write-ups

Burying Lenin

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The revolution entombed

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The Lenin Mausoleum in Moscow was first designed by the architect Aleksei Shchusev in 1924. Even outside of Russia, its image is fairly familiar: some kind of cross between geometric modernism and a primeval ziggurat. What is seldom remembered today, however, is that Shchusev had to design and redesign the building more than once. Of course, the public display of Ulianov’s corpse was originally intended to only last a few weeks.

An exceptionally cold winter (Lenin died in January) helped preserve the Bolshevik leader’s remains longer than expected. Despite Lenin’s explicit request that his body be cremated and buried next to that of his mother, the new Soviet administration began making more permanent arrangements.

Soviet architect Aleksei Shchusev

Vladimir Paperny offered a fairly memorable explanation for this fact in his book Culture Two: Architecture in the Age of Stalin. He suggested that a transition was then underway between the two dominant cultural attitudes that define Russian-Soviet history:

Culture One [Bolshevik, avant-garde culture] wanted to burn its limbs [Shklovskii (1919)], wash memory from its soul, kill its old [Maiakovskii (1915)], and eat its children — all this as an attempt to free itself from the ballast that was interfering with its surge into the future. In Culture Two [Stalinist, realist culture], the future was postponed indefinitely. The future became even more beautiful and desirable [the architect Krasin (1937)], and the movement forward was even more joyous [state prosecutor Vyshinskii (1938)], but there did not seem to be an end in sight to that movement — the movement had become an end in itself.

[Stalinism’s] movement “forward, ever forward” changed nothing: The…goal was still the same; therefore, there was no way to determine whether this was movement or rest…Movement in Culture Two became tantamount to immobility, and the future to eternity…The history of the building of the Lenin Mausoleum is a good example of how culture’s idea of the longevity…changed. In Culture One, the idea of a mausoleum evoked a temporary structure, one that was needed “in order to grant all those who wish to, and who cannot come to Moscow for the day of the funeral, a chance to bid farewell to their beloved leader.” Culture Two had no intention of bidding farewell to the beloved leader. The temporary wooden mausoleum erected in 1924 was replaced first by a more solid wooden structure [six months later], and then, in 1930, by one of stone built to last.

Clearly, the different materials implemented in the construction of each version reflect different anticipated durations. The first was to be fleeting, the second durable, the third eternal. While the second is still, like the first, only made of wood, its form already appealed to eternity. Planks and crossbeams combined into regular geometric slabs, beyond real space and time. The upper half meanwhile ascends in pyramidal fashion, evoking that same mute permanence one feels before the ancient pharaohs’ tombs.

Aleksei Shchusev. Lenin Mausoleum, 87.4 × 66.7cm. First version of the final project, 1929-1930. Floor plan, facade, perspective. Ink and gouache on paper.

Lenin’s memory still haunts today’s Left. Just as the post-1991 Restoration in Moscow could not bring itself to finally lay his corpse to rest, neither can the contemporary Left bring itself to discard the legacy of October 1917. Even in rejecting Lenin or Leninism — whatever this might be thought to entail, be it democratic centralism, vanguardism, totalitarianism — it is forced to confront such associations. This is to say nothing of those who seek to take up Lenin’s mantle, with all the competing interpretations and conflicting points of emphasis. Continue reading →

The dead in living color

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Chromatic modernism in
the USSR, 1920-1935

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Modernism is often criticized for its allegedly dull monochromes, the ostentatiously unpainted surfaces of its buildings and the desaturated stillness of their black-and-white photographic representation.

Part of this was intentional, for either promotional or artistic reasons. Thus one gets the rich black-and-white photos of brutalist buildings from the 1950s and 1960s, still colorless despite the availability of new technologies. As such, it’s just as much a part of brutalism’s brooding aesthetic as anything else. (Don’t believe me? Take a look through Fuck Yeah Brutalism’s archives). Or else there’s the deliberate intradisciplinary gesture, as in constructivist tekstura, which insists that the material components should be fully exposed, not concealed beneath “artificial” coloring. Either way, the naked white of plaster or the gray-on-gray of concrete, polished metal through untinted glass.

Il’ia Golosov, competition entry for the Leningrad Pravda (1924). Already Golosov’s fascination with towers is manifest
Aleksei Shchusev. Lenin Mausoleum, 87.4 × 66.7cm. First version of the final project, 1929-1930. Floor plan, facade, perspective. Ink and gouache on paper.
Vesnin brothers, Arkos building facade, 1925
Grigorii and Mikhail Barkhin. Dom Izvestiia, 1926-1927. Perspective view. Ink, watercolor, & white ink on paper.
Il’ia Golosov Elektrobank proposal for Moscow, 1927
Color schemes for the new residential block (Zhilmassive) in Leningrad : Alexander Nikolsky Studio (МАН) + M. Ender, B. Ender artists : Perspective :: 1927
Dmitrii Markov w/ Vladimir & Daniil Fridman. Lenin State Public Library, Moscow 1928. Perspective view, 34.25″ × 95.75″. Ink, gouache, white ink, and collage on paper.
Leningrad : Housing quarter : Kondratyevsky & Polustrovsky prospects (Kondratyevvsky residential block) :: D. P. Burishkin, L. M. Tverskoy, L. D. Akopova, O. I. Rudneva, associate N. D. Katzenelenbogen : Competition entry Perspective 1928
Nikolai Sokolov, Health-resort hotel (1928) studio of A Vesnin
Aleksei Shchusev, proposal for an administrative building in Samarkand, 1929-1930.
Porokhovskoy Recreation Center (House of Culture) : Leningrad :: N. A. Miturich, V. P. Makashov, etc. : Design :: Second Variant : Perspective view Watercolors, airbrush on paper: 1929

Another part was, of course, incidental. For a long time color photographs weren’t practical, and so much of early modernism’s more chromatic creations were lost to the general public — or at least, to anyone who couldn’t visit them in person. Continue reading →

Contra Comte

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In Aspects of Sociology, a primer in social theory released by the Institute for Social Research (often referred to as the Frankfurt School), Theodor Adorno and Max Horkheimer explain the bastard etymology of the term “sociology” and its origin in the positive philosophy of Auguste Comte:

The word “sociology” — science of society — is a malformation, half Latin, half Greek. The arbitrariness and artificiality of the term point to the recent character of the discipline. It cannot be found as a separate discipline within the traditional edifice of science. The term itself was originated by Auguste Comte, who is generally regarded as the founder of sociology. His main sociological work, Cours de philosophie positive, appeared in 1830-1842.The word “positive” puts precisely that stress which sociology, as a science in the specific sense, has borne ever since. It is a child of positivism, which has made it its aim to free knowledge from religious belief and metaphysical speculation. By keeping rigorously to the facts, it was hoped that on the model of the natural sciences, mathematical on the one hand, empirical on the other, objectivity could be attained. According to Comte, the doctrine of society had lagged far behind this ideal. He sought to raise it to a scientific level. Sociology was to fulfill and to realize what philosophy had striven for from its earliest origins. (Aspects of Sociology, pg. 1)

Somewhere I remember hearing the quip that the term “sociology” was such an ugly combination that only a Frenchman could have concocted it. Not sure who was supposed to have said it, or if it factually took place, but there seems to be a ring of truth to the assertion. Anyway, Adorno points out in his lecture course Introduction to Sociology that “Marx had a violent aversion to the word ‘sociology,’ an aversion that may have been connected to his very justified distaste for Auguste Comte, on whom he pronounced the most annihilating judgment” (Introduction to Sociology, pg. 143). Continue reading →

Adam Smith’s neglected masterpiece?

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Corey Robin posted a brief write-up of a passage from Adam Smith over on his blog some weeks back. The text quoted was Smith’s earlier work, The Theory of Moral Sentiments. It’s become quite popular in recent years to contrast this work with Smith’s magnum opus, An Inquiry into the Wealth of Nations, which came a few years later.

One commenter, Diana, expressed more or less this exact sentiment. “Please keep blogging about the Theory of Moral Sentiments,” she wrote. “Everyone so associates Adam Smith with the other book [The Wealth of Nations] and forgets about this one.” Another commenter, Benjamin David Steele, immediately seconded her request, writing: “I agree. I’ve never read the Theory of Moral Sentiments, but I’ve been very interested in this lesser-known side of Adam Smith.”

For whatever reason, though the Theory of Moral Sentiments is an interesting work, it annoys me when individuals try to “correct” common misperceptions about Smith’s political and economic philosophy by redirecting attention away from what is undoubtedly his greatest work, The Wealth of Nations. (This is, of course, the work that libertarians and neoliberals like to cite the most in their anti-government diatribes, though this is simply because they never read beyond Book I). So I felt I’d write something along these lines. What follows is a brief exchange mostly between Corey Robin and me on Adam Smith’s moral philosophy and its ideological relation to aristocratic (versus bourgeois) virtue. Also at issue is the relative worth of Smith’s Theory of Moral Sentiments as opposed to The Wealth of Nations. Continue reading →

Politics, a dead language

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Politics — in the emphatic sense — can sometimes feel like a dead language.

Terms and concepts that today should still retain some of their original descriptive purchase (like “lumpenproletariat” or “petit-bourgeois”) are only greeted with blank stares and bewildered incomprehension. It’s like you’re speaking Middle English or something. But then words and phrases that should actually raise a great deal more doubt (like “imperialism,” the “Third World,” or even “the precariat”) are taken for granted, as if everyone knows what they mean, even though it’s not clear at all if they remotely correspond to reality.

Obviously, I’m not interested in adopting some kind of false orthodoxy. Nor would I insist that everyone drop the way they’d ordinarily talk about something. It’s just that when it comes to serious discourse and debate, there needs to be at least some understanding of what these categories once meant and what they might mean today (if anything). Many of them are quite loaded, historically. Continue reading →

A mindless martyrology — Allende and left amnesia

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Just a reminder to the pseudo-leftists who are gleefully getting off by trolling right-wing patriotic conservatives, urging them to remember “the real 9/11” (the 1973 Pinochet coup against the Salavador Allende government in Chile). Please don’t let the dearth of revolutionary figures in recent memory lead you to claim false martyrs for your canon:

The UP [Unidad Popular, the coalition that helped bring Allende into office] was a classic popular front, an alliance of reformist workers parties, chiefly the SP and Communist Party (CP), with bourgeois forces — the small Radical Party as well as some Christian Democrats. The Allende government was not, as maintained by reformists around the world, a ‘people’s government’ gradually introducing socialism. It was a government committed to the maintenance of capitalism. The presence of bourgeois parties in the UP coalition was a guarantee to the capitalists that the workers parties would not take any steps to threaten the profit system.

Even before assuming office, Allende signed an agreement pledging not to permit the formation of ‘private’ armed forces — i.e., workers militias. The Allende government disarmed the workers by seizing their weapons and by sowing illusions in a ‘peaceful road to socialism.’ This cleared the way for the bourgeoisie to crush the working class.

By pointing this out, I do not in any way intend to diminish the historical significance of Pinochet’s US-backed military coup, which as an event was a massacre and led to more than three decades of institutionalized reaction. The Pinochet government was a Bonapartist throwback, almost textbook. My intention is not to ridicule the memory of a murdered man, populist pygmy though Allende was, so much as it is to draw attention to the selective amnesia of hero-mongering leftists. Continue reading →

Comment moderation policy

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Because of some recent rude ad hominem attacks on various individuals and unfounded rumors about various organizations in comments on this blog, I’m instituting a policy for moderating all future threads. Now, I’d like it to be known that I will still allow any and all comments, even those that are sharply critical or polemical, so long as they are relevant to the topic at hand. You don’t even have to be polite or feel like you’re walking on eggshells in writing in. The aim here is not to censor voices of disagreement, but rather ensure those comments that do go through meet basic discursive criteria that make them conducive to meaningful debate.

Of course, since no such policy existed before, it would be unfair for me to go back and retroactively enforce a screening process that I’ve only established after the fact. Just as with the blog controversy several months back, when some of my own personal views were conflated with those of Platypus as an organization, I issued a disclaimer but decided against going back and sanitizing various opinions I expressed at one time so as to avoid criticism. This did not mean that I still held these views; it merely meant that I was not looking to exempt myself from critiques ex post facto. Likewise, all past comments on this blog, whether authored by myself or others, will be left intact.

I’ll be the first to admit that I have, at times, made remarks that fall well beneath the threshold of the kind of commentary I’m advocating here. This has led some to point out the hypocrisy of my request not to baselessly attack certain individuals or organizations. Such an observation is, of course, warranted, but it in no way weakens my resolve to enact this moderation policy henceforth. In a similar fashion, I will make every effort to refrain from writing posts or comments that violate this norm. Self-regulation is not always the best way to go about this, though, so feel free to write in if you feel this standard is not being met. Continue reading →

Walter Benjamin reads Sigfried Giedion, Bauen in Frankreich (1928)

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From The Arcades Project, pg. 40:

Old name for department stores: docks à bon marché — that is, “discount docks.” <Sigfried> Giedion, Bauen in Frankreich <Leipzig and Berlin, 1928>, p. 31.

Evolution of the department store from the shop that was housed in arcades. Principle of the department store: “The floors form a single space. They can be taken in, so to speak, ‘at a glance’.” Giedion, Bauen in Frankreich, p. 34.

Giedion shows (in Bauen in Frankreich, p. 35) how the axiom, “Welcome the crowd and keep it seduced” (Science et l’industrie, 143 [1925], p. 6), leads to corrupt architectural practices in the construction of the department store Au Printemps (1881-1889). Function of commodity capital!

Cover to Giedion's Bauen in Frankreich (1928)

Cover to Giedion’s Bauen in Frankreich (1928)

Pg. 153.

The first act of Offenbach’s Vie parisienne takes place in a railroad station. “The industrial movement seems to run in the blood of this generation — to such an extent that, for example, Flachat has built his house on a plot. of land where, on either side, trains are always whistling by.” Sigfried Giedion, Bauen in Frankreich (Leipzig and Berlin <1928>), p. 13. Eugène Flachat (1802-1873), builder of rail-roads, designer.

On the Galerie d’Orléans in the Palais-Royal (1829-1831): “Even Fontaine, one of’ the originators of the Empire style, is converted in later years to the new material. In 1835-1836, moreover, he replaced the wooden flooring of the Galerie des Batailes in Versailles with an iron assembly. These galleries, like those in the Palais-Royal, were subsequently perfected in Italy. For us, they are a point of departure for new architectural problems: train stations, and the like.” Sigfried Giedion, Bauen in Frankreich, p. 21. Continue reading →

Walter Benjamin reads Emil Kaufmann, From Ledoux to Le Corbusier (1933)

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The whole reason I started going back, for the first time in years really, to reading sections of Walter Benjamin’s The Arcades Project, was because I learned there is no English-language translation of Emil Kaufmann’s Von Ledoux bis Le Corbusier (1933). Besides the first section of Histories of the Immediate Present by Anthony Vidler, also a good read, it’s extremely hard to find even extended quotations from the book rendered into English. So I’ll start off by posting these, as they’re a bit harder to come by than most.

From The Arcades Project, pg. 143:

Kaufmann places at the head of his chapter entitled ‘Architectural Autonomy’ an epigraph from Le Contrat social: “a form…in which each is united with all, yet obeys only himself and remains as free as before. — Such is the fundamental problem that the social contract solves (p. 42).” In this chapter (p. 43): “[Ledoux] justifies the separation of the buildings in the second project for Chaux with the words: ‘Return to principle…Consult nature; man is everywhere isolated’ (Architecture, p. 70). The feudal principle of prerevolutionary society…can have no further validity now…The autonomously grounded form of every object makes all striving after theatrical effect appear senseless…At a stroke, it would seem,…the Baroque art of the prospect disappears from sight.’” E. Kaufmann, Von Ledoux bis Le Corbusier (Vienna and Leipzig, 1933), p. 43.

“The renunciation of the picturesque has its architectural equivalent in the refusal of all prospect-art. A highly significant symptom is the sudden diffusion of the silhouette…Steel engraving and wood engraving supplant the mezzotint, which had flourished in the Baroque age…To anticipate our conclusions,…let it be said that the autonomous principle retains its efficacy…in the first decades after the architecture of the Revolution, becoming ever weaker with the passage of time until, in the later decades of the nineteenth century, it is virtually unrecognizable.” Emil Kaufmann, Von Ledoux bis Le Corbusier (Vienna and Leipzig, 1933), pp. 47, 50.

Cover to Kaufmann's Von Ledoux bis Le Corbusier (1933)

Cover to Kaufmann’s Von Ledoux bis Le Corbusier (1933)

Pg. 600:

“Among the dream architecture of the Revolution, Ledoux’s projects occupy a special position…The cubic form of his ‘House of Peace’ seems legitimate to him because the cube is the symbol of justice and stability, and, similarly, all the elementary forms would have appeared to him as intelligible signs of intrinsic moment. The ville naissante, the city in which an exalted…life would find its abode, will he circumscribed by the pure contour of an ellipse…Concerning the house of the new tribunal, the Pacifère, he says in his Architecture: ‘The building drawn up in my imagination should he as simple as the law that will he dispensed there.’ Emil Kaufmann, Von Ledoux bis Le Corbusier: Ursprung und Entwicklung der autonomen Architektur (Vienna and Leipzig. 1933), p. 32.

Continue reading →

Walter Benjamin and architectural modernism

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Never realized before just how plugged-in Walter Benjamin was with the avant-garde architectural scene in Germany, France, and Austria during his day. Seriously, even just skimming through the convolutes of his unfinished Arcades Project, the text is teeming with references to Le Corbusier’s Urbanisme (1925), Adolf Behne’s Neues Wohnen — Neues Bauen (1927), Sigfried Giedion’s Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton (1928), and Emil Kaufmann’s Von Ledoux bis Le Corbusier, Ursprung und Entwicklung der Autonomen Architektur (1933). An acquaintance pointed out to me that he corresponded with Erich Auerbach, later author of Mimesis, as well.

Surprisingly prescient, too. Corbu was already an established figure by then, but Giedion and Kaufmann were relatively unknown. Auerbach wasn’t even on the radar.

Over the next few posts will be spread out some of Benjamin’s notes quoting and discussing some of these figures.