Is it time to ban glass skyscrapers?

Last monthBill de Blasio announced that New York is going “to ban the glass and steel skyscrapers that have contributed so much to global warming”. Even though it turned out the mayor’s “ban” was actually more of a polite nudge towards sustainable construction, thenews reportsmade me ponder what a prohibition on glass curtain walling might mean for London. What would happen if architects designing here were also challenged to think differently?

抛开对伦敦摩天大楼激增的任何根本反对意见，伦敦摩天大楼作为一种类型学似乎陷入了一种概念上的陈规。因为英国没有建高楼的悠久历史，我们似乎缺乏定义自己传统的想象力和信心。不铰接的玻璃覆层占主导地位。几十年来，似乎很少有英国建筑师能够设想用其他材料建造高楼。

The City of London’s incoherent eruption of glass is the prime example of where it’s all going wrong, but the depressing consequences of this approach can be seen across the capital. The precedents for how to do things differently are already out there. London has developed its own convincing contemporary vernacular over recent years, based on a careful articulation of fenestration and real sensitivity to context and materials. But for some reason this hasn’t translated over into the city’s new high-rise architecture.

Perhaps Mies’ Berlin Friedrichstrasse scheme still exerts an undue influence. Ever since he ushered in the idea of the crystalline glass tower block, many architects have been in thrall to a particular concept of what a skyscraper should be. Too many computer renderings almost invariably depict any new high-rise proposal as a glistening, semi-transparent homage to that 1921 vision in glass.

In a London context this seems very odd. The city’s earliest high rises and its wider vernacular point in a completely different direction. Charles Holden’s 55 Broadway and Senate House were two of the earliest modern buildings to break the old London height restrictions and nodded towards art deco and the tapering New York skyscrapers of the Twenties and Thirties. Both were clad in Portland stone, conveying a sense of almost monolithic permanence.

>> Also read:London’s first skyscraper has its listing upgraded

Senate House in particular has long been divisive and was an early indicator of how many architects would find it difficult to design tall buildings convincingly for London. When setting the brief William Beveridge, the then vice-chancellor, specified that Senate House would be a building that “can only be at home in London”. To what extent Holden succeeded is debatable, but Eric Mendelsohn was convinced “that there is no finer building in London”.

后来涌现的高层住宅，如Rosemary Stjernstedt的Alton Estate和Erno Goldfinger的Trellick Tower，通过采用混凝土和更多柯布式的感性，指向了另一个方向。关键在于，伦敦的高层建筑不需要完全用玻璃覆盖。

The argument about whether London should be a high-rise city at all seems already to have been lost. The debate,as far as it ever took place, has been superseded by facts on the ground and towers on the skyline. The more urgent question now is not whether we should have skyscrapers in London, but what form should they take? Can we break from the tired aesthetic imposed by a hundred-year-old sketch and model by one of modernism’s founding fathers and imagine a way of building tall that is for and of London?

>> Aso read:Building Study: Blackfriars Circus, London, by Maccreanor Lavington

There are signs of hope. Maccreanor Lavington’sBlackfriars Circusis arguably the most successful recent attempt to meld the new vernacular with a specifically London high-rise form. It has a refreshingly un-trendy properly articulated “top” to its tower, and just as importantly engages as much with the street as it does with the skyline. Doubtless other architects are paying attention and hopefully they will respond in interesting new ways. Perhaps Maccreanor Lavington haven’t totally cracked how to build high in London, but they have at least shown that it’s not all about glass.