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Modernism in architecture went hand in hand with socialist and fascist projects to rid old Europe of its hierarchical past

Roger Scruton

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Roger Scruton
Age: 75 †
Born: 1944
Born: February 27
Died: 2020
Died: January 12
Aesthetician
Composer
Journalist
Novelist
Philosopher
Political Scientist
Politician
University Teacher
Writer
Roger Vernon Scruton
Professor Sir Roger Vernon Scruton
Went
Hierarchical
Hand
Fascist
Hands
Modernism
Past
Fascists
Socialist
Architecture
Projects
Europe

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The sexual parts are not only vivid examples of the body's dominion they are also apertures whose damp emissions and ammoniac smells testify to the mysterious putrefaction of the body.
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There is a deep human need for beauty and if you ignore that need in architecture your buildings will not last
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A writer who says that there are no truths, or that all truth is ‘merely relative,’ is asking you not to believe him. So don’t.
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The abstract, unreal freedom of the liberal intellect was really nothing more than childish disobedience, amplified into anarchy.
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When gifts are replaced by rights, so is gratitude replaced by claims. And claims breed resentment
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Something of the child's pure delight in creation survives in every true work of art.
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Modernist buildings exclude dialogue, and the void that they create around themselves is not a public space but a desertification
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Art has the ability to redeem life by finding beauty even in the worst aspect of things.
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In all the areas of life where people have sought and found consolation through forbidding their desires-sex in particular, and taste in general-the habit of judgment is now to be stamped out.
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The conservative response to modernity is to embrace it, but to embrace it critically, in full consciousness that human achievements are rare and precarious, that we have no God-given right to destroy our inheritance, but must always patiently submit to the voice of order, and set an example of orderly living.
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Private property is one of the best institutions which has ever evolved, to protect us from the bullying of others.
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Classical buildings endure because they are loved, admired and accepted, and enjoy an innate adaption to human needs and purposes.
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Styles may change, details may come and go, but the broad demands of aesthetic judgement are permanent.
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