This is a large estate on the edge of a village, built within a small forest, the construction of which required annihilation of most of the foliage. All the roads are named after trees, and the style of houses all 7 conformed to an olde-worlde stereotype of leaded windows, canopies over front doors and fake half timbering. But why do so many people favour the traditional over the modern? It would appear that to many, the past offers reassurance and security. In Traditional Interiors, which is a book from the USA published by the Architectural Review, the notion is suggested that “In a marvellously comforting way, the past is forever there; the rules are established; the mistakes have been eliminated.
A sort of purification has taken place, and the trends of the moment have been eliminated”2 . The idea of the traditional being away from the realm of fashion is an important one when considering architecture, or home fittings and furnishings. Nothing dates as quickly as the ultra contemporary, and as the purchase of a home and/or its furnishings represent a considerable outlay, people tend to be wary about that which will date quickly. Traditional designs are a safe option; while they will never be terribly fashionable, they probably will never be particularly unfashionable either. Another interesting parallel to note is that both the inter war years and the period from the eighties on have both been periods of remarkable growth in domestic consumer technologies. While the earlier period saw the introduction of scheduled radio and limited television broadcasts and increasing ubiquity of the telephone, the later one has so far.
Traditional interiors. Los Angeles : Knapp, 1979. 8 seen mobile phones, powerful computers, the emergence of the internet and a glut of television channels all become a part of everyday life. The unprecedented levels of mass communication achieved in both of these eras served to considerably alter perception of time and space-speeding life up as well as making information ever more accessible. In a world where the unfamiliar constantly becomes the normal, people can feel the need for something tangible and familiar to grasp on to.
The future is not the certainty of an exciting new world that it was in the two decades following the cessation of WW2. Indeed, the problems associated with modern design and architecture of this period are well remembered, and add to a suspicion of the ‘new.’ Even the lack of regional variation in recently built estates can be perceived as offering reassurance. In an age where people’s jobs can easily lead to them relocating to an unfamiliar part of the country, the similarity these developments have to each other almost eliminates the need to get used to the new area, which is something that seems to have been happening over the last couple of decades in terms of global standardisation as well.
The irony is, though, that people who are quite happy to live in a modern ‘traditional’ home, with ‘traditional’ furniture could also be the kind that would turn down living in a genuinely old (but modernised) house or owning antique furniture. This is illustrated in a brilliant quote from a book on the Channel Four series Sign of the Times (broadcast in 1992) which was a show about the nation’s taste in home décor. One of the participants said that “I’m put off real antiques because to me they look old and sort of Barker, Nicholas and Martin Parr. Signs of the Times: A portrait of the nation’s Tastes.
In summary, domestic nostalgia, despite its detractors, offers the consumer a retreat from the high speed world that we live in. The mistakes made post war in relation to ‘the new’ have remained in people’s consciousness for a long time, and even today, the traditional is associated with quality, and a slower, more peaceful world. It is a completely idealised vision of the past, but because of this rose tinted depiction, a home built or decorated in this style provides a symbolically safe environment for its occupiers.