New Brutalism, Again

La exposición Festival of Britain de Londres de 1951 ocupa un destacado lugar en la historia de la arquitectura inglesa de la postguerra por ser el punto de arranque de la recuperación urbana del South Bank de Londres. Tuvo un gran apoyo y protagonismo en The Architectural Review, que publicó varios artículos y un número monográfico con el fin de mostrar como el master plan de la exposición se ajustaba a los ideales del Visual Planning y del Townscape que la revista venía difundiendo desde hacía unos años. Pero también fue criticada por un grupo de jóvenes arquitectos liderados por Reyner Banham que como reacción propondrían una arquitectura alternativa que fue denominada como el New Brutalism.

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Ethics of Architecture or Ethical Architecture?

International Journal of Responsible Leadership and Ethical Decision-Making ◽

10.4018/ijrledm.2019070101 ◽

2019 ◽

Vol 1 (2) ◽

pp. 1-15

Author(s):

Hisham Abusaada

Keyword(s):

Professional Practice ◽

Architectural Design ◽

Human Values ◽

Design Criteria ◽

Moral Principles ◽

New Brutalism ◽

State Of Affairs ◽

Intellectual Movements ◽

The Relationship

This paper examines the nature of the relationship between ethics and architecture. This complicated state of affairs—in professional practice and architectural design—is evaluated based on a bibliographical review of the visions of some Arab and Western thinkers. This review passes through the analysis of three intellectual movements: modernism, postmodernism, and the new brutalism. A series of questions arises: How is it determined whether any of these principles are moral or immoral? Does a specific principle override other beliefs? Who decides that any building is ethical or unethical? This article shows that some conclusions can be drawn from human values to act as a guide for creating a superior design but not for a “stately” design. Critically, it emerges that there is no so-called ethical architecture, but rather, ethics is always related to professional practice. This means that the construction of a building is governed by ideas and design criteria while professional practice is guided by ethical /moral principles.

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Still In-Yer-Face? Towards a Critique and a Summation

New Theatre Quarterly ◽

10.1017/s0266464x0200012x ◽

2002 ◽

Vol 18 (1) ◽

pp. 17-24 ◽

Cited By ~ 2

Author(s):

Aleks Sierz

Keyword(s):

The Past ◽

British Drama ◽

New Brutalism ◽

Sarah Kane

The dramatic upsurge of contemporary new writing on British stages in the past decade, and the emergence of a fresh generation of playwrights led by such talents as Mark Ravenhill, Philip Ridley, Joe Penhall, Phyllis Nagy, Patrick Marber, and the late Sarah Kane, has been variously characterized as the ‘New Brutalism’ or even, in Germany, as the ‘Blood and Sperm Generation’. Here, Aleks Sierz summarizes the argument for ‘In-Yer-Face Theatre’ as the most pertinent and inclusive description for the phenomenon, listing its salient characteristics and suggesting the areas in which it is most vulnerable to criticism. Aleks Sierz is theatre critic of Tribune and writes about theatre for several publications. He is the author of In-Yer-Face Theatre: British Drama Today (London: Faber, 2001) and teaches journalism at Goldsmiths College, University of London. An earlier version of this article was given as a paper at the In-Yer-Face Theatre: Sarah Kane and the New British Dramaturgy conference at Stendhal University 3, Grenoble, in May 2001.

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A Monument to Humanism: Pilkington Brothers’ Headquarters (1955–65) by Fry, Drew and Partners

Architectural History ◽

10.1017/s0066622x00002537 ◽

2013 ◽

Vol 56 ◽

pp. 343-386 ◽

Cited By ~ 1

Author(s):

Jessica Holland ◽

Iain Jackson

Keyword(s):

Theory And Practice ◽

Historical Narrative ◽

New Brutalism ◽

Modernist Architecture ◽

Younger Generation ◽

Post War ◽

Architectural Research ◽

British Colonies ◽

Walter Gropius

The architect Maxwell Fry (1899–1987) is widely recognized as one of the key protagonists in the development of Modernist architecture in Britain. Discussion of this role perhaps inevitably tends to focus on Fry's early involvement in the Modern Architectural Research (MARS) Group and his inter-war work, particularly his prestigious partnership with the Bauhaus-founder Walter Gropius. Post-war, emphasis shifts to Fry's advancement of ‘Tropical Architecture’ in former British colonies with his wife and partner, the architect Jane Drew (1911–96). Despite a string of important commissions on home soil, their post-war work in Britain has been sidelined due to a historical narrative focused on the rise of ‘New Brutalism’. This article contributes to a reassessment of Fry, Drew and Partners’ work in 1950s and 1960s Britain. It uses the Pilkington Brothers’ Headquarters (1955–65) in St Helens as a case study to examine post-war industrial patronage and how this affected the architectural approach of the project's lead designer, Maxwell Fry. In particular, it investigates his background in civic design at Charles Reilly's Liverpool School of Architecture. Furthermore, it examines Fry's reassessment of pre-war Modernist theory and practice during the mid-1950s and his response to the younger generation of MARS members, such as the Smithsons and Denys Lasdun.

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2. The New Brutalism

A Critic Writes ◽

10.1525/9780520923201-004 ◽

1996 ◽

pp. 7-15 ◽

Cited By ~ 1

Keyword(s):

New Brutalism

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Memorability as Image: The New Brutalism and Photography

Camera Constructs ◽

10.4324/9781315260921-32 ◽

2016 ◽

pp. 305-316

Keyword(s):

New Brutalism

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Villas in the "Underground"

Advanced Engineering Forum ◽

10.4028/www.scientific.net/aef.12.55 ◽

2014 ◽

Vol 12 ◽

pp. 55-60 ◽

Cited By ~ 1

Author(s):

Kateřina Riedlová ◽

Věra Kubicová

Keyword(s):

The Other ◽

The Political ◽

Significant Shift ◽

Cultural Groups ◽

High Quality ◽

The Public ◽

New Brutalism ◽

The One ◽

Family House ◽

Ruling Party

The political changes of 1948 brought, among other things, a significant shift in the housing policy. Focus was no longer on living in detached family houses or urban villas so popular prior to 1948. On the other hand, we can also find architecturally great villa like family houses designed by professional architects. However, construction of these houses was not far from being illegal since everything was done secretly without the slightest possibility of being presented within the professional circles or the public. The investors recruited mainly from social and cultural groups of famous people with original ideas, were not acceptable to the ruling party. Let us name a few: the villa of the famous film director Věra Chytilová in Trója, Prague (1975), Emil Přikryl`s villa; or three villas from the 1950s: Miroslav Zikmund`s (1954), Jiří Hanzelka`s (1956) and Zdeněk Liška`s (1959), designed by Zdeněk Plesník in Zlín. The most remarkable realization of family houses, so different from other contemporary designs, was the one by Ivan Ruller in Brno. Thanks to the used materials, Ruller`s houses have the capacity to age in a natural in way, without losing any of the powerful touches of modernity. In 1968, Ruller`s type of villa was designed for example for Petráček, the director of Chemoprojekt. Its construction was inspired largely by the trend in architecture “new brutalism”. Some of other Ruller`s villas can be found in Ivanovice (1976) and Mokrá Hora (1979). Architect Josef Němec`s own villa (1976) as well as Růžena Žertová`s atrium family house (1981) are just other examples of high-quality houses from and around Brno.

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