The Romance of Classicism: In the Press

There has been a wonderful response to George Saumarez Smith’s new book, The Romance of Classicism: Designing the English Country House for Today, since its publication by Rizzoli this autumn.

A love letter to the English country house and to the enduring appeal of classical architecture, the book brings together twenty years of George’s work designing new houses rooted in the traditions of the past, while created for the way we live today. Its arrival has prompted a particularly warm reception across the architectural, design and national press, with critics and writers drawn to both the beauty of the houses featured and the ideas behind them.

The Financial Times was among the publications to take a close look at George’s work, exploring the curious appeal of the brand-new country house. The feature considers the houses’ ability to feel as though they have a history of their own, despite being built within the last two decades. It captures something fundamental to George’s approach: that a new house can borrow not simply the appearance of historic architecture, but its sense of permanence, proportion and belonging. The article also highlights the use of traditional materials and reclaimed architectural elements, which can give a newly built house a sense of “instant history”.

Country Life has also celebrated the thinking behind the book, publishing George’s own reflections on the question of why anyone would choose to build a new country house when Britain is already fortunate to have so many historic ones. His answer is both practical and romantic. A new house can be designed around the needs of modern family life, while drawing upon the architectural language, craftsmanship and materials that have made historic country houses so enduring. There is also the pleasure of creating something that, with time, will settle into its landscape and acquire a character of its own.

The book has also featured in House and Garden's 'Arena Library' article as a recommended book, along with The Standard’s September design coverage, where it was described as “a love letter to elegant homes built in the past 20 years”. It was included alongside some of the season’s most anticipated new books in the worlds of interiors, art and design - a fitting reflection of the book’s appeal beyond architecture alone.

More recently, the BBC has brought George’s work into a wider cultural conversation around the renewed interest in traditional architecture. Its feature on the growing number of new houses inspired by historic styles examines the debate surrounding contemporary classical architecture, and the question of how a new building can feel authentic rather than simply imitative. George’s work provides an interesting answer: the success of a traditional house lies not in the superficial application of historic decoration, but in its proportions, materials, craftsmanship and relationship with its setting.

It is a distinction that runs throughout The Romance of Classicism. The houses featured in the book are not intended to be replicas of the past. They are carefully considered modern homes, informed by centuries of architectural knowledge and adapted to contemporary life. Their classical character comes from an understanding of scale, symmetry, detail and materials, as much as from the more recognisable features of the tradition.

What has been particularly pleasing about the response to the book is the recognition of this thoughtful approach. Across the coverage, there is an appreciation not only for the extraordinary houses themselves, but for the philosophy behind them: the belief that architecture can be both rooted in tradition and entirely relevant to the present day.

Ultimately, The Romance of Classicism is a celebration of the idea that new buildings can have a sense of permanence; that beauty and practicality can coexist; and that the architectural traditions of the past still have much to offer the way we build and live today.

We are delighted to see George’s work and ideas receiving such a warm response, and to see The Romance of Classicism finding its place within the wider conversation about the future of traditional architecture.