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Hello, I am looking for someone to write an essay on What Was The New Brutalism Really About. It needs to be at least 1750 words.Download file to see previous pages... As for the public, they just hat
Hello, I am looking for someone to write an essay on What Was The New Brutalism Really About. It needs to be at least 1750 words.
Download file to see previous pages...As for the public, they just hate it.
The fall-out persists into this century. Before the public can give any large-scale commitment again to architects, a line f mutual understanding has to be drawn under the circumstances which generated the styles and forms f this period.
The picturesque architecture f the 1940s and early 1950s is currently enjoying new interest. Its most well-known example is the buildings f the Festival f Britain. This was a national festival put on six years after the end f war, in 1951, which temporarily occupied the area f the South Bank f the Thames directly opposite London's West End. It is considered against the once again popular Ealing comedy, Passport to Pimlico. The Festival buildings embody what's been seen either as a happy marriage or an abominable birth. They are the result f the fusion between two apparently opposed traditions: the rigours f international modernism and the English picturesque tradition, a tradition which implies design first and foremost in terms f the composition f a series f visual pictures.1 In film, there was a broad, and perhaps equally popular equivalent: the Ealing comedy. These quintessentially English films emanated from the Ealing Studio in west London, and were at their best in this period. They epitomise the spirit f post-war Britain and London in particular: a hybrid world where there was a simultaneous longing for radical change and tangible continuity. As if to express this strange contradiction, the comedies feature gangs f lovable robbers, charming and funny murderers and, in the case f Passport to Pimlico, sensible and conventional anarchists.
Both architecture and film began to go markedly out f fashion in the second post-war decade. They were replaced with monochrome, and supposedly true-to-life genres: Brutalism's parallel was Britain's version f the New Wave in cinema.2 Angstridden, alienated loners replace chirpy communities. Remorseless realism replaces happy endings. This is both an exploration f parallels between their aesthetics and their preoccupations, and an attempt to cast insight from architecture on cinema and vice versa.
The idea f the hybrid is the opposite f the pure. The hybrid straddles two or more classes. its edges are unclear, and difficult to delineate, to draw a line around. The hybrid doesn't have an identifiable, categorisable form. The hybrid obscures the possibility f its reduction to an original set f parts or classes. The hybrid transgresses the edges f established forms. The pure and the hybrid polarise the two tendencies in British post-war architecture. And these two tendencies can be personified in two iconic buildings, the Skylon and Hunstanton School.
The Skylon (Figure 1) was a vertical structure built for the Festival f Britain in 1950, and designed by two competition-winning architectural students, Philip Powell and Hidalgo Moya. Hunstanton School, another competition winner designed by Alison and Peter Smithson, was one f the first Brutalist buildings completed six years late, and crucial to Brutalism's identification as a new and challenging style (Figure 2).
The presentation drawing shows the Skylon as part f a picturesque composition complete with moody sky, passing boat and Victorian railway bridge.
