Renowned British architect Robert Adam has offered his professional assessment of President Donald Trump's controversial White House ballroom extension plans, describing the design as "orthodox classical" architecture. The proposed extension, which has sparked significant debate since its unveiling last month, was designed by James McCrery and is planned to be constructed on the site of the current East Wing.
Adam, who founded Adam Architecture and authored "Classical Architecture: A Complete Handbook," praised McCrery's credentials, noting that the architect "has a very good reputation as an architect and teacher." According to Adam, the ballroom building's design draws heavily from Gilded Age classicism and the influential work of McKim, Mead and White, the legendary American classical architecture firm that designed numerous significant buildings across the United States in the late 19th and early 20th centuries, including Penn Station in New York and extensive White House renovations.
The British architect, who has earned the nickname "King's favorite architect" for his work designing classical homes throughout the UK and large portions of the Poundbury estate in Dorset for King Charles during his time as Prince of Wales, believes the classical design is entirely appropriate for its location. "Washington DC federal buildings, right up to the second world war were high-quality classical buildings, from neo-Palladian to neo-classical," Adam explained. He emphasized that "the White House is no stranger to extensions," noting that the proposed structure would form a wing similar to, but distinct from, the existing West Wing.
One aspect of the design that has drawn particular attention is the use of Corinthian columns in the proposed interiors, shown in full-color renderings, while the main White House features Ionic columns. However, Adam dismisses concerns about this architectural choice. "There is no absolute rule for a hierarchy of the classical orders – although some think there is," he stated. "No doubt some will associate the greater detail of the Corinthian order with the Trumpian bling, as much as the white and gold interior. But you can always make up meanings with architecture."
Adam noted the irony that Trump, whose personal brand is associated with "many flashy glass towers that characterize his hotels," is now commissioning a building that "belongs to an entirely different architectural type." The architect acknowledged he doesn't know what direct involvement Trump had in the design details.
While generally supportive of the design, Adam did offer one significant critique regarding the ballroom's coffered ceiling. Due to its extensive span, the ceiling cannot be constructed in traditional stone, creating what Adam sees as a fundamental architectural challenge. "This is a problem with 'orthodox' classical design – that which sticks closely to ancient or up-to-18th-century precedents," he explained. "Classical architecture is not static and, in the nineteenth and early twentieth century, the tradition adapted to the nature of large span construction – look at stations, arcades and other buildings."
Adam suggested that a more innovative approach could have produced "a more dynamic interior rather than the proportionally (rather than actually) low slot-like design, which makes the perimeter columns look rather superfluous and illogical." He noted that there are different schools of modern classical architecture, some orthodox and others more evolutionary in their approach.
Despite his technical concerns about the ceiling design, Adam ultimately endorsed the project when asked for his overall assessment. "Within the constraints and accepting the school of classical architecture to which James McCrery belongs, yes," he concluded, affirming that he considers it a good design. The architect emphasized that the entrance portico is "rightly placed behind the White House-facing elevation," maintaining proper architectural hierarchy with the main residence.
