Henri Lefebvre

The metropolis, money, and abstraction

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What follows is an extract, some preliminary research, from an essay I’m working on with Sammy Medina. It’s in very rough form, and over-footnoted. Much of it will have to be cut. But I still felt like I had to go through everything step by step to make sure that each stage of the argument holds up. Once that’s done I’m hoping I’ll find shortcuts for how to say it with greater brevity.

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The modern metropolis, both in its historical origins and present-day existence, is the site of capitalist accumulation par excellence. As the German sociologist Georg Simmel put it in his celebrated 1903 essay, “The Metropolis and Mental Life,” “[t]he metropolis has always been the seat of the money economy.”1 Money played a vital role, after all, in shifting the political center of gravity away from the countryside toward the city. Despite the numerous titles and privileges enjoyed by clergymen and noblemen, the townsmen had one mighty weapon in their struggle against feudalism: money.2 By removing the primacy of land tenure (i.e., the manorial system of fiefs and hereditary estates), it eroded the basis of traditional bonds of dependence. “Long before the ramparts of the old baronial castles were breached by the new artillery, they had already been undermined by money,” wrote Friedrich Engels in 1884. “In fact, gunpowder could be described as an executor of the judgment rendered by money.”3

With the increased availability of minted coins in Europe — starting in the twelfth century with the discovery of silver deposits in Thuringia,4 but especially following the influx of precious metals from the New World after 14935 — commodity circulation took place on an expanded scale.6 For merchants and moneylenders living in the cities, the pervasiveness of pecuniary transactions allowed them to leverage their position at the crucible of exchange against the landed aristocracy in the surrounding territories.7 The feudal lords relied on the towns both for their finished wares as well as the occasional loan, and thus fell prey to price gouging and crippling debt. Hard currency thereby helped bring about the decline of feudalism alongside the rise of the revolutionary bourgeoisie.

Cities today invariably reflect this influence. Not simply owing to their past function as the breeding-ground of modern capitalism, but because of their ongoing inundation by the money form of capital as well. Practically every facet of urban life is organized according to synchronized rhythms of exchange.8 Here money acts as a sort of perpetuum mobile, facilitating the circulation of commodities throughout the city and its environs.9 At the same time, however, it accelerates the tempo of daily interactions, since “a change in monetary circumstances brings about a change in the pace of life,” as Simmel observed.10 Whether a town was from the outset a center of trade or a seedbed of industry,11 money eventually permeates its entire infrastructure. Replacing medieval relations rooted in so-called “natural economy,”12 it soon becomes integral to the comings and goings of the whole populace.13

The move away from economies based on barter and the gift, where precise equivalence of exchange is either impossible or besides the point, toward economies based on money and credit acquires an almost world-historical significance in this light.14 Indeed, it is difficult to exaggerate the unique character of a money economy. Continue reading →

On Anatole Kopp

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Representing Soviet modernism

Untitled.
Image: Cover to the English translation of
Anatole Kopp’s Town and Revolution (1967)
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As promised, this post will briefly consider the main theoretical contentions and scholarly contributions of the French-Russian architectural historian Anatole Kopp. My own remarks will be limited to an examination of Kopp’s work on Soviet avant-garde architecture beginning in the 1950s and 1960s. From there, it will seek to ascertain any political implications that result from his dramatic presentation of the modern movement’s adventures in the USSR.

Kopp’s photos of Soviet avant-garde architecture

Moscow, DK Auto factory, photo by Anatole Kopp 1970
Moscow housing commune on Gogol boulevard, photo by Anatole Kopp 1965
Dinamo factory by Ivan Fomin, phographed by Anatole Kopp, 1977
Photo by Anatole Kopp, 1974
Photo by Anatole Kopp
Moscow Proletarian prospect, photo by Antole Kopp 1972
Melnikov club 1965 Anatole Kopp
Zuev Club in Moscow, photo by Anatole Kopp, 1964
Le Corbusier and Nikolai Kolli’s Tsentrosoiuz in Moscow, photographed by Anatole Kopp 1966
Moisei Ginzburg and Ignatii Milinis’ Dom Narkomfin in Moscow, photo by Anatole Kopp (1965)

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With some justice the historiographical claim could be made that, by rediscovering Soviet architectural modernism from the interwar period, Kopp effectively introduced the subject to a whole generation of architects following the Second World War. Scattered accounts remained, of course, from a few celebrated exponents of the “international style” (a phrase that Kopp, like Giedion, never fully accepted). But these had largely been buried beneath these architects’ subsequent achievements, and remained in any case either a source of embarrassment or embitterment that most of them — Le Corbusier, Walter Gropius, Ernst May, Hannes Meyer, Mart Stam, Margarete Schütte-Lihotzky, André Lurçat, Arthur Korn, etc. — preferred to forget.

Henri Lefebvre, 1971

Hegelian Marxist theorist Henri Lefebvre, 1971

Henri Lefebvre, later one of Kopp’s primary collaborators, drew upon Kopp’s reading of the era while spelling out just how groundbreaking his narrative of the Soviet avant-garde was in the 1960s in The Urban Revolution:

Between 1920 and 1930, Russia experienced a tremendous spurt of creative activity. Quite amazingly, Russian society, turned upside down through revolution, managed to produce superstructures (out of the depths) of astonishing novelty. This occurred in just about every field of endeavor, including politics, architecture, and urbanism. These super­structures were far in advance of the existing structures (social relations) and base (productive forces). The existing base and superstructures would have had to follow, make up for their delay, and reach the level of the superstructures that had come into existence through the process of revolutionary creativity. This was a key problem for Lenin during his last years. Today, however, it has become painfully obvious that those structures and the “base” did a poor job of catching up. The superstructures produced by revolutionary genius collapsed on top of a base (peasant, backward) that had been badly or inadequately modified. Isn’t this the great drama of our era? Architectural and urbanist thought cannot arise from thought or theory alone (urbanistic, sociological, economic). It came into being during this total phenomenon known as revolution. The creations of the revolutionary period in the Soviet Union quickly disappeared; they were destroyed and then forgotten. So why did it take forty years, why did we have to wait until today (an age that some claim is characterized by speed, acceleration, vertigo) and the work of Anatole Kopp to acknowledge the achievements of architectural and urban thought and practice in the Soviet Union? (The Urban Revolution, pg. 184).

Kopp’s studies were a revelation not only to Western readers, however, but to many of his comrades in the East as well. Indeed, his archival visits to the USSR roughly overlapped with pioneering investigations in the field by Soviet historians like Selim Khan-Magomedov and Oleg Shvidkovskii. The Soviet modernists’ legacy was unknown even in its country of origin, having been politically suppressed for decades. (Though I’d have to double-check, I seem to recall he even worked in tandem with Khan-Magomedov at one point). Unlike his colleagues/contemporaries, who kept more or less neutral in their appraisal of modern architecture, Kopp assigned it a positively revolutionary value. There is something to this approach, to be sure, though the reasons behind this fact perhaps eluded the historian himself. In the introduction to his seminal treatise, Town and Revolution, he explained some of the motivations for his research. Anticipating potential criticisms, Kopp wrote:

It may be objected that if these buildings and projects, all now more than thirty years old, are technically and formally obsolete, why bother to return to them? Because they constitute an important page of world architectural history and because a knowledge of the history of modem architecture makes it easier to understand and appreciate the architecture of today. Because much current [1966] experimentation and research is merely a continuation of efforts begun during the twenties (when it is not simple plagiarism) and because a knowledge of what was done then could assist modem architecture in escaping from the vicious circle in which it now seems trapped. Because the research undertaken at that time related not only to forms and techniques but also to :first principles and because most of the so-called social programs of today have their origin in that remote period and arc a con­ sequence of precisely the economic, political, and social context that existed then. In my opinion, these reasons are amply sufficient to justify a new look at the Soviet architecture of the twenties. They are, however, only secondary considerations.

The principal reason for undertaking such a study lies elsewhere. For the avant-garde of the Soviet architects of the twenties, architecture was a means, a lever to be employed in achieving the highest goal that man can set himself. For them architecture was, above all, a tool for “transforming mankind.” The world had been turned upside down, a new society was being built on the basis of new productive relations between individuals. Soon it would give birth to a new man freed of the prejudices and·habits of the past. This new society, this new man, could not develop in the old human dens fashioned in the image of a discredited social order. A special environment and appropriate structures were indispensable. But this environment was not conceived merely as a reflection, or material “translation,” of the new society; it had to-be-created Immediately, since only by living in it would man as he was become man as he was to be. Thus was established a dialectical conception of the role of the human environment: a reflection of the new society, it was at the same time the mold in which that society was to be cast. To some extent, the new environment, the new architecture, was viewed as a device designed for correcting, transforming, and improving man. In the language of the time architecture was a “social condenser” within which indispensable mutations were to be produced. (Town and Revolution, pg. 12).

In such passages the logic of Kopp’s argument unfolds magnificently. Here he laid out the case for modern architecture as facilitating, expediting, and even generating social change on its own. Kopp’s own formal training as an architect had come, of course, in the United States, under the supervision of exiled Bauhaus masters such as Walter Gropius and Josef Albers. Returning to France after the war, as Falbel discusses below, Kopp joined the French Communist Party and soon fell into the same circles as the prominent Hegelian Marxist Henri Lefebvre and other leading lights such as Claude Schnaidt. Kopp also came into contact with the well-known French intellectual Paul Virilio, who reminded his interviewer in Crepuscular Dawn that he’d “worked with Anatole Kopp, who published Town and Revolution.” (Virilio goes on to flatter himself in the course of the interview by insisting that it was he, and not Lefebvre, who’d first coined the idea of an “urban revolution”). Continue reading →

Anatole Kopp (1915-1990): the Engaged Architect and the Concept of Modern Architecture

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by Anat Falbel
University of Campinas, Brazil
anatfalbel@uol.com.br

The bulk of the biographical data amassed below comes from an essay by a Brazilian professor, Anat Falbel, so much so that it has been appended in full. It’s rather awkwardly translated, in parts, so I’ve taken the liberty of purging some bits where he equivocates about which word to use. Beyond that, it’s a serviceable enough piece — rather weak in its gloss on Kopp’s politics despite its attention to his party membership, but filled with helpful facts and information throughout.

On engagement

The Petit Robert dictionary defines engagement as “the act or attitude of an intellectual or artist who, aware of his condition as a member of society and of the world of his time, renounces his position as a mere spectator and puts his thinking or his art to the service of a cause.” While he was still a high school pupil, at a time when the ideological debate in France was polarized between right and left, Anatole Kopp become engaged with the French Communist Party (FCP). For the son of Russian Jewish immigrants who was raised between cultural boundaries that permeated and nourished each other, and who faced the chauvinistic and xenophobic France of his youth, the October Revolution signified a new universality, a society free of social as well as national differences, suggesting affinities between Jewish messianic aspiration and a social utopia interpreted as on ethical enterprise.

Record of Anatole Kopp's birth information

Record of Anatole Kopp’s birth information

Kopp’s engagement and awareness of his role as a militant and Modern architect is illustrated in the excerpt below, taken from the 1952 letter he sent to the French Architectural Board that had been refusing his membership since 1947 because of his militant activities. The passage indicates the emergence of on early idea of a modern monument:

…As for as I am concerned, it is the social aspect of architecture that played a crucial role in the choice of studies I have mode. I believe that the path leading to architecture through the Villejuif School, the proletarian towns in Vienna and the great Dam of Dniepr is just as worthy as the way through the Parthenon, the Farnese Palace or the Louvre Colunatta.

…it is widely known that we cannot transform society through architecture or urban planning. To believe in that would be confounding cause and effect…

This study seeks to understand Kopp’s historical work based on his career as an architect and his role as an engaged intellectual. It recognizes his personal struggle with one of the problematic aspects of the militant’s engagement: the need to recognize the primacy of the revolutionary process and the hegemony of the political entity it personified, namely the Communist Party, a primacy that proved increasingly unsustainable in the late 1950s. Continue reading →

Plus ça change, plus c’est la même chose

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On old and new
in modern times


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Image: Umberto Boccioni,
Charge of the Lancers (1913)

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What follows are just a few quotations I’ve assembled from various authors on the peculiar way time operates in modern society, or “modernity” considered as the temporal index of capitalism. They’re here presented more or less in fragmentary outline, without much commentary or exegesis. Nevertheless, I feel like they all revolve around a common theme, and that they have a certain cumulative effect when grouped together. Please pardon me, however, if they don’t possess the kind of self-evidence I impute to them. It may just be me.

In January 1849, only six months after “the first great battle was fought between the two classes that split modern society” — that is, the proletariat and bourgeoisie — just blocks from his apartment, the Parisian journalist Jean-Baptiste Alphonse Karr unwittingly stumbled upon the temporality that characterizes the capitalist mode of production in a casual quip:

The more things change, the more they stay the same.

Jean-Baptiste Alphonse Karr, epigram (1849) Continue reading →

Stalinism in art and architecture, or, the first postmodern style

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Book Review:

Boris Groys’ The Total Art of Stalinism

Vladimir Paperny’s Architecture in
the Age of Stalin: Culture Two

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Originally published by Situations: Project for the Radical Imagination (Vol. V, No. 1). You can view a free PDF of the document here.

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Last year, the English translations of two major works of art and architectural criticism from the late Soviet period were rereleased with apparently unplanned synchronicity. A fresh printing of Vladimir Paperny’s Architecture in the Age of Stalin: Culture Two (2002, [Культура Два, 1985]) was made available in June 2011 by Cambridge University Press. Verso Books, having bought the rights to the Princeton University Press translation of Boris Groys’ Total Art of Stalinism (1993 [Gesamtkunstwerk Stalin, 1988]), republished the work in a new edition. This hit the shelves shortly thereafter, only two months after Paperny’s book was reissued.

Each book represents an attempt, just prior to the Soviet Union’s collapse, to come to grips with the legacy of its artistic and architectural avant-garde of the 1920s, as well as the problematic character of the transition to Socialist Realism and neoclassicism in the mid-1930s, lasting up until Stalin’s death in 1953. Not only do Paperny’s and Groys’ writings follow a similar trajectory, however: they intersect biographically as well. The two authors knew each other prior to their emigration from the USSR and still maintain a close personal friendship. But their arguments should not for that reason be thought identical. Paperny began his research much earlier, in the mid-1970s, and Groys’ own argument is clearly framed in part as a polemical response to his colleague’s claims.

Left: Vladimir Paperny, painted by Diana Vouba;
Right: Boris Groys painted by Luca Debaldo

Both can be seen to constitute a reaction, moreover, to the dull intellectual climate of official academic discourse on the subject during the Brezhnev era. In his introduction to the English version of Paperny’s book, Groys recalls the “background of almost total theoretical paralysis” against which it first appeared in 1979. “[I]t felt like breathing fresh air in the stale intellectual atmosphere [of Moscow] at the time,” he wrote.1 Indeed, Eastern Marxism’s most talented aesthetic theorists after the expulsion of Trotskii were by and large conservatives — the repentant Georg Lukács or his equally repentant protégé Mikhail Lifshits, each an apologist for the Zhdanovshchina and hostile to modernism. After destalinization commenced in 1956, following Khrushchev’s “secret speech,” the tables were turned. Socialist realism and neoclassicism were out; the heroic avant-garde movements of the 1920s were back in (albeit in the diluted, vulgarized form typical of Khrushchev). With the rise of Brezhnev in the mid-1960s, the thaw came to a close. But full-fledged Stalinism was not reinstated, at least not in the realms of art or architecture. Now neither alternative — modernism nor Stalinism — appeared in a particularly favorable light. That they had existed was accepted on a purely factual basis, as part of the historical record. Expressing an opinion on either, however, much less an interpretation, was generally considered unwise. Continue reading →

The humanization of nature

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A sorely-needed corrective 


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The socialist revolution calls for terrifying windowless towers, desolated lots and plazas, massive concrete slabs thrown into the earth.

It goes without saying that people ought only live in buildings that they might once have feared. Someday we may all feel so free and at ease in the world we have built as to dwell in buildings that would have formerly dwarfed and intimidated us.

This requires absolute atmospheric agency: the conquest of gravity, victory over the sun, fantastic weather machines, a translucent vault or dome to seal off the heavens (when need be). Inside the enclosed space, an architecture of the well-tempered environment, with universal ventilation and air purification [respiration exacte] to accommodate the human lung. Mosquitoes will have been abolished.

Not only this, however. The socialist reconstruction of nature [социалистической реконструкции природы] also demands total geological dominion: vast terraforming projects that effortlessly tunnel through tough silicate and shruggingly shear off the sides of mountains, complete orthogonality, a Vernean clockwork at the center of the Earth. No longer Níðhöggr gnawing at the roots of the world-tree — the wyrm instead replaced by gears and wires stemming from the centrifuge. Tectonic plates will still shift following the revolution, but only when they are compelled or granted permission.

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From this it clearly follows that the dictatorship of the proletariat [Diktatur des Proletariats] heralded by Marx would at the same time simultaneously constitute the dictatorship of the right angle [dictature de l’angle droit] attributed to Corbusier by Lefebvre. A common demiurgic impulse thus seems to underlie both the Ricostruzione futurista dell’universo envisioned by the Italian futurists (future fascists) Giacomo Balla and Fortunato Depero and some of Trotsky’s closing lines in Literature and Revolution: Continue reading →

The spatiotemporal dialectic of capitalism

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Introduction

To understand the history of architectural modernism and eclecticism as they emerged out of the late nineteenth and early twentieth centuries, one must take into account the broader development of architecture over the course of the latter half of the nineteenth century. This development, in turn, must be seen as emerging out of the dynamic of late nineteenth-century capitalism, which had by that point extended to encompass the whole of Europe. For it was the unique spatiotemporal dialectic of the capitalist mode of production — along with the massive social and technological forces it unleashed — that formed the basis for the major architectural ideologies that arose during this period. Before the story of the academicians or the avant-garde can be told, then, some background is necessary to explain both their origin and the eventual trajectory they would take into the early twentieth century.

So while my aim is to eventually account for how a single social formation, capitalism, can give birth to these two opposite tendencies within architectural thought, the space required to give an adequate exposition of the spatiotemporal dialectic of capitalism is such that it deserves to function as a standalone essay. Certainly other trends, both cultural and social, could be understood as reflections of this underlying socioeconomic dynamic. It is thus my intention to post this as its own piece, before then proceeding to detail the way in which architectural modernism and eclecticism mirrored these dynamics. Continue reading →

A Study of the Marxist (and Non-Marxist) Theory of Imperialism

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The Death of Global Imperialism (1920s-1930s)

As part of my study of the spatial dialectics of capitalism, I have been reading not only the more recent Marxist literature by Henri Lefebvre on The Production of Space or David Harvey’s excellent Spaces of Capital, but also some of the more classic works on the subject.

Marx’s own account of the spatiality of capitalism can be found in the Manifesto of the Communist Party, his Grundrisse of the early 1860s, and his posthumously published Capital, Volume II.  In the Manifesto, he talks at length in the first section of the globality of capitalism, of the formation of the world-market as part of the historical mission of the bourgeoisie.  In the latter two works I mentioned, the spatial dimension of capital is raised in connection with the ever-improving means of transport and communication, in facilitating the circulation of commodities.  Marx explains the dynamic in capitalism by which it breaks through every spatial barrier that it comes across, such that it seems to embody a sort of terrestrial infinity realizing itself through time.

But I am interested in some of the later work that was done on the Marxist theory of imperialism, both before and immediately after the 1917 Revolution.  This would have an obvious bearing on the spatial extension of capitalism throughout the world.  In this connection, I have drawn up a brief reading list:

  1. John Atkinson Hobson.  Imperialism: A Study (1902).  Though a pacifist and political liberal, Lenin considered his study of imperialism vastly superior to Kautsky’s, which had by then joined forces with the bourgeois apologists.
  2. Rudolf Hilferding.   Finance Capital: A Study of the Latest Phase of Capitalist Development (1910).  This book was extremely influential in its time, and established a number of concepts regarding monopoly capitalism and finance capital that Lenin would later rely upon.  The two chapters on “The Export of Capital” and “The Proletariat and Imperialism” are relevant to any study on imperialism.
  3. Rosa Luxemburg.  The Accumulation of Capital (1913).  This is Luxemburg’s greatest contribution to the economic theory of Marxism.  Though she and Lenin disagreed over some of its premises and conclusion, the book remains extremely important for the analysis of imperialism.  The chapter on “Foreign Loans” addresses this directly.
  4. Vladimir Lenin.  Imperialism, the Highest Stage of Capitalist Development (1915-1916).  This work scarcely needs any introduction.  The entire book is a study of imperialism as a stage in capitalist development.
  5. Nikolai Bukharin.  Imperialism and World Economy (1917).  This book, which includes a favorable introduction from Lenin, seems to me to perhaps be the most pertinent to my own studies, since it places the “world economy” as  a centerpiece for its analysis.

I am hoping perhaps a few of my Marxist friends will join me in reading some selections of these books.  In my understanding of the subject, the imperialism described by Hilferding, Luxemburg, Lenin, and Bukharin were very specific to the time in which they were living.  According to their theories, it involved vast capitalist trusts and cartels, gigantic monopolies, along with huge amounts of finance capital backing them through the banks.  I think that Lenin’s theory of imperialism is all too often invoked in describing present-day imperialist ventures.  It continues to be a force within the greater complex of capitalist globalization, which has been taking place ever since the social formation first emerged.  But historical conditions have changed since Lenin’s time, and in light of the neo-liberalist recalibration of capitalism, I think some of the fundamental categories we retain from Lenin’s analysis of imperialism might have to be rethought or slightly modified to accommodate present-day realities.

I personally am interested in the historical imperialism that Lenin et al. were studying, i.e. the form of imperialism that existed between 1880 and 1939.  Are there any other suggestions for reading on this subject? Ren, I’m looking to you.  But others are welcome to make suggestions as well.