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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. -
National Ski Associations - Members of the FIS Council - Committee Chairmen
To the - National Ski Associations - Members of the FIS Council - Committee Chairmen Oberhofen, 18th November, 1999 SL/er Re.: FIS Council Meeting 8th November, 1999 in Venice (ITA) Dear Mr. President, Dear Ski friends, In accordance with art. 32.2 of the FIS Statutes we take pleasure in sending you today A SHORT SUMMARY of the most important decisions of the FIS Council Meeting in Venice (ITA). We would also like to take this opportunity of informing you that this ‘Short Summary’ is available on the Member Services section of the FIS website to accredited users of the National Ski Association forum. 1. Members present The following Council Members were present at the Meeting in Venice, November 8th, 1999: President Gian-Franco Kasper, Vice-Presidents Anatolij Akentiev, Yoshiro Ito and Hank Tauber, Members Peter Andrews, Geoff Henke, Milan Jirasek, Janez Kocijancic, Arnold Koller, Pablo Rosenkjer, Odd Seim-Haugen, Carl Eric Stålberg, Carlo Valentino, Fritz Wagnerberger and Director Sarah Lewis. Excused: Esko Aho (replaced by Paavo Petäjä), Bernard Chevallier 2 2. Minutes from the Council Meeting in Portoroz The minutes from the Council Meeting in Portoroz (SLO) 12th May, 1999 were approved with a minor amendment. 3. The FIS World Ski Championships The Council acknowledged the reports on the preparations for the future FIS World Championships: · Ski Flying: 2000 Vikersund (NOR), 2002 Harrachov (CZE) · Nordic events: 2001 Lahti (FIN), 2003 Val di Fiemme (ITA) · Alpine events: 2001 St. Anton (AUT), 2003 St. Moritz (SUI) · Snowboard: 2001 Madonna di Campiglio (ITA) The Council appointed Milan Jirasek as its official delegate to the first FIS Rollerskiing World Championships in Rotterdam, 31st August – 3rd September 2000. -
Olympic Programme Commission Report
OLYMPIC PROGRAMME COMMISSION REPORT 119 th IOC SESSION – JULY 2007 Published by the International Olympic Committee June 2007 Printing by Id-Média S.à r.l., Belmont-sur-Lausanne, Switzerland Printed in Switzerland INTRODUCTION BACKGROUND In November 2002, the IOC Session in Mexico City approved the principle of a systematic review of the Olympic Programme and mandated the Olympic Programme Commission to lead the process after each edition of the Olympic Games. EVALUATION CRITERIA In order to fulfil this mission, the Olympic Programme Commission developed a set of criteria to be used in assessing the strengths and weaknesses of each sport and the value that each sport adds to the Olympic Programme. Following consultation with the International Federations (IFs) and other key stakeholders, the final list of 33 criteria was proposed to the IOC Session, which approved it in August 2004 in Athens. These criteria, which were approved by the Session in August 2004, were subsequently used by the IOC Session in Singapore in July 2005 to determine the programme for the 2012 Olympic Games in London. PROCESS REFINEMENT Following the revision of the 2012 Summer Olympic Programme, the present review will utilise the same list of 33 criteria by means of a questionnaire, adapted to the particularities of the Winter Games programme. DATA COLLECTION In April 2006, a questionnaire reflecting these criteria was sent to the seven Olympic Winter Federations. Completed questionnaires were returned by July 2006 to the IOC Sports Department, which then had the responsibility of verifying all responses and requesting further information or clarification where necessary. -
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. -
Leseprobe 9783791385280.Pdf
Our Bauhaus Our Bauhaus Memories of Bauhaus People Edited by Magdalena Droste and Boris Friedewald PRESTEL Munich · London · New York 7 Preface 11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those Days Photography The Idea of the at the Bauhaus Bauhaus: The Battle 16 for New Educational Josef Albers 76 Foundations Thirteen Years Howard at the Bauhaus Dearstyne 131 Mies van der Rohe’s Hans 22 Teaching at the Haffenrichter Alfred Arndt Bauhaus in Dessau Lothar Schreyer how i got to the and the Bauhaus bauhaus in weimar 83 Stage Walter Dexel 30 The Bauhaus 137 Herbert Bayer Style: a Myth Gustav Homage to Gropius Hassenpflug 89 A Look at the Bauhaus 33 Lydia Today Hannes Beckmann Driesch-Foucar Formative Years Memories of the 139 Beginnings of the Fritz Hesse 41 Dornburg Pottery Dessau Max Bill Workshop of the State and the Bauhaus the bauhaus must go on Bauhaus in Weimar, 1920–1923 145 43 Hubert Hoffmann Sándor Bortnyik 100 the revival of the Something T. Lux Feininger bauhaus after 1945 on the Bauhaus The Bauhaus: Evolution of an Idea 150 50 Hubert Hoffmann Marianne Brandt 117 the dessau and the Letter to the Max Gebhard moscow bauhaus Younger Generation Advertising (VKhUTEMAS) and Typography 55 at the Bauhaus 156 Hin Bredendieck Johannes Itten The Preliminary Course 121 How the Tremendous and Design Werner Graeff Influence of the The Bauhaus, Bauhaus Began 64 the De Stijl group Paul Citroen in Weimar, and the 160 Mazdaznan Constructivist Nina Kandinsky at the Bauhaus Congress of 1922 Interview 167 226 278 Felix Klee Hannes -
Simon Gallery Guide Outer A4
ABOUT SIMON PHIPPS @NEW_BRUTALISM 9 SEPTEMBER - 26 OCTOBER 2016 Simon Phipps is a London based artist whose work focuses on Modernist architecture. He has been documenting British post war modernist and brutalist architecture. Phipps is the photographer for "THE BRUTALIST LONDON MAP" published by Blue Crow Media. His book "BRUTAL LONDON" a photographic survey of brutalist architecture within the inner London boroughs will be published in November 2016. Phipps is also working on a project with Darren Umney about Netherfield "BETWEEN THE RATIONAL AND THE BÉTON BRUT NATIONAL: NETHERFIELD IN THE NEW SUBURBAN LANDSCAPE" will be exhibited at the Architectural Association, London and the Milton Keynes Gallery in 2017. SIMON PHIPPS ABOUT THE FOUNDRY GALLERY The Foundry Gallery exhibits new contemporary artwork that explores the relationships that can be found and forged between art and architecture. The gallery is the brainchild of Jason Slocombe and Jonathan Goode of Le Lay Architects who set up the gallery to have a distinct relationship with Le Lay Architects who reside downstairs from the gallery. Le Lay Architects supports the gallery by funding a program of exhibitions of selected artists the gallery forming the foundation of the practices own research into how architectural ideas are conceived and how people engage with buildings and structures. Our programme also consists of exhibitions by more established artists, curators and galleries who hire the gallery space. This enables us to continue funding our work with artists, supporting our commitment to the making of new contemporary fine art that advances the dialogues between art and architecture. The Foundry Gallery is run and curated by Elizabeth Goode. -
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.