 Scruton advocates architecture as a vernacular, public art form on an urban scale, in the manner of treatises on urban decorum from the Renaissance onwards, which subordinate the style of the individual building to the whole. Unlike models that achieve this subordination by conscious planning, Scruton envisages a process akin to the self-ordering of an ideal competitive market. He applies Adam Smith’s metaphor of the invisible hand to the emergence of urban order, rejecting the utopian, social revolutionary visions of Gropius, Le Corbusier and other modernists. These writers sharply separate architecture and “mere” building in a way opposed to Scruton’s vernacularism.  A district of London such as North Kensington, where planning was at best rudimentary, and which has few “public spaces” in the planner’s sense, is “eminently public”, Scruton argues (1994).