PRINT March 2020



Kazimir Malevich, Arkhitekton A11 à Manhattan, no 1, 1926, collage. From Praesens, June 1926.

THE COLD WAR is not remembered as a love story. More frequently recounted as a cautionary tale of mutual distrust, antagonism, and the looming specter of global nuclear annihilation, the era has been memorialized in literature, art, and cinema—think Dr. Strangelove or From Russia with Love—through caricatures that capitalize on fears of evil Russian ambitions to undermine American sovereignty. 

“Building a new New World: Amerikanizm in Russian Architecture,” at the Canadian Centre for Architecture in Montreal, plumbs architectural history to suggest an alternative reading of the bilateral relationship: It was also a romance of sorts, kindled by Russian ambitions to build a “new New World” that would overtake America as a harbinger of progress and modernity. The Americans, for their part, never cultivated ambitions to fashion their own country into a “new Russia.” Yet Russian

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