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Concept

Brutalisme

Résumé

vignette|300px|L'hôtel de ville de Boston (Massachusetts), réalisé par Kallmann McKinnell & Knowles en 1969.vignette|300px|Tour de la Sécurité Sociale à Rennes (Bretagne), en France, réalisé par Claude Flambeau en 1965. Le brutalisme est un style architectural issu du mouvement moderne, qui connaît une grande popularité des années 1950 aux années 1970 avant de décliner peu à peu, bien que divers architectes s'inspirent encore des principes de ce courant. Il se distingue notamment par la répétition de certains éléments comme les fenêtres, et par l'absence d'ornements et le caractère brut du béton. Les premiers exemples d'architecture brutaliste sont inspirés des travaux de l'architecte franco-suisse Le Corbusier, notamment de la villa Savoye (1931) et de la Cité radieuse (1952). Parallèle au mouvement artistique du pop art, le brutalisme s'exprime notamment à travers la réalisation de bâtiments institutionnels et d'universités au Royaume-Uni, en France, en Europe de l'Est et aux États-

Source officielle

https://fr.wikipedia.org/wiki/Brutalisme

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Concepts associés (26)

vignette|Gerrit Rietveld, maison Schröder, 1924. vignette|Richard Neutra, Lovell House, Hollywood Hills (1927–1929) vignette|Pavillon allemand de Barcelone, Ludwig Mies van der Rohe, 1929 vignette|Fr

Un immeuble de grande hauteur (IGH) est une tour à usage d'habitation, de bureau ou autre, pour laquelle une législation particulière s'applique dans le domaine de la prévention et de la lutte contr

Structuralism is a movement in architecture and urban planning that evolved around the middle of the 20th century. It was a reaction to Rationalism's (CIAM-Functionalism) perceived lifeless ex

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Cours associés (14)

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Séances de cours associées (17)

Séances de cours associées

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Architecture without Content 5: Places Of Accumulation: Machines

Kersten Geers, Jelena Pancevac, Giovanni Piovene Porto Godi, Dries Rodet, Andrea Zanderigo

This book shows the fifth incarnation of Architecture without Content. Architecture without Content started three years ago at Columbia University. Back then it was intended as a study of the Big Box, a big industrial building that could contain many things . Over time, Architecture without Content came to represent an idea of a possible architecture of the perimeter, a pragmatic kind of architecture that remains radical and precise. Architecture without Content 5 was held at École Polytechnique Fédérale de Lausanne (Epfl). This time we were dealing with Places of Accumulation. Places of Accumulation are both places of production and places of storage. They are buildings that concentrate the very essence of our contemporary infrastructure. In most cases they are not considered as possible sites for an architectural project. Places of Accumulation investigates the possibility of accumulating formal knowledge in buildings that do not deserve a specific architectural treatment. Their presence is all they have, but perhaps that is enough. Places of Accumulation starts from the presumption that it might be possible to ignore content and still make precise architecture. For that reason we will make form first, and content later.

2014

Chargement

, , ,

Another Short History of Architecture without Content The second iteration of Architecture without Content at EPFL is the eighth incarnation of a studio that started three years ago at Columbia University. Back then it was intended as a study of the Big Box, a big industrial building that can contain many things. Over time, Architecture without Content came to represent an idea of a possible architecture of the perimeter, a pragmatic kind of architecture that remains radical and precise. The first incarnation of Places of Accumulation — entitled Machines — concentrated both on places of production and places of storage. Buildings that concentrate the very essence of our contemporary infrastructure. In most cases they are not considered as possible sites for an architectural project. Machines thus investigated the possibility to accumulate formal knowledge in buildings that do not deserve a specific architectural treatment. We claimed: “Their presence is all they have, but perhaps that is enough.” Temporary Residence is in many ways the inverse of Machines . Site and territory are the defining factors for the architectural type. As much as each of the designed buildings are considered autonomous, it is precisely their performance ‘on site’ that was considered. At first, the project tackled fifteen sites of a wider series of temporary detention centres for migrants in contemporary Greece. As with the Machines , these buildings play a role on a global scale and regulate flows in the even covered field. The sites sprawl around in the entire territory of the country, and are more densely distributed close to the Turkish border and around Athens. During the studio, we drifted away from that initial thought. The buildings in Temporary Residence accumulate people, not machines or data. The temporary residences designed here are to be objects that permanently mark and deal with the specificity of a given territory whilst being able to accumulate transient fluxes of people — now temporary detention centres for immigrants, in the future something else. Ultimately, Temporary Residence considers inhabitants a temporary fad. The ambiguity towards its user is the code of arms of this ignorant piece of architecture. As a true Architecture without Content it turns the inhabitant into its alibi.

2014

Chargement

The New Brutalism, invenzione di uno stile

Silvia Groaz

The concept of New Brutalism has been the victim of a series of misunderstandings, myths and aporias. The initial intentions, devoid of any principle or dogma, have passed from hand to hand. The original definitionâif only one can be identifiedâhas been manipulated, diluted and finally fragmented, revealing the necessity of a thorough reconstruction of its trajectory, by sifting through architectural works, theoretical instances, debates and comments scattered, for the most part, in the pages of major international journals over a span of more than thirty years. The aim of this thesis has been to reconstruct the origins and development of the definition of New Brutalism and to reflect on its evolution, with the intention to understand the reasons and methods that have led it to take on an extraordinary dimension, becoming for a moment at least, an important topic in the architectural debate. The extension of the definition of New Brutalism was, if not entirely international, of a considerable vastness, ranging from Europe to the United States, from Japan to South America. Yet New Brutalism cannot be considered a synthesis but rather an attempt to pose profound questions about the course of architecture and the fate of the Modern Movement. Grasping the meaning of this concept in its various declinations and attempts at definition through the historical method required retracing its movement, through the scrutiny of major international journals and essays and the consultation of archival documents. The advent in the debates of the definition of New Brutalism reveals the appearance of an aspiration for an architecture that became an expression of the criticism of the young generations of the 1950s against sentimentalist and vernacular degeneration, at a time of profound crisis in the concept of the Modern Movement. The 1950s, which began with the turmoil of the UnitÃ© construction site in Marseille, witnessed the abolishment of cladding and the affirmation of a bare, essential, âbasicâ architecture. The debates on New Brutalism were not limited to the dimension of a single building, but addressed a new way of understanding the urban dimension, the role of the architect, and an ambivalent collaboration between critics and architects. At the heart of this renewal was the debate on Brutalism, fomented by the works of architects but above all by the aspirations of critics. This research examines the trajectories of the idea of New Brutalism, its origins and etymological roots, with a focus on the theoretical implications at stake through a reading of how it has been conceptualized and exploited by various protagonists and critics since the early 1950s. The central core of the dissertation has been to chronicle shifts in critical perception, following the contributions Brutalism made to national debates. By questioning and challenging the current categorization of post-war architecture, this research gets to the core of the post-war critical debate, unfolding, through its many actors, its philological incongruities as well as its heroic visions.

EPFL2021

Chargement

The New Brutalism, invenzione di uno stile

Silvia Groaz

EPFL2021

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2014