This is not a history book. This book takes a personal approach to examining the lack of humanity in current architecture and the ghastly errors we are making for our built environment. My enquiry is this: why does contemporary architecture and design prove to be unpopular with so many people? It strays away from fundamental human needs, including comfort, into the realms of egotism and financial greed to satisfy sensational goals. Humankind has created an amorphous architectural environment that is increasingly out of control. It has become difficult to mend, improve and provide appropriate buildings in which to work, rest and play. Major cities are imploding, characterful towns are being despoiled, and villages are becoming deserted.

How did this happen? In the past, each era produced a new technology, material or process that was the result of changes in society, government and the broader fashions of the day. These influences permeated all aspects of life from science and engineering to the arts and architecture. The population’s needs came first through supportive gestures of tradition that were, in turn, lubricated by exciting new discoveries and inventions. The twentieth century, exacerbated by two world wars, was witness to an outpouring of anarchic, ugly and revolutionary thoughts and actions, which future generations mistakenly excused for being radical and progressive.

To solve this dilemma, I have decided to make a selective study of past historical styles since primitive times to understand how design became such a tortured soul in the twentieth century. I explore the common duality that continues to this day of classicism versus modernism and how damaging art, design and philosophical movements were after 1920. Their continued break from history and tradition, which was shared by all three, fuelled a modern architecture lacking in humanity as well as an agreeable and contextual co-existence with our inherited communities. As I write in the book, I am not advocating for the reproduction of classical architecture. I am arguing that we learn from history how things come together, combining this with the possibilities suggested by innovations in the modern tools and devices at our disposal.

I conclude by choosing projects that give us hope for the future. There are many illustrations and drawings, as with my other books, and having carried out extensive research I am convinced my analysis and perspective does not exist elsewhere. It goes without saying that current dissatisfaction with our built environment is widespread and I hope my book will contribute positively to such a debate.

Anthony Sully Is A Graduate Of London’s Royal College Of Art Interior Design Course, Gaining A Silver Medal For Work Of Special Distinction. His Career Has Been Equally Divided Between Design Practice And University Teaching. His Outlook Has Always Been Innovative With His Work Gaining Awards And Being Published In The Media And On TV. He Was Awarded A Fellowship Of The Chartered Society Of Designers, The Royal Society Of Arts And The Higher Education Academy.

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