来自专筑编辑丁思源，范偲慧的报道。1. 现代主义时期
英国建筑在战后经历了怎样的改革使得其在20世纪下半叶一跃成为世界领先的主导者始终是一个充满话题的故事。我们不断探索，试图了解建筑师和他们的作品的风格以及他们对世界的影响。

1.THE MODERN ERA
The fascinating global story of how British architecture underwent a transformation in the post-war years to become world-leading in the second half of the 20th century. Keep exploring to find out what was created and where, and discover the buildings, their designers, influences and the style they inspired.

Dubai desert

英国建筑在21世纪以大胆、创新、具有创造力和天赋而获得了无与伦比的声誉。

从北京到纽约，从多哈到孟买，英国建筑师和相关专业人士正在充当世界的城市规划师并且创造着独具一格的建筑物。罗杰斯、福斯特、格法雷尔、霍普金斯等等这些都是在世界建筑舞台上大放异彩的名字。是什么造成这样的现象呢？

在二十世纪上半叶，欧洲和美国建筑界经历了一场基于新技术和新材料的革新运动，当时的英国国内建筑的主流仍然受古典主义和当地传统的影响。作为一个帝国，英国将这种古典的传统风格推广到领土的每个角落，而这使得这些建筑在这个不断发展的时代变得落伍。

British architecture in the 21st century has an almost unrivalled reputation around the world for daring, innovation, creativity and flair.
From Beijing to New York and Doha to Mumbai, British architects and British expertise are playing a major role in redefining the world's cities and creating extraordinary buildings. The names of Rogers, Foster, Grimshaw, Farrell, Hopkins and others feature prominently on the global stage, but why? Where has this come from?
In the first half of the twentieth century, while there was a revolutionary movement in European and American architecture based on new technologies and new materials, in Britain, the dominant form of building continued to be influenced by classical and vernacular traditions. As an imperial power Britain took these styles to all corners of its Empire, but it was an approach to building out of step with a changing world.


James Cubitt University of Libya

那么这个国家如何正视“日不落帝国”在世界舞台上风采不再的现状，并重新适应二战后的世界新秩序？这个国家又如何在20世纪下半叶扮演海外现代建筑设计的中坚角色？英国建筑师们又是如何成功得到全世界的关注？

BBC系列节目《英国人建造了现代世界》借助了英国皇家建筑师协会珍贵的收藏和资料，讲述了从1950到2012年全球的英国建筑。

So how did a nation that relinquished its imperial role on the world stage adapt to the new world order after the Second World War? How did a nation become, in the second half of the century, such a key player in shaping modern architecture and design abroad? What did British architects do to capture the attention of so many around the world?
Using the RIBA's unique collections and material from architectural practices, 'The Brits Who Built The Modern World' tells a global story of British architecture between 1950 and 2012, inspired by the BBC series .

伊朗阿巴丹市机场，1960年。由Brian Colquhoun & Partners设计。这个在二战中的军用机场和许多该地的建筑设施一样，被重新改造成商业服务功能以迎合新兴国际商务问题。这个机场的能源大多来源于附近的油田。

View of Abadan Airport, Iran, 1960. Brian Colquhoun & Partners. Beginning life as military airstrip in World War II, the airport, like many in the region, was rebuilt for commercial services to meet the demands of emerging international business concerns. In this casr that derived from nearby oil fields.


现代主义时期

在战后初期，世界变化显著。旧秩序甚至一些曾经强大的帝国逐渐衰落隐退。随着帝国殖民地的纷纷独立，美国逐渐成为世界超级大国，英国的帝国地位和新时代发展趋势产生了冲突。预期和态度正在转变，而世界也开始大规模地现代化。

The Modern Era
During the early post war years the world was changing dramatically. Old certainties and even older Empires were disappearing. With the independence of its former colonies and America’s now established status as the world’s super power, Britain’s imperial status was in conflict with a new age. Expectations and attitudes were shifting and the world was in the grip of a massive drive to modernise.

香港九龙站，1998-2002。由Farrels设计。代表了当时设计潮流的顶端

Kowloon Station, Hong Kong, 1998-2002. Farrels. Represented 'the tip of the iceburg'.

尼日利亚伊巴丹大学图书馆，1955。由Fry, Drew & partners设计。许多年轻的英国建筑师第一次出国工作的国家都曾经是英国的殖民地。建筑风格的灵感来自于当地的气候，这类建筑飞快地风靡全球，被称为“典型的现代主义”。

Library at the University College, Ibadan, Nigeria, 1955. Fry, Drew & partners. Many young British architects first worked abroad in the former British Empire. Buildings were completed in a style that - inspired by the climate - quickly became known as 'Typical Modernism'

国王费萨尔会议中心主入口，利雅得，沙特阿拉伯，1973年。由Trevor Dannat & Partners设计。1966年国际竞赛的中标方案，该中心是沙特首都发展战略的一部分。

Main entrance of King Faisal Conference Centre, Riyadh, Saudi Arabia, 1973. Trevor Dannat & Partners. The Outcome of a limited international competition of 1966, the centre was part of a strategy to bring new activity to the capital city

由于消费热潮，用于交换的商品和服务越来越多，同时随着喷气式飞机的出现——曾经遥远的地方现在可以在几个小时之内到达，而不是几天或几周。世界正在缩小，而想法不断蔓延。对建筑界而言，这是一个开启新时代的好时机。

深受早期现代主义大师勒•柯布西耶和来自斯堪的纳维亚和欧洲大陆的流派影响，英国建筑师和世界其他各地的设计师一样把现代主义作为构建一个有前瞻性的国家的有效手段。对其他国家来说，建筑是用来展示一个国家的世界观和增加其国际竞争力的工具。他们雄心勃勃，自主学习来自世界各地的技能和专业知识，渴望赶上世界发展的潮流。

在此期间，英国建筑师的视野发生了改变。对于那些在英国国内工作的建筑师，重建和发展项目不断，而对于那些在国外工作的建筑师来说则工作几乎没有保证。那时的建筑师是新兴的全球市场竞争的一部分。在遥远的土地上工作的建筑师向公众诠释着新的现代风格和设计方式。

Fuelled by a consumer boom, goods and services were being exchanged in ever greater numbers, and with the advent of the Jet aircraft once far off places could now be reached in hours instead of days or weeks. The world was shrinking and ideas were spreading. For architecture, it was the dawn of a new and progressive time.
Heavily influenced by early modern masrs such as Le Corbusier and by ideas from Scandinavia and mainland Europe, British architects like others around the world adopted modernism as a means to construct a forward looking national story. For other nations, architecture was employed to demonstrate a world view and to stake their claim as international contenders. Ambitious, self-determined- and keen to catch up – emerging states imported skills and expertise from across the world.
During this time the horizons of British architects changed. For those at home there was a country to rebuild, while for those working outside the UK there were few guarantees. Architects were now part of an emerging competitive global marketplace. Working in far off lands, architects extended a modern style and methods to new audiences.

1. 国内新形势

战争结束后，对一个新生的英国来说赢得人心至关重要。1951年，英国政府举办了英国节，通过新建筑、设计和大胆的工程壮举让疲惫的英国人看见一个更好的未来。它对英国社会产生了巨大的影响，促成了一系列由国家主导的战后重建，为整个英国注入了新的活力。

2. 走出国门

英国海外建筑师在二战后不断迎合这个日新月异的世界。在转型经济体中，教育是关键的第一步，因此英国建立了许多新的高校和学院以满足日益增长的人口的教育需求。与此同时，新的机场、办公室、酒店、会议中心的出现，满足了国家元首和日益增多的全球商务差旅人士的要求和期待。

1. A NEW NARRATIVE AT HOME
After the war, a new and convincing British story was essential in winning over hearts and minds. In 1951, the government produced Festival of Britain offered ration weary Britons a glimpse of a better future through new architecture, design and daring feats of engineering. It had a huge influence on British society, kick starting a process of state-led reconstruction and renewal across the UK.
2. GETTING OUT THERE
British architects abroad in the post war years catered for a world that was skilling up and speeding up. Education provision was a key first step in transforming economies with many new universities and colleges established to cater for growing populations. At the same time an entirely new landscape of airports, offices, hotels and conference centres emerged in response to the demands and expectations of heads of state and an increasingly global business traveller.


2、转变，新时代的冲击
当世界还在追随着20世界早期现代主义大师的步伐时，年轻一代已经开始崭露头角。他们日益不满战后国内外的建筑发展形势。

2. TRANSFORMATION, THE SHOCK OF THE NEW
While the world pursued the ideas and principles of early 20th century modern masters, a younger generation emerged. A generation that were increasingly dissatisfied with many of the conventions of post-war architecture, both at home and abroad

受大西洋两岸和国外建筑的影响，这代人认为当下的建筑是失败的，它们无法在社会必然发展的过程中展现新的可能性。

尽管现代材料，如塑料、铝、玻璃和超强钢在当时已经十分常见，但它们仍然在很大程度上被忽视。混凝土、砖和灰泥仍居主导地位。

Starting in schools of architecture on both sides of the Atlantic and inspired by a world beyond British influence, this generation felt that architecture had failed to embrace the new possibilities that were being taken for granted elsewhere in society.
Although modern materials such as plastics, aluminium, glass and super strong steel were now common, they were largely ignored. Instead concrete, brick and plaster continued to dominate building design.

蒙特利尔世博会美国馆，1967年。由R. Buckminster Fuller & Sadeo设计。这个巨大的网状穹顶建筑是富勒在多年的高效建筑结构实验中的杰作。富勒“多与少”的设计方式以及专攻轻质结构建筑，对许多英国建筑师产生了巨大影响。

United States Pavilion, Expo '67, Montreal, 1967. R. Buckminster Fuller & Sadeo.This massive 'geodesic dome' was the high point of many years of experimentation in efficient building types by its creator. Fuller's 'more with less' approach and focus on structural lightness proved hugely influencial for many British architects.

尽管20世纪60年代英国首相哈罗德•威尔逊声明，英国是一个热衷于新技术的国家。而建筑设计却依然追随着30年前的形式。

建筑行业产生了信心危机，曾经横扫全球的现代主义似乎正在失势。

为了应对建筑界的低迷状态和20世纪70年代开始日益具有挑战性的经济环境，英国成立了一个实验性质的建筑研究团体，并努力让英国建筑重返世界舞台。


美国！美国！

在20世纪五、六十年代，美国流行文化几乎在各个方面都处于领先地位。英国年轻一代向往着美国的大城市、消费品、音乐和艺术，他们被深深地迷住了。这是一个充满了力量、能源和现代化的国家。美国的大学吸引了来自世界各地的建筑人才，成为大西洋两岸思想交流的重要组成部分。

Despite the declaration by Prime Minister Harold Wilson in the 1960s that the UK was "burning with the white heat of technology" building design was too often following lessons in shape and form that had been established at least three decades before.
There was a crisis of confidence in architecture and it seemed that the great adventure in modernism that had swept the globe was losing its momentum.
Responding to this new mood and - by the 1970s - an increasingly challenging economic climate, an inter-connected group ushered in a new era of experimentation in the UK that they would in time take out into the world.

AMERICA, AMERICA!
In the 1950s and 1960s, the United States of America came to dominate nearly all aspects of popular culture. For a younger generation in the UK images of its great cities, its consumer products, music and art left them spellbound. It was a place of potency, energy and modernity. Its universities attracted architectural talent from across the world and formed an essential part of what would become a trans-Atlantic exchange in ideas.

伊姆斯住宅，太平洋帕利塞兹，洛杉矶，1950。由Charles & Ray Earnes设计。许多美国建筑师喜欢在自己的作品中运用新的材料，简洁的结构以及工业技术。采用这些方法可以使建造更快速、成本更低廉并且容易复制。

Eames House, Pacific Palisades, Los Angeles, 1950. Charles & Ray Earnes. The work of many modern American designers inspired an interest in new materials, structural simplicity and industrial techniques. By employing such methods construction could be speedier, cheaper and readily reproduced.

新面孔

这群着手重塑英国的建筑，年纪相仿的年轻人来自不同的文化背景，拥有不同的建筑经验。美国的耶鲁大学和伦敦的建筑协会这两所著名的建筑院校通过交流和解放创造力，培育了一批专业的建筑人才，他们相互关注、相互欣赏、相互影响。作为朋友、合作者、同事和合伙人，他们完成了他们的首个合作项目来回应社会经济新时代。

当建筑成为流行

受到消费时代的可能性和新的生产方式的启发，学生和建筑师们开始构想一个可以“提升未来生活品质”的先锋建筑。音乐和时尚界在这个时候已经历了一场革命，所以接下来该轮到建筑和整个城市的革新了吧。采用新的工程技术，考虑新产品的开发，建筑师开始深入思考一种全新的空间来工作、体验文化、社交和娱乐。

系统思维

预制构件在19世纪广泛应用于建造玻璃温室、列车棚、桥梁和临时建筑。然而，在二战后，预制构件的运用陷入了实用和劣质的争议中。许多人怀疑预制组件能否造就伟大的建筑。建筑师们经济合理地使用新材料，向世人展示实用而优雅的建筑作品。 技术生产原则首先在工业化进程中得到发展，一次性建造逐步应用于更大规模的建筑，人们可以预见一个更戏剧性，更美好的未来。

NEW FACES
Born within a decade of each other, the generation that was to reshape British architecture came from a range of backgrounds and architectural experiences. Informed by travel and liberated by the creative environments of two prominent schools of architecture, Yale University in the USA and the Architectural Association in London, they shared many common concerns, heroes and influences. As friends, collaborators, colleagues and partners they completed their first projects in response to a new social and economic era.
POP GOES ARCHITECTURE
Inspired by the possibilities of the consumer age and new methods of production, students and architects began speculating on a radical architecture for the future that could be ‘life enhancing’. Music and fashion at this time had undergone a revolution, why not in how buildings and entire cities were created? By adopting engineering techniques and considering new products developed elsewhere, architects were able to make a leap into thinking about totally new spaces to work, experience culture, socialise and play.
SYSTEMS THINKING
Prefabricated components for buildings were widespread in the 19th Century for creating spectacular glasshouses, train sheds, bridges and temporary structures. However, in the post war years the equivalent approach had gained a reputation for utility and meanness. Many now doubted whether prefabricated components were compatible with great architecture and buildings. Using new materials economically, architects demonstrated it was possible to create functional buildings with flair and elegance. Techniques and principles developed first for industry and one-off houses were slowly applied at a larger scale, achieving even greater drama and hinting at the shape of things to come.

赫尔曼米勒家具工厂，巴思，1977年。由Farrell and Grimshaw Partnership设计。赫尔曼米勒公司生产了许多设计新颖的家具，如著名的伊姆斯椅。这栋大楼使用轻质材料覆层，营造出具有现代感和新意的外观。公司在2013年上市。

Factory for Herman Miller Furniture Company, Bath, 1977. Farrell and Grimshaw Partnership. Built for the company that made famous many design innovations, such as the Eames Chair, this building employed a lightweight cladding design to create a modern and innovative exterior. In 2013 it was Grade II listed.

新的冲击

从20世纪70年代末到整个80年代，英国建筑界发生了一件奇怪又意想不到的事情，从而成为了世界的话题。当时英国正在经历一场大规模的经济动荡，然而国内外一系列的建筑项目完成后，立刻引起了世界的关注——进而开始转变公众对英国建筑师的看法。

新一代建筑师开始加入了国际知名建筑大师的行列。他们独特的设计理念和方法引起了巨大的冲击，并经常引发激烈的争论。这是一场意义深远的变化。反对早期千篇一律的方盒子状的高楼大厦，推动建筑朝着不同的方向发展。拥护激进的现代建筑与回归传统形式的建筑这两大观点正发生着激烈的碰撞。

两个词进入了建筑的常用语汇并且成为时代的标签——“高科技”和“后现代”。20世纪末，随着“高科技”成为国际潮流的代名词，美国、欧洲和远东地区正推进五花八门的实验建筑，英国建筑师也重新广泛地诠释现代建筑。

经过几十年的展望和学习美国、斯堪的纳维亚和欧洲大陆的经验，英国建筑师已站到了专业的高点，他们从学习者反过来变成了创新者，向外输送着最新的建筑理念。英国人的时代来到了。

The Shock of the New  
In the late 1970s and throughout the 1980s a strange and unexpected thing happened to British architecture – it became the most talked about in the world. At a time of massive economic upheaval in the UK, a series of projects were completed at home and abroad that caught the world’s attention – transforming the reputations of their creators in the process.
Established international figures were joined by a new generation of architects whose distinct approach caused shock waves and ignited often heated debate. It was a period of profound change. Reaction against the anonymous tower blocks of an earlier era was pushing architecture in a variety of directions. Advocates of a radical modern architecture were matched by those who favoured a return to traditional forms.
Two style labels entered the architectural vocabulary and became labels that defined the era – ‘High-Tech’ and ‘Post-Modern’. Advancing experimental ideas and working in locations as diverse as America, Europe and the Far East, British architects carved out a new more wide ranging identity for modern architecture with 'High-Tech' becoming the defining international style of the late 20th Century.
After decades of looking outwards and importing ideas from America, Scandinavia and mainland Europe, British architects had reached a point where having absorbed the lessons of others – they in turn became the innovators, exporting a confident new architecture abroad. The ‘Brits’ had come of age.

高潮

到20世纪70年代末，“高科技”已然是建筑最常采用的形容词之一，有时也被称为“结构表现主义”或“工业风格”。两个极具代表性的项目在巴黎和香港落成之后，这种风格风靡全球。高科技建筑的特点是使用高性能的材料，真实表达结构并有机地组合功能和技术。这样一来，风管、通风设备和核心筒与钢桁架和承载横梁一样，成为建筑真实而戏剧的视觉效果的一部分。

全球风格辩论

到了20世纪80年代，国外建筑多样的风格在英国引起了多方辩论。世界形势在持续变化，建筑形态和形式也随着大环境的改变而改变。这些年“现代主义”在很多地方似乎仍然继续发展着，但“后现代主义”已经成为了时代的潮流，延伸到平面设计、电影和时尚界。“后现代主义”以更加兼容的方式适应历史传统并在现代技术和传统方式之间平稳过渡。但是，被称为“波莫人”的后现代主义只流行了一段时间。

HIGH DRAMA
By the late 1970s ‘High Tech’ was a firm part of how architecture was described. Sometimes referred to as ‘structural expressionism’ or the ‘industrial style’ the completion of two influential projects in Paris and Hong Kong catapulted it into the world’s consciousness. High-tech architecture was characterised by the use of high performance materials, the expression of undisguised structural elements and the celebration of everyday technical and functional components. It was an approach that saw air ducts, ventilation and service cores, alongside steel trusses and cross-braces, become part of the articulation and visual drama of a building.
A GLOBAL STYLE DEBATE
By the 1980s, architecture abroad came to reflect the many style debates in the UK. The world was shifting again and architectural shape and form responded to circumstances and context. In these years a 'Modernist' look continued in many places, but it was ‘Post Modernism’ that captured the mood of the times, crossing over into graphic design, film and fashion. Its looser approach was comfortable with historical references and jumped between traditional and modern technologies. But ‘PoMo’ as it was called, was a short lived style.


3. 品牌空间，一个日新月异的世界
“名誉，名誉，名誉。”任何领域的所有公司都依靠坚实和良好声誉来提供商品、服务和经验。整个国家和城市的也是如此。

3. BRANDSCAPES, A CHANGING WORLD
‘Reputation, reputation, reputation.’ All firms in any sector rely upon a solid and strong reputation for delivering goods, services and experiences. The same can be said of entire nations and cities .

英国大使馆，德国柏林，2000年。由Michael Wilford & Partners设计。新德国首都从前西德迁往柏林，见证了外交建筑的大繁荣。建筑的选址和风格引发了激烈的讨论与竞争。

British Embassy, Berlin, Germany, 2000. Michael Wilford & Partners. The new German capital witnessed a massive boom in construction of diplomatic buildings, as nation states relocated from the former West Germany. Intense competion for both location and prominence triggered

一个地方的风貌和特性始终是一个帮助我们做出决定和选择，激发创作的灵感的关键因素。

大使馆、世博会建筑和奥运场馆是国家官方建筑的代表，民族品牌的展示者。它们向世人展示着英国建筑的特色与长处，当然这种展示也可以出现在非官方的建筑上。当英国建筑师设计的建筑在国外广受欢迎时，“英国品牌”和一系列相关产业也会跟着繁荣起来。

从20世纪90年代到21世纪初，世界各地城市投入大量资金来改造发展自己。传统行业的消失、战争和政权的结束，国际旅游业和新业务的发展开始推动加速变革。领导者对城市的发展意愿成为影响全球建筑师工作的重要因素。新地标和世界级的服务条件成为富强和活力的象征。

The image or identity of a place is a contributing factor in helping us reach decisions, support choices and importantly create desire.

Embassies, Expo buildings and Olympic stadia are examples of official generators and supporters of a national brand. It gives states a chance to tell others what they represent and where their expertise lies, but can happen informally as well. When buildings of any kind by British architects abroad are well received and create excitement, ‘Brand UK’ and a host of interconnected industries get a boost.
During the 1990s and 2000s cities across the world spent vast amounts of money re-inventing themselves. As old industries disappeared, or wars and regimes came to an end, the urge to attract international tourism and new business began driving change at an accelerated rate. For architects across the world responding to the new aspirations of civic leaders became an essential part of their work. New landmarks and ‘world class’ facilities became potent symbols of change and dynamism.

英国品牌

建筑是英国享誉国内外必不可少的一部分。英国政府对海外游客制作的宣传海报上，使用了近期由英国建筑师设计的新方案来提升国家形象，同时通过提升创造力和技术服务来使这些方案得以实现。

城市

从20世纪90年代到21世纪初，是实现所谓“毕尔巴鄂效应”的全球城市主义的时代。“毕尔巴鄂”热潮后，新型的前卫文化建筑场馆和游客基础设施例如机场和城市轨道交通系统被大量建设。建筑特点发生了急剧的变化——建筑物或被拉伸，或轻盈悬浮，或以越来越多的方式被重塑。

国家品味

在过去的60年——从1951年到2010年的上海世博会，官方建筑在定义和维护国家形象上起到了至关重要的作用。从外交沟通、民主开放到技术实力和科学启蒙，建筑已经并且将继续从各个方面成为一个国家的标志。

BRAND UK
Architecture is an essential part of the UK’s identity at home and abroad. The posters here, produced by the UK Government for overseas audiences, use recent schemes by British architects to promote the imagery of this country as well as the creative and technical services that made them happen.  
CITY STATES
In the 1990s and 2000s, achieving what became known as the ‘Bilbao Effect’ was the global urban doctrine of the age. Following the Bilbao's example, there was a boom in the creation of new avant-gardist cultural venues and visitor infrastructure such as airports and urban mass transit systems. The character of architecture shifted dramatically, buildings were stretched, suspended and reshaped in an increasing number of ways.
NATIONAL TASTE
Over the course of the past 60 years - from 1951 to the Shanghai Expo of 2010 - official buildings have played a vital role in defining and maintaining national image. From communicating diplomacy and democratic openness to technological prowess and scientific enlightenment, architecture has been and continues to symbolise a wide variety of things.

Beiijing South/北京南站

从20世纪90年代到21世纪初，世界变得更加一体化。金融流动性的增加，消费习惯的改变以及互联网的建立让人们接触了更广阔的世界，迎来了一个新的全球繁荣的时代。

由于飙升的人口和快速的工业化，中国、印度和中东地区的新城市以惊人的速度增长。它们在不到十年的时间里实现了伦敦和巴黎等地数百年才能实现的大小和规模。这种快速增长和变化显示了一个新时代的雄心。

为了满足经济扩张的需求，越来越多的英国建筑师开始全球化业务。新的科学技术和工程技术给人们带来了更加炫目的结构。遍地开花的建筑，像许多其他行业一样，日益实现“跨国界”和“跨学科”服务，其中包括整个城市的规划和基础设施的建设。

随着2008经融危机的出现，建筑行业意识到建筑不能从其他行业中独立出来单独存在。建筑同样会受到有利条件的辅助和不利条件的限制。随着欧洲和北美身负重债，世界开始逐渐意识到远东地区的新经济体的重要性。这种分裂的经济格局使得世界力量的平衡发生了戏剧性的转变。

Over the course of the 1990s and 2000s the world became ever more integrated. Increased financial liquidity, shifting consumer habits and the establishment of the internet put everyone in touch with a wider world of information and ushered in a new global boom.
Fuelled by soaring populations and rapid industrialisation, new cities in China, India and the Middle East grew at a phenomenal rate. In less than a decade they grew to a size and scale that places like London and Paris had taken many hundreds of years to achieve. This rapid growth and pace of change defined a new age of ambition.
To meet the demands of expanding economies, many more British architects embarked on globalising their businesses. New technologies and engineering techniques brought ever more dazzling structures to new audiences. Operating all over the world, architecture, like many other industries, became increasingly ‘multinational’ and ‘multidisciplinary’ offering services that included the planning of entire cities and infrastructure.
As the global boom turned to slump in 2008 there came a reminder that, like all endeavours, architecture cannot act in isolation. It is enabled by favourable conditions and restricted by adverse ones. As older European and North American economies became laden with debt, the importance of new economies such as those in the Far East was realised. With this schism in world affairs, came a dramatic shift in the balance of world power.

不只是建筑

21世纪的建筑界开始受制于一系列几年前就已经有趋势的国际形势。1976年中国的经济改革，1989年柏林墙的倒塌和1992的苏联解体等事件都证实是20世纪末到21世纪初世界格局和建筑界变化的关键点。与此不同的是，1979年的伊朗革命则显示国际事件给我们带来的影响是我们意想不到的。

扩展语言

随着经济现代化和新问题的出现，建筑适时地走出限制并抓住一切机会。在当地建筑行业还处于对外学习阶段的地方，英国建筑师拓展了建筑语言的开放性和透明性。在接下来的几年里，风格流派不再被提起，但他们的内在结构的起源却是无处不在的。与此同时，建筑师们继续突破工程的界限，很多建筑师的作品中出现了新型的“坚固与平衡”的建筑，比如建筑师扎哈•哈迪德和大卫•奇普菲尔德等。

势力新格局

许多西方经济体开始衰退，所以在像中国、印度、俄罗斯和中东这些国家获得工程项目变得越来越重要。以许多美国公司为例，扩张和聚集是生存的关键。2006年，世界上25%的跨国建筑公司在英国设有总部，2011年，这个数字稳定在24%。

MORE THAN ARCHITECTURE
The space for architecture in the 2000s was determined by a series of international events that had been set in motion years earlier. Chinese economic reforms in 1976, the fall of the Berlin Wall in 1989 and the collapse of the Soviet Union in 1992 all proved critical for the world – and the buildings - that emerged in the late 20th and early 21st centuries. In sharp contrast, the Iranian revolution of 1979 displayed how international events could impact on things that we would no longer see.
EXTENDING A LANGUAGE
As economies modernised and new ones emerged, architecture went out and embraced the opportunities. In places where traditionally they had imported ideas from, British architects extended a language of openness and transparency. In the years that followed, the style badges were dropped, but the DNA of their structural origins was everywhere to be seen. At the same time, whilst continuing to push engineering boundaries, a new architecture of ‘solidity and poise’ emerged in the very different work of architects such as Zaha Hadid and David Chipperfield.
THE NEW BALANCE OF POWER
As many Western economies went into recession, work in countries like China, India, Russia and the Middle East became ever more important. Drawing on the example set by many American firms, expansion and agglomeration was key to survival. In 2006, 25% of the world’s global architectural firms had British HQs. In 2011, this figure had held steady with 24 out of the top 100 calling the UK home.


4. 全球化时代
今天英国建筑是一个国际性的行业。英国皇家建筑师协会统计显示，在3151个工程项目中，有20%来自国外。而其中许多大型项目所占比例要更高

4. A GLOBAL ERA
British architecture today is an international operation. Of the total income generated by the RIBA’s 3,151 registered chartered practices, 20% is from work outside the UK – for many larger practices the figure is much higher

京基100，中国深圳，2004 - 2011。由Farrells设计。1970年，深圳还只是一个有2000余人口的渔村。1979年，成为“经济特区”后，这座城市爆炸式发展到今天的大约800万人。凭借441米的高度，京基100成为世界上最高的建筑，它由英国建筑师操刀设计。它由下至上提供办公室、交易大厅、酒店及城市全景。

KK100 Tower, Shenzen, China, 2004-2011. Farrells. In the 1970's, Shenzen was a fishing village with a population of 20,00. After being declared as a 'Special Economic Zone' in 1979, the city grew explosively to approximately 8 million people today. At 441m high, the tower is tallest in the world by a British architect. It curves upwards to provide offices, trading floors, a hotel and a panoramic sky at its peak.

设计通过办公室的网络渗透到世界的各个角落，建筑正大规模地被纳入全新的世界。

随着世界联系变得更紧密，国籍差别和边境意义变得越来越小。过去的60年里，英国把自己的想法带给世界，同样，世界也反馈给英国各种各样的信息。英国长期以来一直以创造力和国际视野著称，今后也仍然延续这种特色。

英国是全球数以千计的建筑研究所进行研究和实践的中心。相对其他城市，伦敦拥有更为集中的建筑师实践、工程和建筑环境咨询等建筑资源。建筑是创意产业和建筑工业这个大熔炉的一部分，它们相互学习并互相合作，使之国际化发展。

在二战后的很长一段时间内，英国建筑经历了多次的自我蜕变，被越来越多的人接受、创造并学习。“英国人”可能已经建立了我们今天所看到的现代世界，但被英国人训练、影响和培育的下一代，将创造明日的世界。

Designs generated here travel via a network of offices to all corners of the world, taking architecture into new places at ever greater scales.

As the world has become smaller and more interconnected the distinctions of nationality and borders have come to mean less and less. Over the past 60 years, as the British went out into the world with their ideas, a reverse journey was occurring at the same time. The UK has long been shaped by waves of incoming creative talent and an international outlook that continues to define its identity today.
The UK is THE global hub for architecture with many thousands heading here to study and set up practice. Of all the world’s cities, London has a greater concentration of architects’ practices, engineering and built-environment consultancies than anywhere else. Architecture is part of a melting pot of creative and construction industries that has found an international home here with each borrowing from the other and pushing boundaries through collaboration.
Having reinvented itself several times over in the post war years ‘British architecture’ is increasingly commissioned, created and owned by others. The ‘Brits’ may have built the modern world we see around us today, but it may well be others – trained, influenced and nurtured by the British - who build the world we see tomorrow.

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