Christopher Herwig

“For us,” said Soviet leader 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 subways were used as a propaganda artwork—a fusion of sculpture, architecture and art that combined Byzantine, medieval, baroque and constructivist ideas and infused them with the notion that communism would mean a “communal luxury” for all. Today these astonishing spaces remain the closest realization of a Soviet utopia.
Following his bestselling quest for Soviet Bus Stops, Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of Russia and the former Eastern Bloc countries. 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 the elements that make up this singular Soviet experience: neon, concrete, escalators, signage, mosaics and relief sculptures all combine to build a vivid map of the Soviet Metro.
Soviet Metro Stations includes an introduction by the leading architectural and political writer Owen Hatherley, author of the acclaimed books Landscapes of Communism (2015), Trans-Europe Express (2018) and The Adventures of Owen Hatherley in the Post-Soviet Space.

After the popular and critical success of his first book, Soviet Bus Stops, photographer Christopher Herwig has returned to the former Soviet Union to hunt for more. In this second volume, as well as discovering new stops in the remotest areas of Georgia and Ukraine, Herwig turns his camera to Russia itself. Following exhaustive research, he drove more than 9,000 miles from coast to coast across the largest country in the world, in pursuit of new examples of this singular architectural form.

A foreword by renowned architecture and culture critic Owen Hatherley reveals new information on the origins of the Soviet bus stop. Examining the government policy that allowed these small architectural forms to flourish, he explains how they reflected Soviet values, and how ultimately they remained—despite their incredible individuality—far-flung outposts of Soviet ideology.

The diversity of architectural approaches is staggering: juxtaposed alongside a slew of audacious modern and brutal designs, there are bus stops shaped as trains, birds, light bulbs, rockets, castles, even a bus stop incorporating a statue of St. George slaying the dragon. An essential companion to the first volume, this book provides a valuable document of these important and unique constructions.