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Modernism and classicism
Modernism in architecture essay
Modernism in architecture
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The reference to Rudolf Wittkower, and his 1952 publication Architectural Principles in the Age of Humanism was conspicuous here. By the time of the New Brutalism’s publication Wittkower’s works had already, in his own word, “caused more than a polite stir” in post-war architecture. His analysis of proportion, rationality, and abstraction in Palladian architecture was seen as an endorsement on the “hard” Modernist architecture over the “soft” Scandinavian Modernism. The controversy was further fueled by the works of Colin Rowe, Wittkower’s student, on the Classical language found in Le Corbusier’s works. To claim the relevance of Classical architecture in New Brutalism, for these architects, was to manifest their belief that New Brutalist architecture should be understood as the actual heir to the first generation of Modernist architects. The Smithson couple stated such ambition in the first sentence of their writing: “Our belief that the New Brutalism is the only possible development for this moment from the Modern Movement.” What is noteworthy is that in this one page writing these authors paid tributes to not only one but two émigré historians of the time. The use of the term Modern Movement was a deliberated reference to the works of Nikolaus Pevsner. By evoking Pevsner’s study from William Morris to Walter Gropius, the Smithson and Crosby emphasized the avant-garde spirit in New Brutalism.
Crosby and the Smithsons’ preoccupation with history had already been in placed before Wittkower’s influential publication. Not only would they have known of Colin Rowe’s work through their IG connection, Peter and Crosby’s respective education background had led them to develop an interest in the relationship between Classical and Mo...
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...ccording to Banham, originated from their casual reading of Bruno Taut’s already dubious study of Japanese architecture, The Fundamentals of Japanese Architecture of 1936. Banham explained that the link between New Brutalism and Japanese architecture should not be taken too seriously since Japan was merely serving as an image of spatial sophistication that was previously unknown to Westerners. Eager to brush these references to history and tradition aside, Banham urged readers to turn the pages of the January 1955 issue of AD and admire the works of Vladimir Bodiansky and ATBAT-AFRIQUE, which Crosby and the Smithson introduced as other examples of New Brutalism. For Banham, these architects who worked in “a more primitive society” were the better representatives of New Brutalism since their works were responding to both “social ethics and architectural aesthetics”
- Boardman, Griffin and Murray, the Oxford History of the Classical World (Oxford University Press, 1986)
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
During the renaissance, there was a renewed interest in the arts, and the traditional views of society came into question. People began to explore the power of the human mind. A term often used to describe the increasing interest in the powers of the human mind is humanism. Generally, humanism stresses the individual's creative, reasoning, and aesthetic powers. However, during the Renaissance, individual ideas about humanism differed.
The development of modernist sentiments is largely the result of spasmodic cultural transformations and the ensuing creative exchanges between architects, modern artists and designers. For the purpose of research, this paper will solely deal with Surrealism, an important aspect of Modernism and chart its development through two contemporary Australian surrealists – James Gleeson and Sidney Nolan.
According to Tatlin, avant-garde artists transfer ideas of social reality of his modernity and Gabo claimed that it was relevant in the spirit of an epoch to substitute static mass with a dynamic form. Even though both Tatlin and Gabo’s work were influenced by conceptually different beliefs, their works are both represented abstractly. Works Cited Avant-Garde – Abstraction in Constructivism: Vladimir Tatlin's 'The Monument to the Third International'. Available from: http://www.suite101.com/content/avantgarde-abstraction-of-constructivisma115053#ixzz1Cbu82a75>.
Sometimes the best revolutions are those that are forgotten. At least in the short run. And so it is with Robert Venturi, a revolutionary and remarkable architect. While he may not be as celebrated as Frank Lloyd Wright, Ludwig Mies van der Rohe, or Louis Kahn, Venturi leaves behind a forceful intellectual legacy that is perhaps more durable than any building. By condemning the functionalism, simplicity, and orthodoxy of modernism in Contradiction and Complexity in Architecture (1966), he instigated an enduring architectural rebellion. This rebellion continues to run its course today. Notably, Venturi’s ideas sparked and profoundly influenced postmodernism, an international style whose buildings span from the beautiful to the gaudy and vulgar. Ultimately, Venturi’s alternative to modernism succeeded because he prized human experience and the interaction of individuals with architectural forms over a rigid, doctrinaire ideology.
The definition of critical regionalism is a direct approach to architecture that strives to oppose ‘placelessness’ and the apparent lack of identity and character in modern architecture through the use of building's geographical context. The term ‘critical regionalism’ was first established as a concept in the 1980s through papers written by Tzonis, Lefaivre and Kenneth Frampton. Throughout Frampton’s writings he mentions and somewhat commemorates Tadao Ando as a critical regionalist and uses the specific advance as a theory to discuss Ando’s architecture (Frampton, 1983).
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
London, Phaidon, 1997. Watkin, David. German Architecture and the Classical Ideal. Cambridge, MIT Press 1987. Rosenblum and Janson.
The reason for this piece is to attempt a comparison between two architectural examples that employ classical design from different stylistic eras of architectural history. The two styles I've chosen to discuss are the Renaissance and Baroque periods. An understanding of classical architecture needs to be made, as it is the fundamental style of any period that developed architecturally
Boardman, John, Jasper, Griffin, and Oswyn Murray. The Oxford History of the Classical World. Oxford: Oxford University Press, 1986
The intent of this paper is not to offer a new interpretation of New Brutalism. On the contrary, this paper is collaborating with recent researches on New Brutalism, such as the works of the architectural historians M. Christine Boyer and Dirk van den Heuvel, which observe the multiplicity and convolution in the debates. By unraveling a version of New Brutalism that is more interested in history than technology, more traditional than POP; I am hoping to point out a rather startling mutation from the New Brutalism discourse.
With the interaction between the development of computational approaches in architecture and the contemporary forms of spatial design intelligence, some new architectural design theories emerged to make differences between architects and control designing processes. These theories are almost employed in all designing realms, from architecture to urban design to provide fields of ideas and solutions that privilege by complexity. Most of these theories are oriented to relay on understanding and using computational methods to generate exotic and complex geometries. In this respect, three of these theories will discussed and tested against three buildings. The theories are: parametric design, genetic architecture and emergence, which characterize some of the contemporary architectural design approaches.
In chapter one of Frampton’s writing, “Cultural Transformations,” he describes how changes in society create new architectural styles due to new cultural needs. Frampton starts by explaining the relationship between man and nature in different architectural styles. Man and nature were distinct entities; however, for the sake or ornamentation in architecture, the two were constantly combined. This idea soon changes with Baroque architecture where man and nature started to be distinctly separate, and this later leads to the Neoclassical style which shows an increased desire for man to have control over nature (Frampton 1). Neoclassicism essentially stems from a new cultural formation that grew from the life styles of declining aristocracy and the rising bourgeoisie, and this transition leads
From my opinion off what I have gathered, I came to an understanding that Critical regionalism can be seen as an approach to architecture that tries to stand up for places culture and identifies the identity of a place where Modern Architecture has failed to, by using the building's geographical context and reference of vernacular architecture. The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and, with a somewhat different meaning, by Kenneth Frampton. Critical regionalism could be considered as a particular kind of post-modern response. This response developed as a result of the failure of Post-modernism, together with the influence of Globalization and the spread of Western culture. Critical Regionalism could also be seen as the best solution to cultural issues and the problems of architectural identity. Frampton’s argument is that critical regionalism should not only answer to context, but it should also value the progress of universal modern architecture.