Stay up to date with notifications from The Independent

Notifications can be managed in browser preferences.

Earthbound design with the grace of a flying machine

Jonathan Glancey
Sunday 13 August 1995 18:02 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Sir Norman Foster (born 1935), a keen pilot, has developed a link between the imagery and structure of aircraft and architecture over the past 30 years. Keenly influenced by the hardware of the Nasa programme and by the ideas of Buckminster Fuller, the American inventor (a sort of Marshall McLuhan of the material word), Foster has sought to bring the notional freedom offered by flying machines to the world of earthbound building.

The Sainsbury Centre for the Visual Arts (completed 1978) is the apotheosis of the aircraft hanger, a gleaming silver shed that housed - and this is what seemed so shocking at the time - a rich grocer's collection of ethnic and modern art, rather than a clutch of Harrier jump jets.

Critical reaction in Britain at the time, with the notable exception of the Architectural Review, was remarkably hostile (or, possibly, bewildered). Foster had created architecture that, belonging to no context, looked as if it had landed from outer space. Was this staggering arrogance on the part of the architect or a stroke of incisive brilliance? Like an aircraft, the Sainsbury Centre has required dedicated maintenance, but remains one of the most original and breathtaking of modern English buildings.

Foster's aircraft aesthetic has since come to land in the design of two airport projects - the second terminal at Stansted (London's third airport, in rural Essex), completed in 1991, and the new airport at Chek Lap Kok, Hong Kong which, when finished, will itself resemble a giant aircraft in plan. The architect's design for a 2,000ft tower in Japan, however, looks as though it will never take off.

Although grounded, Foster's aerospatial buildings enjoy one advantage over every aircraft: huge, free, open and light interiors that have the power to lift the spirit if not the body of the traveller. In these highly distinctive buildings, Foster and his team offer people a sense of freedom of movement that mirrors (if not matches) that of a pilot at the helm of a nimble plane.

JONATHAN GLANCEY

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in