scholarly journals The Impact of Avant-Garde Art on Brutalist Architecture

Buildings ◽  
2021 ◽  
Vol 11 (7) ◽  
pp. 290
Author(s):  
Wojciech Niebrzydowski
Keyword(s):  
World War Ii ◽  
Raw Materials ◽  
Descriptive Analysis ◽  
Research Problem ◽  
Material Structure ◽  
Avant Garde ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
The Impact

Brutalism was an architectural trend that emerged after World War II, and in the 1960s and 1970s, it spread throughout the world. The development of brutalist architecture was greatly influenced by post-war avant-garde art. The greatest impact on brutalism was exerted by such avant-garde trends as art autre, art brut, and musique concrète. Architects were most inspired by the works of such artists as Jackson Pollock, Jean Dubuffet, Pierre Schaeffer, Eduardo Paolozzi, and Nigel Henderson. The main aim of the research was to identify and characterize the most important ideas and principles common to avant-garde art and brutalist architecture. Due to the nature of the research problem and its complexity, the method of historical interpretative studies was used. The following research techniques were employed: analysis of the literature, comparative analysis, multiple case studies, descriptive analysis, and studies of buildings in situ. The research found the most important common ideas guiding brutalist architects and avant-garde artists: rejection of previous principles and doctrines; searching for the rudiments; mirroring the realities of everyday life; glorification of ordinariness; sincerity of the material, structure, and function; use of raw materials and rough textures.

The ‘Modernisation’ of Scotland and its Impact on Glasgow, 1955–1979: ‘Unwanted Side Effects’ and Vulnerabilities

2016 ◽  
Vol 25 (3) ◽  
pp. 294-316 ◽  
Author(s):  
Chik Collins ◽  
Ian Levitt
Keyword(s):  
Side Effects ◽  
Government Policy ◽  
Regional Policy ◽  
Excess Mortality ◽  
Policy Agenda ◽  
Policy Makers ◽  
Uk Government ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Impact

This article reports findings of research into the far-reaching plan to ‘modernise’ the Scottish economy, which emerged from the mid-late 1950s and was formally adopted by government in the early 1960s. It shows the growing awareness amongst policy-makers from the mid-1960s as to the profoundly deleterious effects the implementation of the plan was having on Glasgow. By 1971 these effects were understood to be substantial with likely severe consequences for the future. Nonetheless, there was no proportionate adjustment to the regional policy which was creating these understood ‘unwanted’ outcomes, even when such was proposed by the Secretary of State for Scotland. After presenting these findings, the paper offers some consideration as to their relevance to the task of accounting for Glasgow's ‘excess mortality’. It is suggested that regional policy can be seen to have contributed to the accumulation of ‘vulnerabilities’, particularly in Glasgow but also more widely in Scotland, during the 1960s and 1970s, and that the impact of the post-1979 UK government policy agenda on these vulnerabilities is likely to have been salient in the increase in ‘excess mortality’ evident in subsequent years.

Conclusion

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
International Monetary System ◽  
The State ◽  
Real Economy ◽  
Social Democratic ◽  
Monetary System ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
City Of London ◽  
The City

The aim of this book has been to evaluate the relationship between Britain’s financial sector, based in the City of London, and the social democratic economic strategy of post-war Britain. The central argument presented in the book was that changes to the City during the 1960s and 1970s undermined a number of the key post-war social democratic techniques designed to sustain and develop a modern industrial economy. Financial institutionalization weakened the state’s ability to influence investment, and the labour movement was unable successfully to integrate the institutionalized funds within a renewed social democratic economic agenda. The post-war settlement in banking came under strain in the 1960s as new banking and credit institutions developed that the state struggled to manage. This was exacerbated by the decision to introduce competition among the clearing banks in 1971, which further weakened the state’s capacity to control the provision and allocation of credit to the real economy. The resurrection of an unregulated global capital market, centred on London, overwhelmed the capacity of the state to pursue domestic-focused macroeconomic policies—a problem worsened by the concurrent collapse of the Bretton Woods international monetary system. Against this background, the fundamental social democratic assumption that national prosperity could be achieved only through industry-led growth and modernization was undermined by an effective campaign to reconceptualize Britain as a fundamentally financial and commercial nation with the City of London at its heart....

The Politics of Banking and Social Democracy

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
Banking System ◽  
Social Democracy ◽  
The Political ◽  
Social Democratic ◽  
Industrial Economy ◽  
The Social ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Political Demand

This chapter concerns the politics of managing the domestic banking system in post-war Britain. It examines the pressures brought to bear on the post-war settlement in banking during the 1960s and 1970s—in particular, the growth of new credit creating institutions and the political demand for more competition between banks. This undermined the social democratic model for managing credit established since the war. The chapter focuses in particular on how the Labour Party attempted in the 1970s to produce a banking system that was competitive, efficient, and able to channel credit to the struggling industrial economy.

scholarly journals The Revival of Comparative Law in a Socialist Country: The Impact of Imre Szabó and Gyula Eörsi on the Development of Hungarian Comparative Law

2013 ◽  
Vol 38 (1) ◽  
pp. 37-52
Author(s):  
Balázs Fekete
Keyword(s):  
World War Ii ◽  
Socialist Country ◽  
Comparative Law ◽  
Communist Regime ◽  
World War ◽  
International Trends ◽  
Legal Thinking ◽  
International Comparative ◽  
The 1960S ◽  
The Impact

This article discusses the revival of comparative law in Hungarian Socialist jurisprudence. Prior to World War II, the development of comparative law generally had followed international trends; however, it was disrupted at both a personal and an institutional level at the end of the 1940s due to the Marxist-Leninist turn of legal thinking that accompanied the introduction of a Communist regime in the country. Nonetheless, this rejection of comparative law was gradually replaced by a more open attitude that strongly supported participation in the international comparative-law movement from the 1960s. Imre Szabó and Gyula Eörsi played a prominent role in this transformation. They legitimized the use of comparative methods in Socialist jurisprudence and, also, created a plausible conceptual framework for Socialist comparative law.

The Impact of World War II on the Demand for Female Workers in Manufacturing

2018 ◽  
Vol 78 (2) ◽  
pp. 539-574
Author(s):  
Dina Shatnawi ◽  
Price Fishback
Keyword(s):  
World War Ii ◽  
Labor Supply ◽  
Supply And Demand ◽  
Growth Path ◽  
World War ◽  
Female Workers ◽  
Post War ◽  
The Impact ◽  
Boom Period

Most studies of female workers in the 1940s focus on labor supply. We use the basics of supply and demand to measure the impact of WWII on the short- and medium-run demand for female workers in manufacturing. Demand rose for both salaried and production female workers during the war and then fell after the war. However, the post-war demands for both groups were substantially higher than before the war and higher than the levels that would have been reached had the demands followed a counterfactual growth path from the boom period in the 1920s.

Burn Out and Fade AwayMarxism in Italian International Legal Scholarship

2020 ◽  
pp. 234-261
Author(s):  
Lorenzo Gradoni
Keyword(s):  
World War Ii ◽  
Communist Party ◽  
World War ◽  
Cultural Changes ◽  
Legal Scholarship ◽  
Legal Studies ◽  
Burn Out ◽  
The 1960S ◽  
The Impact

Against the prevailing opinion, the present chapter argues that the impact of Marxism on Italian international legal scholarship, although quantitatively marginal, has been important and fruitful, so much so that its rediscovery should not be seen as merely a matter of antiquarian interest. This minor tradition of legal studies failed to take root in the first quarter of a century after World War II, despite the endorsement of a powerful communist party. Cultural changes that took place in the 1960s reverberated throughout international legal scholarship only during the 1970s. Although Marxist international legal studies subsided within the space of a few years they produced a significant body of work whose pioneering character and unsurpassed subtlety should be acknowledged in the context of current revivals of Marxist legal studies.

Life in the Fast Lane, 1945–1971

2019 ◽  
pp. 104-146
Author(s):  
Kenneth Bertrams ◽  
Julien Del Marmol ◽  
Sander Geerts ◽  
Eline Poelmans
Keyword(s):  
Raw Materials ◽  
Second World War ◽  
Organizational Capabilities ◽  
State Regulations ◽  
Managerial Culture ◽  
Common Drive ◽  
Post War ◽  
The 1960S ◽  
Second World ◽  
Fast Lane

Although Artois and Piedboeuf were relatively spared by the bombings of the Second World War, both breweries had to struggle with a very difficult economic environment in the immediate post-war years. Due to massive investment, organizational capabilities, and clear-sighted management, they were able to overcome the scarcity of raw materials, increasing state regulations, and sluggish consumption. They entered the following decades with a common drive for expansion, diversification, and internationalization. While Artois became the largest European beer producer at the end of the 1960s, Piedboeuf experienced a staggering performance by reaching the second national position. Despite their different production levels, the breweries showed growing signs of convergence. The nature of their managerial culture and the form of their structure, however, were still very distinct and had to face several phases of readjustment to cope with their respective strategy.

Dupain, Maxwell Spencer (1911–1992)

2018 ◽  
Author(s):  
Helen Ennis
Keyword(s):  
World War Ii ◽  
Subject Matter ◽  
Technical College ◽  
World War ◽  
Entire Life ◽  
Sharp Focus ◽  
Man Ray ◽  
1960S And 1970S ◽  
The 1960S

Australian photographer Max Dupain distinguished himself as a professional and artistic presence from the 1930s well into the 1970s. His earliest works were in the Pictorialist style, but by the mid-1930s he had become an ardent modernist—using sharp focus, bold and geometric compositions, and contemporary subject matter. Dupain was strongly influenced by vitalist philosophy, the work of Australian artist Norman Lindsay, the photography of Man Ray, Margaret Bourke-White, and Edward Steichen, as well as writer D.H. Lawrence. The son of Ena and George Dupain, Max Dupain lived in Sydney his entire life. He joined the studio of Cecil Bostock in 1930, taking night classes at East Sydney Technical College and the Julian Ashton School of Art. In 1934 he opened his own studio and quickly established his reputation in fashion, advertising, and celebrity portraiture. After World War II he reoriented his practice towards industry and government assignments, favoring a documentary approach. During the 1960s and 1970s, he specialized in architectural photography. Dupain’s photography is distinguished by its physicality and embrace of Australian sunlight and conditions (as seen in Sunbaker, his best-known work). He also regularly wrote on photography, contributing spirited reviews to the Sydney Morning Herald. His work was widely exhibited and published and is held in numerous public collections.

Gutai

2018 ◽  
Author(s):  
Neilton Clarke
Keyword(s):  
World War Ii ◽  
Technological Advancement ◽  
World War ◽  
Modus Operandi ◽  
Avant Garde ◽  
Post World War Ii ◽  
The World ◽  
The 1960S ◽  
Gutai Art Association

Gutai Art Association [Gutai Bijutsu Kyōkai] [具体美術協会] was an influential post-World War II Japanese avant-garde collective with an outward-looking mindset. Founded in 1954 in Ashiya, near Osaka, by Japanese artist Jirō Yoshihara (1905–1972), it had fifty-nine members over the course of its eighteen-year lifespan. Gutai—meaning ‘‘embodiment’’ and ‘‘concreteness’’—saw its artists engage a plethora of media and presentation contexts, often beyond gallery walls and frequently with more emphasis upon process than on finished product. A unifying factor among its multifarious tendencies was a spirit of adventure, exemplified by Yoshihara’s oft-cited call to ‘‘do what no one has done before.’’ Embracing performance, theatricality, and outdoor manifestations, with a characteristic impromptu modus operandi, Gutai’s experimental tendencies and liberal ideals breathed new life into art and into a society remaking itself following the cataclysm and repressions of World War II. As Japan entered the 1960s, consolidating its economy and engagement with the rest of the world, the decidedly offbeat stance of Gutai’s earlier years assumed a cooler demeanor, due in part to nation-wide technological advancement, growing internationalism, and an evolving audience base and receptivity. The Gutai group disbanded following Yoshihara’s passing in 1972.

Coming Home: Portraying Japanese Baseball on the Silver Screen

2018 ◽  
Author(s):  
Christopher T. Keaveney
Keyword(s):  
Middle Class ◽  
Early History ◽  
Japanese Cinema ◽  
Avant Garde ◽  
Hollywood Films ◽  
History Of ◽  
Baseball Films ◽  
1960S And 1970S ◽  
The 1960S ◽  
Important Marker

Chapter 3 examines the long history of baseball films in Japan, a tradition nearly as old as the history of Japanese cinema itself. After a brief survey of the early history of cinema in Japan, a tradition whose history parallels that of the game of baseball chronologically, the study focuses on early shomingeki films and explores how baseball became an important marker of domesticity and middle class respectability in this genre of film in the 1930s. The chapter then examines several pivotal films in the postwar era, examining how baseball was used alternately to perpetuate a national hero in Suzuki Hideo’s Immortal Pitcher (1955) or to chart the corruption and greed surrounding professional baseball as in Kobayashi Masaki’s I Will Buy You (1956). In the 1960s and 1970s, as young filmmakers arose to challenge the dominance of the great postwar filmmakers and to produce often avant-garde and politically charged films that reflected an international challenge to the hegemony of Hollywood films, the baseball film was again adopted as a means to offer that challenge. Ōshima Nagisa’s Ceremonies, in a film that contests the very concept of the baseball film, uses baseball as a metaphor for the Japan’s abandonment of its citizens during the war. The recent splatter comedy baseball films of Yamaguchi Yūdai likewise play with the familiar tropes of Japanese baseball and of the baseball hero as antihero in problematizing the very concept of the baseball film.

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