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This dissertation is based on the topic of “Reyner Banham: The New Brutalism”. The first chapter provides an introduction to the topic including the purpose and significance of the study. The second chapter presents a review of relevant literature, highlighting the previous research carried out in this field. The third chapter covers the methodology for this study, followed by the analysis of findings and discussion in the fourth chapter. The fifth chapter concludes the dissertation, providing implications and useful recommendations for further research.
Table of Contents
Background of the Study7
Purpose of the Study10
Objectives of the Study11
Significance of the Study11
2. LITERATURE REVIEW14
Ideology of brutalist architecture14
The writings of the protagonists15
The creation of a historiography of the modern movement23
The official history of modern architecture24
The sense of criticism28
The Rise of criticism29
The basic objective of criticism30
Test as a technique of criticism30
The areas of criticism32
The contexts of criticism32
The limits of criticism33
Critical and creative work34
Theory and Criticism34
Pioneers: Positivists and antimaquinistas35
The Rise of Central European art theory36
4. DISCUSSION AND ANALYSIS48
Operational historiography of the modern movement: The methodological basis of the modern movement48
Existentialism, phenomenology, and Marxism iconology: The evolution of the studies iconological: Panofsky, Wittkower and Gombrich49
The contribution of structuralism53
In the era post-structuralist interpretations58
Background of the Study
Brutalist architecture emerged between 1950 and 1970, inspired by Le Corbusiere's work and Mies van der Rohe. Essste style presents angled shapes, textures rough and rustic (Wolfe, 1981, 18). It is characterised by honesty constructive, showing all the ancillary facilities such as water pipes, etc.
Brutalist architecture is the product of the modern movement, whose heyday was between 1950 and 1970, and work was inspired by elements of the architects, Le Corbusier and Ludwig Mies van der Rohe.
The name originates from the French term béton brut, "raw concrete", a term used by Le Corbusier. It was the British critic Reyner Banham, who renamed it brutalism primitiveness.
The first reference to the New Brutalism was made by Alison Smithson in 1953 (Webster, 1997, 70). It appeared in her description of a project for a small house in Soho, the structure of which was to be 'exposed entirely, without interior finishes wherever practicable'. In the same year, Alison and Peter Smithson, together with the artist, Eduardo Paolozzi, and the photographer, Nigel Henderson, organised the exhibition 'Parallel of Life and Art', held at the London Institute for Contemporary Arts, and at the end of the year, at the AA-school for a couple of days. At that time, the foursome was part of the Independent Group, a loosely organised discussion-group of young ...