Rethinking post-war architecture at Purcell with Jon Wright

Our Heritage Consultancy team offer a range of expertise across heritage typologies and time periods, stretching from pre-historic archaeological assets to 20th-century buildings, the latter of which is spearheaded by Associate Jon Wright.

An architectural historian by training, Jon brings extensive experience advocating for post-war architecture as a former Caseworker at the Twentieth Century Society and he lectures and publishes widely on C20 architecture. His first book, a monograph on the post-war architect Mervyn Seal, will be published by Liverpool University Press in 2027. 

We sat down with Jon to talk about his favourite projects and to understand how Purcell have developed expertise in modern heritage in recent years. 

What drew you to 20th-century architecture, and why does it still matter today?

Growing up in the South West, my parents used to take me to Exeter. The city was heavily bombed during the Second World War and then reconstructed in the 1950s. Its banks and cafes were these superb, set pieces of mid-century design. Having come from a small rural village these interiors seemed part of another world, I think that’s always stayed with me. 

The city seemed to have this collective memory of its medieval past and a tendency to prioritise it, even though huge effort and skill had gone into rebuilding it post-war. My undergraduate dissertation was about that – the threat posed to the city’s mid-century buildings and interiors from a ‘heritage industry’ that wanted to erase the modern buildings – unfortunately it did lose an awful lot. 

Why do you think these buildings were undervalued or still are? A lot of people still just call them ‘ugly’.

It’s ultimately subjective of course but there has been something specific about how modern architecture has been treated in Britain compared to Continental Europe. This might be due to a combination of factors, including the sense that modernism is an ‘import’, or that it impinges onto Britain’s already rich built heritage. 

That said, I do think things have changed.

There’s now a growing recognition that the post-war period was a high point in British architecture: an area of experimentation and heroism that we’re unlikely to see again. 

Do you think your views have changed over time?

My views haven’t shifted much, but I think the wider consensus has. Changing tastes and an appreciation for post-war buildings, sustainability pressures, and the need for adaptive reuse have all reshaped the conversation around 20th-century heritage. 

 Many post-war buildings are actually flexible comprising large internal spaces and repeatable façade systems. Solving thermal issues has been a major challenge I suppose but again, new technologies and products continue to make adaptive reuse possible in most circumstances. 

Do you feel you've had an impact at Purcell in that regard?

I think that Purcell has always positioned itself at the leading edge of conservation so anything I’ve done is really just a continuation of this work. These buildings were always going to become part of our portfolio as more became listed structures, but we have anticipated this shift well and built the expertise needed to handle them confidently.  

Are there any standout projects for you?

Working on post-war cathedrals remains a highlight. The Grade I listed Liverpool Metropolitan Cathedral by Sir Frederick Gibberd was my favourite, although Purcell was also involved at all three major post-war cathedrals at one point. It’s an incredibly powerful architectural experience at Liverpool and getting close to that building for a couple of years was amazing. 

I’d also highlight Hunstanton School, the Ahm House and the Sainsbury Wing at the National Gallery in collaboration with Selldorf Architects. 

Can you tell us a bit more about your work in Kuwait?

Kuwait’s built history really begins in the mid twentieth century. In 2025/6 I was part of a UNESCO team assessing the oil town Al Ahmadi as part of a potential World Heritage Site designation. The town was built by British architects and masterplanners in the 1950s alongside the Burgan oil field and includes modernist housing, civic buildings and infrastructure. 

There’s a huge body of modern architecture across the Gulf that hasn’t been fully recognised internationally. If sites like this are designated, it could shift the narrative; and place this ‘Gulf Modernism’ in its rightful place in the wider architectural history of the period.  

What's your favourite 20th-century building?

My favourite building isn’ t really a building at all. It’s the Cenotaph in Whitehall, London. This might sound a bit sombre, but I think it’s a perfect piece of 20th-century design. The power it has is purely architectural, it speaks for no-one and everyone and it has this tremendously important place in the national psyche – there’s nothing like it.  

That said, if we’re talking about architectural experience, nothing compares to stepping into Liverpool Metropolitan Cathedral – one of the great architectural experiences in the country. 

Is there anything else you'd like to mention or highlight?

What has been striking over the past ten years is the level of enthusiasm for 20th-century architecture within the practice. We now have a Purcell Modern group with over 30+ members, showing that this period is genuinely valued. 

Through this group we are discussing and debating what comes next in heritage Purcell has dealt with two of the three most significant PoMo buildings in the capital. Soon we’ll be dealing with high-tech architecture, then deconstructivism, and post-millennial buildings. I know Purcell are now well-placed to bring all our expertise to bear on this next wave of modern heritage.