Ask a conservative why Britain’s cities and towns often look so ugly, and you’ll likely be told that it’s intentional: the result of post-war utopianism and the establishment’s inexplicable embrace of modernist architecture. For the traditionalist magus, Roger Scruton, such a development was “the greatest crime against beauty the world has yet seen”. In this account, it is the fanatical architect, zealous planner, and toadyish politician who are to blame for the handsome streets of yesteryear giving way to atomised ruin. The malaise may be aesthetic, but its roots are moral.
What is not asked, however, is why? Why did Britain, and much of the West, suddenly insist on remaking the built environment at such speed? The idea this resulted from a sudden bout of cultural self-loathing is supported by no evidence. The same is true for the notion that despite founding Nato and trying to maintain its empire, post-war Britain was somehow stuffed with surreptitious Marxists, from the commanding heights of Westminster to the planning offices of your local town hall.
Like most simple, comforting stories, this is wrong — a convenient narrative for inaction and self-satisfied moaning. What is needed instead is a Marxist, materialist account of why the built environment changed as it did. History, after all, is not forged purely by ideas.
What does a materialist analysis tell us? Firstly, that conservative concepts of beauty are incongruent with a devotion to the free market, something which Marx identified 150 years ago. Capitalism, driven by a relentless quest for profit, requires constant spatial transformation. This means we have the buildings we do because, for the most part, somebody somewhere is making a buck. This is difficult to grasp for many on the Right because they have elevated profit into a kind of ethical value (although this wasn’t always the case). But it should be relatively obvious, and far less outlandish than the idea that your nearest Wilko or TK Maxx looks the way it does because of the malevolent influence of Oscar Niemeyer. As Marx wrote in The Communist Manifesto: “All that is solid melts into air; all that is holy is profaned.” This is why a commitment to the free market, and to social and aesthetic conservatism, are irreconcilable.
This is most conspicuous today with Purpose Built Student Accommodation (PBSAs), those modular ziggurats afflicting skylines across Britain, from Altus House in Leeds to Beckley Point in Plymouth (each is the tallest building in their respective city). In Cardiff, more than 7,000 student “flats” were built in just three years.
These buildings are springing up like medieval Bolognese towers for two reasons: firstly, because the building standards are lower for student developments than either residential housing or housing in multiple occupation; and secondly, because building them is lucrative. Forget Marxist council officers and architects with fantasies of becoming the next Frank Gehry. These buildings are being assembled in the quest for profit.
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