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    DESIGNING BRITAIN:

    DESIGN DOSSIER

    MAX BARDOWELL

    NORMAN FOSTER

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    MAX BARDOWELL

    DESIGNING BRITAIN

    DESIGN DOSSIER

    5/1/2012

    Foster + Partners' architecture is driven by the pursuit of quality - a belief that our surroundings directly

    influence the quality of our lives, whether in the work place, at home or the public spaces in between. It

    is not just buildings but urban design that affects our well-being. We are concerned with the physical

    context of a project, sensitive to the culture and climate of their place. We have applied the same

    priorities to public infrastructure world-wide - in our airports, railway stations, metros, bridges,

    communication towers, regional plans and city centres. The quest for quality embraces the physical

    performance of buildings.

    Foster + Partners has always been guided by a belief that the quality of our surroundings has a direct

    influence on the quality of our lives, whether that is in the workplace, at home or in the public realm.

    Allied to that is an acknowledgement that architecture is generated by the needs of people - both

    material and spiritual - and a concern for the physical context and the culture and climate of place.

    Equally, excellence of design and its successful execution are central to our approach.

    We believe the best architecture comes from a synthesis of all the elements that separately comprise

    and inform the character of a building: the structure that holds it up; the services that allow it to

    function; its ecology; the quality of natural light; the symbolism of the form; the relationship of the

    building to the skyline or the streetscape; the way you move through or around it; and last but not least

    its ability to lift the spirits. This holistic approach is augmented by a strong commitment to the clients

    we serve, and also to the public domain and the many users involved. A high degree of personal service,

    PART 2 VISION

    EXCERPT FROM THE FOSTER + PARTNERS MISSION STATEMENT

    Foster + Partners

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    MAX BARDOWELL

    DESIGNING BRITAIN

    DESIGN DOSSIER

    5/1/2012

    coupled with respect for the precious resources of cost and time, therefore characterises our client

    relationships.

    The scale, diversity and global reach of our new projects were unimaginable 40 years ago, yet many of

    the issues that excited us in the early days continue to inform what we do today. We work in the spirit of

    enquiry, challenging preconceptions and testing conventions. The process of reinvention distinguishes

    all of our work past and present and rests on a duty to design well and to design responsibly

    whether that is at the scale of an airport or a door handle. The last decades have witnessed key shifts in

    public attitudes to ecology and energy consumption. We have always anticipated these trends,

    pioneering design solutions that use totally renewable sources of energy and offer dramatic reductions

    in CO2 emissions. Environmental awareness is an integral part of the practices culture as it evolves to

    meet the challenges of the next forty years.

    http://www.fosterandpartners.com/Data/Philosophy.aspx

    "In Britain the idea one could go from blue-collar beginnings to the university was so far out, it was quiteunthinkable."

    "Since Stonehenge, architects have always been at the cutting edge of technology. And you can'tseparate technology from the humanistic and spiritual content of a building."

    'I'm looking up at the dome from the senate,' he says. 'I see daylight refracting through an installation of

    365 mirrors. Up above - the equivalent of 30 storeys - I'm watching people walking up and around the

    two helical ramps that lead to the restaurant and viewing gallery at the very top. What you'll see here is

    the people walking, climbing above the politicians paid to serve them. The people are the masters here,

    not the politicians. That's what the building says.'

    BBC NEWS ARTICLE

    Norman Foster: Building the future

    THE GUARDIAN PROFILE: Sir Norman Foster: The master builder

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    MAX BARDOWELL

    DESIGNING BRITAIN

    DESIGN DOSSIER

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    Norman Foster is a member of the High-Tech school of architects, although he himself has expressed

    discomfort with the term. The school has also been described as Structural Expressionism. This

    basically entails stripping a building down to the most fundamental structural forms, and using these

    forms as a basis for the design concept of the entire building, including the exterior. The style exists in

    an interesting era for British design. Structural expressionism attempts to bridge the gap between

    Modernism and Post-Modernist ideals, revealing, I think, an attentiveness to historical Gothic structures,

    whose external buttresses and arcing stone support structures serve as inspiration for the High Tech

    builder.

    Eventually, as technology advanced and the desire for lightness and air within buildings increased, the

    High Tech school became discernible from the Post-Modern school, thus forming the foundation for

    future designs well into the modern era. It is difficult then, to distinguish at times what structures and

    which architects belong to the High Tech school or the Post Modern school. It is generally accepted

    that Norman Foster is one of the main practitioners of High Tech methods. Unlike many of his peers,

    who have become inactive, Foster has remained prolific in the architectural community, shaping the

    course of international design and design in Britain, supervising the transfer of power between High Tech and Post Modernism.

    The school of architecture is characterized by a devotion to advanced technologies to expose the inner

    structures of buildings, delighting viewers who attempt to discern the ways in which such massive

    structures remain upright. There is a visual emphasis placed on the internal steel support structures,

    which act as the buildings skeleton. This is most visible in Fosters design for the Hong Kong Bank

    building, a structure that is considered to be the harbinger of the High Tech era.

    Many of these design principles were conceived and developed in Britain, within London specifically.

    The Lloyds Building, prized gem of the architect Richard Roger, is perhaps the flagship of the High Tech

    school, literally turning the building outwards. Close by, Fosters St. Mary Axe, known as the Gherkin,exists as a landmark, signifying the border between the High Tech and Post Modern eras of

    architecture, incorporating many of the design traits from both eras, becoming a hybrid of the two.

    PART 3 CONTEXT

    LONG STORY OF BRITISH DESIGN

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    MAX BARDOWELL

    DESIGNING BRITAIN

    DESIGN DOSSIER

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    With the exception of Peter Rice, I have selected architects that began creating their body of work in the

    1990s and have continued to create works which are at the forefront of modern design and

    architecture. All of these architects have either dabbled in or committed themselves fully to the

    principles of High Tech architecture.

    Originally known as the Richard Rogers Partnership, Rogers Stirk Harbour + Partnerswas founded in 2007. They maintain a relatively large, international firm.

    Rogers has a steady concentration in environmental protection, the gentrification and

    revitalizing of run-down urban areas, and the desire to maintain a societal

    attentiveness in his work.

    Rogers is similar to Foster in that he focuses on grand statements, using high-tech

    materials such as tempered glass and high tension steel to create an illusion of movement and lightness

    to a building. The structure of his firm is different to Fosters. Rogers firm is governed by a charitable

    trust and much of the profits go directly to charitable organizations. Foster + Partners is fully for profit.

    This shift can be traced back to Rogers desire to uplift social causes.

    Sir Nicholas Grimshaw has been active in international architecture since the 1960s.

    Grimshaw had originally planned to become an engineer, but decided to focus on

    architecture, opting for a more visionary position in the design team. This shift in

    focus has colored his architectural views, and his buildings rely on advanced

    technologies and building materials to create futuristic designs.

    Grimshaw is similar to Foster in that he uses advanced materials. Both he and Fosterhave a love of using technology to heighten a buildings impact, in a positive

    manner. Using higher technology enables more focus to be placed on sustainability and on positively

    embracing the community around a structure.

    Grimshaws Eden Project is the second most visited site in the UK outside of London. It consists of

    large, geodesic biomes that link to form sealed habitats.

    COMPARISON

    RICHARD ROGERS, ROGERS STIRK HARBOUR + PARTNERS

    SIR NICHOLAS GRIMSHAW

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    Peter Rice was active some years before Foster. His most famous

    structure is by far the Sydney Opera House, perhaps the most

    recognized 20th

    century structure. Rice is foremost a structural

    engineer, providing the support frame for the architects vision.

    He was a contemporary of Fosters and worked on several projects with

    him, providing the cool and calculating foundation that many architects

    need when defining the creative vision for a project.

    Renzo Piano has been active since 1965. He has also worked with Peter Rice, collaborating

    together on several projects, with Rice serving as the lead structural guide. He has also

    worked with Richard Rogers, collaborating on the highly renowned Centre Georges

    Pompidou in Paris.

    Both he and Foster belong to the school of architects that became superstars in the

    years preceding the new millennium. These architects all shared a love of new technology

    to create impossible forms. They also favored curtain walls of wide glass planes supported

    by powerful columns of visible steel.

    Santiago Caletrava

    Santiago Caletrava is most famous for using biological structures to influence the

    style of his building. For example, he has used the spinal structures of turtles to

    set the foundation for large dome structures, using the main spinal column to

    guide the formation of the main supporting columns in the domes.

    He and Foster share a passion for creating fantastical structures, allowing lightand air into a building without compromising its structural integrity and stability.

    This is most evident in Fosters Hong Kong Bank building and Caletravas turning

    torso in Malmo. Both structures take on seemingly impossible forms as they rise

    up. In fact, they are held aloft by engineering protocols tested not only in the

    design room, but also in nature, especially considering the Turning Torsos basis in the form of a human

    spinal column.

    PETER RICE

    RENZO PIANO

    SANTIAGO CALETRAVA

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    MAX BARDOWELL

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    Kohn Pederson Fox Associates is a very large, highly established firm with offices

    worldwide. They have a focus in monumental structures that feature a bold use of

    modern materials. Their designs are highly sustainable, such as the Shanghai World

    Finance center, the most modern super-skyscraper built today. It is also the fourth

    tallest in the world, supporting the claim that KPF has very grand ideals and grasps at

    any challenging and highly visible projects. Norman Foster is almost identical in his

    drive and passion for creating monumental structures that draw the viewers eye

    upwards, where they are then awed and excited by the fragile forms they see. KPF,

    like Foster, are entertainers.

    Norman Foster is recognized as an internationally renowned architect. His influence has spread far from

    Britain, and he has become much more than a man who designs individual structures; he crafts the faces

    of cities and communities. He was awarded the Pritzker Architecture Prize. There is no higher honor in

    the world of architecture. This is extraordinary, as he comes from very humble beginnings, working odd

    jobs to support himself through school and coming from a very poor family in Manchester.

    One of the main criticisms of Foster came after he was made a member of the House of Lords. He was

    grilled for not becoming an advocate of design sustainability and responsible building planning while a

    member. Other criticisms focus on the lack of originality in Fosters designs. They also argue that his

    designs over the years have become highly predictable and have lost much of their unique flair.

    KOHN PEDERSON FOX ASSOCIATES

    CRITICS

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    AN EARLY SKETCH FOR AN UNCOMPLETED PROJECT IN

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    THE HEARST TOWER NEW YORK CITY, NEW YORK

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    THE LONDON TOWN HALL AT NIGHT

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    MILLAU VIADUCT, MILLAU-CREISSELS, FRANCE

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    THE MILLENNIUM BRIDGE LONDON, UK

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    30 ST. MARY AXE THE GHERKIN LONDON, UK

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    RENDERING OF AN UNCOMPLETED PROJECT TO BE BU

    SOUTH KOREA

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    MAX BARDOWELL

    DESIGNING BRITAIN

    DESIGN DOSSIER

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    Norman Foster, grew up in a working class area of Manchester. His story is one of triumph over difficult

    odds. After completing his national service in the RAF, where he specialized in electronics and aviation,

    Foster began a long journey, working odd jobs and submitting his sketches and design ideas to any

    contest or firm who would sponsor him. He quickly learned how to balance the demands of becoming

    an architect with the trials of supporting himself. These experiences have served him well, and he is now

    known in the design community as a having an iron will and a passionate engine which does not break

    down or halt until a design project has reached its completion point.

    Foster is overtly fond of grand public displays and monuments. He is not content to have his designs

    slowly rot away in a home or department store; he must have his designs viewed by millions of passing

    people. He has accomplished this with extraordinary flair and passion, and has forever earned my

    respect and admiration. However, some may fear that by building grand, Foster has forced his artistic

    vision into the everyday lives of the public. Is this a vision of brilliance, or of twisted metal and concrete?

    The HSBC Main Building, once known as the Hong Kong Bank building, is the building that marks the

    beginning of the High-Tech trend in architecture. I am fond of its grandeur. I marvel at the manner in

    which it supports itself, a secret to remain hidden, allowing it to float, majestically, each floor becoming

    more and more impossible. This is the first building I became acquainted with in my studies of

    architecture, and it has always remained prominent in my mind. This is also the building that secured

    Fosters presence in the architectural community. This was the beginning.

    30 St Mary Axe is the quintessential Foster design. Towering, looming over the city, but caught in the

    light, rising even as it falls. Foster is a magician. The manner in which the building remains high and

    spiraling amazes and awes me. The structure is just visible at the bottom, and as it rises the mystery

    becomes more and more concrete. By opening up the buildings inner forms, he attempts to bring the

    environment into the design wind moves through and over the structure, the light within and shining

    through the roof is ambient, the sun bursting through the building. It is wonderful.

    The Hearst Tower represents the vision I want to present as an architect. My passions lie in finding ways

    to revitalize older buildings by coating them with steel and glass, bringing them into modernity, whilestill retaining their original forms. Thus, Hearst saddens me, as I will never be able to create a fusion of

    architectural eras with such effortless harmony, as Foster can.

    Fosters future prospects are now influenced by the will of his firm. A more recent project competed by

    his firm is the Kuwait International Airport. Foster has had a limited role in creating this project, his

    attention directed to other projects within the firm. Yet, it is still a masterwork. Using materials that

    harmonize with the desert sands the firm has created a building that complements the external

    atmosphere. Foster is an aging man. Soon his legacy will exist in the projects his firm has adopted and

    that he has no part of. Thus, his ideas and principles live on through the actions of the firm, young

    PART 5 ASSESSMENT

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    architects being mentored by older, wiser teachers. Together, in Fosters absence, they will still create

    buildings of astounding beauty and creative engineering.

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    Glancey, Jonathan. "Constructive Criticism: The Week in Architecture." The Guardian. Guardian News

    and Media, 07 Oct. 2011. Web. 30 Apr. 2012.

    .

    "The Guardian Profile: Sir Norman Foster: The Master Builder."Art and Design. The Guardian. Web.

    .

    "Norman Foster: Architect." Norman Foster. TED: Ideas Worth Spreading. Web. Apr. 2012.

    .

    "Norman Foster (Architect)." Profiles. The New York Times. Web. Apr. 2012.

    .

    "Norman Foster: Building the Future." BBC NEWS. Web. .

    "Norman Foster Shares His Architectural Philosophy and His Point of View on the Sustainability | News |

    News, E-learning, Architecture of the Future at News.arcilook.com." Norman Foster Shares His

    Architectural Philosphy. Arcilook- Architecture of the Future. Web. 30 Apr. 2012.

    .

    WORKS CITED


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