Brutalism Resurgent
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Author | : Julia Gatley |
Publisher | : Routledge |
Total Pages | : 254 |
Release | : 2018-02-02 |
Genre | : Architecture |
ISBN | : 1317228278 |
Brutalism had its origins in béton brut – concrete in the raw – and thus in the post-war work of Le Corbusier. The British architects Alison and Peter Smithson used the term "New Brutalism" from 1953, claiming that if their house in Soho had been built, "it would have been the first exponent of the ‘New Brutalism’ in England". Reyner Banham famously gave the movement a series of characteristics, including the clear expression of a building’s structure and services, and the honest use of materials in their "as-found" condition. The Smithsons and Banham promoted the New Brutalism as ethic rather than aesthetic, privileging truth to structure, materials and services and the gritty reality of the working classes over the concerns of the bourgeoisie. But Brutalist architecture changed as it was taken up by others, giving rise to more sculptural buildings flaunting their raw materials, including off-form concrete, often in conjunction with bold structural members. While Brutalism fell out of vogue in the 1980s, recent years have seen renewed admiration for it. This volume is consistent with this broader resurgence, presenting new scholarship on Brutalist architects and projects from Skopje to Sydney, and from Harvard to Haringey. It will appeal to readers interested in twentieth-century architecture, and modern and post-war heritage. This book was originally published as a special issue of Fabrications: the Journal of the Society of Architectural Historians, Australia and New Zealand.
Author | : John Poros |
Publisher | : Taylor & Francis |
Total Pages | : 197 |
Release | : 2022-09-09 |
Genre | : Architecture |
ISBN | : 1000603784 |
This book tracks the development of Marcel Breuer’s aesthetic clash between uniformity and singularity through the detailed examination of his seminal buildings. Each chapter examines a specific building and puts into context Breuer’s other work and the contemporary movements/architects of the post-war era such as Surrealism, Brutalism and structural expressionism. The buildings examined include the UNESCO Headquarters in Paris, France, of 1958; the IBM Research Center in Le Gaude, France, of 1962; the Annunciation Priory in Bismark, North Dakota, of 1963; and the Atlanta Central Library of 1980. Marcel Breuer’s approach to design was inspired by the Spanish phrase, sol y sombra (sun and shadow). Sun and shadow meant for Breuer that a juxtaposition of contrasts was necessary; light glass walls and heavy concrete, masses lifted over voids, and serial precast construction resting on sculptural columns became hallmarks of Breuer’s buildings. By creating an architecture of juxtaposition, Breuer’s work can be interpreted as a surrealist recontre, as fueling a new architectural condition. A critical evaluation of Marcel Breuer’s work, this book is written for graduate students, researchers, and academics interested in his work and how it shaped the architecture of the post-war era.
Author | : Michael Truscello |
Publisher | : MIT Press |
Total Pages | : 378 |
Release | : 2020-09-01 |
Genre | : Art |
ISBN | : 0262358727 |
How "drowned town" literature, road movies, energy landscape photography, and "death train" narratives represent the brutality of industrial infrastructures. In this book, Michael Truscello looks at the industrial infrastructure not as an invisible system of connectivity and mobility that keeps capitalism humming in the background but as a manufactured miasma of despair, toxicity, and death. Truscello terms this "infrastructural brutalism"--a formulation that not only alludes to the historical nexus of infrastructure and the concrete aesthetic of Brutalist architecture but also describes the ecological, political, and psychological brutality of industrial infrastructures.
Author | : Tom Burdon |
Publisher | : Routledge |
Total Pages | : 268 |
Release | : 2017-11-22 |
Genre | : Social Science |
ISBN | : 135173427X |
This title was first published in 2000: The 1997 election marked the prospect of a new era in social welfare - the possibility of establishing a third phase in the post-war history of the welfare state (the first being the creation of the Keynesian welfare state, the second the Thatcher/Major neo-liberal reforms). The key aim of this book is to critically explore the options for the future of welfare under New Labour. The welfare state that the government inherited from the Conservatives is widely believed to be in a critical condition. At the same time, there is evidence of widening social inequality in Britain which existing social policy measures fail to address. Whilst acknowledging that future welfare strategies are likely to operate within a market paradigm, the key argument of this book is that welfare providers should operate within a more accountable and democratic environment where service-users have the right to participate in decision-making processes affecting their welfare - regardless of the ability to pay. The book concludes that the dominant discourse shaping social policy in Britain must be recognized and should not be accepted uncritically and that there are very real economic (as well as social) benefits from taking measures to address social disadvantage.
Author | : Kevin A. Morrison |
Publisher | : McFarland |
Total Pages | : 292 |
Release | : 2023-03-03 |
Genre | : History |
ISBN | : 1476683999 |
The East End is an iconic area of London, from the transient street art of Banksy and Pablo Delgado to the exhibitions of Doreen Fletcher and Gilbert and George. Located east of the Tower of London and north of the River Thames, it has experienced a number of developmental stages in its four-hundred-year history. Originating as a series of scattered villages, the area has been home to Europe's worst slums and served as an affluent nodal point of the British Empire. Through its evolution, the East End has been the birthplace of radical political and social movements and the social center for a variety of diasporic communities. This reference work, with its alphabetically organized cross-referenced entries and its original and historical photography, serves as a comprehensive guide to the social and cultural history of this global hub.
Author | : Barnabas Calder |
Publisher | : National Geographic Books |
Total Pages | : 0 |
Release | : 2022-07-26 |
Genre | : Architecture |
ISBN | : 1529156084 |
SHORTLISTED FOR THE ALICE DAVIS HITCHCOCK AWARD 'Brilliant' ELAIN HARWOOD 'Part history, part aesthetic autobiography, wholly engaging and liable to convince those procrastinators sitting (uncomfortably) on the concrete fence' JONATHAN MEADES 'A learned and passionate book' SIMON BRADLEY, author of The Railways 'A compelling and evocative read, meticulously researched, and filled with insight and passion' KATE GOODWIN, Head of Architecture, Royal Academy of Arts _______________________________ The raw concrete buildings of the 1960s constitute the greatest flowering of architecture the world has ever seen. The biggest construction boom in history promoted unprecedented technological innovation and an explosion of competitive creativity amongst architects, engineers and concrete-workers. The Brutalist style was the result. Today, after several decades in the shadows, attitudes towards Brutalism are slowly changing, but it is a movement that is still overlooked, and grossly underrated. Raw Concrete overturns the perception of Brutalist buildings as the penny-pinching, utilitarian products of dutiful social concern. Instead it looks a little closer, uncovering the luxuriously skilled craft and daring engineering with which the best buildings of the 1960s came into being: magnificent architectural visions serving clients rich and poor, radical and conservative. Beginning in a tiny hermitage on the remote north Scottish coast, and ending up backstage at the National Theatre, Raw Concrete embarks on a wide-ranging journey through Britain over the past sixty years, stopping to examine how eight extraordinary buildings were made - from commission to construction - why they have been so vilified, and why they are beginning to be loved. In it, Barnabas Calder puts forward a powerful case: Brutalism is the best architecture there has ever been, and perhaps the best there ever will be.
Author | : Scott Murray |
Publisher | : Routledge |
Total Pages | : 202 |
Release | : 2013-05-07 |
Genre | : Architecture |
ISBN | : 113623568X |
Exploring the design of innovative building enclosure systems (or skins) in contemporary architecture and their precedents in earlier twentieth century modern architecture, this book examines the tectonics, the history and the influence of translucency as a defining characteristic in architecture. Highly illustrated throughout with drawings and full colour photographs, the book shows that translucency has been and continues to be a fertile ground for architectural experimentation. Each chapter presents a comparative analysis of two primary buildings: a recent project, paired with a historical precedent, highlighting how architects in different eras have realized the distinctive effects of translucency. The included buildings span a variety of program types, ranging from a single-family residence, to a factory, to a synagogue. Whether it is Pierre Chareau’s glass-lens curtain wall at the Maison de Verre, Frank Lloyd Wright’s wall of stacked glass tubes at the Johnson Wax Research Tower, or Peter Zumthor’s use of acid-etched glass in a double-skin envelope at the Kunsthaus Bregenz, the included projects each offer an exemplary case study of innovations in materiality and fabrication techniques. Today, among many contemporary architects, there is an engagement with new technologies, new material assemblies, and new priorities such as sustainability and energy-efficiency. A resurgent interest in translucency as a defining quality in buildings has been an important part of this recent dialogue and this book makes essential reading for any architect looking to incorporate aspects of translucency into their buildings.
Author | : Achim Hochdoerfer |
Publisher | : National Geographic Books |
Total Pages | : 0 |
Release | : 2016-03-25 |
Genre | : Art |
ISBN | : 3791354914 |
Examining the resurgent interest in painting and the proliferation of new digital media in recent years, this generously illustrated book delineates painting's complex relationship with information technology. In a survey that begins in the mid-twentieth century, long before the birth of the Internet, this book traces painting’s capacity to digest and transform other media, even as its own legitimacy has been questioned. Featuring the work of numerous renowned artists, from Sigmar Polke to Nicole Eisenman and from Cy Twombly to Amy Sillman, the book examines how painting has addressed digital technology as it relates to human experience and perception, and includes three in-depth essays and additional texts by influential thinkers from the field. Comprehensive and lavishly illustrated, the book presents a wide range of works that reconsider the assumed opposition of the digital and the analog, the human and the technological, arguing that painting has served as a means to represent—and even enact—new media. This book affirms the ongoing vitality of the medium of painting in the midst of a digital world.
Author | : Mark Pasnik |
Publisher | : The Monacelli Press, LLC |
Total Pages | : 337 |
Release | : 2015-10-27 |
Genre | : Architecture |
ISBN | : 1580934242 |
Often problematically labeled as “Brutalist” architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world’s most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete’s structural and sculptural qualities. What emerged was a vision for the city’s widespread revitalization often referred to as the “New Boston.” Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period—from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty’s concrete Lincoln House and Studio; Sert, Jackson & Associates’ Martin Luther King Jr. Elementary School)—with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies—both troubled and inspired.
Author | : Nicholas Thoburn |
Publisher | : MIT Press |
Total Pages | : 351 |
Release | : 2024-03-19 |
Genre | : Architecture |
ISBN | : 1913380033 |
A critical appropriation of Brutalism in the crisis conditions of today. The Robin Hood Gardens public-housing estate in East London, completed in 1972, was designed by Alison and Peter Smithson as an ethical and aesthetic encounter with the flux and crises of the social world. Now demolished by the forces of speculative development, this Brutalist estate has been the subject of much dispute. But the clichéd terms of debate—a “concrete monstrosity” or a “modernist masterpiece”—have marginalized the estate’s residents and obscured its architectural originality. Recovering the social in the architectural, this book centers the estate’s lived experience of a multiracial working class, not to displace the architecture’s sensory qualities of matter and form, but to radicalize them for our present. Immersed in the materials, atmospheres, social forms and afterlives of this experimental estate, Robin Hood Gardens is reconstructed here as a socio-architectural expression of our times out of joint.