The Idea of Brutalism Introduced by Le Corbusier originally relating
to the use of unfinished, bare concrete.
Brutalism stands for architectural that is
truthful about its materials, and where nothing is covered up, so that functional relationships are directly visible. Taken up by the Smithsons and others in
Great Britain.
Flourished in the 1960’s and 1970’s. Critic Reynar Banham call the
movement Brutalist – suggesting ugly and unfriendly. “…make the whole conception of the
building plain and comprehensible. No mystery, no romanticism, no obscurities about function and circulation.” Banhan on ‘the New Brutalism’
Alison & Peter Smithsons
The Smithsons,Hunstanton Secondary School,Norfolk,1954 •Rigid and formal •Structural and services elements were left exposed
•Austere steel and glass frame gave a skeletal appearance
“truth to materials” is more honest and true to Modernism’s basic principles even though it was anti-aesthetic.
The Smithsons,Hunstanton Secondary School,Norfolk,1954
Leicester U Engineering Building – James Sterling
THE TOWER OF TERROR
Erno Goldfinger, Trellick Tower, London,1968-72
Trellick Tower
The service tower is joined to the main block every 3 storeys by walkways.
The giant service tower is a west London landmark
‘Beton brut’ as new ways of using concrete
Corbusier,Unite d’Habitation,Marseilles,1952
Brutalism ‘an ethical rather than aesthetic concept’
Corbusier,Monastery of St. Marie de la Tourette,Lyons
Owen Luder Partnership,Tricorn Centre,Portsmouth,1966
Kallmann,McKinnell & Knowles,Boston City Hall,1964-69
New Monumentality ď‚ž After years of the dominating ideas of
universalism and total architecture of International Style, architects began to look into originality and individuality ď‚ž These architects still maintained the idealism
of the International Style by not sacrificing the imperative of functionalism
Louis Isadore Kahn (1901-1974), U.S. architect, educator, and philosopher, is one of the foremost twentieth-century architects. His works reveal an integration of structure, a reverence for materials and light, a devotion to archetypal geometry, and a profound concern for humanistic values. Kahn’s architecture is notable for its simple, platonic forms and compositions. Through the use of brick and poured-inplace concrete masonry, he developed a contemporary architecture of great power and monumentality.
The scientists’ study towers in concrete and wood are angled to catch the breeze and sea view
Louis Kahn,Salk Institute laboratories,La Jolla,CA,1965
Louis Kahn,Salk Institute laboratories,La Jolla,CA,1965
Louis Kahn, Kimbell Museum, at Fort Worth, Texas, 1967 to 1972
architecture came together in this building, elements that were used before, independently of each other: a clear articulation of servant and served spaces; the problem of light; the integration of spatial, structural, and utility elements; and, above all, the integration of form, material, and process.
Louis Kahn, Richards Medical Center, at Philadelphia, Pennsylvania, 1957 to 1961
Eero Saarinen was born in Kirkkonummi, Finland in 1910. He studied in Paris and at Yale University. Eero initially pursued sculpture as his art of choice. After a year in art school, he decided to become an architect instead. Saarinen developed a remarkable range which depended on color, form and materials. Saarinen showed a marked dependence on innovative structures and sculptural forms.
He easily moved back and forth between the International Style and Expressionism, utilizing a vocabulary of curves and cantilevered forms.
EXPRESSION IN CONCRETE …aviation
Eero Saarinen,TWA Terminal,J.F.K Airport,NY:1956-62
Eero Saarinen,TWA Terminal,J.F.K Airport,NY:1956-62
Saarinen,Dulles Airport,Washington DC:1958-62
‘moved back and forth between the International Style and Expressionism, utilizing a vocabulary of curves and cantilevered forms’.
Saarinen,Dulles Airport,Washington DC:1958-62
A space for music in organic forms‌
Hans Scharoun,Philharmonie,Berlin:1960-63
Scharoun displayed an aggressive articulation of parts. He felt the parts of a building had to be like 'individuals in a democracy' who contribute to the whole while retaining their own identities.
Hans Scharoun,Philharmonie,Berlin:1960-63
Sailing architecture
Jorn Utzon,Opera house,Sydney:1956-74
Utzon transcends architecture as art and develops his forms into poetic inventions that possess thoughtful programming, structural integrity and sculptural harmony.
Jorn Utzon,Opera house,Sydney:1956-74
Kenzo Tange (born 1913) is a world renowned Japanese architect who has fused the architectural traditions of his native Japan with the contemporary philosophy and traditions of the western world. Kenzo Tange, was greatly influenced by the principles of the (CIAM - 1928) and the individuals identified with that organization including Le Corbusier, Walter Gropius, and Siegfried Giedion.
Kenzo Tange believed that the Japanese people were searching for a freedom of expression that would symbolize a new postwar Japanese society Kenzo Tange's work marked a revived awareness of Japanese architectural traditions expressed through a contemporary interpretation of architectural form. Kenzo Tange demonstrated that a unique regionalism could be developed, and recognized, within the circumstance of the international style.
Olympic pioneers
Kenzo Tange,Olympic Stadium,Tokyo:1964
Olympic pioneers
Kenzo Tange,Olympic Stadium,Tokyo:1964
Kenzo’s recent works
Kenzo Tange, Fuji Broadcasting Centre, Tokyo:1990
Approaches to history
Pier Luigi Nervi,Palazzo del Lavoro,Turin:1961
TRANSPARENCY AS A SIGN OF CORPORATE IDENTITY •A departure from the abstract purity of the International Style.
•New materials are incorporated with a unique formal expression making this building a good example of late modern architecture. Kevin Roche,John Dinkeloo,Ford Foundation Building,NY:1963-68
“truth to materials” is more honest and true to Modernism’s basic principles even though it was anti-aesthetic.
Hunstanton Secondary School,Norfolk,1954
POP ART This movement was marked by a fascination with popular culture reflecting the affluence in post-war society. It was most prominent in American art but soon spread to Britain.
In celebrating everyday objects such as soup cans, washing powder, comic strips and soda pop bottles, the movement turned the commonplace into icons. Pop Art is a direct descendant of Dadaism (irrationality, anti war/violence, anti bourgeois) in the way it mocks the established art world by appropriating images from the street, the supermarket, the mass media, and presents it as art in itself. http://http://www.artmovements.co.uk/popart.htm
POP ART Pop Artists such as Jasper Johns and Robert Rauschenberg took familiar objects such as flags and beer bottles as subjects for their paintings, British Pop Artist Richard Hamilton used magazine imagery. The latter’s definition of Pop Art – “popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, and Big Business” – stressed its everyday, commonplace values. The leading artists in Pop were Andy Warhol, Roy Lichtenstein, Roy Hamilton, Jasper Johns, Robert Rauschenberg and Claes Oldenburg. http://http://www.artmovements.co.uk/popart.htm
POP ART Pop artists experimented with new commercial processes, like acrylic painting, collage on canvas using materials not normally associated with painting, and silkscreen printing.
The imagery and colour schemes for most Pop-art painting and sculpture was taken from high-profile and easily recognizable consumerist or media sources such as: consumer goods, advertising graphics, magazines, television, film, cartoons and comic books. People and objects were presented in bright, often highlycontrasting colours, while compositions were typically very simple and visually appealing to the general public. http://www.visual-arts-cork.com/history-of-art/pop-art.htm#aims
POP ART Pop art was instrumental in opening up the world of painting and sculpture to ordinary people who, perhaps for the first time in their lives, could instantly recognize and appreciate the exhibit in front of them.
They might not like it, but they were far less likely to feel intimidated by an everyday image they could relate to. In this sense, Pop-art made museums and galleries more relevant to the general public. Pop artists were setting themselves apart from the painterly, inward-looking tendencies of the Abstract Expressionist (‘High Art’ movement ) http://www.visual-arts-cork.com/history-of-art/pop-art.htm#aims
Pop Art favored figural imagery‌
Andy Warhol Silksreen Painting "Elvis I and II", 1964
Andy Warhol,Marilyn,screenprint,1967
And the reproduction of everyday objects…
Warhol,Campbell Soup Can,1969
‌comic strip
Roy Lichtenstein Comic-Strip Inspired Painting
‌and advertisements Important Pop Art
, such as employing commercial art techniques & toying with the fine vs. applied art boundary, appear in the work of Pop artist John Clem Clarke. elements
John Clem Clarke Pop Art Painting Cola Billboard
Instant City:1969
Learning from Las Vegas argues that ornamental and decorative elements “accommodate existing needs for variety and communication�.
CHARLES MOORE,PIAZZA D’ITALIA,NEW ORLEANS:1975-80
GEHRY,LOYOLA LAW SCHOOL,LA:1981-84