As an architect, you design for the present
with an awareness of the past, for a future
which is essentially unknown.
- Norman Foster
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 1
CONTENT
1.0 INTRODUCTION 2
2.0 LONDON CITY HALL 4
2.1 Project Overview
2.2 Project Background
2.3 Design Concept
2.4 Design Approach
2.4.1 Accessibility (both figural and literal)
2.4.2 Sustainability
2.4.3Democracy
2.5 Project Site
2.6 Organization
3.0 CYLDE AUDITORIUM 16
3.1 Project Overview
3.2 Project Background
3.3 Design Concept
3.4 Design Approach
3.5 Project Site
3.6 Organization
4.0 COMPARISON OF CLYDE AUDITORIUM AND 24
SYDNEY OPERA HOUSE
5.0 CONCLUSION 26
6.0 BIBLIOGRAPHY 27
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 2
1.0 INTRODUCTION
Name : Lord Normal Foster
Full Name : Lord Norman Foster of Thames Bank
Original Full Name : Norman Robert Foster
Birth Date : June 1, 1935 (Age 78)
Place of Birth : Manchester, England, United Kingdom
Education : University of Manchester
(School of Architecture and City Planning)
Yale University
(Masters Degree in Architecture)
Sir Norman Foster is an award-winning and prolific British architect known for his sleek,
modern designs of steel and glass.
He has designed skyscrapers, offices, galleries, airports, stadiums, parliament buildings,
city masterplans and even a spaceport.
The founder and chairman of Foster + Partners, he oversees 15 offices with 1,000
employees working on projects in 40 countries.
Foster's career already has more than 470 awards and citations for excellence and has
won over 86 national and international competitions.
AWARDS AND HONOURS
1983: RIBA Royal Gold Medal
1990: RIBA Trustees Medal for the Willis Faber Dumas building
1990: Knighthood from the Queen of England
1994: American Institute of Architects Gold Medal
1997: Appointed by the Queen to the Order of Merit
1999: Pritzker Architecture Prize
1999: Honored by the Queen as Lord Foster of Thames Bank
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 3
ARCHITECTURAL STYLE
Norman Foster is one of the contemporary architects. He gained recognition as a key architect
in the high-tech movement. His style is also seen as very much of the new millennium - clean,
unfettered and environmentally-aware.
ARCHITECTURAL PHILOSOPHY
Norman Foster:
Norman Foster understands that the places where we live and work have a great influence on
people.
Foster thinks that architecture is about the needs of people, the material needs, the things that
you can measure.
Architecture should give us warm when it is cold outside and give us cool when it is hot outside.
In his opinion, architecture should protect us from the elements from the outside.
The architect thinks that in spite of a protection function, architecture it is also about the
spiritual dimension, about the things that move us and make us feel happy and comfortable. He
convinces that you can call it any word you like, you can call it beautiful, esthetic, welcoming or
friendly but it is something that will make us feeling good. Architecture is about a social agenda.
His designs show completely this way of thinking. His designs stand out for taking a full
advantage of technology. Technology is used in the search for greater energy efficiency,
excellent integration with the environment, creating a user-friendly atmosphere and easy-to-
use facilities.
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 ways we move through or around it. Above all,
I believe that architecture is rooted in the needs of people - material and spiritual, measurable
and intangible. It must have the ability to transcend function, to add beauty as well as value, to
lift the spirits, to move us in some way.
Foster + Partners:
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.
Each project "is sensitive to the culture and climate of its place".
It also says that architecture is generated by the material and spiritual needs of people.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 4
2.0 LONDON CITY HALL
Project Type : Government Building
Location : London, England
Cost : 43,000,000
Client : More London Development Ltd.
Current Tenants : Greater London Authority
Appointment : 1998
Construction Start : 2000
Completion : 2002
Area : 19 814m
Height : 45 m
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 5
2.1 PROJECT OVERVIEW
In conventional terms, the building has
no front or back:
Its shape is derived from a geometrically
modified sphere.
This hybrid form is designed to minimise
the surface area exposed to direct
sunlight.
The design incorporates as a number of
features designed to make the building
as green as possible.
City Hall comprises a meeting chamber,
committee rooms and public facilities,
together with offices for the Mayor,
London Assembly Members and GLA
staff.
2.2 PROJECT BACKGROUND
In the 1980s, Londons local government
had been dissolved and the old
government building was transformed
into a hotel and aquarium. With Prime
Minister, Tony Blairs commitment to
bringing back a London-wide government in 1997, the election of a new Mayor and Greater
London Authority called for a new government building.
The City Hall project was an opportunity to express the values of the newly formed governing
body and act as a symbol of change for London. The project brief called for a building to house
the Greater London Authority (GLA), which consists of the Mayor, London Assembly and their
support staff.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 6
2.3 DESIGN CONCEPT
London City Halls building form is justified according
to two main design criteria that consist of
democratic and environmental ideals.
Elements in Londons City Hall were taken from The
Reichstag Dome in Berlin built by Norman Foster and
also simple elements were taken from Berthold
Lubetkins Penguin Pool in the London Zoo.
Examples of key elements taken from The Reichstag Dome in Berlin (left) built in London City
Hall (right):
Glass and steel exterior
Winding ramp
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 7
2.4 DESIGN APPROACH
City Hall has been designed as a model of democracy, accessibility and sustainability.
2.4.1 ACCESSIBILITY (both figurative and literal)
Fosters idea of creating an open forum for Londons citizens, who can quite literally enjoy an
approachable democracy in action, governs the entire access concept for the building, situated
as it is directly on the present-day embankment.
From the exhibition area, an ellipsoidal ramp about half a kilometre long leads through all ten
storeys to the top of the building, offering a succession of views over the city and into the
offices of the staff, the city councillors and the Mayor himself.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 8
2.4.2 SUSTAINABILITY
Position
The location of the building has
contributed to save energy. In
city or urban area where all the
buildings are packed together,
the temperature tends to be
higher than surrounding
suburban area due to excessive
heat exhaust from densely
packed buildings. However,
More London locates in the
open area with river and the
park next to each other.
Form
The buildings form and
geometry has been generated to
reduce both solar gain and heat
loss via the buildings skin.
Minimizing the surface area of
the building results in maximum
efficiency in energy terms.
In general, a spherical building
consumes 25% less energy than
cubic building of the same
volume. Therefore, the solar
heat gain and heat loss through
London City Halls building
envelope is minimized.
Ventilation
Displacement floor grills placed
below windows that supply fresh
air to the office spaces.
Operable vents along the edge
of the building also allow for
natural ventilation.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 9
Heating and Cooling
Chilled beams along with low-level air supply serve as the main forms of cooling.
The building uses a ground water supply that has been dug into to passively cool the building.
After cooling the building, the borehole water is recycled and used for flushing toilets.
In 2007, solar panels are being installed on the
roof of the building, to allow City Hall to
generate its own solar power.
Because
photovoltaics did not adhere with the initial
construction program, special measures were taken
to ensure that the roof structure had the ability to be
retrofitted with photovoltaics when government
funding was available
Overall, City Hall uses only a quarter of the energy consumed by a typical air-conditioned
London office building.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 10
2.4.3 DEMOCRACY
City Hall begins to respond to the necessity for democracy by drawing the public in with its
iconic building form.
The ground level consists of a sunken
outdoor amphitheatre that draws the public
into an underground caf and exhibition
space located directly beneath the assembly
chamber.
A central winding ramp allows patrons to
symbolically ascend through all ten stories of
the building and above the debate chamber of
their elected representatives. The ramp
eventually leads past the mayors office to
what is known as Londons Living Room.
The transparent glass exterior allows the
citizens of London to feel like they are a
greater part of their governing body. The
transparent faade allows Londoners to see
directly into the operating chamber,
symbolizing an open system of government.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 11
2.5 PROJECT SITE
How did the site of the building affect its form?
More London consists of 7 major buildings and was designed to offer the workers
quality and efficient office spaces within the new business community in City of London.
London City Hall locates in the area called More London at the latitude and longitude of
51,32N AND 0,5W.
This positioning is important in terms of the angles of the sun, which are equivalent to
Southern Ontario global position.
The sun pattern means that the City Hall receives most of its direct sunlight from the
south while little to no direct light comes from the north.
The path of the sun and its effects on the building completely shape the outer form.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 12
2.6 ORGANIZATION
Space Programming
Legend:
1. Parking
2. Storage rooms
3. Physical plant
4. Outdoor amphitheater
5. Cafe
6. Information desk
7. Kitchen
8. Exhibition area
9. Committee room
10. Meeting room
11. Media center
12. Reception
13. Assembly chamber
14. Public viewing gallary
15. Library
16. Reading room
17. IT room
18. Ofiice
19. Open - plan area
20. Terrace
21. London's Room Underground Floor Plan
Ground Floor Plan
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 13
Level Six Floor Plan Level Nine Floor Plan
Section (A-A)
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 14
North Elevation
East Elevation
West Elevation
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 15
Aerial View
Panoramic View
The aerial and panoramic view of London City Hall shows the clear relationship to surrounding buildings.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 16
3.0 CYLDE AUDITORIUM
Project Type : Government Building
Location : Glasgow, Scotland
Cost : 30 million
Client : SEC Ltd.
Appointment : 1995
Construction Start : 1995
Completion : 1997
Area : 13 000m
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 17
3.1 PROJECT OVERVIEW
The Clyde Auditorium has become a landmark
of the city of Glasgow since it first opened in
1997.
Affectionately known as The Armadillo
because of the similarity of its shape to the
animal, this concert and conference venue was
designed with every attention paid to acoustics
and to the comfort of audiences and delegates
at the venue.
3.2 PROJECT BACKGROUND
World-class corporate events increasingly demand venues that can stage presentations on an
epic scale. In 1995, plans were drawn for a new building to further increase the seating capacity
of the SECC (Scottish Exhibition and Conference Centre) complex.
Within the context of a very tight budget, the challenge was to create the most economic
enclosure for all the components of a complex brief - auditorium, exhibition halls, concourses -
which form the setting for what might be thought of as industrial theatre. The solution is in the
spirit of the shipbuilding traditions of the Clyde and the conference centres site on Glasgows
Queens Dock.
3.3 DESIGN CONCEPT
The site has drawn comparisons with the Sydney Opera House (built in 1973) due to its shape
but the former was not the architects inspiration. Rather it was in fact inspired by the image of
interlocking hulls reminiscent of Glasgows boatbuilding history.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 18
3.4 DESIGN APPROACH
Structurally, the design affords an unobstructed view of the stage as there are no columns due
to the arched and layered construction.
Overlapping/Interlocking hulls of the design.
These overlapping, aluminium-clad shells reflective by day and floodlit at night create a
distinctive profile on the skyline.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 19
The overhang allows social mingling and queuing for tickets and taxis out of the wind and rain.
The glazed faade bathes all levels in natural light, but at night the artificially lit interior lights
up the exterior area in front.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 20
3.5 PROJECT SITE
The building sits on the site of the now infilled
Queens Dock on the River Clyde, adjacent to the
Scottish Exhibition and Conference Centre.
The local area's maritime history is reflected in the
shape of this building, with some arguing that it
resembles an up-turned boat with no windows,
mainly because it is used predominantly for
concerts.
In a venue such as this, windows and natural light has to be as controlled as the acoustics inside
and outside too.
It rains a lot in Glasgow, but the shape of this building means that the rain washes easily down
the slopes to the gulley at the foot of the building. In sunlight, the cladding expands freely. This
cladding is a special wafer-thin space-age titanium alloy that doesnt corrode.
Aesthetically, the buildings faade is designed to line-
up with an approach road, but is most often seen across
the river, side on.
The intention seems to be to constantly surprise; the
building changes shape depending on the viewpoint.
It is as surprising from the air, as it is close-up.
It changes with the weather too, and is particularly
interesting at sunset when it glows orange.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 21
3.6 ORGANIZATION
Space Programming
Floor Plan
Section
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 22
Seating Chart
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 23
The Auditorium
It offers 3,000 seats over three levels yet has the ability to provide an ideal setting for much smaller
meetings.
The Forth Room
A breakout room accommodating 300 theatre style and can open into the main foyer to create a bright
space for a drinks or welcome reception.
The Gala
A breakout room accommodating 120 theatre style in it's entirely or can be subdivided into two areas of
60 theatre style each.
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 24
4.0 COMPARISON OF CLYDE AUDITORIUM AND SYDNEY
OPERA HOUSE
SIMILARITIES
CYLDE AUDITORIUM SYDNEY OPERA HOUSE
By nature,
IDEALOGY
from nature for organic form
with the glass wall ribs like
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 25
bird's wings'
resembles an up-turned boat
FORM
like the sails of a boat
DIFFERENCES
CYLDE AUDITORIUM SYDNEY OPERA HOUSE
Queen's Dock on the River
Clyde, Glasgow, Scotland
LOCATION
Bennelong Point in Sydney
Harbour, Sydney, New South
Wales, Australia
Norman Foster + Partners
DESIGNER
Danish architect Jrn Utzon
Concert and conference
venue
FUNCTION
Performing arts venue
(includes a concert hall, opera
and drama theatres, a
playhouse and a studio)
An interlocking series of ship's
hulls, in reference to the
Clyde's shipbuilding heritage.
CONCEPTUAL
Relate as naturally to the
harbour as the sails of its
yachts
CONSTRUCTION
METHOD
Assembly of prefabricated
Modern High tech
ARCITECTURAL STYLE
Expressionist modernism
which involves innovative
form and use of novel
materials.
from The Reichstag Dome in
Berlin and from Berthold
Lubetkins Penguin Pool in the
London Zoo
INFLUENCE
by Utzon's experience of
Mayan architecture in Mexico
Aluminium, steel
MATERIAL USED
Concrete, granite and
ceramics
5.0 CONCLUSION
It is not easy to make good architecture but I believe that one of the ways to become
better in our future labour is to study the work of those who were/are successful in this field.
That is why I chose Foster + Partners, directed by Norman Foster, one of the most innovative
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 26
architects of our time who has been conducting several projects in all scales, from housing
developments like to skyscrapers and airports. He is known for his high tech modernist design
that explores technological shapes and ideas.
High-tech: Foster believes that in designing his buildings, the most technologically
advanced solution must be considered. He believes that in using high-tech equipment and
pushing the edge of structural engineering, he is able to push the edge of architectural
designing. Using high-tech equipment allows Foster to break through usual paradigms of
building and find solutions, such as pushing structural members to the edge of skyscrapers.
Foster also believes that high-tech buildings are more flexible and radical, and thus more
distinctive. A high-tech building, according to Foster, is also energy efficient. Foster believes
that paying attention to the ecology of a building is highly important, for technology affords the
architect methods by which to design a building more ecologically efficient.
But Sir Norman Foster has never liked the label "high-tech". A Modernist, yes, but the
traditional in the sense that he uses structure to create space, with an attachment to
technology that never goes beyong waht is appropriate for the project. "Ever since man came
out of the cave, he has been on the cutting edge of technology, always pushing the limits," says
Foster. "Technology is part of civilazation and being anti-technology would be like declaring war
on architecture and civilization itself. The history of architecture is the history of technology,
and the tradition of architecture is one of the continuous change. If I can get carried away with
some passion about the poetry of the light in one of my projects, then I can also, in the same
vein, enjoy the poetry of the hydraulic engineering." He further acknowledges a respect for
materials that harks back to the Arts and Crafts movement.
Norman Foster is often described as the most envied architect in the world. Foster
certainly deserves this honour, given his long career and the acclaim that many of his buildings
have received. He often ignores the usual trends and traditional methods of architecture and
envisions new solutions to design challenges. I believe that Foster has cultivated this radical
nature in his architectural upbringing, starting with his informal education of Le Corbusier and
continuing through with his graduate education at Yale under Paul Rudolph and Phillip Johnson.
In the latter half of the twentieth century, Norman Foster has designed buildings which are
thoroughly modern and envisioned new paradigms for architectural design. With his innovative
designs and radical ideas, Norman Foster has indelibly stamped his image onto the milieu of
modern architecture.
6.0 BIBLIOGRAPHY
http://en.wikipedia.org/wiki/Norman_Foster,_Baron_Foster_of_Thames_Bank
[HISTORY OF MODERN AND CONTEMPORARY ARCHITECTURE] 27
http://www.designboom.com/portrait/foster/bio.html
http://www.archdaily.com/tag/norman-foster/
http://www.webpages.uidaho.edu/arch504ukgreenarch/Foster%20Presentation.pdf
http://en.wikipedia.org/wiki/City_Hall_(London)
https://www.london.gov.uk/city-hall/the-building
http://www.fosterandpartners.com/projects/city-hall/
http://en.wikipedia.org/wiki/Clyde_Auditorium
http://www.secc.co.uk/organise/concerts-and-events/concert-hall-overview/clyde-
auditorium.aspx
http://australia.gov.au/about-australia/australian-story/sydney-opera-house
file:///C:/Users/Qiu%20Yu%20Q/Downloads/SECC_Conference_Centre__Foster_Par
tners.pdf.pdf
http://phylonetworks.blogspot.com/2013/08/the-acoustics-of-sydney-opera-
house.html
https://sites.google.com/site/londoncityhall/
