (The Shady Enterprise), via dissent (Censorship, Paranoia and Suspicion) and religion (Atheism as an Ideology). Baldaev reveals the cracks in the crumbling socialist structure, detailing the increasing hardships tolerated by a population whose leaders are in pursuit of an ideal that will never arrive. Dating from 1950s to the period immediately before the fall of the Soviet Union in 1991, his caricatures depict communism's winners and losers: the corruption of its politicians, the stagnation of the system, and the effect of this on the ordinary soviet citizen. Baldaev's drawings are contrasted with classic propaganda style photographs taken by Sergei Vasiliev for the newspaper Vercherny Chelyabinsk. These photographs portray a world the Party leaders dreamed of: where workers fulfilled their five-year plans as parades of soldiers and weapons rumbled through Red Square. This book examines - both broadly and in minute detail - the official fiction and the austere, bleak reality, of living under such a system.

What makes Italian Brutalist buildings different to their counterparts in other countries? Containing over 140 exclusive photographs – ranging from private homes to churches and cemeteries via football stadia – across every region of the country, Brutalist Italy is the first publication to focus entirely on this subject. Architectural photographers Roberto Conte and Stefano Perego (authors of Soviet Asia) have spent the past five years travelling over 20,000 kilometres documenting the monumental concrete structures of their native country. Brutalism – with its minimalist aesthetic, favouring raw materials and structural elements over decorative design – has a complex relationship with Italian history. After World War II, Italian architects were keen to distance themselves from fascism, without rejecting the architectural modernism that had flourished during that era. They developed a form of contemporary architecture that engaged with traditional methods and materials, drawing on uncontaminated historical references. This plurality of pasts assimilated into new constructions is a recurring feature of the country’s Brutalist buildings, imparting to them a unique identity. From the imposing social housing of Le Vele di Scampia to the celestial Our Lady of Tears Sanctuary, Syracuse – Brutalist Italy collects the most compelling examples of this extraordinary architecture for the first time in a single volume.

A fantastic collection of Soviet Asian architecture, many photographed here for the first time Soviet Asia explores the Soviet modernist architecture of Central Asia. Italian photographers Roberto Conte and Stefano Perego crossed the former Soviet republics of Kazakhstan, Kyrgyzstan, Uzbekistan and Tajikistan, documenting buildings constructed from the 1950s until the fall of the USSR. The resulting images showcase the majestic, largely unknown, modernist buildings of the region. Museums, housing complexes, universities, circuses, ritual palaces - all were constructed using a composite aesthetic. Influenced by Persian and Islamic architecture, pattern and mosaic motifs articulated a connection with Central Asia. Grey concrete slabs were juxtaposed with colourful tiling and rectilinear shapes broken by ornate curved forms: the brutal designs normally associated with Soviet-era architecture were reconstructed with Eastern characteristics. Many of the buildings shown in Soviet Asia are recorded here for the first time, making this book an important document, as despite the recent revival of interest in Brutalist and Modernist architecture, a number of them remain under threat of demolition. The publication includes two contextual essays, one by Alessandro De Magistris (architect and History of Architecture professor, University of Milan, contributor to the book Vertical Moscow) and the other by Marco Buttino (Modern and Urban History professor, University of Turin, specializing in the history of social change in the USSR).

A collection of previously unpublished postcards from the former Eastern Bloc - sinister, funny, poignant and surreal, they depict the social and architectural values of the period. Brutal concrete hotels, futurist TV towers, heroic worker statues - this collection of Soviet era postcards documents the uncompromising landscape of the Eastern Bloc through its buildings and monuments. They are interspersed with quotes from prominent figures of the time, that both support and confound the ideologies presented in the images. In contrast to the photographs of a ruined and abandoned Soviet empire we are accustomed to seeing today, the scenes depicted here publicise the bright future of communism: social housing blocks, Palaces of Culture and monuments to Comradeship. Dating from the 1960s to the 1980s, they offer a nostalgic yet revealing insight into social and architectural values of the time, acting as a window through which we can examine cars, people, and of course, buildings. These postcards, sanctioned by the authorities, intended to show the world what living in communism looked like. Instead, this postcard propaganda inadvertently communicates other messages: outside the House of Political Enlightenment in Yerevan, the flowerbed reads `Glory to the Communist Party of the Soviet Union'; in Novopolotsk, art school pupils paint plein air, their subject is a housing estate; at the Irkutsk Polytechnic Institute students stroll past a five metre tall concrete hammer and sickle.