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Norman Foster - Architect

Few contemporary architects could be described as household names, but then few architects have had such long and prolific careers, or have put their name to so many high-profile building projects, as Norman Foster.

Norman Robert Foster was born in Manchester in June 1935, and grew up in the working class neighbourhood of Levenshulme. He was naturally gifted and performed well at school. At the same time he took an interest in architecture, particularly in the works of Frank Lloyd Wright (1867 - 1959) and the Modernist master Le Corbusier1. He considered a career in architecture from an early age, but National Service and a number of rather mundane day jobs intervened. While working in the contracts department of a small Manchester-based firm of architects (John Beardshaw & Partners), however, his sketching talents were spotted, and he soon moved into the drawing department.

Foster did not need much more encouragement than that. At 21 years of age he began his architectural studies at Manchester University. Lacking in neither the attitude nor the aptitude to succeed, he won practically every prize and scholarship available. A number of these enabled him to visit Europe and take in its architecture, including the works of Jørn Utzon (the Danish-born architect and designer of the Sydney Opera House) and Le Corbusier.

Foster's academic successes at Manchester won him a Henry Fellowship to pursue graduate studies at Yale University, USA. There he met Richard Rogers and they began a life-long friendship. After graduating from Yale, Foster travelled throughout the United States for a year, and returned to England in 1962.

He began professional practice, forming Team 4 with Richard Rogers and Wendy and Georgie Cheesman, two sisters who were also Yale alumni. Richard Rogers' first wife Su was also a member of the team. Wendy Cheesman later became Foster's first wife2.

Professional Practice

Team 4's output began with a number of small and ecologically concerned residential projects, but it was the 30,000 sq ft Reliance Controls factory (Swindon, UK, 1965-66) which made their name. This was essentially just a large steel shell containing a vast amount of flexible space. Yet it was a turning-point: the earliest example of the use of lightweight construction and industrial components, the so-called 'High Tech Architecture' which would form the basis of both Foster's and Rogers' work, and that of a great many of their peers, over the coming decades.

In 1967 the members of Team 4 went their separate ways. Richard Rogers went on to collaborate with Renzo Piano on the Centre Pompidou in Paris, and Norman and Wendy formed Foster Associates, now known as Foster & Partners. 1968 saw the beginning of a long period of collaboration with the American architect Richard Buckminster Fuller, which continued until Fuller's death in 1983. Foster and Fuller worked together on the Samuel Beckett Theatre project, and on a number of theoretical designs aimed at developing environmentally friendly offices and houses. While these designs remain unrealised, this period of collaboration continues to inform Foster's architecture to this day, and provided inspiration for the office tower at 30 St Mary Axe in the City of London, the UK's first-ever ecological skyscraper.

The Present Day

Today Foster & Partners are one of the very largest architectural practices in the world, employing roughly 500 people. They maintain offices in Hong Kong and Berlin, along with their headquarters on the South Bank of the Thames next to Battersea Park - the studio itself being a Foster creation. The firm's output is phenomenal and shows no sign of abating.

As quickly as the buildings roll out, the honours and awards roll in. Foster was knighted in 1990, and in 1993 was awarded the prestigious Royal Gold Medal by the Royal Institute of British Architects. In 1998 his American Air Museum building at Duxford, UK, was awarded the Stirling Prize, while in 1999 he became both a Pritzker Laureate and a Life Peer, assuming the title of Lord Foster of Thames Bank.

Of course, in a practice with such a prolific turnover of projects, it would be unrealistic to expect one man to design each and every building the firm creates. Despite his talents, Norman Foster is no exception, and these days is content to oversee the work of his team and his senior partners5.

Foster ceaselessly travels the world, frequently in aircraft piloted by himself, casting a watchful eye over the numerous projects which the practice has on the go at any one time. His influences, his ambition to reduce energy consumption, and his determination to utilise cutting-edge technology in order to create the finest buildings possible, continue to inform every piece of work the practice completes.

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1 Pseudonym of Charles Edouard Jeanneret, the Swiss-born architect and artist (1887 - 1965).2 Reports of this period are frequently confused, and often incorrectly imply that Su Rogers was the fourth partner. Georgie Cheesman, the only fully-qualified architect at the very beginning, left after only a couple of months, but the Team 4 name was kept.3 1999 Pritzker Prize Monograph, Sir Norman Foster.4 Valuable and historic buildings in the UK are often 'listed' by the Department of National Heritage, with the intention of ensuring that the architectural and historic interest of the building is carefully considered before any alterations are made. Grade 1 is the highest listing, reserved for buildings defined as being of exceptional interest.5 For example, City Hall and 30 St Mary Axe were ostensibly designed by senior partner Ken Shuttleworth, and most of the Great Court at the British Museum by Spencer de Grey.

نرمن فاستر معمار

تعداد کمی از معماران معاصر از نامهای خانوادگیشان استفاده می کنند و نیز معماران اندکی, چنین روش قدرتمندانه را استفاده می کنند و ممکن است اسمشان را بر روی پروژه های ساختمان عظیم بگذارند که نرمان فستر یکی از آنهاست. نرمن رابرت فستر که در سال 1935 در منچستر به دنیا آمد و در میان طبقه کارگر رشد کرد .ذاتاً داراری استعداد زیادی بود و در مدرسه شاگرد خوبی به شمار می رفت. در همین زمان، او احساس کرد که به معماری و مخصوصاً کارهای فرانک لیوید رایت ( 1959- 1867) علاقه مند است و نیز استاد مدیریت لی کور بوزیرال توجه او را به خود جلب نموده است. او از سنین کودکی گذراندن دوره ای را در زمینه معماری آغاز نموده اما مسائل مادی و خانوادگی در این زمنیه برای او مشکل ساز بود.

پس از شروع کار وبستن قرارداد با یک شرکت کوچک معماری منچستر به اسم شرکت جان بروشاو و شرکاء به زودی استعداد خود را در زمنیه نقشه کشی بروز داد و به قسمت هنر و طراحی راه یافت . مسائلی که باعث دلگرمی و تشویق فستر شد کما همین مواردی است که ذکر شد.