New Classical Architecture

New Classical architecture is a contemporary movement in architecture that continues the practice of classical and traditional architecture. The design and construction of buildings in these traditions is continuous throughout the twentieth and twenty-first centuries, even as modernist and other post-classical theories of architecture have been more dominant. Since New Classical architecture is not an architectural style and can appear in various forms, contemporary classical buildings might be also, although not correctly, be described with the terms Traditionalism, Neo-Historism (or Historicism/Revivalism), or simply Neoclassical Architecture, implying the continuation of a specific historical style.

At the beginning of the 20th century, historicism and Jugendstil were still dominant styles in Germany. The Austrian architect Adolf Loos criticized his time's architecture as too "grandiloquent" and "opulent", and longed for a complete abandonment of architectural ornaments in his 1910 essay Ornament and Crime. As early as the first major modernist movements like Werkbund and Bauhaus gained momentum in Germany, the desire to continue and develop classical styles sprouted. From 1904 until around 1955 the prospered in Germany, which focused on vernacular traditions and can be roughly translated to cultural protection style. Examples of this early new classical style are the Hamburg Museum, the Prinzipalmarkt in Münster and the market square of Freudenstadt. After heavy Allied bombing of Germany in World War II, architects such as , Roderich Fick, , Werner March, Paul Schmitthenner, Julius Schulte-Frohlinde, and Rudolf Wolters assisted in the postwar rebuilding of destroyed German cities using Heimatschutz and other traditional design methods. In Britain, architect Raymond Erith continued to design classical houses into the late 1960s and early 1970s. Quinlan Terry, a New Classical Architect who continues to practice, was an employee, later a partner and now the successor of the late Raymond Erith. In the late 1970s several young architects in Europe began challenging modernist proposals in architecture and planning. To broadcast them, Leon Krier and Maurice Culot founded the Archives d'Architecture Moderne in Brussels and began publishing texts and counterprojects to modernist proposals in architecture and planning. It received a boost from the sponsorship of Charles, Prince of Wales, especially with The Prince's Foundation for Building Community.

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