“Like adding New York to Kuala Lumpur and Hong Kong, then squaring the result. The capital of the Old Republic takes urban sprawl to the extreme and realises the vision of Greek City planner Constantinos Doxiadis of an ecumeonpolis: a single city that covers the whole of a planet. The ‘New Architecture’ style common to the Senate Area of Coruscant is characterised by Manhattan-like skyscrapers nestled among blade-thin obelisks that resemble the soaring minarets of Cairo…”
Top 10: The architecture of Star Wars, Architects’ Journal .
“It would appear that the Star Wars Universe owes another debt to architecture. A reader sent in the above image with a note saying that the Hotel du Lac in Tunisia may have served as the inspiration for the Sandcrawlers used by the Jawas to travel across Tatooine. Another visit to Wookiepedia […] tells us that filming for A New Hope largely took place in Tunisia, so it’s entirely possible that this building did, in fact, have an influence on the production design. BONUS: a little trivia for you Extended Universe fans — “du Lac” was the origin of the “Dulok,” the natural enemies of the Ewoks. Obvs. But wait, there’s more!…”
Rem Koolhaas, Tunisia, and Sandcrawlers, Life Without Buildings
“In a 1967 essay on minimalism, Clement Greenberg, America’s most influential critic, could have been describing Star Wars: “Everything is rigorously rectilinear or spherical. Development within a given piece is usually repetition of the same modular shape, which may or may not be varied in size.” Greenberg rejected minimalism as pedestrian. “Minimal works are readable as art,” he wrote, “as almost anything is today, including a door, a table, or a blank sheet of paper.” Perhaps because of its fantastic nature, the Death Star has never been recognized as an essential work of minimalism—but it is one.
“Its destruction has never been acknowledged as a turning point for modernism—but it was one. Lucas unabashedly emulated the visuals of Stanley Kubrick’s film 2001: A Space Odyssey (1968),which incorporated the principles of modernist architecture (spare, utilitarian, evenly lit spaces) and the presence of a minimalist slab (colorless, drab, depersonalized, inscrutable non-art). The only ornamental flourishes in the film were borrowed from NASA (whitewashed modular construction pocked by latches, struts, and access panels) and corporate furniture design (steel, leather, powder-coat enamel, and blobby red Dijinn).
Lucas hired so many members of Kubrick’s team that their subset of the Star Wars crew was dubbed “The Class of 2001.” But he borrowed selectively. Kubrick’s 2001 environments were cohesive and balanced, informed by architectural theory and late-’60s aesthetics; they upheld the distinction between the astronaut modernists and the alien minimalists. By contrast, Lucas willfully mashed together minimalism, modernism, and NASA design. Two visual rhetorics are at war on-screen: The first is that of an industrial superpower; the second is that of a rogue fringe of misfits and mismatches…“
Star Wars: A New Heap – Or How I Learned to Stop Worrying and Love The Death Star, John Powers, Triple Canopy