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March 5, 2020
Democrats, Globalists & Their Architecture Of Evil: Remember! Their Plan Is To Completely Destroy Our Culture & Replace It With Another Doomed To Human Slavery & Extinction
- Leftists Defile And Destroy Everything They Touch
It’s hard not to notice that most popular music these days is ugly and discordant and the lyrics are often obscene, violent, and even blasphemous. And of course the music industry seems to be controlled, like most other branches of the entertainment industry, by some very evil people; the Illuminati hand signals made by music stars are no accident. Most rock and country western is, quite simply, ugly, and rap and hip hop don’t even deserve to be classified as music. But the graphic arts, painting and sculpture, are just as bad.
Some modern abstract art is balanced and harmonious and clearly was produced by talented people expending a great deal of time and effort. But much of it is shapeless and ugly and was produced by “artists” essentially smearing or flinging paint on canvas; no effort or craftsmanship is needed. Sculptures are equally grotesque, including many of the massive public works that defile public spaces. And much “art” is obscene, scatological, and blasphemous. Remember “Piss Christ,” the crucifix in a bottle of the “artist’s” own urine? It is an ugly piece of trash intended to shock people and insult Christians, produced in 1987 by one Andres Serrano, a “person of color” with a permanent sneer attached to his face. He also liked to photograph corpses and feces.
Then there was the homosexual Robert Mapplethorpe, who produced arty black and white photographs with homosexual themes. These works are tolerated and even popularized due to what I call the Emperor’s new clothes effect. People are told (by self-appointed “authorities”) that certain works are true art, and that all sophisticated people with good taste love them. Dutifully, ego-driven conformists pay to see them at exhibits where they can see and be seen by the “right” crowd, and ooh and awe in delight and make inane comments to prove what sophisticates they are.
And note that such garbage is mostly supported by leftists (and by our tax dollars via the National Endowment for the Arts), and other leftists have been busily destroying “racist” statues of historic figures, and have even defaced Plymouth Rock. Aside from destroying our history, they are also destroying real art, which their comrades are replacing with garbage.
Note that all of this has been accompanied by a general coarsening of our behavior and our standards. People are increasingly tattooed, pierced, and mutilated, and, recently, are being encouraged to undergo dangerous hormone treatments and even have their sex organs mutilated and removed in a futile attempt to change their sex…people are rebelling against nature. People in general and leftists in particular, seem unable to speak without constant recourse to profanity and obscenity, with the “f” word prominently featured.
None of this is happening by accident. The Italian communist Antonio Gramsci (1/22/1891-4/27/1937) explained how communism could be brought about by a slow process of incrementalism, leading by degrees to “democratic socialism” and then to a full-fledged Marxist dictatorship. He insisted that the communists needed to take control of and gradually degrade the culture, including education, the news media, the entertainment industry, and all the arts, to gradually degrade the people intellectually and morally. Sound familiar?
And nowhere is this more obvious than in architecture, the most publicly visible and inescapable art form, literally surrounding all of us on all sides. Of course, beautiful buildings are still being designed and sometimes built, including buildings that are at once beautiful, functional, and affordable. For that matter, beautiful music is being written and played and even recorded, and beautiful paintings and sculptures are still produced. But these do not receive acclaim (or funding) from the powers that be…the Deep State and its NWO overlords.
To be sure, ugly buildings were produced prior to the modern age; not all architects were talented. Often there was an excess of decoration, notable in many Baroque buildings and in many of the Victorian era “ginger bread” houses.
In 1919, right after the terrible First World War that disillusioned so many people and undermined faith in Christianity and in republican government, a German national, Walter Gropius, founded the Bauhaus school of arts, which increasingly focused on architecture. Although Gropius himself was more or less apolitical, many of the architects attracted to the school were socialists or communists.
The style advocated by the Bauhaus spread over the West and became known as the International style, also known as modernist, or simply modern architecture. It emphasized the use of steel frames, large windows or even entire walls of glass, floors and walls of concrete, low ceilings, flat roofs, and rooms that opened onto one another. Rather than being supported by relatively massive walls, buildings would rely on frames, usually made of steel, and the walls would be “curtain walls,” not designed to support heavy loads.
Steel frames and curtain walls are the norm in modern skyscrapers; it would be next to impossible to erect really tall buildings any other way. Bauhaus architects also insisted on the elimination of any form of decoration, and their motto was “form follows function,” for they considered their structures to be efficient and “scientific.” There is nothing inherently wrong with this idea, but flat roofs are impractical in regions that experience heavy snowfall or even heavy rainfall. Also, many international style buildings are anything but efficient and functional. I must confess that I have a certain fondness for some international style buildings; the sense of light and space and austere simplicity is not necessarily a bad thing. But many such structures are ugly, soul-destroying creations; the opposition to any decoration whatever is carried to extremes, and the entire movement became something of a cult.
Some of the most prominent international style architects were men like Mies van der Rohe and Philip Johnson, but perhaps the most famous of them all was the French Swiss architect Charles-Edouard Jeanneret (10/6/1887-8/27/1965), who used the name Le Corbusier. He was an atheist, an anti-Semite, and was in favor of fascism. Many of his early buildings are quite beautiful, with some elements of the international style already present, like large windows and rooms open to one another with few internal partitions. The buildings were decorated, but not to an extreme, achieving a good balance.
Later he insisted on spare, white surfaces, and, usually, flat roofs. Increasingly his buildings became “gimmicky,” employing bizarre shapes that were expensive to build, have dubious structural integrity, and are downright ugly. It seems as if they are intended to shock, or perhaps Corbusier (and all too many of the architects who have followed him) could find no other way to set himself apart from other designers…without “gimmicks” the style tends to result in buildings that look pretty much alike.
The international style, and modern architecture in general, has had its critics. Popular nonfiction author Tom Wolfe (no relation to the Southern novelist Thomas Wolfe), wrote From Bauhaus to Our House, pointing out the ugliness of much modern architecture. He was very critical of leftist phony intellectuals in general and believed that art was more or less controlled by a few wealthy collectors who dictate to the rest of us what to consider beautiful.
More recently, Tucker Carlson on Fox has made similar comments, and is especially critical of public buildings in the US, including the FBI building in DC, which looks like a prison (actually, prison would be the perfect place to put most of the people in the FBI). Paul Joseph Watson, whose videos appear on infowars.com (Alex Jones’ site), is a man who tells the truth even more bluntly than Mr. Carlson, and he is contemptuous of much modern architecture.
Perhaps the most astute critic of modern architecture was Herbert Bangs, who was himself an architect, living and working in Maryland until his death. He wrote an article somewhat critical of the famous architect Frank Lloyd Wright, and he also wrote the book The Return of Sacred Architecture. Bangs believed that much modern art is really anti-art, nihilistic in nature, and that it rejects the individual and causes social alienation. He called for an architecture that is based on “the simple, the functional, and the harmonious.”
Bangs was particularly critical of “gimmicky” architecture produced by architects lacking in talent who are merely attempting to shock everyone. A careful reading of his book leads us to understand the need for balance and avoidance of the extremes, like too little or too much decoration, or an almost complete absence of windows at one extreme, or, on the other extreme, buildings almost entirely made of glass, affording no privacy or sense of security to the people inside. He was also critical of the way many buildings are sealed, with windows that cannot be opened, cut off from the natural world. Also, many modern structures are too linear, and need a few curves, a few graceful arches, for balance.
But his main theme was sacred geometry, the use of proportions based on God’s natural laws. And the specific proportion he considered most important is the Golden Mean, or phi. Imagine a line separated into two parts, A and B, such that A/B equals A+B/A. Phi is an irrational number that can only be approximated; it is approached in the Fibonacci number series (1,1,2,3,5,8,13,21,34,55,89, etc.), where the ratio of two consecutive numbers, higher over lower, gets closer and closer to phi as we proceed up the series. The Golden Mean might be built into the proportions of a door or window, for example, or the proportions of the length over the height of a wall. Bangs believed (and I agree) that these proportions are inherently beautiful, and that they have an almost measurable effect on the well-being of people. He hoped for the emergence of a new and more balanced style in the future.
But our present Luciferian rulers will do everything in their power to prevent that, just as they wish to prevent internet freedom, decentralization of power, a true free market economic system, and (I strongly suspect) the spread of certain suppressed technologies, especially in the fields of health and energy production that might truly empower individuals. Remember that their plan to destroy our culture and replace it with another is, in one sense, doomed to failure, for the leftists defile and destroy everything they touch; they can create nothing. Rebuilding our culture and society will be up to us. Only when these monsters are cast down from power can we human beings, with God’s help, achieve our true potential.
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