The main characteristics of High Tech architecture are very varied, including the exhibition of technical and functional components of the construction, a relatively orderly layout and a frequent use of prefabricated components. Glass walls and steel structures are very popular in this style. These characteristics together generated an industrial aesthetic. The technique, in some aspects, implied the basis of the aesthetic foundation of the constructions.

When it came to interior design there was a preference for using objects familiar to the industry; for example: containers used in the chemical industry as vases for flowers. This is because the objective was the use of industrial aesthetics. Aim to give people a familiarity between the industrial workspace and the place where they would live or entertain. The movement sought to give everything an industrial appearance.

It is important to note that the technical elements shown to generate the industrial aesthetics were not only for aesthetic purposes but also for functional ones. They respond to a project requirement by solving design problems. They are only functions, those that were reworkings of the functionalism of the Modern Movement. The industrial elements still partly maintain an appearance and a functional objective.

Prior to the Modern Movement, the functions of the building were hidden and after the fact the functions and uses were formally highlighted and flexibility was prioritized. This flexibility means that the building must be a catalyst for activities and technical services must be proposed and clearly defined. The Pompidou Center in Paris by Piano & Rogers is a complete example of the High Tech style. The supporting structure), the ventilation ducts and air conditioning, the escalator, the transformers; everything in sight. At the time it was completely revolutionary, as the ventilation ducts that were previously hidden are now visible.

Another aspect of High Tech architecture is the renewed confidence that technology could improve the world. This is particularly evident in Kenzō Tange's technically sophisticated construction project carried out and/or designed in Japan during the building boom of the 1960s. Few of those projects were actually transformed into buildings.

In the eighties, High Tech formally evolved until it became difficult to distinguish from the rest of postmodern architecture. Many of its themes and ideas were absorbed into the language of other postmodern architectural currents and the distinction ceased.

The buildings were built mainly in Europe and North America. After the destruction of many significant buildings in Europe during World War II, rebuilding them was very problematic. The architects had to decide whether to replicate the historical models or replace them with modern materials and new aesthetics.

Scientific and technological innovation in the seventies had a great impact on society. Overexcited by the space race and the arrival of man on the moon by Neil Armstrong in 1969, along with the exasperating innovation of military technology. These developments hinted in people's minds that everything could be solved with technological advancement and development. Technological instruments began to be common to the entire society and this generated an acceptance of opting for installations, supporting structures and visible covers. These High Tech constructions became more visible every day to the average man. He developed a love for technology shown by High Tech Architecture.

With the oil crisis of 1973, many of these buildings became impossible to maintain due to the high use of metal materials and glass, which not only led to rapid aging but also enormous energy expenditure. The Pompidou Center, which was recognized as an exponent of the new trend, quickly became an example of what should not be done. The main makers of High Tech are Foster, Rogers, Piano, Thomas Herzog"), Francoise-Hélène Jourda") and Gilles Perroudin") decided to re-found High Tech to face the new problems that began to overwhelm humanity in the early 90s. For this, in 1993 during the Florence International Conference on solar energy in architecture and urban planning, they founded the READ group, which receives support from the European Community.

Among the purposes of READ was the deepening of the use of renewable energies in construction. Thus, more environmentally friendly project ideas begin to be proposed where among the first exponents of what is today called Sustainable Architecture were the Commerzbank building in Frankfurt am Main by Foster and the Mont Cenis Cultural Center by Jourda & Perraudin towards the end of the 90s. These were considered the first Eco-tech) as an evolution of the High-tech movement in what is currently called Sustainable Architecture.

High Tech architecture is based on many themes typical of Modern Architecture, which it appropriated by reworking and developing based on the latest trends. The main objectives of High Tech architecture consist of a creative game of creating anything new, evidencing the complexity of the technique.

Modern architecture strove to rebel against established canons to create a new aesthetic. High Tech architecture continues that attitude of rebellion. In the book: "High-Tech: The Industrial Style and Source Book for The Home", Joan Kron and Suzanne Slesin discuss High Tech aesthetics, where they use emphatic expressions such as "...your parents might find insulting...". This spirit adequately demonstrates the rebellious attitude.

Kron and Slesin went much further (when they coined the name of the movement in the book) explaining the term High Tech as that used in architectural circles to describe an ever increasing number of homes and public buildings with a crudely technological look (NDT: "nuts-and-bolts-exposed-pipes technological look").

In any case, High Tech has been a reference in current modern architecture, as is the example of the Agbar tower in Barcelona.

The main characteristics of High Tech architecture are very varied, including the exhibition of technical and functional components of the construction, a relatively orderly layout and a frequent use of prefabricated components. Glass walls and steel structures are very popular in this style. These characteristics together generated an industrial aesthetic. The technique, in some aspects, implied the basis of the aesthetic foundation of the constructions.

When it came to interior design there was a preference for using objects familiar to the industry; for example: containers used in the chemical industry as vases for flowers. This is because the objective was the use of industrial aesthetics. Aim to give people a familiarity between the industrial workspace and the place where they would live or entertain. The movement sought to give everything an industrial appearance.

It is important to note that the technical elements shown to generate the industrial aesthetics were not only for aesthetic purposes but also for functional ones. They respond to a project requirement by solving design problems. They are only functions, those that were reworkings of the functionalism of the Modern Movement. The industrial elements still partly maintain an appearance and a functional objective.

Prior to the Modern Movement, the functions of the building were hidden and after the fact the functions and uses were formally highlighted and flexibility was prioritized. This flexibility means that the building must be a catalyst for activities and technical services must be proposed and clearly defined. The Pompidou Center in Paris by Piano & Rogers is a complete example of the High Tech style. The supporting structure), the ventilation ducts and air conditioning, the escalator, the transformers; everything in sight. At the time it was completely revolutionary, as the ventilation ducts that were previously hidden are now visible.

Another aspect of High Tech architecture is the renewed confidence that technology could improve the world. This is particularly evident in Kenzō Tange's technically sophisticated construction project carried out and/or designed in Japan during the building boom of the 1960s. Few of those projects were actually transformed into buildings.

In the eighties, High Tech formally evolved until it became difficult to distinguish from the rest of postmodern architecture. Many of its themes and ideas were absorbed into the language of other postmodern architectural currents and the distinction ceased.

The buildings were built mainly in Europe and North America. After the destruction of many significant buildings in Europe during World War II, rebuilding them was very problematic. The architects had to decide whether to replicate the historical models or replace them with modern materials and new aesthetics.

Scientific and technological innovation in the seventies had a great impact on society. Overexcited by the space race and the arrival of man on the moon by Neil Armstrong in 1969, along with the exasperating innovation of military technology. These developments hinted in people's minds that everything could be solved with technological advancement and development. Technological instruments began to be common to the entire society and this generated an acceptance of opting for installations, supporting structures and visible covers. These High Tech constructions became more visible every day to the average man. He developed a love for technology shown by High Tech Architecture.

With the oil crisis of 1973, many of these buildings became impossible to maintain due to the high use of metal materials and glass, which not only led to rapid aging but also enormous energy expenditure. The Pompidou Center, which was recognized as an exponent of the new trend, quickly became an example of what should not be done. The main makers of High Tech are Foster, Rogers, Piano, Thomas Herzog"), Francoise-Hélène Jourda") and Gilles Perroudin") decided to re-found High Tech to face the new problems that began to overwhelm humanity in the early 90s. For this, in 1993 during the Florence International Conference on solar energy in architecture and urban planning, they founded the READ group, which receives support from the European Community.

Among the purposes of READ was the deepening of the use of renewable energies in construction. Thus, more environmentally friendly project ideas begin to be proposed where among the first exponents of what is today called Sustainable Architecture were the Commerzbank building in Frankfurt am Main by Foster and the Mont Cenis Cultural Center by Jourda & Perraudin towards the end of the 90s. These were considered the first Eco-tech) as an evolution of the High-tech movement in what is currently called Sustainable Architecture.