Lord Norman Foster was born into a working class family in 1935 in Stockport, a suburb of Manchester. He graduated from the University of Manchester School of Architecture and later won a scholarship to study at Yale University. Upon his return from the United States, he founded Team 4 with Richard Rogers, and in 1967 opened his own office. From the outset, he adhered to the concept of rapidly building lightweight prefabricated structures with integrated structural and utilitarian components and highly adaptable interiors. Its high-tech buildings are reminiscent of the construction, logic and beauty of bridges and the mechanics of cars. Foster & Partners' London office employs 1,050 architects and another 200 in 22 countries.
In 1990, Queen Elizabeth II of Great Britain knighted Norman Foster, and in 1999 she granted him the peerage of England for life. He became known as Lord Foster from the banks of the Thames. In the same year, he became the 21st winner of the Pritzker Architecture Prize. His firm has completed hundreds of projects, including the refurbishment of Wembley Stadium, the glass vault in the courtyard of the British Museum, the shell-shaped Swiss Re skyscraper and the Millennium Bridge in London, the Commerzbank Headquarters in Frankfurt, the Reichstag refurbishment in Berlin, the Millau Viaduct in southern France and the world's largest airport in Beijing.
Currently, the office is carrying out seven projects in Russia, including the 118-storey Russia Tower, the reconstruction of the Pushkin Museum of Fine Arts and multifunctional complexes - Crystal Island in Moscow and New Holland in St. Petersburg.
Our conversation took place at the company's studio in Battersea on the South Bank of the Thames. Here an example of a compact working and living area in a suburb of several buildings arose - all designed by our hero. The family of the architect lives in the penthouse of the main building, in which the first three floors are occupied by an office, and the intermediate five - by apartments. Upon entering the studio, visitors are greeted by a huge wall poster depicting the Russia Tower, a large model of Buckminster Fuller's Geodesic Dome and dozens of other models, tightly arranged on movable shelves from floor to ceiling. One of the mock-ups recreates central London from wood with more than twenty miniature buildings in clear plastic, indicating projects that have been completed by Foster & Partners. We were chatting in the open mezzanine of a huge two-story studio with a panoramic view of the Thames. The company's main studio employs 200 architects, all of whom, including leading partners and Foster himself, work openly at shared tables.
How did you discover architecture?
At school, art was one of my favorite subjects. From the age of twelve I loved drawing, painting and beautiful, unusual buildings. For example, when I rode my bike out of town, I often drove up to the radio telescope of the Jodrell Bank Observatory. At sixteen I worked in Manchester Town Hall, a fantastic building in my opinion. During my lunch break, I often visited my favorite Daily Express Building, the Rylands Library, one of the first public buildings in Manchester to have electric lighting, or the glass-and-steel Barton arcade, such as the famous arcade in Milan. I also discovered another aspect of architecture at the public library, where I read books about Frank Lloyd Wright and Le Corbusier. But for a long time I could not combine such things as interest in architecture, study of it, and the intention to become an architect. This came much later, at the age of 21. By then, I had learned enough to discover this relationship on my own. I served two years at the Royal Air Force Fork as a radio operator, worked for two years in the finance department of Manchester Town Hall, and studied accounting and commercial justice at university. Thus, I plunged into the world of architecture professionally with some delay. Also, I could not get a grant and had to work to save up money for my studies. I think it was good for me. Studying and working at the same time is a good experience.
After the University of Manchester, you won a scholarship to study at Yale. How was this experience for you?
I won a scholarship to study in America and could choose between Yale and Harvard. In those years, Yale was the best because of the presence of great teachers - Paul Rudolph, Vincent Scully and Serge Ivan Chermayeff, who, of course, was Russian.
How have Rudolph, Scully and Chermyaev influenced your education?
They all complemented each other. Paul Rudolph was a man of action. Rumor has it that he worked out the working drawings in his office in one weekend, and I can easily believe it. When he came to our studio for criticism, and the students did not have drawings or models ready, any discussion was canceled. Serge Chermyaev was a real intellectual and a master of conversation. You could bring as many drawings as you like, but he wondered why you even started your project. Dialogue and theoretical discussion were more important to him than drawings. And Vincent Scully was a very perceptive and observant historian and critic. His interests were multifaceted. He could talk about Seven Samurai at a local cinema or what Eero Saarinen was working on in his nearby studio. And in between projects, he urged us to visit important projects by Wright and other prominent architects. Thus, for me it was a combination - the activity and activity of Rudolph, which was very effective, because I believe in the fact that architecture needs to be implemented, Chermyaev's research work and Scully's historical insight. I'm sure everyone in my studio has a pretty high energy level. These are people of business with a belief in the importance of research and deep knowledge of history. So Yale University has become an important model on which our office is based in the sense that we work very intensively and we are open 24 hours a day, seven days a week.
How did you meet Buckminster Fuller and what did you learn from him?
He came to England in 1971 to work on a project for the Samuel Beckett Theater in Oxford and he was looking for a local architect to collaborate with. A mutual friend arranged lunch for us and we met at the Art Club near Trafalgar Square. I prepared my office to receive an important guest and everyone was very excited. At the end of our meeting, I said: "And now I would like to show you my office." And he - why? I say - why, you need an assistant and I want to try to convince you that you choose me. And he says - oh no, no, I have already chosen you! Such was the meeting. Our conversation at lunch turned out to be a real interview, which I had no idea about. He was truly the world's first green (environmentally conscious) architect.
What kind of person was he?
He constantly provoked people to act. He was one of those people whom, if they meet, then they are sure to take something from them, learn something. Or he could send you on some assignment that would certainly benefit you. And he was not at all like the stereotype that everyone imagined. He was interested in poetry and the spiritual dimensions of works of art from the most unexpected points of view. Once I invited him to the Sainsbury Visual Arts Center, built according to my project, and he instantly started talking about the scale of the objects, and how comfortably the small ivory Eskimo figurines sat in the huge hall. We walked the entire building, then spent half an hour outside and walked back the same route. When we got to the exit, he drew everyone's attention to how the shadows were crawling! Then he asked about the weight of the building: "Mr. Foster, how much does your building weigh?" I had no idea. But when he left, we analyzed how much the building weighs above and below the ground, and sent him a letter with all the calculations. I remember that the gigantic portion above the ground weighed only a fraction of the very massive foundation. And I think a lot can be learned from this juxtaposition.
So one of the lessons you learned from Fuller is the ability to be mindful of the environment and not be afraid to ask questions?
Of course. You are constantly learning from people - sometimes from someone who is older than you, and sometimes from young people. A couple of years ago, I created a small foundation that rewards architecture students with grants to travel and explore new ideas. This year one of the projects was based on the idea of studying slum dwellings in South America. The winning student photographed various recycling methods and the attitude of the slum towards the environment with a camera and drawings. It turned out an interesting observation of the anonymous design abilities of the most ordinary people. When this student returns from his trip, we will invite him to us for a presentation in front of the entire office. This is our new tradition.
Tell us about the anatomy of your skyscrapers and how did your ideas influence the Russia Tower?
I think that this is a sequence of projects that is an evolutionary experiment. The Hong Kong Bank (1979) was the first building to reflect doubts about the validity of the recognized central utilitarian core model. It still seems extraordinary to me that this was the first attempt in the history of skyscraper construction - to shift it from the center to the edges. For example, Louis Kahn used a similar technique in a medical laboratory, even though it is a low-rise building. As soon as you bring utilitarian elements to the edges, it becomes possible to organize more flexible internal multi-storey spaces and to break the monotony of vertical monotony. This idea was developed further in the remaining paper Millennium Tower (1989) for Tokyo and then in Commerzbank (1991-1997) in Frankfurt, which started the spiral organization and triangular geometry, which was first applied in the Telecommunication Tower (1988-1992) in Barcelona. Then came the 14 spiral gardens of the Swiss Re Tower (2001-2004) in London. But with the emergence of a new scale, the proportions change, and with them the silhouette of the building. In other words, a pyramid is more stable than a needle. In the Moscow project, we convinced the customer to replace the proposed three towers with a single vertical. Thus, if you combine three skyscrapers into one, you get a single tower, visually very thin and with an unobstructed view from the inside. The proportions of the tower are reminiscent of a pyramid or tripod, incredibly stable in shape, and this brings us back to Buckminster Fuller. Because Bucky was playing this necklace game. It was unstable, and then he took one ball - still there is no stability, he removed another ball, leaving only three - and, finally, stability appeared. By this, Bucky showed the advantages of three-dimensional and triangular geometry and, of course, the Tower of Russia is based on these principles. And the mixed functions will turn it into a very energy-efficient and efficient mini-city - when the consumption of one type of energy increases, the consumption of another decreases, there is a wonderful synergy of changing activities, and this is very appropriate in the Moscow climate, because the building is not very deep. It is easily ventilated and the sun's rays can easily penetrate into it. It is also a very flexible building because it has no columns. Instead of repeating stacks of floors, you can find volume and build it according to your desire. As you can see, this is a very flexible and durable building.
You originally suggested various options for this tower
We had a long dialogue with the mayor and the customer. We discussed a lot, did a lot of research and finally came to a consensus. The tower is now under construction, which will take four to five years.
You once said, "My mission is to create a structure that is sensitive to the culture and climate of your place." How did you try to achieve this in your design for the Russia tower and what was the motivation for the tapering shape towards the top?
The Moscow skyline is very specific. The architecture of wedding cakes of Stalin's skyscrapers plays a big role there. Also, the old churches are all very pointed and facing the sky. Therefore, our building continues the same theme. It is a tall building in an area reserved specifically for very tall buildings, which is not unusual. Similar neighborhoods include La Défense in Paris, Canary Wharf in London or Battery Park City in New York.
Did the Constructivists influence the design of the Russia Tower?
I think the constructivists influenced many architects and I am one of them. When I was a student at Yale, I often met Naum Gabo, who was then living in Connecticut. And of course, the Tatlin Tower is a very powerful image not only for me, but for my entire generation. In Moscow, I visited the Melnikov house and some other great works. Moscow is a city that I enjoy being in, and I think that there is a very strong spirit in Russia.
In many of your projects, you focus on technological and environmental considerations. And at what point does an architectural form appear? For example, what prompted the diagonals of the Hearst Tower in New York?
I think that the advantage of the triangle in providing rigidity to the shape and achieving greater economy in the use of materials is one of the many recurring themes. I think that in New York, the Hearst Tower creates a kind of urban order. The repetitive diagonal pattern gives the tower a very comfortable scale. Buildings like Mies van der Rohe's Seagram Building break the scale differently with elegant bronze window profiles. In the case of the Hirst Tower, this is a very deliberate contrast to the massive Art Deco plinth. It seems to me that this ratio is very correct. Also, the tower has acquired a very strong personality, especially from the Central Park side, despite the fact that it is a tiny building by New York standards. Thus, in order to achieve a successful result, there was a fusion of three aspects of the building - a symbolic, technological and economic approach to the use of materials.
Let's talk about how your office functions and how much are you personally involved in projects?
In some projects I take more part than in others, but I look through absolutely all projects and they are very close in spirit. In our office, the traditions of the university where I studied have intertwined with the specifics of a global research advisory center. The office is organized from several individual teams led by leading designers. We have a design council, and I am the chairman of it. Thanks to this, the office does not depend on the decisions of one person, and my task is to create a successful model for continuing the practice without my participation.
Does the company still belong to you personally?
I own a significant shareholding, but I am no longer the owner of the company as I used to be. A very large part of the shareholding is distributed among a small group of senior partners of the company, who are two generations younger than me. Another part of the shares belongs to an investment company, which has a very strong interest in the development of global infrastructure. Finally, part of the firm is owned by a group of forty partners. Thus, if you decide to come to our company as a young architect, then you have a chance to become one of its owners. Some of our partners are only in their early twenties.
What are your plans for the future of Foster & Partners?
More of the same! (laughter)
Our conversation is interrupted by Norman Foster's half-hour meeting with representatives of the famous Dassault Falcon jet company. Foster designs twenty-five of the fastest, most advanced business jets, both inside and out. Foster then joins in another half-hour meeting to discuss the New York Public Library project. He returns exactly one hour later, as promised
I am at your disposal for another half hour, until my next meeting.
How many projects are you currently working on?
Every morning I have meetings - from a few minutes to half an hour each. Therefore, in one morning I easily manage to look through about ten projects, and in a week - easily from 50 to 70 projects. And usually, every week I go to three places in different parts of the world.
Do you still paint a lot?
Of course. Continuously.
Buildings are said to be as good as their customers. Can you say that some of your best projects are in Russia? How would you describe your experience in Russia?
Very positive. I had a great relationship there. I have tremendous energy and a very healthy impatience to build an exciting new world.
Is working in Russia different from conditions in other countries?
Russia is notable for its great passion. There are very strong cultural traditions in theater, music, literature, ballet and architecture. The experience of working in Russia is very interesting. I work there on many projects and participated in the jury, for example, in the competition for a new airport in Pulkovo in St. Petersburg. My experience in all these matters is very positive. I presented my projects at the city level, and I am very pleased with the interest and attention to detail on the part of customers and the political elite. By the way, the new president, Dmitry Medvedev, chaired the board of trustees of the Pushkin Museum before taking office. Thus, I see a serious interest in architecture at the highest level in society.
In your opinion, what is the significance of the participation of foreign architects in construction abroad and specifically in Russia?
This is a very old tradition. The architectural heritage of many countries is the history of globalization long before the word was invented. Take any country like Great Britain, America or Russia. Historically, the mutual enrichment of different cultures has always flourished. Such a fruitful exchange took place thanks to the architects, artists and artisans who traveled the world. In this sense, globalization has existed for hundreds of years and today this wonderful tradition continues on a large scale.
Do you think buildings will increase in scale significantly in the future?
If you look at the relationship between cities and how much energy they use, you will see that the more compact cities are, the less energy they consume. Traditionally, the most attractive cities to live in are very compact. For example, many are in love with Venice. There are no cars, the city is very compact and there are many public spaces. Or take this area of London where we are talking. It is very compact. Or Belgravia, Kensington and Chelsea are very compact. They are also the most attractive areas to live in and the most expensive property in the city. There are no individual parks, but there are many beautiful public squares and squares. Therefore, the trend of building very compact and densely populated cities, regardless of whether they will have skyscrapers or not, will continue. I am convinced that compact cities are more environmentally friendly choices and offer a better quality of life.
What was the inspiration for your Crystal Island project in Moscow? What influence did Buckminster Fuller's vision of the 1962 Manhattan Geodesic Dome have on him?
Wow! You know, I never even thought of such an analogy … Yes, you brought my attention to something that I did not think about. The site in Moscow is an industrial dump, and the idea behind this project is to try landscaping and create a large number of public spaces. To promote the emergence of water transport and to propose the idea of a city within a city with various cultural, educational, exhibition and visual functions, as well as to locate hotels, housing, offices and shops here. The roof or skin of the project is a symbolic, artificial sky that rises in the form of an abstract dome to a height of 450 meters. The shape resembles a circus tent, which is a space free from columns. The structure forms a breathable second skin and a thermal barrier of the main building that protects the interior from the extreme Moscow temperatures, both in winter and summer. In winter, this skin will close its lattice pores to reduce heat loss, and in summer it will open them for natural ventilation. This is a kind of paradigm for compact, multifunctional and ecological urban planning with innovative strategies for the wise use of energy resources. It will be the largest building in the world.
Do you think similar structures will appear in other regions of the world?
It is definitely a microcosm, as is the dome over the British Museum, but there will only be one Crystal Island. I'm not going to clone it. On the other hand, the need for such projects under a single roof will grow.
What can you say about your project "Orange"?
Conceptually, this is a multifaceted project. The idea is to create an art quarter with public spaces for cultural festivals. The project is still at the concept stage.
Why is it called "Orange"?
I don't think the orange connection is very serious. The idea was to take a fresh look at various structures in nature, especially those where segment geometry is present. And at some point someone compared our project to an orange. I am sure that this project still has a lot of development ahead of it. The main concept is a fusion of art and commerce.
Maybe the idea for the orange was suggested by the customer?
Inspiration can come from everywhere, and we are very open, but we are the architects of this project and the final word will be ours.
What is your vision of a modern city in fifty or one hundred years?
I think that cities have arisen and will continue to emerge over time, and institutional cities created in the blink of an eye are an exception. They are rather symbolic, such as Washington, Chandigarh, Brasilia or Canberra. Many cities are formed around spontaneous settlements and develop according to different models - they are multi-layered and multi-temporal. Whether the prospect of instance cities awaits us is an interesting idea. I think there will be different types of cities, and the most progressive will have a holistic approach to design, perhaps similar to our own Masdar City project with an area of six million square meters and a population of fifty thousand. It is an ecologically clean city with renewable energy sources, zero pollution and virtually zero waste technologies for the progressive energy company Abu Dhabi Future Energy Company. Simultaneously with the planning of this city, we are involved in the work on the invention of a new mode of transport. Imagine that you can call your personal eco-friendly car on your mobile phone and within three minutes it will meet you and, without a driver, take you wherever you want on the most optimal route. And no carbon dioxide emissions. This predominantly pedestrianized city of the future has already invested $ 15 billion. It is under construction, the completion of which is scheduled for 2018. Its development is very carefully planned and the surrounding areas will house wind and solar farms, research fields and plantations, which will ensure full energy independence of the whole city. Thus, new cities are a very exciting prospect, and the future is a combination of instance cities like Masdar and modified historic cities like London, New York or Moscow.
Foster & Partners London Office
Riverside 22 Hester Road, Battersea
April 15, 2008
