In the austere landscape of the late 1950s, marked by drab skies and a somber architectural ethos, Quinlan Terry emerged as a pioneering figure in classical architecture. As he began his career, the field was entrenched in the utilitarian simplicity of postwar modernism, characterized by flat roofs, stark walls of exposed aggregate concrete, and the unembellished “stretcher bond” brickwork.
This era, defined by the mass production of structures and a machine-age mentality, often seems distant today, given the dramatic shifts that have occurred since. For the more rigid modernists of that time, any inclination towards decorative elements in architecture was deemed not only eccentric but often outright controversial and deserving of criticism.
This elegantly bound red-cloth hardback serves as a fitting tribute to a lifetime devoted to the study, design, and creation of new classical architecture. Such buildings are traditionally characterized by the use of the five classical orders of columns inherited from ancient Greek and Roman architecture, and this book offers a comprehensive exploration of these elements, both visually and descriptively.
Even classical buildings can spark debate within their own tradition.
Over the centuries, these Classical orders have been creatively reinterpreted by various architectural movements, from the Italian Renaissance and Palladian architecture to the Georgians, Victorians, and Edwardians. Each era has brought its own inventive, fresh perspectives to Classical design.
Even classical buildings can be controversial in their own terms. The Howard Building at Downing College, Cambridge (1986) took on an exuberant and Baroque character in contrast to the rather austere Greek revival college buildings that had been created by William Wilkins in the early nineteenth century.
However, with the rise of the International Modern Movement, the direct application of classical architecture saw a significant decline, and its principles were largely excluded from mainstream architectural education for nearly a century. In contrast, this book aims to demystify classical architecture for the general reader, explaining the terminology and components of classical design and demonstrating how they can be skillfully combined to create harmonious structures.
The skyline of London, once a classical masterpiece, now bears the mark of a loss that is profoundly felt. Beneath a 1774 painting capturing the city’s grandeur, a stark black-and-white photograph reveals a modern vista dominated by ever-taller, monotonous corporate structures. This comparison is disheartening. Terry reflects on this decline, noting that public transport passengers are frequently reminded, “If you see anything that doesn’t look right, speak to a member of staff … See it, say it, sorted.” He argues that it is equally important for ordinary citizens to voice their concerns about architectural aesthetics, suggesting that a return to traditional building practices could restore the beauty of our cities to that of bygone eras.
However, the prospect of such a revival seems remote. Passengers on trains arriving in and departing from London are often absorbed in their mobile devices, and successive governments have demonstrated a lack of concern for the quality of mass housing and commercial developments, opting instead to leave these matters to the “market place.”
In this context, this book arrives as a much-needed call to action. By encouraging readers to observe, sketch, and engage with the architecture of their surroundings, it aims to rekindle an appreciation for the built environment. It is hoped that this book will inspire a greater care and consideration for the design and development of our cities, fostering a renewed commitment to creating beautiful and meaningful spaces.
