12. Cropping the View: Reyner Banham and the Image of Buffalo

2020 ◽  
pp. 255-264
Keyword(s):  
Reyner Banham

Peter Reyner Banham 1922 1988

1988 ◽  
Vol 1 (2) ◽  
pp. 141-142
Author(s):  
P. SPARKE
Keyword(s):  
Reyner Banham

scholarly journals Vilanova Artigas: a poética traduzida

Antíteses ◽  
2020 ◽  
Vol 13 (25) ◽  
pp. 447
Author(s):  
Marcos Faccioli Gabriel
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Reyner Banham

Abordamos aqui a obra do influente e controvertido arquiteto Vilanova Artigas, ativo em São Paulo entre as décadas de 1940 e 1970, como obra de arte autônoma, pois esta mostra um uso figurativo de estruturas trilíticas de concreto armado, o qual operava uma fusão da linearidade dos membros com a criação volumétrica no mesmo material. Seus projetos mostravam, por um lado, uma disposição volumétrica e estrutural serial ao longo de um eixo e, por outro, a alternância no percurso do observador entre massa cerrada e espaço, entre luzes intensas e sombras profundas, entre peso e resistência, contrastes estes que a tradição atribui ao sublime arquitetônico, à visão do drama humano do trabalho que, afinal, ergue as estruturas além da medida razoável da utilidade. Exceder esta medida põe a obra em conflito com o marxismo do militante Artigas, mas também a põe no terreno da arquitetura moderna enquanto “estilo da modernidade”, em conflito, segundo Reyner Banham (1970, p.327), com o desenvolvimento ininterrupto da técnica com a qual pretendia legitimar-se.

scholarly journals La casa de Norman y Wendy Foster en Hampstead

2014 ◽  
Vol 2 (1) ◽  
Author(s):  
Carlos Solé Bravo
Keyword(s):  
Reyner Banham

Entre 1978 y 1979, Norman y Wendy Foster proyectan su propia vivienda en el barrio londinense de Hampstead. El proyecto más personal de los Foster permite —como en tantos otros casos— rastrear los referentes, obsesiones, sueños y frustraciones de sus autores.Este proyecto representa el primer y único intento de aplicación en el campo de la arquitectura doméstica de un modelo, denominado por Reyner Banham “la nave bien servida”, que utiliza la integración de sistemas como principal estrategia proyectual.Los 18 meses de intenso trabajo reflejan, a través de las múltiples opciones desarrolladas, la evolución de la obra de la pareja de arquitectos, que avanza desde el funcionalismo fabril de la “nave bien servida”, hacia el expresionismo tecnológico del denominado High-Tech.En los motivos del fracaso del proyecto, que no llegaría a construirse, subyacen los debates y conflictos —entre arquitectura e ingeniería, prefabricación y artesanía, expresionismo y funcionalismo— en los que el estudio se encuentra inmerso a finales de los años 70, y que precipitarán una nueva forma de entender la relación entre arquitectura y tecnología.

scholarly journals The South Bank Exhibition, Londres 1951: un análisis desde The Architectural Review

ZARCH ◽  
2019 ◽  
pp. 50-61
Author(s):  
Carlos Montes Serrano ◽  
Víctor Lafuente Sánchez ◽  
Daniel López Bragado
Keyword(s):  
Master Plan ◽  
The South ◽  
Festival Of Britain ◽  
New Brutalism ◽  
Architectural Review ◽  
Reyner Banham

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.

Reyner Banham: Historian of the Immediate Future (review)

2002 ◽  
Vol 43 (4) ◽  
pp. 798-800
Author(s):  
Barry Katz
Keyword(s):  
Reyner Banham

scholarly journals Vulgar Modernism: J. M. Richards, Modernism and the Vernacular in British Architecture

2015 ◽  
Vol 58 ◽  
pp. 229-259 ◽  
Author(s):  
Jessica Kelly
Keyword(s):  
Twentieth Century ◽  
Modern Architecture ◽  
The World ◽  
Architectural Review ◽  
The 1950S ◽  
British Architecture ◽  
The Relationship ◽  
Reyner Banham

In 1946 J. M. Richards, editor of theArchitectural Review (AR)and self-proclaimed champion of modernism, published a book entitledThe Castles on the Ground(Fig. 1). This book, written while working for the Ministry of Information (Mol) in Cairo during the war, was a study of British suburban architecture and contained long, romantic descriptions of the suburban house and garden. Richards described the suburb as a place in which ‘everything is in its place’ and where ‘the abruptness, the barbarities of the world are far away’. For this reasonThe Castles on the Groundis most often remembered as a retreat from pre-war modernism, into nostalgia for mock-Tudor houses and privet hedges. The writer and critic Reyner Banham, who worked with Richards at the AR in the 1950s, described the book as a ‘blank betrayal of everything that Modern Architecture was supposed to stand for’. More recently, however, it has been rediscovered and reassessed for its contribution to mid-twentieth-century debates about the relationship between modern architects and the British public. These reassessments get closer to Richards’s original aim for the book. He was not concerned with the style of suburban architecture for its own sake, but with the question of why the style was so popular and what it meant for the role of modern architects in Britain and their relationship to the ‘man in the street’.

The Myth of William Morris

1976 ◽  
Vol 8 (1) ◽  
pp. 67-82
Author(s):  
Martin J. Wiener
Keyword(s):  
Old English ◽  
Right Wing ◽  
William Morris ◽  
Romantic Poet ◽  
Reyner Banham ◽  
The Craftsman

A few years ago the iconoclastic architectural scholar Reyner Banham declared: William Morris's “ruralizing vision of John Ball's other island as a vast medieval dude-ranch full of bit players addressing one another as ‘Neighbour’ just doesn't stand up.” Surely not, if this indeed was Morris's vision. Yet did this vision originate with Morris or with certain of his interpreters?E. P. Thompson has called attention to the growth of a “Morris myth.” Thompson argued that William Morris's revolutionism, and specifically, Marxism, had been buried under layers of praise (and disparagement) for a fictitious—and socially harmless—character. This mythic Morris was a mixture of romantic poet and traditional craftsman, in love with old English countryside and old English folk life. As such, he could be—and was—embraced by Liberals, Tories, and right-wing socialists.Thompson's observation was not the first such, nor the last. By now these protests have altered the commonly accepted view of Morris, and we see the revolutionary within the medievalist, the communist within the craftsman. Yet no one has asked why the myth flourished. Thompson, like R. Page Arnot more briefly before him, saw this myth, properly, as something more than a simple mistake. Thompson followed the Marxist lead of Arnot in implying deliberate distortion for class purposes.

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