Interview with Anna Krasinskaya

17.07.2012, 16:28
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– What is the applicant selection process going to be like this year?

We are going to try out a different applicant selection format this year, which we believe will not only be more effective and precise for applicant selection, but will also be more appealing to both us and our applicants. It is often the case that someone knows a thing or two about the Strelka Institute going in, let’s say, you like this space, you like the events taking place here, but you have no idea whether it is a good fit for you. Now we want to change this: the selection process itself will become an interesting event for applicants, a great opportunity really to get to know the Strelka team and learn about our approach to education.

Press review

14.07.2012, 16:28
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We launched in Moscow one month ago and in London two weeks later, and since then several publications have run pieces about Strelka Press. Here’s a quick round up.

Alexandra Lange published an in-depth interview in Design Observer and admits that part of the appeal of publishing with us was proving she could write more than 1,200 words. Dezeen posted a video interview of Justin and there were interviews on Russia Today and Monocle radio, too, but they don’t seem to be online.

It’s Nice That, Wallpaper, Dan Hill, Sam Jacob, Owen Hatherley (in what may have been his last blog post, stay tuned), Wanderlust, and Creative Inspiration reported the launch. And Creative Review included it in their piece on OK-RMs rebanding of Strelka Institute.

Anastassia Smirnova: «We try to stretch your mind»

10.07.2012, 16:25
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Strelka programming director Anastassia Smirnova talks about how the Institute’s education program is structured, what makes it innovative, and Strelka’s teaching philosophy.

– Please tell us about Strelka’s education program

Yury Grigoryan on Strelka students’ final projects 2011/12

28.06.2012, 16:24
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Q: What are your thoughts and impressions of the past year?

Yury Grigoryan: This may sound strange, but the most important thing about our second year is that we’ve had it. One could say this is the beginning of our history, we’re getting a certain continuity: we had our Year One, and now we’ve had Year Two. You cannot make a powerful statement, let alone make an impact in just one year. In our first year, we were making it up as we went along, we were running much greater risks, it was more of an experiment, if you will.  I believe we have been able to consolidate some things [in the second year], and we have been able to retain some of the best things we had going in our first year. And yet, we were still taking risks in Year Two, we have been able to avoid making a conservative retread of the first year.

Translating Urbanism into Russian

22.06.2012, 16:23
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Some hasty notes from a conversation between Sergei Sitar, Kirill Asse, Anastassia Smirnova, and Kuba Snopek at the Moscow International Open Book Fair, inside Alexander Brodsky’s pavilion for Strelka. The topic was the challenge of translating ideas and terms conceived in an English-speaking context into Russian.

Sergei: The cultural context is very important. You have to transplant a text into a new culture and fertilize it. And though architectural discourse in Russia is almost in its childhood, it isn’t fair to consider the situation a one-way importation of Western ideas. We don’t know our history very well, like there’s a tendency to historical amnesia. For example, you can often find “new” terms in historical Russian sources.

Anastassia: But there are many important books that are known internationally only in their English version, regardless of the quality of the translation.

Keller Eastering, Sam Jacob, and Justin McGuirk

19.06.2012, 16:23
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Two authors of Strelka Press’s inaugural crop of titles, Sam Jacob and Keller Easterling, spoke with director Justin McGuirk in Moscow about ebooks and what it’s like writing for new formats. The following are a few highlights from the conversation.


It began with a discussion of how Keller saw the Strelka project as an opportunity that she doesn’t get with her academic writing. Her essay (The Action Is the Form. Victor Hugo’s TED Talk) parodies TED talks and New Yorker articles and the devices they use to hook an audience – and there’s a tension between her wanting to lampoon those and wanting to emulate them.