Adelphi is a district in the City of Westminster. The Adelphi Buildings, a block of 24 unified neoclassical terrace houses, between The Strand and the River Thames in the parish of St Martin in the Fields, was named “Adelphi,” for it the Greek word meaning “brothers.” The Adam brothers (John, Robert, James, and William Adam) were the masterminds of this development in the late 1700s. They were built between 1768 and 1772. The ruins of Durham House on the site were demolished for the construction.

The Adelphi forms one of the most notable works of the brothers Adam. The design of the buildings was, for the most part, the work of Robert Adam, though his brothers, James and William, were also concerned with the scheme.
The father of this remarkable family, William Adam of Maryburgh (now Blair Adam), near Kinross, Scotland, had a considerable practice as an architect. He died in 1748. John, the eldest son, appears to have remained in Scotland, but the three younger sons, Robert, James and William, all came to practise architecture in London.
After being educated at Edinburgh University, Robert Adam visited Italy and other countries and was greatly influenced by the architecture he observed. He, therefore, developed his own unique style of architectural design based on Classic domestic architecture, not he severe temple architecture which inspired the Renaissance. “The light and elegant treatment thus evolved resulted in a decorative manner that has come to be considered typical of the Adam style. The characteristic qualities of Robert Adam’s method of working were well illustrated in the Adelphi group of buildings and the attractive forms of decorative design developed by him appear, externally, in doors and door-cases, in the flat but richly ornamented pilasters, entablatures, string courses, medallion ornaments, etc., applied to the various facades, and, internally, in door-cases, columned screens, fireplaces, and delicately ornamented ceilings.
“At the time the Adelphi scheme was commenced Robert Adam was about 40 years of age and had already to his credit a number of fine houses and architectural designs. The Adelphi was an achievement of which, despite the sneers of Walpole and others, any architect might well be proud, for Adam transformed a sharply sloping, derelict site, subject to inundations from the river at high tide, into one of the most desirable residential quarters in London. He produced a workable gradient for his streets by the expedient of building them on a series of brick arches, which increased from one to three tiers as the streets approached the river. Access to these arches was provided by subterranean streets duplicating those above.
“The architectural design of the Adelphi was a bold one, but the financial side of the scheme was daring even to rashness; no agreement was signed with the freeholder of the property, the Duke of St. Albans, until 1769, a year after work had been begun on the site; no authority was sought from Parliament for the reclamation of land from the river until 1771; the brothers reckoned on securing a return for their expenditure on the arches, the most costly part of the scheme, from the Government who they thought would rent the vaults for Ordnance stores, though they had no kind of guarantee that any such contract would be forthcoming; and finally the cost of the enterprise was greatly under-estimated and proved to be far beyond the resources of the promoters.” (British History Online)
Not all approved of the “Adam revolution.” The Royal Academy and Sir William Chambers essentially ignored the “Adam designs,” though a few imitations were exhibited. To say Chambers and Robert Adam did not get along well would be an understatement. [Sir William Chambers was an eclectic architect of the Georgian period. who was one of the leading Palladian-style architects of his day and a founding father of the Royal Academy. Chambers’s best-known works are Somerset House (1776–86) in London, now home of the Courtauld Institute Galleries; the casino at Marino (c. 1776), near Dublin; Duddingston House (1762–64) in Edinburgh; and the ornamental buildings, including the Great Pagoda (1757–62), at Kew Gardens, Surrey (now in London). In the last he went as far in the direction of Romantic eclecticism as any architect of his time. In general, however, he was an architectural conservative who used a profound knowledge of European (especially French) architecture to give a new look to the accepted motifs of Palladianism. His books, notably A Treatise on Civil Architecture (1759), had widespread influence. (Britannica)


For some thirty years, Chambers and Adam were the leading architects of their time. Only Somerset House and Melbourne House remain as examples of Chambers’s work. For the Adam brothers, we still have a few fragments of the Adelphi, three houses of Portland Place, two façades in Fitzroy Square and the Admiralty screen.

To complete the Adelphi, the Adam brothers took out a 99-years’ lease from the Duke of St Albans in 1768 of the site of Durham House. After clearing the site, in 1771, they petitioned for an Act of Parliament so they might reclaim a shallow “bay” formed by the river at this point and erect a wharf and other necessary buildings.
Brick catacombs supported the blocks of houses. They were to be level with the Strand. There was to be a “Royal Terrace” in the centre and streets at the sides, which would with pedimented and pilastered ends. Those the houses were to know a certain splendor, the Adam brothers made no attempt to a “Roman” dressings, so to speak. Instead, they rendered expressive by gay strips of honeysuckle embroidery.
The idea was certainly one of a kind, but fate was not on the side of the Adam brothers. The Ordnance Office did not let all the vaults for storage. The constructed wharf was too low by some two feet. The houses did not sell as quickly as expect.
Yet, the Adam brothers were not down and out. They created a lottery selling 4,370 tickets at 50 pounds each, with 108 prizes. By selling their collection of works of art, the Adam brothers saved their project, but not totally their reputation.
British History Online tells us, “There were eight principal prizes and a number of smaller ones, consisting of the houses, shops, warehouses and vaults in the Adelphi not already sold, and a few houses in Queen Anne Street and Mansfield Street, as well as a collection of pictures and other works of art. A prospectus was published setting out the prizes in detail. One of these prizes, the value of which was given as £9,960, consisted of:
1. The 10th house west from Adam Street on the south side of John Street (No. 10) subject to a ground rent of £22 a year.
2. The 11th house there (No. 12) “in the occupation of Mr. William Adam, and let on a lease” from Ladyday 1773 at £150 per annum. Ground rent £23 per annum.
3. A house at the corner of John Street and York Buildings (No. 14) with cellars underneath. Ground rent £34 a year.
4. A house in the Strand at the east corner of Adam Street (No. 73) “let on lease to Mr. Thomas Becket” from Ladyday 1773 at £163 per annum. Ground rent £70 per annum.
5. “The New Exchange Coffeehouse, being the 4th west from Adam Street, in the Occupation of and let to Mr. Townshend. The Front Part on a Lease of 21 years from Midsummer 1771,” at £50 per annum, and the “Back Part on a Lease of which 31 years are unexpired from Michaelmas 1774,” at £20 per annum. Ground rent £44 17s. 9d. per annum.
“N.B. This house is greatly underlet.”
The prices at which the houses were assessed proved to be somewhat optimistic, for when on 11th July, 1774, some of the prize-winning tickets were put up to auction they fetched considerably less than their nominal value.
The scheme of the Adelphi included Adelphi Terrace, Robert Street and Adam Street to the west and east respectively, John Street to the north parallel to the Terrace, Durham House Street, and the north-east corner of York Buildings, etc. It embraced an area of roughly 400 ft. by 360 ft., or 3⅓ acres of ground. It will be seen, therefore, that the development was on an ambitious scale, comprising several streets and a large number of houses, practically all of which contained architectural features of distinction and interest. Adelphi Terrace formed the principal feature of the whole design and, with the advancing ends of the houses in Adam and Robert Streets, composed an effective group from the river.
The houses as originally designed showed plain brick facades with portions emphasised, such as the angles or centres of the blocks, with ornamented pilasters, entablatures, string courses, etc., in stucco, pleasantly designed metal balconies to windows, metal railings to areas, with lamp standards flanking doorways, and enriched door-cases. The character of the treatment will be seen by reference to the illustrations, which also show parts of the interior with the characteristic Adam decoration in wall linings, ceilings, fireplaces, door-cases, staircases, vestibule and other screens, etc. The ceilings in some cases include paintings by artists of the period, as e.g. that to the first-floor front room of No. 4, Adelphi Terrace.
Adelphi Terrace formed the most extensive individual group of houses. The whole of the front was altered by the unfortunate changes made in 1872, when the facade was cemented over and vulgarised on Victorian lines, entirely destroying its original character. The general effect of the buildings facing the river was, moreover, considerably modified when the Victoria Embankment with its gardens and roadway was formed in 1864–70.
