High-tech architecture was, in some ways, a response to growing disillusionment with modern architecture. The realization of Le Corbusier's urban development plans led to cities with monotonous and standardized buildings. Enthusiasm for economic building led to extremely low-quality finishes, with subsequent degradation countering a now-waning aesthetic novelty. High-tech architecture created a new aesthetic in contrast with standard modern architecture. In High Tech: The Industrial Style and Source Book for The Home, when discussing the high-tech aesthetic, the authors emphasized using elements "your parents might find insulting". This humour so aptly demonstrates the rebellious attitude.
Kron and Slesin further explain the term "high-tech" as one being used in architectural circles to describe an increasing number of residences and public buildings with a "nuts-and-bolts, exposed-pipes, technological look". There is no need to look further than Rogers's Pompidou Centre for an example of this. This highlights the one of the aims of high-tech architecture, to boast the technical elements of the building by externalizing them. Thus, the technical aspects create the building's aesthetic.
For interior design there was a trend of using formerly industrial appliances as household objects, e.g. chemical beakers as vases for flowers. This was because of an aim to use an industrial aesthetic. This was assisted by the conversion of former industrial spaces into residential spaces. High-tech architecture aimed to give everything an industrial appearance.
Another aspect to the aims of high-tech architecture was that of a renewed belief in the power of technology to improve the world. This is especially evident in Kenzo Tange's plans for technically sophisticated buildings in Japan's post-war boom in the 1960s, but few of these plans actually became buildings. High-tech architecture aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology.
But however prominent the industrial look appeared, the functional element of modern architecture was very much retained. The pieces still served a purpose in the building's function. The function of the building was also aimed as not being set. This dynamic property means that a building should be a "catalyst", the "technical services are provided but do not become set."
Kron and Slesin further explain the term "high-tech" as one being used in architectural circles to describe an increasing number of residences and public buildings with a "nuts-and-bolts, exposed-pipes, technological look". There is no need to look further than Rogers's Pompidou Centre for an example of this. This highlights the one of the aims of high-tech architecture, to boast the technical elements of the building by externalizing them. Thus, the technical aspects create the building's aesthetic.
For interior design there was a trend of using formerly industrial appliances as household objects, e.g. chemical beakers as vases for flowers. This was because of an aim to use an industrial aesthetic. This was assisted by the conversion of former industrial spaces into residential spaces. High-tech architecture aimed to give everything an industrial appearance.
Another aspect to the aims of high-tech architecture was that of a renewed belief in the power of technology to improve the world. This is especially evident in Kenzo Tange's plans for technically sophisticated buildings in Japan's post-war boom in the 1960s, but few of these plans actually became buildings. High-tech architecture aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology.
But however prominent the industrial look appeared, the functional element of modern architecture was very much retained. The pieces still served a purpose in the building's function. The function of the building was also aimed as not being set. This dynamic property means that a building should be a "catalyst", the "technical services are provided but do not become set."
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