16th May 2023

The Making of… the Norman Foster retrospective at Centre Pompidou

The Making of… is an opportunity to reflect on Foster + Partners’ completed projects and the process of making them.

This month, the largest retrospective spanning the oeuvre of Norman Foster’s work over the last six decades opened to the public.

The exhibition, at Paris' Centre Pompidou, explores Norman Foster’s work through the prism of seven themes: Nature and Urbanity; Skin and Bones; The Vertical City; History and Tradition; Planning and Places; Networks and Mobility and Futures. Drawings, sketches, original scale models and dioramas, along with many videos, allow visitors to delve into approximately 130 major projects.

These behind-the-scenes images and video show the exhibition coming to life, from early meetings in the studio to the final weeks of preparation before the opening.

A sketch by Norman Foster, imagining the exhibition space at the Centre Pompidou. It shows the central gallery space, with a range of models, drawings, artworks and objects in 'Nature and Urbanity' and 'Skin and Bones,' including the Glasflügel H-201B Standard Libelle glider - which is hung from the ceiling - and Buckminster Fuller's Dymaxion Car #4.

A sketch by Norman Foster, imagining the exhibition space at the Centre Pompidou. It shows the central gallery space, with a range of models, drawings, artworks and objects in 'Nature and Urbanity' and 'Skin and Bones,' including the Glasflügel H-201B Standard Libelle glider - which is hung from the ceiling - and Buckminster Fuller's Dymaxion Car #4.

An early design review in the London studio, working with a model of the exhibition space to select locations for the dioramas, which bring a number of the practice's projects to life. A series of angled walls divide the exhibition space, generate views of the city skyline and provide vertical surfaces for display.

An early design review in the London studio, working with a model of the exhibition space to select locations for the dioramas, which bring a number of the practice's projects to life. A series of angled walls divide the exhibition space, generate views of the city skyline and provide vertical surfaces for display.

Reviewing projects for 'The Vertical City' in the practice's London studio. This section of the exhibition explores the skyscraper, which Norman Foster says is "emblematic of the modern age city and a reminder that the city is arguably civilisation’s greatest invention."

Reviewing projects for 'The Vertical City' in the practice's London studio. This section of the exhibition explores the skyscraper, which Norman Foster says is "emblematic of the modern age city and a reminder that the city is arguably civilisation’s greatest invention."

Reviewing elevations for the main gallery space and deciding on heights for drawings, photographs and captions.

Reviewing elevations for the main gallery space and deciding on heights for drawings, photographs and captions.

Building structural models in the practice's London workshop, before they were transported to the Centre Pompidou. These scaled models of the Renault Distribution Centre's yellow skeleton, Torre de Collserola and the Millau Viaduct (left to right), were made especially for the exhibition.

Building structural models in the practice's London workshop, before they were transported to the Centre Pompidou. These scaled models of the Renault Distribution Centre's yellow skeleton, Torre de Collserola and the Millau Viaduct (left to right), were made especially for the exhibition.

Making dioramas for the exhibition, in the practice’s London workshop. The word diorama literally means, ‘small scale replica of a scene.' These detailed sectional models of early projects such as Climatroffice and the Willis Building, show the practice's pioneering systems approach to architecture. They were created for the exhibition at the Centre Pompidou, with input from the practice's in-house environmental engineering and sustainability teams.

Making dioramas for the exhibition, in the practice’s London workshop. The word diorama literally means, ‘small scale replica of a scene.' These detailed sectional models of early projects such as Climatroffice and the Willis Building, show the practice's pioneering systems approach to architecture. They were created for the exhibition at the Centre Pompidou, with input from the practice's in-house environmental engineering and sustainability teams.

Working on a back-lit diorama of the Willis Building, the country headquarters for insurance company Willis Faber & Dumas in Ipswich. Innovations such as the use of escalators in a three-storey structure, and the social dimension offered by its swimming pool, roof-top restaurant and garden, were all conceived in a spirit of democratising the workplace and encouraging a greater sense of community.

Working on a back-lit diorama of the Willis Building, the country headquarters for insurance company Willis Faber & Dumas in Ipswich. Innovations such as the use of escalators in a three-storey structure, and the social dimension offered by its swimming pool, roof-top restaurant and garden, were all conceived in a spirit of democratising the workplace and encouraging a greater sense of community.

The Dymaxion Car #4 being lifted to the the 6th floor of the Centre Pompidou, using a crane. The car was elevated from the plaza in front of the building and took a day to install. Norman Foster created the fourth version of the 1934 Dymaxion automobile, in homage to the late Richard Buckminster Fuller, with whom he collaborated for the last twelve years of the American polymath's life.

The Dymaxion Car #4 being lifted to the the 6th floor of the Centre Pompidou, using a crane. The car was elevated from the plaza in front of the building and took a day to install. Norman Foster created the fourth version of the 1934 Dymaxion automobile, in homage to the late Richard Buckminster Fuller, with whom he collaborated for the last twelve years of the American polymath's life.

Manoeuvring the Glasflügel H-201B Standard Libelle glider into the exhibition space. The German-designed and built sailplane was the world’s first all-composite ‘plastic’ flying machine.

Manoeuvring the Glasflügel H-201B Standard Libelle glider into the exhibition space. The German-designed and built sailplane was the world’s first all-composite ‘plastic’ flying machine.

The Voisin C7 Lumineuse being moved into the Centre Pompidou's red service lift, the day after the glider and the Dymaxion arrived. Norman Foster tracked this car down to the actual model owned by Le Corbusier, which featured in photographs of his works in the 1920s.

The Voisin C7 Lumineuse being moved into the Centre Pompidou's red service lift, the day after the glider and the Dymaxion arrived. Norman Foster tracked this car down to the actual model owned by Le Corbusier, which featured in photographs of his works in the 1920s.

The glider, Dymaxion and Voisin C7 Lumineuse being installed in the empty exhibition space, before any of the other objects, models and artworks arrived.

The glider, Dymaxion and Voisin C7 Lumineuse being installed in the empty exhibition space, before any of the other objects, models and artworks arrived.

Moving a model of DJI Sky City - the new HQ for the world’s leader in civilian drones and creative camera technology - into position. The two towers are the ‘heart of innovation’ for the company and form a creative community in the sky.

Moving a model of DJI Sky City - the new HQ for the world’s leader in civilian drones and creative camera technology - into position. The two towers are the ‘heart of innovation’ for the company and form a creative community in the sky.

Adjusting the model of the Reichstag's cupola, where people ascend symbolically above the heads of their representatives in the chamber. The transformation of the Reichstag is rooted in four related issues: the Bundestag’s significance as a democratic forum, an understanding of history, a commitment to accessibility and a vigorous environmental agenda.

Adjusting the model of the Reichstag's cupola, where people ascend symbolically above the heads of their representatives in the chamber. The transformation of the Reichstag is rooted in four related issues: the Bundestag’s significance as a democratic forum, an understanding of history, a commitment to accessibility and a vigorous environmental agenda.

Reassembling the model of the Renault Distribution Centre's yellow skeleton. The centre has been described as the practice's most playful structure. However, its development owes much to earlier schemes for clients such as Reliance Controls and Fred Olsen, which delivered inexpensive, flexible buildings to tight schedules.

Reassembling the model of the Renault Distribution Centre's yellow skeleton. The centre has been described as the practice's most playful structure. However, its development owes much to earlier schemes for clients such as Reliance Controls and Fred Olsen, which delivered inexpensive, flexible buildings to tight schedules.

Building Buckminster Fuller's 12-foot Fly's Eye Dome, which is made from Fibreglass. Norman Foster was working with Buckminster Fuller and his collaborator John Warren at the time they produced this 12-foot prototype, which has since been bought from the Fuller Estate for The Norman Foster Foundation.

Building Buckminster Fuller's 12-foot Fly's Eye Dome, which is made from Fibreglass. Norman Foster was working with Buckminster Fuller and his collaborator John Warren at the time they produced this 12-foot prototype, which has since been bought from the Fuller Estate for The Norman Foster Foundation.

Reviewing the sequence of models for 'Skin and Bones' following a project addition on the long display plinth against the window.

Reviewing the sequence of models for 'Skin and Bones' following a project addition on the long display plinth against the window.

Norman Foster standing back to view 'The Vertical City' models, including Hearst Tower, Millennium Tower, 30 St Mary Axe and Hongkong and Shanghai Bank Headquarters (left to right).

Norman Foster standing back to view 'The Vertical City' models, including Hearst Tower, Millennium Tower, 30 St Mary Axe and Hongkong and Shanghai Bank Headquarters (left to right).

The exhibition includes the machines, vehicles, aircraft, sculptures and paintings that have inspired Norman Fosters' work. 'Skin and Bones' and 'The Vertical City' are set against the backdrop of the city.

The exhibition includes the machines, vehicles, aircraft, sculptures and paintings that have inspired Norman Fosters' work. 'Skin and Bones' and 'The Vertical City' are set against the backdrop of the city.

'Nature and Urbanity' - In the 1960s and 70s, the practice's projects responded to concerns about the conservation of precious resources, such as land and energy, with the recycling of water and harvesting of electrical power by solar and wind. Such principles may be familiar now but more than half a century ago they were revolutionary and anticipated the reality of today.

'Nature and Urbanity' - In the 1960s and 70s, the practice's projects responded to concerns about the conservation of precious resources, such as land and energy, with the recycling of water and harvesting of electrical power by solar and wind. Such principles may be familiar now but more than half a century ago they were revolutionary and anticipated the reality of today.

'Skin and Bones' - "It was an eminent critic who observed that all of our projects could be categorised as either skin or bones depending on whether the dominant external expression was of the smooth façade – the skin – or the skeleton of a supporting structure."

'Skin and Bones' - "It was an eminent critic who observed that all of our projects could be categorised as either skin or bones depending on whether the dominant external expression was of the smooth façade – the skin – or the skeleton of a supporting structure."

'The Vertical City' - "A vertical community, well served by public transport, can be a model of sustainability especially when compared with a sprawling low rise equivalent in a car dependent suburb."

'The Vertical City' - "A vertical community, well served by public transport, can be a model of sustainability especially when compared with a sprawling low rise equivalent in a car dependent suburb."

'Networks and Mobility' - "Mobility of people, goods and information needs physical infrastructure, whether down on earth, aloft in space or on another planet."

'Networks and Mobility' - "Mobility of people, goods and information needs physical infrastructure, whether down on earth, aloft in space or on another planet."