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Brief History of Architecture in N.C. Courthouses
MONUMENTS TO DEMOCRACY Architecture Styles in North Carolina Courthouses By Ava Barlow The judicial system, as one of three branches of government, is one of the main foundations of democracy. North Carolina’s earliest courthouses, none of which survived, were simple, small, frame or log structures. Ancillary buildings, such as a jail, clerk’s offi ce, and sheriff’s offi ce were built around them. As our nation developed, however, leaders gave careful consideration to the structures that would house important institutions – how they were to be designed and built, what symbols were to be used, and what building materials were to be used. Over time, fashion and design trends have changed, but ideals have remained. To refl ect those ideals, certain styles, symbols, and motifs have appeared and reappeared in the architecture of our government buildings, especially courthouses. This article attempts to explain the history behind the making of these landmarks in communities around the state. Georgian Federal Greek Revival Victorian Neo-Classical Pre – Independence 1780s – 1820 1820s – 1860s 1870s – 1905 Revival 1880s – 1930 Colonial Revival Art Deco Modernist Eco-Sustainable 1930 - 1950 1920 – 1950 1950s – 2000 2000 – present he development of architectural styles in North Carolina leaders and merchants would seek to have their towns chosen as a courthouses and our nation’s public buildings in general county seat to increase the prosperity, commerce, and recognition, and Trefl ects the development of our culture and history. The trends would sometimes donate money or land to build the courthouse. in architecture refl ect trends in art and the statements those trends make about us as a people. -
Brutalism? Some Remarks About a Polemical Name, Its Definition, and Its Use to Designate a Brazilian Architectural Trend
Published at En Blanco n.9/2012 pages 130-2 Avaliable at: http://www.tccuadernos.com/enblanco_numero.php?id=86 Brutalism? Some Remarks About a Polemical Name, its Definition, and its Use to Designate a Brazilian Architectural Trend Ruth Verde Zein [email protected] Mackenzie University São Paulo, Brazil Abstract The term Brutalism is both used and ignored in the architectural literature of the second half of the twentieth century. A thorough analysis of the term shows that it does not have a single, agreed-upon meaning. Although its definition and frequent use have not provided an unequivocal characterization of a Brutalist “essence,” to use Reyner Banham’s words, there seems to be no shortage of architecture identified as Brutalist, even if they are only superficially related. Paradoxically, instead of disregarding the term as inappropriate or vague, we might consider it adequate if we agree that what is common to all the architecture referred to as Brutalist is nothing more than their appearance. By accepting a non-essentialist definition of this movement, one may correctly apply the term to a number of different works, from different places, designed between 1950 and 1970. For the most part, what really connects these buildings is not their essence but their surface, not their inner characteristics but their extrinsic ones. Such a straightforward definition, encompassing the broad variety of Brutalist works, has the merit of providing a working definition of a broadly influential if understudied movement in modern architecture. 1 Fifty years after Brasilia’s inauguration in 1960, Brazilian architecture remains stuck in the same frozen images of a glorious moment in history. -
TOM FINKELPEARL (TF) Former Deputy Director of P.S
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: TOM FINKELPEARL (TF) Former Deputy Director of P.S. 1 INTERVIEWER: JEFF WEINSTEIN (JW) Arts & Culture Journalist / Editor LOCATION: THE MUSEUM OF MODERN ART DATE: JUNE 15, 2010 BEGIN AUDIO FILE PART 1 of 2 JW: I‟m Jeff Weinstein and we are sitting in the Architecture and Design conference room at the education and research building of The Museum of Modern Art on Tuesday, 3:30, June 15th, and I‟m talking to… TF: 2010. JW: 2010. Is it Thomas or Tom? TF: Tom. JW: Tom Finkelpearl. And we‟re going to be talking about his relationship to P.S. 1. Hello. Could you tell me a little background: where you were born, when, something about your growing up and your education? TF: Okay. Well, I was born in 1956 in Massachusetts. My mom was an artist and my dad was an academic. So, actually, you know, I had this vision of New York City from when I was a kid, which was, going to New York City and seeing, like, abstract expressionist shows. We had a Kline in our front hall. They had a de Kooning on consignment, but they didn‟t have the three hundred and fifty dollars. And so the trajectory of my early childhood was that I always had this incredible vision of coming to New York City and working in the arts. Then actually, I went undergraduate to Princeton. I was a visual arts and art history major, so I was an artist when I started P.S. -
The Visual Language of Brutalist Web Design El Lenguaje Visual Del Diseño Web Brutalista
The visual language of brutalist web design El lenguaje visual del diseño web brutalista Fernando Suárez-Carballo obtained a PhD from the Pontifical University of Salamanca in 2005 and is a perma- nent lecturer in Art Direction in the Faculty of Communication Studies at this university, where he has taught a range of subjects related to visual communication since the year 2000. He is a member of the research group Business Innovation and Creativity and the author of several articles and chapters of books on graphic design, the field that is his main line of research. His management responsibilities have included coordinating the degree course Advertising and Public Relations and his appointment as Associate Dean for students at the Faculty of Communication. He currently heads the Office for the Transfer of Research Results (Oficina de Transferencia de Resultados de Investigación, OTRI). Pontifical University of Salamanca, Spain [email protected] ORCID: 0000-0001-7498-6595 Received: 15/11/2018 - Accepted: 19/03/2019 Recibido: 15/11/2018 - Aceptado: 19/03/2019 Abstract: Resumen: Many authors agree on the current relevance of brutalist web Un gran número de autores coincide en señalar el protagonismo design, a trend inspired by the popular architectural style which, actual del diseño web brutalista, una corriente inspirada en el pop- ISSN: 1696-019X / e-ISSN: 2386-3978 in turn, is distinguished by the rawness of its materials, the ular estilo arquitectónico que, a su vez, se distingue por la desnudez geometric shapes or the absence of decoration. This study uses de sus materiales, las formas geométricas o la ausencia de orna- Content Analysis to discover whether it is possible to interpret mento. -
Re-Viewing and Reimagining Paul Rudolph's Brutalist Architecture In
140 studies in History & Theory of Architecture Re-viewing and Reimagining Paul Rudolph’s Brutalist Architecture in the USA and Southeast Asia Anna Dempsey, Ben Youtz and Kelly Haigh University of Massachusetts Dartmouth | designLAB architects [email protected] | [email protected], [email protected] KEYWORDS: modern architecture, Paul Rudolph, Brutalism, campus architecture, place-making, concrete Introduction Theodore Dalrymple famously described late modern expressionist (Brutalist) buildings as “totalitarian,” “cold hearted moral deformit[ies]” that should be demolished.1 Even during the 1950s and 1960s, arguably the style’s halcyon days, British critic Reyner Banham noted that critics of the “new Brutalism” regarded “the movement” as “a cult of ugliness.”2 Though Banham concluded that Brutalism represented “a contribution to the architecture of today,” he stated that the buildings of Alison and Peter Smithson - who coined the term “new Brutalism” - exhibited both “ineloquence” and “bloody-mindedness.”3 Despite Banham’s and other critics’ reservations, this post-War modernist movement was a global one. Architects such as Germany’s Werner Düttmann (the Agnes Kirche in Berlin, 1964), Australia’s Peter Hall (the Residential Colleges at the University of New South Wales, 1962-1966), Argentina’s Clorindo Testa (Banco de Londres in Buenos Aires, 1966) were among those who embraced what Banham referred to as the “ruthless logic” of Brutalism’s functional style.4 In the United States, Louis Kahn, I.M Pei and several other architects also designed and built Brutalist structures. Nevertheless, Paul Rudolph (a student of Bauhaus founder Walter Gropius) is the American architect most closely associated with Dalrymple’s “cold-hearted” style. -
Bauhaus World
New Programs Our Highlight Program October 2018 Bauhaus world What do escalators in Medellín, Arabic lettering in Amman, story-telling furniture from London, ARTS urban farming in Detroit and a co-living complex in Tokyo have to do with the Bauhaus? The architect Walter Gropius founded the Bauhaus in Weimar in 1919. He brought together some VERSIONS of the most illustrious artists in Europe to create a school that would fuse the fine arts and the Arabic, German, English, Spanish (03 x 60 min. in HD) crafts. Together, they set out to fundamentally rethink the world and society. Although the Bau- 38 4902 | 01-03 haus school – which later relocated to Dessau and then to Berlin – only existed for a few years, it revolutionized ideas about the organization of modern life. In 2019, the Bauhaus will celebrate the 100th anniversary of its founding. To mark the occasion, planetfilm has produced a series of three documentaries for Deutsche Welle. The films focus on the influence that the philosophy of the Bauhaus movement still exerts on the globalized society of the 21st century. They also explore historical parallels between 1919 and the present day: Society is facing major upheavals and challenges, just as it did back then. We meet architects, urban planners, designers and artists from around the globe who, in the spirit of the Bauhaus, want to rethink and change the world. Tatiana Bilbao, for example, is a Mexican architect who has designed an 8,000-dollar house for the poorest members of society. The design- er Ahmed Humeid is working on plans to bring order to the traffic chaos of the Jordanian capital Amman. -
Mid 20Th Century Architecture in NH: 1945-1975
Mid 20th Century Architecture in NH: 1945-1975 Prepared by Lisa Mausolf, Preservation Consultant for NH Employment Security December 2012 Table of Contents Page I. Introduction 3 II. Methodology 4 III. Historic Context, Architecture in NH, 1945‐1975 5 IV. Design Trends in New Hampshire, 1945‐1975 43 Changes in the Post‐World War II Building Industry 44 Architectural Trends, 1945‐1975 61 Styles 63 V. Recommendations for Future Study 85 VI. Bibliography 86 Appendix A Examples of Resource Types 90 Appendix B Lists of NH Architects 1956, 1962, 1970 111 Appendix C Brief Biographies of Architects 118 2 I. Introduction The Mid 20th Century Architecture in New Hampshire Context: 1945‐1975 was prepared by Lisa Mausolf, Preservation Consultant, under contract for the New Hampshire Department of Employment Security. The context was prepared as mitigation for the sale of the Employment Security building at 32 South Main Street in Concord. The modern curtain wall structure was designed by Manchester architects Koehler & Isaak in 1958. A colorful landmark on South Main Street, discussion of the architectural significance of the building draws commentary ranging from praise “as an excellent example of mid‐ century Modern architecture and ideals of space, form, and function”1 to derision, calling it one of the ugliest buildings in Concord. NH Department of Employment Security, 32 South Main Street, Concord (1958) The Mid 20th Century Architecture in New Hampshire Context was prepared in order to begin work on a framework to better understand the state’s modern architectural resources. The report focuses primarily on high‐style buildings, designed by architects, and excludes residential structures. -
THE BRUTALIST RUIN Ana Ottoni
THE BRUTALIST RUIN Ana Ottoni How to quote this text: Ottoni, A., 2016. The brutalist ruin.V!RUS, [e-journal] 12. Available at: <http://www.nomads.usp.br/virus/virus12/?sec=5. [Accessed 00 Month 0000]. Ana Ottoni is photographer and researcher at the Post- Graduate Studies Program at the Faculty of Architecture and Urbanism of the University of Sao Paulo, Brazil. A brutalist house built in the city of Sao Paulo, by architect David Ottoni for his own family, is the subject of this photographic essay. A superposition of images produced in two different periods: the earlier were made by the architect himself around the early 1970s; the latter, of my authorship, were taken between 2013 and 2015, as part of a master's degree project on brutalist architecture and the image of its ruin. The architect David Ottoni, my father, was a student and disciple of Vilanova Artigas, and lived in the house for thirty years; I, a professional photographer, for seventeen years. The first moment is full of optimism and expectation. We see a large fair-faced concrete block, sculpturally seating on a sloping terrain, with few neighbors, which leaves the recently unmolded structure completely free within the landscape. Some wooden molds on the ground confirm the recent unmolding. Above it, the opposition of a large vertical water tank, also in concrete: function becomes adornment. The set may be seen from the distance and stands out from the surrounding conventional buildings for its radicalism and its vigor. It is impossible not to believe that a better future will arise from such architecture. -
The Historical Journal of Massachusetts
The Historical Journal of Massachusetts “Yankee Brutalism: Concrete Architecture in New England, 1957-1977.” Author: Brian M. Sirman Source: Historical Journal of Massachusetts, Volume 44, No. 2, Summer 2016, pp. 2-21. Published by: Institute for Massachusetts Studies and Westfield State University You may use content in this archive for your personal, non-commercial use. Please contact the Historical Journal of Massachusetts regarding any further use of this work: [email protected] Funding for digitization of issues was provided through a generous grant from MassHumanities. Some digitized versions of the articles have been reformatted from their original, published appearance. When citing, please give the original print source (volume/number/date) but add "retrieved from HJM's online archive at http://www.westfield.ma.edu/historical-journal/. 2 Historical Journal of Massachusetts • Summer 2016 Boston University Law Tower (Sert, Jackson & Gourley, 1963) Sert, Jackson & Gourley also designed the Mugar Library and George Sherman Union on campus, all in the Brutalist style. Photo by the author. 3 PHOTO ESSAY Yankee Brutalism: Concrete Architecture in New England, 1957–1977 BRIAN M. SIRMAN Abstract: During the 1960s and early 1970s, New England departed from architectural traditions and was in the vanguard of the most current (and controversial) style of these decades: Brutalism. While on its surface this style seems inimical to New England architecture, a confluence of economic, political, and social forces rendered it aptly suited to the region at this pivotal time. Concrete buildings served not only functional purposes but also as monuments that both reflected and shaped public perceptions of New England. -
Concrete Expressions Brutalism and the Government Buildings Precinct, Adelaide
CONCRETE EXPRESSIONS BRUTALISM AND THE GOVERNMENT BUILDINGS PRECINCT, ADELAIDE Kevin O’Sullivan Architecture Museum School of Architecture and Design University of South Australia Architecture Museum Monograph Series 07 O’Sullivan, Kevin. Concrete Expressions: Brutalism and the Government Buildings Precinct, Adelaide Contents First published in 2013 in Australia by the School of Art, Architecture and Design, 2 Foreword University of South Australia, 6 Introduction Adelaide, South Australia 4 Acknowledgements Series Editors: Christine Garnaut and Julie Collins 8 Background to Brutalism © Kevin O’Sullivan 18 Brutalism in Australia ISBN 978-0-9871200-4-5 24 The Government Buildings Precinct Monograph design: Jason Good and Leah Zahorujko 38 Buildings and Precinct Analysis Design direction: Fred Littlejohn School of Art, Architecture and Design, University of South Australia 42 Architectural Influences Print: Graphic Print Group Adelaide, South Australia 44 Conclusion 46 Endnotes Copies available from: Dr Christine Garnaut 50 Further reading Director, Architecture Museum School of Art, Architecture and Design 54 About the Author University of South Australia 56 About the Architecture Museum GPO Box 2471 Adelaide, South Australia 5001 Cover illustration: ‘P.B.D. in Tower of Strength’, Perspective: Public Buildings Department Journal, vol.3, no. 2, 1978, p. 19. Unless otherwise credited all illustrations are from the Architecture Museum’s own collections. All reasonable efforts have been made to trace the copyright holders of all images reproduced -
Brutalism Redux: Relational Monumentality and the Urban Politics of Brutalist Architecture
Brutalism Redux: Relational Monumentality and the Urban Politics of Brutalist Architecture Oli Mould Department of Geography, Royal Holloway, University of London, Egham, UK; [email protected] Abstract: Brutalism is an architectural form that is experiencing somewhat of a revival of late. This revival focuses almost purely on its aesthetics, but there is an ethical dimen- sion to Brutalism that often gets overlooked in these narratives. This paper therefore reanalyses the original concepts and ethics of brutalist architecture with a reaffirmation of the original triumvirate of brutalist ethics as articulated by Raynar Banham as monu- mentality, structural honesty and materials “as found”. The paper then articulates these through the literature on architectural affect to argue that brutalist ethics are continually “enacted” via a relational monumentality that brings the building and its inhabitants together in the practice of inhabitation. Using the case study of Robin Hood Gardens in London, the paper posits that a “brutalist politics” comes into light that can help catalyse a broader critique of contemporary neoliberalism. Keywords: Brutalism, architecture, architectural geography, urban politics, affect Introduction Brutalism is not so much ruined as dormant, derelict—still functioning even in a drasti- cally badly treated fashion, and as such is ready to be recharged and reactivated (Hatherley 2009:42). In the summer of 2015, the Royal Institute of British Architects (RIBA) unveiled their latest exhibition, “the Brutalist Playground” modelled on the concrete playground at Churchill Gardens Estate in Pimlico, London (see Figure 1). The installation was an attempt to rediscover the utility of brutalist form through a ludic and celebratory “twist” to its major material component, concrete. -
Tom Burr Body/Building
TOM BURR BODY/BUILDING BODY/BUILDING A selection of material to accompany the exhibition Tom Burr / New Haven, an Artist / City project BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPHY BY ADRIAN GAUT TEXT BY MARK OWENS PHOTOGRAPH YALE ART AND ARCHITECTURE BUILDING, PAUL RUDOLPH (1963). 180 YORK STREET, BRUTAL RECALL NEW HAVEN. A SELECTIVE ROADMAP OF SOME OF NEW HAVEN’S MOST ICONIC CONCRETE LANDMARKS Entering New Haven by car along Interstate 95 offers a tour through one of America’s last remaining Brutalist corridors. Approaching the Oak Street Connector, you can still catch a glimpse of the briskly fenestrated raw-concrete façade of Marcel Breuer’s striking Armstrong Rubber Company Building (1968), which now sits vacant in a vast IKEA parking lot. Heading towards George Street along Martin Luther King Jr. Boulevard, a stoplight just outside the town’s commercial center brings you momen- tarily to rest at the foot of Roche-Dinkeloo’s enigmatic Knights of Columbus Building (1969), whose 23 raw-steel stories are slung between four colossal brick-clad concrete columns. Further along the boulevard on the right rises the distinctive silhouette of Paul Rudolph’s Crawford Manor housing block (1966), whose “heroic and origi- automobile. It’s perhaps ironically fitting, then, that in order to complete this Brutalist nal” striated-cement cladding promenade you’re best off proceeding on foot. Continuing down Temple Street and was famously contrasted with making a left turn onto Chapel Street, you eventually come to the entrance of Louis the “ugly and ordinary” visage Kahn’s Yale University Art Gallery (1951–53), an expressive use of brick, concrete, and of Venturi and Rauch’s Guild curtain wall that was completed a year before the Alison and Peter Smithson’s Hun- House in the pages of Learning stanton School (Norfolk, England, 1949–54), generally considered the opening salvo from Las Vegas.