Classicism in today's world

Recently, whilst meeting with Hugh Petter of Adam Architecture at their new offices in Winchester, I began to think about the notion of modern classicism. How is it viewed in the world of design where seemingly anything goes, and what does it mean to the average person who is spoon fed media opinion visually, aurally and virtually?

When classical architects like Robert Adam began their careers in the early 1970s, classicism was dead or at least deeply unfashionable. Brutalism, modernism, cubism, these were terms in the public domain that had energy, that looked to the future, that won the largest public monument and institutional competitions, that forced public housing skyward, and resulted in the continued pulling down of many classical buildings. It takes enormous ego, strength of character, self belief and vision to rise against the tide of public opinion. Architects like Robert Adam, founding director at Adam Architecture, and QuinlanTerry, both with thriving multigenerational practices today, swam against that tide but they could only do so because of the patronage of clients who wanted what they had to offer.

Today, the buzz is all about sustainable urban development, and classicism plays a major role in it. This often translates into closely built structures with shared green space in existing or brownfield urban sites, or fiercely fought for undeveloped and redeveloped spaces in the countryside. According to recent studies, people are flocking to cities globally. Towns and cities will, over the coming decades, continue to be under enormous pressure to support burgeoning populations. Countries like China will lead the way as their people grow more affluent. Yet we seem to be under greater economic and environmental pressure than ever before, and this is no doubt influencing how we look at the way we live and the buildings we live and work in.

A successful example of Vernacular sustainable urban development in a regenerated area of downtown Charleston, designed by Andrew Gould of New World Byzantine

Architects and planners shape these environments, and it can be difficult to assess what people really want, although even in the thrust of modernist building trends, traditional buildings still predominate in the residential sector. Some communities are a great success, sometimes quickly like I'On in America. Poundbury, an ambitious project instituted by HRH The Prince of Wales, is a slower growing example. Our colleague, Tom Abel Smith at Savills, has said that at the top end of the market new country houses are being planned and built throughout the UK, and fetching prices in line with the period houses they are modelled on. Why? They are far more energy efficient, and they can be built to accomodate modern family life, and they allow scope for the owners to create their own dream.

Modern Classical Villa, Cheltenham, designed by Hugh Petter of Adam Architecture

Are we inherently drawn to classical design or is it just familiar? In these uncertain economic times, many of our colleagues believe that looking towards the past engenders continuity, security and helps us to cope with uncertainty. A cynic might say it creates instant pedigree for those who are newly affluent. Or that a structure has greater marketable value. Many believe a classical structure melds more gently with the past and creates a harmonious whole in a country where we live cheek by jowl and our heritage is fragile and worth preserving and enhancing. Or that its very regularity of form is somehow more pleasing and emotionally coherent. A modernist might say we must break with the past to create something new and vital, to contrast completely, to continually challenge what is accepted form and seek yet a new vocabulary of expression, or to sharply contrast old and new to create a dialogue of truth.

The Great Court at The British Museum by Foster and Partners (2000), a marriage of Classicism and Modernism 

How do you respond to the built environment... Classicist, Modernist or something else? Next week we'll be turning our attention to classical interiors.