If you’ve ever walked past the University of Edinburgh Main Library and thought, Wow, that’s a lot of concrete, you have Sir Basil Spence to thank. The modernist architect, known for his bold and unapologetic designs, left an indelible mark on Edinburgh’s cityscape. While some architects tiptoed around tradition, Spence marched in with a trowel and a vision, determined to bring the city into the 20th century—whether it was ready or not.
Edinburgh may be a city of spires, stonework, and history, but in the 1950s and 60s, it also became a canvas for modernism. Spence, with his sharp eye for form and function, led the charge. His designs weren’t just buildings; they were statements. And decades later, they’re still turning heads—sometimes in admiration, sometimes in confusion, but always in conversation.
Born in 1907 in Bombay, Spence made his way to Scotland, where he studied at George Watson’s College before honing his craft at the Edinburgh College of Art. If Edinburgh’s grand neoclassical architecture influenced him, you wouldn’t always guess it from his work. While some architects dreamt of ornate facades, Spence was sketching sleek, geometric forms with a mid-century flair.
His philosophy? Buildings should be functional, innovative, and—most controversially—modern. He was a champion of concrete, glass, and bold shapes at a time when Edinburgh still had one foot firmly planted in the Georgian era. But rather than erase history, Spence sought to complement it, proving that the old and new could coexist.
If you’ve crammed for exams in the Main Library, you’ve experienced one of Spence’s most iconic works. Opened in 1967 to meet the university’s growing needs, it’s a modernist landmark with vast windows, open-plan reading areas, and a geometric façade that declares, serious studying happens here.
Critics were skeptical at first, but over time, students have embraced its airy, functional design. It may lack Hogwarts’ charm, but it’s a reliable workhorse. And during exam season, when finding a seat feels like winning the lottery, you’re just glad it’s there.
Spence wasn’t content with just designing a library—he had bigger plans for George Square. In the 1960s, he was brought in to modernize the university’s campus, a move that, let’s just say, caused a few raised eyebrows. His proposal involved demolishing some of the area’s Georgian townhouses and replacing them with bold new structures. It was a classic battle of old versus new, and, well, modernism won.
Not everyone was thrilled with the changes, but Spence’s vision ultimately shaped the university’s campus into what it is today—a mix of traditional and contemporary, history and innovation.
Spence’s vision extended beyond university buildings. In 1969, he turned his attention to residential architecture, designing the Canongate Housing project. This was modernism with a respectful nod to the past. Rather than bulldozing over Edinburgh’s medieval charm, Spence cleverly blended modern materials with traditional forms.
The development, made up of three blocks of flats, used a mix of rubble, concrete, and harl to ensure it didn’t look out of place in the historic Old Town. If brutalism had a gentler side, this was it. The concrete arcades at the front and the rear balconies added a distinctly modernist touch, while the overall scale respected the street’s historic character. It was proof that Spence could innovate without alienating tradition—well, mostly.
If there’s one place where architecture really sets the mood, it’s a crematorium. In 1967, Spence designed Mortonhall Crematorium, a place of quiet dignity and contemplation. It’s not often that post-war expressionist architecture meets funeral services, but Spence made it work.
Using white calcined flint aggregate concrete blocks, he crafted a solemn yet striking space set within woodland surroundings. It’s now a Category A-listed building, proving that even in mourning, great design matters.
Spence’s work continues to be a topic of discussion because his designs challenged Edinburgh’s traditional aesthetic but ultimately expanded its architectural identity. He wasn’t afraid to think big, push boundaries, and bring modernism into a city often defined by its past. His work was bold, functional, and ahead of its time. And if you ever find yourself staring up at the Main Library, wondering how many shades of grey exist in concrete, take a moment to appreciate the genius behind it.
Sir Basil Spence didn’t just build structures; he built a legacy. And like any good piece of architecture, it’s here to stay.
“30 George Square, University Of Edinburgh, Main Library 02” by Stinglehammer is licensed under CC BY-SA 4.0.