Recently I was contacted by Kavel Alpaslan of the paper Gazete Duvar, an independent outlet from Turkey founded in 2016. He was interested in interviewing me about my blog, Soviet architecture, and urban planning. The interview was translated into Turkish, but it was originally conducted in English via email. You can read my original responses below.

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1. First we’d like to talk about your blog, The Charnel House. Can you tell us its story? How it started, how it’s going?

I started The Charnel-House back in 2008, a year or so after I finished my undergraduate degree in history and philosophy at Penn State. So my first few posts were actually just papers I’d written on Spinoza, Leibniz, Schelling, and Hegel. Already at this time I’d begun reading some later theorists as well, for whom German idealism was a touchstone: figures like Georg Lukács, Walter Benjamin, Max Horkheimer, Theodor Adorno, Henri Lefebvre, and Slavoj Žižek. But I hadn’t really written anything about them as yet, though they would deepen my engagement with Marxism.

Later, I entered grad school at the University of Chicago. There I took some classes with Moishe Postone and began to study Marx more seriously. I had some familiarity with Marx and Marxism from my involvement in the antiwar movement during the mid-aughts and my exposure to different sectarian soft fronts, primarily Trotskyist organizations. My interest was primarily in early Soviet history, and my sympathies lay with Trotsky and the Left Opposition in the struggle for succession after Lenin’s death. So when I returned to blogging semi-regularly in 2011, I began commenting on contemporary politics as well as historical matters connected to Marxist theory and the Soviet avant-garde.

At UChicago, I was a student of the great historian Sheila Fitzpatrick. She recommended that I read Vladimir Paperny‘s Culture Two: Architecture in the Age of Stalin, which was astonishing. Paperny originally wrote this text in the late seventies, but it was so controversial in the USSR that it really only circulated among samizdat presses in the West. The book is sweeping and grandiose in its claims, not all of which I agree with, but which captivated me. I read Boris Groys‘ Total Art of Stalinism next, but then went back and read books like Anatole Kopp‘s Town and Revolution and then the original publications. When I moved to New York from Chicago, I got in touch with the recently deceased Jean-Louis Cohen, and sat in on some classes with him.

For about six or seven years, I updated the blog fairly frequently, sometimes even multiple times a week. My work situation at the time was a bit more irregular, so I was able to post more often. The content was somewhat varied. At times I wrote off-the-cuff commentary on current events, while other times I posted more formal analysis. Still other times I reposted articles and essays that were rare, but which I felt deserved a broader audience. When it came to updates on art and architecture, including various modernist magazines and publications, I tried to include as many high resolution images as I could. I’d devote some posts to individual thinkers whose work I valued, featuring PDFs of their writings.

In recent years I’ve become a teacher, which is much more demanding on my time. My blog hasn’t been quite as active since then, but I still post occasionally. I continue to do research on topics of interest, and have published a number of articles in outlets like Brooklyn Rail, Situations, Rethinking Marxism, and Datacide, as well as architectural journals like The Architect’s Newspaper, Metropolis, Calvert Journal, Strelka Magazine, and Archithese. Right now I am working on a large project about the Marxist theory of the family. Still, I hope to return to blogging more at some point.

2. We would like to comment on constructivist, futurist art and architecture in the Soviet Union. Especially the first two or three decades. Many people portray the Soviet architecture as “depressing” and “rough” but is it really like that? What makes people think that? 

I’m not sure if cubo-futurist, suprematist, and constructivist art is thought of as bleak. More often it has been dismissed as too abstract, or childishly simple in its rendering of basic shapes. Let’s move on to architecture, though, which is more what I focused on. A number of misperceptions surround the legacy of modern architecture in the former USSR. There were different waves of modernism in the Soviet Union: 1) the “heroic” avant-garde of the early twenties through the early thirties, which built a few iconic workers’ clubs and handful of other structures but largely remained on paper; 2) the Khrushchev-era revival of functional forms, which actually did provide mass housing and produced some notable government buildings; 3) late period Brezhnevian quasi-brutalism, which largely continued the previous trend while integrating stylistic elements from the West.

When people think of drab Soviet блокови, or East German plattenbauten, they generally have the second two waves in mind. And in truth much of this, particularly the хрущёвки, were of notoriously poor quality, even if it was impressive that they managed to house so many people in such a short period of time. I recently contributed a chapter on Soviet modernism of the fifties and sixties to a collection The Visibility of Modern Architecture, edited by Gevork Hartoonian. Here I made use of Marx’s old line, amending Hegel, about how things historically happen twice: first as tragedy, then as farce. Khrushchev was in some ways the last utopian leader of the USSR, despite upholding the Stalinist political edifice. But the architecture of the period, to the extent that it took inspiration from the immediate post-revolutionary years, was but a pale imitation.

The early Soviet architectural avant-garde was more visionary, and arguably on the cutting edge of modern architecture worldwide (especially in the second half of the twenties). It was self-consciously part of the broader European and American movement, translating texts by Walter Gropius and Le Corbusier while also exchanging in student exchanges between Vkhutemas and the Bauhaus. Early on, many of the structures were fairly fantastical, especially those developed by former painters and sculptors. Tatlin and Lissitzky are exemplary in this respect, though Nikolai Ladovsky and his followers extended it further. Iakov Chernikhov was perhaps the pinnacle of this trend, with his architectural fantasies. Later came more functionalist designs, starting with the Vesnin brothers and Moisei Ginzburg the OSA milieu surrounding the journal Современная архитектура.

Relatively few avant-garde buildings during this period were actually realized, partially owing to the low technological level of the Soviet Union at the time and in part due to the lack of a centralized state mandate that would have taken them up on their more ambitious proposals. Of those that were built, even fewer remain, and many of those that do are in rather poor condition. Konstantin Mel’nikov’s Rusakov Workers’ Club, Ilya Golosov’s Zuev Workers’ Club, Ginzburg’s Narkomfin building, Noi Trotsky’s Pravda building, Ivan Nikolaev’s Textile Institute, and Mikhail Barshch’s planetarium. Many modifications were made, as the buildings were often repurposed or overhauled with little regard for the original plan. A few have been renovated with an eye to restore them. But most today are in a sorry state.

As far as these buildings looking depressing, I suppose it’s a matter of taste. Personally, I find them elegant and innovative. Because of the low level of technology in the early Soviet Union, avant-garde architects were unable to build on the mass scale they envisioned. They only succeeded in completing a fairly small number of projects. Given that their buildings were fairly exceptional, then, it’s no wonder that they never became monotonous in the way that Khushchev-era units did. However, the technological limitations they faced meant that they had to be very clever in the way they approached construction. Their range of materials and building methods was constrained, but they often devised very novel solutions. Continue reading →