The vision and creative output of House of The Young Romantics are shaped by its ambition to bridge the deep yearning for tangible spaces within our transitory lives that offer a true stage for self-expression, a genuine place to cultivate meaningful relationships, and a real home - as Austrian critic Alfred Polgar remarked, "for all those who wish to be alone but need sociability for this."

Architecture, as an art form, demands from the architect an astute strength of imagination and power of design, alongside a high degree of practical knowledge to ensure that their creations are both aesthetically compelling and well-built. In the error of the we live, however, self-culture ceases to be the ideal and sensibilities rooted in what Stefan Zweig succinctly describes as "a love for culture" are often strangled before they can fully form. This is no small problem in the sphere of architectural practice and many other artistic industries, if we accept the canonical view that self-culture — the ultimate boundary breaker — is the principal prerequisite to high artistic achievement and the foundation of human development.

It would be foolish to deny that good construction is the root and foundation of a complex art like architecture, from which any masterpiece of architectural design has always sprung. But to make the business of architecture one’s primary consideration, placing design, self-inwardness, and all that makes art glorious into the background, is either a betrayal of all sense of proportion or a shameful subterfuge to distract from the really important questions.

In a renewed effort to challenge the status quo — the void of pleasure, attitude, and intellectual gravitas in integral parts of modern metropolises’ social fabric, particularly in clubs, bars, and coffee houses — House of The Young Romantics endeavours to become a shelter within the public sphere where people who think deeply and seriously may freely flock. If not, at least a place given up to gaiety —gaiety that stimulates thought rather than crushing it.

To realise the material construction of otherworldly domains in cultural capitals from London to Tokyo, that truly facilitate and cater to the needs of individuals with art power in their arsenal, is the path on which House of The Young Romantics has irreversibly committed itself. As an independent entity intent on serving a minority group of those who have, entangled within their self-culture, the wit to exaggerate and the genius to romance, we are not so naive to believe we will succeed in our well-founded albeit lofty aims without the full weight of support from an ideal public. In this instance, we borrow from Gustav Klimt who envisioned the ideal public as a ‘Künstlerschaft of those who create and those who enjoy.’

Acutely aware that something within society is breaking down and something new is being born, our task at present is to congregate, strengthen, and grow a nascent web of friends, mentors, and patrons through the creative expression of what we believe to be the single backdrop suitable for that radiant but ever-fragmented public whose chief shrine of worship is that which is sacred to art. The silver thread that ties all our projects together — projects which traverse the spheres of architectural design, painting, magazine editing, and screenplay writing especially—is the keen acknowledgement, if not distress, that the creation and sustenance of architecture that can truly function as a stage for self-expression, a place for the cultivation of meaningful relationships, and a home for extroverted introversion will be the work of those particular architects who offer glimpses of their own search for connectivity, self-discovery, and artistic excellence in the very fabric of their contribution to the great cause of art.