All new inevitably becomes old. Today humanity has an interesting look into the unknown future, at least partially transferred from the dream into reality. Because it is this desire in the art, a new line of high-tech, that is an artistic interpretation of high technology appeared.
High-tech architecture, also known as Late Modernism or Structural Expressionism, is an architectural style that emerged in the 1970s, incorporating elements of high-tech industry and technology into building design. High-tech architecture appeared as a revamped modernism, an extension of those previous ideas aided by even more advances in technological achievements. This category serves as a bridge between modernism and post-modernism, however there remain grey areas as to where one category ends and the other begins. In the 1980s, high-tech architecture became more difficult to distinguish from post-modern architecture. Many of its themes and ideas were absorbed into the language of the post-modern architectural schools.
Like Brutalism, Structural Expressionist buildings reveal their structure on the outside as well as the inside, but with visual emphasis placed on the internal steel and/or concrete skeletal structure as opposed to exterior concrete walls. In buildings such as the Pompidou Centre, this idea of revealed structure is taken to the extreme, with apparently structural components serving little or no structural role. In this case, the use of "structural" steel is a stylistic or aesthetic matter.
The style's premier practitioners include the British architect Norman Foster, whose work has since earned him knighthood, and Spanish architect Santiago Calatrava, known for his organic, skeleton-like designs.
Buildings designed in this style usually consist of a clear glass facade, with the building's network of support beams exposed behind it. Perhaps the most famous and easily recognized building built in this style is I.M. Pei's Bank of China Tower in Hong Kong. The WorldTradeCenter in New York City, although generally considered to be an International Style building, was technically a Structural Expressionist design due to its load-bearing steel exoskeleton.
Buildings in this architectural style were constructed mainly in Europe and North America. After the destruction of many historic buildings in Europe during World War II, repairing them was a difficult matter. Architects had to decide between replicating the historic elements or replacing it with new modern materials and aesthetics.
The scientific and technological advances had a big impact on societies in the 1970s. The Space Race climaxed in 1969 with Neil Armstrong's landing on the moon, and came along with excessive military developments. These advances set people's minds thinking that much more can be achieved with advancing technology. Technological instruments became a common sight for people at the time because of the use of ramps, video screens, headphones, and bare scaffolds. These high-tech constructions became more visible everyday to the average person.
There was a growing disillusionment with Modern Architecture and progression in that manner. The realisation of Le Corbusier’s urban development plans, led to cities of dreadful monotony. Many houses were to made form standardized parts. This played a large role in the monotony. The enthusiasm for economic building led to extremely low quality finishes of the buildings. Many of the residential estates designed degenerated into slums. As a result people became disillusioned with this progress and the West began to acknowledge this failure.
Throughout Modern Architecture’s developemennt, society would have become bored of the Modern aesthetic. This is to be expected given that the Modern buildings were very bland and the novelty of its aesthetic would wear off. Hi-Tech is a response to this to take Modernist aims to other extremes and in doing so, it creates a newer aesthetic: boasting the glamour of greater leaps in technology.
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The style got its name from the book High Tech: The Industrial Style and Source Book for The Home, written by design journalists Joan Kron and Suzanne Slesin and published in November 1978 by Clarkson N. Potter, New York. The book, illustrated with hundreds of photos, showed how designers, architects, and home owners were appropriating classic industrial objects—library shelving, chemical glass, metal deck plate, restaurant supply, factory and airport runway light fixtures, movers' quilts, industrial carpeting etc.—found in industrial catalogues and putting these to use in residential settings. The foreword to the book by architect Emilio Ambasz, former curator of design at the Museum of Modern Art, put the trend in historical context.
As a result of the publicity and popularity of the book, the decorating style became known as "High-Tech", and accelerated the entry of the still-obscure term "high-tech" into everyday language. In 1979, the term high-tech appeared for the first time in a New Yorker magazine cartoon showing a woman berating her husband for not being high-tech enough: "You're middle-, middle-, middle-tech." After Esquire excerpted Kron and Slesin's book in six installments, mainstream retailers across the United States, beginning with Macy's New York, started featuring high-tech decor in windows and in furniture departments. But credit should go to a shop on 64th Street and Lexington Avenue in New York, Ad Hoc Housewares, which opened in 1977, for marketing these objects to a residential audience before anyone else. The book went on to be reprinted in England, France, and Japan, and like the original, each edition included a directory of local sources for the objects.
The other name, Late Modernism, came from the fact the many of its principles were an extension of Modernism; a newer kind.
High-tech architecture was, in some ways, a response to growing disillusionment with modern architecture. The realization of Le Corbusier's urban development plans led to cities with monotonous and standardized buildings. As it was said, the enthusiasm for economic building led to extremely low-quality finishes, with subsequent degradation countering a now-waning aesthetic novelty. High-tech architecture created a new aesthetic in contrast with standard modern architecture. In the book High Tech: The Industrial Style and Source Book for The Home, when discussing the high-tech aesthetic, the authors emphasized using elements "your parents might find insulting". This humour so aptly demonstrates the rebellious attitude.
Kron and Slesin further explain the term "high-tech" as one being used in architectural circles to describe an increasing number of residences and public buildings with a "nuts-and-bolts, exposed-pipes, technological look". There is no need to look further than Rogers's Pompidou Centre for an example of this. This highlights the one of the aims of high-tech architecture, to boast the technical elements of the building by externalizing them. Thus, the technical aspects create the building's aesthetic.
For interior design there was a trend of using formerly industrial appliances as household objects, e.g. chemical beakers as vases for flowers. This was because of an aim to use an industrial aesthetic. This was assisted by the conversion of former industrial spaces into residential spaces. High-tech architecture aimed to give everything an industrial appearance.
Another aspect to the aims of high-tech architecture was that of a renewed belief in the power of technology to improve the world. This is especially evident in Kenzo Tange's plans for technically sophisticated buildings in Japan's post-war boom in the 1960s, but few of these plans actually became buildings. High-tech architecture aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology.
But however prominent the industrial look appeared, the functional element of modern architecture was very much retained. The pieces still served a purpose in the building's function. The function of the building was also aimed as not being set. This dynamic property means that a building should be a "catalyst", the "technical services are provided but do not become set."
Characteristics of High Tech Architecture varied somewhat. They included the prominent display of the building's technical and functional components, an orderly arrangement of and the use of pre fabricated elements. Glass walls and steel frames were immensely popular. These traits combined created the industrial aesthetic.
To boast technical features they would be externalised, often along with the load bearing structures on outside. There can be no more illustrious example than Roger’s Pompidou Centre. The ventilation ducts are all prominently shown on the outside. This is radical, as previous ventilation ducts would have been a component hidden on the inside of the building. The means of access to the building is also on the outside, with the large tube allowing visitors to enter the building.
The orderly and logical fashion in which High Tech buildings are designed to keep to their functional essence is demonstrated in the Norman Foster’s Hong Kong and Shanghai Bank HQ. Besides the technology being the overriding feature of the building, its design is very much functionally orientated. The large interior open space and the easy access to all floors very much enhance the function of being a bank. Also the elements of the buildings are very neatly composed to achieve optimal orderliness in order to logically solve the problem of the needs of a bank. This can be seen in the levels structure and the escalators.
Another characteristic involved using industrial objects out of its industrial context for example “factory lights for a living room” .
The High Tech buildings make persistent use of glass curtain walls and steel structure. It is greatly indebted to Modern Architecture for this and Mies van der Rohe’s corporate buildings. The SOM Sears Tower demonstrates that with glass walls and skeleton pipe structure of steel, a very tall building can be built.
High Tech architecture developed a technical language, free of historicist ornaments likes it predecessor, Modern Architecture. An example of this is the Žižkov Television Tower, Prague. From afar the unconventional structure looks like a rocket launching pad. This takes inspiration from the technical advancements of the age.
Many High Tech buildings meant their purposes to be dynamic. This could best be explained by Günther Behnisch and Frei Otto’s Olympic Stadium in Munich. This structure made sport in the open possible and is meant to be used for many purposes. Originally an abandoned airfield it now became a Sport stadium, for various disciplines.
Overall, the characteristic traits of High Tech architecture varied somewhat, yet all deal with the adoration of all technical elements.
High Tech described the then-fashionable style of decoration using out-of-context, brightly coloured elements of industrial design (e.g. factory lamps, warehouse shelving, office chairs, work-benches, duct-work, glass bricks etc) in domestic interiors and shops. The bright colours of its exposed ducts, its transparent escalator tubes hung on the exterior of its boldly exhibited structural system and its general air of technological optimism made it a convincing large-scale demonstration of the Kron and Slesin aesthetic.
However, many subsequent products were especially designed to capture a specific High-Tech ‘feel’, as in geometrically based wallpapers and textiles derived from graph paper grids, the widespread use of perforated steel sheets, and ‘space age’ gadgets.
Hi-Tech is now more popular than ever. Therefore, purchase various items of interior in this style does not prove a problem - many designers are promoting hi-tech, bringing its elements in the atmosphere and decor.
Metal and glass. Glass and metal. Few plastic. The severity and simplicity of design. Straightness of lines. No wood, intricate decoration and floral wallpaper. This is the recipe for the correct interior from the high-tech. Tables with a strictly rectangular or round glass table tops, chairs with metal legs and backs, coffee tables on casters, uncomplicated racks with glass shelves ... Of course, the style of hi-tech suits mainly for larger rooms, divided into functional areas by partitions and doors unbreakable glass. Transparent door coupe in the aluminum frame is not only a tribute to the latest fashion, but at the same time something comfortable and functional, as well as saving space.
Recently, Russia's consumers have become available so-called exclusive doors of glass, equipped with various technical twists. The easiest option - the door with the effect of broken glass, consisting of three layers. Broken layer sandwiched between two unbreakable panels. I must say, the door looks quite expensive, but modestly. Transparent doors with LEDs will cost you a few more. However, if you want to impress guests and for this purpose will not quibble over the price, this is just what you need.
Between the layers of glass doors placed a bottle of essential oil. When you open the door begins to exude a pleasant aroma. Plenty of enjoying a sweet scent, you can easily replace it with another. To do so, merely fill a bottle of new fluid.
FURNITURE HIGH TECH STYLE
For the interior in high-tech style is a perfect upholstered furniture, which is easy to geometric forms. Forget about the variegated colors: here is appropriate only monochrome upholstery. By the way, the effect of "bright spots" the easiest way to create with the sofa, for example, radical red or blue. He livens up considerably now. The main thing is not get carried away and remember the rule: in high tech interior bright spot can be only one. Experiments suggest that those who like to buy a sofa-transformer, consisting of modules to change its shape. The presence of removable covers makes it possible to realize the most daring fantasies. Of course, this furniture is not cheap. If you want to buy a really wonderful thing from a well-known designer, be prepared to pay for her round sum. Leather chair changes the color of the moment of touching him, his colleague from colored transparent plastic or similar transparent box, shamelessly exposed its contents for all to see - any author gizmos you have just purchased will last much longer than an object of mass production. Even despite the fact that the furniture in the style of hi-tech pretty fast.
LIGHTING IN THE STYLE OF HI-TECH
True chosen lighting, as a rule, is one of the most important moments in the creation of the interior. For hi-tech this is doubly important. Forget about the classic chandeliers, crystal pendants, flower motifs, a variety of flashlights and bronze, "the palace". Numerous built-in lighting in conjunction with a cascade of small overhead halogen lamps - that's what you need now. And they can hang on as the same, and at different levels. Main condition: their simplicity and ease. Stringed lamps and various tensioning system - not a bad idea for those who devotes a substantial role in the light interior. Tension systems can simulate the space, drawing attention to some subjects and hiding in the shadows of others. Using string lights, you can visually divide the space into functional zones, creating a boundary between the kitchen and dining room or living room and bedroom, while achieving an incredible lightness and plasticity.
Soffit various configurations are also very convenient, practical and, importantly, affordable. They are equally relevant in the living room over the sofa, and in the kitchen over the table. Unfortunately, the list of their virtues is not listed elegance. Applying such a system the apartment, you are always a little risk ... The main thing is not to overdo it, to a living room does not become similar to the office.
Floor lamps with halogen bulbs loose charming look perfect. It is unlikely that in their view can be read. Perhaps their assignment to another - to make interior charm, make it at home cozy.
WINDOWS AND WALLS IN HIGH-TECH STYLE
Best clothes for windows in high-tech style - vertical or horizontal blinds. If you do not want your home was like an office, add to them curtains: necessarily monotonous, dull, not too thin and not too dense. Of course, you can confine them, but on condition that all the above requirements are met. Combination: lace curtains, plus opaque windows are inappropriate. This is a classic.
Smooth, light-colored walls - the essential characteristics of lung high tech interior. The most suitable colours are white, light gray, beige and sand. Professionals advise to refuse to give preference to wallpaper and paint.
The idea of minimalism dictates its own rules: to decorate the walls of nowhere. If it does the bare walls, you seem to be unacceptable, to revive them: hang large contemporary photographic pictures in light metal frames (black and white is preferable), or paintings with an abstract image.
Supposedly a fusion of ‘high style’ and ‘technology’, High-Tech was often marketed in pre-packaged form in fashionable retail stores like Habitat, rather than being an imaginative redeployment of readymade, industrially-produced components by individual consumers. In its Catalogue of 1980/81 Habitat defined its Tech style as ‘a new look, reflecting the influence of the industrial style in home furniture’.
This project was an entry in a competition sponsored by the city of Qingdao. The office tower is created as a monumental piece of high-tech sculpture. It incorporates state-of-the-art technology not only in its internal mechanical, electrical, and communication systems; it celebrates sophisticated technology in the design and detailing of the exterior wall systems.
Thirty six floors provide 76,000 square meters of gross office area. The planning of the office floors are fundamental to a flexible, efficient business environment.
The “Climatized Wall” at the west side of the tower is comprised of two separate layers of glass separated by a two meter deep “air curtain”. This layer of air controls the interior environment, and can be manipulated in response to outside temperature conditions by two means: a) the flow of air through this space is controlled by the amount by which adjustable windows are deployed at the bottom and the top of each three-story zone; and b) the amount of solar energy absorbed by the building is controlled by adjustable louvers within this two meter space. Both the operable windows and the adjustable louver systems are controlled by the central computer-operated building management system, which balances the indoor temperature, internal humidity levels, and solar penetration.
Innovative techniques in clothing manufacture offer garments that actively keep you safe and comfortable: jackets that grow warmer when the temperature drops, sweat socks that resist bacteria and odors, and T-shirts that ward off ultraviolet rays and might one day kill mosquitoes on contact. Such "super" clothing could soon become widespread, French technologists believe.
Many of these new clothes make use of microcapsules: tiny, spherical membranes bound to the clothing fibers and containing beneficial substances. The Damart company makes a "thermo-regulating" jacket coated with microcapsules on the inside. The capsules contain a substance that stores heat energy by melting at normal temperatures, and then releases that energy by crystallizing as the temperature falls.
Many scented and odor-resistant clothes contain microcapsules that release a perfume or odor-neutralizing chemical when the fabric is rubbed. The Neyret company offers a line of scented lingerie that employs this technology. Another firm, Francital, will offer a line of deodorizing underwear in 2002. (A prototype of such underwear was worn by two explorers for 45 straight days during an expedition to the North Pole.)
Another new technique incorporates a substance with desired properties into synthetic fabric as it is being made. One antibacterial fiber, Rhovyl'AS, is made this way, with the antibacterial agent added while the synthetic polymer is still in a liquid stage, before it is cooled and spun into fibers. The Clayeux company offers a line of antibacterial pajamas, sweat shirts, and jump suits for small children.
A T-shirt that mixes ceramic fibers with polyester, also from Damart, offers almost twice the protection from the sun as an ordinary T-shirt. In addition to reflecting harmful ultraviolet rays, the ceramic fibers also block infrared rays that heat the body.
T-shirts could one day also make use of a technique whereby cotton or polyester is "impregnated" with an ingredient that kills mosquitoes on contact. The technique is already used to make super-effective mosquito netting. The mosquito-killing chemical does not harm humans, according to the company that makes the fabric, Billon Technic.
But many clothing manufacturers agree that standards of safety testing need to be established for the new breed of "super" clothes, because some may have unintended side effects. For example, antibacterial clothes could kill beneficial microorganisms living on the skin that help fight off infection.
We are students of 2nd course of the best Chelyabinsk University - CSU. We join pedagogic group called "Parus". This summer we are going to the camp with Joop Vinke from Scotland.
