中文简介：

本书由莫斯科设计博物馆的两位研究员亚历山德拉·桑科瓦（Alexandra Sankova）和奥尔加·德鲁日尼娜（Olga Druzhinina）共同撰写，讲述了VNIITE--全联盟技术美学科学研究所此前不为人知的故事。

VNIITE是苏联1962年由设计师尤里·索洛维耶夫（Yuri Soloviev）创建的一个网络，拥有莫斯科最进步的设计师。这些设计师被称为 "Vniitians"，致力于推广乌托邦设计并提高苏联的设计标准。然而，50多年后，这个组织几乎被遗忘了，并且VNIITE和它的图像和原型图书馆被认为已经丢失。直到现在，由于莫斯科设计博物馆的努力，以及一些VNIITE设计师的个人档案的发现，这个杰出组织的故事正在被重新拼凑起来。

本书包括了草图、模型和原型的图片，以及VNIITE的月刊《技术美学》的部分封面，这些封面首次集中展示了从20世纪60年代到90年代初的苏联平面设计趋势。

在这本书的页面中，你可以看到苏联乌托邦设计的一些引人注目的例子。正如设计师波拉·舍尔（Paula Scher）所说，这些作品在“共产主义对完美设计的世界的渴望与人类竞争和不平等的现实世界之间提供了一种平衡”。

英文简介：

Written by the Moscow Design Museum's Alexandra Sankova and Olga Druzhinina, this book tells the previously untold story of the VNIITE – the All-Union Scientific Research Institute of Technical Aesthetics.

Formed in Soviet Russia in 1962, by the design visionary Yuri Soloviev, this cast network contained Moscow's most progressive designers. THh 'Vniitians', as they were called, designed for the future and developed new theories and approaches to design in the USSR.

But more than fifty years later, the organisation is all but forgotten. It's hard to fathom how such an institution, dedicated to the promotion of utopian design, in theory and in practice, and the improvement of design standards within the Soviet Union, could have faded so far from view. After the disintegration of the USSR, the VNIITE and its library of images and prototypes were presumed lost.

Until now, that is. Thanks to the efforts of the Moscow Design Museum – and the discovery of the personal archives of some of the VNIITE designers – the story of this remarkable organisation is being pieced back together.

Alongside images of sketches, models and prototypes, the book also includes a selection of covers of one of the USSR's hidden gems of graphic design – the VNIITE's monthly journal, Technical Aesthetics. Showcased together for the first time, these covers chart Soviet graphic trends from the 1960s to the early 1990s.

In the pages of this book you can see some of the more compelling examples of utopian Soviet design. As the designer Paula Scher notes, the work offers a balance between 'the communist desire for a perfectly-designed world against the real world of human competitiveness and inequality'.