June 4, 2019
By Dom Nozzi
The reason the classical building is far more likely to stand for centuries than the modernist glass box is that, as the name “classical” implies, classical design has stood the test of time with regard to how loved the design has been over the course of several generations or centuries.
Modernist architects have opted to throw away “test of time” designs and have arrogantly decided that “innovative” is the only design criterion. That a person can just dream up an innovative design that will stand the test of time. It is utterly unsurprising that nearly all “innovative” modernist buildings are considered hideous by the great majority of people surveyed.
When a building is loved, it has a far greater chance of lasting for centuries than buildings that few if any people love.
Almost no one (except modernist architects and those looking for amusement or shock) will visit a neighborhood as a tourist to enjoy the beauty or charm or romance or lovability of a neighborhood consisting of modernist buildings. Hundreds of millions of tourists, by striking contrast, flock to neighborhoods largely consisting of classical or traditional building design.
Rome. Copenhagen. Paris. St Augustine. French Quarter. Amsterdam. Prague. Utrecht. Bologna. Bath. Assisi. Florence. Venice. Berlin. Cologne. Dresden. Lucca. Siena. Barcelona.
An important reason why NIMBYism is so rampant is that unlike in the past (before modernism), citizens have come to expect that any new building built in town will be unlovable modernism. Nearly every new building built makes the town less loved.
Modernists are infamous for not using any sort of ornamentation whatsoever. For obvious reasons, this tends to make buildings appear boxy or cubical or so lacking in features that it fails to provide any interest to the observer. Architects did not use ornamentation for several centuries simply because they enjoyed wasting time and money to install it. They used ornamentation because it is a time-tested way to give the building appeal or interest. When I (and many others I’ve observed) am traveling to a new city, I have zero interest in photographing a metal or glass cube building because it is so minimalist and therefore uninteresting and unlovable. However, I (and many others I’ve observed) am strongly compelled to photograph buildings that are richly ornamental.
It is a myth that everyone has his or her own opinion about what is a lovable building design. Survey after survey shows that classical, traditional building design is far preferred. After all, why else would classical, traditional design be so replicated for so very many centuries? By contrast, I know of no modernist building designs that have been (or will be) replicated. That is telling. It is no coincidence that people from all over the world have flocked to the same classical and traditional buildings for centuries to admire them. I and many others believe that this is in part due to the fact that humans are hard-wired to admire certain building designs. Again, the fact that certain designs have been replicated for so many centuries is a testament to that.
Nearly all modernist architects, as part of their ruinous obsession with being “innovative,” take great joy in designing a building that completely ignores the contextual design (the design vocabulary) of other buildings on its street or neighborhood or community. It is an arrogant, selfish quest is to design a jarring “LOOK AT ME!!” building that sticks out like a sore thumb with regard to other buildings.
I believe humans tend to enjoy the pleasing character of assemblages of buildings, not individual buildings. People flock to Assisi or Florence or Venice not so much because of the desire to enjoy individual buildings, but to enjoy the collection (assemblage) of (time-tested) buildings built with traditional designs.
There is a place, of course, for “look at me” (“heroic”) buildings that are designed to not fit into the context of nearby buildings. But that design must be reserved for civic buildings such as churches or important government buildings. When most or all buildings ignore context (as modernist buildings, by definition, strive to do), they create a chaotic public realm that is confusing, disorienting, and stressful to most people.
Consider, for example, the photo above. The image of a modernist city on the left exemplifies chaos and confusion and lack of coherence. It will never be tourist attraction (except for those who want to experience something bizarre or crazy).
Modernist buildings tend to be extremely notorious for being crazy expensive to maintain. They also tend to be terrible in achieving energy efficiency. After all, by tossing out traditional design tactics for the all-important need to be “innovative,” modernists stupidly toss out such efficient (and affordable) tactics as how the building is oriented toward the sun, abandoning the need for large roof overhangs (to shade the building), installing windows that cannot be opened from the inside, using non-local materials that cannot be locally sourced or repaired, using flat roofs that are extremely likely to leak or collapse under the weight of snow or water, and using glass or other wall materials that are far more costly to maintain or clean than brick or wood.
I do not believe it is true that a person who pays for a building to be built should be able to build anything he or she desires. The exterior building design, unlike paintings or furniture inside a building, is something that everyone in the community must be exposed to for the remainder of their lives. That is why I agree with the many cities that have found it very important to adopt development regulations that prohibit certain designs or exterior colors or flat roofs or large setbacks or weeds/litter/car wrecks in a front yard. The public has a right to not be subjected to what amounts to an eccentric who gets enjoyment out of flipping off his fellow citizen by what amounts to “mooning” the public realm with a jarring, shocking building design.
Modernism also fails in several ways at the neighborhood level. Emily Talen, in her book Neighborhood (2019), notes that the highly influential Congress International Architecture Modern (CIAM) successfully influenced — for decades and to this day — the design of neighborhoods throughout the world so that they included the highly dysfunctional features of separating homes from offices, retail, civic, and manufacturing; prioritizing the car over the pedestrian; rejecting the street as public space; creating superblocks that promote insularity; treating buildings as isolated objects in space rather than as part of a larger interconnected urban fabric; rejecting traditional elements such as squares and plazas; demolishing large areas of the city to make unfettered places for new built forms; and creating enclosed malls and sunken plazas that deaden public space. I would also note that these modernist designers also brought dysfunctional, disconnected, disorienting, curvilinear roads to neighborhoods.
Buildings must be built well. That is one of the main reasons why I reject modernist design. Modernism is too often using designs and materials that fail or are extremely costly to maintain.
I agree with those who state that one of the most essential ways to promote energy conservation and material conservation is to use a building design that is loved. When the building is loved, it is much more likely to last for generations, because citizens will be more likely to defend it from demolition. Time-tested buildings, by definition, are the most loved. I am completely convinced that “innovative” modernist buildings will, in nearly all cases, not stand the test of time, and be demolished relatively soon. To build buildings that are so unloved that they are soon demolished is dreadfully wasteful.
“Nothing is more dated [and, in my opinion, unloved] than yesterday’s vision of tomorrow.”
Modernism is a failed paradigm for the reasons I give above. We need to toss this paradigm into the waste basket.