In the second half of the 19th century, new methods for quarrying and processing natural stone were developed. In the Nordic countries Sweden, Norway, and Finland, this technological progress went hand in hand with a systematic geological mapping and large-scale exploitation of natural stone deposits. As a result, new constructions were developed, changing the building practice in these countries. With the end of historicism, a new architecture arose that, particularly in Norway and Finland, acquired a national-romantic character. This paper examines the interaction between geological exploration, commercial development, technical inventions, and the development of national-romantic architecture.
{"title":"Exploring Natural Stone and Building a National Identity: The Geological Exploration of Natural Stone Deposits in the Nordic Countries and the Development of a National-Romantic Architecture","authors":"Atli Magnus Seelow","doi":"10.3390/ARTS6020006","DOIUrl":"https://doi.org/10.3390/ARTS6020006","url":null,"abstract":"In the second half of the 19th century, new methods for quarrying and processing natural stone were developed. In the Nordic countries Sweden, Norway, and Finland, this technological progress went hand in hand with a systematic geological mapping and large-scale exploitation of natural stone deposits. As a result, new constructions were developed, changing the building practice in these countries. With the end of historicism, a new architecture arose that, particularly in Norway and Finland, acquired a national-romantic character. This paper examines the interaction between geological exploration, commercial development, technical inventions, and the development of national-romantic architecture.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131307591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With the understanding that art and technology are continuing to experience an historic and rapidly intensifying rapprochement—but with the understanding as well that accounts thereof have tended to be constrained by scientific/engineering rigor on the one hand, or have tended to swing to the opposite extreme—it is the goal of this special issue of Arts to provide an opportunity for artists, humanists, scientists, and engineers to consider this development from the broader perspective which it deserves, while at the same time retaining a focus on what must surely be the emerging core of our subject: the state of the art in mechatronics and computation is such that we can now begin to speak comfortably of the machine as artist—and we can begin to hope, as well, that an aesthetic sensitivity on the part of the machine might help lead to a friendlier and more sensitive machine intelligence in general.
{"title":"The Machine as Artist: An Introduction","authors":"Glenn W. Smith, F. Leymarie","doi":"10.3390/ARTS6020005","DOIUrl":"https://doi.org/10.3390/ARTS6020005","url":null,"abstract":"With the understanding that art and technology are continuing to experience an historic and rapidly intensifying rapprochement—but with the understanding as well that accounts thereof have tended to be constrained by scientific/engineering rigor on the one hand, or have tended to swing to the opposite extreme—it is the goal of this special issue of Arts to provide an opportunity for artists, humanists, scientists, and engineers to consider this development from the broader perspective which it deserves, while at the same time retaining a focus on what must surely be the emerging core of our subject: the state of the art in mechatronics and computation is such that we can now begin to speak comfortably of the machine as artist—and we can begin to hope, as well, that an aesthetic sensitivity on the part of the machine might help lead to a friendlier and more sensitive machine intelligence in general.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115583051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
To ancient men, goats, and all that was related to them, were associated with a burning sexuality, even with lasciviousness and lust, and connected with the deities Venus and Bacchus. In this case, this connection occurs through mythological creatures, like fauns and satyrs, all of them representations of an unbridled sexuality. On the other hand, goats were also considered as whimsical and unstable animals, whose behavior was very changeable, and in some contexts, as a symbol of Christ. This paper will show how many of these symbols are repeated in the representations of this animal in Picasso’s works.
{"title":"Symbolism of the Goat and Its Presence in Picasso’s Work","authors":"Cristóbal Villalobos, D. Fuentes","doi":"10.3390/ARTS6020003","DOIUrl":"https://doi.org/10.3390/ARTS6020003","url":null,"abstract":"To ancient men, goats, and all that was related to them, were associated with a burning sexuality, even with lasciviousness and lust, and connected with the deities Venus and Bacchus. In this case, this connection occurs through mythological creatures, like fauns and satyrs, all of them representations of an unbridled sexuality. On the other hand, goats were also considered as whimsical and unstable animals, whose behavior was very changeable, and in some contexts, as a symbol of Christ. This paper will show how many of these symbols are repeated in the representations of this animal in Picasso’s works.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127499660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the exhibitions of Picasso’s works in the first two decades of his artistic career, as well as the dealers and collectors who came into contact with them. It describes the relationship between Picasso and his first dealers, Pere Manyach, Berthe Weill, Clovis Sagot, Pere Soulier, Ambroise Vollard, Daniel-Henry Kahnweiler, Georg Caspari, L. W. Guthier, Hans Goltz, Heinrich Thannhauser, Otto Feldmann, Alfred Flechtheim, Emil Richter, Gottfried Tanner, Michael Brenner, R. J. Coady, Leonce Rosenberg, Paul Rosenberg, etc.; as well as his first collectors, Leo and Gertrude Stein, Olivier Sainsere, Joachim Gasquet, Wilhelm Uhde, Herman Rupf, Vincenc Kramař, Frank Stoop, Hugo Perls, Edwin Suermondt, Dr. Paul Ferdinand Schmidt, Princess Mechtilde Lichnowsky, Henry Simms, Ludwig and Rosy Fischer, Professor Wilhelm Kreis, Adolf Erblosch, Justin K. Thannhauser, Sergei Ivanovich Shchukin, Ivan A. Morosov, etc. It also identifies all important Picasso expositions in this time period and how those dealers and collectors were involved in their arrangement. The information provided here has been excerpted from an exhaustive study of the critical literature on Pablo Picasso, as well as from published exhibition catalogues.
本文探讨了毕加索艺术生涯前二十年的作品展览，以及与这些展览有过接触的交易商和收藏家。它描述了毕加索和他的第一批经销商之间的关系，Pere Manyach, Berthe Weill, Clovis Sagot, Pere Soulier, Ambroise Vollard, Daniel-Henry Kahnweiler, Georg Caspari, L. W. Guthier, Hans Goltz, Heinrich Thannhauser, Otto Feldmann, Alfred fleechheim, Emil Richter, Gottfried Tanner, Michael Brenner, R. J. Coady, Leonce Rosenberg, Paul Rosenberg等;以及他的第一批收藏家，Leo and Gertrude Stein, Olivier Sainsere, Joachim Gasquet, Wilhelm Uhde, Herman Rupf, vincent kramajv, Frank Stoop, Hugo Perls, Edwin Suermondt, Paul Ferdinand Schmidt博士，Princess Mechtilde Lichnowsky, Henry Simms, Ludwig and Rosy Fischer, Professor Wilhelm Kreis, Adolf erbloch, Justin K. Thannhauser, Sergei Ivanovich Shchukin, Ivan A. Morosov等。它还列出了这一时期所有重要的毕加索展览，以及这些交易商和收藏家如何参与这些展览的安排。这里提供的信息摘自对巴勃罗·毕加索的批评文献的详尽研究，以及已出版的展览目录。
{"title":"Reaching for Success: Picasso’s Rise in the Market (The First Two Decades)","authors":"E. Mallen","doi":"10.3390/ARTS6020004","DOIUrl":"https://doi.org/10.3390/ARTS6020004","url":null,"abstract":"This article explores the exhibitions of Picasso’s works in the first two decades of his artistic career, as well as the dealers and collectors who came into contact with them. It describes the relationship between Picasso and his first dealers, Pere Manyach, Berthe Weill, Clovis Sagot, Pere Soulier, Ambroise Vollard, Daniel-Henry Kahnweiler, Georg Caspari, L. W. Guthier, Hans Goltz, Heinrich Thannhauser, Otto Feldmann, Alfred Flechtheim, Emil Richter, Gottfried Tanner, Michael Brenner, R. J. Coady, Leonce Rosenberg, Paul Rosenberg, etc.; as well as his first collectors, Leo and Gertrude Stein, Olivier Sainsere, Joachim Gasquet, Wilhelm Uhde, Herman Rupf, Vincenc Kramař, Frank Stoop, Hugo Perls, Edwin Suermondt, Dr. Paul Ferdinand Schmidt, Princess Mechtilde Lichnowsky, Henry Simms, Ludwig and Rosy Fischer, Professor Wilhelm Kreis, Adolf Erblosch, Justin K. Thannhauser, Sergei Ivanovich Shchukin, Ivan A. Morosov, etc. It also identifies all important Picasso expositions in this time period and how those dealers and collectors were involved in their arrangement. The information provided here has been excerpted from an exhaustive study of the critical literature on Pablo Picasso, as well as from published exhibition catalogues.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115412738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Pablo Picasso’s formative period in A Coruna (1891–1895), where he was born as an artist, the child and pre-adolescent who at that time signed himself as Pablo Ruiz, already knowing he was a genius, pursued an intense programme of creative activity while devoting himself to drawing and painting. Making use of his facility for reproducing the world around him in images, he also proved to be an incipient devotee of journalism as an instrument of communication and social awareness, a satirical draughtsman and caricaturist, seeking to give his version of events, in line with the magazines and newspapers of the period, and displaying a critical ability unusual in a child, a committed gaze, not devoid of humour and sarcasm, which prefigures the later Picasso with his progressive views, acute intelligence, meta-ironic approach and support for great causes.
{"title":"Journalism, Caricature and Satirical Drawings in Early Picasso (1891–1895): The Awakening of Pablo Ruiz’s Critical Consciousness","authors":"X. Ant, Castro Fern, ndez","doi":"10.3390/ARTS6010002","DOIUrl":"https://doi.org/10.3390/ARTS6010002","url":null,"abstract":"In Pablo Picasso’s formative period in A Coruna (1891–1895), where he was born as an artist, the child and pre-adolescent who at that time signed himself as Pablo Ruiz, already knowing he was a genius, pursued an intense programme of creative activity while devoting himself to drawing and painting. Making use of his facility for reproducing the world around him in images, he also proved to be an incipient devotee of journalism as an instrument of communication and social awareness, a satirical draughtsman and caricaturist, seeking to give his version of events, in line with the magazines and newspapers of the period, and displaying a critical ability unusual in a child, a committed gaze, not devoid of humour and sarcasm, which prefigures the later Picasso with his progressive views, acute intelligence, meta-ironic approach and support for great causes.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127971642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form.
{"title":"Function and Form: Shifts in Modernist Architects’ Design Thinking","authors":"Atli Magnus Seelow","doi":"10.3390/ARTS6010001","DOIUrl":"https://doi.org/10.3390/ARTS6010001","url":null,"abstract":"Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116007268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dating the late 1000s to the mid-1200s CE, petroglyphs of sandal images are among others that distinguish ancient Pueblo rock art in the San Juan and Little Colorado River drainages on the Colorado Plateau from Ancestral Pueblo rock art elsewhere across the Southwest. The sandal “track” also has counterparts as effigies in stone and wood often found in ceremonial contexts in Pueblo sites. These representations reflect the sandal styles of the times, both plain in contour and the jog-toed variety, the latter characterized by a projection where the little toe is positioned. These representations are both plain and patterned, as are their material sandal counterparts. Their significance as symbolic icons is their dominant aspect, and a ritual meaning is implicit. As a component of a symbol system that was radically altered after 1300 CE, however, there is no ethnographic information that provides clues as to the sandal icon’s meaning. While there is no significant pattern of its associations with other symbolic content in the petroglyph panels, in some western San Juan sites cases a relationship to the hunt can be inferred. It is suggested that the track itself could refer to a deity, a mythological hero, or the carver ’s social identity. In conclusion, however, no clear meaning of the images themselves is forthcoming, and further research beckons.
{"title":"Sandals as Icons: Representations in Ancestral Pueblo Rock Art and Effigies in Stone and Wood","authors":"Polly Schaafsma","doi":"10.3390/ARTS5040007","DOIUrl":"https://doi.org/10.3390/ARTS5040007","url":null,"abstract":"Dating the late 1000s to the mid-1200s CE, petroglyphs of sandal images are among others that distinguish ancient Pueblo rock art in the San Juan and Little Colorado River drainages on the Colorado Plateau from Ancestral Pueblo rock art elsewhere across the Southwest. The sandal “track” also has counterparts as effigies in stone and wood often found in ceremonial contexts in Pueblo sites. These representations reflect the sandal styles of the times, both plain in contour and the jog-toed variety, the latter characterized by a projection where the little toe is positioned. These representations are both plain and patterned, as are their material sandal counterparts. Their significance as symbolic icons is their dominant aspect, and a ritual meaning is implicit. As a component of a symbol system that was radically altered after 1300 CE, however, there is no ethnographic information that provides clues as to the sandal icon’s meaning. While there is no significant pattern of its associations with other symbolic content in the petroglyph panels, in some western San Juan sites cases a relationship to the hunt can be inferred. It is suggested that the track itself could refer to a deity, a mythological hero, or the carver ’s social identity. In conclusion, however, no clear meaning of the images themselves is forthcoming, and further research beckons.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122994927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On the Iberian Peninsula, during the Neolithic age, there was a new cycle of post-Palaeolithic rock art: schematic rock art. This rock art style is said to date from the 6th millennium BCE until the end of the Bronze Age (around the transition between the 2nd and 1st millennium BCE). Schematic rock art has been interpreted from different approaches (religious, semiological, social) according to the different lines of research followed in Spain for more than 100 years. In this article, based on the studies linked to “landscape archeology”, we are proposing an interpretative approach of schematic rock art. For us, this rock art style would have a functional character, landscape marker, reflecting close connections between the places chosen as a support for schematic depictions and ones with survival resources or communication routes between territories.
{"title":"A Mark along the Way: Schematic Rock Art and Communication Routes","authors":"Hipólito Collado Giraldo","doi":"10.3390/ARTS5030006","DOIUrl":"https://doi.org/10.3390/ARTS5030006","url":null,"abstract":"On the Iberian Peninsula, during the Neolithic age, there was a new cycle of post-Palaeolithic rock art: schematic rock art. This rock art style is said to date from the 6th millennium BCE until the end of the Bronze Age (around the transition between the 2nd and 1st millennium BCE). Schematic rock art has been interpreted from different approaches (religious, semiological, social) according to the different lines of research followed in Spain for more than 100 years. In this article, based on the studies linked to “landscape archeology”, we are proposing an interpretative approach of schematic rock art. For us, this rock art style would have a functional character, landscape marker, reflecting close connections between the places chosen as a support for schematic depictions and ones with survival resources or communication routes between territories.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129695432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Convergence between the work of the historian or archaeologist and that of writers or artists was a given for a long time.[...]
很长一段时间以来，历史学家或考古学家的工作与作家或艺术家的工作是一致的。
{"title":"Archaeology and Art in War Zones: Methods, Media, Technology, and Aesthetics","authors":"A. Alexandridis","doi":"10.3390/arts5030005","DOIUrl":"https://doi.org/10.3390/arts5030005","url":null,"abstract":"Convergence between the work of the historian or archaeologist and that of writers or artists was a given for a long time.[...]","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116415347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Brutalism Now: Rethinking Brutalism in Contemporary World Architecture","authors":"D. Altun","doi":"10.3390/arts5020003","DOIUrl":"https://doi.org/10.3390/arts5020003","url":null,"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.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124881692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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