Walter Curt Behrendt’s The Victory of the New Building Style (1928)

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Introduction

Influenced by the powerful spiritual forces in which the creative work of our time is embodied, the mighty drama of a sweeping transformation is taking place before our eyes.  It is the birth of the form of our time.  In the course of this dramatic play — amid the conflict and convulsion of old, now meaningless traditions breaking down and new conventions of thinking and feeling arising — new, previously unknown forms are emerging.  Given their congruous features, they can be discussed as the elements of a new style of building.

Though the public regards these new building forms with immediate and visible excitement, their unfamiliar appearance often leads to a feeling of unease and incomprehension.  For the public, and at best for those members of the profession who have not been hardened by the dead certitude of a doctrine, only one path leads to a vital understanding of the new architecture.  These new forms must be shown to be inevitable, so that they will be seen as a natural consequence and logical result of a changed formulation of the problem.

This is the approach taken in the following remarks.  Their aim is to make a broader circle of people familiar with the crucial building problems of the time; to show that these problems concern not purely aesthetic issues or the vain conceits of a company of misfits but rather quite universal and concrete questions.  These questions, moreover, are of interest not just to architects to us all, and they can therefore be discussed in a very specific way.

The New Architectural Form

Let us begin by describing very superficially the exterior attributes of the buildings of the new style, which, owing to a number of unmistakable features, stand out against their surroundings so emphatically.  As the accompanying illustrations show, they are usually works with a simple, austere form and a clear organization, with smooth, planar walls, and always with a flat roof and straight profiles.  The building body is generally articulated by a more or less lively gradation of masses and by the distribution of windows and openings in the wall surfaces.  It is also apparent that the openings the windows, and occasionally, also the balconies (quite contrary to tradition) are placed at the corners of the buildings, where formerly we were accustomed to seeing the load-bearing parts of the building or the solid masonry of corner piers.  Further, we notice that these buildings altogether lack the familiar and [90-97] customary means of decoration.  The advocates of the new building attitude seem to have a particularly keen dislike for the column, that popular showpiece of academic architecture, and they are notably cool toward any kind of ornament or decorative detail.  Ornament — the decorative accessory, the detail in the old sense — has completely disappeared.  They prefer smooth walls and consciously exploit the wall’s planar attributes as an architectural design tool.  They compose simple building bodies, which are themselves plastically articulated, and create a powerfully punctuated rhythm of movement by linear accents or occasionally by overhanging slabs and deeply shaded projections, which emphasize and strengthen the impression of the corporal, the spatial, and the three-dimensional.

The most curious and striking feature of the new architecture is the absence of any kind of exterior ornament, which is then usually the first criticism leveled against it.  This is completely understandable.  In many areas of our life today we stand under the crippling weight of traditional views that cloud our judgment.  Our artistic judgment is also greatly confused by the widespread superstition that art is synonymous with decoration.  This deeply rooted belief makes it inevitable that not only the lay world but also the professionals look upon the unadorned and therefore unfamiliar works of the new architecture as cold and dry, raw and unfinished, purely and simply as inartistic.  They miss in these buildings the familiar charm of decorations.  They are put off by linear, hard, and angular forms.  And we must conceded that such limited judgment is to some extent justified, that the buildings of the new style do lack the effect of the pleasing, the artistic, the emotional that was evoked by the sensuous charm of detail in historical works.

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Александр Сергеевич Никольский, «Современная Обременная Художественная Промышленность» (1929)

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Современная художественная промышленность в большей степени, чем другие виды художественного труда, продолжает находиться в идеологическом плену «академической» культуры XIX века. […]

[…] Взамен тяжелой, мало пригодной для современных условий музейной обстановки в изживших себя исторических стилях потребитель настойчиво требует бытовую вещь, построенную на совершенно других принципах. Эти последние должны соответствовать изменившимся жизненным условиям и совершенно иной, непохожей на дореволюционную, планировке современного экономического жилища.

[…]

[…] Поставленный вопрос заключается в том, в какой мере современная художественная промышленность способна отбросить традиции академизма и продолжающегося потрафления обывательским вкусам. Современной идеологией художественного труда в производстве общественно полезных вещей, и в первую очередь в мебельной, бойной и текстильной промышленности, должен стать адекватным нашему времени дух рационализма и конструктивизма. […]

The controversy surrounding Columbus Day

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IMAGE: Protest against Columbus Day, 1992
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Yesterday was Columbus Day.  I saw the parade pass by the Museum of Modern Art in downtown Manhattan.  People were happy.  I am, of course, aware of the controversy that surrounds Columbus Day, and the widespread protests that have taken place since 1992, the 500 anniversary of Columbus’ historic voyage.  Many Native American and activist groups have campaigned against the existence of the holiday; I personally didn’t feel too strongly one way or the other.

Now I hesitate to even touch on this subject, since most of the discourse associated with it is so miserable on either side that it tends to swiftly devolve into empty, back-and-forth accusations of racism on the one hand and politically-correct historical revisionism on the other.  For those who are critical of the holiday and would like to see it removed, Columbus Day is nothing more than an open celebration of the imperial conquest over native peoples, of the genocidal consequences that followed Columbus’ arrival in the West Indies.  Some who have advocated for its removal have even proposed that it be replaced by the observation of an “Indian Resistance Day.” Oppositely, those who remain supportive of the traditional celebration of Columbus Day charge that this is just another hit that’s been taken out on a heroic figure of world history, simply for having been a “dead, white, European male.”  They allege that the attacks on Columbus’ personal character are vicious and often exaggerated, and that many of the attempts to diminish the significance of his 1492 voyage (by pointing out supposed contacts with the New World apparently established by earlier explorers) are based on dubious evidence.  All in all, the controversy surrounding Columbus Day is incredibly overblown.  Still, since it’s become such a popular target of pseudo-leftist critique, it might warrant a brief reinspection.

Not that the stakes of the debate are really all that high, beyond matters of just pure symbolism; rather, what is more significant is the fact that there even is such controversy at all.  For those who consider themselves to be part of the Left, the adoption of this critical standpoint with regard to Columbus Day has the appearance of being exceedingly radical, as a challenge to the conventional wisdom of European triumphalist historiography.  As one ostensibly Marxist article polemically asserts, “[t]o celebrate Columbus is to celebrate a legacy of genocide, slavery, rape and plunder.”  However, the elevation of this supposedly radical critique to the point where it’s become little more than a convenient provocation directed against the Western imperialist metanarrative, is symptomatic of a broader tendency within the contemporary Left.

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Репринт Журнала Современная Архитектура [Reprint of the Journal Modern Architecture] (1926-1930)

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I came across this advertisement yesterday while searching online for any articles on the early Soviet periodical Modern Architecture.  For those who don’t spend their time painstakingly researching long-dead avant-garde movements, this publication might not mean much.  However, it’s of great historical and theoretical importance — a project featuring a truly spectacular cast of characters.  The main organ for the OSA group of architectural Constructivists, Modern Architecture was edited first by the legendary theoreticians and architects Moisei Ginzburg and Aleksandr Vesnin, later coming under the editorship of Roman Khiger, after 1928.  Its layout was designed by Aleksei Gan, author of the seminal text on Constructivism in art, Конструктивизм (1922).  A number of young Soviet modernists contributed pieces to the journal: Mikhail Barshch, Ivan Leonidov, Nikolai Krasil’nikov, Kazimir Malevich, etc.  Articles by some of the most extraordinary foreign avant-garde architects and artists were also included: Le Corbusier, Walter Gropius, Ludwig Mies van Der Rohe, and Fernand Léger.

Needless to say, I was immediately overcome with excitement. You see, last winter I spent weeks at the New York Public Library, poring over their microfiche collection of the 1927-1930 editions of Modern Architecture (they didn’t have the volume for 1926).  I sat there using their clumsy old machines, struggling to center the pages exactly and bring them into focus by using the different microscopic lenses, only to make poor-quality printouts in the end.  So now that Tatlin press is re-releasing it in full, 80 years after Stalin’s government forced them to cease its publication, I can honestly say I’m stoked.  Here’s the description included in the ad:

ISBN 978-5-903433-12-4

редактор составитель — Эдуард Кубенский
вступительная статья — Жан-Луи Коэн
5 томов, 1076 стр., 24.0х34.0 см,
мягкая обложка, футляр, рус./фр./нем./англ.

Современная архитектура — иллюстрированный журнал «Государственного издательства», выходивший в Москве с 1926 по 1930 годы 6 раз в год. Журнал освещал вопросы современного градостроительства, жилой, промышленной и сельской архитектуры, типового проектирования, истории и теории архитектуры и строительства. Несмотря на короткий срок своего существования, журнал Современная архитектура — журнал-эпоха. В его реализации принимали участие ведущие мастера эпохи авангарда. Среди выдающихся имен, имевших отношение к журналу, можно назвать архитектора и бессменного редактора журнала Моисея Гинзбурга, автора проекта Дома Наркомфина; художников Алексея Гана и Варвару Степанову, занимавшихся версткой и дизайном издания и других. На его страницах публиковали свои работы Иван Леонидов и братья Веснины, Ле Корбюзье и Мисс Ван дер Роэ. Отдельной темой выступает в издание его графический строй, являющийся образцом передового дизайна своего времени. Сегодня эти журналы стали библиографической редкостью: растет цена информации, размещенной на их страницах. Об актуальности всего, что связано с эпохой русского авангарда в мире, не приходится говорить, это давно сформировавшаяся позиция. Анализ этого явления и его актуализация сегодня поможет еще раз осознать место России в мировом архитектурном пространстве.

Hamas, Hezbollah, and so-called “resistance” against Zionist imperialism

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To all those who support the actions of jihadist groups like Hezbollah and Hamas on the grounds that they are supposedly putting up brave “resistance” to the imperialist forces of the U.S.-backed Israeli military, I submit the following quotes from Lenin (whose original theory of imperialism is unfortunately claimed as an inspiration by so many the anti-imperialist zombies floating around today). First, from chapter five of his 1916 work, A Caricature of Marxism and Imperialist Economism:

Imperialism is as much our “mortal” enemy as is capitalism. That is so. No Marxist will forget, however, that capitalism is progressive compared with feudalism, and that imperialism is progressive compared with pre-monopoly capitalism. Hence, it is not every struggle against imperialism that we should support. We will not support a struggle of the reactionary classes against imperialism; we will not support an uprising of the reactionary classes against imperialism and capitalism.

Consequently, once [one] admits the need to support an uprising of an oppressed nation (“actively resisting” suppression means supporting the uprising), he also admits that a national uprising is progressive, that the establishment of a separate and new state, of new frontiers, etc., resulting from a successful uprising, is progressive. Continue reading →

Regressive activism at the recent Toronto G-20 conference

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An excellent piece by Ashley Weger of Platypus provides a desperately-needed critical reexamination of the latest round of anti-globalization protests, which took place at the G-20 Conference in Toronto a couple months ago.  Unsurprisingly, the same predictable scenario of spectacular, ineffectual “resistance” played itself out there yet again.  In some ways, it’s a continuation of conventions established by ’60s and ’70s radicalism.  The newer element, noted by Weger in her article, is the peculiar hodgepodge of unrelated and even contradictory tendencies within the Left that have shown up at these events ever since they were first held back in 1999.  Any notion of a common goal toward which these disparate groups are working, under which they are united, is, however, completely lost on the protesters.  Their “courageous” acts of defiance and non-conformity all too often amount to nothing more than empty displays of a vague, generalized discontent with the status quo, however inadequately they understand it.

Whether or not the riots were provoked by undercover police agents posing as Black Bloc members is irrelevant to an investigation of the fundamental premises of the G-20 marches.  This is so no matter what the excesses committed by the police might have been, since these are matters of purely legal and ethical consideration.  Though many of the accusations of police brutality against innocent protestors might be well-founded, this does not in any way retroactively justify their tactics, goals, and antics.

The characteristics exhibited by the demonstrations in Toronto in late June are nearly all symptomatic of what Theodor Adorno termed “actionism” in his “Marginalia to Theory and Praxis” and in his final published essay, “Resignation” (1968).  His evaluation of this phenomenon was as follows:

Actionism is regressive.  Under the spell of the positivity that long ago became part of the armature of ego-weakness, it refuses to reflect upon its own impotence.

Adorno was here responding to the new wave of mass social activism that was first beginning to emerge in the 1960s, culminating in the widespread protests, demonstrations, and university takeovers of 1968.  When he expressed his misgivings about these protests, Adorno was accused of turning his back on the students’ revolutionary struggle.  To this he responded:

We older representatives of that for which the name Frankfurt School has established itself have recently had the reproach of resignation leveled against us. We had, it is stated, developed elements of a critical theory of society, but we were not prepared to draw the practical consequences from this theory. The objection raised against us be states approximately in these words: a person who in the present hour doubts the possibility of radical change in society and who for that reason neither takes part in nor recommends spectacular, violent action is guilty of resignation. Thinking activists [claim]: among the things to be changed is that very separation of theory and praxis. The trouble with this view is that it results in the prohibition of thinking. The often-evoked unity of theory and praxis has a tendency to give way to the predominance of praxis. Today…one clings to action because of the impossibility of action.

At the present point no higher form of society is concretely visible: for that reason, anything that seems in reach is regressive. The Utopian impulse in thinking is all the stronger, the less it objectifies itself as Utopia whereby it sabotages its own realization.

Repressive intolerance toward a thought not immediately accompanied by instructions for action is founded in fear. Thought, enlightenment conscious of itself, threatens to disenchant pseudo-reality within which activism moves. This activism is tolerated only because it is viewed as pseudo-activity. Only thinking could offer an escape. It is the responsibility of thought not to accept the situation as finite. If there is any chance of changing the situation, it is only through undiminished insight.

Adorno witnessed the anti-intellectualism of popular protest movements firsthand.  This character of unthinking has been more recently addressed by Liza Featherstone, Doug Henwood, and Christian Parenti, in their 2003 article “Action Will be Taken”, written in the context of the (now largely forgotten) antiwar movement.  Activists and protesters, they observed, would rather not “get bogged down in analysis.”  Featherstone, Henwood, and Parenti thus asked: “So over all is the activist left just an inchoate, ‘post-ideological’ mass of do-gooders, pragmatists, and puppeteers?” To which they promptly answered:

No.  The young troublemakers of today do have an ideology and it is as deeply felt and intellectually totalizing as any of the great belief systems of yore.  The cadres who populate those endless meetings, who bang the drum, who lead the “trainings” and paint the puppets, do indeed have a creed.  They are Activismists.

That’s right, Activismists.  This brave new ideology combines the political illiteracy of hyper-mediated American culture with all the moral zeal of a nineteenth century temperance crusade.  In this worldview, all roads lead to more activism and more activists.  And the one who acts is righteous.

Those who participate in events such as the recent G-20 protests often leave with the sense of smug self-satisfaction that comes from knowing that they have “done their part” in order to somehow “make a difference” in the world.  The danger for the Left is not police repression, but rather its own thoughtlessness.  Or, as Weger puts it, in a magnificent line: “[the current crisis for the Left is] not a rain of rubber bullets aimed at it, but the perverse, perennial celebration of its own comatose state.”

Theo van Doesburg’s “Architecture and Revolution — Revolutionary Architecture? Utopian Designs by Tatlin, Lissitzky, and Others” (1928)

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Theo van Doesburg’s surprisingly critical, if somewhat superficial, article on Soviet avant-garde architecture from Het Bouwbedrijf, September 1928 (vol. 5, no. 20):

‘I have the courage to be barbaric.  I cannot follow the works of the expressionists, futurists, and cubists, nor all the other “isms” in which artistic genius awakens.  I do not understand anything about it, it leaves me cold.’

— Lenin

‘I can not keep abreast; we are too obsolescent.’

— Kerenskii

1. Introduction.  The double function which every innovation, be it in the sciences, culture, the arts or architecture, has to fulfill, consists on the one hand of building up piece by piece a new image of the world, while on the other hand an old world image is being broken down piece by piece.  The former is usually the result of the latter.  People do not realize at all how far-reaching the effect of a new concept actually is.  Just reading the writings of the adversaries of new forms of architecture or art makes one realize to what enormous extent jealousy and vexation have grown in the past twenty years.  Do read, for fun, for instance the pamphlet by the pompiériste Camille Mauclair, La folie picturale, to come to a slow realization how terrifying the effect of genius is on yonder side of the new art creation, presently already accepted once and for all.  I do not want to discuss art here any further than is necessary to explain our contemporary architecture, and I do not know whether this kind of pamphlet has also been aired against the international innovation in architecture.  They certainly were not lethal, and although on this side nobody takes the trouble to refute them (for nothing refutes them better and more strongly than The Work), they are not only a national disgrace, but also the mark of an imbalance in the development of spiritual and social progress.  This imbalance is characteristic for Russia.  The new endeavors in the fields of art and architecture (the latter date only from 1923) were certainly not less under attack in Russia than in other countries, and under the Soviet regime there must have been quite a confrontation.  Or do you imagine, you Soviets, in your blind veneration of everything originating there, that the Russian revolution a priori guaranteed free development of the modern creative genius? Do you imagine that, with one blow, the working class broke the bonds which had linked it very closely and very deeply with the bourgeois culture? Do you imagine that the leaders of this class, the Lenins, the Trotskiis, the Lunacharskiis, the Radeks, do have just an inkling of an idea of what was growing and flourishing, beyond class and time, beyond nation and community, in the mind of genius, already severed from the bourgeois long ago? If this were not so, why then did all the ‘revolutionary,’ creative people leave their beloved Russia? In order to import the new from Russia into foreign countries? No…In order to learn what is new there, and to import it…into Russia.  Would they make us believe that Russia has completely autonomously (for instance like ‘little’ Holland) produced a new architecture from the highly praised ‘proletarian culture,’ an architecture in keeping with the demands and needs of the working class? Out of the question.

The fact that a few Polish-Russian artists, chased by the Soviet regime, fled across the borders, each of them carrying an enormous portfolio, filled [186-187] with utopian, fantastic plans for a kind of dirigible-architecture, wanting to push these even as the new communist architecture, does not mean that in Russia itself even one modern, waterproof barrack has been built.  For indeed, when around 1920 all who had creative minds set forth from Russia, armed with abstraction and with the red quadrangle pinned on their sleeves (as the regalia of our formless time), not even a single chair had been built in Russia.  They had only words and promises, good as well as vague nebulous notions, sky high fantasies and intentions for eternity, but in reality nothing had been built as yet.  There was neither a basis, nor money available for that.

This situation was extraordinarily fortuitous for snobbism, and, as a reaction to the fact that central Europe (in which I include Holland here) was farther ahead, and, what is more important, more positive and realistic than yonder, and could give evidence of this with facts, people tried to simply antedate their works and thus transfer their creative activity to an earlier period.  Russia, which, according to the Russians, wanted to be an example to the whole of Europe with respect to social reform, could not fail to be the first and a signpost.  Moscow, actually the only cultural center in the immeasurably vast Russia, was already before the war in direct contact (via Poland) with European art life.  The turn in the field of aesthetics and architecture took place under direct influence of innovations which had occurred much earlier in the cultural centers of Milan, Paris, Berlin, etc., Holland included.

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El Lissitzky’s “Architecture in the USSR” (1925)

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IMAGE: El Lissitzky’s Wolkenbügel (1924)
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 From Die Kunstblatt, No. 2 (February 1925)

Modern architecture in Russia?

There is no such thing.  What one does find is a fight for modern architecture, as there is everywhere in the world today.  Still nowhere is their a new architectonic CULTURE.  Any isolated really new buildings were designed only to meet the need of the moment, and only by some anonymous character, some engineer, over the head of the artist with a diploma.  At the same time, modern architects in various countries have been fighting for some decades to establish a new tectonics.  The main watchwords remain the same: expedient, in suitable material, constructive.  Every generation puts a different meaning into the same ideas.  For many this process is not developing rapidly enough.  There is certainly no lack of forces.  The trouble lies in the economic abnormality of the present time and the utter confusion of their intentions.

In the world of today, Russia is moving at record speed.  This is manifested even in the name of the country: — Russia, RSFSR, SSSR.  Art also advanced at the same tempo.  There the revolution in art began by giving form to the elements of time, of space, of tempo and rhythm, of movement.  Before the war cubists in France and futurists in Italy advanced new theses in art.  There re-echoed loudly in Russia; but from the early years of our isolation we went our own way and put forward antitheses.

The European thesis was: THE FINE ARTS (BEAUX-ARTS) FOREVER.  Thus the arts were made to become a completely private, subjective-aesthetic concern.  The antithesis was: ANYTHING BUT THE FINE ARTS.  [372] Let us have something universal, something clear and simple.  Thus a square is simple, or a glass cylinder.  Out with the painting of pictures! ‘The future belongs to those who have a remarkable lack of talent for the fine arts.’  Organic growth is a simple thing — so is building, architecture.

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Color illustration from Modern Architecture (1929) of a disurbanized dwelling

Ginzburg’s reply to Le Corbusier on deurbanization

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IMAGE: Color illustration in Modern Architecture
of a “disurbanized” dwelling unit (1929)
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My dear Le Corbusier,

Our recent conversation about city planning and your letter have compelled me to rethink the entire problem, to recall your objections, the objections you made when you visited me and which you now write about in your letter.

Like all my friends, I value you tremendously not only as a subtle master architect but also as a man with the ability to solve radically and fundamentally the important problems of organization.

For me you are today the greatest and most brilliant representative of the profession that gives my life content, goal, and meaning.

That is why your ideas and solutions in the area of city planning have for us a quite exceptional interest and importance. Continue reading →

Le Corbusier’s “The Atmosphere of Moscow,” along with His Letter to Ginzburg on Deurbanization

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Barsch and Ginzburg, Proposal for the Green City (1930)

From Le Corbusier’s Precisions on the Present

State of Architecture and City Planning (1930)

*****

I am not trying to learn Russian, that would be a wager.  But I hear people saying krasni and krassivo.  I question.  Krasni means red, krassivo means beautiful.  Before [the Revolution], they say, the terms meant the same: red and beautiful.  Red was beautiful.

If I base myself on my own perceptions, I affirm: red is what is a living being, life, intensity, activeness; there is no doubt.

So naturally I feel I have the right to admit that life is beautiful, or that the beautiful is life.

That little linguistic mathematics is not so ridiculous when one is preoccupied with architecture and planning.

*****

The USSR has decided to carry on a general program of equipment for the country: the five-year plan.  It is being carried out.  It was even decided to concentrate the greater part of the product of present work on carrying out this program: that is why there is no longer any butter on the spinach here,nor any more caviar in Moscow; the savings are used to make foreign exchange.

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