Lidiia Komarova, architectress of the Soviet avant-garde

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Lidiia Komarova
is one of my favorite architects of the Soviet avant-garde, even if the vast majority of her work was, as with so many others, never realized. She was a student Ladovskii and Dokuchaev in the “rationalist” camp of ASNOVA for most of the 1920s, but eventually migrated over to “constructivist” school of OSA headed by Ginzburg and Vesnin by the close of the decade.

Her drawings, models, and floor plans were some of the best to come out of VKhUTEMAS-VKhUTEIN during its brief ten years of existence. They stand as a testament to what once seemed imaginable, even in an economically impoverished, technologically backward country encircled by its would-be gravediggers.

Very few of her designs ever saw the light of day, as was stated earlier, and none of her more modernist compositions. Continue reading

Architecture and social structure

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Originally published as part of MAS Context‘s “In Context” section. You can read the full piece over at Iker Gil’s elegantly designed website for the journal, including some pieces I curated from its back issues along new narrative lines.

Architecture today is, first and foremost, a social product. Not just in the sense that it’s constructed by means of a complex, global division of labor (though this also), but at an even more basic level — it both embodies and envisions certain relations between men, as well. Make no mistake of it, however. In no way should this be taken to imply that architecture is produced for the sake of society. Quite the opposite. Like any other commodity, a building comes about socially, through the productive agency of groups and individuals working together. But this work is directed toward ends fundamentally alien to itself; its purpose is not to benefit society or edify mankind but rather serve as a site for the accumulation of capital. Either that, or the built object merely rematerializes that which already floated up from the base, ideological figments and fragments that have outlived the historical conditions from which they arose. These now nestle into mortar, stone, and brick. All that melted into air is made solid once more.

Of course, none of this is to say that great architecture can’t be produced under capitalism. Hardly anything could be further from the truth. The architectural legacy of the modern age is at least as impressive as that which preceded it — whether one begins, as Kaufmann did, with the French revolutionary architects of the eighteenth century, or reaches further back, like Tafuri, to the city-states of the Italian Renaissance. Modernism itself was nothing but the self-conscious attempt to take hold of the forms and forces unleashed by modernity, as the spirit of the times comprehended in concrete. Continue reading

The Rationalist current in Soviet avant-garde architecture

ASNOVA at VKhUTEMAS

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Not all of the early Soviet architectural avant-garde was “Constructivist,” strictly speaking. Though this was the title often generically used to describe to all modernist architecture coming out of Russia, only those pieces produced by the architectural group OSA can really be considered constructivist per se. OSA’s self-proclaimed doctrine was constructivism, founded on the principle of the “functional method” of design, as Ginzburg and the Vesnin brothers described it.

Earlier, another avant-garde group — the Association of New Architects, or ASNOVA — had been founded in 1923 by Nikolai Ladovskii, Nikolai Dokuchaev, Vladimir Krinskii, and El Lissitzky (though Lissitzky spent most of his time abroad). This school of architectural thought was deeply informed by the principles of abstract Suprematism in painting, the style invented by Kazimir Malevich some years before. In fact, Lissitzky’s PROUN series led directly into his architectural phase of production.

Project for the “new city”

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As opposed to the Constructivists in the Society of Modern Architects (OSA), founded two years later, the premise of architectural Rationalism, as it came to be called, was formalistic rather than functional. The members of ASNOVA appealed to evidence gleaned from the study of psychotechnics, a science imported from Germany and America, to claim that certain formal shapes and patterns of design had a direct effect on the psychology of those who viewed the structure of a building. Once these formal principles could be discerned, they could be used to produce a psychological effect, lifting viewers and inhabitants out of false consciousness and inspiring them to participate in the construction of a new society. Continue reading

Train stations, bread factories, and the “New City”

Student projects at VKhUTEMAS
and VKhUTEIN from the studios
of Vesnin & Ladovskii, 19251929

.Train stations

Continue reading

Rousseau, Kant, and Hegel

Chris Cutrone
Platypus Review 61
November 2013
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Originally published in the Platypus Review.

On June 9, 2013, the Platypus Affiliated Society organized a panel discussion on “Revolution without Marx? Rousseau and his followers for the Left” for the 2013 Left Forum at Pace University, New York. What follows is the edited version of the first of the prepared opening remarks. A full recording of the event is available online.
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Introduction

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Bourgeois society came into full recognition with Rousseau, who in the Discourse on the Origin of Inequality and On the Social Contract, opened its radical critique. Hegel wrote: “The principle of freedom dawned on the world in Rousseau.”

Marx quoted Rousseau favorably that “Whoever dares undertake to establish a people’s institutions must feel himself capable of changing, as it were, human nature…to take from man his own powers, and give him in exchange alien powers which he cannot employ without the help of other men.”

Rousseau posed the question of society, which Adorno wrote is a “concept of the Third Estate.”

Marx recognized the crisis of bourgeois society in the Industrial Revolution and workers’ call for socialism. But proletarian socialism is no longer the rising force it was in Marx’s time. So what remains of thinking the unrealized radicalism of bourgeois society without Marx? Kant stated that if the potential of bourgeois society was not fully achieved as the “mid-point” of freedom then Rousseau may have been right to prefer savagery against civilization’s “glittering misery.” Nietzsche warned that we might continue to be “living at the expense of the future:” “Perhaps more comfortably, less dangerously, but at the same time in a meaner style, more basely.”[1] How have thinkers of the revolutionary epoch after Rousseau, Adam Smith, Kant, Hegel, Benjamin Constant, and Nietzsche himself, contributed to the possibility of emancipation in a world after Marxism?

Karl Marx, photographed in 1870

Marx and Rousseau

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Marx’s favorite quotation of Rousseau, from On the Social Contract, goes as follows:

Whoever dares undertake to establish a people’s institutions must feel himself capable of changing, as it were, human nature, of transforming each individual, who by himself is a complete and solitary whole, into a part of a larger whole, from which, in a sense, the individual receives his life and his being, of substituting a limited and mental existence for the physical and independent existence. He has to take from man his own powers, and give him in exchange alien powers which he cannot employ without the help of other men.[2]

Marx wrote that this was “well formulated,” but only as “the abstract notion of political man,” concluding that,

Human emancipation will only be complete when the real, individual man has absorbed into himself the abstract citizen; when as an individual man, in his everyday life, in his work, and in his relationships, he has become a species-being; and when he has recognized and organized his own powers as social powers so that he no longer separates this social power from himself as political power.[3]

What did Marx mean by “social powers” as opposed to the “political power” from which it has been “separated?” Continue reading

Is all architecture truly political?

A response to Quilian Riano

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Quilian Riano has written up a brief piece, “Design as a Political Act,” over at Quaderns in which he responds in passing to some critical remarks I made about his comments in a recent event review and further contextualizes what he meant by his contention that “all architecture is political.”

Riano explains that this remark is not only intended as a statement of fact (though he goes on to maintain its factuality, with a few minor qualifications) but also as a corrective to the formalistic (mis)education most architects receive in the course of their training. He lays much of the blame for this at the feet of the architect Peter Eisenman, whose post-functionalist perspective disavows any possible political role for design. In this, Riano is doubtless on the right track in his skepticism toward Eisenman’s views. The oldest ideology on the books, after all, is that which most adamantly insists on its apolitical or non-ideological character.

Nevertheless, I cannot help but feel that Riano overcompensates in issuing this corrective. To claim that all design is political is no more accurate than to claim that design isn’t political at all. In either case, the counterclaim expresses an abstract, contentless universality — almost in the same manner that, for Hegel in his Science of Logic, an ontological plenum (where everything’s filled in) and an ontological void (where nothing’s filled in) are conceptually identical. Žižek, whose interview with Vice magazine Riano cites, would probably appreciate this analogy. Seemingly opposite claims, by remaining at this level of abstraction, are equidistant from reality. Clearly, Riano has “bent the stick too far in the other direction,” as the saying goes.

Model, Tribune for a Leninist (the podium-balcony is empty, the placard reads "Glasnost")

Model, Tribune for a Leninist (the podium
sits empty, the placard reads “Glasnost”)

It’s an odd position to be in, coming to the defense of a figure one generally finds unsympathetic, but whose work is being criticized unjustly. So it is with someone like Eisenman. Here I’m reminded of something Douglas Murphy said to me a couple months back. Murphy, who was unsparingly critical of Eisenman in his debut, The Architecture of Failure, told me he’d recently “found [him]self…defending Peter Eisenman, reactionary old windbag though he is, against charges that he (and he alone!) ruined architectural education in the last 30 years.” Eisenman is not so much the cause as the effect of the depoliticization of architecture. Continue reading

Architecture and capitalism

Event review
Architecture
and Capitalism:
1845 to the Present

Book launch at the Storefront for Art
………and Architecture in Manhattan

Featuring:
Thomas Angotti
Peggy Deamer
Quilian Riano
Michael Sorkin

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The following review of the book release event for the new collection Architecture and Capitalism was first published over at Quaderns d’arquitectura i urbanisme, the journal of the Association of Architects of Catalonia. A trilingual publication, it features articles written in Spanish, English, and Catalan.

Last night’s book launch for Architecture and Capitalism: 1845 to the Present drew a large crowd to the Storefront for Art and Architecture in Lower Manhattan. The precise relation of the event to the newly-released Routledge collection was obscure, however. Of the four featured speakers — Thomas Angotti, Peggy Deamer, Quilian Riano, and Michael Sorkin — only Deamer and Sorkin contributed pieces to the volume. Deamer, the prime mover behind Architecture and Capitalism, wrote the introduction; Sorkin was responsible for its pithy four-page conclusion. Effectively bookending the discussion, then, the book’s themes entered into the conversation in a largely oblique fashion. For the most part, the talk was limited to generalities.

Architecture and Capitalism - Quilian Riano, Michael Sorkin, Peggy Deamer, and Thomas Angotti (photo by Anna Kats)

Architecture and Capitalism: Quilian Riano, Michael Sorkin,
Peggy Deamer, and Thomas Angotti (photo by Anna Kats)

Some of the topics focused on by the speakers were fairly familiar, by now standard fare for reflections on architecture’s role in society. There was reference, of course, to the supremely compromised position of the architect within the existing system of capitalist reproduction. Given the present constraints encountered in the profession, Sorkin and Angotti pointed out, designers are typically bound to the whims of their clients. What little leverage can be mustered during the building process is usually a function of the “name recognition” of their firm. Otherwise, architects have very little say in how their visions are eventually realized, unless they stipulate specific guarantees beforehand (making it far more difficult to secure a contract in the first place). If they don’t follow the instructions or meet the expectations of their employers, in most cases, all funding is cut off and the commission is lost. Questions concerning the supposed ethical obligations of the architect were also raised in this connection. Should architects refuse to lend their name to certain kinds of building projects? Prisons featuring cells for solitary confinement were listed by Sorkin as obvious examples, along with military installations with facilities built-in to serve as torture chambers. Deamer brought up the extraordinary conditions of exploitation suffered by the workers mobilized to construct, for instance, gleaming skyscrapers in Abu Dhabi or Dubai. Not only the living labor involved in their assembly, Riano added somewhat vaguely, but also the dead labor embodied in the materials assembled.

Besides these scattered considerations, more theoretical issues of interpretation were also touched upon. Included here was some debate regarding the relationship between the material “base” of social production and the ideological “superstructure” it supports — that controversial architectural metaphor supplied by Marx over 150 years ago. Continue reading

In memoriam: Lebbeus Woods one year after his death

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A little over a year ago the visionary architect Lebbeus Woods died. I never got around to writing up a reflection on his passing, something commemorating and celebrating his lifework. Thankfully, many whose opinions and insight I respect did.

What follows is thus a pastiche of images by Woods and text from two articles — one by Sammy Medina (then at Architizer), with whom I’ve collaborated in the past, the other by Kelly Chan (then at ArtInfo), a fantastically overproductive architecture critic who I know through Sammy — as well as a quote from the British author Douglas Murphy on Woods’ oeuvre.

Early drawings

Not much I can really add to their comments, really, except to point out a few intersecting themes that unite them (for good reason, too, as I think they hit upon something):

  • First, there is the contrast of Woods’ career with those of his contemporaries Daniel Libeskind and Zaha Hadid, both of whom transitioned from speculative architectural drawing in the late 1970s and 1980s to become “starchitects” by the mid-1990s. Douglas, Sammy, and Kelly all stress Woods’ disappointment with the naked careerism of his former peers.
  • Second, related to the first point, there was Woods’ refusal to capitulate to the imperative to build in a reactionary age. This wasn’t an act of simple asceticism, I don’t think, but rather a recognition of historical reality.
  • Finally, there is the comparison that both Sammy and Kelly made of Woods to the pioneering Italian draughtsman Piranesi — whose work, according to Manfredo Tafuri, prefigured that of the twentieth century avant-garde. Piranesi, like Woods, built very little during his lifetime. Both are instead remembered for their resolute commitment to “paper architecture,” whose unsettlingly speculative content served to disenchant the triumphant conservatism that had overtaken architecture in their time.

With that, I’ll conclude. Enjoy.

Lebbeus Woods, Makeshift House (1990s)

Lebbeus Woods, Makeshift House (1990s)

On the passing of Lebbeus Woods

Douglas Murphy
Guardian

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Guardian quotes Douglas Murphy as follows:

Around the end of the 1980s Lebbeus Woods was just one of a number of radical architects making their name through the production of imaginary projects; elaborate drawings and paintings occupying a milieu somewhere between fine art and architecture, which allowed many to interrogate the conventions of their discipline. Open a book on the experimental architecture of that period and Woods’ heartfelt and haunting drawings regarding the siege of Sarajevo share space with early works from the likes of Daniel Libeskind and Zaha Hadid. But unlike so many of that generation who eventually made the career transition from avant-garde upstarts to global superstars, Lebbeus Woods never got rich by building rubbish. Continue reading

Nietzsche’s untimeliness

Sunit Singh

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The following article first appeared in the Platypus Review. It covers some of the same terrain that I explored around a year ago in my reflections on the recent “anti-Nietzschean turn” that has taken place on the Left. Sunit’s piece ranges a bit more widely than my own, and incorporates important insights from the early Marxist Franz Mehring and the later critical theorists of the Frankfurt School elucidating Nietzsche’s fraught relationship to his own time, bourgeois liberal democracy, and the rise of the socialist workers’ movement.

I’d also recommend Mazzino Montinari’s excellent overview, Reading Nietzsche. Montinari was an Italian Marxist dissident who left the PCI during the early 1970s, and helped edit the collected works of Nietzsche in German.

Introduction
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Eros and Civilization: the title expressed an optimistic, euphemistic, even positive thought, namely, that the achievements of advanced industrial society would enable man to reverse the direction of progress, to break the fatal union of productivity and destruction, liberty and repression — in other words to learn [Nietzsche’s] gay science.

— Herbert Marcuse

In [ancient] philosophy the duties of human life were treated as subservient to the happiness and perfection of human life. But when moral, as well as natural philosophy, came to be taught only as subservient to theology, the duties of human life were treated of as chiefly subservient to the happiness of a life to come…[But even] in [what came to be called] the modern philosophy [perfecting virtue] was frequently represented as generally, or rather as almost always inconsistent with any degree of happiness in this life; and heaven was to be earned only by penance and mortification, by austerities and abasement of a monk; not by the liberal, generous, and spirited conduct of man.

— Adam Smith

Nietzsche believed that gaining even a modicum of reason and freedom had to be a hard won, blood-soaked, and world-historical affair, but was nevertheless inclined to be as uncharitable in the extreme toward Jean-Jacques Rousseau, “the seducer” behind the idealist and rabble in the French Revolution, as toward the socialists who claimed to be the inheritors of the Jacobin tradition. He identified Of the Social Contract — a meditation on the conditions of possibility for the radical self-determination of modern civilization — as putting forward the first image of modern man to inspire mortals to a “transfiguration” of their own circumstances. However, modern man turned out to be a creature afflicted with a fevered historical self-consciousness that periodically flared up in revolutions, “like Typhon under Etna.”[1] It was a symptom of this curious sickness, Nietzsche held, that had led the philosophizing son of a watchmaker to characterize man as a creature full of pity or empathy and as capable of perfectibility, while positing an unwarranted faith in nature as an idyll of freedom. Nietzsche saw modern civilization as a chimera, characterized by what Kant had referred to as “glittering misery” and by the creation invidious interdependencies, but had reached the opposite conclusion as the “Citizen of Geneva.” For Nietzsche, plunging further into the civilization that the latter abhorred “is precisely that which speaks in favor of civilization.”[2] For moderns, who were proving themselves unable to squarely take on the task of Enlightenment, it was as “reasonable” to consider a return to nature as it was for them to revive Greek tragedy; we moderns had no chance of ever going back to the state of nature — the state of nature was itself a myth that the dialectic of Enlightenment had necessitated.

Photograph of Nietzsche, Paul Rée, and Lou Salome, circa 1882.

Photograph of Nietzsche, Paul Rée,
and Lou Salome, circa 1882.

Despite identifying “the labor question” as an intractable issue of the industrial age, Nietzsche never offered a clear resolution to the “the physiological self-contradiction” that defines capitalism. One can admit as much without either attempting to shape Nietzsche on a Marxist lathe — the accusation once leveled at Adorno — or giving in to the idea that Nietzsche was an elitist, anti-democratic, and anti-liberal conservative.[3] The efforts to “let workers be themselves” had failed, Nietzsche wrote in Twilight of the Idols, as a result of “the most irresponsible negligence.” Nietzsche was apportioning fault for this “negligence” directly on the socialists, who were confounded as to why, in spite of the fact that workers had made enormous strides toward sociopolitical equality since the industrial revolution, and justifiably wanted more and felt “their existence to be desperate… an injustice,” their demands for “a social democracy” could not be met by the vote and contractual rights. Europe had to answer the workers, while the workers tried to articulate their own demands and to answer, “What do they will?”[4] But the socialists — those “superficial, envious, and three-quarter actors” infected with “nihilism” — had turned freedom into an ethic and so crab-walked backward into “a will to negate life.”[5] Further, their values were little more than refashioned Christian ideals rather than peculiarly modern aspirations; their certitude that a socialist revolution was inevitable was motivated by the same animalistic instincts that had led Christians to see the Last Judgment as “the sweet consolation of revenge.”[6] Such vituperations also masked the actual task of emancipation and left the socialists with the muddle-headed belief that, “[as] time marches forward…Everything that is in it also marches forward — that the development is one that moves forward.” Although, even “the most level-headed are led astray by this illusion,” Nietzsche claimed, “the nineteenth century does not represent progress per the sixteenth…’Mankind’ does not advance, it does not even exist…Man represents no progress over the animal: the civilized tenderfoot is an abortion.”[7] Despite the touted “progress” of the nineteenth over the eighteenth century, the socialists had overlooked or were unable to recover what earlier revolutionaries, inspired by the notion of the infallible sovereignty of the General Will, had understood — that rather than “dance in our ‘chains’” we had to break them.[8]

The case of anti-Nietzsche

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The aristocratic antipathy in which Nietzsche held the Left is presumably one reason behind the leftist “anti-Nietzsche” stance. Others chafe at the fact that Nietzsche was a staunch individualist who clubbed the Marxist social-democrats together with the anarchists as well as with the Christian socialists; Nietzsche was satisfied to say that anarchism held “the same ideal [as socialism], but in a more brutal fashion,” while the dogmatic social-democrat who hypostatized class relations was in as bad faith as the Protestant minister who reconciled men to their wretched fate.[9] Malcolm Bull is the latest leftist to argue for an anti-Nietzsche stance. But with the critical difference that Bull’s criticism of Nietzsche is rooted in a conservatism that obfuscates the established tradition of left criticism of Nietzsche, which dates back to the revisionist debate. Bull compares Nietzsche to Durkheim, as both were diagnosticians who theorized that the incompleteness of our transition to modernity had manifested itself pathologically in what Nietzsche referred to as “decadence” or “nihilism,” and in what Durkheim called “anomie.” Continue reading

Space architecture: Training the Soviet avant-garde (1921-1930)

The “space” course for
architects at Vkhutemas

Spatial modeling
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Continue reading