The Architecture Industry and Typical Icons

Abstract

This chapter aims to fill in the substance of the first component of the corporate fraction of the transnational capitalist class (TCC) in architecture and urban design, the major architecture firms. While the starchitects and signature architects who produce unique architectural icons have attracted most media attention, they are a very small group within the profession. Here, the focus is on the much larger group of architecture firms producing the successful typical icons that are transforming cities all round the world in the era of capitalist globalization. Infrastructure is an increasingly large part of this, and I introduce the idea of celebrity infrastructure to highlight how bridges, transportation hubs, and waterside developments are mobilized as the Icon Project strives to turn them into consumerist spaces. Here the focus is more on the projects than the firms. As we saw in the previous chapter, contrary to the claims of many architecture critics and theorists, iconicity is not simply a creation of the media or corporate publicists. Architects play a significant part in the social production of iconic architecture, making some of them active participants in the Icon Project. As Dion Kooijman (2000: 829) argues, ‘architecture can form a true part of the “image building” by PR and marketing departments’. Behind the general discussion of the ways in which the four fractions of the TCC serve the interests of capitalist globalization through creating and promoting iconic architecture is the idea that, as well as the symbolism and aesthetics of iconic buildings and spaces, there is something else going on of great significance. Two pioneering studies, Blau (1984) and Gutman (1988), researched architecture as an industry in the United States. Judith Blau focused more on architects themselves, reporting a key finding that 98 per cent of respondents (she surveyed 400 architects in New York) said that architects were distinct from other professionals in terms of the ‘mystique of artistic creativity’ (Blau 1984: 49), but that most architects never realize this goal. This was seen to be a problem for architecture, particularly in capitalist societies.