Why do we build such ugly stuff these days?
Look around: buildings, benches, and doors increasingly feel rushed and disposable. Somewhere along the way, we traded beauty for efficiency and craft for convenience.
And so, I've produced the film below.
To make it, Iâve partnered with Sheehan Quirke (
@culturaltutor). Heâs the host. Iâm the producer. This is our shared vision.
The series is called "The Modern World." In each episode, weâre going to look at the past to better understand who we are today, what we value, and what we believe about the good life. You can think of the series as a mix between Kenneth Clarkâs Civilization series, which aired on the BBC in 1969, and Anthony Bourdainâs Parts Unknown.
People love to celebrate the progress of modernity, and indeed there are things to celebrate, but the decline in our built environment is a grave exception. A few months ago, I was looking for an apartment in New York when a real estate agent told me: âIf you want a place with character, you should only look at places built before World War II.â The more I looked, the more I saw how all the new builds look like a hospital waiting room. Gone are the bricks, the cornices, and the rounded windows that make the older neighborhoods in New York so charming (and desired).
The word âbeautifulâ gets thrown around a lot these days, but this isnât just about the decline in beauty. Itâs about the decline in charm, character, and interestingness â the very things that raise our spirits and splash us with delight in a world that can be cruel and unforgiving.
There are exceptions, of course, but the general trend is clear: our aesthetic decline shows up all over the place â cars, signage, train stations, train tickets, benches, bollards, and lamp posts have all lost their luster.
Is this really the world we want to live in?
Aesthetics are a window into the soul of a culture. If you want to understand a society, donât listen to what it says about itself. Look at what it creates. To walk around a city is to see a series of competing worldviews with contrasting beliefs about how we should live and what a good life looks like.
For this pilot episode, we traveled to London to compare the modern world to the Victorian period of 19th century England. The differences were obvious. For the Victorian-era English, ornamentation was a way to show off technological progress. For us, progress looks sleek and minimal and efficient.
The difference in values is exemplified by Crossness Pumping Station, a sewage facility built in the 19th century to process humanityâs least glamorous export. And yet, itâs prettier than most of the churches we build today. Itâs prettier because the Victorians believed that ordinary objects could (and should) be beautiful.
Right next to Crossness Pumping Station is the modern sewage facility that was built to replace it, which reflects a different set of values: convenience and efficiency. These days, we want things to do their job. Functionality is the priority. Charm and delight are generally afterthoughts.
Our world could be much more delightful, if only we wanted it that way.
My point isnât that everything needs to look like Versailles or that we should put chandeliers in Dunkinâ Donuts. Thatâd be ridiculous. But beauty, charm, and interestingness are worth pursuing. Sure, itâs not the cheapest or fastest way to do things, but I submit that the material costs arenât what's holding us back. After all, we have the wealthiest society the world has ever seen, and things are still getting uglier.
Why did this happen? What should we do about it? What do these changes reveal about our modern world? Thatâs what this series is all about.
(And you can watch the pilot episode below).
Iâve made a short film.
Look at the things around you: doors, bins, staircases, furniture, railings, doorhandles, windows.
Do you like how they look, or not?
Modern design has become boring, but it doesnât have to be this way.
The word âbeautifulâ is overused. We donât need âbeautifulâ lamps, bus stops, and water fountains â we just need lamps, bus stops, and water fountains that are interesting, that actually mean something.
Or, at the very least, not boring.
Because the aesthetics of architecture and urban design arenât just a bonus; they totally change how we think, feel, and behave.
Boring environments make us more stressed and less productive; they erode our sense of community; they make us sadder, less trusting, and lonelier.
A boring world is one where we spend even more time online and where our addictions are even harder to battle.
The Problem
There is global, widespread dissatisfaction with how the world looks. In this film, and the series it will lead to, we want to investigate that feeling and give it a voice.
The point isnât that we should return to the past or get rid of modernism. Itâs about learning from the past in order to improve the present, and about giving the public what they very clearly want, which isnât the eradication of modernism but the co-existence of modernism AND traditionalism.
Just look where tourists go, where they take their photos, and that tells you everything you need to know about what most people find interesting or beautiful.
And look at where people go on holiday. Itâs always to cities filled with old architecture and design, with churches and mosques and palaces, with charming little alleyways and stone staircases and wrought-iron railings.
Of the worldâs fifty most visited buildings, only four were made in the 20th century, and theyâre all museums or memorials.
Thereâs a reason why posts about this go viral online all the time. Regardless of why the change happened, it is clearly the case that we no longer make things how we used to.
People are rightly confused by the fact that old lamp posts (to take the example we focus on in the film) are usually so pretty, while modern ones are usually so boring.
Some people say this is just an example of survivorship bias⌠and theyâre mostly correct. But thatâs the whole point!
Saying old buildings are usually prettier than modern buildings is not to say that architecture used to be better, or that the past was better.
It is simply to say that certain kinds of buildings, because they have been preserved, are good examples of what people like most.
In which case... shouldn't we try to design at least some buildings in a way that we know people like?
A Unifying Cause
Everybody, from all sides of the political spectrum and all backgrounds, stands to benefit from a world that is designed more thoughtfully and imaginatively. The world could be such a colourful, meaningful, and thrilling place!
So this isnât about left versus right or conservatism versus progressivism; itâs about making our world a more interesting and meaningful place to live in. This should be a unifying cause, because everybody loses out when our homes and cities are badly designed.
I want this film to unite people who think theyâre on opposite sides, and to create a consensus that we need to change our approach to how we design our buildings and the objects â benches, bus stops, bins, lamp posts, aircon units â that fill our cities.
The Importance of Details
We are incredibly rich and have a sprawling choice of shows to stream, phones to buy, or shoes to wear⌠but everything feels more and more generic all the time.
If you want to understand a society, donât listen to what it says about itself â look at what it creates. You can learn everything about the Victorians â the good and the bad â just by looking at their lamp posts.
And what do the ordinary details of the modern world say about us?
That we are technologically advanced, very efficient⌠and care more about making money, about making things as quickly and cheaply as possible, than making our world an enjoyable place to actually live in.
Itâs important to learn about why and how things have changed, but thatâs for another time. The first step is establishing that the public arenât happy with modern architecture and design, and that something needs to be done.
But what we need isnât a total revival of so-called âtraditionalismâ; the truth is that traditionalism and modernism can (and should) co-exist.
The trouble right now is that we only have one, and that people are tired of it.
The Power of Noticing
But this film (and the series it will, all being well, lead to) is about more than the specific argument it presents. Above all itâs about a way of seeing the world around us, a way of noticing and thinking.
âHow you do anything is how you do everything.â That is probably true, and it also applies to whole societies, not just individuals; a single doorbell implies everything else about the whole socio-economic and political system that gave rise to its creation.
And, beyond being merely âusefulâ, the ability to notice details makes the world a richer place to live in, and life a richer thing to lead. This is what the film is about, more than anything: the power and joy of noticing.
A Bigger Project
This short film is just the beginning. We want to make a full series about the history of art and architecture, both for their own sake and also to see what we can learn about life in the twenty-first century and how to improve it. To keep updated you can join our email list over at our website, linked in the reply below.
Final Words
You can watch the film here on X, or over on YouTube, also linked in the reply below.
So⌠this is where the dream begins, the dream of a new series and the dream of a more charming, more interesting, more meaningful modern world.
Spread the word.