The evidence
is out in the open, for all to see. People are busy and overlook the ugliness
surrounding them, an ugliness which is meant to be depressing and demoralizing.
Beautiful
architecture is happy and exalting. That is why we visit art museums, palaces, European
churches, and art galleries. For a few minutes of our lives, we want to
experience beauty, creativity, and unimaginable opulence.
In 1960s
America, many beautiful and historical buildings were torn down, replaced by ugly
concrete and steel towers, utilitarian and easy to maintain. A quick search
reveals that historic buildings were demolished across the United States because
of “economic pressures, urban renewal policies, shifting architectural tastes,
and limited preservation awareness.”
About the
same time, the Soviet-controlled Iron Curtain countries also destroyed
historical buildings and replaced them with ugly concrete blocks of utilitarian
communist Bauhaus architecture, a resilient, simple, ugly, grey concrete and
steel buildings, monuments to the Bolshevik communist revolution, no elements
of former bourgeois society despised by uneducated communist agitators and
rulers.
Bauhaus
architecture was the child of Walter Gropius in Weimar and the German Bauhaus
school founded by him in 1919. Depressing and plain, made of glass, steel, and
concrete, it was Gesamtkunstwerk (total work of art) which became part
of the modernist architecture exported all over the world.
Bauhaus existed between 1919 and 1933. Its vision of mass
production and function was adopted by all former Iron Curtain countries in
Europe; they started churning out ugly concrete block apartments where the
helpless populations were herded into from their former homes and farms which
the Communist Party had confiscated.
Walter Gropius’s (1883-1969) vision spread into modern
design, modernist architecture, graphic design, interior design, industrial
design, and typography. The Bauhaus school was closed in 1933 under pressure
from the Nazi regime who considered it “a center of communist intellectualism.”
Then there
is former President Obama’s library, a modernist form of ugliness, a cross between
a high security prison and a Star Wars movie set.
Significant
and beautiful buildings from various monarchies in Europe were destroyed by
Bolsheviks to make room for their hideous communist-style architecture which was
depressing and demoralizing to look at. The destruction was called systematization
of society, testing how much the population was willing to accept the communist
oppression before they snapped.
After the Covid
lockdowns I noticed the emergence of a dispiriting trend of change of all the
formerly happy buildings of fast-food restaurants. The building remodeling was
the same, shades of grey, light grey, dark grey, black, and brown, all dispirited
and depressive colors. It was a twenty-first century form of minimalism and
sophistication, I told myself. But mood is mood and I could not argue in a
positive way about the blanket of grey.
Healthy subjects in a study conducted by the University of
Manchester in 2010 chose yellow as the color that governed their mood.
Anxious and depressed subjects participating in the study chose the color grey
because it represented “a dark state of mind, a colorless and monotonous
life, gloom, misery or disinterest in life.” Depressed people “tend to describe
life as ‘monochromatic’ or as having ‘lost its color.’
Then I started seeing a lack of color in department stores
and furniture upholstery – offerings were grey, beige, black, and more grey.
The furniture, whether plastic or wood, was grey.
Accessories were gray, towels were gray, shoes and tennis
shoes were grey, plates, napkins, carpets, backpacks, coolers, tapestries,
plastic, and glassware were all grey. There was so much grey to give a survivor
of communism a permanent headache and depression. The color grey was even
declared the “color of the decade.”
It was apparent to me that corporate globalists have
decided in the last few years to transform the face of our happy and colorful
society into a drab and communist-looking tapestry. I recognized the bothersome
uniformity from my previous twenty years of life under communism.
Why would communism pick such drab, dark, dull, and
uninspired colors? Because they wanted to keep the population under their
control, oppressed, sad, and depressed. Everything became a soul-less grey and
darker grey, light grey, medium grey, with barely lit stores as if to conceal
the stains of grey misery.
After the lockdowns public buildings, restaurants, fast
food chains, and even apartment complexes and homes had undergone a similar
transformation to various shades of grey, black, brown, and beige. Maybe paint
was only offered in grey and it was cheap?
Fast food buildings removed large windows and added small,
prison-like windows, and the previously happy colors and signs disappeared. The
choices of towels, furniture, cars, clothes, and other products have narrowed
to the same basic hues of gray, black, beige, and brown. I knew it as Bauhaus
utilitarian ugly.
Granted that lighter colors are less showy and easier to
match more tastes, then why the previous opulence of colors and choices? Was it
that the well-heeled wanted simpler and minimalist lines to show off their good
taste? There is no denying that homes and cars painted in less showy colors
sell much easier and quicker.
Austrian architect Adolf Loos said in his 1908 essay
“Ornament and Crime” that “evolved people gravitated toward clean lines and
plain surfaces,” unornamented and clutter-free.
Le Corbusier, the “father” of modern architecture, wrote
that “color is suited to simple races, peasants, and savages.” Rich Americans
call those who like bright colors, Lilly Pulitzer people. The Lilly
clothing line is famous for bright hues of pink, blue, yellow, orange, and
green.
Bauhaus spread internationally to the United States and to
Tel Aviv via Jewish Bauhaus architect immigrants. According to sources, “The
White City of Tel Aviv has the highest concentration of Bauhaus architecture in
the world.”
As Bauhaus spread increasingly across the world, selected
and pushed by globalist corporate controllers, it is no surprise that the color
chosen for this decade is grey and the style is Bauhaus utilitarian.
When I visited my favorite department store,
which was always decorated with red, white, and green way before the Christmas
season, decorations displayed a gray table with gray chairs, gray plates, black
glasses, and white napkin holders. One solitaire painting of a red bush
surrounded by green background was overlooking the funereal décor.
This is not just about depressing the population with ugly
buildings, cars, and shades of gray, it is about the global transformation of
the west into a socialist/communist society to better control the naïve
population in every way. And the uniform uglification of architecture is
just one way to do so.
