A White Nationalist Syllabus, part three
by VNN Staff
24 November 2004
This syllabus attempts to give the nationalist 1) a better idea of what exactly White, Western culture is; 2) a better idea of who has led the assault on Western culture and why they have done so. The following items are considered must-read/see/hear for WNs for success in their activism and for knowledge in their overall philosophy.
A Syllabus in 4 Parts [Books, Art, Architecture and Music]
Part Three: Architecture
Art is culture. And architecture is art that you can live in, or at least drive past on your way to work. More importantly, architecture is art that you must view daily - you have no choice in the matter.
Just as traditional art has been Jewed, so has architecture. Just as modern art is an assault upon White culture, so is most modern architecture. If you doubt that, then consider modernist icon Adolf Loos' (d. 1933) position that any architecture which has ornamentation is 1) wasteful and actually hastens the diminishing of culture - an amazing claim by itself; and, much more importantly, 2) has exploited the labor of the worker who constructed it. In other words, Loos' position was communism-as-architecture using fancy double-talk to sell it to innocent White people. Thankfully, a lot of Aryans didn't buy Loos' leftist manure.
And also consider that Adolf Hitler himself knew about architecture-Jewing, and as such his National Socialists kicked the Bauhaus out of Deutschland in 1933. Architect Walter Gropius' infamous Bauhaus design school -- which rejected prior (read: gentile) standards of skill and beauty in architecture -- was staffed by Jews, including Wassily Kandinsky, Laszlo Moholy-Nagy, Lyonel Feininger and Marcel Breuer and Josef Albers, a gentile married to a Jew. Many of the teachers at the Bauhaus were Marxists as well - surprise! Significantly, the Bauhaus mirrored Loos' Marxist attitudes about architecture.
Additionally, the Bauhaus school was funded by Jews as well -- after losing government funding -- via the 'Society of Friends of the Bauhaus' support group, e.g. Marc Chagall, Arnold Schönberg and Albert Einstein. Bauhaus architecture amounted to the creation of drab structures with no decoration, style or warmth - all the better with which to dilute gentile culture. Ironically, the 'Society of Friends of the Bauhaus' was larger than the entire student body of the Bauhaus.
After Hitler came to power, the Bauhaus was forced to close. A version of it then came to America under the guise of the Chicago School of Design, later the Institute of Design, headed by Moholy-Nagy.
Apparently, influential Jewish modernists said to themselves at a certain point in time: "Let's make crappy art much larger: let's produce crappy buildings, too! The gentile public must gaze at them by default. What will people do - travel down a city street with their eyes closed? We will pollute gentile culture on a grand scale using the very buildings that the gentiles live and work in!" And that is just what happened. Looking at a modern office building is like drinking water: there is no satisfaction to be had. It's tasteless, it's over quickly and three minutes later you have forgotten about it. And the West has the Bauhaus school to thank for that. As for the Bauhaus style itself, simply drive through any American city to see it. When you see a box-type building that looks like...a box, but with windows, that's Bauhaus-type architecture. [Who needs Aryan beauty when you can have cubes and rectangles instead?]
A people who have a soulless culture are soulless themselves. They have nothing to fight for, nothing to preserve, nothing to value. And the Jews - and leftists, too - know that, hence their clever assault using the very buildings that we live in.
Here are examples of what high-quality Western architecture looks like:
1. The U.S. Supreme Court building. Washington, D.C. Even though the Court itself is now inhabited by Jews and a Black, this is nonetheless a beautiful structure, dating to 1932: here.
2. The Monument to Victor Emmanuel II. Rome, designed in 1884. Beautiful work. Only Whites can create this stuff: here.
3. The Jefferson Memorial. Washington, D.C. Completed in 1943. [How ironic that in that memorial, some of Jefferson's words from his famous statement about race are missing. Those words now suggest that he believed in racial equality, when in fact Jefferson's actual words imply that he did not believe in racial equality]: here.
4. Palazzo Madama. Turin, Completed 1721: here.
5. The Brandenburg Gate. Berlin, 1789: here.
6. Santa Maria del Priorato. Rome, 1764: here.
7. Drayton Hall. Charleston, South Carolina, 1742. Neat and functional, and homey as well. Recalls the pleasant days of America before it was sacked by cosmopolitan Jews from New Yawk: here.
8. Arc du Carrousel. Paris, 1808. Too bad no one makes things like this anymore:
here. [However, some people do wrap entire buildings with fabric these days, i.e. the artist Christo].
9. New Reich Chancellery. Berlin. Begun in 1938 by Adolf Hitler's architect Albert Speer. Speer's work was great, and expansive - even if sometimes a little too understated for Greco-Roman aficionados:
Hitler -- an architect and artist himself -- had the correct idea: architecture should impress the viewer, not turn him off. Ironically, the Soviets used material taken from Speer's war-ruined Chancellery to build a memorial glorifying Soviet [read: Bolshevik/Jewish] righteousness.
 see Part 2 of this syllabus:
Part 1 is here.