Owen Hatherley

The Red Gate tower in Moscow, designed by 
Alexei Nikolayevich Dushkin and completed in 1953.

One of the more intriguing​ recent conspiracy theories centres on the putative suppression of a global ‘Tartarian Empire’, which, before it was destroyed either by the world wars or by a tidal wave of mud, went in for an opulent, gigantist architecture of domes and spires,...

The Jubilee Line​ used to be one of the better London Underground lines to travel on if, like me, you have Crohn’s disease. When the line was extended in the late 1990s, some of the new stations – Stratford, Canada Water, North Greenwich – were equipped with toilets, a great rarity on the Tube. They weren’t very nice, but if you’re liable to need the loo...

In Enrica Colusso​’s film Home Sweet Home, about the recently ‘decanted’ Heygate Estate in Elephant and Castle, southeast London, a town planner explains why nearly all the buildings around him – a large council estate and a covered shopping centre – have to be demolished. They’re not real streets, he says. They’re monocultures – allowing for...

‘For us​,’ Steffen Ahrends told his son Peter, who was born in Berlin in 1933, ‘the history of architecture started with the Soviet 1917 revolution.’ It wasn’t entirely a joke. For many designers in the Weimar Republic, and for subsequent generations of modernist hardliners, 1917 had made possible a reconstruction of life on collective, egalitarian and, above...

In the end postcapitalism, like postmodernism, is the name of an absence, not a positive programme. Like the anticapitalism of the early 2000s, it tells you what it’s not: in this case, the old left, folk politics, social democracy or Stalinism, with their hierarchies and lack of cool free stuff. Postcapitalism, like precapitalism, could be feudalism or slavery or some Threads-like nightmare of devastated cities and radioactive nomads. It tells you that the forces of production make something possible, then suggests either that you demand it, or that you’re already doing it.