Whenever a radical new building appears, someone somewhere insists: “Christopher Wren would be turning in his grave.”

That barb was certainly endured by world-famous architects Richard Rogers and Norman Foster, who embraced modernism, building in steel, glass and concrete, while Wren designed in the classical style using timber and stone.

But when Rogers was awarded the Royal Gold Medal for Architecture, the citation observed that he was “the rightful heir to the traditions of Wren”. And the same might very well be said of Foster.

In other words, there is a strong sense that, rather than revolving at high speed, Wren would approve of the men long recognised as the leading British architects of our era. Wren transformed the London skyline, he had a restless and brilliantly inquisitive mind and believed that progressive design would enhance the function of his buildings. All of which applies, Brian Slater will explain, to Foster and Rogers.

They met as students and went briefly into partnership before embarking on different routes to the summit of architecture.

Rogers designed buildings such as the Pompidou Centre in Paris and the Lloyds Building in London. Foster’s portfolio includes the Gherkin, the Great Court at the British Museum and an amazing viaduct in southern France.

And there's one last parallel: Christopher Wren had battles with planning authorities too!