Atlas of Brutalist Architecture: Classic format

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Atlas of Brutalist Architecture: Classic format

Atlas of Brutalist Architecture: Classic format

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These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc. Beginning in a tiny hermitage on the remote north Scottish coast, and ending up backstage at the National Theatre, Raw Concrete embarks on a wide-ranging journey through Britain over the past sixty years, stopping to examine how eight extraordinary buildings were made - from commission to construction - why they have been so vilified, and why they are beginning to be loved. Imposing and dramatic, with monolithic concrete exteriors, it forms an enduring part of our post-war urban landscape. Featured architects include: John Andrews; João Batista Vilanova Artigas; Lina Bo Bardi; Bogdan Bogdanović; Marcel Breuer; Douglas Cardinal; André-Jacques Dunoyer de Segonzac; Bertrand Goldberg; Ernő Goldfinger; Jadwiga Grabowska-Hawrylak; Agustín Hernández Navarro; John M. A wonderful book which explodes the myth of Paris as a theme-park of the nineteenth century, this compelling compendium of Brutalism builds on Blue Crow's excellent architectural maps to give a wholly different and striking view of the city.

The successes and failures of Parisian brutalism are recounted in this valuable work […] The peregrination explores the Grands Ensembles , the housing estates and ZUPs, satellite places designed as alternative and modern environments, today an integral part of the heritage of Greater Paris. And when questions arose (regarding a bookshelf that needed clever assembly), their representatives in Finland were so helpful and thoughtful. The Brutalist aesthetic is enjoying a renaissance ― and this book documents Brutalism as never before. Includes twentieth-century masters such as Marcel Breuer, Lina Bo Bardi, Le Corbusier, Carlo Scarpa, Ernö Goldfinger, Frank Lloyd Wright, Louis Kahn, and Paul Rudolph.Phaidon offers readers new perspectives on their everyday surroundings, encouraging individuals to re-evaluate the built environments. Some typographical choices and occasional pictures of sub-par quality are minor annoyances that don’t sully the overall experience. The stunning, 560-page coffee table tome shares more than 850 buildings, some which still exist and others that have been destroyed, that put the style on full display the world over. He pierces mercilessly through the mantle of social illusions that, like enticing and elusive ghosts, make people move aimlessly in all directions. This landmark volume documents the movement as never before, by profiling the architects behind the style.

In spite of some oversights here and there and shortcomings with some of the photographic angles etc this is essential reading for Brutalist fetishists and architecture enthusiasts alike. Also, in the 1950s there was a belief not so much in the abundance of cheap oil but in the seemingly free and boundless energy supply promised by nuclear power’s potential. He aptly cites Brutalism’s characteristics by Reyner Banham in his The New Brutalism article from December 9, 1955, in Architectural Review as, “1, Memorability as an Image; 2, Clear exhibition of Structure; and 3, Valuation of Materials ‘as found. Phaidon offers readers new perspectives on their everyday surroundings, encouraging individuals to re–evaluate the built environments.

But as the examples in the book demonstrate, concrete was not exclusive to many of the Brutalist examples.

The book condenses critical discussions about pedagogical, collaborative and inclusive approaches that can be taken to enhance the representation of spaces in galleries and museums. Some of the data that are collected include the number of visitors, their source, and the pages they visit anonymously. The book also highlights influential female architects, like Charlotte Perriand, who designed many radical buildings while working for Le Corbusier that the Swiss-French architect took credit for. Phaidon announce their latest photo-book - a global survey of Brutalist architecture, based around 878 buildings from 798 architects, and ranging across 102 countries. An ambitious attempt to give brutalism a much wider scope and time frame, featuring almost 900 masterpieces from more than 100 countries.

This impressive book, which grew out of a collaboration between the Deutsches Architekturmuseum and Wüstenrot Foundation and was edited by Oliver Elser, Philip Kurz, Peter Cachola Schmal, is a treasure trove of unsung buildings and oddities, including works in Russia, the Middle East and Asia. An engaging journey through the socialist-era architecture erected in the former Eastern Bloc and ex-Yugoslavia. In its thick, heavy, and appropriately dense weight, the Atlas not only covers the 'big names' of Brutalism, but also its lesser well-known members and more recent practices and places that have been inspired by it. Among these few privileged practitioners are such familiar names as Louis Kahn, Marcel Breuer, Bertrand Goldberg, and I. He shows no respect for the laws and argues that the wise man should not guide himself by them, but only by his own rational principles (D.

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