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Download Fulltext ISPS Convention 2017 Convention 2017 “Modernization and Multiple Modernities” Volume 2018 Conference Paper An Eldorado for the Working Class? The import of Constructivism and the Lubetkin Legacy Owen Hatherley Independent researcher, London Abstract This paper focuses on the work of a particular architect whose work between the 1920s and 1960s traverses of the Cold War divides between ’east’ and ’west’: Berthold Lubetkin. Beginning as a student at the Soviet institutions of the post- revolutionary period and then practicing in France and Britain as a paradoxically pro-Soviet emigre, Lubetkin introduced avant-garde ideas to apparently sleepy and anti-modernist Britain. Following his career over this long period, this paper tracks Corresponding Author: the manner in which his work responds to the development of Soviet architecture Owen Hatherley [email protected] from Constructivism to Stalinism, in the apparently different economic and political context of post-war Britain, then embarking on an experiment in social democracy. Received: 26 April 2018 Accepted: 25 May 2018 It then discusses the way in which the buildings have been either conserved or not Published: 7 June 2018 conserved in the context of neoliberalism in Britain, and the ways in which this does Publishing services provided by – or doesn’t – contrast with contemporary Russian practice. Knowledge E Keywords: Constructivism, Communism, Cold War, Welfare State, Architecture Owen Hatherley. This article is distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use and Berthold Lubetkin holds a unique status in British, and to a degree also Soviet, archi- redistribution provided that the tecture – although he is far better known in the United Kingdom than he is in the original author and source are credited. former Soviet Union, unsurprisingly given that it was in the UK that the overwhelming Selection and Peer-review majority of his buildings were actually built. Born in Tbilisi in 1901 to middle class under the responsibility of the Jewish parents, educated in Moscow, Petrograd, Berlin and Warsaw, Lubetkin died ISPS Convention 2017 in Bristol in 1990. Beginning in the early 1930s, he designed a series of apartment Conference Committee. blocks, zoo buildings, and a health centre in London and elsewhere that were among the first serious modernist buildings in Britain, a country that had – certainly compared with the Soviet Union – been exceptionally parochial and slow to develop any sort of response to the modern architecture that had developed across Europe in the 1930s. The precedence, wit and beauty of these buildings, combined with the architect’s How to cite this article: Owen Hatherley, (2018), “An Eldorado for the Working Class? The import of Constructivism and the Lubetkin Legacy” in Page 216 Convention 2017 “Modernization and Multiple Modernities”, KnE Social Sciences, pages 216–230. DOI 10.18502/kss.v3i7.2476 ISPS Convention 2017 exotic origins, strident politics and ability to give a good quote, have made him among the best known and most admired designers in 20푡ℎ century Britain, with a degree of name recognition rare in modernist, or any other, architecture. His work appeared in wartime propaganda posters, with his Finsbury Health Centre, a structure that sat exactly between the ’social condensers’ of mid-1920s Russia and the National Health Service created in late 1940s Britain, appearing on the designer Abram Games’s 1943 poster declaring ’Your Britain – Fight for it Now’, as an image of a promised socialist future as a reward for the sacrifices of the Second World War. He is one of the major figures of a documentary film, Utopia London. He appears on a mural in east London, and his name appears in a comic novel about the decline of the welfare state, Marina Lewycka’s The Lubetkin Legacy. His daughter wrote an acclaimed memoir about his deficiencies as a father. But in the Soviet context, he was in no way an important figure – as his biographer John Allan points out, he was a ’minor participant in huge events’ ([1], 29), both in terms of his participation in the revolution, and in terms of his participation in Soviet architectural debates. In the context of the Ekaterinburg conference on the avant- garde and its legacies, I thought it appropriate to discuss Lubetkin and his work due to his traversal of the Cold War divides between ’east’ and ’west’, and his paradoxical reversals of what we expect to find in either part of the competing Blocs of the 20푡ℎ century. Lubetkin’s architecture and thought exhibits what are deeply Soviet ideas and approaches, transplanted to the most quiet and affluent of bourgeois democracies. In addition, his buildings have been accepted and celebrated to a degree that is still rel- atively rare among the work of his seniors in Soviet architecture, like Moisei Ginzburg or Konstantin Melnikov, and in many cases, his teachers, such as Alexander Vesnin and Nikolai Ladovsky. They have been conserved to varying degrees, in a capitalist context that has, albeit in a far less drastic way to the former USSR, undergone its own shift from a kind of socialism into an unrestrained and harsh capitalism. Accordingly, the fate of his buildings – particularly, his housing schemes - continues to speak of the possibilities of a socialist architecture informed by the ideas of the Soviet avant-garde, and of its ambiguous fate in the present. 1. A Soviet Architect? Lubetkin’s various autobiographical sketches and memoirs mention his support for the Bolsheviks in 1917, when he was a youth, service in the Red Army in the Civil War, and his study at the educational institutions that were so important in the development DOI 10.18502/kss.v3i7.2476 Page 217 ISPS Convention 2017 of the Soviet avant-garde – SVOMAS in Petrograd, and VKhUTEMAS in Moscow (his bourgeois parents, meanwhile, emigrated to Warsaw soon after the revolution). In this Dark House, the memoir of Louise Kehoe, his youngest daughter, stresses Lubetkin’s lifelong commitment to the Soviet project, which collapsed a year after his death, a commitment which is clear from his own writings, although with a certain degree of irony that Kehoe does not credit – she portrays him as a ferocious Stalinist, inflicting show trials and self-criticism tribunals on his own children. However, he left the Soviet Union exceptionally early, in 1922, and did not return until 1953. John Allan ascribes this to ’the curtailment of Proletcult (in which Lubetkin had been involved - OH), the introduction of NEP, the waning atmosphere of free experimentation and the prospect of a return to ’normality’ in the stabilised USSR ([1], 38). If this is true, it would make Lubetkin one of the exceptionally few people to have left the land of the Soviets in the early 1920s because it wasn’t left-wing enough. His gradual movement westwards in the next ten years – first to Berlin, where he assisted with the famous 1922 Exhibition of Russian Art, then to study at Warsaw Polytechnic, then to practice in Paris, then finally to London – suggests more the actions a wealthy dilettante. However, through- out this period, Lubetkin continued to publicly support the USSR, to work with Soviet institutions – particularly the Soviet Embassy in Paris, an occasional patron – and to keep abreast of developments in Soviet architectural and educational culture. The earliest major result of this was at the Paris Exposition of Decorative Arts, in 1925, where Lubetkin was taxed with the difficult task of translating Konstantin Melnikov’s free-form drawings of the Soviet Pavilion into a logical structure. In 1928, he would design with a Belarusian architect a Pavilion for the Soviet Trade Delegation in Bordeaux, in a lightweight fashion that suggests acquaintance both with Melnikov’s work, and with the temporary kiosks of Alexei Gan and Gustav Klucis. But the first place that Lubetkin’s own architecture can be seen emerging is the unbuilt competition entry for the Polytechnic of the Urals in, of all places, Sverdlovsk, so in a sense, a design for the place in which the conference this paper was delivered took place. This sprawling complex shows an interest in classical, rationalist geometry – the circle, most of all – combined with an exploration of the perceptual powers of open space, that showed Lubetkin’s affinity with the Rationalist ASNOVA group, the Soviet faction to which he was probably closest; the elemental approach also resembles the ’utopian’ classicism of late 18푡ℎ century French architects like Boulee and Ledoux, an influence which similarly recurs throughout his career. Other entries were developed by Lubetkin and various Parisian partners for the Centrosoyuz and Palace of the Soviets in Moscow, though of course none were awarded with contracts. DOI 10.18502/kss.v3i7.2476 Page 218 ISPS Convention 2017 Upon his arrival in the UK in 1932, Lubetkin wrote two extremely influential studies of Soviet architecture, which would become the major sources on the subject in the English language until the work of Anatole Kopp and Catherine Cooke nearly fifty years later. The first part of Lubetkin’s contribution, ’The Builders’, begins with an assertion of the value of architectural and social theory, as ’the exhortation to struggle against blind chance is inscribed in gigantic letters on the pediment of socialism’ [6]. From there, he recounts the early years of Soviet architecture, recalling the model of Tatlin’s tower, ’constructed of old tins and cigar boxes’, and the contrast between aspiration and reality in civil war-ravaged Russia; ’herded together in overcrowded flats, with rain driving through the decaying roofs, and deprived of all the things they had formerly been accustomed to, (architects) dreamt of glass and concrete palaces, skyscrapers with batteries of lifts and moving staircases’ [6]. This soon developed into two schools, each with their own organisation.
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