The Architecture of the New World Order
December 7, 2012
(l. Niemeyer, the bad die old)
Niemeyer's architecture was cold and oppressive.
It was beautiful in paper and models,
but inhumane in real life.
by Marcos
(henrymakow.com)
This week an icon of architecture died at the age of 104. He was Oscar Niemeyer, the Brazilian architect known for his projects of most public buildings in Brasilia.
He was, in a sense, more a master of drawing than an architect. His curves that evoked the mountains of his city of Rio de Janeiro are easily recognized. Much of his fame comes from the fact that he was one of the first to propose and build "habitable sculptures". His buildings could easily be turned into small sculptures and displayed at a Soho art gallery.
Unfortunately, Niemeyer was a staunch communist. He was a great admirer of Stalin and Castro, and once said that the death of millions of people was a small price to pay for an utopia. He also supported the Marxist terrorist drug dealers of the FARC in Colombia (which flood Brazil with crack cocaine), and once drew a poster for them.
Niemeyer's architecture was cold and oppressive. It was beautiful in paper and models, but inhumane in real life.
Check the picture with the Latin America Memorial, in Sao Paulo, a complex dedicated to the "oppression" of the continent by capitalism. It looks like a post-neutron bomb scenario, totally desolate of life. Check the size of the individual among a sea of concrete. He is nothing, much like the individual in a communist country.
Niemeyer received much praise (and work) because his buildings are imposing and look graceful in a photo taken from a carefully chosen angle. They are perfect post cards for the politicians, even if improper for human life. Brasilia, his master piece, is probably the saddest and coldest city in Brazil.
ARCHITECTURE AS SOCIAL ENGINEERING
It is not surprising that Niemeyer's idol has been Swiss-French architect Le Corbusier, who regarded houses not as homes, but as machines for living.
His works, such as the sad "banlieus" in Paris, have become huge urbanist failures, completely deteriorated and a cradle for criminality and social exclusion. Its imponent landscapes have no owners; its oppressive and isolated walkways turned into solitary places for robbery and rape.
Le Corbusier was so arrogant that he even designed whole cities, his Ville Contemporaine, which, if it were ever build, would bring the nightmare of Metropolis into fruition.
Interestingly, Le Corbusier had fascist tendencies. This again proves that Marxism and fascism are twin brothers, both dedicated to the authoritarian mission of reshaping society into the mold created by a few elect. The individual, you and me, are just details in these megalomaniac dreams.
Amongst all artistic activities, perhaps architecture is the one with the most effect on human life. It determines how we interact with the environment, with our social groups and even interferes with our own perception of our place in the world. It is impossible not to feel helpless and oppressed when placed in buildings such as the Red Army Theatre in Moscow or the government buildings in Beijing. They are built to make the citizen give up any hope of standing against the State.
(Young Architect as Commie dupe)
Why was Niemeyer special ? Because he was able to disguise the same horrible intent with a graceful curve and a light design. Therefore, he was much more dangerous.
CONCLUSION
Oppressive architecture fits inside a more encompassing plan known as the United Nations Agenda 21. It is a blueprint for the control and domestication of human life, concentrating people in small, overcrowded cities, living in vertical slums with 300 square feet apartments, while the globalist elite lives in old style neo-classic mansions or mediterranean villas.
Forget about decorating your house, mowing your front lawn or having a barbecue with friends on Sundays. Your only option to leave your jail cell will be to gather with other comrades for a government sponsored event, at some public space, standing on a concrete ground facing a massive building with a cement curve from Niemeyer.
Welcome to the New World Order.
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Related - E Michael Jones' book - The Logos of Architecture & Its Opponents
Hamad said (December 8, 2012):
The Romanesque architecture that graces public buildings is actually based on sacrificial temples. The real ones had actual human skulls, teeth and bones. This was originally a technique by the Elite to scare the subject population. You can read more about that here: http://www.cabaltimes.com/2010/02/12/the-case-of-the-church-made-of-muslim-bones
Modern architecture, in particular Soviet architecture, is based on making a person feel little and insignificant before the structure. And this is not restricted to the East bloc.
Architecture school in the West also follows a toned down version of the same ideas. For example, Architecture School in the West is sparsely technical, and revolves mainly around pandering to big names and firms that represent the elite.
On the other hand, Architecture students pay little attention to the social needs the structure fulfills. For a full discussion on this problem (from someone with an architecture degree, visit http://www.archsoccom/kcas/Socialise.html#Z9