One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
Roger ScrutonRead
Modernist buildings exclude dialogue, and the void that they create around themselves is not a public space but a desertification
Interpretation
The quote critiques modernist architecture for isolating itself and failing to foster public interaction.
Roger Scruton argues that modernist buildings often create an atmosphere of exclusion, leading to spaces that do not invite dialogue or community engagement. Instead of becoming lively public areas where relationships can flourish, these structures contribute to a sense of emptiness and desolation, making the surroundings feel more like a desert than an accessible and welcoming environment.
In practice
In a discussion about urban planning, this quote can be used to emphasize the importance of creating inviting public spaces.
One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
There are big questions science doesn't answer, such as why is there something rather than nothing? There can't be a scientific answer to that because it's the answer that precedes science.
18th century opera is packed with emotion, but contains not a trace of kitsch. Only with the 'thees' and 'thous' of Victorian poetry does the disease begin to grow in our poetic tradition.
The robust English view used to be that the correct response to offensive words is to ignore them, or to answer them with a rebuke. If you invoke the law at all, it should be to protect the one who gives the offence, and not the one who takes it. Now, it seems, it is all the other way round.
For two centuries the English countryside has been an icon of national identity and the loved reminder of our island home. Yet the government is bent on littering the hills with wind turbines and the valleys with high speed railways.
You cannot own a symphony or a novel in the way you can own a Damien Hirst. As a result there are far fewer fake symphonies or fake novels than there are fake works of visual art.
I would like to use architecture to create bonds between people who live in cities, and even use it to recover the communities that used to exist in every single city.
Who’s afraid of the big, bad buildings? Everyone, because there are so many things about gigantism that we just don’t know. The gamble of triumph or tragedy at this scale — and ultimately it is a gamble — demands an extraordinary payoff. The trade center towers could be the start of a new skyscraper age or the biggest tombstones in the world.
There is a danger when every building has to look spectacular; to look like it is changing the world. I don't care how a building looks if it means something, not to architects, but to the people who use it.
A greater focus on design in all new homes would make the best use of land, create homes and public spaces, and reinforce the structures of urban life.
We shape our buildings; thereafter they shape us.
All buildings, large or small, public or private, have a public face, a facade; they therefore, without exception, have a positive or negative effect on the quality of the public realm, enriching or impoverishing it in a lasting and radical manner. The architecture of the city and public space is a matter of common concern to the same degree as laws and language—they are the foundation of civility and civilisation.
Subscribe for the occasional hand-picked quote. No noise.