IKSID-75: How the USSR's Main Design Congress Was Held / ITech content

Contents:

• Place
• Furniture
• Souvenirs and Accessories
• Identity
• "Split Screens and Censorship"

From October 13 to 17, 1975, the International Congress of Design and Design (ICSID) was held in the USSR, becoming a significant event in the field of design. 753 foreign specialists from 32 countries arrived in Moscow, underscoring the international interest in this field. The congress brought together 700 Russian designers, facilitating the exchange of experience and ideas between specialists from different countries. This event became an important milestone in the development of design in the USSR and strengthened international ties in this field.

This unique event became a significant milestone in the history of Soviet design, which at the time was also called "technical aesthetics and artistic design." During the Cold War, design played an important role in cultural policy, providing space for creative dialogue and the exchange of ideas. This event not only demonstrated the achievements of Soviet designers, but also contributed to the development of new approaches, shaping the image of Soviet aesthetics.

The congress was organized by the International Council of Societies of Industrial Design, known as ICSID, which is now called WDO. On the Soviet side, the All-Union Scientific Research Institute of Technical Aesthetics, better known as VNIITE, acted as the organizer. This congress became an important event in the field of industrial design, facilitating the exchange of knowledge and experience between specialists from different countries.

The ICSID Congress was held every two years and became an important platform for discussing the main issues in the field of industrial design. The Moscow congress was a landmark event, as it was the first time the event was held in a socialist country. This fact testified to the increased recognition of Soviet design in the international arena. The Moscow ICSID Congress became a stage that highlighted the significance and achievements of Soviet design, opening up new prospects for its development and integration into global trends.

Dedicated to the theme "Design for Man and Society," the Moscow congress was aimed at demonstrating the values ​​​​of socialist design. The event explored five key subthemes: Design and Public Policy, Design for Children, Design and Labor, Design and Leisure, and Design and Science. The congress provided a unique platform for collaboration between specialists from various fields of science, technology, art, and design, fostering the exchange of experiences and new ideas in design and strengthening interdisciplinary ties.

In this article, Alena Sokolnikova and Sergey Petrov will discuss the ICSID-75 congress and the unique design solutions developed by Soviet architects for this event. We will take a detailed look at the architectural concepts and innovative approaches that made this congress an outstanding example of Soviet design.

Venue

The congress was held at the Rossiya Hotel, located near the Kremlin. At the time of its opening in 1964-1967, it was considered the largest hotel in the world and was even included in the Guinness Book of Records in the early 1970s. VNIITE designers were tasked with transforming the hotel's ceremonial halls using available resources, which would create a unique atmosphere for events.

VNIITE employees actively participated in the organizational and scientific preparation of the congress. The working group responsible for the event's design included key specialists: chief artist Viktor Zenkov, head of the graphic works group—design theorist and historian Elena Chernevich, responsible executor—artist and graphic designer Igor Berezovsky, as well as the head of the architectural design group—architect, artist, and teacher Alexander Ermolaev, and responsible executor—designer and exhibition artist Evgeny Bogdanov. These professionals, pictured, played a vital role in developing the concept and visual design of the congress, ensuring a high level of quality and an innovative approach to design.

The designers chose a concept that emphasizes the short-term nature of the congress and sought to distance themselves from the heavy marble interiors of the hotel. As a result, a modern solution was proposed in the form of a pop-up event. This format features vibrant, short-term events held in unexpected and unusual locations for participants. Pop-up events are becoming increasingly popular, as they provide a unique experience and create an atmosphere of novelty, attracting the attention and interest of participants.

Furniture

The ground floor hall underwent significant changes during the congress. The space was replenished with information stands, armchairs, stools, desks, and coffee tables made of cardboard. This furniture was designed by Evgeny Bogdanov under the supervision of Alexander Ermolaev. The new interior elements not only improved the functionality of the hall but also created a comfortable atmosphere for congress participants. The use of cardboard in furniture design highlighted modern trends in sustainable development and ecology.

The choice of cardboard as the main material proved to be justified for several reasons. Firstly, cardboard is lightweight and affordable, which simplifies transportation and storage. Secondly, its environmental characteristics allow it to be used in a variety of projects, minimizing the negative impact on the environment. In addition, cardboard is easy to process, which opens up many opportunities for creativity and the creation of unique products. Its strength and durability allow cardboard to be used in a variety of areas, from packaging to art projects. All these factors make cardboard an ideal choice for many tasks.

• Available material and easy-to-fabricate designs. In Soviet culture, making things yourself was popular, similar to the current DIY (Do It Yourself) design trend. Simple and inexpensive solutions were especially valued. Although all the furniture for ICSID-75 had copyright certificates for industrial designs, some Russian manufacturers continue to copy these models today.
• Cardboard furniture is easy to move. According to the organizers, participants could group the furniture themselves for a free-form format of communication. In theory, any participant could attach information sheets to the cardboard stands.
• Cardboard equipment is recyclable. This project demonstrated the organizers' concern for the environment, a reference to the popular practice of collecting waste paper.
• Cardboard furniture is quite durable. Some items made for the congress have survived to this day.

The furniture for the congress reflects the ideas of famous designers of the 1960s and early 1970s. It includes affordable options, such as children's furniture by British designer Peter Murdoch, as well as durable and functional solutions, such as the Otto chair made of unpainted corrugated cardboard by German designer Peter Raake. Furthermore, this trend is reflected in the eccentric furniture experiments of Canadian postmodernist architect Frank Gehry. These elements demonstrate a unique combination of practicality and artistic expression, making the congress furniture not only functional but also stylish.

The cardboard furniture for the ICSID congress follows current trends in creating cardboard workstations. For example, the compact desk used at the registration desks is a striking example. Contemporary projects, such as the cardboard office of the Dutch advertising agency Nothing, presented in 2009, and the three-piece cardboard desk by the Danish startup Stykka, developed in 2020, demonstrate an innovative approach to the use of cardboard in the office environment. These solutions are not only environmentally friendly but also functional, making them attractive for modern workspaces.

Souvenirs and Accessories

For the congress, designers developed unique accessories and gifts, including canvas bags and ceramic home decor. However, not all sketches and prototypes were brought to life. Evgeny Bogdanov's archive contains a design for a cardboard visor cap, as well as a sketch of a square ashtray inspired by the "Infinite City" concept of the Italian architects Superstudio. In addition, a prototype of a ceramic ashtray in the form of a crumpled sheet of white paper is on display. These items highlight the designers' creative approach and their commitment to innovation in the field of functional art.

Ceramic accessories for the congress were used to create "target" ashtrays with raised concentric circles. This unique design emphasizes that these items are not only functional but also serve as "communication centers," facilitating interaction between people at the table. In addition, stylish cylindrical vases were designed to accommodate both dried and fresh flowers, adding aesthetic value to any event.

Identity

Graphic design Igor Berezovsky designed the congress. The bilingual ICSID 75 logo, as well as the main text on navigation materials and documents, were created using an unofficial Cyrillic version of the popular Univers typeface, created by Adrian Frutiger. This typeface is characterized by its neutrality and modern design, giving the project a contemporary and professional look. At that time, there was no emblem or graphic symbol to symbolize the event. The main focus was on the graphic silhouette of the crowd, which was located next to the logo. This silhouette was created based on photographs of people taken on the streets of Moscow. The original images were processed to enhance the contrast, which allowed them to be transformed into two-color silhouettes or outlines. People "walked" freely through the business documentation, emphasizing the main theme of the congress: "Design for People and Society." This approach to visual design emphasized the importance of design's interaction with the community and its impact on everyday life.

Painted images of people appeared on a variety of media, including newsletters, letterheads, invitations, envelopes, signs, and information boards. These visual elements played a vital role in attracting attention and creating a vibrant image. The use of such images ensured a more effective perception of information and contributed to the memorization of important details.

The series of posters is a real Artistic value, each of which includes a stylized photo portrait reflecting one of the congress's subthemes. The vibrant two-tone compositions were created using silkscreen printing and are partly inspired by the work of renowned artist Andy Warhol, to whom Berezovsky pays homage. These posters not only attract attention, but also effectively convey the ideas and mood of the event, creating a unique visual atmosphere.

A modern solution for organizing events is the use of multi-colored paper tags. Elena Chernevich recalls that in her time, the term "badge" was unfamiliar, and it was VNIIITE designers who first introduced the idea of ​​tags to identify representatives of various services. These tags, hanging freely on strings, became an effective way of visually identifying participants and made events more organized. The use of bright colors makes it easy to distinguish the roles and functions of people at the event, which significantly simplifies communication and interaction between participants.

"Multi-screens and censorship"

A unique multimedia program was presented at the congress, which included a multi-screen film, informational and biographical blocks. Walls were also decorated, demonstrating achievements in the field of artistic design. This innovative solution attracted the attention of the participants and created an interactive atmosphere conducive to the exchange of ideas and discussion of current topics.

Multiple screens have found application in both Western and socialist countries. Among the first to introduce this technology were Josef Svoboda and Adolf Rodak. They demonstrated multi-screens at the Expo '58 World's Fair in Brussels, in the Czechoslovakia pavilion. This innovative technology made a significant impression on audiences and opened new horizons in visual effects.

The film for ICSID in Moscow was created under the direction of director Yuri Reshetnikov and artist Yuri Sobolev. Alexander Farberman was responsible for the project's information screens.

The original version of the film was distinguished by its grandeur both in technical execution and in its deep semantic content. The composite screen measuring 10x10 meters was especially impressive. The painting's core idea was a critical look at consumer society, emphasizing the commodity-rich abundance of the Western lifestyle, echoing the visuals of Hieronymus Bosch's "The Garden of Earthly Delights." However, as the artists noted, the original concept had to be abandoned, and the opening program was significantly scaled back. This influenced the perception of the film and its ability to convey key ideas about consumer culture.

Three weeks before the start of the congress Director Yuri Reshetnikov and his team prepared a five-minute divertissement to the tune "Moscow Nights," which was approved by the committee. Design theorist and musicologist Leonid Pereverzev created the audio accompaniment for the original film. In conjunction with this, Melodiya released a souvenir record in a white sleeve bearing the ICSID-75 logo, a pleasant addition to the event. This project highlighted the importance of cultural input and creativity within the congress.

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The preparation and holding of the IX International ICSID Congress in Moscow in 1975 remains a topic requiring further study. This event played a significant role in the development of both Soviet design and global design practice, yet its influence remains underappreciated. An analysis of the congress allows us to understand not only the context of the time but also its implications for future design trends.

This congress was a unique event in the USSR. As a result of its work, VNIITE Director Yuri Borisovich Solovyov was elected President of the Institute of Design and Information Systems for the period from 1977 to 1980, after serving as Vice President from 1969 to 1976. He became the first president of this major international organization from a socialist country. The design of the congress received positive reviews from the international community, which contributed to the strengthening of VNIITE's international ties.

Many contacts established at the congress were artificially interrupted by the Soviet leadership. The censorship that manifested itself at the congress, as well as subsequent changes in the institute's activities, led to the dismissal or voluntary resignation of several key VNIITE employees. These events had a significant impact on the work of the institute and its future development.

The authors of this article are writing a book dedicated to these events.

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Learn more about design by subscribing to our Telegram channel. We share relevant news, useful tips, and inspiring ideas in the field of design. Stay up to date with the latest trends and improve your skills with us!