From the Sublime to the Repulsive: Thoughts on Gentile Beauty and Jewish Uglification in Architecture

If you want to feel your head swim, consider this awe-inspiring fact. When Christ was born two thousand years ago, the Great Pyramid at Giza was already more than two thousand years old. In fact, the Great Pyramid is about 4500 years old. But reproducing it would challenge — and perhaps defeat — the technology and organization of modern America or Britain. It’s the worthy structure that begins a fascinating and enjoyable book called Great Buildings (2012), whose subtitle promises The World’s Architectural Masterpieces Explored and Explained.

Great Buildings, a fascinating book that says much more than it intends to

The book was written by an English architectural historian called Philip Wilkinson and belongs to the often excellent Dorling Kindersley series of large-format surveys of history, technology and science. But the book does much more than its author and publisher intended, because it implicitly supports some heterodox and even heretical ideas about politics, culture and human biological difference. When he’s presenting dates of construction, Wilkinson uses “BCE” and “CE,” the supposedly inclusive but actually anti-Christian and anti-Western abbreviations that stand for “Before Common Era” and “Common Era.” Those abbreviations were invented by Jewish academics to replace “BC” and “AD,” meaning “Before Christ” and “Anno Domini” (in the year of Our Lord). In other words, these Jews wanted to push Christ and Christianity out of history. They have succeeded getting their terminology adopted by mainstream publishers, and it has been eagerly adopted by the left generally. It’s one apparently small but in fact very significant expression of leftists’ hatred of Western civilization and their longing to dominate it, destroy it, and rule the ruins.

Man-made mountain — the Great Pyramid at Giza, c. 2500 BC (image from Infogalactic)

By adopting that anti-Western chronology, Wilkinson and his publisher reveal their own leftism. But the book they created is an implicit repudiation of leftist dogma on the oneness of humanity. Large buildings have always been the clearest and most obvious examples of what German might call Kulturgeist, that is, culture-spirit or the expression of the unique traits and abilities of a particular culture. But a culture-spirit is ultimately a race-spirit, an expression of the genetically influenced abilities and preferences of a particular racial group. And once it is complete, a pyramid or a cathedral or a temple becomes a central part of culture-gene interaction: it creates an environment in which members of a particular race can feel happy, energized, positive about themselves and their future, prepared to invest in and work for posterity. Great Buildings is, in effect, a tour of different race-spirits and the different ways in which genetically distinct groups of human being have constructed buildings to suit themselves, strengthen their culture, and attempt to secure the survival of their civilization.

Angkor Wat and Chartres Cathedral (images from Infogalactic)

And what has suited human beings in their architecture throughout almost all of history has been the combining of beauty and grandeur. In their racially distinct ways, the temple-complex (c. 1150 AD) at Angkor Wat in Cambodia and Chartres Cathedral (1194–1223 AD) in France both pursue that goal. But you could say that Angkor Wat is chthonic and Chartres is astral. Angkor Wat seems to grow out of the earth and seems to remain deeply rooted there. Chartres aspires to escape the earth, to draw the mind and spirit heavenward to dwell among the stars.

But there are also distinctive architectural traditions within the West. The Palatine Chapel in Aachen, Germany, and the Borgund Stave Church at Lærdal, Norway, are brother-buildings, but are different in more than simply their choices of building-material. The Palatine Chapel, built in stone, is part of Roman tradition; the Borgund Stave Church, built in wood, is Scandinavian. Both are Christian, both are beautiful, both are rooted in paganism. But they’re distinct and affect the eye and mind in different ways.

The Palatine Chapel and the Borgund Stave Church (images from Infogalactic)

That is, after all, the central role of architecture: to celebrate and affirm the spirit of a particular culture, its gods and its history. Or at least, that was the central role of architecture. Great Buildings does something else that its author and publisher did not intend: by presenting so many centuries of great architecture so well, it underlies the radical — and repulsive — nature of a grand discontinuity that struck the Western world in the twentieth century. You could say that the book begins with a man-made mountain and ends with merde maximale — maximal shit from the present day. The Great Pyramid at Giza is a man-made mountain and the merde maximale is the work of modernist architects like Frank Gehry (born 1929) and Zaha Hadid (1950-2016). Gehry is Jewish and designed the appallingly ugly, obtrusive and eye-assaulting Guggenheim Museum in Bilbao, which displays ugly modernist art under the auspices of the Solomon R. Guggenheim Foundation, as set up by the Jewish plutocrat Solomon R. Guggenheim (1861-1949).

Gehry’s grotesque Guggenheim Museum in Bilbao (image from Infogalactic)

I think the Jewishness and the ugliness of the building and its contents are related. Until it reaches the section entitled “1900 to Present,” Great Buildings displays and discusses glorious architecture inspired by major world religions like Hinduism, Buddhism, Christianity and Islam. One religion is conspicuous by its absence: there was no glorious architecture inspired by Judaism. But you could say that modern architecture is inspired by Judaism — Jewish values, Jewish ideas, Jewish money. And that’s why architecture has descended from the sublime to the repulsive.

The invention of Jewish genius

You can see the same descent and same discontinuity in books about the history of art. Before the twentieth century, art was sublime; during the twentieth century it turned repulsive. Modernist art-movements like Dadaism assailed traditional standards of beauty and meaning, and abandoned traditional requirements for artistic competence and realism. Brenton Sanderson has exposed the Jewishness of Dada in his article “Tristan Tzara and the Jewish Roots of Dada.” He’s also discussed — and demolished — the work of the Jewish “genius” Mark Rothko (1903-70), one of the supreme exemplars of the abandonment of artistic competence. When goy philistines say “My six-year-old could have painted that” of a Rothko painting, they’re usually quite right. But one of the great advantages of abandoning artistic competence and realism, from the Jewish point of view, was that it enabled power to pass from gentile artists to Jewish art-critics and art-dealers, who were then able to promote (and profit from) Jewish “geniuses” like Rothko and Marc Chagall.

“Mensch” Richard Rogers and his architectural evisceration, the Centre Georges Pompidou in Paris (images from Wikipedia)

Alas, unlike art, architecture isn’t suited for the stripping away of all competence and technical ability. Even Jewish architects have to be able to design buildings that stand up, resist the elements, and refuse to collapse in all but the most extreme circumstances. But modern architects don’t have to be able to design buildings that delight the eye and elevate the spirit. Indeed, they’re now trained to design buildings that do the opposite: dismay the eye and depress the spirit. According to Great Buildings, the “prestigious Pritzker Prize” is “architecture’s highest honour.” It was established by the Jewish plutocrat Jay Pritzker (1922-99) in 1979 and has been awarded to atrocity-mongers and uglifiers like the Jewish Richard Rogers (1933-2021). Rogers was saluted as “a mensch of an architect, full of whimsy, genius and morality” by the Jewish Forward magazine on his death in 2021. Well, I would describe his acclaimed Pompidou Centre not simply as an architectural abortion but as an architectural evisceration. The viscera of the building — its pipes and ducts and elevators — have been strewn over its exterior. It’s a supremely ugly and uninspiring spectacle. Naturally enough, it’s hailed as a masterpiece of modernism.

Merde MAXXImale: Zaha Hadid and her MAXXI Museum in Rome (images from Wikipedia)

The “prestigious Pritzker Prize” was also awarded to Zaha Hadid (1950-2016), a lavishly praised female architect who embodied the ugliness of modernism and the catastrophic decline of architecture in more ways than one. She was personally ugly and Great Buildings describes her as “Iraqi-British.” That is, she was an Iraqi Muslim who first took a mathematics degree in Beirut before studying architecture in London. She then went on create horrors like the MAXXI, a museum of modern art in Italy. Perhaps Hadid learnt French during her studies in Beirut and would have understood me when I call the museum merde MAXXImale — “MAXXImal shit.” If so, she would also have understood the ominous words of the French modernist Le Corbusier (1887-1965): “Une maison est une machine à habiter.” Great Buildings translates those words into English: “A house is a machine for living in.” Le Corbusier was a gentile but was one of the greatest proponents of uglification in architecture. Hadid certainly made his principle central to her work. Like those of so many modernists, her architectural abortions look like kitchen utensils or household appliances reproduced on a gigantic scale in concrete and steel.

Taj Mahal - a symbol of eternal love - FlyKLIA

Miracle in marble: the Taj Mahal in India

In giving so many archi-abortions to the world, the Muslim-born Hadid broke with a glorious Islamic tradition of beautiful architecture. For me, the greatest building of Great Buildings is the Taj Mahal, the “vision of shimmering white marble” erected by the Mughal emperor Shah Jahan (1592?-1666) near the river Yamuna in northern India. Like Christianity but unlike Judaism, Islam has given great beauty to the world in its art and buildings. Chartres Cathedral, a Christian masterpiece included in Great Buildings, rivals the Taj Mahal for beauty but does not match it, in my opinion. One reason for that is that the Taj Mahal incorporates an element of beauty that was far less developed in the Christian world: calligraphy. Indeed, as Great Buildings points out, only one identity is certain among the myriad craftsmen who worked on the Taj Mahal, that of the Iranian calligrapher Amanat Khan, who embellished the Taj Mahal with quotations from the Qur’an in an alternately sinuous and sword-like script.

A giant open-air urinal

Khan’s calligraphy is, perhaps, the final touch that brings the Taj Mahal as close to perfection as any building has reached. Islam does not belong in the West, but has given the world some truly beautiful architecture. Judaism is many centuries older than Islam and has given the world no beautiful architecture. Indeed, Jews have responded to the ethical atrocity of the Holocaust by inflicting aesthetic atrocities of their own on the world, like the Memorial to the Murdered Jews of Europe in Berlin and the so-called Museum of Tolerance in Los Angeles.

Aesthetic atrocities: the Memorial to the Murdered Jews of Europe in Berlin and the Museum of Tolerance in Los Angeles (images from Wikipedia)

Fortunately enough, neither of these horrors appears in Great Buildings. The author and publisher may have been anxious to placate Jews by including the dreck of Rogers and Gehry, but they didn’t want to take sycophancy too far. The Memorial in Berlin looks like a giant open-air urinal and the Museum of Tolerance like a post-modern public lavatory in fetching fecal shades. Perhaps the appearance of the Memorial and the Museum is a private Jewish joke about “taking the piss” and “peddling shit.” What’s certain is that Jews don’t mind commemorating the Holocaust with very ugly architecture that is completely lacking beauty and grandeur.

Temple of Inscriptions | Inside is the tomb of the Mayan rul… | Flickr

Replication of the Parthenon in Nashville Greece (top) and the Temple of the Inscriptions in Mexico

And what is that something? It’s intelligence. Building big demands brain-power. Great Buildings doesn’t discuss this stark biocultural fact, but it’s the one thing that unites the very distinct traditions of East and West, of the Old and New Worlds, of Greece and China and Mexico. Tall structures that stand for hundreds or thousands of years aren’t only expressions of race-spirit but also assertions of IQ. You have to be bright to build big. Architecture is also an example of the non-linear powers that high intelligence gives the groups that possess it. For example, European Whites or East Asian Chinese are not hundreds of times more intelligent than sub-Saharan Blacks or New Guinea tribesmen. Yet the structures created by the former races have been hundreds or thousands of times larger and taller and longer-lasting than the structures created by the latter. In a related way, the subversive and anti-Western Jewish billionaire George Soros is not thousands of times more intelligent than Kevin MacDonald or Steve Sailer or Vox Day. But he is, alas, thousands of times richer and more influential.

Unfettering intelligence from aesthetics

The subversive and anti-Western Jewish plutocrat Jay Pritzker was also thousands of times richer and more influential. And his influence, like that of George Soros, has been pernicious. As I pointed out above, Great Buildings describes the “prestigious Pritzker Prize” as “architecture’s highest honour.” But it’s an honor that goes to those who have smashed the millennial-long tradition of beauty and grandeur in architecture. When you reach the final section of Great Buildings, you enter an era of repulsive ugliness and absorb the central lesson of modernism. The lesson is this: When intelligence is unfettered from aesthetics, you get atrocity. Modernism unfettered intelligence from aesthetics in architecture, whereupon the Western world was assailed with the architectural abortions of the twentieth century. You can see that radical and repulsive discontinuity in the single nation of France. Unlike beautiful Chartres Cathedral from the Middle Ages, which has elevated the spirit and enriched the life of France, the ugly Pompidou Centre has assaulted the spirit and undermined the life of France. Once again, it’s not a coincidence that Chartres was created by goyim and the Pompidou Centre by a Jew.

The Choir of Chartres Cathedral

Chartres is also a reminder that Mencius Moldbug, aka Curtis Yarvin, was both utterly wrong and highly dishonest to give the name “The Cathedral” to the vast, interlocking system of anti-White and anti-Western activism, subversion, and propaganda that currently controls politics and the media. The beauty and grandeur of cathedrals like Chartres are integral to the West. But Yarvin’s so-called “Cathedral” hates cathedrals and the Christianity that inspired them. He should have of course have called that system “the Synagogue,” because Jews are central to its subversion and its hatred of the West. Why didn’t he give the hate an honest and accurate name? You won’t be surprised to learn that Yarvin himself is Jewish.

Experience Australia from your home with virtual events at Sydney Opera House and Arts Centre MelbouThe Sydney Opera house (image from Infogalactic)

There are no synagogues in Great Buildings. And I don’t think Philip Wilkinson, the author of the book, is Jewish. He doesn’t have a Jewish name and most of his book is a celebration of genuinely great buildings that embody the beauty and grandeur of true architecture. Furthermore, two of the modern buildings he describes — the Chrysler Building in New York and the Sydney Opera House — aren’t architectural abortions. They don’t match the best of the past, but they too are great buildings. Perhaps they’re also glimpses of what the twentieth century’s architecture could have been like without the dominance of Jews.

70 replies
  1. Peter London
    Peter London says:

    The caption to the image of the Great Pyramid at Giza should read 4500 BP [before present] not BC.

    [thank you!]

    • Hayden
      Hayden says:

      No it shouldn’t. I’m a historian and BC (before Christ) and AD (Anno Domini ‘in the year of the Lord’) is perfectly acceptable. If one wants to be pedantic and technically correct in modern writing it *should* read BCE (Before Common Era and CE Common Era.) Either are acceptable. In all my readings and studies I have never ever heard of BP Before Present, it also doesn’t make sense.

        • Emicho
          Emicho says:

          They shouldn’t put anything as no one seems to have a clue when or how the Pyramids were built.
          Perhaps 33 degree Freemasons know?
          It would be more honest to just put a question mark.

      • charles frey
        charles frey says:

        A.D. is ” disappeared “, while their reckoning of time is eternally legitimate.

        I well remember some of the jewish reasoning pushing this more ” inclusive ” modernization.

      • Thomas
        Thomas says:

        These are two distinct time quantifications, Hayden. BP means before the current day, so 2022, while BC means Before Christ or the beginning of our calendar. His point was that the pyramid is 4500 yrs old, so it should be 4500 BP. When you say 4500 BC, that would make it 6500 years old & that was the discrepancy he was pointing out. BP is not a Jewish truck like BCE. It is a valid measurement

  2. Matthew D Waggener
    Matthew D Waggener says:

    The jew is by no means an organizing element but rather a ferment of decomposition. Removal is the only path to regained health. Our health is reflected through our art, music, literature, & architecture.
    Thank you, Tobias, for another excellent article.

    • Luke
      Luke says:

      ” a ferment of decomposition”

      And, with the current White House administration being at least 80 percent, or perhaps higher, staffed with what has to be the the largest infestation of jews of any prior White House Administration – we can see how rapidly jews can destroy and subvert and weaken every niche of a White European, Western civilization. In the 19 months these jews have brazenly stepped out from behind most of their race treasonous, certainly blackmailed or compromised, or simply self-hating, self-loathing, America hating White Marxist-Communist, White sabez goy front men – surveying and trying to tally up the destruction that they have done to America is nothing short of some kind of supernatural level of decomposition.

      Borders wide open. Public schools teaching elementary school kids about anal sex and grooming them to chop of their genitals. Same schools brainwashing young white kids with CRT, teaching them to hate themselves and the race they were born into and especially hating their 100 percent White Founding Fathers and ancestors. US military also brainwashing our White servicemen and women with anti-White racism, a.k.a, CRT baloney. US military, as a means of purging the free-thinking, common sense oriented servicemen and women from the military – our 80 percent plus jewish occupied government mandates dangerous vaccines that have hundreds of extremely harmful, adverse side effects such as myocarditis, destruction of the natural immune systems, decreasing and probably purposefully destroying the fertility levels of our White military members so they cannot have any White children. Vaccines which are causing miscarriages by pregnant females. Vaccines which are actually causing people to have heart attacks and they wind up dropping dead at rates and at age ranges which have been unheard of in the history of medical science. The jewish controlled Hollywood and now all of the TV networks and the streaming services now pushing miscegenation, irresponsible use of illegal drugs, excessive consumption of alcohol, homosexuality, lesbianism, tranny freak degeneracy in literally every new movie or TV show that hits the threaters or DVD market or streaming video services. Bottom line – if some new fad or trend or poison can cause irreparable harm to the traditional, White American family structure – the jews are 100 percent behind it, 100 percent eager to fund and finance and promote it as the ‘new normal’.

      Agents of decomposition, indeed. They are akin to a cancer that is metastasizing inside White Western Civilization and if they are not stopped, they will succeed in their goal to destroy White Western Civilization anywhere it exists on this Earth.

    • Johan
      Johan says:

      There used to be knowledge among the intelligentsia that mass-democracy is equal to cultural decline. The democracy appears to have erased this knowledge, or marginalized it, and now Jews are blamed.
      Plato wrote about the sophists who were running around in the Athens democracy, sophists being subjectivists, subjectivists tear everything down, in the arts, they do not aspire to beauty, but deformation and destruction, they admit of no objective guidance. The gender/LGBTQsomething mania, to give another example, is a subjectivist denial and deformation of an objective reality (male/female).
      As Goethe wrote, a society which is orientated on the subjective, instead of on the objective, is a society in decline (which started in the nineteenth century in Germany). Note also that for instance science is for decades now in decline, it is heavily corrupted (in despite of all the glorious talk about it), and the rise of science-fiction, fiction-science and futurism which lead to tech-cults is another example of departure from objective reality, as function of democratic subjectivism. about the the whole of twentieth century musical pop culture is another expression of subjectivism, aside of primitivism. The move towards atonal music is another revolt against natural order, nay democratic eqalitarianism is itself a revolt against natural order.
      Various Jewsish powers might contribute to this process, seize on it, fund it, accelerate it, but they are by no means the cause. The JQ should be exclusively seen as a problem of disproportionate power, cultural decline is something which the democracy has to deal with. It has so far been unable to set and maintain proper standards in many spheres, and the weakness is thus all too easily exploitable.

    • charles frey
      charles frey says:

      Looks like an oversized, errant guillotine blade having descended from Jewish heaven to decapitate German militarism.

      A warning reminder of Dresden’s St. Valentine Day’s Massacre, lasting three days, in February 45.

      Essentially demonstrating AIR SUPERIORITY to Stalin, rendering his numerically very superior [ 4 – 1 ] ground forces and armaments irrelevant; obviating his wet dreams to go beyond occupation-zone borders agreed on at Yalta.

      • Waldemar
        Waldemar says:

        Very apt description, Charles! Everyone else have the same impression of “wilful desecration” when they look at these monstrous “building sins” (Bausünden), and this is also deliberately intended by their creators.

        “We make your Germany to our Jewmoney. First we take Manhattan, then we take Berlin.”

        “Schlesinger was of Jewish descent […] He is grandfather of journalist Patricia Schlesinger.”

        “Scholz has been dogged by questions about meetings he had with private bank M.M. Warburg in 2016 and 2017. Hamburg officials later dropped demands for the bank to repay millions of euros in
        tax refunds it had wrongly claimed for share trades.”

        “The London subsidiary was sold to Swiss Bank Corporation in 1995 and is today a part of UBS.”

        “UBS manages the largest amount of private wealth in the world, counting approximately half of the world’s billionaires among its clients.”

        (What ethnic-religious background might most of the “world’s billionaires” have?)

        In truth, there is only one “bank” in the world named Rothschild. The many tentacles of this one Kraken carry the most different labels and names. Hull and head of the octopus work for
        tactical-strategic reasons always only covertly in the background, in order to be as little attackable and recognizable as possible. Whoever refuses to act in their interest as their “unofficial branch”, will be left to disappear without a trace, go bankrupt by no longer receiving any contracts.

    • charles frey
      charles frey says:

      Google 1956 KAFR QASEM MASSACRE; one of many. Very recent disclosure of the trial transcripts against its perpetrators. Cites Israeli Border Police sector Commander as stating: FATALITIES WERE DESIRABLE.

      Ultimately resposible party: their goodfellow, celebrated PM Ben Gurion and of course Dajan, who ADMITTEDLY provoked the theft of the Golan Heights for it natural resouces.

  3. Gerry
    Gerry says:

    By Dr. Cantelon:

    If Stanley Jones endorsed socialism, it was perhaps because he had stood among the beggars and hungry children in the shadow of the Taj Mahal. It was without doubt the most beautiful tomb in the world. It was built by the Indian ruler, Shah Jahan, as a memorial to his favorite wife, Muntaz-i-Mahal, which means “Bride of the Palace.” It took 20,000 workmen 21 years to erect the Taj, and when the workmen finished the delicate tasks of carving their marble and alabaster into 7O-foot domes rising 150 feet high, they undoubtedly gazed at the slender minarets, supposedly built as towers for prayer, mirrored in the reflecting pools beside the tomb, and then turned to Shah Jahan for
    their reward. Did he give them a smile of appreciation or a hand of gratitude? No, the payment they received for creating one of the wonders of the world was the ugly point of soldiers knife that pierced their eyes. Shah Jahan wanted to make sure no other monarch would ever again have a Taj as beautiful as his. pg 103-104

    Batiushka is right:

    “they filled them with devils and wicked men.”

    a history on a castle by Dr. Cantelon:

    While in the Alps of Southern Germany, I visited the beautiful palace built by Ludwig of Bavaria. “He was a genius,” said our guide, with a touch of German pride.

    “The fountain that erupts in the reflecting pool in front of the palace is the product of Ludwig’s ingenuity. He captured the mountain stream far back in the hills and brought it down to the reflecting pool to erupt in regular intervals like a giant geyser.”

    The genius of Ludwig was equally displayed inside the palace. The dining-room table was prepared for his own self-indulgence. He preferred to eat in total solitude. A touch of a button lowered the table to a room below where the waiters and chefs loaded it with the various dainties of the land. Another touch of the button brought the table back up to the king, who preferred to live in a fantasy world.

    “He was a dreamer,” said our guide. “He seemed detached from the people of his land.”

    I walked through another castle built by Ludwig. It was called the Neuschwanstein. From room to room I wandered, beholding the beauty, and contemplating the genius of this man who built this castle with the symbol of the swan, which had been the theme of Wagner’s composition. In one room was Wagner’s personal piano, a gift to the king, who had been an admirer of the great composer. And what happiness did Ludwig derive from all of this? Enough to cause him to take his own life in a lonely mountain lake. In order to build his dream castles, he had taxed the Bavarians so unmercifully that they scarcely had money for food.

    In the bright Bavarian sunlight, I could see the Neuschwanstein shining majestically in the green forest and
    outlined against the sky. And yonder in the distance, I could see a tiny lake, the last resting-place of a leader who dedicated his life to serving himself, rather than his people.

    • Frank
      Frank says:

      Yes, I’m sure every beautiful building in existence has a horrible backstory like this. These examples aren’t cherry-picked at all. The genius and skill of 1000s of architects and craftsman across time and space are clearly outweighed by a couple extravagant or cruel leaders. By the way, we still have extravagant and cruel leaders, they just don’t build anything beautiful. But that’s not why you made this comment. You just see beauty itself as immoral.

    • Angelicus
      Angelicus says:

      Sensitive observation and analysis of the castles built by Ludwig II, but he cannot be considered a “genius” at all!

      He was a morose, mentally unstable man with ridiculous delusions of grandeur (he modeled himself after Louis XIV, an imbecile who believed he was the reincarnation of Apollo and Mars) who bankrupted his kingdom with its absurd (although beautiful) castles. You described Ludwig II perfectly when you wrote:

      “He dedicate his life to serve himself rather than his people” T

  4. rubytuesday
    rubytuesday says:

    I don’t understand how christianity and islam are different from judaism. What’s even the point of differentiating? They all have the same god(the deamon Yahwe) and all three are based on Nietsche’s slave morality.

    Read Celsus’ On the True Doctrine if you don’t get what I mean.

    • Arwald
      Arwald says:

      They’re not different; they’re all semitic creations.
      The WHITE man with regularity forgets his Yamnaya Northern roots inheritance of history, language, religion, and culture. It’s one of the greatest mysteries of man, a seemingly, incurable two thousand year old case of chronic amnesia. Lose not hope though as some have been cured.

        • John D. Alder
          John D. Alder says:

          We are facing our own Battle of the Bulge . I liken our situation to the Ardennes Offensive . We must fight harder and think of it as a propaganda offensive /political action equivalent of the Ardenne offensive, a last ditch effort to prevent a catastrophe. Relax? NEVER !

          • Odessa Choppo
            Odessa Choppo says:

            I agree 100%. My reference of “Relax, we’re coming back” is to a meme which is excellent – it seems I cannot post it here. I would/will warm your heart. Our spirits are stronger than ever (for those who still feel it).

          • John D. Alder
            John D. Alder says:

            Understood. We often struggle to be optimistic in the face of a monumental task ahead of us.

    • Emicho
      Emicho says:

      Maybe you just judge a tree by its fruits. Christianity and Islam both have what you would call civilisations to their name. Judaism, not so much.

  5. yankee doodle
    yankee doodle says:

    The “CE” and “BCE” designations are even more insulting than being merely anti-Christian and anti-Western.

    Of course, we can always interpret these for ourselves, in our own minds, as being “Christian Era” and “Before Christian Era,” which is, actually, easier to explain and understand, since the CE replaces AD. It simple updates the Latin AD into English CE.

    But, look at the word they say the “C” represents. The jews want the world to understand that, at the birth of Christ, the “Common Era” began, and what they are telling us is that Christians are common, with the logic being that the jews – who were in place before Christ – were uncommon, i.e. superior.

    Sure, Americans love the idea of the “common man,” so they will be easily deceived. But, the ideal of being a “common man” puts you in unwitting subservience to the jews.

    We can, to ourselves, translate the “C” as being Christian, but that doesn’t change the message the jews are forcing on the world. The “common” meaning of the “C” must be eradicated.

    Actually, a neutral word would be “current,” as in “Current Era” and “Before Current Era,” if non-religious designations are wanted for a bifurcated calendar.

    The word “common” is just another trick used by the jews to denigrate Christians.

  6. John Alder
    John Alder says:

    Reminds of the destruction of the original Penn Sration in New York City a grand and impressive building which was torn down and replaced with what looked more like a Wal-Mart or bargain basement of a department store.

  7. Freki The Ravenous
    Freki The Ravenous says:

    christianity is not synonymous with White/European. In fact, most of those buildings were pre-christian.

    You wanna do away with jew architecture ?
    Then you have to stop worshiping them. That includes the dead one on the cross.
    Until you stop worshipping them you will never be free of them.

    Hail the Old Gods !

  8. Mike
    Mike says:

    I learn from your article, not having taken your point about Jews versus beauty. One never or rarely sees pictures of that Holocaust memorial in Berlin because it is so ugly, so pointless & meaningless. They want to inflict something of the sort on London, near Parliament. It would be a demonstration of ZOG power, no more.

    Prince Charles got architects right with his remarks about carbuncles. Even the Guardian approved – The same sort of issue applies to modern art generally. One of the Saatchi brothers, Jews both marketed Damien Hirst & made lotsa money out of people with more money than sense. Kitsch translates as pretentious rubbish. That is what they get away with.


    • George Romanian
      George Romanian says:

      That horrible pyramid that defaces Louvre is also a display of ZOG power. It was build during Jack Lang’s mandate as minister of culture in France. And I certainly don’t believe that a cigarette bud lit Notre Dame cathedral, a symbol of Christian France. By the way, in front of Notre Dame, a few thousands Talmuds have been burned following Nicolas Donin’s conversion to Christianity and denunciation of Talmud content. Just a cohencidence, I’m sure…..

      • JM
        JM says:

        What you say about Nicolas Donin and the burning of the Talmud’s at the front of Notre Dame (while otherwise leaving the Jews alone) fits Mick Jones’ description of the Catholic Church’s formula for managing the Jewish Problem: ‘no one is entitled to harm the Jew, but the Jew isn’t entitled to subvert the Christian culture or the Church’.

        Of course historical memory and the desire for vengeance lasts MANY generations.

        • George Romanian
          George Romanian says:

          Yes, it’s true. I follow and read dr. E Michael Jones with just as much interest as I’m reading TOO. I believe the West stands or falls with Christianity. I know that many readers here might disagree, but that’s my opinion. I’ve read on Peter Myers’ site something that I think encapsulates our situation today:

          “The standard Marxist view obscures the role of religion as a motivator, e.g. in Zionism. Equally, the Hegelian position obscures the extent to which universal religion conceals particularist self-interest: Christianity became a mask for Aryanism. As the mask is removed, “White Christians” face a painful spiritual crisis.

    KAREN BERGER says:

    Brilliant article. My late father was an architect and I take great interest in this particular subject.

    My takeaway….the only people who have absolutely no creative architectural skill are the people who claim to be
    “god’s Chosen People”. Why didn’t god “bless” these self chosen people will skill and acumen? Because they are a fraud!

  10. Birhan Dargey
    Birhan Dargey says:

    Only the jews would award the Nobel Prize in Literature to Bod Dylan..Only they would celebrate the Virgin Mary made with human excrement as art/ or the piss Christ as great works of Art. BUT never mention Lenny Reisenthal, Spiegel Buildings,. I was utterly shock that the mexican painter Frida Kahlo is worshiped as great painter..but in her times she was considered a weird mediocre painter..not in par with her husband Diego Rivera. Today Kahlo (jewish) is somehow greater than Diego did that happen??..I went to my Public Library..on the day of the dead (mexican) they had decorated the place with multicolor mexican paper figures of dead skulls..They called them Fridas Skulls…I told the librarian..those figures represent MAYAN traditions dating about 1K500 yrs BEFORE there was a Mexico or even a Frida Kahlo. The JEWS have NEVER built any nation/country/EMPIRE of their own similar to Greece/Rome/Persia/China/not even Phoenicians/Philistinians=Palestinians..

  11. Socraticist
    Socraticist says:

    Unfortunately the author has been affected by some bad taste, in stating that the Sydney Opera House is not an architectural abortion. The Sydney Opera House looks like a random bunch of parts of boats sticking out of the ground, the photo is also a cheap glamour photo, such pimping is needed because otherwise it looks like a monstrous mess. Given the author’s excellent taste overall, in terms of architecture, I suggest that he should dig deep into his ancestry, whether there are any Jewish influences? though it can happen to the Goy too. Anyway, if we’d have this style over the place, instead of the brutalism of modernism, we’d be surrounded by monstrously bizarre shapes.
    What I suspect by the way, that the author is charmed by it, because it reminds of pointed arches (which are bizarrely misapplied).

    • Angelicus
      Angelicus says:

      I like your observation and I fully agree with it. I was fortunate enough to live in the beautiful city of Sydney between 1995 and 2005. I was 35 years old at that time and I was already very much aware of the intrinsical perversity and ugliness of modern art and architecture.

      Fortunately, I was born with an unerring instinct for Beauty, you can also call it a very fine taste. I remember experiencing, at a very young age, a feeling of serene happiness and pleasure when looking at beautiful neo-classic or baroque buildings and statues (I never liked Gothic architecture, which is 100% religious and dedicated to glorifying that abomination called Christianity).

      Going back to the Sydney Opera House, although I disliked the building on principled I decided to visit it. My wife and I went in and it confirmed my worst ideas. It is a horrendous temple to Modernism/Brutalism. Everywhere concrete walls and slabs, no colour, no beauty. It looked and felt like a warehouse.

      You may say: “OK, it is ugly, but what about the accoustics?” Well, they are awful. Here is an excellent artcile about it:,8599,2097247,00.html

      I think I made my point. Jorg Utzon was a useless architect obssesed (like all Modernists) with making “something new, original”, well he did, unfortunately it turned out to be crap, and awfully expensive crap.

      • Tom Briggs
        Tom Briggs says:

        I agree with your observations. It would figure that Ayn Rand, who was Jewish, would write about an architect (Fountainhead) who leap-frogged over all pre-existing and timelessly beautiful forms while showcasing his “genius” with what was likely modernist atheist alien ugliness.

  12. Socraticist
    Socraticist says:

    Regarding Curtis Yarvin, I have been inspecting his theories lately, and what is characteristic of it is that it is all very weird, though there is some bait in it, somehow I cannot commonsensically connect to it, the anti-progressive element in it seems to be the only thing which is understandable (the bait). And then there is this tech-worship all over the place, and the connections with Pieter Thiel, another tech-worshipper and extreme materialist, you can smell Jewishness (though his origins are vague). But back to Yarvin, a CEO-monarch and tech-utopia, and what about the tech-cult-boy Nick Land? The cathedral theory thing also appeared off to me (using the word cathedral I mean), but I had no further thoughts on the matter.
    As I read, Yarvin’s second wife is a liberal, doing something in the BDSM scene, more weird connections. Yarvin as I also learned did not denounce the act of Breivik, Breivik being fanatic pro-Zionist and an islamophobe.
    Things appear to be hopelessly intertwined everywhere.. about everything appears to be co-opted.

  13. frozy
    frozy says:

    Perhaps, there was one Jewish building worth of note: Solomon’s temple. But Nebuchadnezzar destroyed it, so we’ll never know. A new Nebuchadnezzar would be handy though, for the Centre Pompidou and the Guggenheim.

    • Carolyn Yeager
      Carolyn Yeager says:

      Pilot — You are so right! This is DISTRACTION from the only discussion we should be having, which is to draw attention to the takeover (final? fatal?) of our European heritage, homelands and even reproducible genetic material and who is responsible for it, without overly beating around the bush or using code language.

      Your comment was short and simple and we should keep all of them that way. Talking about architecture may be enjoyable and a way to show off one’s artistic credentials, but it’s not enough to wait for the next Tobias Langdon essay and express one’s favorable opinion about it.

      It’s equivalent to playing the fiddle while Rome burns.

      More words to the wise: Don’t take the bait.

      • Emicho
        Emicho says:

        It’s not *distraction*, it’s actually the opposite of that, you are telling people why everything around them is so ugly.
        If you ask people about this issue, 80% don’t have an explanation, they’ve never thought of it and the other 19% wonder if it’s to do with money.
        It’s also the sort of thing that once told, they really will never forget this, it will live and grow in them for the rest of their lives.
        Every time one of our fellow creatures drones and loses a little more of the will to live at some modernistic horror show, they will come more to our side.
        This is only fair, as the Jew’s fellow creatures in some other dimension are getting their reward from feeding on the low energy vibes this misery produces.

      • Rebecca
        Rebecca says:

        All roads lead to Rome in seeing and understanding the fatal destruction of European stock, lands, history and culture with architecture being a grand one. At least for now our great buildings still stand reminding the world of our greatness.

        Essays are not the problem, instead we lack leadership to help us reconquer our nations. Thus, White people remain stuck and scared. What do you suggest Carolyn?

        Our architecture is such an amazing representation of us that within the last 30 years European men have been researching megalithic sites across the globe. Through synthesis of discovering

    • timothy murray
      timothy murray says:

      Because they remind us of who we are and are not.

      Because we build things that outlive us while carrying our love and lives past our lifetimes to form and influence our heirs.

      Because we are going to win this fucking war and return to normal without the damn parasite pathogens AND we can wage war and build beautifil things at the same time.

      C.S. Lewis wrote an essay on study/learning in time of war. Or, watch Master and Commander and pay close attention to the scene whete the commander is teaching his young officers to focus on getting the sextant readings correct while they are being shelled.

    • Armoric
      Armoric says:

      Why are you worried about buildings and esthetics?? –> The one big problem is the government policy of race replacement. But we should try to understand what’s going on in the world, more generally.

      People think it’s too simple to say “it’s the Jews”. But we keep running into them no matter what the problem is : mass immigration / monumental architecture / the promotion of homosexuality and sex change / the destruction of the schools / the Covid farce / the war in Ukraine / crazy feminism / financial shenanigans / the perversion of justice / the OxyContin epidemic / the invasion of Iraq / the vilification of White people / . . .

      Since they largely control the government, the media, the loony left, and most public institutions, you would expect them to have at least some influence in all areas of society, but it goes beyond that: they have field activists prominently involved in every anti-White activity. This needs to be documented.

  14. kenneth Ainsworth
    kenneth Ainsworth says:

    it is certainly true that most modern architecture is extremely ugly and souless l would describe many of them as the sort of people who if they saw a ,beautiful woman would want to throw acid in her face like daniel libeskind with the dresden military museum , or stephen holls extension to mackintoshs glasgow school of art,but one architect christopher alexander 1936 -2022 [jewish mother] devoted his life both in theory and practice to attempting to redress that balance with books like the nature of order [ 4 vols] and the timeless way of building ,and actual buildings like eishin campus in japan and he has been influential especially regarding urban design

  15. Jez Turner
    Jez Turner says:

    In actual fact most large buildings influenced by Jewish taste are not even built to last, not least because they are invariably built of concrete and steel, both of which expand and contract in heat and cold thus necessitating expandable rubber connectors – which of course quickly rot. Most of these buildings have to be demolished after a few decades, or have exorbitently expensive repair work carried out on them, which is only carried out because governments slap architectural preservation orders on them. Even the professed ‘functionalism’ of such buildings is a lie as most of them do not function in the way they are designed to and have to be adapted at great expense by soberer minds. We must also not forget that many of the non-Jewish architects that build such modernist rubbish are forced to do so, not so much because they have been brainwashed in the Jewish dominated architectural schools, but because they work for Jewish firms or because of other pecuniary reasons they have to please Jewish tastes. Like every other part of the globalist Jewish agenda, the architectural part of the agenda is quite literally built on lies. I would lay good money on the much vaunted King Solomon’s Temple of historical fame being nothing other than a similar abortion. Despite all this gloom there is much consolation in knowing that we can still create buildings of beauty and grandeur if only we free ourselves from Jewish money and influence. The work of the British architect Sir Quinlan Terry ,(enthusiastically supported by HRH Prince Charles by the way), gives a glimpse of what might be possible.

    • tom
      tom says:

      Well stated. I visit Netherlands many times a year. It is a wondrous land filled with architectural magnificence whether traditional residential or contemporary commercial buildings. These people are in a league of their own in architecture, graphic design, engineering, road and sidewalk & bridge infrastructure, landscaping, respect for trees, open space and time-tested historical traditions. They often adapt classical forms when designing new structures. No other country has this kind of talent. Indeed, it is a country where there are very few places with poor sight-lines. In many towns of medium size, it seems that every square centimeter has been designed and constructed with loving care and craftsmanship.

    • Swaytonious
      Swaytonious says:

      When I was in construction I did a renovation on a post modern neoclassical building that did a real good job emulating Roman forms. The Jewish architect was practically rubbing his hands at ripping all that out. It was replaced with boring flat planes, asymmetry, with gray floors and walls. I was a bit shamed by my part in it.

  16. Bobby
    Bobby says:

    A great review and essay Tobias, thanks.

    I see that the Chrysler building is on the front cover of the book and it is truly, a beautiful, and majestic building.

    New York City certainly has some phenomenal architecture. When I’m in midtown, I always make it a point if I’m nearby, to walk through the plaza at Rockefeller Center.

    The Art Deco Sculptures are just phenomenal. They were all designed by a man named Lee Lawrie. Lee Lawrie was born in Germany in 1877, his real name is Hugo Belling. I’ve try to find out, but cannot find anything about his religion online. I would be shocked if he was Jewish. The Atlas at Rockefeller Center was designed by him as was the Wisdom sculptor that’s part of one of the buildings. The building sculptors there are really something to see in person.

    He also was the architect for the LA Public Library and the Nebraska State Capital I believe. ‘The Sower’, the statue that sits atop the Nebraska Capital was done by him. Everything he did captures the great industrial upwards and onwards spirit of the U.S. at the time, which of course was lead by WASPS.

    Take a look at his stuff online if you can.

  17. Scipio Africanus
    Scipio Africanus says:

    Art is a reflection of the connection to the spiritual. The Jew is devoid of any meaningful spiritual connection. There is no after life in their religious belief.
    Not only do they not create art, they create nothing and destroy. They cannot create beauty or the authentic. They are experts in producing chaos, discord, subversion, revolution, usery and decadence. A demonic destructive force in our world.

  18. Karlfried
    Karlfried says:

    The memorial in Berlin is not so much a problem. It is located exactly vis-a-vi the US-Embassy so that the US can see it/must see it every day. Also the German building company choose a kind of concrete that did deteriorate within a few years. The reason for this choice is unknown. — Daniel Libeskind and the Dresden Army Museum is extremely ugly. Whe can see from this that some foreigners have either other sensations for beauty than we Germans (average Germens) or they have fun to give negative things to us.
    It is ugly, and with this ugliness the viewer can compare which feeling he receives from the old (German/European) part of the building and contrary which feeling gives the modern/non-German part of the combined building.
    The architect shows his soul und thinking with his work. It is not German.

    • Ivbin Band
      Ivbin Band says:

      I agree with you completely. The beautiful, neoclassical building in which the Dresden army museum is located has been horribly defaced with a monstrous, arrow-like, steel projectile through the center of it. The “architect” managed to take something of beauty and turn it into something obscenely ugly.

  19. moneytalks
    moneytalks says:

    @ mod ;

    The enemy has me in their crosshairs and has thrown time consuming complications into my attempts to access WN sympathetic websites . It appears to be either my Apple Inc OS , or my FireFox browser , or my Vtel ISP , or any combination of those three and perhaps unknown others such as Intel agents . In any case , I have no chance of defeating their disruptions . You may see a severe dearth of my comments because of covert enemy censorship ops . I will in any event keep faithful to the WN ( not White supremacy which is often contingent on difficult to prove subjective views ) movement .

  20. T.Gilligan
    T.Gilligan says:

    The general media usually Richard Rogers as Anglo-Italian; this was strange as his face always has the distinctive Jewish mouth. His buildings are the architectural equivalent to pornography.
    The aesthetics are of great importance to indicate the impact of third-world settlers in Great Britain: from the huge Hindi temple in Neasden to the thousands of shoddy and sinister looking mosques taking over former banks and pubs; some obviously are newly constructed impositions.
    One african woman ‘built’ a mud hut in her suburban Dagenham garden but was order by the local council to take it down. She was naturally homesick.

  21. Anthony Aaron
    Anthony Aaron says:

    Architecture — like so much of what are historical cultural artifacts (writing, painting, architecture) of our civilization — often began as an act of both praise and love of God and an act of humility and worship of the Divine.

    You see it in the true Cathedrals and Temples and Mosques of all of Western and Oriental and Arabic history — the examples shown are part and parcel of that, and there are so many others.

    But the entire history of the jews in the old testament is that of an arrogant and abominable people who constantly violate the wishes of God and thrust the middle finger in His Eye at every chance.

    Maybe that explains the ugliness they spread wherever they have presence and influence — whether in books or movies or music or architecture …

    • T.Gilligan
      T.Gilligan says:

      Hi Pat, Whaaat, indeed!
      The southern poverty lie centre building design does the job of reflecting the mind and soul: sinister appearance, custody suite, prison, interrogation H.Q? Anyone of those could be an accurate label.
      The Art of Architecture featured an architect I’d never heard of before (not a ‘startchitect’), who knows and loves his vocation, Ross Sharpe. Well worth a watch originally shown on Sky ‘Arts’.

  22. Armoric
    Armoric says:

    ” Large buildings have always been the clearest and most obvious examples of what German might call Kulturgeist ”

    I like monumental architecture, but I feel like a foreigner when I visit it. This is state architecture. It was built by people who represented the political power. They were European, but they had nothing to do with me.

    When Jewish architects start building horrible monumental buildings, it makes us feel like strangers in our own cities. But even in a city full of beautiful monumental architecture, I wouldn’t feel at home. On the one hand, Jewish “architecture” is ugly, and deliberately so. On the other hand, monumental European architecture is too impressive.

    I like smaller scale architecture, in a more intimate style. I’d rather see a nice row of street houses than an ugly street with a nice monumental building at the end. I also like the architecture of the countryside, with old farmhouses, old mossy walls, small fields surrounded by ditches, hedges, sunken lanes. A lot of that was destroyed a few decades ago to create larger fields for modern agriculture. Now, part of the farmland is being abandoned anyway, and the number of farmers keeps shrinking. The (((environmentalists in the government))) like the idea of having more woods, fewer fields, and fewer people in the countryside.

    I don’t see the destruction of sunken lanes as a simple matter of materialism. The government and the media didn’t care about preserving the human environment. You wouldn’t expect them to care about sunken lanes in a country where the intellectual elites had been replaced by Jewish charlatans and by their friends like Sartre, Foucault, Bourdieu…

    Materialism is also blamed for the decline of common architecture and how people now dress less elegantly. Practicality before beauty. But there is also a Jewish element to it. The Guggenheim and Pompidou buildings are obvious Jewish provocations, but Jewish influence usually works in a less visible way.

    In places that have little monumental architecture, the modest architecture and decoration of normal houses is what makes you feel at home or not. In the 19th century, the authorities used to build nice-looking town halls, schools, train stations, post offices, theaters, public libraries, courts of law, etc. Today, those buildings are often disfigured in some way. They are either badly renovated or modern constructions are attached to them. Sometimes, the monumental entrance is condemned, or is covered with large logo signs and information boards. In shopping streets, the facades of noble old buildings are usually disfigured by oversize ugly shop signs.

    There is also a problem with normal people’s houses, at least in France. For example, someone in the French government has decided that every building would have to be disfigured by a visible gas meter on its front wall. In my town, they are also promoting gray colors. I see gray painted buildings everywhere. And I see more and more metal siding. I think that’s a method of thermal insulation to cut down the energy consumption and release less CO2. It makes houses look like industrial buildings. The pretext is global warming.

    The worst houses are built in low cost housing projects. I think those detached houses are partly a replacement for former social housing blocks. Building contractors don’t have any artistic taste, and for some reason, they won’t copy the simple house designs that have been recognized as esthetically acceptable. They would rather try to reinvent everything. If you want your house to look as good as the average small house built a hundred years ago, it’s going to cost you: you can’t go to a normal contractor.

    It’s as if people have become unable to appreciate architectural harmony. Buying a nice-looking house is still more expensive, but new ones are not built any more. Why is that? I think the problem comes from above: from the administration and the media.

    The third world invasion is certainly having an impact too. When you start to see third-world migrants walking down your street, you are less likely to tend to the flowerbeds in the front garden. And you are less likely to try to impress the neighborhood with your stately home. You don’t want to draw attention. You would rather work on your backyard and your interior decoration.

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