Globalisation: Cultural Erasure Even In Architecture?

“The greatest products of architecture are less the works of individuals than of society; rather the offspring of a nation's effort, than the inspired flash of a man of genius...” ― Victor Hugo, The Hunchback of Notre-Dame

When a certain element of iconic architecture is noted in a another structure, it may lose its own sense of place as the association which links both designs can either diminish or encourage interest in the more contemporary building.

In a recent lesson on architecture and urban geography, I was exposed to many images of iconic architecture, some new and some familiar. The designs in pictures I saw that day were strikingly similar to certain structures in this country.

An example of this, which I noticed on a compulsory journey along the Eastern Main Road, is the similarity in the design of the Guardian Life building in St. Augustine to the iconic architecture of Chinese history, as shown in the image below of the Forbidden City, Beijing.

Image on the right taken from www.thingstodo.viator.com

Another example of an association already made by many, is the likeness of the National Academy of the Performing Arts (NAPA) with the Sydney Opera House, as shown below.

Image on the left taken from www.amanderings.wordpress.com/tag/sydney-opera-house/ and photo on the right was taken from www.versatilestudiostt.com/gallery/napa

If the claim is true that "landmark buildings are often key markers of a city's identity," (Hall and Barrett 2012) then, in the case of NAPA and all the 'modern' skyscrapers which are now landmark buildings of the capital, where is Port-of-Spain's identity in all of this?

Hall and Barrett also continue to explain that there has been an increasing interest in promoting spectacular architecture for urban development schemes with an aim to enhance the city's image in an increasingly competitive global urban network. 

Image taken from www.flickr.com/photos/joshy55013/5175587599

Are we losing control over our sense of identity? Or are we developing ourselves to be masters of a postmodern global culture?

Furthermore, it seems that it does not matter whether the proposed building fulfils a demand, as most of these buildings are largely unoccupied. So, its sole purpose is then to contribute to the design of the city. 

“The transformation of cities all round the world in the last half century is [as a result of] the transnational capitalist class mobilizing their allies in architecture and real estate development to create globalizing cities, increasingly marked and marketed through their iconic buildings and spaces.” – Leslie Sklair, Iconic Architecture in Globalizing Cities

In the case of Expo 2010 Shanghai, some of the world’s most amazing architectural wonders were displayed as 239 pavilions were built and hosted by nations from across the globe. The expo was a celebration of the world’s cultures in a peaceful, communal spirit and a representation of the ambitions of individual nations as well as a collective vision for cities in the new millennium. Showcasing a full spectrum of cutting-edge technology, building materials and design sensibilities (click here to see all the pavilions) it clear that most countries have already adopted a cultural signature of their own in their architectural designs, no doubt all in an attempt to market their nation's 'otherness'.

Image taken from www.kaggregate.com

The tremendous success of this world expo, with a record attendance of over 73 million people, is the result of the great architectural products on display, each an offspring of a nation's efforts thus creating such a spectacle. 

The urban authorities of this country, in the attempt to promote the capital's image through the construction of skyscrapers along the waterfront, should rethink this strategy and instead encourage and promote design elements that the nation can be identified with, which will declare and enhance a distinct identity.