Criticism of Norman Foster's Architecture: To What Extent does Foster's High-Tech Architecture Respect the Building Context?

Norman Foster?s architecture is described by the limitless application of new technologies in building construction and their technological tools [1]. However, this advanced architectural technology in Foster architecture overshadowed important aspects of architecture. This paper aims to answer these questions: To what extent does the advanced appearance of Norman Foster?s architecture respect the context? What about location and urban fabric? And what about the artistic aspect? The methodology depends on analyzing the number of Foster's projects and highlighting the critiques that arose about them through addressing four categories of his projects: firstly, transformation or redesigning buildings, including the British Museum?s Great Court in London, the Reichstag in Berlin, and the Carr?d'Art in France. Secondly, illusionary concepts, by analyzing the project (GLA) and willis faber & Dumas Headquarters in UK. Thirdly, Foster?s projects are located within beautiful nature but do not interact with it, including the Sainsbury Centre for Visual Arts in the United Kingdom, the Sage Gateshead Centre in the UK, and the Scottish Exhibition and Conference Centre in the UK. Fourthly, the projects designed to serve political and economic objectives, including Hong Kong and Shanghai Bank in China, and finally, presenting how Foster defends his approach to that project. The method focuses on the exposition and interpretation of all chosen projects in terms of context, urban fabric, and artistic aspect. The results show the evaluation and judgment of the mentioned projects, highlighting how Norman Foster deals with the context of building and how he justifies his bias toward technology rather than aesthetic values in his architecture.