In this new video, Paul Joseph Watson discusses the unsurprising trend of globalist architecture where “aesthetic terrorists” are committing “architectural jihad” in the name of modern progress, while ruining cities in the process. Don’t miss it.
Paul Watson Video: Sh*thouses
The globalist lust for ugliness.
The Archeotec must have been smoking wacky Weed with they drew up the blueprints for that ridiculous looking building
Ever wonder WHY the LEFT is so intent to ERASE OUR HISTORY?? How can you sell MISERY as NORMAL if there are still SIGNS of real HOMES and DECENCY?? Truly pathetic that this is being done out in the open and worse yet, that it’s evidently being ACCEPTED by youngsters! The INDOCTRINATION AGE has now been shifted DOWNWARD to the little ones! God help us all!
Reminds me of the hilarious line from Full Metal Jacket . . .
“Private Pile; you’re so ugly, you could be a modern art masterpiece!”
One thing that was tragic was when after WWII, flaming democrats got a bug up their asses & tore down beautiful classical, stone Court Houses to put ugly, flat “modern” steel structures in their places. (“We got all this taxpayer money, so let’s spend it on modern art masterpiece eye-sores!”)
For years, we’ve noted that the easiest way to find the government buildings in a strange city is to look for the most gawd-ugly structures … or at minimum, the buildings with the giant piles of dog turds out front labelled “sculpture”. Public-funded art for public spaces has been leading this ride down into the UglyHole longer than has architecture.
This stuff can basically be seen as descendants of the early 20th Century Dadaism movement. This latest crop does more-than-ever reflect the rising of the hive mind and yes, it appears we are headed toward a collective “insectoid” future.
The juxtaposition of the homes in the Shire and the towers of the techno-nightmare, with musical accompaniment, was brilliant.
The International Style was a form of modern classicism that used new materials to create finely proportioned spaces and structures that clearly expressed the forces at work in buildings.
A generation later, architecture faculties encouraged students to use modern materials to cartoon classical styles (e.g., Johnson’s AT&T Building) and to create shapes that defied the natural ability of structural materials to carry loads (e.g., Saarinen’s TWA terminal at Kennedy Airport).
Next came the mocking of classical forms by architects like Frank Gehry, followed almost immediately by make-believe “organic” forms built of inorganic materials. It seems that by the turn of this century, public architecture became a contest to achieve the least appealing – often the most appalling – form, as an expression of will bearing no relationship to the function of the building.
Nevertheless, some architects in this century are capable of creating noble public spaces while paying homage to the current fads of green roofs, minimal energy use, and “fitting in.”
If only Donald Trump had praised the travesties being created with federal funds; he might have spurred a return to classical beauty in public architecture.
Thank you, thank you thank you. I am not alone. For years I’ve wondered what the heck was wrong with all of the Frank Gehry monstrosities that are foisted on our society. All of those “in the know” fawn over them like the first time they slobbered over their father’s Playboy or favorite movie star. They’re dated even before their finished. Remember the ’80’s and all of the Post-Modern junk/Memphis style that was around? Yeah. Now it looks tired and sad. Gehry’s stuff is just “shiny” and sad.
…excuse me…”they’re”, not their. Mea culpa.