Having become a Soviet Socialist Republic in 1936, Kyrgyzstan sought to create a distinctive monumental architecture for its capital, one that would express its adherence to the utopian ideal of hope embodied by the communist family. However, it wasn't until after the war that the first major Stalinist projects (the opera house, the Pioneers' Palace) appeared, characterized by an emphatic, classically inspired style with occasional references to Kyrgyz culture. The period from 1960 to 1980 saw a proliferation of emblematic buildings in the capital (stadium, library, bus station, wedding palace, etc.), each successive Soviet leader wanting to leave their mark on the architecture. The projects presented in this book demonstrate a boldness and a sweeping vision, often declamatory and hyperbolic, that never cease to amaze with their expressionist power. These buildings, often shocking to a more refined eye, must therefore be viewed for what they are: a form of Soviet realism challenged by the talent and imagination of architects sensitive to the nomadic roots of a people and confronted with the need to express a collectivist ideology. A true balancing act. A Parisian art historian, Fabien Bellat, a specialist in the world of Soviet art, and an internationally renowned Berlin photographer, Marcus Bredt, have joined forces to reveal this neglected and fascinating aspect of 20th-century architectural history.