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Owen Hatherley is the culture editor of Tribune. He is the author of several books, including Red Metropolis: Socialism and the Government of London.
In light of the failures of mainstream politics across the board, socialist writer Alex Niven wants to inject a sense of hope back into contemporary life. A champion of the North of England, he believes that literature can help.
Australian historian Sheila Fitzpatrick has spent her career documenting the history of the USSR. She tells Jacobin about her latest project, which looks at the Soviet citizens who migrated to Australia and their complicated relationship with their homeland.
No art movement has ever been so comprehensively faked as the revolutionary “Russian avant-garde” of the 1910s and 1920s.
The borders of Ukraine are no more arbitrary than those of Poland, Greece, Italy, or Germany.
Mark E. Smith of the Fall was one of the late 20th century’s great working-class musicians, but his music suffered from his overwhelming resentment of his middle-class audience.
For all its problems, Twitter served as a public town square — and now, Elon Musk seems determined to drive it into the ground. It’s past time to build a democratic, noncommodified alternative.
Mike Davis forced himself to look at the very worst of our society and world. What he found wasn’t pretty. Yet he never abandoned the search for seeds of positive change — and for socialism.
For many years, Charles Windsor has foisted his opinions about urban design on the British public. The bizarre projects that the new monarch has sponsored, from Dorset to Transylvania, speak volumes about his cloistered and conservative worldview.
For the last few years, enthusiasts have documented Ukraine’s Soviet buildings online. Since February, they’ve been bombed and shelled. What happens next?
How did New York become the only metropolis in the world to insist that its transit map reflect the layout of the city above?
Socialists’ first task in Vladimir Putin’s appalling war on Ukraine: provide unconditional solidarity with its victims.
The 1980s BBC series The History Man was a venomous takedown of academic pseudo-radicals. How does it stand up today?
There’s a reason why urban housing developments and suburban subdivisions can seem threatening and unwelcoming to outsiders: they’re planned that way, in order to “design out crime.”
Lee “Scratch” Perry, who died last week at the age of 85, wasn’t just a sonic genius — he was also a politicized producer whose work was full of demands for justice.
Pulp’s 1995 hit “Common People” isn’t just a Britpop classic — it’s a more honest and brutal analysis of class than you’ll hear in the media today.
Svetlana Kana Radević was one of the great architects of socialist Yugoslavia — her emphasis on public space showed what architecture can achieve when liberated from the constraints of the property market.
During the Vietnam War, the city of Vinh was almost destroyed by US bombing. Socialists around the world helped rebuild it. Today, Vinh’s architecture stands as a monument to that internationalist solidarity.
The architect, planner, and landowner Clough Williams-Ellis dedicated his estate to an experiment in “propaganda for architecture.” How did it become best known as the cutest of all the fictional dystopias?
In the 1920s and ’30s, German publisher Willi Münzenberg built a network of magazines, newspapers, and film studios that terrified big business interests. It became the largest left-wing media operation in history.
This year’s Pritzker Prize, the highest award in architecture, went to French architects who rejected the demolition of public housing. Instead, the architects insisted on renovating and expanding public units to make working-class residents’ homes more modern, humane, and attractive.