Post-Western Architecture: Deconstructing the Ideals of Modernism in the Face of a Multipolar Cultural Renaissance

Introduction

The architectural discourse of the 20th and 21st centuries has largely been defined by the relentless pursuit of modernism and the widespread embrace of a globalized, technological future. However, as we move further into the 21st century, the conventional understanding of architecture—shaped primarily by Western ideals—is being increasingly challenged by a global, multipolar cultural renaissance. The rise of regionalism, the rediscovery of classical traditions, and a return to more human-centric architectural forms are emerging as responses to the unrelenting forces of modernism and postmodernism. This paper seeks to explore the potential for a return to classical architecture and objectivism in the contemporary architectural scene, using a variety of case studies, theoretical perspectives, and personal reflections from my experiences in Portugal and Spain. Through these reflections, I will demonstrate how architecture can once again be grounded in the rational ideals of the Italian and Dutch Renaissance, while embracing local cultural narratives and regional aesthetics.

Vitruvius, De Architectura

Vitruvius, the Roman architect whose treatise De Architectura has shaped architectural thought for millennia, offers a framework for architecture based on the classical ideals of firmness, commodity, and delight. His work laid the foundation for Western architectural thought, emphasizing proportional systems, symmetry, and the relationship between human scale and the built environment. However, in the modern age, these ideas have often been dismissed as rigid and antiquated in favor of more "progressive" styles.

Modernism, with its clean lines and functionalist ethos, de-emphasized ornamentation and historical references in favor of universal forms and abstraction. While this approach had its merits, it is also true that modernism often disregarded the profound human connection that classical architecture nurtured through its proportions, textures, and cultural resonances. Vitruvius's principles, though centuries old, still offer valuable insights for contemporary architects seeking to reestablish a connection between built forms and human experience.

In my travels through Porto, I was struck by the juxtaposition of classical ideals with modern interventions. The Casa da Música, designed by Rem Koolhaas, serves as a prime example of a modern structure that, though void of classical forms, speaks to the same fundamental human principles of proportion, scale, and harmony. Reflecting on Koolhaas’s approach within the context of Vitruvius’s teachings made me question how contemporary architecture could be informed by classical principles without adhering strictly to classical form. It became apparent that Vitruvius's ideas could offer a bridge between the rigor of modernism and the beauty of classical harmony, provided they were adapted to suit the complexity of modern society and its diverse cultural needs.

Classical and Traditional Architecture in Contemporary Practice

While modernism's rise heralded the triumph of objectivity, minimalism, and functionalism, there has been a steady resurgence in the appreciation for classical architecture in recent years. Classical architecture—once thought to be a relic of the past—is now seen by many as a means of reconnecting with history, culture, and local context. The principles of classical architecture, grounded in reason, proportion, and human scale, offer a form of architecture that transcends the arbitrary and often alienating nature of modernist design.

One of the more prominent proponents of this classical return is Leon Krier, whose work and philosophy emphasize the importance of traditional urbanism and community-oriented design. Krier’s The Architecture of Community calls for a shift away from the fragmented, isolated structures of the modern city and towards a more cohesive, human-scaled urbanism. In his vision, the classical ideals of proportion, symmetry, and harmony are not merely stylistic choices but essential to creating spaces that foster a sense of community and well-being.

Krier's ideas align with my own architectural practice, which aims to create buildings that resonate with their surroundings while also providing a meaningful and functional space for people. My trips to historic cities like Lisbon and Braga provided an invaluable context for this philosophy. In Lisbon’s Baixa district, for example, the grandeur of the squares, combined with the human-scaled streets, creates a harmonious balance between public and private life. This blend of classical proportions with local cultural elements inspired me to incorporate these ideas into my own work, demonstrating that classical principles, far from being out of touch, can inform designs that are both timeless and relevant in today’s context.

The Regional Renaissance: Insights from Portugal and Spain

My travels through Portugal and Spain were pivotal in shaping my perspective on classical and regional architecture. These countries, with their rich architectural traditions, offer a wealth of examples where classical ideals have been adapted to local contexts and vernacular forms. In cities like Braga, Porto, and Lisbon, I saw firsthand how classical principles—whether in the baroque complexity of Braga’s Bom Jesus do Monte or the restrained elegance of Lisbon’s azulejos—have evolved in response to regional climate, culture, and history.

In the Pena Palace in Sintra, for instance, the interplay of neoclassical forms with romantic, fantastical elements highlights how classical architecture can blend with imagination and context to produce something entirely new. While the palace itself is a product of the 19th-century Romantic movement, it draws heavily from classical references, demonstrating the continued relevance of classical design in the creation of highly individual, culturally specific forms.

José Saramago’s Journey to Portugal: In Pursuit of Portugal’s History and Culture further deepened my understanding of the relationship between architecture and cultural identity. In this work, Saramago paints a vivid picture of Portugal’s rich cultural and architectural history, from the Gothic cathedrals to the rural vernacular houses. Saramago’s exploration of Portugal is a reminder that architecture is not just a physical artifact but a narrative of a people’s history, aspirations, and connection to the land. This view resonates deeply with my belief that classical architecture, when adapted thoughtfully to local needs, can reflect a nation's cultural identity while promoting a sense of unity and continuity across generations.

The Case for a Return to Classical Architecture in Public Buildings

In recent years, the debate over the design of public buildings has seen the rise of new discussions around the role of classical architecture. A key example is the 2018 Executive Order signed by President Donald Trump, which called for the use of classical styles in the design of new federal buildings. While this mandate was controversial, it sparked an important conversation about the role of architecture in shaping the public realm. The Executive Order on Promoting Beautiful Federal Civic Architecture argues that classical architecture offers a sense of dignity, permanence, and unity to the nation, resonating deeply with both the public and historical context of American civic identity. The order suggests that civic architecture should evoke a sense of public pride and serve as a symbol of stability and continuity.

The American Institute of Architects (AIA) pushed back against this directive, arguing that the mandate undermined the diversity and creative potential of architectural expression. The AIA’s position is understandable, as it promotes the idea that architecture should be flexible and evolve with the times. However, in my view, there is much to be gained from revisiting classical forms, especially when they are adapted to the specific needs of the community they serve. Classical architecture, when done thoughtfully, can evoke a sense of stability, permanence, and identity—values that are increasingly important in a rapidly changing world.

The debate surrounding the Trump administration’s push for neoclassical public buildings reflects a broader conversation about the role of tradition in contemporary architecture. In my practice, I have found that integrating classical elements into contemporary design can create buildings that are both forward-thinking and grounded in historical context. For example, the use of classical proportions, such as those found in the designs of Palladio and the Dutch Renaissance, can bring a sense of order and balance to modern forms, enhancing both their aesthetic appeal and their connection to the broader cultural landscape.

Conclusion

As the world enters a multipolar cultural renaissance, there is a growing recognition that architecture must once again reflect the diversity and richness of regional and cultural contexts. While modernism’s emphasis on objectivity and universal forms has shaped much of the 20th century, the future of architecture may lie in a return to classical ideals—adapted, of course, to meet the needs and aspirations of today’s global society. Through my experiences in Portugal and Spain, I have come to see that classical architecture is not a static, outdated form but a dynamic and living tradition that can provide meaningful solutions to the challenges of our time. By integrating classical principles into contemporary design, we can create buildings that are both timeless and relevant, reflecting the beauty, history, and cultural identity of the places they inhabit.

References:

1. Vitruvius, De Architectura (Oxford: Oxford University Press, 2009).
2. John Summerson, The Classical Language of Architecture (London: Thames and Hudson, 1963).
3. Robert Tavernor, Vitruvius: Writing the Body of Architecture (London: University of Chicago Press, 2000).
4. Leon Krier, The Architecture of Community (Washington, D.C.: Island Press, 2009).
5. Fernando Távora, The Architecture of Portugal (Lisbon: Gótica, 1980).
6. Richard Wagner, The Romantic Movement in Architecture (London: Harper and Row, 1976).
7. José Saramago, Journey to Portugal: In Pursuit of Portugal’s History and Culture (New York: Harcourt, 2000).
8. David P. McAllister, The Architecture of the Sacred (New York: HarperCollins, 1992).
9. David Santos, A History of Portuguese Architecture (Lisbon: Editorial Presen?a, 1997).
10. Executive Order on Promoting Beautiful Federal Civic Architecture (Washington, D.C.: The White House, 2018).