Architecture In The 21st Century: A Critical Analysis

With the power of globalization on architecture, it helped to further implant the perception of high-rise buildings with the similarity, consistency, and regularity globalization injects. Most cities use high-rise buildings as a means of showing their progress and representing their modernization.

Of all the types of contemporary architecture, high-rise buildings, such as towers, are the most sharply criticized due to their proportions often out of scale compared to their site of implantation. The contemporary era we are currently going through is often characterized by a structural architecture, which is more often as a technical achievement and a set of records. We thus see diagrams comparing the tallest buildings in the world and unceasingly

It mostly dealt with low-rise and mid-rise solutions it didn’t offer much high-rise resolves. The main problem that Critical Regionalism tackles with is the International style’s homogeneity. Jean Nouvel addresses this as being generic architecture, which he explains as architecture that can happen anywhere, is parachutée, without any regard to environment, culture, or context. “We’re in an epoch of savagery. Developers have usurped the role of architects, so who will defend the pleasure of living in a particular place? It’s a fundamental question. Places are not interchangeable. Living somewhere means everything you experience outside, the people you meet, the way you move around — the whole atmosphere of a city in all its complexity.” (Nouvel, Times magazine).

Jean Nouvel with his works tries to initiate a debate on the difference between a specific architecture and a generic architecture. He believes that each site, each city has the right to a specific reflection. He begins by analyzing the situation, listening, interacting, gathering all the people who can enrich a project, before formulating a sketch. It is an ethical position, and it puts him in a position of rupture with many of his friends and

These two references have given this shape that can be compared to a geyser that brings a fair balance between power and lightness. Jean Nouvel speaks of his work as if "This tower could represent the distant echo of the old Catalan obsessions carried by the wind blowing on the Montserrat. Concerning the second reference, the link is much more explicit because it is inspired by the notoriety of the many polychrome earthenware like facade cladding and chimneys of Gaudi to set up a contemporary interpretation explicated by facades in double skin, in tones Light and shimmering quality. Formally one finds the curve as refined as it is, that is to say a circle, often used in all variants by the local artist. It is thus part of a process of rethinking which consists in restoring meaning by affecting a known value of new meanings, it "makes the new with the