NARRATOR: MAJOR FUNDING FOR "ARCHITECT ROBERT ADAM: A PLACE AT THE TABLE" IS PROVIDED BY THE UNIVERSITY OF NOTRE DAME SCHOOL OF ARCHITECTURE THROUGH THE GENEROUS SUPPORT OF THE RICHARD H. DRIEHAUS CHARITABLE LEAD TRUST.

[MUSIC] ROBERT: WHEN I WAS AT SCHOOL -- I WAS AT BOARDING SCHOOL -- IF YOUR PARENTS DIDN'T HAVE, YOU KNOW, LOADS OF MONEY, AND MY PARENTS DIDN'T HAVE LOADS OF MONEY, YOU WERE EXPECTED TO BECOME A PROFESSIONAL.

NOW IF YOU WERE GOOD AT ART, THIS IS A PROBLEM.

SO I WAS SORT OF DIRECTED TOWARDS ARCHITECTURE.

IT WAS ART THAT TOOK ME INTO ARCHITECTURE.

MOST OF THE PEOPLE WHO CAME TO ARCHITECTURE SCHOOL IN THOSE DAYS HAD NEVER BEEN ANYWHERE SO THEY WERE REALLY RIPE FOR BRAINWASHING.

BUT I HAD BEEN LIVING IN LONDON.

I WASN'T THAT SUSCEPTIBLE TO BRAINWASHING.

BASICALLY I WAS TOLD THERE WAS ONLY ONE WAY TO DO IT, AND THAT'S REALLY QUITE ANNOYING.

AND I WAS CONTRARY.

THEY TRIED TO FAIL ME.

I WAS ON MY OWN.

NOBODY WAS DOING WHAT I WAS DOING THAT I KNEW OF AT THE TIME.

MY FIRST JOB WAS UNEMPLOYED.

EVENTUALLY I TOOK A JOB IN A FIRM IN WINCHESTER.

IT MEANT THEN I COULD THEN CONTROL OF MY LIFE.

[MUSIC] [MUSIC] BATH MASTER PLAN...

INTERESTING IS THE WORD TO USE THERE.

GEOFFREY: BRITISH ARCHITECT ROBERT ADAM IS A HAPPY WARRIOR IN A STRUGGLE MOST OF US KNOW NOTHING ABOUT.

FROM HIS OFFICES AT ADAM ARCHITECTURE, HE FIGHTS TO MAKE A PLACE FOR CLASSICAL AND TRADITIONAL ARCHITECTURE IN A WORLD WHERE FLASHY MODERN BUILDINGS REIGN SUPREME.

RECEPTIONIST: GOOD MORNING, ADAM ARCHITECTURE.

HOW CAN I HELP YOU?

HUGH: WHAT ROBERT HAS DONE IS BUILD UP A FIRM WHICH STARTED OFF PRETTY MUCH JUST HIM AND A FEW ASSISTANTS AND IS NOW, YOU KNOW, A BIG COMMERCIAL ENTITY.

SIX PARTNERS, AND HE'S ONLY ONE OF THEM.

EACH ONE WITH THEIR OWN PERSONAL STYLE.

SO THAT FEDERATION OF TRADITIONALIST ARCHITECTS, WHICH HE'S BUILT UP THERE I THINK IS THE KEY THING.

PAUL: THE MISSION HAS BEEN TO ACTUALLY GET THE REST OF THE PROFESSION TO ACCEPT TRADITIONAL ARCHITECTURE.

NIGEL: WE TALK ABOUT HAVING A PLACE AT THE ARCHITECTURAL TABLE.

GEORGE: TRADITION IS NOT THE PAST, AND IT'S NOT THE SAME AS HISTORY.

HUGH: WE'RE MORE INTERESTED IN HOW TRADITIONS HAVE EVOLVED.

ROBERT: IT'S LIKE WRITING A CHAPTER IN A BOOK.

IF YOU WRITE A CHAPTER IN A STORY, THE NEXT CHAPTER HAS TO MAKE SENSE IN RELATION TO THE PREVIOUS CHAPTERS, IT'S NOT THE SAME AS THE PREVIOUS CHAPTERS.

GEOFFREY: WE ASKED ROBERT ADAM TO SHOW US A PLACE THAT REALLY CAPTURES HIS BELIEFS ABOUT TRADITION.

SO HE TOOK US TO HIS OWN HOUSE, WHICH HE DESIGNED EARLY IN HIS CAREER.

ROBERT: IF YOU LOOK VERY CAREFULLY THERE'S A WORM COMING OUT OF ONE OF THE APPLES.

GEOFFREY: OH, I SEE IT!

ADAM EVEN GAVE THE HOUSE THE TRADITIONAL NAME OF THE FIELD ON WHICH IT WAS BUILT: CROOKED PIGHTLE.

ROBERT: THE FACT WE CAN SPEAK TO ONE ANOTHER IS THAT WE SHARE COMMON TRADITIONS.

EVERYDAY PEOPLE ACTUALLY QUITE LIKE TRADITIONAL THINGS.

THEY JUST SORT OF DO.

AND THEY FEEL COMFORTABLE WITH IT, THEY IDENTIFY WITH IT AND SO ON, BUT SOMEHOW SUPERIOR PEOPLE CALLED ARCHITECTS OF COURSE KNOW BETTER.

AFTER YOU.

EVERY ARCHITECT SHOULD BE GAGGED AND TIED AND JUST LISTEN TO WHAT ORDINARY PEOPLE THINK ABOUT BUILDINGS.

ROBERT: WELL, IT'S SORT OF SOMEWHERE BETWEEN THE RENAISSANCE AND ARTS AND CRAFTS.

GEOFFREY: OH, OK. ROBERT: THE HALL.

AND IT'S A TWENTY FOOT BY TWENTY FOOT BY TWENTY FOOT CUBE.

GEOFFREY: IT'S A CUBE!

ROBERT: YEAH.

A SIX METER CUBE.

GEOFFREY: IT WAS ADAM'S INSTINCTIVE LOVE FOR TRADITION THAT GOT HIM INTO TROUBLE IN ARCHITECTURE SCHOOL.

GOODNESS.

VERY BEAUTIFUL.

THERE HE FOUND HIMSELF OUT OF STEP WITH THE OVERRIDING ARCHITECTURAL AESTHETIC: MODERNISM.

ROBERT: WHEN I WAS EXPERIMENTING WITH WHAT I WOULD LOOSELY CALL TRADITIONAL ARCHITECTURE, I REALLY DIDN'T QUITE KNOW WHERE I WAS GOING.

NO ONE WAS POINTING ME ANYWHERE.

SO I HAD TO LEARN EVERYTHING ON THE HOOF.

GEOFFREY: BUT A VISITING PROFESSOR AT HIS SCHOOL RESPECTED WHAT THE YOUNG STUDENT WAS TRYING TO DO.

ROBERT: HE ACTUALLY MADE MY CAREER.

BECAUSE HE THEN SAID, "WELL, I THINK YOU WOULD BE VALID FOR ROME SCHOLARSHIP."

WHEN I GOT TO ROME, I REALIZED, THIS IS STUFF I COULD LEARN.

FROM THAT MOMENT ONWARDS, I STARTED TO TEACH MYSELF ABOUT CLASSICAL ARCHITECTURE.

EVENTUALLY, I WROTE A BOOK AND THAT WAS ALL THE THINGS I WISH I'D HAD AVAILABLE TO ME WHEN I WANTED TO LEARN ABOUT CLASSICAL ARCHITECTURE.

GEOFFREY: BUT ROME WAS MORE THAN AN EDUCATION IN CLASSICAL ARCHITECTURE.

ROBERT: IN A YEAR, I CHANGED FROM BEING NEARLY KICKED OUT TO BEING A ROME SCHOLAR.

GEOFFREY: FOR THE FIRST TIME BOB, AS HE LIKES TO BE CALLED, WAS RESPECTED IN HIS FIELD.

HE WAS INVITED TO WRITE ARTICLES IN ARCHITECTURAL JOURNALS.

THAT GAVE HIM A PUBLIC FORUM TO SHARE THE IDEAS THAT NEARLY GOT HIM FLUNKED OUT OF ARCHITECTURE SCHOOL.

ROBERT: I COULD INTERVIEW PEOPLE, I COULD DISCUSS THINGS WITH THEM, I COULD ARGUE WITH THEM, WHICH IS ALWAYS GOOD FUN.

GEOFFREY: BUT BOB DIDN'T WANT TO BE A JOURNALIST.

HE WANTED TO BE AN ARCHITECT.

AND NOT MUCH OF HIS WORK WAS GETTING BUILT.

SO HE PUBLISHED DRAWINGS OF HIS DESIGNS AND PUT HIMSELF IN THE PICTURE.

ROBERT: IF YOU'RE GOING TO USE THEM FOR PROMOTION, YOU MIGHT AS WELL MAKE SURE THAT EVERYONE RECOGNIZES YOU.

[LAUGHS] THEY WERE PEN AND INK ORIGINALLY.

I COULD EXPLAIN, BY ALL SORTS OF SYMBOLIC THINGS IN THE DRAWING, WHAT I WAS TRYING TO DO.

ONE OF THEM I HAVE A DOG BARKING AT A BIRD RISING OUT OF A FIRE.

THAT'S BECAUSE THE ORIGINAL BUILDING WAS BURNT IN A FIRE, AND THIS IS A PHOENIX RISING OUT OF THE ASHES.

AS AN ARCHITECT WHAT MATTERS IS YOU SEE STUFF OUT THERE, YOU PUT IT IN HERE, AND YOU PUT IT DOWN THERE.

AND THAT'S CALLED DRAWING.

AND MY MOTHER WAS VERY KEEN IN ENCOURAGING ME TO DRAW.

I FOUND WHEN SHE DIED, SHE KEPT DRAWINGS THAT I HAD DRAWN WHEN I WAS SORT OF FIVE OR SIX.

NOT BAD, ACTUALLY, I WAS SURPRISED!

GEOFFREY: EARLY ON, BOB'S DRAWINGS AND WRITINGS ATTRACTED THE ATTENTION OF ARCHITECTURAL HISTORIAN DAN CRUICKSHANK, WHO BECAME A STAUNCH ALLY IN BOB'S CAUSE.

CRUICKSHANK LIVES IN A CENTURIES-OLD ROWHOUSE.

DAN: THEY'RE WONDERFUL EXAMPLES OF A PARTICULAR TYPE OF DOMESTIC ARCHITECTURE.

BUILDINGS BUILT QUICKLY AND CHEAPLY IN 1720S.

YET THAT ARE WORKS OF ART, THEY HAVE AN ENDURING QUALITY WAY BEYOND THE QUALITY THAT THE BUILDERS THOUGHT THEY'D EVER ACHIEVE.

GEOFFREY: YEARS AGO, CRUICKSHANK FOUGHT TO SAVE HIS HOME, AND THE SURROUNDING NEIGHBORHOOD, FROM THE BULLDOZERS.

DAN: IN THE 1970S NO ONE CARED.

NO ONE CARED!

THEY WANTED TO DEMOLISH THEM FOR PROFIT, FOR GREED, FOR REDEVELOPMENT.

THE THREAT WAS INTENSE.

ALL METHODS POSSIBLE HAD TO BE USED, INCLUDED OCCUPATIONS, SQUATS, LIE DOWN IN THE STREET!

I WOULD LITERALLY CHAIN MYSELF INSIDE BUILDINGS.

GEOFFREY: YOU CHAINED YOURSELF?

DAN: WELL, MY DEAR CHAP, DO YOU NOT FIND TIME?

YES, YES, SO WE HAD TO CHAIN OURSELVES WITHIN A THREATENED BUILDING.

SO THE DEMOLITION MEN COULDN'T GET IN, BASICALLY.

ROBERT: I'VE KNOWN DAN SINCE HE WAS A JOURNALIST.

DAN: WHAT INTRIGUED ME ABOUT BOB'S ARCHITECTURE WAS THE CREATIVE FUSION OF NOW WITH THEN, OF MODERNITY WITH HISTORY.

HE WASN'T COPYING, HE WAS REINVENTING.

GEOFFREY: CRUICKSHANK WORKS WITH ADAM ARCHITECTURE AS AN HISTORICAL BUILDING CONSULTANT ON RESTORATION PROJECTS.

ROBERT: IT'S THE IDEA THAT A BUILDING, PARTICULARLY AN OLD BUILDING, OR A TOWN IS A NARRATIVE.

DAN: THEY'RE FULL OF THOSE BRILLIANT SORT OF USES OF THE GREAT HIGH LANGUAGE OF RENAISSANCE CLASSICISM, GOING BACK, I SUPPOSE, TO ROME.

IF YOU LOOK AT THE CORNICE UP HERE, HERE IS THE CORNICE.

IMAGINE THAT ON A GREAT ROMAN RENAISSANCE BUILDING, WITH ITS, YOU KNOW, IT'S REDUCED IN SCALE.

IT'S GOT LITTLE DENTAL COURSE THERE, RATHER GRAND.

IT LOOKS BIG AND STRONG, BUT IN FACT, I'LL SHOW YOU AN EXAMPLE OVER HERE, LOOK.

HERE IS A SIMILAR CORNICE.

I SALVAGED THIS FROM A HOUSE IN COVENT GARDEN BEING DEMOLISHED, 1730.

IT'S A CORNICE LIKE THIS, BUT A BIT BIGGER SCALE.

IT WAS A BIGGER ROOM.

BUT YOU CAN SEE HOW BEAUTIFUL AND CORRECT THE CLASSICAL DETAILS ARE.

IT'S POWERFUL AND SHOULD OBVIOUSLY IN A SENSE MADE OUT OF STONE.

BUT IT'S JUST MADE OUT OF JUNK, JUST PINNED TOGETHER WITH A FEW CHEAP NAILS.

ROBERT: HIS ENTHUSIASM IS FANTASTIC.

OF COURSE, HIS DEPTH OF KNOWLEDGE IS FANTASTIC.

DAN: THAT IS ONE OF THE THRILLING THINGS, ISN'T IT?

TO SEE BIG IDEAS ADAPTED THROUGH THE CONSTRAINTS OF THE REAL WORLD.

ROBERT: IT'S A PERFORMANCE.

DAN ACTUALLY ASSESSING A BUILDING IS A PERFORMANCE.

DAN: THAT'S WHAT'S FASCINATING, ISN'T IT?

ROBERT: AND IT'S A JOY TO WATCH.

IT IS A JOY TO WATCH.

GEOFFREY: ANOTHER OF BOB'S BROTHERS IN ARMS IS SCOTTISH SCULPTOR ALEXANDER STODDART.

HE GOES BY SANDY.

SANDY: MY FRIEND, BOB ADAM.

WELL, HE WAS THE FIRST TO DIG ME OUT OF COMPLETE PROVINCIAL OBSCURITY AND GIVE ME, YOU KNOW, SERIOUS WORK TO DO IN ARCHITECTURE.

SO, I'M THINKING OF OPENING AN ART SCHOOL.

AND ONE GREAT THING ABOUT THIS ART SCHOOL WILL BE THAT, IF YOU ATTEND IT, YOU WILL ABSOLUTELY BE GUARANTEED ONE THING ABSOLUTELY: YOU WILL GET NO DEGREE.

WHO WANTS A DEGREE WHEN YOU CAN OPEN A FOLIO OF DRAWINGS AND SAY, "THIS IS WHAT I DO."

YOU DON'T WANT SOME STUPID PARCHMENT TO SAY THAT YOU'VE A BA FIRST CLASS HONORS.

IMAGINE IF I SAID TO YOU THE FOLLOWING EXPRESSION: LEONARDO DA VINCI, BA, HONORS.

DOESN'T IT SOUND PREPOSTEROUS?

WHEN I WAS A VERY YOUNG MAN, I WANTED TO BE A TRADITIONALIST, AND THERE WERE SOME TRADITIONALIST ARCHITECTS.

AND SO, I THOUGHT, "WELL, ARCHITECTURE BEING THE MOTHER ART"-- ROBERT: THE MOTHER ART?

SANDY: THE MOTHER ART, OF COURSE.

ARCHITECTURE IS THERE AS THE NATURAL HOME OF SCULPTURE.

ARCHITECTURE HAS MANY CHILDREN, BUT ITS FAVORED CHILD, ITS SPOILED BRAT, IS SCULPTURE.

SO, I THOUGHT, IN MY INNOCENCE, THAT WHAT I WOULD DO IS I WOULD WRITE TO ALL THE CLASSICAL ARCHITECTS CURRENTLY WORKING BACK THEN.

I RECEIVED SHORT SHRIFT FROM THEM.

THEY WEREN'T INTERESTED.

OF COURSE EXCEPTIONALLY BOB DID WRITE BACK AND GOT REALLY STRONGLY IN TOUCH AND SAID, "COME AND VISIT ME IN WINCHESTER."

I THOUGHT IT WAS THE MOST GENEROUS THING THAT HAD EVER HAPPENED.

WE'VE WORKED CONSISTENTLY THROUGHOUT MY CAREER.

GEOFFREY: A BUST OF HIS FRIEND BOB SITS BESIDE OTHER BUSTS OF CONTEMPORARY BRITISH TRADITIONAL ARCHITECTS HE'S NOW WORKED WITH.

SANDY: BOB, OF COURSE IS YOUNG HERE.

AREN'T WE ALL?

GEOFFREY: OH, THERE IT IS.

SANDY: YOU SEE, IT SAYS, "TO MY FRIEND, ROBERT ADAM -- A. STODDART, PAISLEY" TWO... GEOFFREY: 2000.

SANDY: 2000.

SO, THAT WAS SEVENTEEN YEARS AGO.

I MEAN, HE'S STILL A HANDSOME BEAST.

[MUSIC] GEOFFREY: ONE OF BOB AND SANDY'S COLLABORATIONS WAS ON A NEW LIBRARY BOB DESIGNED FOR OXFORD UNIVERSITY.

[MUSIC] SANDY PROPOSED A CLASSICAL FRIEZE FOR THE COURTYARD, BUT DESPITE OXFORD'S CENTURIES-OLD HISTORY, IT WAS A HARD SELL.

SANDY: YES, THAT WAS MEANT TO SIGNIFY THE FOUR LIBRARY TYPES OF THE WORLD.

THE ANCIENT LIBRARY, THE LOST LIBRARY, THE PUBLIC LIBRARY, AND THE STATE LIBRARY.

THERE'S FOUR FIGURES, FEMALE FIGURES.

[MUSIC] IN FACT, YES, THAT'S ONE OF THE ORIGINAL PLASTERS FROM THAT.

YOU CAN SEE IT'S COVERED IN SMUTS AND BLOTCHES BECAUSE OF THE MOLD MAKING PROCESS.

THE SCHEME WAS OPPOSED FURIOUSLY.

I WAS TRYING TO EXPLAIN THE THEME AND THIS GHASTLY INDIVIDUAL SAID, "SEE HOW PRETENTIOUS HE IS?"

I THOUGHT I SHOULD'VE JUST GONE ACROSS AND GREETED HIM IN THE TRADITIONAL GLASWEGIAN MANNER, WITH MY FOREHEAD BROUGHT SHARPLY DOWN UPON HIS NOSE.

[LAUGHS] ROBERT: BASICALLY THEY WERE OUTRAGEOUSLY UNPLEASANT TO SANDY.

SANDY: BOB, OF COURSE, FOUGHT LIKE A JACK RUSSELL AMONGST A BARN FULL OF RATS TO GET THIS DONE.

ROBERT: I'VE NEVER HAD SUCH A STRUGGLE WITH A CLIENT IN MY LIFE.

SANDY: IT'S ALL VERY AFFABLE, OF COURSE, BUT WE KNOW WHAT'S REALLY GOING ON UNDERNEATH.

[MUSIC] HUGH: IF I WAS SINGLING OUT ONE OF HIS BEST BUILDINGS, IT WOULD BE THAT ONE.

NOW, THE SACKLER LIBRARY SHOWED THAT HE COULD DO A REAL BUILDING BY THE HEART OF ONE OF THE GREAT UNIVERSITIES OF THE WORLD, AND IN A VERY DIFFICULT SITE THERE, AS WELL.

AND THEN, TAKING THE KIND OF TRADITIONAL FORM OF THE CIRCULAR LIBRARY, TIE THAT IN, WEAVE THAT INTO THE FABRIC OF OXFORD.

THAT LOOKS GOOD TO THIS DAY.

[MUSIC] GEOFFREY: THE STORY OF ROME!

SANDY: BOB HAS BEEN A GREAT STREET FIGHTER FOR THE CLASSICAL CASE.

ALL WE'RE SAYING, "ALL WE WANT IS A PLACE AT THE TABLE."

GEOFFREY: BOB DOESN'T JUST FIGHT IN THE STREETS.

HE TAKES THE CAUSE OF CLASSICISM RIGHT TO THE VERY HEART OF THE MOSTLY MODERNIST ARCHITECTURAL ESTABLISHMENT IN DEBATES HOSTED BY R-I-B-A, THE ROYAL INSTITUTE OF BRITISH ARCHITECTS.

ROBERT: GENERALLY SPEAKING, TRADITIONAL ARCHITECTS HAVE IGNORED IT BECAUSE THEY WANT TO IGNORE THE PROFESSION AS A WHOLE.

I'VE MADE IT MY BUSINESS TO ENGAGE WITH THE PROFESSION IN GENERAL, AND TO A SIGNIFICANT EXTENT THROUGH THE RIBA.

SPEAKER: SO, THIS CONCEPT OF THE MARRIAGE OF OLD AND NEW.... JANE: TRADITIONAL ARCHITECTURE IS PART OF OUR HERITAGE, AND IT'S ALSO GOING TO BE PART OF OUR FUTURE.

ROBERT: I'M CONSTANTLY TOLD WHAT I DO IS INAUTHENTIC AND DISHONEST.

PAUL: HE'S NOT A KIND OF CRUDE ANTI-MODERN WHO DOESN'T KNOW ANYTHING ABOUT MODERNISM AND JUST HATES IT AND IS ABUSIVE ABOUT IT.

HE'S A DIFFICULT PERSON FOR A LOT OF MODERNISTS TO DEAL WITH.

HE KNOWS WHAT THE ARGUMENTS ARE.

ROBERT: BECAUSE I CAN HEAR IT NOW.

I CAN HEAR, "THIS IS AN INTERESTING REINTERPRETATION.

I THINK WE NEED TO REINTERPRET THIS."

I MEAN IF I HEAR THAT WORD ONCE MORE I THINK I'LL DIE.

AND DEBATE IS GOOD.

EVERYONE SHOULD DEBATE THINGS.

GEOFFREY: WHILE MANY TRADITIONALISTS TURN UP THEIR NOSES AT LONDON'S MOST FAMOUS MODERN BUILDINGS THE "GHERKIN" BY FOSTER+PARTNERS AND THE "SHARD" BY RENZO PIANO, BOB SAT ON THE REVIEW PANELS THAT APPROVED THOSE BUILDINGS.

ROBERT: IF SOMEBODY PRODUCES A GOOD MODERNIST BUILDING, I RECOGNIZE IT'S A GOOD MODERNIST BUILDING.

PAUL: ON THE OTHER HAND, I THINK ACTUALLY, IF YOU SAID, "OKAY, YOU'VE ONLY GOT ONE SORT OF ARCHITECTURE "THAT YOU CAN BUILD ON THAT DESERT ISLAND THAT YOU'VE BEEN STRANDED ON," I THINK IT'S VERY, VERY CLEAR WHAT HIS ANSWER WOULD BE.

GEOFFREY: THE ANSWER IS ON LONDON'S PICCADILLY STREET.

IT'S BOB'S FIRST LARGE SCALE COMMERCIAL OFFICE BUILDING.

ROBERT: PICCADILLY IS A MAJOR THOROUGHFARE, ONE OF THE WORLD'S GREAT THOROUGHFARES.

ED: IT'S ALWAYS BEEN SMART.

HUGH: UNLIKE ANY OTHER STREET IN LONDON.

ED: THIS IS A STREET THAT'S TRADITIONALLY BEEN WHERE MEN BUY THEIR SHIRTS AND SUITS AND SO ON.

HUGH: ROBERT'S BUILDING IN PICCADILLY ACTUALLY DOES STEP UP TO THAT.

ROBERT: WITH PICCADILLY, I WAS TRYING TO... WELL, THERE WERE VARIOUS THINGS I WAS TRYING TO DO.

PAUL: I THINK, YES, YOU CAN SEE HE'S THROWN A LOT OF STUFF INTO THAT BUILDING.

PERSONALLY, I ALWAYS SAY, "GIVE ME IDEAS.

I'D RATHER HAVE TOO MANY IDEAS, RATHER THAN NOT ENOUGH."

[MUSIC] GEOFFREY: BOB'S BUILDING IS RIGHT IN BETWEEN ONE OF LONDON'S MOST STRIKING EARLY MODERN BUILDINGS, SIMPSON'S OF PICCADILLY, DESIGNED BY JOSEPH EMBERTON, AND ARCHITECT CHRISTOPHER WREN'S 17TH CENTURY ST. JAMES'S CHURCH PICCADILLY.

PAUL: IT'S A TOUGH CALL.

YOU'RE DESIGNING BETWEEN A MASTER OF MODERNISM AND BRITAIN'S GREATEST EVER ARCHITECT.

ROBERT: I WAS TRYING TO RESPOND VERY CAREFULLY TO THE VARIED URBAN CONTEXT.

ED: ALL THE FACADES WERE ALL CONSTRUCTED OFFSITE ON FRAMES, AND BROUGHT ON SITE.

AND, YOU KNOW, MOST PEOPLE WOULD NOT REALIZE ALL THESE FACADES ARE NOT HANDSET STONE.

HE MANAGED TO MERGE TRADITIONAL DESIGN WITH MODERN CONSTRUCTION TECHNIQUES.

ROBERT: IT IS A TRADITIONAL CLASSICAL BUILDING, BUT IT'S ALSO A VERY MODERN BUILDING.

THAT'S VERY IMPORTANT.

GEOFFREY: THE BUILDING FEATURES DECORATIVE FIGURES CREATED BY SANDY STODDART.

THE FIGURES ARE ALLEGORICAL: ONE FOR COURAGE, THE OTHER FOR KINDNESS.

IN THE COUNTRYSIDE, THIS SMALL ARTS & CRAFTS STYLE HOUSE REFLECTS BOB'S PARTICULAR LOVE OF A CERTAIN VERY BRITISH TYPE OF HOME.

HUGH: HE AND HIS PARTNERS HAVE GOT A GOOD GRASP ON THAT PARTICULAR STRAND OF ARCHITECTURE IN ENGLAND, WHICH SOME SEE AS BEING ACTUALLY THE GOLDEN AGE OF ENGLISH ARCHITECTURE.

[MUSIC] GEOFFREY: BUT IT'S COUNTRY HOMES ON A MUCH GRANDER SCALE THAT HAVE BEEN THE BREAD AND BUTTER OF BOB'S FIRM FOR YEARS.

COUNTRY HOMES ARE MAKING A COMEBACK IN ENGLAND, AFTER HUNDREDS WERE LOST TO NEGLECT AND DEMOLITION FOLLOWING WORLD WAR II.

[MUSIC] THIS IS THE NEW HOME OF GRACE AND TIM EVERETT.

IT WAS BUILT ON A PARCEL OF FARMLAND THE FAMILY HAD OWNED FOR CENTURIES.

GEOFFREY: THIS IS A NEW HOUSE?

IT LOOKS OLD.

TIM: YES, ABSOLUTELY.

TEN YEARS WE'VE BEEN HERE.

GEOFFREY: BUT IT REALLY DOES LOOK LIKE IT'S BEEN HERE FOREVER, SORT OF.

GRACE: OH, WELL THAT'S GOOD.

TIM: IT'S A CLASSICAL HOUSE IN, YOU KNOW, A LOVELY LOCATION.

GEOFFREY: HOW IS IT DIFFERENT THAN A COUNTRY HOUSE WOULD HAVE BEEN?

TIM: SMALLER.

GEOFFREY: THIS IS SMALL?

TIM: SMALLER.

A LOT SMALLER.

GRACE: I THINK YOU WOULD EITHER DESCRIBE THIS AS A SMALL BIG HOUSE, OR A BIG SMALL HOUSE.

GEOFFREY: LOOK AT THIS, THIS IS A STONE STAIRWAY.

GRACE: YES.

GEOFFREY: AND ANOTHER ROTUNDA!

AND IN HERE, WHAT'S THIS?

GRACE: THIS IS THE DRAWING ROOM.

GEOFFREY: THE DRAWING ROOM.

GRACE: YES.

GEOFFREY: THE EVERETT'S HAD ACTUALLY KNOWN BOB FOR YEARS THROUGH TRADITIONAL BRITISH BIRD-HUNTING PARTIES AT WHICH THEY HAD ALL BEEN GUESTS.

TIM: AND WE WERE TALKING TO BOB WALKING ACROSS THE FIELD.

GEOFFREY: OH, HE WAS PART OF THE SHOOTING PARTY?

TIM: OH, HE WAS, YES, ABSOLUTELY.

GEOFFREY: BOB TOLD THE EVERETT'S A LOCAL REVIEW BOARD HAD ASKED HIM TO EVALUATE SOME ARCHITECTURAL PLANS FOR A NEW COUNTRY HOUSE THE COUPLE WANTED TO BUILD.

TIM: SO, I SAID TO GRACE, I SAID, "WELL, WHAT WE SHOULD DO, IF HE'S GOING TO ASK "TO BE AN EXPERT WITNESS, "WE SHOULD ASK HIM TO DO THE DESIGN.

THEN HE CAN'T CRITICIZE IT."

GRACE: YEAH, BECAUSE IT WOULD BE HIS DESIGN.

AND SO, WE WENT TO BOB.

I THINK ACTUALLY HE WAS PROBABLY QUITE INSULTED THAT WE HADN'T GONE TO HIM.

GEOFFREY: WHAT ARE SOME OF YOUR FAVORITE THINGS THAT BOB DID HERE?

GRACE: WELL, I CAN TELL YOU.

I CAN TELL YOU IN AN INSTANT.

IT'S THE STAIRCASE.

BECAUSE WE SAID TO HIM WE WANTED SOMETHING VERY SIMPLE, ELEGANT, BUT ENCAPSULATED FARMING AND OUR WAY OF LIFE.

THE FIRST THING HE CAME UP WITH WAS IT, AND IT WAS A SHEATH OF CORN.

AND IT JUST LOOKS AMAZING, BECAUSE IT'S SO SIMPLE AND IT'S VERY PERSONAL TO US.

SO HE WAS LISTENING.

GEOFFREY: THE EVERETT'S CHOICE OF BOB AS THEIR ARCHITECT ALSO HELPED WIN OVER THE NOTORIOUSLY HARD-TO-PLEASE REVIEW BOARD.

WHY DON'T THEY WANT HOMES BEING BUILT ON SITES?

GRACE: BECAUSE IT'S IN THE COUNTRYSIDE.

TIM: I THINK IT'S PROBABLY ENGLAND MUCH MORE THAN AMERICA, WE HAVE AN ISSUE WITH LAND.

[LAUGH] GRACE: LACK OF LAND SPACE.

YOU HAVE TO PROVE WHY IT'S WORTHY OF BEING ALLOWED TO GO AHEAD.

YOU HAVE TO BE VERY PERSISTENT WHEN IT COMES TO THE PUBLIC INQUIRY AND ACTUALLY REALLY HAVE CONVICTION IN WHAT YOU'RE DOING.

WE HAD BOB.

GEOFFREY: A SINGLE HOUSE, EVEN A BIG ONE, DOESN'T TAKE UP MUCH OF THAT SCARCE OPEN LAND.

BUT IT ALSO DOESN'T HELP ADDRESS ANOTHER EQUALLY PRESSING SHORTAGE.

ROBERT: IN THE UK THERE'S A HUGE STRUCTURAL SHORTAGE OF HOUSING.

HUGH: THERE'S A LOT OF PUBLIC RESISTANCE TO THAT BECAUSE YOU KNOW, OBVIOUSLY NO ONE LIKES SEEING GREEN FIELDS GOBBLED UP BY CONCRETE.

ROBERT: AND THAT'S THE STRUGGLE.

GEOFFREY: OUTSIDE NORTON ST. PHILIP, WHICH IS A VILLAGE THAT DATES BACK TO THE DAYS OF ROMAN OCCUPATION, BOB HAS DESIGNED A NEW DEVELOPMENT THAT FEELS VERY MUCH LIKE AN OLD VILLAGE.

ROBERT: UP HERE ON THE LEFT, YOU'VE GOT A STEEP CHANGE OF LEVEL.

YOU DESIGN IT REALLY LIKE A SORT OF, A PIECE OF ART.

GEOFFREY: THIS IS ONE OF MANY NEW TOWNS BOB AND HIS PARTNERS HAVE DESIGNED, THAT DRAW UPON LESSONS FROM THE PAST ARE WALKABLE, AND USE UP AS LITTLE OPEN LAND AS POSSIBLE.

ROBERT: YOU GET A COLLECTION OF STUFF HERE.

WE USED LOCAL STONE, USED LOCAL MATERIALS WHEREVER WE CAN.

YOU'VE GOT TO MAKE THEM ALL GOOD HOUSES.

YOU'VE GOT TO GIVE THEM NICE GARDENS.

WE THINK IT'S AN INTERESTING, NICE PLACE TO LIVE.

I LEARNED THIS STUFF WORKING FOR THE PRINCE OF WALES, BASICALLY.

HE'S A LARGE LANDHOLDER AND WE WERE INVOLVED IN HIS EARLY MASTER PLANNING PROJECTS.

HIS INTENTION WAS VERY CLEAR.

HE WANTED THINGS LIKE THIS.

GEOFFREY: HIS ROYAL HIGHNESS, CHARLES, THE PRINCE OF WALES, PROVED A VERY POWERFUL ALLY IN BOB'S QUEST TO ALTER THE COURSE OF ARCHITECTURE.

THE PRINCE COMMISSIONED A MODEL TOWN CALLED POUNDBURY ON LAND OWNED BY THE CROWN.

IT WAS DESIGNED ALONG TRADITIONAL LINES AS AN ANTIDOTE TO THE KIND OF GENERIC MODERN-ERA ARCHITECTURE THE PRINCE BELIEVED WAS ERODING BRITAIN'S CHARACTER.

ROBERT: WHEN IT FIRST BEGAN ARCHITECTS COULD, YOU KNOW, BASICALLY YOU KNOW, THEY RAN OUT OF BAD ADJECTIVES TO PUT AGAINST IT, YOU KNOW.

THEY NOW REALIZE THAT THE URBAN DESIGN PRINCIPLES THAT HE PUT FORTH THERE HAVE NOW BECOME UNIVERSAL.

LIKE BEING ABLE TO WALK AND NOT USE YOUR CAR AND HAVE EMPLOYMENT CLOSE BY.

AND THEN HE MADE HIS SPEECH.

PRINCE CHARLES: WHAT IS PROPOSED SEEMS TO ME LIKE A MONSTROUS CARBUNCLE ON THE FACE OF A MUCH LOVED ELEGANT FRIEND.

ROBERT: THE ARCHITECTURAL PROFESSION COULD BARELY SAY HIS NAME WITHOUT SPITTING.

IT GAVE THE CRITICS OF MODERNIST ARCHITECTURE A PLATFORM.

THEY SAID, "WELL THE PRINCE OF WALES THINKS THAT, SO IT MUST BE ALL RIGHT."

SO IT MADE A REALLY SIGNIFICANT DIFFERENCE.

HUGH: IN THE 1980'S, ALL PRINCE CHARLES HAD TO DO WAS SAY SOMETHING AND A SCHEME WOULD BE DROPPED.

YOU KNOW, IF HE DIDN'T LIKE IT-- GEOFFREY: OH REALLY, HE HAD THAT MUCH INFLUENCE?

HUGH: OH YEAH, HE HAD THAT MUCH POWER.

ROBERT: I WAS IN THE RIGHT PLACE AT THE RIGHT TIME.

WHEN THIS HAPPENED, I WAS ONE OF THE FEW PEOPLE OUT THERE DOING THIS KIND OF STUFF.

WELL, ACTUALLY, I GOT DRAWN IN, AND THE REST IS HISTORY AS THEY SAY.

GEOFFREY: THE STREETS ARE QUITE NARROW.

ROBERT: YES, IT'S VERY SPECIFIC.

THESE ARE AS NARROW AS THEY CAN BE LEGALLY.

AND ALL WE'RE TRYING TO DO IS MAKE IT MORE INTIMATE, AND MAKE IT SO THAT PEOPLE FEEL THAT THIS IS A NEIGHBORHOOD, THIS IS SOMETHING THEY'RE CLOSE TO.

[MUSIC] HUGH: HE UNDERSTANDS THE STREET, AND HE UNDERSTANDS THE GRAIN OF HISTORIC TOWNS.

I THINK IT GOES BACK TO THAT POINT ABOUT, "WELL, WHAT KIND OF ARCHITECTURE DO PEOPLE LIKE?"

WELL I THINK ABOVE ALL, THEY LIKE REAL STREETS, YOU KNOW, REAL FRONT DOORS, REAL HOUSES.

SO I THINK HE'S THINKING ABOUT THINGS IN THE RIGHT WAY.

ROBERT: SOMETIMES WHEN I COME HERE, PEOPLE COME OUT AND TALK TO ME AND SAY, YOU KNOW, "THANK YOU VERY MUCH.

I ENJOY LIVING HERE."

AND THAT REALLY MAKES LIFE WORTH LIVING.

GEOFFREY: THE PRINCE OF WALES CONTINUED TO BE IMPORTANT TO BOB'S WORK.

WHEN BOB HELPED TO FORM AN INTERNATIONAL ORGANIZATION DEDICATED TO SUPPORTING TRADITIONAL ARCHITECTURE AND URBAN DESIGN AROUND THE WORLD, PRINCE CHARLES SUPPORTED IT.

HARRIET: INTBAU IS AN INTERNATIONAL NETWORK THAT BASICALLY EXISTS TO PROMOTE TRADITIONAL BUILDING, ARCHITECTURE, AND URBANISM IN ALL ITS MANY FORMS AROUND THE WORLD.

WE'VE GOT TWENTY SEVEN NATIONAL CHAPTERS.

ROBERT: INTBAU IS A PRETTY CLUMSY ACRONYM.

WHICH WE TRIED TO CHANGE, BUT NOBODY WANTED TO CHANGE IT.

IT'S CALLED THE INTERNATIONAL NETWORK OF TRADITIONAL BUILDING ARCHITECTURE AND URBANISM.

UNFORTUNATELY IT SOUNDS LIKE A GERMAN SCAFFOLDING FIRM, BUT THERE YOU GO.

HARRIET: BOB WAS INSTRUMENTAL WITH REALIZING THAT IT WAS AN ORGANIZATION THAT WAS NEEDED.

ROBERT: THE TRADITIONAL ARCHITECTS ARE VERY OFTEN MINORITIES IN COUNTRIES, SOME OF THEM ONLY ONE OR TWO.

VERY OFTEN IGNORED, ABUSED, ETC.

WE SAID WELL NO, IF LOTS OF SINGLE PEOPLE IN DIFFERENT COUNTRIES GET TOGETHER, THEY BECOME SOMETHING MUCH BIGGER.

IT'S ONE THING THAT TRADITIONAL ARCHITECTS HAVE LACKED, WAS ANY KIND OF RECOGNITION.

AND IF YOU HAVE A SEAT AT THE TABLE, THAT'S WHAT YOU WANT.

GEOFFREY: FOR ALL THE GREAT HOUSES AND ENTIRE TOWNS HE HAS DESIGNED, BOB SAYS A TINY STRUCTURE ON A HILLTOP, BUILT TO CELEBRATE THE NEW MILLENNIUM, EPITOMIZES WHAT HE STANDS FOR.

[MUSIC] GEOFFREY: THE IDEAS HE'S SPENT HIS WHOLE CAREER CHAMPIONING.

THIS IS CALLED A FOLLY, RIGHT?

ROBERT: YES.

GEOFFREY: WHAT'S A FOLLY?

ROBERT: WELL A FOLLY IS SOMETHING THAT'S FOOLISH.

AND USUALLY IT REFERS TO SOMETHING THAT SITS IN A LANDSCAPE AND IS PICTURESQUE.

IT'S AN 18TH CENTURY TERM.

IT'S JUST SOMETHING YOU DO FOR FUN.

GEOFFREY: A LITTLE FRIVOLOUS?

ROBERT: YEAH, IT'S FUN.

THE IDEA THAT YOU CAN ACTUALLY HAVE SOMETHING THAT'S CLEARLY UP-TO-DATE, THE LATEST PIECE OF ENGINEERING, CLASSICAL DESIGN, BUT INVENTIVE CLASSICAL DESIGN.

THERE'S NOTHING QUITE LIKE THIS ANYWHERE.

[MUSIC] AND THE OTHER THING WE'VE MANAGED TO DO IS WHAT THE ANCIENTS WANTED TO DO IT, BECAUSE THEY SAID SO.

THEY WANTED TO MAKE IT LIKE THEIR DOMES FLOATED.

WELL WE CAN DO IT.

THEY COULDN'T.

[MUSIC] SO IT'S A DESTINATION.

YOU CAN WALK UP FROM THE HOUSE ON A SUMMER'S EVENING, SIT UP HERE, HAVE A DRINK AND SEE THE VIEW.

[MUSIC] [MUSIC] NARRATOR: MAJOR FUNDING FOR "ARCHITECT ROBERT: A PLACE AT THE TABLE" IS PROVIDED BY THE UNIVERSITY OF NOTRE DAME SCHOOL OF ARCHITECTURE THROUGH THE GENEROUS SUPPORT OF THE RICHARD H. DRIEHAUS CHARITABLE LEAD TRUST.