{"id":7352,"date":"2026-11-10T03:26:37","date_gmt":"2026-11-10T02:26:37","guid":{"rendered":"https:\/\/ataox.org\/blog\/?p=7352"},"modified":"2026-11-10T03:27:28","modified_gmt":"2026-11-10T02:27:28","slug":"architecture-high-tech-lavenir-du-design-urbain-et-durable","status":"publish","type":"post","link":"https:\/\/ataox.org\/blog\/a-la-une\/architecture-high-tech-lavenir-du-design-urbain-et-durable\/","title":{"rendered":"Architecture high-tech : d\u00e9finition, exemples et h\u00e9ritage"},"content":{"rendered":"<link rel=\"stylesheet\" href=\"https:\/\/fonts.googleapis.com\/css2?family=Space+Grotesk:wght@600;700&#038;family=Inter:wght@400;500;600&#038;family=JetBrains+Mono:wght@500&#038;display=swap\">\n<style>\n.atx-ib-wrap{font-family:\"Inter\",system-ui,sans-serif;font-size:17px;line-height:1.65;color:#1d2321}\n.atx-ib-wrap h2{font-family:\"Space Grotesk\",\"Inter\",sans-serif;font-weight:700;font-size:clamp(24px,3.2vw,32px);letter-spacing:-.015em;line-height:1.2;color:#1d2321;margin:48px 0 16px;padding:0;position:relative}\n.atx-ib-wrap h2::before,.atx-ib-wrap h3::before{content:none!important;display:none!important}\n.atx-ib-wrap h3{font-family:\"Space Grotesk\",\"Inter\",sans-serif;font-weight:600;font-size:clamp(19px,2.4vw,23px);color:#1d2321;margin:30px 0 10px}\n.atx-ib-lead{font-size:19px;line-height:1.6;color:#2b3330;border-left:3px solid #bf460f;padding:2px 0 2px 18px;margin:8px 0 26px}\n.atx-ib-brief{background:#fdf3ee;border:1px solid #f1d3c3;border-left:5px solid #bf460f;border-radius:12px;padding:24px 26px;margin:26px 0 36px;box-shadow:0 1px 2px rgba(16,24,40,.05),0 12px 28px -16px rgba(16,24,40,.18)}\n.atx-ib-brief .atx-ib-tag{font-family:\"JetBrains Mono\",monospace;font-size:12px;letter-spacing:.12em;text-transform:uppercase;color:#9a3608;font-weight:500;margin-bottom:8px}\n.atx-ib-brief 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Mono\",monospace;font-size:12px;letter-spacing:.12em;text-transform:uppercase;color:#f3b48f!important;margin-bottom:10px}\n.atx-ib-retain ul{margin:0;padding-left:20px}\n.atx-ib-retain li,.atx-ib-retain span,.atx-ib-retain div{color:#eef3f0!important}\n.atx-ib-retain strong,.atx-ib-retain b{color:#fff!important}\n.atx-ib-retain li{margin:7px 0}\n.atx-ib-faq details{border:1px solid #e3e6e4;border-radius:10px;padding:14px 18px;margin:10px 0;background:#fff;transition:border-color .25s ease,box-shadow .25s ease}\n.atx-ib-faq details:hover{border-color:#bf460f;box-shadow:0 8px 20px -14px rgba(16,24,40,.3)}\n.atx-ib-faq summary{cursor:pointer;font-family:\"Space Grotesk\",\"Inter\",sans-serif;font-weight:600;font-size:17px;color:#1d2321;list-style:none}\n.atx-ib-faq summary::-webkit-details-marker{display:none}\n.atx-ib-faq summary::before{content:\"+\";color:#bf460f;font-weight:700;margin-right:10px}\n.atx-ib-faq details[open] summary::before{content:\"\u2013\"}\n.atx-ib-faq .atx-ib-txt{margin-top:10px;font-size:16px;color:#2b3330}\n@media (max-width:640px){.atx-ib-grid{grid-template-columns:1fr}.atx-ib-brief,.atx-ib-retain{padding:20px}.atx-ib-wrap{font-size:16.5px}}\n<\/style>\n<div class=\"atx-ib-wrap\">\n<div class=\"atx-ib-lead\">Tuyaux color\u00e9s en fa\u00e7ade, poutres d&rsquo;acier laiss\u00e9es visibles, plateaux sans cloisons : l&rsquo;architecture high-tech a marqu\u00e9 les villes \u00e0 partir des ann\u00e9es 1970. Voici ce qui la d\u00e9finit, les b\u00e2timents qui l&rsquo;ont fait conna\u00eetre, et ce qu&rsquo;elle laisse aux architectes qui con\u00e7oivent aujourd&rsquo;hui des b\u00e2timents bas carbone.<\/div>\n<div class=\"atx-ib-brief\">\n<div class=\"atx-ib-tag\">En bref<\/div>\n<div class=\"atx-ib-txt\">L&rsquo;architecture high-tech est un courant apparu dans les ann\u00e9es 1970 qui montre au lieu de cacher : la structure porteuse, les gaines techniques et les circulations deviennent l&rsquo;ornement du b\u00e2timent. Le nom vient du livre <em>High Tech: The Industrial Style and Source Book for The Home<\/em> (1978) de Joan Kron et Suzanne Slesin.<\/div>\n<ul>\n<li><strong>Figures majeures :<\/strong> Renzo Piano, Richard Rogers, Norman Foster, Michael Hopkins, avec l&rsquo;ing\u00e9nieur Peter Rice.<\/li>\n<li><strong>B\u00e2timents phares :<\/strong> Centre Pompidou (1977), Lloyd&rsquo;s building \u00e0 Londres (1986), si\u00e8ge de HSBC \u00e0 Hong Kong (1985).<\/li>\n<li><strong>Principes :<\/strong> structure apparente, \u00e9l\u00e9ments pr\u00e9fabriqu\u00e9s assembl\u00e9s, plateaux libres et modulables.<\/li>\n<li><strong>Enjeu actuel :<\/strong> concilier cette esth\u00e9tique acier-verre avec la RE2020, qui compte le carbone des mat\u00e9riaux sur tout le cycle de vie.<\/li>\n<\/ul>\n<\/div>\n<h2>Introduction \u00e0 l&rsquo;architecture high-tech<\/h2>\n<p>Le courant high-tech, parfois appel\u00e9 \u00ab techno-architecture \u00bb ou rattach\u00e9 au modernisme tardif, prolonge le mouvement moderne au-del\u00e0 du brutalisme. Plut\u00f4t que de dissimuler la technique derri\u00e8re des fa\u00e7ades lisses, il la met en sc\u00e8ne : boulons, c\u00e2bles, conduites d&rsquo;air et ascenseurs participent \u00e0 l&rsquo;image du b\u00e2timent.<\/p>\n<p>Le terme lui-m\u00eame ne vient pas d&rsquo;un architecte. Il s&rsquo;est diffus\u00e9 apr\u00e8s le succ\u00e8s d&rsquo;un ouvrage de 1978 consacr\u00e9 au d\u00e9tournement d&rsquo;objets industriels dans la maison, sign\u00e9 par les critiques am\u00e9ricaines Joan Kron et Suzanne Slesin.<\/p>\n<h2>D\u00e9finition et caract\u00e9ristiques de l&rsquo;architecture high-tech<\/h2>\n<p>Ce qui distingue un b\u00e2timent high-tech tient moins \u00e0 la quantit\u00e9 de technologie qu&rsquo;il contient qu&rsquo;\u00e0 la mani\u00e8re dont il l&rsquo;expose. Trois principes reviennent dans la plupart des r\u00e9alisations du mouvement.<\/p>\n<div class=\"atx-ib-grid\">\n<div class=\"atx-ib-card\">\n<div class=\"atx-ib-year\">01<\/div>\n<div class=\"atx-ib-name\">Structure et r\u00e9seaux apparents<\/div>\n<div class=\"atx-ib-txt\">Poutres, tirants, gaines et conduites sont plac\u00e9s \u00e0 l&rsquo;ext\u00e9rieur ou laiss\u00e9s visibles. La technique devient un \u00e9l\u00e9ment de composition de la fa\u00e7ade.<\/div>\n<\/div>\n<div class=\"atx-ib-card\">\n<div class=\"atx-ib-year\">02<\/div>\n<div class=\"atx-ib-name\">Pr\u00e9fabrication<\/div>\n<div class=\"atx-ib-txt\">Le b\u00e2timent est pens\u00e9 comme un assemblage ordonn\u00e9 d&rsquo;\u00e9l\u00e9ments fabriqu\u00e9s en atelier, souvent en acier, avec des murs-rideaux en verre.<\/div>\n<\/div>\n<div class=\"atx-ib-card\">\n<div class=\"atx-ib-year\">03<\/div>\n<div class=\"atx-ib-name\">Flexibilit\u00e9 int\u00e9rieure<\/div>\n<div class=\"atx-ib-txt\">En sortant les services du c\u0153ur de l&rsquo;\u00e9difice, on lib\u00e8re de grands plateaux sans poteaux ni cloisons fixes, que l&rsquo;on peut r\u00e9am\u00e9nager.<\/div>\n<\/div>\n<\/div>\n<h2>Exemples embl\u00e9matiques d&rsquo;architecture high-tech<\/h2>\n<p>Le Centre Pompidou, \u00e0 Paris, est le manifeste du mouvement. Renzo Piano, Richard Rogers et Gianfranco Franchini ont remport\u00e9 en 1971 le concours international, avec l&rsquo;appui du bureau d&rsquo;ing\u00e9nierie Ove Arup &amp; Partners et de Peter Rice. Le chantier a d\u00e9but\u00e9 en mai 1972 et le b\u00e2timent a \u00e9t\u00e9 inaugur\u00e9 le 31 janvier 1977. Ses gaines ext\u00e9rieures suivent un code couleur : bleu pour la climatisation, vert pour l&rsquo;eau, jaune pour l&rsquo;\u00e9lectricit\u00e9, rouge pour les ascenseurs. Il a re\u00e7u le label \u00ab Architecture contemporaine remarquable \u00bb en 2016 ; sa fermeture pour r\u00e9novation \u00e9tait programm\u00e9e en 2025, pour une r\u00e9ouverture annonc\u00e9e en 2030.<img decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/ataox.org\/blog\/wp-content\/uploads\/2025\/02\/stability-architecture-high-tech-lavenir-du-design-urbain-et-durable-1.png\" class=\"aligncenter\" alt=\"Illustration d\u00e9taill\u00e9e sur Architecture High-Tech : L&#039;avenir du design urbain et durable\" title=\"Architecture High-Tech : L&#039;avenir du design urbain et durable\" loading=\"lazy\" \/><\/p>\n<div class=\"atx-ib-grid\">\n<div class=\"atx-ib-card\">\n<div class=\"atx-ib-year\">1978 \u2013 1986 \u00b7 Londres<\/div>\n<div class=\"atx-ib-name\">Lloyd&rsquo;s building<\/div>\n<div class=\"atx-ib-txt\">Richard Rogers y place ascenseurs, escaliers et conduites \u00e0 l&rsquo;ext\u00e9rieur autour d&rsquo;un grand atrium vitr\u00e9. Inaugur\u00e9 par Elisabeth II le 18 novembre 1986, class\u00e9 Grade I en 2011.<\/div>\n<\/div>\n<div class=\"atx-ib-card\">\n<div class=\"atx-ib-year\">1985 \u00b7 Hong Kong<\/div>\n<div class=\"atx-ib-name\">Si\u00e8ge de HSBC<\/div>\n<div class=\"atx-ib-txt\">Norman Foster suspend les planchers \u00e0 des m\u00e2ts d&rsquo;acier, sans structure porteuse int\u00e9rieure. Des modules pr\u00e9fabriqu\u00e9s en \u00c9cosse ont \u00e9t\u00e9 achemin\u00e9s par bateau.<\/div>\n<\/div>\n<div class=\"atx-ib-card\">\n<div class=\"atx-ib-year\">1987 \u00b7 Paris<\/div>\n<div class=\"atx-ib-name\">Institut du monde arabe<\/div>\n<div class=\"atx-ib-txt\">Jean Nouvel et Architecture-Studio dotent la fa\u00e7ade sud de 240 moucharabiehs \u00e0 diaphragmes mobiles. \u00c9querre d&rsquo;argent 1987.<\/div>\n<\/div>\n<\/div>\n<p>Les r\u00e9alisations des ann\u00e9es 1990 et 2000 reprennent une partie de ce vocabulaire. La tour Agbar de Barcelone, aujourd&rsquo;hui appel\u00e9e tour Gl\u00f2ries, a \u00e9t\u00e9 dessin\u00e9e par Jean Nouvel avec le cabinet b720 et inaugur\u00e9e en 2005 : sa fa\u00e7ade de verre int\u00e8gre des capteurs de temp\u00e9rature qui pilotent l&rsquo;ouverture des fen\u00eatres pour limiter le recours \u00e0 la climatisation.<\/p>\n<div class=\"atx-ib-table\">\n<table>\n<tr>\n<th>B\u00e2timent<\/th>\n<th>Architecte(s)<\/th>\n<th>Ach\u00e8vement<\/th>\n<\/tr>\n<tr>\n<td>Centre Pompidou (Paris)<\/td>\n<td>Renzo Piano, Richard Rogers, Gianfranco Franchini<\/td>\n<td>1977<\/td>\n<\/tr>\n<tr>\n<td>Si\u00e8ge de HSBC (Hong Kong)<\/td>\n<td>Norman Foster<\/td>\n<td>1985<\/td>\n<\/tr>\n<tr>\n<td>Lloyd&rsquo;s building (Londres)<\/td>\n<td>Richard Rogers<\/td>\n<td>1986<\/td>\n<\/tr>\n<tr>\n<td>Institut du monde arabe (Paris)<\/td>\n<td>Jean Nouvel, Architecture-Studio<\/td>\n<td>1987<\/td>\n<\/tr>\n<tr>\n<td>Torre Agbar \/ Gl\u00f2ries (Barcelone)<\/td>\n<td>Jean Nouvel, b720<\/td>\n<td>2005<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<h2>Impact et cons\u00e9quences de l&rsquo;architecture high-tech<\/h2>\n<p>L&rsquo;h\u00e9ritage le plus visible du high-tech est culturel : malgr\u00e9 la pol\u00e9mique suscit\u00e9e par son esth\u00e9tique, le Centre Pompidou a connu un large succ\u00e8s public, et le Lloyd&rsquo;s building, class\u00e9 Grade I en 2011, \u00e9tait alors le plus jeune b\u00e2timent \u00e0 recevoir ce statut.<\/p>\n<p>Sur le plan environnemental, le bilan est plus nuanc\u00e9. Les mat\u00e9riaux embl\u00e9matiques du courant, l&rsquo;acier et le verre, entrent comme tous les autres dans le bilan carbone d&rsquo;une construction, que la France mesure d\u00e9sormais r\u00e9glementairement. Depuis le 1<sup>er<\/sup> janvier 2022 pour les logements et le 1<sup>er<\/sup> juillet 2022 pour les bureaux et l&rsquo;enseignement, la RE2020 (d\u00e9cret n\u00b0 2021-1004 du 29 juillet 2021) impose de calculer l&rsquo;impact carbone d&rsquo;un b\u00e2timent sur l&rsquo;ensemble de son cycle de vie, par analyse de cycle de vie, et d&rsquo;assurer un confort d&rsquo;\u00e9t\u00e9. Les seuils carbone se resserrent par paliers en 2025, 2028 et 2031.<\/p>\n<div class=\"atx-ib-warn\">\n<div class=\"atx-ib-tag\">Id\u00e9e re\u00e7ue<\/div>\n<div class=\"atx-ib-txt\">\u00ab High-tech \u00bb ne veut pas dire \u00ab durable \u00bb. Le mouvement des ann\u00e9es 1970-80 cherchait la flexibilit\u00e9 et l&rsquo;expression de la technique, pas la sobri\u00e9t\u00e9 carbone. Aujourd&rsquo;hui, ses performances se d\u00e9montrent par le calcul, comme pour tout projet soumis \u00e0 la RE2020.<\/div>\n<\/div>\n<p>Pour chiffrer des \u00e9missions, l&rsquo;ADEME g\u00e8re la Base Carbone, int\u00e9gr\u00e9e \u00e0 la Base Empreinte : une base de donn\u00e9es publique de facteurs d&rsquo;\u00e9mission qui sert de r\u00e9f\u00e9rence aux bilans de gaz \u00e0 effet de serre. Cette comptabilit\u00e9 pousse les concepteurs \u00e0 r\u00e9utiliser l&rsquo;id\u00e9e high-tech de flexibilit\u00e9, qui allonge la dur\u00e9e de vie d&rsquo;un b\u00e2timent, tout en interrogeant la quantit\u00e9 de mati\u00e8re employ\u00e9e.<\/p>\n<p>D&rsquo;autres architectes empruntent une voie presque oppos\u00e9e, celle de mat\u00e9riaux locaux et peu transform\u00e9s. La vid\u00e9o ci-dessous, consacr\u00e9e \u00e0 l&rsquo;architecte Anna Heringer et \u00e0 sa vision de la durabilit\u00e9, offre un contrepoint utile pour comprendre le d\u00e9bat actuel entre technique et sobri\u00e9t\u00e9.<\/p>\n<p><iframe loading=\"lazy\" title=\"Anna Heringer, l&#039;architecte qui r\u00e9invente la durabilit\u00e9 - Pierre-Louis Gerlier, architecte\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/8D30Ri2Qjos?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Entre les deux, des projets r\u00e9cents associent technique et v\u00e9g\u00e9tal. \u00c0 Sydney, l&rsquo;immeuble One Central Park, achev\u00e9 en 2013 et con\u00e7u par Jean Nouvel, porte des jardins verticaux du botaniste Patrick Blanc et un h\u00e9liostat en porte-\u00e0-faux.<\/p>\n<h2>Conclusion : un avenir \u00e0 r\u00e9inventer<\/h2>\n<p>L&rsquo;architecture high-tech a chang\u00e9 la fa\u00e7on de regarder un b\u00e2timent : la structure et les r\u00e9seaux sont devenus un langage. Son h\u00e9ritage le plus utile aujourd&rsquo;hui tient sans doute \u00e0 la flexibilit\u00e9 des plateaux et \u00e0 la pr\u00e9fabrication, deux leviers compatibles avec une construction plus sobre. Son esth\u00e9tique acier-verre, en revanche, doit d\u00e9sormais passer l&rsquo;\u00e9preuve du calcul carbone impos\u00e9 par la RE2020.<\/p>\n<div class=\"atx-ib-retain\">\n<div class=\"atx-ib-tag\">\u00c0 retenir<\/div>\n<ul>\n<li><strong>Un courant des ann\u00e9es 1970<\/strong>, nomm\u00e9 d&rsquo;apr\u00e8s un livre de 1978, qui expose structure et r\u00e9seaux.<\/li>\n<li><strong>Trois r\u00e9f\u00e9rences dat\u00e9es :<\/strong> Centre Pompidou (1977), si\u00e8ge HSBC (1985), Lloyd&rsquo;s building (1986).<\/li>\n<li><strong>Trois principes :<\/strong> structure apparente, pr\u00e9fabrication, plateaux flexibles.<\/li>\n<li><strong>Durabilit\u00e9 :<\/strong> depuis 2022, la RE2020 impose une analyse de cycle de vie carbone des b\u00e2timents neufs.<\/li>\n<\/ul>\n<\/div>\n<h2>Questions fr\u00e9quentes<\/h2>\n<div class=\"atx-ib-faq\">\n<details>\n<summary>Qu&rsquo;est-ce que l&rsquo;architecture high-tech ?<\/summary>\n<div class=\"atx-ib-txt\">C&rsquo;est un courant n\u00e9 dans les ann\u00e9es 1970 qui int\u00e8gre des \u00e9l\u00e9ments techniques et industriels au b\u00e2timent et les rend visibles : structure porteuse apparente, gaines en fa\u00e7ade, \u00e9l\u00e9ments pr\u00e9fabriqu\u00e9s, plateaux int\u00e9rieurs libres.<\/div>\n<\/details>\n<details>\n<summary>Quels b\u00e2timents c\u00e9l\u00e8bres sont consid\u00e9r\u00e9s comme high-tech ?<\/summary>\n<div class=\"atx-ib-txt\">Les plus cit\u00e9s sont le Centre Pompidou \u00e0 Paris (Piano, Rogers et Franchini, inaugur\u00e9 en 1977), le Lloyd&rsquo;s building \u00e0 Londres (Richard Rogers, 1986) et le si\u00e8ge de HSBC \u00e0 Hong Kong (Norman Foster, 1985).<\/div>\n<\/details>\n<details>\n<summary>L&rsquo;architecture high-tech est-elle \u00e9cologique ?<\/summary>\n<div class=\"atx-ib-txt\">Pas par nature. Ses priorit\u00e9s \u00e9taient la flexibilit\u00e9 et l&rsquo;expression de la technique. Aujourd&rsquo;hui, en France, un b\u00e2timent neuf de ce type doit respecter la RE2020, qui \u00e9value son impact carbone sur tout son cycle de vie.<\/div>\n<\/details>\n<details>\n<summary>Quels sont les avantages de ce style architectural ?<\/summary>\n<div class=\"atx-ib-txt\">Des plateaux int\u00e9rieurs d\u00e9gag\u00e9s que l&rsquo;on peut r\u00e9am\u00e9nager, et une construction par assemblage ordonn\u00e9 d&rsquo;\u00e9l\u00e9ments pr\u00e9fabriqu\u00e9s.<\/div>\n<\/details>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":34,"featured_media":7353,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"manual_indexmenow":false,"indexmenow_id_project":0,"footnotes":""},"categories":[1],"tags":[4529,3153,4532,4530,4590,4591],"class_list":["post-7352","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-la-une","tag-architecture-high-tech","tag-centre-pompidou","tag-esthetique-fonctionnelle","tag-materiaux-modernes","tag-technologie-integree","tag-torre-agbar","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-25"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v21.3 (Yoast SEO v27.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Architecture high-tech : d\u00e9finition, exemples et h\u00e9ritage &#8211; 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