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From Alvar Aalto to Zaha Hadid, a number of architects in the past century have established an international reputation, sometimes obtaining more commissions abroad than in their home or adopted country. But despite the formation of the EU, it may be harder to design across frontiers today than it was in previous years.
Different decades in the past century have become irrevocably linked to a certain style of design, sometimes that of a particular nation. In the 1920s and 1930s it was France, specifically Paris. In the 1950s the Scandinavian countries, mainly Denmark, took the design lead, while in the Sixties the spotlight turned to London, where design joined forces with the emerging youth market. In the later 20th century, Italy emerged as a centre of design innovation, particularly in domestic furnishings and industrial design, a position it maintains today. The global reach of new technology and international markets has helped to erode national boundaries, but it is still possible to find national characteristics in a product, deeply embedded as they are in the psyche of the designer – just look to the products of Ikea. 
Lost in translation
Architectural design can be more difficult to export. Factors such as national building methods, materials and climate all have to be taken into account. “Although it is now easier to travel across Europe and to be on site in a matter of hours, there are a number of major obstacles to overcome in the case of practising abroad,” explains Roger Shrimplin, a representative on the Architects Council of Europe. “It is quite hard to get the required professional indemnity insurance across Europe, while the regulatory regimes in each country are quite different.”
There are several other practical problems. “The climate can be very different, from the Alps to the Mediterranean, and construction methods can vary widely; in Spain, for example, there are seismic conditions to be taken into account. It is difficult enough to get a grip of the complex building regulations and planning system, without attempting to understand these in an unfamiliar language,” relates Roger. “Even if an architect is reasonably fluent in another language, it may not be possible to grasp the subtleties of wording in that country’s planning legislation.”
Since the formation of the European Union, there has been a plethora of Directives governing almost all aspects of manufacturing and business in the member states. But the supply of architectural services is proving more difficult to harmonise. In France, for example, architects based overseas must work with a French firm of architects or gain recognition from and register with the country’s professional body. The German architectural profession is still closely regulated and in Spain all planning applications must be submitted by an architect registered with the Spanish regulatory body. The UK market is largely deregulated and remains one of the least protected markets for architects, according to Roger: “Although the title of ‘architect’ is still protected, the function of an architect is not. In most other European countries, the architect’s function is still protected and all architects practising in these countries must be registered with the relevant regulatory body.”
In most European countries, fee scales have been abolished, so it is up to the individual architect to negotiate the appropriate level of fees for the work they put in. Despite these difficulties, “there is a lot of cross-border architectural design going on, albeit on a small scale,” continues Roger. “This may be because an architect has visited a country on holiday and decides to build a house there, or because of a client or family connection. My own wife is Spanish, so I am registered as an architect in Spain and have carried out work there. Larger practices may set up a permanent office abroad, particularly if they have expertise in a particular discipline such as the design of hotels, but for some small practitioners, this would not make sense.”
New generation
New technology has revolutionised architectural design in the past decade. For example, Norman Foster’s Swiss Re building in London, dubbed the ‘Gherkin’, could not have been built without the use of computers. And new technology does now make it easier for designers from all building construction disciplines to work effectively together while being based in separate offices in different countries. Today it is simple to exchange information over the internet while computer programs can check and highlight any inconsistencies between design and construction drawings.
The affordability and accessibility of computer technology for fledgling architectural practices means that some young designers are finding it easier to land commissions abroad than to gain work in their home country. Zaha Hadid, one of the Architectural Association’s most talented graduates, spent years experimenting with designs on the drawing board despite her commitment to practise in London. This led to her being branded a ‘paper’ architect, adored by the architectural press but unable to get her designs realised. Interestingly, it was the international office furniture manufacturer Vitra, under the chairmanship of Rolf Fehlbaum, which gave Hadid her real big break when she was commissioned to design a fire station at the company’s manufacturing plant in Germany (completed in 1993).
Fehlbaum is just one example of a growing number of enlightened international clients. At Vitra’s Weil am Rhein site, he has established a collection of buildings by some of the world’s leading architects. In addition to Hadid’s work, there are factory buildings by Nicholas Grimshaw (1981 and 1986) – he also produced the masterplan for the entire site. US architect Frank O. Gehry designed a factory hall, gatehouse and the Vitra Design Museum (1989), to be joined by Japanese architect Tadao Ando’s Conference Pavilion (1993) and the most recent addition: a new production hall by Portuguese architect Alvaro Siza (1994).
The Architects Council of Europe represents the professional and regulatory bodies of all 25 European member states, all the Accession States, plus Switzerland and Norway. Looking at the wider global picture, there are two other organisations that are seeking to open up opportunities for architects worldwide: The Commonwealth Association of Architects, with 37 members from institutes based in major economies, such as India and Australia, as well as smaller countries, including Fiji and Tonga. “The aim is to encourage architects and the effective practice of architecture in the weaker economies,” explains Roger. Meanwhile, the International Union of Architects (UIA), founded in 1948, includes representatives of the key professional organisations in 116 countries. “The UIA originally grew out of the Cold War,” continues Roger. “It was set up to be a vital point of communication between architects in the Eastern Bloc and the West.”
Architects worldwide can debate the idealism of architecture endlessly, but it is enlightened clients who nurture the genius of talented individuals on an international level. Often a professional from overseas can bring something unique to a building project, something unexpected, an approach that a client might not find closer to home. And commissioning an international star can add a touch of glamour, even controversy, to projects which may be more about attracting inward investment to a deprived area, promoting a company’s credentials to the international design community, or enhancing civic status than simply a prosaic solution to local accommodation needs.
For more information
Architects Council of Europe: www.ace-cae.org/
Commonwealth Association of Architects: http://www.comarchitect.org/
International Union of Architects: uia-architectes.org
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