With the exception of Ruskin and Morris most thinkers of the industrial era turned out to be “industrial” thinkers. Refusing to consider industrialism as a mere ideology, they posited it as an irreversible fact of history and progress, as unquestionable as the laws of nature, as irrevocably useful as the discovery of the wheel.
There is a choice location for London’s unrivalled musical offerings that, as far as I know, is yet unconsidered – namely, Park Square and Crescent. Here, in the green “vestibule” of Regents Park, in proximity to the Royal Academy of Music, a new concert hall, a chamber music hall, a state of the art educational facility, practice rooms, restaurants and exhibition galleries can form a new urban ensemble that includes the complementary amenities required for successfully supporting the London Symphony Orchestra’s mission.
Modernism in architecture and music is very much like the artificial invention of a language, like Esperanto. Esperanto was used by tradesmen and by a very small number of people. But imagine that a very powerful political group took over not just a province or a country, or even a continent, but over the world and imposed Esperanto as a single language, forbidding all other languages and declaring them as purely historical – no longer valid, no longer legitimate for use today. That is what has happened to architecture and even to music.