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In northern Europe the principal High-tech architects are: Norman Foster, Richard

Rogers, Nicholas Grimshaw and Michael Hopkins, referring to Archigram, but with adifferent approach

- technique and construction as bases of architecture

- industrial processes applied to architecture- technique as an aesthetic value

features:

- use of steel and many forms of metals.- the structures brought to the external parts of the bld (and exhibited)

- flexibility of the interior spaces- fixed parts: services and structures

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One of the first buliding to become the symbol of High-tech approach is the CENTRE POMPIDOU, by

Piano e Rogers, 1971-77

cultural machine, 6 levels high, in the centre of Paris

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The first aim was to realize an open space, suitable for many kinds of cultural manifestations,

in a changing approach to culture and especially to the idea of museums

We have an open space of 48 metres of width

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All the functions of the building, including the walkways and the plant systems, have been

moved to the outside and are characterized by a different colour, so as to obtain a vast andtotally uncluttered area inside

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Ambienti:

Museo nazionale darte moderna

Esposizioni temporanee, documentazioni, ricerche

Teatro, cinema, sala conferenze

Biblioteca

Tutti gli ambienti sono definiti solo da pannelli mobili

Paradigma di una rinnovata politica culturale

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The centre pompidou with its

plaza forms a single moulded

setting, providing a resource ofurban and social functions

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Its a humorous and coloured urban machine, not at all high-tech but

artisan, as it was put together piece by piece, in the french tradition of

gothic cathedrals

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Norman Foster (1935)

-si associa agli inizi con Richard e Su Rogers

-dal 1967 con sua moglie Wendy Cheeseman fonda

la Foster Associates-1975 enorme clamore con ledificio di Ipswich

-Sainsbury Center for Visual Arts

- 1991 progetto per la Millenium Tower a Tokyo

-1991-97 grattacielo per la Commerzbank,

Francoforte, a impostazione ecologica

-adattamento del Reichstag, Berlino 1993-2000

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1970-75Foster Ass., Willis, Faber & Dumas, palazzo per uffici, Ipswich

The unprecedented use of escalators in a three-storey structure, the central atrium, and the social

dimension offered by its swimming pool, roof-top garden and restaurant, were all conceived in a

spirit of democratising the workplace and engendering a sense of community

its curved facade maintains a relationship to the medieval street pattern

The sheath-like glass curtain wall, which encloses and defines this edge, was developed with the

glazing manufacturer Pilkington

By day, the glass reflects an eclectic collage of Ipswichs old buildings; by night it dissolves

dramatically to reveal the building within.

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Floors are planned on a 14-metre-square structural grid, flexible enough to

respond to the ad hoc acquisition of the site and to allow for a number of early

plan configurations

Conceived before the oil crises of the mid-1970s and heated by natural gas,Willis Faber was a pioneering example of energy-conscious design. Its deep

plan and the insulating quilt of its turfed roof ensure good overall thermal

performance. Recognising these innovations, over the years it has attracted as

many awards for energy efficiency as it has for its architecture

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1974-77Foster Ass., Sainsbury Center for Visual Arts, Norwich

The building itself brought a new level of refinement to the practices early explorations into

lightweight, flexible structures. Structural and service elements are contained within the double-

layer walls and roof. Within this shell is a free-flowing sequence of spaces that incorporates a

conservatory reception area, coffee bar, exhibition areas, the Faculty of Fine Art, senior commonrooms and a restaurant. Full-height windows at either end of the structure allow the surrounding

landscape to form a backdrop to the exhibition and dining areas, while aluminium louvres, linkedto light sensors, line the interior to provide an infinitely flexible system for the control of natural

and artificial light. Large enough to display the Sainsburys extraordinary collection, yet designed

to be intimate and inviting, the main gallery space extends the spirit of the collections originally

domestic setting.

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N. Foster, Hongkong & Shanghai BanK, 1983

The aim of the Hongkong and Shanghai Bank

Headquarters was to create the best bank

building in the world.

Through a process of questioning and

challenging the project addressed the nature

of banking in Hong Kong and how it should be

expressed in built form, reinvented the officetower.

The requirement to build in excess of one

million square feet in a short timescalesuggested a high degree of prefabrication,including factory-finished modules, while the

need to build downwards and upwards

simultaneously led to the adoption of a

suspension structure, with pairs of steel masts

arranged in three bays.

As a result, the building form is articulated in a

stepped profile of three individual towers,respectively twenty-nine, thirty-six and forty-

four storeys high, which create floors of

varying width and depth and allow for garden

terraces.

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The mast structure allowed another radical move,

pushing the service cores to the perimeter so as

to create deep-plan floors around a ten-storey

atrium.

A mirrored sunscoop reflects sunlight down

through the atrium to the floor of a public plazabelow a sheltered space that at weekends hasbecome a lively picnic spot. From the plaza,

escalators rise up to the main banking hall, which

with its glass underbelly was conceived as a shop

window for banking.

The bridges that span between the masts define

double-height reception areas that break down the

scale of the building both visually and socially. Aunique system of movement through the building

combines high-speed lifts to the reception spaces

with escalators beyond, reflecting village-likeclusters of office floors. From the outset, the Bank

placed a high priority on flexibility.

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N. Foster, Renault factory in Swindon, 1983 (demolished in 1991)

The structural system that repeats itself to form this external outline is basedaround a 24 by 24 metre bay, a much larger than usual planning module,developed so as to maximise the planning flexibility of the internal spaces. Thisexpansive horizontal span is combined with an internal clear height of 7.5 metres,allowing the Centre to accommodate a range of uses from industrial warehouseracking to its subdivision into office floors.

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N. Foster, officine Renault a Swindon, 1983(demolita nel 1991)

Primarily a showroom - as signified bysuspended car body shells - the gallery wasused by Renault as a popular venue for artsand social events, encouraging widercommunity involvement in the building.

As much as its internal spaces, however, it is

the buildings almost festive Renault-yellowskeleton that gives the Centre such anidentifiable character.

Significantly, this created such a memorableimage that the building, alone among thecompanys facilities, did not need to carry theRenault logo.

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N. Foster, Reichstag, Berlino, 1994-1999

In 1992 Foster and Partners were invited to enter

the competition to rebuild the Reichstag. The

buildings transformation is rooted in four issues:the significance of the Bundestag as a democratic

forum; a commitment to public accessibility; asensitivity to history; and a rigorous environmental

agenda.

As found, the Reichstag was mutilated by war and

insensitive rebuilding, with surviving nineteenth-century interiors concealed beneath plaster

linings. Peeling away these layers revealed

striking imprints of the past,. These scars are

preserved and historical layers articulated

allowing the Reichstag to become a living

museum of German history. The reconstructiontook some cues from the old Reichstag; for

example, the original piano nobile and courtyardswere reinstated

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N. Foster, Reichstag, Berlino, 1994-1999

Its shell it is transparent, opening up the interior to light and placing its activities on view. Public

and politicians enter together through the reopened formal entrance. The public realm continues

on the roof in the terrace restaurant and the cupola - a new Berlin landmark - where helical

ramps lead to an observation platform, allowing the people to ascend symbolically above theheads of their elected representatives in the chamber.The buildings energy strategy is radical.

These modest energy requirements allow the building to perform as a power station for the new

government quarter. The Reichstags cupola is also crucial to its lighting and ventilation

strategies. At its core a light sculptor reflects horizon light into the chamber, with a moveable sun-

shield blocking solar gain and glare. As night falls, this process is reversed. The cupola then

becomes a beacon, signalling the strength and vigour of the German democratic process.

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-City Hall, London, UK, 1998-2002

Located on the south bank of the Thames, alongside the

new More London development, City Hall is one of thecapitals most symbolically important new projects.

Advancing themes explored earlier in the Reichstag, itexpresses the transparency and accessibility of the

democratic process and demonstrates the potential for a

sustainable, virtually non-polluting public building.

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-Swiss Re HQ, 30 St Mary AxeLondon,

UK,

1997-2004

Londons first ecological tall building and

an instantly recognisable addition to the

citys skyline, 30 St Mary Axe is rooted ina radical approach - technically,

architecturally, socially and spatially.

Generated by a radial plan, its energy-

conscious enclosure resolves walls androof into a continuous triangulated skin,

allowing column-free floor space, lightand views.

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Richard Rogers (1933)

- limpostazione della fabbrica di Swindon pu

essere riferibile a Rogers-dopo il Centre Pompidou altro edificio noto

quello per i Lloyds di Londra (78-86)

- sostenitore (con Foster) della vera

architettura funzionalista > negato il disegno

della facciata in senso stretto

-Fleetguard Center, Quimper, 1979-83

-nei progetti pi recenti maggiore

coinvolgimento del luogo > Alcazar di

Marsiglia (1988)

intorno ad un cuneo imposta i servizi allineati

su un lato e gli uffici sullaltrotra essi una spina di passaggio e

collegamento con la piazza

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Lloyds Bld, London, 1987

Like thePompidou Centre (designed by Renzo

Piano and Rogers), the building was innovative

in having its services such as staircases, lifts,

electrical power conduits and water pipes on theoutside, leaving an uncluttered space inside.

The twelve glass lifts were the first of their kind in

the UK. Like the Pompidou Centre in Paris, the

building was highly influenced by the work of

Archigram in the 1950s and 1960s.

The building consists of three main towers and

three service towers around a central,rectangular space. Its focal point is the large

Underwriting Room on the ground floor, which

houses the famous Lutine Bell. The Underwriting

Room (often simply known as the Room) is

overlooked by galleries, forming a 60 metres(197 ft) high atrium lit naturally through a huge

barrel-vaulted glass roof. The first four galleries

open onto the atrium space, and are connectedby escalators through the middle of the structure.

The higher floors are glassed-in, and can only be

reached via the outside lifts.

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Millennium Dome, 2000

The Millennium Dome, colloquially referred to simply as

The Dome, is the original name of a large dome-shapedbuilding, originally used to house the Millennium

Experience, a major exhibition celebrating the beginning

of the third millennium. Located on the Greenwich

Peninsula in South East London, England, the exhibition

was open to the public from 1 January to 31 December2000. The project and exhibition was the subject of

considerable political controversy as it failed to attract

the number of visitors anticipated, with recurring

financial problem