Kevin McCloud on Australia, Design & Grand Designs | The Guardian

Beyond Bricks and Mortar: Kevin McCloud on Australian Optimism and the Soul of a Home

Kevin McCloud, the affable face of British architecture and design show Grand Designs, isn’t particularly interested in talking about real estate. Or, rather, he’s fascinated by what the obsession with property says about us, but less concerned with the market fluctuations themselves. Currently touring Australia with Big Design Adventure co-host Tim Ross, McCloud finds himself in a country where, despite media saturation, the actual conversation around homes feels fundamentally different. “Australians never talk about real estate, but the Australian media talks about it all the time,” he observes, drawing a parallel to the UK political landscape. “It’s a little bit like politics in the UK, where the right wing occupy a tiny minority and yet they’re all over the BBC. The media will always pick up on something they think should be the topic of national conversation because it sells newspapers.”

But it’s not the property itself that captivates McCloud; it’s the Australian spirit he encounters. “There is something very exciting about Australia’s can-do attitude,” he explains. “The British national default is to say, ‘Maybe, I don’t know – ask me in six months.’ We’re very good at circumlocuting an issue. But the moment I get off the plane in Australia, it is, ‘What can we do?’” This inherent optimism, he believes, shapes not only how Australians approach building and design, but also their relationship with the spaces they inhabit.

The Psychology of Space and the Search for Intimacy

McCloud’s interest in the emotional connection to homes isn’t new. He recently revisited Gaston Bachelard’s The Poetics of Space, a philosophical exploration of how our childhood homes shape our understanding of shelter and belonging. “All our relationships with place, and therefore real estate, are forged in our childhoods,” he says, quoting Bachelard. “He says there’s something that buildings do that defines our home, which is providing a space for intimacy – not physical intimacy but psychological.” This idea of a safe haven, a space for daydreaming and self-reflection, is paramount. “It is really important that you have a space, perhaps a corner of a room or a window with a view, where you can daydream and know that you can do so safely.”

This concept resonates deeply in a world increasingly focused on open-plan living and maximizing space. McCloud wryly notes a current design trend he finds “depressing”: the proliferation of bathrooms. “Too many bathrooms,” he laments. “I often visit homes where there are more toilets than human beings occupying the building. Even if you have a party for 100 people, no more than two people at any one moment are going to want to have a wee.” He argues that this obsession with functional space reflects a broader societal shift towards valuing quantity over quality, and a loss of the intimate, personal spaces that nurture the soul.

A Modernist Haven and the Allure of the Bungalow

While the Sydney Opera House, a global icon often associated with Australia, holds a special place in McCloud’s imagination – having graced the airmail postmarks of his youth – he believes Australia’s true architectural treasures lie in its commitment to preserving its 20th-century modernist heritage. “Australia is the most fantastic destination for modernism,” he asserts. “And up the road from Tim’s house in Sydney, there is a bungalow that is the most exquisitely conserved piece of 1920s architecture.”

He envisions importing these bungalows to Britain, not as grand statements, but as lessons in thoughtful design. “I would put one of those bungalows in every town in Britain, and I would say, ‘Look at this! All that plastic double glazing you put in, that big garage you put up, the paint colours you’re choosing, the porch you bolted on the back – this is the perfect thing.’” This sentiment speaks to a broader concern about the homogenization of architectural styles and the loss of regional character.

The Power of Television and a Lasting Legacy

McCloud acknowledges the often-fleeting nature of television work, but finds profound satisfaction in the impact Grand Designs has had on viewers. “It’s just arseing around in front of a camera,” he jokes, before adding with sincerity, “But when someone says, ‘I’m an architect or an engineer, and what got me into it was watching Grand Designs when I was eight with my mum and dad,’ that’s powerful. It validates the job.”

This connection with the audience is particularly poignant given the evolving media landscape. According to Statista, the number of streaming service subscribers worldwide reached 1.53 billion in 2023, highlighting the fragmented nature of modern entertainment consumption. Yet, despite this shift, the enduring appeal of shows like Grand Designs demonstrates the continued power of long-form, aspirational content to inspire and influence.

McCloud’s own secret talent? Building. “I can build – I physically rebuilt the building I’m sitting in, and I can do a bit of woodwork and joinery.” But he’s also pragmatic, acknowledging the value of expertise. “The arrogance of youth is fantastic, isn’t it? I don’t believe there’s such a thing as the arrogance of old age, that’s for sure.” He’s learned to embrace collaboration, recognizing that creating truly meaningful spaces requires a blend of vision and skilled craftsmanship.

Ultimately, Kevin McCloud’s perspective extends beyond aesthetics and construction. He sees architecture as an instrument of connection, a means of fostering community and nurturing the human spirit. And in a world increasingly defined by isolation and technological detachment, that message feels more relevant than ever.