Brutalism Now: Rethinking Brutalism in Contemporary World Architecture

D. Altun
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引用次数: 2

Abstract

Brutalism has a privileged role in the history of modern architecture. After World War II, whenthe discussion of modernism began, Brutalism might have been the first tendency that criticizedmodern architecture and discussed its positive and negative aspects. In the literature on the historyof architecture, two “Brutalisms” have been mentioned. One of these paths was that of Le Corbusierand his buildings, especially those produced after 1950; the other was the Brutalism of those followingSmithson, who shaped their ideas in an intellectual area, with the name of “New Brutalism”, morethan that of the built environment. However, in both, the common traits were the expression ofthe structure, materials, and functions of a building, and also the use of materials in their natural,“rough” appearance and for their unpretentious honesty. Using raw material—especially raw concrete(beton brut)—also suggested an ethical implication for brutalists: staring at reality without any veils,purified from all ornaments, and observing the naked and uncontaminated beauty of naturality. TheBrutalist movement flourished from the 1950s to the mid-1970s and expanded into local architecture allover the world. The Brutalist effects on architectural products are not only observed in the use of rawconcrete, but also in its structural expressionism, using different materials in their pure and naturalstate, fragmental mass conception in contrast with the huge, monoblock prisms of the InternationalStyle, and also in searching for the patterns in old, urban areas. Hence, Brutalism was shaped intodelighting forms and, in the hands of talented architects in different localities, many competentBrutalist samples were produced. Although it is generally accepted that Brutalism largely fell intodisuse by the 1980s, it has experienced an “updating” of sorts in recent years. Many of the Brutalistaspects have been observed in newer buildings all over the world, with concrete facades, pre-castelements, using raw materials, and structural expressionism. Accordingly, this Special Issue is aimedat critically analyzing Brutalism again, in all its forms, and to scrutinize the newer Brutalist tendenciesthroughout the world. Of special interest is a focus on local experiences in Eastern and Asian countries.Topics of primary interest include, but are not limited to: Theoretical frame of Brutalism and its history Brutalist examples in history of architecture Local examples of Brutalism, especially in Eastern and Asian countriesWe look forward to receiving your submission.
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当代粗野主义:对当代世界建筑粗野主义的再思考
野兽派在现代建筑史上占有特殊地位。第二次世界大战后,当关于现代主义的讨论开始时,野兽主义可能是批评现代建筑并讨论其积极和消极方面的第一个趋势。在建筑史的文献中,有两种“野兽派”被提及。其中一条道路是勒·柯布西耶和他的建筑,尤其是1950年以后的建筑;另一种是史密森之后的粗野主义,他们在一个知识分子领域形成了自己的思想,被称为“新粗野主义”,而不是建筑环境。然而,两者的共同特点是对建筑结构、材料和功能的表达,以及对材料的自然、“粗糙”外观和朴实诚实的使用。使用原始材料——尤其是原始混凝土(beton brut)——也暗示了野兽派的伦理含义:没有任何面纱地凝视现实,从所有装饰品中净化,观察自然的裸露和未受污染的美。野兽派运动从20世纪50年代到70年代中期蓬勃发展,并扩展到世界各地的当地建筑中。野兽派对建筑产品的影响不仅体现在对原始混凝土的使用上,还体现在其结构表现主义上,使用纯净自然的不同材料,与国际风格的巨大单体棱镜形成对比的碎片体概念,以及在旧的城市地区寻找模式。因此,野兽派被塑造成令人愉悦的形式,在不同地区有才华的建筑师手中,产生了许多合格的野兽派样品。虽然人们普遍认为野兽派在20世纪80年代就已经被废弃了,但近年来它经历了各种各样的“更新”。在世界各地的新建筑中都可以看到野兽派的许多方面,混凝土外墙,预制构件,使用原材料和结构表现主义。因此,本期特刊旨在重新批判性地分析野兽派的各种形式,并审视世界各地较新的野兽派趋势。特别令人感兴趣的是对东方和亚洲国家当地经验的关注。主要感兴趣的主题包括但不限于:粗野主义的理论框架及其历史粗野主义建筑史上的例子粗野主义的本地例子,特别是在东方和亚洲国家我们期待收到您的提交。
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