By the way, perhaps I'm just being naive, but most of the vast amount of new construction on college and prep school campuses going up these days looks pretty good stylistically to my eyes, in contrast to the 1950-1980 Modernist eyesores nearby.
Awhile ago I visited the Claremont Colleges, which consists of a few lovely Spanish Mission buildings from before the War, when everything went to hell architecturally, a whole bunch of bland-to-bad postwar buildings, and a few extravagant new buildings. There was one incredibly awful building, a brutalist concrete nightmare from the 1970s that looked like they dug up Hitler's Bunker and reassembled it above ground in the
Anyway, most of the brand new campus buildings I've seen in the last couple of years look rather impressive, although maybe in 30 years they'll look just as bad as the postwar stuff. But I don't think so, since they are typically designed to fit in stylistically with the pre-Depression buildings on campus. While the postwar buildings were intended to be both a sharp stick in the eye stylistically, and cheap to build, the dominant aesthetic theme of the new edifices appears to be: Just like the old buildings on campus that you love, only much, much more expensive.
Perhaps the evident costliness of the construction makes them even more appealing?
In Tom Wolfe's novel I Am Charlotte Simmons, the old aesthete drops in a bombshell of a paragraph cynically summing up what he's learned from his lifetime's obsessions with architecture and status about why we love beautiful buildings. Poor Adam Gellin, the much put-upon undergrad intellectual, has fled from the gay rights rally he was intimidated into attending into the gothic majesty of the Dupont U. library (Dupont is more or less Duke U., which has perhaps the most extravagant architecture of any American college):
"He stood in the lobby, just stood there, looking up at the ceiling and taking in its wonders one by one, as if he had never laid eyes on them before, the vaulted ceiling, all the ribs, the covert way spotlights, floodlights, and wall washers had been added ... It was so calming ... but why? ... He thought of every possible reason except for the real one, which was that the existence of conspicuous consumption one has rightful access to -- as a student had rightful access to the fabulous Dupont Memorial Library -- creates a sense of well-being."
This might be a little too reductionist even for my taste. First, it seems to take as a given that elegant conspicuous consumption is even more conspicuous than crass conspicuous consumption, but you need a cultivated a sensibility for that to be true. I suspect that It's also hard to say how crucial the "rightful access" clause is since I generally haven't broken and entered into too many architectural landmarks. Switching from architecture to golf architecture, I snuck onto the exquisite 15th hole at Cypress Point, and I recall, 30 years later, feeling pretty good, but I suspect I would have been ecstatic if I'd been there rightfully, playing the course rather than just skulking about, so perhaps Wolfe is onto something in pointing out the multiplicative force of aesthetics combined with status.