福斯特的塞恩斯伯里中心。摄影：Ken Kirkwood
Foster's Sainsbury Centre. Photo is by Ken Kirkwood

“高技派将是下一个复兴的方向，我个人对此表示欢迎。”
"High-tech is next in line for a revival and I for one would welcome it"

由专筑网江鹏，小R编译

Jerry Tate写道，高技派建筑风格即将卷土重来，其核心目标是应对气候变化的低碳建筑环境。

高技派风格将是下一个复兴的方向，我个人对此表示欢迎，因为在21世纪的背景下，这一复兴运动会产生很多贡献。高技派更多的是一种哲学，而不是一种风格，这就是其多年来有着高度适应性的原因，作为一种根植于环境可持续性的设计方法，高科技在帮助我们的专业人员解决所有工作中需要解决的全球性问题方面具有明显的优势。

在我的学生中，越来越多的人把早期的高技派作为这一发展方向的先例。就设计理念而言，这会是一个检验事物走向的试金石，而普通人对于高技派的认知应该早就出现了。2006年在哈佛，我惊讶地发现，高科技并没有被视为至关重要的东西。虽然Cedric Price和Archigram被视为能够以更轻松和开放的方式重新启动现代主义项目的关键，但英国建筑师随后建造的建筑被视为一味的遵循概念。


20世纪英国的高技派对全球产生了影响，至今仍引起强烈反响。

当一些主要支持者仍在实践中时，我们谈论某些东西的遗产价值总是具有挑战性，但我们应该诚实地说，20世纪英国的高技派在全球产生了影响，至今仍引起强烈共鸣。诺曼•福斯特（Norman Foster）的塞恩斯伯里中心（Sainsbury Centre）、霍普金斯（Hopkins）的斯伦贝谢中心（Schlumberger Centre）、尼古拉斯•格里姆肖（Nicholas Grimshaw）的FT大厦或理查德•罗杰斯（Richard Rogers）和伦佐•皮亚诺（Renzo Piano）的蓬皮杜中心（Pompidou Centre）等早期的项目，表达了对未来的明确信心。

尤其是蓬皮杜中心代表了塞德里克·普莱斯（Cedric Price）的“欢乐宫殿”理念中最接近现实的一面。它向我们展示了如何建造具有适应性的建筑，快速响应我们不断变化的现代需求，同时明确地将这种适应性作为标志性的主题。事实上，这座建筑的构图非常复杂，包括与周围巴黎街道完美契合的景色，使后期的改造变得较为不便。


The high-tech architectural style is about to make a comeback and its philosophy could be central to decarbonising the built environment in the face of climate change, writes Jerry Tate.

High-tech is next in line for a revival and I for one would welcome it as the movement has a lot to give in our 21st-century context. High-tech was always more of a philosophy than a style, which is why the original proponents have adapted so successfully over the years. As a design method rooted in environmental sustainability, high-tech could have clear advantages for helping our profession tackle the global issues we need to address in all of our work.
An increasing number of my students are using early high-tech as a precedent. This is always a good litmus test of where things are going in terms of design sentiment, and a grassroots recognition of the high-tech movement is long overdue. At Harvard in 2006, I was surprised to discover that high-tech was not regarded as critically important. While Cedric Price and Archigram were seen as vital for restarting the modernist project in a more light-hearted and open manner, the subsequent buildings produced by UK architects were written off as a conceptual 'dead end'.

British high-tech in the 20th century had a global impact that still resonates strongly today
It is always challenging to talk about the legacy of something when some of the main proponents are still in practice, but we should be honest that British high-tech in the 20th century had a global impact that still resonates strongly today. The sheer joy and optimism of early projects like Norman Foster's Sainsbury Centre, the Hopkins' Schlumberger Centre, Nicholas Grimshaw's FT Building or Richard Rogers' and Renzo Piano's Pompidou Centre expressed a clear confidence in the future.
In particular, the Pompidou Centre represents the closest-ever realisation of Price's 'Fun Palace' proposal. It showed us how buildings could be constructed to be adaptable, responding quickly to our ever-changing modern needs while clearly celebrating this adaptability as a signature motif. In reality the building was highly composed, including picturesque views that perfectly align with the surrounding Parisian streets, making it much less suitable for adaptation.


法雷尔和格里姆肖的赫尔曼·米勒工厂。图片来源：Jo Reid/John Peck
the Herman Miller Factory by Farrell and Grimshaw. Photo is by Jo Reid/John Peck.

最初的高技派项目都已经到了需要进行改造的时候。最近，伦敦Rogers’Lloyd的业主考虑对酒店进行改造，因此登上了新闻头条。

该类型的一些超级巨星项目是高度定制的，可能很难重新设计，而其他项目，如Terry Farrell和Grimshaw设计的Herman Miller家具工厂，采用了高度灵活的、多用途的空间，它在2020年被改造为Bath Spa大学的新校园。

也许高技派风格最强大的遗产是与工程师和业主密切合作的愿望，最明显的是结构专业，同时还服务于工程师，由此创造出Reyner Banham提出的环境友好的概念。我认为这是人们对这场运动重新产生兴趣的关键原因。

由于气候的突发状况需要紧急的设计解决方案，只有通过深刻理解建筑的技术要求和听取专家的意见，我们才有希望创造出友好的建筑环境，恢复我们与自然系统的平衡。事实上，许多人会认为，高技派的根源是基于20世纪60年代的一种信念，即生态和技术可以相互协调，正如Phineas Harper在2019年对Dezeen所说的那样。

The original high-tech projects are all reaching an age where they will have to prove that they can be altered as much as the creators promised, with Rogers' Lloyd's of London making the headlines recently as the owners consider a hotel revamp.
Some of the superstar projects of the genre are highly bespoke and could prove tricky to rework, whereas others such as the Herman Miller Furniture Factory by Terry Farrell and Grimshaw provide proof that highly flexible spaces can be adapted for a variety of purposes – it was transformed into a new campus for Bath Spa University in 2020.
Probably the strongest legacy from high-tech is a desire to work closely and in collaboration with engineers and consultants, most obviously structural, but also services engineers to create the Reyner Banham concept of a 'well tempered' environment. I believe this is one of the key reasons that there is a resurgence of interest in the movement.
With the climate emergency requiring urgent design solutions, it is only by deeply understanding the technical requirements of buildings and listening to expert specialists that we can hope to create a built environment to restore our balance with the natural systems of our world. In fact, many would argue that high-tech's roots are based in a 1960s belief that ecology and technology could work in harmony with one another, as argued by Phineas Harper on Dezeen in 2019.


由Tate+Co设计的约克圣约翰大学创意中心“在很多方面都是一座高技派的建筑”。图片来源：Hufton+Crow
The Creative Centre at York St John University, designed by Tate+Co, "was in many ways a high-tech building". Photo is by Hufton+Crow

似乎有一种明确的方式可以将高技派改造成真正的21世纪建筑语言：与工程师密切合作，修正我们的建筑，使其诚实高效地施工，并将合理的环境策略融入建筑中。我个人认为，用木材、粘土和泥土等天然材料取代原来的高科技钢铁，也将产生一种新的设计方式，这种设计在技术上可能是费力的，但其具有在地性。

我们刚刚为约克圣约翰大学（York St John University）建造了一座新的创意中心，我现在意识到，这座建筑在许多方面都是一座高技派建筑，尽管它具有被动隔热层和木框架结构。特别是，内置的适应性教学区域以及由木框架中庭连接的独特教学和表演空间，都让人感觉像是经典的高技派设计手法。

高技派可以被重新发明，成为真正的21世纪建筑语言

当我们考虑像MACH在巴塞罗那的黄房子这样的小规模项目时，我们可以看到高技派风格正在回归。高技派风格甚至有被改造的可能，有潜在灵活的升级策略，例如格里姆肖的第一个项目，学生宿舍服务塔。

“高技派”一词的提出者不喜欢它，因为他们认为自己只是下一波现代主义者，但这个名字已经成为一种意识形态的代名词，这种意识形态基于一种乐观主义，即技术可以为我们现在和未来面临的问题提供答案。我认为我们可以向这个运动的创始人学习，并激励下一代通过技术和建筑的适当结合来创造未来的可持续性城市。

Jerry Tate是伦敦建筑工作室Tate+Co的创始人，之前曾在Grimshaw建筑事务所工作。他曾任教于哈佛大学和堪萨斯州立大学，目前任教于Bartlett建筑学院。

There seems a clear way that high-tech can be reinvented to become a truly 21st-century architectural language: working closely with engineers, paring back our buildings to be honest and efficient in their construction, and integrating sensible environmental strategies into the architecture. I personally believe that swapping the original high-tech steel for natural materials like timber, clay and earth will also produce a new way of designing that could be technologically ambitious but with local materiality.
We just finished a new Creative Centre for York St John University and I now realise that the building was in many ways a high-tech building, albeit one with Passivhaus levels of insulation and a timber frame construction. In particular, the built-in adaptability of the teaching areas and the distinct teaching and performance volumes linked by a timber-framed atrium feel like classic high-tech design moves.

High-tech can be reinvented to become a truly 21st-century architectural language
And we can see that high-tech is returning stylistically when we consider small-scale projects like the yellow house in Barcelona by MACH. High-tech even has lessons for retrofit, with potential flexible 'plug-in' upgrade strategies as exemplified by Grimshaw's first ever project, The Service Tower for Student Housing.
The term 'high-tech' was disliked by its originators because they saw themselves as simply the next wave of modernists, but the name has become synonymous with an ideology based on the optimism that technology can provide answers to issues we are facing now and those yet to come. I think we can learn from the founders of this movement and inspire the next generation to create sustainable cities of the future through the appropriate combination of technology and architecture.
Jerry Tate is the founder of London architecture studio Tate+Co, having previously worked at Grimshaw Architects. He has taught at Harvard University and Kansas State University and currently teaches at the Bartlett School of Architecture.