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I take
my cue from Karsten Harries’ discussion of Bavarian Rococo Churches: it
accounts for a relatively limited period and region - the first half of
the eighteenth century in South-Western Germany - during which a great
many quite substantial ones were built. They have in common the contrast
between relatively plain exteriors and interiors which shelter a riot of
cunningly lit painted paradisal spectacles framed in much gold leaf and
simulated marble. It is the tension which makes a style: ‘to communicate
a state, an internal tension of pathos, by means of signs – and that
means by the rhythm of such signs – that is the meaning of any style.’[1]
In that spirit, I want to consider a recent phenomenon, one which is
already closed. It was, if anything, briefer than the Bavarian Rococo –
just over a quarter of a century. The style goes by the name of
‘High-tech’ and is considered primarily (or at any rate originally), a
British phenomenon – with Parisian and other ‘colonies’.
Because it is now closed, and because it has, as it were, happened
around me (since I have lived and worked for much of my life in
Britain), I thought it important to get some understanding of the matter
and began by trying to understand how the term was being used. How is
high-tech to be considered? Is it simply a disadorned, primary way of
making buildings, a method of designing without any artifice (as some of
its practitioners have) implied, even if none of them have formulated
their approach at all explicitly? Or was it a true Baukunst
allowing of no formal prejudices or indulgences? Was it perhaps a proper
formal procedure, with rules and precepts? Or was it something else
again, a practice whose presuppositions and workings may go unstated and
unacknowledged by its practitioners? Can it even properly be called a
style and did it really incorporate such a tension as Nietzsche required
of the term?
The very notion of style has had a bad press from twentieth-century
architects. Some have even denied that they had any style at all. I
therefore needed to clarify the use of the word in an architectural
context. ‘Style’ had originally signified (in both Greek and Latin) a
stick sharpened at one end and flat at the other used both for writing
and erasing on a wax tablet: stylus (στυλος in Greek); its
meaning was gradually extended to stand for the whole business and
quality of writing. But the word for stick could also signify a rod or
post, hence a column or at least the shaft of one. It has remained in
the technical vocabulary of building as the first half of stylobate,
the Latinized Greek word which means the top step on which the
column-shaft rests. ‘Style’ retained the two senses through the middle
ages and into the sixteenth and seventeenth centuries, yet Giorgio
Vasari, the father of art-history, hardly used the word but much
preferred maniera when he signified something very much like
style – the tone of an artist’s work or yet the habitual ways of the
artist in his work.
‘Style’ had also come to signify habit and custom – even ritual. When
the French Academy’s Dictionnaire defined the word
authoritatively, it extended its sense to include doing things according
to the prescribed mode of some institution. The style of the law-court,
the style of parliament required special expressions and turns of
language, certain formulae; and there were handbooks which provided
models of such styles.
When did style move into architecture? The matter has never been
settled. Since the sixteenth century architects and their instructors
had an alternative term, order. The notion that the rules of
architecture could be assimilated to the orders (Doric, Ionic etc.) was
popularized by the Bolognese architect Sebastiano Serlio between 1530
and 1540; after his time order-books became the most popular and useful
architectural publications - and in a sense provided the very same
formulaic prompting as the handbooks of judicial or parliamentary
procedure. The orders were also about ‘styles’ since they were about
posts and columns, but were quite different from the ‘manner’ of Vasari
which could be joyous or elevated or barbarous and clumsy – even
downright bad and old.
Much later, towards the end of the eighteenth century, the Roman
theorist of new classicism, Francesco Milizia, would, in his Dictionary
of the Fine Arts, separate styles into sublime, beautiful, gracious (the
first to be exemplified by a modern artist – Correggio), or expressive,
natural (Rembrandt, Velasquez and, sharpening Vasari’s categories,
distinguish a variety of vicious ones: the overcharged one of
Michelangelo, the slick one of the Lombards (such as Pelegrino Tibaldi,
presumably – or Cerano), the scrambled manner of Pietro da Cortona.
But by this time it had also become evident that whatever your
maniera, your tonality or expression, you could suborn a formulaic
Doric and Ionic to it; and by the same token your formulae could also be
Gothic or Turkish or even Chinese. A history of world architecture,
first attempted during that very Rococo period, in 1721, by Fischer von
Erlach, had already implied that possibility. By the beginning of the
nineteenth century the variety of styles was a commonplace in the
handbook business, so that a century after Fischer’s publication you
could get handbooks to any current style, both home-grown and exotic,
and several styles could even fit comfortably into one book. The great
men of nineteenth-century architecture protested against this formulaic
notion and the blanket historicism that went with it. Read
Viollet-le-Duc’s article ‘Style’ in his Dictionary, or Semper’s preface
to his Stil in den Technischen und Tektonischen Kűnsten, or yet
Ruskin’s stirring account of the nature of Gothic in his ‘Stones of
Venice’, and you will see how they all protested against the handbooks
and sought a return to the old understanding of style as maniera,
implying an internal unity that could override the contradictions within
the architectural object.
For all that, style has obstinately retained its handbook connection. If
I now suggest that High-tech is a style, I mean that in the ‘modern’
handbook – not the Vasari’an or Milizia’n, never mind the Nitzsche’an –
sense, a style which, though it is not based on exact historical
precedent but is evident and has catalogueable characteristics and which
can therefore be summed up, imitated and even applied.
A negative consideration might make my point more explicitly. Take a
brilliant, demanding technical innovation like pre-stressed concrete,
now over half a century old. The technique is relatively cheap and – and
in the hands of a master like Louis Kahn – becomes the material support
of an entrancing formal statement, as in the Kimball Museum at Fort
Worth in Texas which is roofed with 4-inch (10 cms) thick cycloid
pre-stressed vaults. Yet the forms it has suggested have not been taken
up and are not part of the vocabulary of those architects who shelter
under the high-tech umbrella.
This is the first notable characteristic of the style: it is linear, not
planar. The separation of compressive and tensile elements is very much
a feature, almost in the way demanded by the eighteenth-century purist
Fra Carlo Lodoli: e sia funzion la reppresentazione he
admonished, meaning function in a structural sense. The high-tech
resolution of the bearing function into rigid compressive frames and
tensile cabling would have surely invited his approval. A general
preference for metal surfaces and metal-derived shapes is an
unquestioned feature of high-tech practice. It is part of a formal
language which the manner inherited from the ‘experimental’ architecture
of the ‘fifties and ‘sixties. The French prophet of metal prefabrication
as a solution to housing and other building problems became a minor
heroic figure.
Richard Buckminster Fuller was even more important. He is still
remembered reverentially as a visionary who proposed technical solutions
to the world’s problems usually based on the repetition of
highly-detailed elements which depended on multi-directional,
multi-functional features. Many of his projects are for
centrally-planned buildings and are intended for universal application.
He had little interest in economics and none in politics – never mind
culture or history – and an unshakable conviction that progress was
rational, linear and constant. Some of his devices – the geodesic dome,
for instance – have passed into current but very limited use. Their
wider applications (such as controlling the climate of Manhattan by
roofing it over with a geodesic dome) have remained ‘visionary’. As a
prophet of universal, technology-driven progress, he was very much
heroized in Britain during the `fifties, at a time when all things
American had the allure of plenty in a Britain depressed by austerity.
Some of the early work of the painter Richard Hamilton is an ironic but
also admiring witness to that state of mind. As for architecture,
Fuller’s grandiose projects offered a breathtaking vision of a
forthcoming technological progress which would blow away the petty
sociologism, the bleak commonplace of British post-war reconstruction.
His polemics hit out at the Europe-bound ‘International Style’
architects, concerned only with form and surface and not really
interested in the great changes in techniques of environmental control
or the radical changes in structural method.
This hero-worship of Buckminster Fuller coincided with other attempts to
provide a technology-based vision of a future world of problem-less
abundance. The Dutch painter Constant (Constantin Nieuwehuys), who had
been a member of the Cobra Group (with Corneille, Pierre Aleshinsky and
Asger Jorn) was associated with the newly-formed Situationist movement,
though they expelled him when he formulated his urbanistic vision of a
New Babylon, a vision of a whole world covered with a network of
interconnected urban centres. The world outside them (which seemed of
little interest to him) would consist of places for agricultural and
industrial production which (the literal-minded might suppose)
maintained life in the essentially ludic cities. Constant’s world, like
that of the Situationists (and their English followers, notably
Archigram) was meant for homo ludens – taking that term in the
Schiller’ian sense: der Mensch spielt nur, wo er in voller Bedeutung
des Worts Mensch ist, und er ist nur da gar Mensch, wo er spielt. . .[2]
of man at play being man at his highest and best, though Constant and
his contemporaries did not read that notion in Schiller, but at second
hand, in Johann Huizinga, whose Homo Ludens, however, did not
want that category to be an exclusive description of man, but one to set
beside Homo Faber and Homo Sapiens.[3]
An analogous vision was provided in France by Yona Friedman who thought
that the old urban centres could be roofed over by huge space-frames in
which urban life could be entirely housed – even taking over slowly from
the old buildings below in which life would gradually atrophy. In his
projects, but even more in Constant’s and those of other ‘experimental’
architects’, the main occupation of their inhabitants seemed to be fun
of one kind or another, a continuous carnival, while there is no sense
that fun has to be paid for in one way or another, or that work,
production, is what pays for it; or even that all these fun-having
people need to be fed and refreshed, and supplied with almost limitless
energy, particularly electric energy. Such projects also implied an
almost endless supply of building materials, steel and glass
particularly, and the fact that all of it had to come from some other
place seemed of no interest.
The Archigram group launched itself with an exhibition at the Institute
of Contemporary Arts in London, where Richard Hamilton exhibited and
Constant lectured and showed his project. They were students at the
Architectural Association at the time, and what was most obvious at
first was their naked ambition to be ‘original’, though gradually a
programme did emerge. The cities of the future were to be made of
interchangeable bits, mostly metal ones. The metal, service-carrying
stems, both vertical and horizontal, would be equipped with quantities
of regularly-spaced nipples or plugs to which ‘rooms’ – dwelling,
meeting, entertainment – would be connected. Whole cities could be
equipped with telescopic legs and move about the landscape. Unlike
several of their contemporaries, the members of the group were brilliant
and prolific draughtsmen.
No harm in that, you may think. Except that the play they advocated is
unflavoured by any sense of humour which is coeval, complimentary to the
absence of any theoretic backing to these copious drawings. Perhaps they
were being produced at such speed that there was no time for reflection:
‘Walking Cities’, drawn by Ron Herron and Brian Harvey in 1963 looked
like huge mechanical insects attacking Manhattan island. About the same
time Peter Cook drew ‘Plug-in City’, perhaps the most popular of the
images which Archigram produced, and one which suggested a kind of
reality for the project. The metal pods were enclosed in circular office
towers, and great diagonal frames became the supports of innumerable
cell-structures. Much energy was devoted in the next few years to
developing such cells: David Greene’s Cushicle, designed in 1967, seems
to be the reductio ad absurdum of such schemes. A maximum-comfort
cell for a single body is emphatically concerned with providing the
isolated individual with all his/her physical necessities. Meanwhile the
group was involved by the contractor Taylor Woodrow in a complex and
highly ambitious project for Fulham in West London, which was defeated
by later events. In fact, despite the profusion of projects and
publications, Archigram produced no buildings to speak of, but proposed
instead a vision of a vast, machine-made and machine-like building –
which paradoxically enough appealed precisely because it could be seen
as monumental, a monument to a heroic future.
Yet the energy seemed to go out of the collective projects about the
time of the Cushicle which coincided with the Six-day war in the Eastern
Mediterranean (5-10 June 1967) and the energy crisis which it provoked.
Suddenly the prospect of limitless fuel seemed threatened by political
events beyond anyone’s control. Members of the group retired to
academia.
One of Peter Cook’s contemporaries at the AA, Richard Rogers, went on to
study at Yale, where he met Norman Foster. While in the USA they were
also seduced by some of the West-coast minimalist projects, and on their
return they formed a partnership, Team 4. The factory they designed in
Swindon in 1965/66 became a dry-run for high-tech architecture. The two
architects (since ennobled by Lady Thatcher, and both laureates of the
Pritzker, the self-styled ‘Nobel prize’ of Architecture) went their
separate ways however, and while Foster established his own office,
Rogers was for a while in partnership with Renzo Piano, an
architect-engineer from Genoa, though trained in Milan.
The first major project to realize the intentions of the British
‘experimenters’ came from outside the group: in the fatidic year 1968,
Rogers and Piano won the competition for a new Cultural Centre (to be
called Centre Pompidou) on the site of the derelict Ilot Insalubre,
Plateau Beaubourg in northern Paris. It was a project which had a full
compliment of high-tech stylistic features. The glass western facade,
open towards a forecourt, was festooned with escalator tubes and (in the
project, at any rate), covered with super-graphics. The very deep
trusses ensured clear floor areas over the whole building, and a
near-total flexibility which is also implied in the suppression of any
‘main’ entrance, suggesting – quite falsely – that the whole perimeter
was permeable. The trusses are steadied by vertical elements on the
shorter (north and south) elevations, and on the east and west longer
ones are powerfully cross-braced. The securing of these elements to the
ground required giant structural joint-anchors at the base, which dwarf
the passer-by. The east (and in a sense, the rear) face of the building,
towards a street, is dominated by services: mains supply ducts and huge
ventilating tubes, all painted in clean (mostly primary) colours, so
that they become the building’s dominant figuration.
While Piano was to set up his own office with the engineer Peter Rice
(at first) in 1977 and his work has been concerned with issues that set
him outside these strict stylistic limits, Rogers and Foster developed
these stylemes working separately, but in parallel. The formal features
of Rogers’ building for Lloyds of London are an exteriorised structure,
the prominent fire-escape stairs, and mains ducting and toilets which
are enclosed in pod-like, steel-faced elements slotted into the frame;
Foster’s Insurance office in Ipswich encloses an irregular site in a
sheer glass skin. The manner was taken up by others in Britain: Michael
Hopkins, Nicholas Grimshaw, Richard Horden and Ian Ritchie. It
percolated through the building trade, and a vast number of office
building have sprung up, displaying some of its characteristics.
However, I have not set out to provide a catalogue of buildings or even
of the architects, but merely wish to attempt an interpretation of the
phenomenon and to suggest its limitations. I hope that I have convinced
you that many high-tech features have no connection with location and
are external, sometimes even contrary to the use of the building. The
excessive flexibility of the Pompidou Centre has had to be curbed by
later internal construction in the interest of its function; circulation
has required the addition of internal escalators, since the external
ones are crowded by sightseers. All the features which needed modifying
can be considered independent formal devices, and therefore –
effectively – stylistic characteristics.
By now the two main proponents of the manner have done a great deal of
work internationally. Both Rogers and Foster have extended their
vocabularies. Foster’s Hong-Kong and Shanghai Bank Building, which
briefly dominated its skyline, is perhaps a more sophisticated project
than my stylistic catalogue might suggest. As is appropriate, they have
both designed airports in variants of the high-tech style: Foster first
at Stanstead near London and later, on a much bigger scale, in Hong Kong
and Beijing; Rogers in Madrid.
For all its achievements the style reached its apogee before the end of
the century. Various factors have intervened. A consciousness of the
implications of global warming means that the more energy-guzzling
aspects of high-tech buildings (such as their dependence on large areas
of glazing and on air-conditioning) are seen as reprehensible, while a
proliferation of the manner in city-centres has induced a sense of
tedium. However elaborate the contrasts between the ornamental display
of tensile cables and cross-bracing, or of the metal-sheathed service
tubes, they could not relieve the bland steel-and-glass surfaces. The
buildings never seem to have quite achieved a communication of internal
tension and of pathos by the rhythms of its signs. Its characteristics
never aspired to the grandeur of a true maniera, but remained at
the level of the manual, even if rather grand claims were made for it:
that ‘it was not an exploitation of nature, but a fusion of nature and
the human spirit which transcends both’.[4]
For all that, by the end of the twentieth century its main advocates
were looking elsewhere: Foster, particularly in the Commerzbank in
Frankfurt of 1999-2000 (until 2003 the tallest building in Europe), has
increasingly responded to green pressures by designing a building whose
concrete structure is permeated by areas of planting, and whose
ventilation system (which does not rely on high-energy consuming
controls) make a definite impact on the design. It provides a useful
terminal to high-tech. As a definable style it seems to me to belong to
the last quarter of the twentieth century – which makes it roughly
contemporary with post-modernism, its nemesis. The technological marvels
of the twenty-first century seem not to be those of structure but of
artificial intelligence, and this seems to open another rather different
argument which I must leave for another time.
Notes:
[1]
Friedrich
Nietzsche, Ecce Homo. ‘Why I write such Good Books’, § 4.
[2] Friedrich
Schiller, Über die Ästhetische Erziehung der Menschen: Eine
Reihe von Briefen.
Brief XV, § 9:
‘Man only plays when he is in the fullest sense of the word a
human being, and he is only fully a human being when he plays’.
[3]
First
published in German, Zürich 1944 and in English, London 1949.
[4]
Norman
Foster, quoting Robert Pirsig. From William J. R. Curtis,
Modern Architecture since 1900, London 1996 p. 658.
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