Embodiment of high-tech style in modern architecture

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EMBODIMENT OF HIGH-TECH STYLE IN MODERN ARCHITECTURE

Xu Yueming, Tozik E.S.

JUJL, Changchun, China; PNU, Khabarovsk, Russia;

Abstract. The opinion is expressed that hi-tech was an attempt to implement science fiction, to reflect the basic ideas of fine art in architecture. High technologies are guarding absolutely all aspects of human life, they could not get no reflection in architecture and interior design. Building such structures, architects tried to apply new standards, new rules, new building materials.

ВОПЛОЩЕНИЕ СТИЛЯ ХАЙ-ТЕК В СОВРЕМЕННОЙ АРХИТЕКТУРЕ

Абстракт. Высказывается мнение, что хай-тек явился попыткой реализовать научную фантастику, отразить базовые идеи изобразительного искусства в архитектуре. Высокие технологии стоят на страже абсолютно всех аспектов жизни человека, не могли они не отразиться и на архитектуре, дизайне интерьеров. Возводя подобные строения, архитекторы старались применять новые стандарты, новые правила, новые строительные материалы.

Ключевые слова: хайтек, дизайн, стили, архитектура, архитектор.

hi tech architecture new standards

1. Foster and Dome

Norman Foster - British architect, winner of the Imperial and Pritzker Prize. He was promoted by the queen to knights first, and then to barons. Two years he studied at the Yale School of Architecture, where he received a master's degree and met Richard Rogers, with whom he created the "Bureau of Four". From the depths of this institution came a very widespread style of high-tech. One of the most popular architects of our time.

In those years, the greatest influence on Sir Norman was provided by the ideas of the American Richard Buckminster Fuller, creator of the Buckey-balls - peculiar "geodesic" domes, one of which could be seen in Moscow - the so-called Golden Dome of the American National Exhibition in 1959. Nicholas Grimshaw, who developed grandiose covered arboretum "Gardens of Eden" erected in Britain nowdays, successfully used the most advanced high tech techniques for the next implementation of the ideas of the same Fuller. Today, these domes are the actual standard of form-planning for the construction of all kinds of hangars and other technical structures of a large and very large volume. They consist, as it were, of a huge number of polygonal cells with light filling. So Fuller solved one of the main problems in the history of architecture, prompting builders of the past to erect their domes and arches on heavy rests.

Thus, even at the very beginning of his architectural career, Foster declared himself an adherent of high technologies. His creative collaboration with Fuller had continued until the early seventies, when together they built the famous "submarine theater" of Samuel Beckett at St. Peter in Oxford. A few years before, at London docks, Foster built his Fred Olsen Center, which is a kind of crystal made up of solid pieces of glass in ultra-thin aluminum frames that reflect everything around. Similar "aquariums" were ordered by Foster's concern IBM, and so the character of this "first man in art" was determined, for which high tech became not only the most usual form, but also the most natural way of expressing one's architectural ideas. In this direction Sir Norman, perhaps, feels free, like nobody other. Even such a well-deserved symbol of stable imperial traditions (and for us - the symbol of the inevitable demobilization) as the Berlin Reichstag, in the Foster's interpretation, changed from the bottom to the top into the image of the eternally young lofty democracy of ardent Germans.

(1) Golden Fuller Dome (2)Dome of the Reichstag

2. Rogers and Piano

Richard Rogers (1933) is a British architect who, in collaboration with Renzo Piano and Norman Foster, created a high-tech style. The winner of the Imperial and Pritzker Prizes. The Queen of Great Britain promoted him to barons (Baron Rogers of Riverside). Rogers, together with Renzo Piano, created the Pompidou Center in Paris in 1971.

The most famous high-tech building is the Georges Pompidou Center in Paris (1971-1977). On his design worked a team, which included the Italian Renzo Piano (born 1937) and the English Richard Rogers (born 1933). A frame, communications and an escalator in a large, multi-storey building are placed on the facade. The interior spaces are equally worth of attention due to cables, lighting equipment and pipelines that are carefully hidden in most installations.

(3) Center Pompidou (4) Museum of the Beyeler Foundation

(5) Lloyde office building in London

Rogers and Piano won the competition for the best project of the Pompidou Center at the very beginning of their career. Their original design concept was based on a firm belief in the need to provide freedom and comfort to people who will use this building.

"We are sure that the buildings should be able to change not only in its plan but also in its section and in its vertical projection." Freedom that allows people to act in their own way ... This framework should allow people to act freely inside and outside, to change and adapt in accordance with technical and human needs, such architecture is more like a giant "Mekkano" constructor than a traditional static doll house with glass or solid walls. "

After completing work on the Pompidou Center, Piano created the Museum of the Menil Collection in Houston, Texas (1981-1986). The ventilation bars form the ceilings of the gallery. Created by him, the Museum-Gallery of Beyler (1998) in Basel, Switzerland, is a magnificent sample of high-tech style.

The most spectacular of Rogers' independent projects is the Lloyde office building in London (1978-1986). As well as in the Center Pompidou, most of the communications are outdoors. When you look at the building, it seems that it consists of glass, metal frame and communications. Rogers has his own office in Berlin and Tokyo and is working on many international projects.

3. James Sterling and contextual thinking

The famous English architect James Sterling, received an architectural education at Liverpool University. Before the foundation of his own studio, he worked at the London firm "Lyons, Israel & Ellis". It is worth noting that the work of the architect can not be attributed to any single style. He improvised and periodically changed the techniques, sometimes neglecting the functional component to follow the idea, creating his own style. Part of the work of Sterling can be attributed to postmodernism. In 1981 he became the owner of the Pritzker Prize.

The building of the engineering faculty at Leicester University in England (1959, in collaboration with James Gowan) attracted public attention thanks to the glass office building, adjacent to it wedge-shaped blocks, which housed lecture rooms, and a ventilation pipe, similar to the ship's. The building is adjoined by a low structure, where the shops are located. Interiors have the same characteristics as facades. The building of the Faculty of History (1964-1967) of the University of Cambridge, England, almost completely given to the library, has a large gallery with a glazed roof. Here the design again determines the character of the internal space. As Stirling's career developed, his work gradually became more complex. The interiors of the Olivetti educational building in Haslemere, England (1969), are of great variety, so they can be used for events of various scale and character. Glazed galleries with inclined paths connect different parts of the building.

The last major Stirling project is an extension to the State Museum in Stuttgart, Germany (1979-1984). Here he moved away from the hi-tech style and turned to a bolder direction. The galleries are located around a round courtyard with marble walls, statues (from the collection of the museum) and a portico with squat Tuscan columns that remind of the architectural styles of the past. Exhibition galleries are distinguished by restraint of the forms and color palette, whereas in the lobby, the shop, the passages for the public and the restaurant bright, saturated colors are used, as well as on the facade.

(6) Student residence of St. Andrews University.

(7) Florey Building of Queens College, Oxford University.

4. James Lau's Cybertecture egg building

Ideological filling of the style in his "paper architecture" of the 1930s was anticipated by Yakov Chernikhov, and the practical developments of the new method are listed for Joseph Paxton with his Crystal Palace and, of course, the great Mies van der Rohe with the universal method of erecting large-span structures with carrying out of bearing and protecting designs and fastenings. A peculiar forerunner of style in the interior was the Glass House of the French architect Pierre Chareau, built in 1932 for Annie and Jean Dalsace. Sharo was the first to introduce "naked" elements of the architectural design into the residential interior and strengthen the industrial color of the entourage with the help of functional structures (various racks, stairwells, etc.) made of metal pipes.

(8) The Cybertecture egg building of James Lau

Conclusion: hi-tech is the aesthetics of technology, more obliged in advance of the given architectural notion of it than its engineering rationalization. the idea of an architect as an elite professional, providing a service architecture, complex simplicity, a sculptural form, hyperbole, technology, structure and design as an ornament, antihistori- cal, monumental.hay-tech - the peak of modernism, even wider - the peak of the idea of "modernity" in architecture, in In this case, hi-tech can be considered a poetic end to an entire era.

References

1. http://www.czechtourism.com/cnZa/hightech-architecture/

2. ^CT.^MЈAWSЈ.2005-380p

3. http://stilys.com/styles/hi-tech

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