images

PROUN

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The “way station” between
painting and architecture

Untitled.
Image: El Lissitzky,
PROUN 1-C (1919)
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From “Theses on the PROUN: From painting to architecture” (1920)

Not world-illusion
but world-reality

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1. We have named PROUN a station on the path to the construction of the new form. […] From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.

2. PROUN is understood as the creative construction of form (based on the mastery of space) assisted by economic construction of the applied material. The goal of PROUN is progressive movement on the way to concrete creation, and not the substantiation, explanation, or promotion of life.

The path of the PROUN does not lie within the narrowly limited, fragmented, and isolated scientific disciplines — the builder consolidates them all together in his own experimental investigation.

The path of the PROUN is not the incoherent approach of separate scientific disciplines, theories, and systems, but is rather the straightforward path of learned influence over reality. […]

El Lissitzky, PROUN retrospective (1923)
El Lissitzky, PROUN Hannover 6 (1920)
El Lissitzky, Study for PROUN 4-B (1920)
El Lissitzky, PROUN Hannover 7 (1920)
El Lissitzky, PROUN 1-C (1919)
El Lissitzky, PROUN The Bridge (1920)
El Lissitzky, PROUN Hannover 2 (1920)
El Lissitzky, PROUN Hannover 3 (1920)
El Lissitzky, PROUN Hannover 4 (1919)
El Lissitzky, PROUN 5-A (1919)

Continue reading →

What is imperialism? (What now?)

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Larry Everest (RCP-USA), Joseph
Green (CV), James Turley (CPGB)

Untitled.
Image: Soldiers in Petrograd hold up a
banner reading “Death to imperialism!
Victory to the Red Army” (1920)
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Platypus Review 59 | September 2013

On April 6, 2013, a panel on “What is Imperialism? (What Now?)” took place during the Platypus International Convention at the School of the Art Institute of Chicago. The panel was motivated by the ten-year anniversary of the U.S. invasion of Iraq and aimed to discuss whether we are any closer to understanding what imperialism is and the relationship between anti-imperialism and anti-capitalism. This panel brought together Larry Everest from the Revolutionary Communist Party (USA), Joseph Green from Communist Voice, and James Turley of the Communist Party of Great Britain, and was moderated by Lucy Parker of Platypus. What follows is an edited transcript of the conversation. Video is available here.

James Turley: Imperialism poses a series of problems for us as Marxists and they can broadly be divided into theoretical problems and political problems. The theoretical problems are characterized by the sharp inequalities between states, and this is as much a feature of the global order as the very obvious inequality and exploitative relations between classes. This arrangement has serious effects on how the class struggle plays out in different countries. Imperialism also poses a problem of the historical periodization of capitalism. This is the problem of imperialism as a particular stage of capitalism. Even if imperialism is not a particular stage, it is still in this historical sense a kind of carbon dating mechanism. With regard to political problems, it is clear that imperialism, as a system of unequal relations between states, is a way in which state power is organized globally. In this sense, the paramount political problem facing us as Marxists and revolutionaries, if we want to overthrow capitalism globally, is that the highest level of state power requires a serious political challenge.

British_empire_Color

Imperial map of the world showing British colonial might, 1886

Another issue which has come up, particularly in the last ten years, but which really has existed since at least the early days of the Comintern, is the attitude that we take to forces that are not strictly speaking of the Left but that nevertheless confront and oppose imperialist powers in military conflicts or in other ways. This issue, of course, has caused a serious division on the Left. The guidebook for how we have traditionally dealt with this as a movement is Lenin’s Imperialism: The Highest Stage of Capitalism (1917), which is a sort of brief and very empirical analysis of the nature of imperialism. The background for Lenin’s work was the much larger debate over colonial policy and imperialism in the Second International that began in 1896. Karl Kautsky, who was the foremost theorist of the Second International, wrote a series of articles called Socialism and Colonial Policy arguing that early empires — such as those of the Spanish, Portuguese, and Dutch — were effectively pre-capitalist in nature. They did not export capitalist relations of production, but rather were coercive, absolutist exploitation operations. According to Kautsky, these empires gave way, with the ascent of England as an imperial power, to what he called “Manchesterism.” This was free-trade imperialism. Instead of having coercive and brutal operations — this is Kautsky’s view by the way, it is obviously not true — what you had was the elimination of trade barriers and the expansion of capitalism as a system. Kautsky was writing in 1896 and 1897, by which point it was clear that the mechanisms which led to the First World War were accelerating, and the German state was attempting to acquire colonies. Kautsky’s argument is that the Scramble for Africa and similar forms of late-nineteenth-century imperial expansion are an expression of pre-capitalist forces in Germany and other states, and that this imperialism is actually reactionary with regard to “Manchesterism.” Continue reading →

Trellick Tower: The fall and rise of a modern monument

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Fosco Lucarelli and
Mariabruna Fabrizi


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Image: Ernö Goldfinger’s monumental
Trelleck Tower in London (built 1972)

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Drawing by San Rocco / Salottobuono
Published in San Rocco Magazine
№ 5 — Fall 2012 [Scary Architects]
Reposted from the blog microcities

Recalling his first job experience, a certain gentleman still remembers the horrified faces of his friends after revealing he was just about to start working at Ernö Goldfinger’s architectural firm. In retrospect, he admits, it was pretty much like the reaction of the peasants to young Harker’s sister when he announced that his brother was going to visit Count Dracula.

Few architects, if any, would earn as much public loathing as Goldfinger during the 1960s and ’70s, and it is not by chance that Ian Fleming’s villain was named after him.

Ernö Goldfinger in front of Trellick Tower_45687163_8

Hated for his short temper as well as for his architectural production, Goldfinger — a lifelong Marxist who practiced in Perret’s atelier — embodied the last phase of heroic, utopian modernism, and experienced its subsequent fall in public opinion.

The socialist utopian ideology associated with the Brutalist style was a perfect fit in the context of the British post-war housing shortage, and the development of high-rise buildings in the relatively flat London boroughs was initially touted by the government as a modern, forward-looking solution. If high-density housing was the setting, then concrete was to be the protagonist. For two decades, practicality had been aesthetics: being economical, flexible and indestructible, concrete became a metaphor for “the future” and acquired enough respect to be emphatically exposed on the façades of large buildings.

Starkly aggressive, with its thirty-one floors towering over a low-rise neighborhood, Goldfinger’s 1972 Trellick Tower in London is a tragic syntax comprising raw concrete, deep shadows, and sky bridges evoking the purified silhouette of a mediaeval castle. With its uncompromising materiality — which inelegantly quotes Le Corbusier — the tower is a daring presence in London’s post-war landscape, an expressionistic monument for the masses. Continue reading →

Yesterday’s tomorrow is not today

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Hugh Ferriss’ modernity

Untitled.
Image: Rendering by Hugh Ferriss
of the UN Building proposal (1947)
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What’s so fascinating about [Hugh] Ferriss is what makes him so different to his near-contemporary Iakov Chernikhov. While the latter made fantasy cities out of bizarre amalgams of what did exist and what hadn’t yet been invented, Ferriss drawings take the actually constructed and make it look utterly unreal.

Owen Hatherley, “Fairytales and real estate” (2007)

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many

T.S. Eliot, “The Waste Land” (1922)

It’s an odd feeling one gets from time to time, that the future we remember was more futuristic than our own. And yet it’s unmistakable. The moment we inhabit is a peculiar retrogression upon the past; its temporality is all off.

Architectural sketch by Hugh Ferriss, 1917

Architectural sketch by Hugh Ferriss, 1917

Architectural sketch by Iakov Chernikhov, late 1930s

Architectural sketch by Iakov Chernikhov, late 1930s

Hatherley’s observation regarding the perpendicular paths of Ferriss and Chernikhov — paths that converge around the right angle of modernity — extends further than he even imagined. Whether working from unreality to reality or vice versa, the two celebrated draughtsmen charted a collision course from their respective points of origin. This might even be seen to represent a pattern of nonsensuous dissimilarity, inverting the old Benjaminian trope.

Meeting somewhere along the middle in the early 1930s, at least within the realm of ideas, the drawings of Ferriss and Chernikhov thereafter approximate each other visually (in terms of sensuous similarity) the further out one moves diverging from this date. That is to say, Ferriss’ sketches become more pronouncedly gothic the earlier on one looks. A tenebrous crayon rendering from 1917, shown above, amply illustrates this fact. Oppositely, Chernikhov’s sketches began exhibiting numerous gothic features toward the end of the 1930s, becoming progressively gloomier along the way. No one denies the influence of Hugh Ferriss over the comic-book city of Gotham; producers of the new Batman movies just announced would do well to take a look at Chernikhov’s later works for inspiration, especially after their blunder casting Ben Affleck as the dark knight. Continue reading →

Event review: Le Corbusier/New York

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Sammy Medina and Ross Wolfe

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Saturday, June 8th, 2013
Center for Architecture
Museum of Modern Art
New York, NY

Originally published at Former People:
A Journal of Bangs and Whimpers.

“Le Corbusier/New York” was billed as a two-day international symposium focusing on the architect’s relationship to the city, and featured such luminaries within the field as Jean-Louis Cohen, Kenneth Frampton, Peter Eisenman, Stanislaus von Moos, and Mary McLeod, along with a host of other lesser-known critics and historians. Jointly organized by the Center for Architecture together with the Museum of Modern Art, the event was held at the former’s downtown headquarters on the occasion of the latter’s upcoming exhibit, Le Corbusier: An Atlas of Modern Landscapes. Barry Bergdoll, the chief curator of architecture and design at MoMA, was on hand to preside over several rounds of the discussion. With headlining acts like these, the space was predictably packed to the gills. Somewhere around two hundred people attended the symposium.

Le Corbusier in New York, 1946

Le Corbusier in New York, 1946

Beneath this general rubric of Corbusier’s relationship to New York City, the quality of the presentations varied widely. The first batch was composed of papers decidedly more academic, even scholastic, in character. Of these first few twenty-minute talks (though they frequently ran over time), the one by Mardges Bacon “On the Streets of the Vertical City: Le Corbusier in New York, 1935” was perhaps the most compelling. In all likelihood, this owed  its fidelity to the historical record of Corbusier’s actual visit to the city in that year, rather than to speculation about the impact the city might have had in concept — in the abstract. Bacon carefully traced his ambivalent impressions of New York as he encountered it in person for the first time, no longer forced to make do with the visual descriptions or the photographic documentation of others. She explained the great modernist’s awe before the sheer verticality of Manhattan, and his profound admiration for skyscrapers’ use of the latest building materials and techniques. In Corbusier’s view, the real tragedy was that such modern methods were forced to fit the framework of such antiquated zoning laws. Continue reading →

Worst architecture in NYC: The Bukharian house

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Originally published by the Amsterdam-based project run by Mark Minkjan, Failed Architecture.

“Look, architecture is over,” declared longtime New York resident Kevin Walsh in 2008, in response to an article the Gothamist ran on new zoning laws in Forest Hills, Queens. Walsh, founder of the local nostalgia website Forgotten New York, was objecting to some of the remodeling efforts being undertaken the wave of Bukharian Jewish immigrants that began flooding the neighborhood earlier in the decade. Driven from their adoptive homelands in Central Asia by the collapse of the USSR, forced out of backwater republics with basket-case economies such as Uzbekistan or Tajikistan, many of them now pulled up stakes and practically airlifted into Queens. Unfortunately for the borough’s more “indigenous” (i.e., Ashkenazic) Jewish inhabitants, their Mizrahi cousins brought with them their culture’s bizarre building habits and aesthetic preferences.

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Ripped out of their native context within the Uzbek architectural vernacular and transplanted into a satellite district halfway out toward Long Island, the mammoth mansions the Bukharians began installing clashed harshly with the gentle gables and turreted masonry of the older, more manorial estates that previously made up this part of the city. Hoping to preserve the neighborhood’s prestige and air of respectability, residents of the “romantic suburb” of Forest Hill Gardens — a quaint Tudoresque cottagescape loosely inspired by the reformist principles of Ebenezer Howard — revived long-forgotten provisions from its building code that’d been collecting dust for years. With the help of some especially prohibitive requirements still on the books, they were largely able to quarantine the unwelcome newcomers. Stylistic elements originating in Bukhara were thus relegated to a series of cramped and out-of-sight blocks, neatly tucked away behind two rows of prewar high-rises across the way from Queens Boulevard, a treacherous twelve-lane thoroughfare. Continue reading →

On Claude Schnaidt

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The writings of the French-German Marxist and architectural historian Claude Schnaidt (1931-2007) are hardly known at all in the English-speaking world. His only major essay to appear in translation was reproduced in the previous post, along with photos and scans illustrating the subjects covered. Intellectually, he can be compared to his colleague and collaborator Anatole Kopp, whose work I reflected upon in a recent blog entry.

Paul Chemetov, one of Schnaidt’s students, recently authored an article for the bilingual journal Le visiteur in which he briefly sketched the relationship between the two men and their intertwining career paths. Chemetov writes:

To those who knew him or met him, Claude Schnaidt was a curious figure. Curious because of his voice, coloured by so many accents — he was a native of Geneva, but German-speaking, with occasional echoes of old-style Parisian “lip.” And curious in his appearance — ascetic, but loving life. A soldier-monk? In reality, a passionate teacher. As the successor to Max Bill, he took on the role of director at the Hochschule für Gestaltung in Ulm until its closure in 1967-68, and the Institut de l’Environnement in Paris (located, incredibly, at the corner of Rue d’Ulm and Rue Jean Calvin…), founded by André Malraux after the events of 1968, and clad in Schnaidt’s day in a façade by Prouvé, before Philippe Starck’s marble top-coat signified the end of that particular pedagogical, political, and intellectual interlude. Born in 1931, Claude Schnaidt died on the 22nd of March, 2007. “A young man in the mainstream of modernity,” in Gubler’s words. He was a close associate of that other eternal young man, Anatole Kopp, whose book Quand le moderne n’était pas un style mais une cause (“When modernism was not a style but a cause”) is a precise resumé of both of their careers.

Whereas Kopp dedicated his life to the excavation of early Soviet avant-garde architecture, Schnaidt’s focus was narrower. Most of the work he’s known for concerned a single figure from the annals of modernism: the Marxist and modernist Hannes Meyer. Nevertheless, from what I can tell (and Chemetov’s remarks seem to confirm this) their projects were otherwise remarkably similar. As Chemetov suggests, their primary interest was to recover the sociohistoric mission of modern architecture, which had by their time degenerated to what they most despised in 19th-century architecture: “style.” Since modern architecture had formally triumphed, flourishing in the postwar years, the broader program of social transformation it once aspired to had been lost. Like Kopp, Schnaidt believed that by revealing modernism’s radical, quasi-socialist origins, this project might be renewed.

Claude Schnaidt, Herbert Lindinger, und Herbert Kapitzki leiten die Versammlung der HfG am 2/23/1968

Claude Schnaidt, Herbert Lindinger, und Herbert Kapitzki leiten die Versammlung der HfG am 2/23/1968

His frustration with the impasse modern architecture reached in the mid-1960s comes through quite clearly in a 1967 article, “Architecture and Political Commitment”:

Greater truth, directness, and depth cannot be given to human relations by the invention of novel forms. The aberrations of modern city life have deeper social causes than the shape of the buildings. The erection of monuments — and only history can decide what is a monument and what is not — will add nothing to human happiness. Self-glorification has never made men happy. Technology cannot be domesticated by putting up lepidopterous theaters and sinusoidal airport buildings. Far from settling the hash of the engineers, contemporary Baroque emphasizes their triumph. What is the use of impugning the formal schematics of the rationalist if one leaves unassailed the utopian ideas behind them? What is the use of decrying the squalor of urban conglomerations and the degradation of the modern habitat without at the same time denouncing the bourgeois commercialism which gives rise to them? What is the use of accusing rationalism, when, in point of fact, the rationalism accused is mechanistic, limited, and obsolete. If modern architecture is at a dead-end, it is not through any abuse of rationalism but through ignorance of genuine scientific thought, not through any abuse of social sense, but rather through a lack of concrete social content.

Of course, this was a common theme seized upon by many leftists in the 1960s. The technical and economic progress of society had not brought with it the emancipatory results many expected would accompany them. Modernism, the ideological extrapolation of this societal expectation, had finally been accepted by the public at large. Yet humanity was no freer for it. Kopp and Schnaidt thus sought to mobilize the memory of modern architecture’s most revolutionary phase against empty stylizations that would reduce problems of construction to mere formulae. Continue reading →

Hannes Meyer, Marxist and modernist (1889-1954)

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by Claude Schnaidt

Untitled.
Image: Cover to Claude Schnaidt’s
biographical essay Hannes Meyer (1964)
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Hannes Meyer died ten years ago. The publication of his work is both too early and too late. Too late because there is reason to believe that the course of modern architectural history has been changed, although it is hard to say how much, by ignorance of this work. Certain misconceptions concerning the movements and events with which he was associated might have been avoided if his work had been accessible at an earlier date. These debatable interpretations of the recent past are partly responsible for the present confusion in the minds of a whole generation of architects. Today architecture is venturing along dangerous paths from which it might have held back if the real intentions of preceding generations had been better understood. People talk, for example, of the misdeeds of functionalism and prepare to write it off without really knowing what it was. Too late, again, because the lapse of time has made Hannes Meyer a legendary figure. His is the legend of an accursed architect which must now be divested of its fictitious elements to uncover the real man concealed beneath. But this book on Hannes Meyer is also too early. The passions stirred up by the man and his work are still a long way from being quelled. There are still too many people with a stake in misrepresenting the truth. Yet, in order to establish the historical truth, we still lack many of the elements that time alone can supply.

Why, it will be asked, has the work of Hannes Meyer been misunderstood for so long? There are a number of reasons. First of all, Meyer himself was too engrossed in his daily tasks to be troubled with the preparation of a book on his works. It is also likely that such an intention was alien to his cast of mind; he was too much imbued with the idea of collective work to want to parade his own originality. And if in the last years of his life he did think of turning his enforced leisure to account by preparing a book, ill health prevented him from putting this plan into effect. Moreover, the very character of his work is ill fitted for publication. A substantial portion of it is made up of organizational measures or of research, analyses and reports prepared by a team and stored away in many instances in archives in Germany, the USSR or Mexico. But if Meyer is little or imperfectly known, this is due more particularly to the conspiracy of silence organized by all those who felt threatened by his revolutionary opinions and zest. There is also the indifference due to a failure to understand ideas transcending the conventional. If Meyer had spoken a little more often about art and a little less about politics, if he had merely indulged in reassuring generalities instead of impugning an economic system, if he had built luxury villas instead of co-operative housing estates, he would probably have been entitled to more honors than he has received. Meyer did not share the overweening ambition of his contemporaries. He did not believe that society could be changed merely by changing its architecture and its town-planning. He opposed this idealist dream and made a deliberate attempt to adapt his work to the living reality of the world. That is why there is something disconcerting about Meyer’s work at first sight: it is based on very strict principles but assumes a great variety of forms of expression.

Hannes Meyer, Dokumente zur Frühzeit: Architektur- und Gestaltungsversuche, 1919 - 1927.

Hannes Meyer, Dokumente zur Frühzeit:
Architektur und Gestaltungsversuche, 1919-27

Whether belated or, in certain respects, premature, it may be hoped that the publication of Hannes Meyer’s work will shed light on some matters of topical interest, more particularly the debate on the status and role of the architect in an industrial civilization, the controversy raging around functionalism, the reassessment of the heritage of the Bauhaus, and the crisis in the teaching of architecture. On all these outstanding questions Meyer, either implicitly or explicitly, took up a position which was original and singularly clear-sighted. Generally speaking, however, it is the general situation of architecture which underlines the topicality of Meyer’s work. Modern architects are no longer able to cope with the demands which they have helped to create. The aims and methods of architecture are due for a radical reappraisal and for this a return to the sources seems increasingly necessary. Continue reading →

French cubist painter Fernand Léger’s wartime proposal to Leon Trotskii for “a polychrome Moscow”

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According to a catalogue accompanying the Whitechapel Art Gallery’s landmark London exhibition Fernand Léger: The Later Years, edited by Nicolas Serota, the great French abstractionist advanced a radically colorful proposal for the layout of the 1937 Paris international exhibition that would feature

…a yellow square, a red and blue avenue, an Eiffel tower with a camouflaged silhouette…that would all be lit up at night, instead of fireworks.

Much to the painter’s chagrin, this proposal would only be partially realized. The Eiffel Tower — that iconic remnant from arguably the greatest of all world’s fairs, the Exposition Universelle of 1889 — would again be electrified and lit up, just as it had been for the 1925 bonanza. Even then, there’d be fireworks. In intermittent flashes, these served to illuminate its ferrous skeleton from behind the promenade.

Fireworks at the 1937 Paris exhibition

Fireworks at the 1937 Paris exhibition, despite Léger’s reservations. On the left in the photo, Speer’s monument. On the right, Iofan’s.

Outlines of the exhibition’s virtual frontispiece, which featured Hitler’s Deutscher Pavillon, designed by Albert Speer, set against Stalin’s Советский павильон, designed by Boris Iofan, were cast as a grim prefiguration of the unsurpassed bloodshed the two nations would experience over the next decade at each other’s hands. Continue reading →

The Soviet pavilion at the 1925 Paris International Exposition

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For those ardent enthusiasts of Soviet avant-garde architecture from the 1920s, whom I suspect account for a great deal of this blog’s readership, my retrospective evaluation of Konstantin Mel’nikov’s famous house in Moscow from a few weeks back may have rubbed some the wrong way. While generally appreciative of the architect’s built and unbuilt legacy, it was decidedly less impressed with the private domestic arrangement he designed for himself. This might not seem all that controversial to those of you who remain unschooled in Soviet architectural esoterica, but when it comes to a structure as iconic as Dom Mel’nikova — a building currently threatened by years of neglect and decay — such an opinion could well be considered anathema. In case this opinion offended any Mel’nikov partisans among you, however, this post is intended to make up for it. Today we’ll review one of his projects that I consider an overwhelming and unambiguous success: the Soviet Pavilion for the 1925 Paris Exposition.

Mel’nikov’s undoubtable talents as an architect revealed themselves nowhere more clearly than in his submissions to international design competitions. A number of historians have noted this fact.”Mel’nikov rose to prominence through competitions,” writes Jean-Louis Cohen in his recent historical overview, The Future of Architecture since 1889. “Mel’nikov created a sensation with his Makhorka Tobacco Pavilion at the Agricultural Exhibition held in Moscow in 1923 and, two years later, with the pavilion he designed to represent the USSR at the Exposition Internationale des Arts Décoratifs et Industriels Modernes” (pgs. 165-166). Though they drew a dubious inference regarding Mel’nikov’s overall “qualifications” from the work, Manfredo Tafuri and Francesco Dal Co reached a similar conclusion in their history of Modern Architecture: “Mel’nikov acquired immediate international fame with his Russian pavilion for the Paris Exposition of 1925” (pg. 180).

Initial sketches, models, and designs

Aleksandr Rodchenko, playful sketch of Mel’nikov’s pavilion on the fairgrounds (1925)
Mel’nikov’s initial conceptualization of the pavilion, 1924
Preliminary sketches of symbols and elements by Mel’nikov for the Soviet pavilion
Isometric view of Mel’nikov’s proposal for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, further sketches for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, further sketches for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, further sketches for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, further sketches for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, further sketches for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, dynamic perspective view of his proposal for the Soviet pavilion in Paris (1925)
Konstantin Mel’nikov, multiple perspective views of his proposal for the Soviet pavilion in Paris (1925)
Constructive elements for Mel’nikov’s pavilion in Paris (1925)
Miniaturized elements of Mel’nikov’s 1925 Soviet Pavilion
Model of Mel’nikov’s 1925 Soviet Pavilion
Model of Mel’nikov’s 1925 Soviet Pavilion
Model of Mel’nikov’s 1925 Soviet Pavilion
Model of Mel’nikov’s 1925 Soviet Pavilion

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As the above would seem to suggest, Mel’nikov’s pavilion was, at least visually, extremely striking. Not only that, however. Its perambulatory effect, experienced chiefly through the mechanism of the open staircase, was similarly unprecedented. The glasswork, laid out in flat sheets stood vertically adjacent to the stairs, allowed the entire contents of the building’s interior (its stands, internal layout, and displays). Concerning the formal significance of the structure’s composition, and its reception by crowds of Parisians and foreign visitors, Cohen summarizes: “Composed of two glazed triangular volumes bisected diagonally by a staircase, it was the most conspicuous structure at the Paris exhibition. It revealed to the West the existence of a new Russian architecture, which was further confirmed by the presentation elsewhere at the fair of over one hundred projects conceived in the USSR since 1920” (The Future of Architecture, pg. 166).

El Lissitzky, writing several years after the 1925 Paris Expo, reasoned along similar lines. For him, the Mel’nikov’s piece was significant as an early and profound expression of the formalist wing of Soviet architecture, represented in the theory and methods of the ASNOVA group, of which Mel’nikov was a member at the time. Lissitzky wrote:

The first small building that gave clear evidence of the reconstruction of our architecture was the Soviet Pavilion at the Paris World’s Fair of 1925, designed by Mel’nikov. The close proximity of the Soviet Pavilion to other creations of international architecture revealed in the most glaring way the fundamentally different attitudes and concepts embodied in Soviet architecture. This work represents the “formalistic” [Rationalist] wing of the radical front of our architecture, a group whose primary aim was to work out a fitting architectural concept for each utilitarian task.

In this case, the basic concept represents an attempt to loosen up the overall volume by exposing the staircase. In the plan, the axis of symmetry is established on the diagonal, and all other elements are rotated by 180 ̊. Hence, the whole has been transposed from ordinary symmetry at rest into symmetry in motion. The tower element has been transformed into an open system of pylons. The structure is built honestly of wood, but instead of relying on traditional Russian log construction [it] employs modern wood construction methods. The whole is transparent. Unbroken colors. Therefore no false monumentality. A new spirit. (The Reconstruction of Architecture in the USSR [1929], pgs. 35-36.

The building thus reflected the relatively advanced state of Russia’s architectural thinking rather than any inherent political message. Tafuri and Dal Co. wisely warned against seeing the structure as some kind of metaphor for socialism. Paying close attention to the architect’s initial sketches (shown above), they derived an interpretation of the pavilion as a daring formal experiment rather than a propaganda piece. “[Mel’nikov’s pavilion] was a dynamic building based on the intersection of deformed geometrical masses that obliged the visitor to move along specific diagonals. There is no point in reading those ‘intersections’ as metaphors of the socialist dynamic: the preparatory drawings for the pavilion show circular buildings which are broken up, inclined, and interconnected in informal manner, indicating beyond a doubt that what interested the architect was only experimentation with a language made up of alienated objects, of volumes designed to deform their own geometry and in fact clashing with each other” (pg. 180).

Photos of Mel’nikov’s 1925 pavilion

Mel’nikov overseeing construction of the 1925 Soviet Pavilion in Paris
Staircase to Mel’nikov’s Soviet Pavilion in Paris, 1925
Fairgrounds at the Paris Expo, 1925
Fairgrounds at the Paris Expo, 1925
Fairgrounds at the Paris Expo, 1925
Mel’nikov’s Soviet Pavilion in Paris, 1925
Mel’nikov’s Soviet Pavilion in Paris, 1925
Mel’nikov’s Soviet Pavilion in Paris, 1925
Postcard featuring Mel’nikov’s Soviet Pavilion in Paris, 1925.
Postcard featuring Mel’nikov’s Soviet Pavilion in Paris, 1925.
Mel’nikov’s Soviet Pavilion in Paris, 1925
Detail of Mel’nikov’s Soviet Pavilion in Paris, 1925. Photo by Aleksandr Rodchenko
Postcard featuring Mel’nikov’s Soviet Pavilion in Paris, 1925.
Mel’nikov’s Soviet Pavilion in Paris, 1925
Visitors on the staircase to Mel’nikov’s pavilion (Paris, 1925)
Interior to the USSR pavilion in Paris (1925). A later model of Tatlin’s tower, as well as the Vesnins’ various projects, can be seen inside)
Interior to Mel’nikov’s Soviet Pavilion in Paris, 1925. The central podium features a model of I. Rabinovich’s set for the 1923 production of Lysistrata. Further behind are some of Varvara Stepanova’s costrumes for Meierkhol’d’s 1922 production of Tarelkin’s Death. Finally, Aleksandr Vesnin’s set design for Tarov’s 1923 version of GK Chesterton’s Man Who Was Thursday.
Ground floor to the interior of Mel’nikov’s pavilion, featuring a bust of Marx.

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This was, incidentally, roughly in accordance with Mel’nikov’s own self-understanding at the time of the Paris Expo. Upon arriving in Paris, and completing the startling structure, the Soviet architect found himself a minor celebrity on the scene. A buzz already surrounded Mel’nikov given the sketches that’d been previewed in the Parisian press. In the summer of 1925, then, a major newspaper sat down to interview the emerging designer. Continue reading →