The History of Design in the 1980s and 1990s. Part One: Industry and Architecture — articles on Skillbox / ITech content

Contents:

• High-tech
• Traditional architecture
• Playing with the classics
• Architecture with references
• "Memphis" and "Alchemy"
• "Punk" design

The architecture of the 1980s saw a clear emphasis on postmodernism, which implied a return to elements of classical order architecture. At the same time, the era of the avant-garde began in product design, creating a contrast between the two trends. Despite the differences, the architecture and design of this decade share many similarities in their plasticity, rhythm, and choice of materials. The 1980s are characterized by a distinct and recognizable style that continues to influence contemporary trends in architecture and design.

In this article, we will discuss the important events and changes that occurred in industry and architecture during the 1980s and 1990s. This period was a time of significant transformation, as new technologies and economic conditions influenced the development of industrial processes and architectural solutions. We will examine the key trends that defined this era, as well as the impact of globalization and innovation on design and construction. Adaptation to new market demands and the search for sustainable solutions were important aspects, which in turn affected the styles and functionality of buildings. By analyzing these changes, we can better understand how the 1980s and 1990s shaped the modern architectural and industrial landscape.

High Tech

In the 1970s, design firms were actively developing new structures and engineering systems. One of the significant trends was the use of steel frames, while previously reinforced concrete predominated in large structures. The leading firms that contributed to these innovations were Anthony Hunt and Ove Arup, based in the UK. It was here that innovative high-tech architecture (Hi-Tech) reached its greatest development, which influenced modern trends in construction and design.

One of the first buildings to use steel load-bearing structures was the Centre Georges Pompidou in Paris, designed by architects Richard Rogers and Renzo Piano. After completing this landmark project, Rogers, now running his own architectural firm, designed the famous Lloyd's Tower in London. In this building, like the Pompidou Centre, the external utilities are also prominently displayed. To protect them from corrosion and give them a contemporary look, the architect used a gleaming stainless steel armor. These architectural solutions not only provide functionality but also highlight an innovative approach to building design.

Norman Foster, an architect who worked with Rogers in Team 4 in the 1960s, designed the HSBC headquarters in Hong Kong in the early 1980s. This building became a symbol of modern architectural approaches and innovative technologies, reflecting Foster's unique style and his focus on functionality and aesthetics. Opened in 1985, the HSBC headquarters brought elements of high technology and sustainable design to the Hong Kong cityscape, making it one of the most recognizable architectural structures in the world.

These two towers are outstanding examples of high-tech architecture. This style also includes many buildings erected in the 1980s by British architects such as Nicholas Grimshaw and Michael Hopkins. High-tech architecture is characterized by the use of modern technologies and materials, which makes it unique and recognizable. An important aspect of this trend is the pursuit of functionality and aesthetics, which allows us to create not only beautiful but also practical buildings.

Architectural projects of this time made the most of the technical achievements of their era. Load-bearing structures, ventilation, thermal insulation and lighting systems were carefully thought out and implemented with a high level of innovation. Glass and polished metal dominated the interior, creating a sense of modernity and elegance. The architects also paid attention to the interior fittings and furniture, designing them in a unified style, emphasizing the harmony and functionality of the space. These elements not only met aesthetic requirements, but also provided comfort and convenience for users.

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Love and robots: features of style High-tech

High-tech style, combining elements of love and technology, represents a unique trend in design and architecture. This style emphasizes the use of modern materials and technologies, creating a harmonious fusion of functionality and aesthetics. Its main characteristic is minimalism, which emphasizes clean lines and open spaces.

High-tech also actively utilizes innovative solutions, such as smart technologies and automation, making it particularly attractive to modern people striving for comfort and efficiency. High-tech interiors often feature elements of glass, metal, and concrete, creating a feeling of lightness and technological sophistication.

Furthermore, high-tech style fits perfectly into the concept of a smart home, where systems are controlled using mobile apps. This is not only convenient, but also emphasizes a modern approach to life, where technology is becoming an integral part of everyday life.

Thus, high-tech is not just a style, but a philosophy that reflects the desire for innovation and harmony between man and technology, which makes it relevant and in demand in the modern world.

High-tech buildings are high-tech and complex structures, characterized by high costs both at the construction stage and during operation. The main customers of such projects are large international corporations. These architectural works have become symbols of capitalism and a backdrop for the life of yuppies - a new subculture of ambitious, highly paid professionals who value success and status consumption. High-tech architecture reflects the desire for innovation and modern technology, emphasizing the importance of image and status in the business world.

Traditional Architecture

Great Britain has become the center of the conservative architectural opposition in architecture. Crown Prince Charles, now King Charles III, came to the forefront, vigorously opposing modernist architectural projects. Beginning in the mid-1980s, he actively criticized various building projects in London, leading to the cancellation of several. His influence on architectural decisions in the country became significant, emphasizing the importance of traditional approaches to construction and urban planning. The Prince assembled a team of traditionalist architects around him, including Quinlan Terry, John Simpson, Robert Adam, and Leon Krier. These specialists worked at the Prince of Wales Institute of Architects, founded in 1986, and designed the town of Poundbury in Dorset. This project has become an example of "new urbanism", demonstrating a harmonious combination of traditional architectural styles and modern urban planning solutions.

Léon Krier became the movement's leading theorist, developing the Poundbury masterplan. In his programmatic texts and witty cartoons, he criticized modernist architecture and urban planning. His criticism focused on aspects such as zoning, wide thoroughfares, and park-like neighborhoods where large buildings are spaced considerably apart. Krier argued that such approaches disrupted the harmony and aesthetics of the urban environment, instead proposing more integrated and humane solutions for urban design.

The system, often attributed to Le Corbusier, actually has several authors. Leon Krier opposed it with a nostalgic ideal of the city, characterized by dense block development, pedestrian streets and squares. Monumental public buildings with symmetrical facades rise in such spaces, creating a harmonious urban environment. This approach emphasizes the importance of human scale in architecture and urban planning, emphasizing the need to create welcoming and accessible spaces for city residents.

Playing with the Classics

Architectural postmodernism of the 1980s manifested itself in various forms. Some architects, such as the Americans Allan Greenberg and Michael Dwyer, approached the construction of houses seriously, creating them in the style of the 18th century. They demonstrated a deep understanding of the logic of the order, respecting proportions and paying attention to detail. However, the mainstream of this period was a more free and ironic approach to tradition, expressed in a play with historical forms and elements. Architects began to mix styles and use decorative elements to create unique and memorable buildings that reflected the spirit of the time and a contemporary perception of architecture.

The first example of postmodern architecture can be found in the 1960s – the Vanna Venturi House in Pennsylvania, designed by her son, Robert Venturi. In the 1980s, Venturi received his first international project: he designed a new wing for the National Gallery in London. This commission came after a previous modernist project was rejected due to criticism from Prince Charles. Venturi created a building with ordered facades; however, despite the academic nature of the order, the composition of the facades lacks symmetry and ordered rhythm, which emphasizes the uniqueness and innovation of his approach to architecture.

Charles Moore and Michael Graves boldly interpreted classical heritage in their architecture. Moore, known for his daring design for the Piazza d'Italia in New Orleans, brought unusual forms and a playful approach to architecture. Michael Graves, one of the most prominent American architects of the 1980s, also distinguished himself with original designs. Among his works are his bold projects for the Disney Corporation, including the Seven Dwarfs-themed headquarters in Burbank, as well as the impressive Dolphin and Swan hotels at Walt Disney World in Florida. These buildings have become symbols of creativity and unconventional thinking in architecture.

In the 1980s, many architects, including representatives of the older generation, continued to develop an interior approach. Such architects include Philip Johnson, a renowned patriarch of the American "International Style," who designed the Sony Building in New York. Also worth mentioning is James Stirling, a former brutalist who created the University of Music and Performing Arts in Stuttgart. The architectural ideas of Léon Krier also influence this stylistic trend. These projects highlight the diversity and evolution of architectural styles during this period, reflecting a desire for innovation and functionality. Kengo Kuma, who later became known for his unique designs, created the M2 building in Tokyo in the late 1980s. This structure is distinguished by its large fragments of order architecture. It appears so unusual that it is perceived as a parody of the prevailing style of the time. M2 became a striking example of Kuma's experiments with form and space, which later determined his architectural style and approach.

Outside the United States, one of the most famous architects of postmodern classicism is the Italian Aldo Rossi. In the 1970s, he designed the San Cataldo Cemetery complex in Modena, which is noticeably influenced by the Italian non-ordered classicism of the Mussolini era, as well as elements of the metaphysical paintings of the artist De Chirico. In the 1980s, Rossi became a sought-after architect not only in Italy but also abroad, completing projects in countries such as Germany, the United States, and Japan. Aldo Rossi left a significant mark on architecture, combining tradition with modern approaches and creating unique spaces.

The architecture of this movement is distinguished by its rough and dramatic aesthetic, aimed at impressing a wide audience through simple yet expressive means. The creators of these structures are educated individuals, many of whom are university professors. They perceive architecture as a symbolic system in which every detail plays a significant role. For them, recognizable elements such as arches, pediments, porticos, and turrets represent not just forms but also bearers of profound meaning. Several key motifs stand out in this architecture, which are significant to its creators and reflect their philosophical views.

The architects often sought to create buildings that would appear as a chaotic combination of various elements and even individual structures without a unified style. Examples of such projects include Piazza d'Italia in New Orleans and Horton Plaza in San Diego, designed by Jon Jerde between 1977 and 1985 but demolished in 2020. Also worth noting is the Aldo Rossi Quarter on Schützenstrasse in Berlin, built in the 1990s. These examples demonstrate the interest of architects in experimenting with form and style, creating unique urban spaces.

Unlike architects While modernism designed buildings and entire cities as closed and logically complete systems, proponents of alternative approaches emphasize the understatement. This understatement creates space for unexpected changes and adaptations in the architectural environment. This approach allows for the dynamics of urban life to be taken into account and makes architecture more flexible and responsive to the needs of society.

Architecture with References

In 1981, French President François Mitterrand announced the launch of a large-scale program of construction projects timed to coincide with the 200th anniversary of the French Revolution, which was to take place in 1989. As part of this program, the famous glass pyramid in the courtyard of the Louvre, designed by the architect I.M. Pei, was erected. At the opposite end of the "Great Axis" of Paris, an impressive giant arch was built in the La Defense quarter, designed by the architect Johann Otto von Spreckelsen. These architectural landmarks have become symbols of modern Paris and embody the innovation and cultural heritage of France.

Both buildings are examples of contemporary architectural design, characterized by steel frames and smooth, shiny facades. However, their forms evoke ancient architectural archetypes, such as the funerary pyramid and the triumphal arch. These elements connect modernity with history, emphasizing the continuity of architectural traditions.

In the 1980s, large residential complexes were actively constructed in the suburbs of Paris. One notable project was the one carried out by the Spanish architectural firm Taller de Arquitectura, consisting of Ricardo Bofill and Manuel Nunez-Janovsky. In Noisy-le-Grand, Bofill created unique multi-story residential buildings inspired by the forms of a Spanish arena, a palace, a triumphal arch, and an ancient Roman open-air theater. These architectural solutions not only brought elements of cultural heritage but also became a symbol of a new approach to residential construction, combining aesthetics and functionality.

In the Nunes-Janowski house in Guyancourt, stamped Aphrodites of Milo serve as pylons supporting A second floor instead of a first. This technique, popular with Le Corbusier, emphasizes the unique architectural concept and aesthetics of the building. The use of sculptural elements as supports not only adds artistic value but also creates an interesting visual effect, characteristic of the modern architectural style. In Montpellier in the south of France, the architect Bofill completed an impressive complex stretching for more than a kilometer. This complex consists of several squares located on a single axis and varying in form, but invariably referencing classical architectural prototypes. On one side of the complex is the Occitanie provincial administration building, a postmodern interpretation of the triumphal arch, and on the other is a huge shopping mall. This project reflects a unique blend of modernity and tradition, attracting the attention of both locals and tourists.

"Memphis" and "Alchemy"

The 1980s marked the end of a long period of avant-garde design in Italy, which began in the second half of the 1960s with the initiatives of radical designers. This period became a landmark in the history of Italian design, significantly influencing global trends. Designers of the time sought to experiment with forms and materials, creating unique works of art that combined functionality and aesthetic novelty. The final phase of avant-garde design opened a new chapter in the development of Italian design, fostering the emergence of new styles and trends that continue to inspire contemporary designers.

In 1980, a group of designers, including participants in the Alchemy exhibitions, met in Ettore Sottsass's Milan apartment. They decided to unite in a new creative group and chose the name "Memphis," inspired by a line from a Bob Dylan song that played during their discussion. In the spring of 1981, the Memphis group held its first exhibition at the Milan Furniture Fair, marking a significant event in the design world. This association became a symbol of a new wave in interior design, combining bright colors, unusual shapes and creative solutions.

The Memphis group was led by designer Ettore Sottsass, who played a key role in the emergence of the radical design movement in the 1960s. The group's members were significantly younger than Sottsass and included Italian designers such as Michele De Lucca and Matteo Thun. Memphis also included international designers: Briton George Sowden, who collaborated with Sottsass at Olivetti from 1970, as well as French designers Martine Bedan and Nathalie du Pasquier. This multinational association of designers has become a symbol of innovation and experimentation in the world of furniture and interiors, leaving a significant mark on the history of design.

Studying similar topics can be useful for a deeper understanding.

Group Memphis: A Postmodern Revolt in Design

Founded in 1981 in Milan, the Memphis Group has become a symbol of the postmodern design movement. Its creations are characterized by vibrant colors, geometric shapes, and playful concepts, which contrast sharply with the minimalism and functionalism of previous eras. Designers such as Ettore Sottsass and Michele De Lucca sought to subvert traditional norms and create unique objects that evoke emotion and provoke thought.

The Memphis Group's designs are not limited to furniture. Their work incorporates elements of architecture, textiles, and tableware, all united by a common aesthetic and philosophy. The use of vibrant colors and unusual shapes made these pieces icons of 1980s style, and the group itself has had a significant influence on contemporary design.

The Memphis Group continues to inspire contemporary designers and architects, bringing elements of freedom and creativity to their work. The postmodern revolt initiated by this group became a crucial stage in the history of design, opening up new horizons for self-expression and experimentation in this field.

The circle of designers who participated in the Memphis exhibitions, but were not part of its core, is quite extensive. Among them are such renowned masters as Andrea Branzi, Japanese designers Masanori Umeda and Shiro Kuramata, and Americans Peter Shear and Michael Graves. These talented professionals made significant contributions to the development of design and continued the traditions established by the Memphis movement. Their works reflect unique approaches and styles that enrich contemporary design.

The group existed until 1987, but its Former members continued to hold joint exhibitions after this period. Designs created in the 1980s are still produced under the Memphis Milano brand, which has become a symbol of postmodern design. Their work remains relevant and in demand, reflecting the unique style and creative approach characteristic of the Memphis movement.

The program of this group corresponds to the ideas of radical design of the 1960s. For them, objects were first and foremost means of expression capable of evoking emotions in viewers, and only then — functional things used in everyday life. Design was perceived as a space for artistic experimentation, where not only aesthetics but also the emotional response these objects evoked were paramount.

The Memphis Group style represents a unique and easily recognizable design direction. It is characterized by asymmetry and silhouettes formed from large elements of simple forms. Bright colors in contrasting combinations create a dynamic visual atmosphere. Surfaces are often decorated with stripes and abstract patterns, which lend them originality and expressiveness. The designers of the Memphis Group strive to create objects that are not only functional but also become striking accents in the interior, rejecting traditional standards in favor of bold solutions.

Some techniques used by the Memphis group were borrowed from early modernist design, as well as from the work of futurists and constructivists. However, the technical side of their work is no less significant. The group received funding from Abeth Laminati, making it, in a sense, an experimental bureau for the firm. This collaboration explored the application of plastic laminate and the decorative potential of this material.

Memphis Group objects were highly sought after by collectors, including such renowned figures as David Bowie and André Putman. Legendary French interior designer and fashion designer Karl Lagerfeld also became a fan of the Memphis style, furnishing his apartment in Monte Carlo with furniture from this group through the mediation of André Putman.

Sottsass, thanks to his extensive international connections, facilitated exhibitions of the Memphis group in various countries in Europe and America. The Memphis style quickly gained popularity and became an international phenomenon, written about and actively imitated in various countries, including the Soviet Union. This style had a significant influence on design and architecture, introducing new ideas and forms that changed the perception of contemporary art.

The Memphis group separated from the Alchemy exhibition association, but this did not weaken its influence. Under the leadership of Adriana and Alessandro Guriero, as well as Alessandro Mendini, Alchemy continued its active work, regularly organizing exhibitions. The association acquired a permanent exhibition space in which the exhibitions were constantly updated, presenting exciting total installations.

Alchemy's works from that time clearly display elements of 1920s modernist art, reflecting a general trend. Designers of the late 20th century were once again turning to avant-garde movements. In Germany, Bauhaus works were actively reprinted, and Neville Brody applied constructivist techniques to magazine layout. Singer Klaus Nomi, inspired by the work of Oskar Schlemmer, used similar elements in his costumes and stage design, emphasizing the influence of the historical avant-garde on contemporary art.

In the 1980s, Japanese masters such as Toshiyuki Kita, Shiro Kuramata, and Masanori Umeda stood out among postmodernist designers. These designers had a significant impact on the world scene and were closely associated with Italian design. Shiro Kuramata, for example, lived and worked in Italy since the 1970s, actively participating in exhibitions of the Memphis group, which became a symbol of the postmodernist direction in design. Japanese designers have brought unique elements of their culture into the Italian context, resulting in original and memorable works.

Masanori Umeda was actively involved in the design of objects that became iconic for this group. Most of their works were created for Italian factories, but they also left a significant mark in their homeland. For example, in the 1980s, Shiro Kuramata designed numerous public interiors in Japan, most notably the stores of fashion designer Issey Miyake, with whom he had a friendly relationship. These projects demonstrate a unique approach to design and a deep understanding of cultural contexts, both in Japan and abroad.

"Punk" Design

London's punk design is a unique and vibrant phenomenon in the art world. Beginning in 1984, a group known as Creative Salvage began hosting small exhibitions and performances where members created furniture in front of an audience. They used scrap metal as their primary material, and a welding machine served as their primary tool in their creative work. Initially, the group consisted of three people: Tom Dixon, Mark Brazier-Jones, and Nick Jones, but over time, the lineup expanded. This movement became not only a reflection of punk culture, but also an important aspect of modern design, demonstrating how to create unique and functional things from scrap materials.

Ron Arad, a graduate of Architectural Association in London. In 1981, he and Caroline Thorman founded the studio One Off, located in London's Chalk Farm neighborhood, near the Roundhouse—a historic tram depot that became a popular venue for punk rock concerts. Near the depot was a scrapyard where Ron Arad found unique pieces for his interior installations, such as bus doors, car seats, and scaffolding. These recycled materials formed the basis of his first design objects, demonstrating a creative approach to the use of recycled materials in contemporary art.

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Italian Radical designers who began their careers two decades ago with conceptual exhibitions and enigmatic manifestos reached the pinnacle of their professional careers in the 1980s. Ettore Sottsass, after founding the famous Memphis Group, became incredibly sought after. He created ceramics, glass, and industrial design for various manufacturers around the world, as well as homes and interiors, significantly influencing contemporary design. These achievements not only strengthened his reputation but also inspired a new generation of designers striving for innovation and self-expression in their work. Some designers become regular consultants for renowned companies. For example, Alessandro Mendini collaborated with Alessi, a manufacturer specializing in kitchenware. Florentine Massimo Morozzi of the Archizoom group became art director at Edra. These designers play a significant role in shaping the style and concept of products thanks to their experience and creative approach. Their collaborations with brands contribute to the creation of unique and functional products that resonate with consumers.

Factories, seeking collaborations with leading designers, shifted their priorities. As a result, the products they created were perceived not only as furniture, lamps, or household appliances, but also as design elements. This led to an emphasis on the aesthetic value and uniqueness of products, which in turn contributed to the development of modern interior design. This approach allowed factories to stand out from the competition and attract the attention of consumers interested in high-quality and stylish items for their homes.

In the 1980s and 1990s, Vitra, Alessi, Cassina, and Cappellini brought together talented designers, creating unique products that became symbols of cultural value. These brands not only ensured the high quality of their products but also gained international recognition thanks to their collaborations with renowned designers. Their work has become a benchmark of style and innovation, allowing them to establish a strong position in the global market.

This pantheon includes veterans of radical Italian design, members of the Memphis group, London punks, and French designer Philippe Starck, who began his career in interior design. Also on this list are outstanding architects of their time, such as Michael Graves, Léon Krier, Frank Gehry, and Norman Foster. These creators have had a significant influence on the development of design and architecture, shaping new trends and approaches that continue to inspire modern generations.

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