https://www.metalocus.es/en/news/soviet-posters-vs-pin-poste...
"Let us rebuild for our own glory" (4) is the motto that we can read in a poster of V. Ivanov dating from 1945. However, the image of the woman disappears during next ten years. The victory of the Soviet Union and the success of the reconstruction program between 1946 and 1950 was closely associated with Stalin, so the posters emphasized his personal cult replacing the women image for his. But with the death of Stalin in 1953, the Soviet Union entered a new phase with Nikita Khrushtchev. The posters reflected the political change and the woman reappears. "We live up to the norm - what about you?" (6) says a poster of 1954 by O. Savostjuk. "Build fast, well and inexpensively" (1) is the phrase of another poster by the same author, dating from 1955. "Our plans are inspired by the joy of creation / Our dedication to peaceful / For our people work built these houses / Y (sic) create new cities ". ****This text rejected the Stalinist rhetoric that Khrushtchev considered as a "sugar pie style" in architecture.****


http://cafearquitectonico.blogspot.com/2015/03/carteles-sovi...
"Vamos a reconstruir para nuestra propia gloria" (4) decía un póster de V. Ivanov que data de 1945. No obstante, la imagen de la mujer desaparece durante siguientes diez años. La victoria de la Unión Soviética y el éxito del programa de reconstrucción entre 1946 y 1950 estaba estrechamente asociada a Stalin, por lo que los carteles enfatizaban su culto personal remplazando la imagen de las mujeres por la suya. Pero con la muerte de Stalin en 1953, la Unión Soviética entró en una nueva fase con Nikita Khrushtchev. Los pósters reflejaron el cambio político y la mujer reaparece. "Estamos a la altura de la norma- ¿y tú?" (6), dice un cartel de 1954 por O. Savostjuk. "Construir rápido, bien y barato" (1) es el lema de otro cartel del mismo autor, que data de 1955. "Nuestros planes están inspiradas en la alegría de la creación/Nuestra dedicación a la labor pacífica/Para nuestro pueblo construimos estas casas/Y creamos nuevas ciudades". Este texto era un rechazo la retórica estalinista que para Khrushtchev era el "sugar pie style" en la arquitectura.

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Note added at 1 hr (2017-09-09 14:22:34 GMT)
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http://students.sras.org/moscows-seven-sisters/
Much of Stalin’s personal taste is reflected in the era of “Stalinist Architecture,” a term that has come to refer to the period between 1933 (the year when the Palace of Soviets was designed) and 1955 (when the Russian Academy of Architects was disbanded under Khrushchev). The Stalinist period saw modernity largely abandoned in favor of a combination of Russian Baroque and Gothic styles. ***This style is exemplified in the Seven Sisters’ trademark “wedding-cake” design with large, stout bases and a sweeping crown.*** At the peak of each is a central spire. The original plans for the Seven Sisters did not include the trademark spires. Reportedly, Stalin took a liking to one that did and subsequently ordered that all of the sisters should include one in part to set them apart from the skyscrapers being built in America at the time.

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Note added at 13 days (2017-09-23 12:13:13 GMT) Post-grading
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