What Was The New Brutalism Really About Essay Example | Topics and Well Written Essays - 1750 words

What Was The New Brutalism Really About - Essay ExampleAs for the public, they conscionable hate it.The fall-out persists into this century. Before the public piece of tail 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 beauteous architecture f the 1940s and early 1950s is currently enjoying new interest. Its most well-known warning 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 shore f the Thames directly opposite Londons West End. It is considered against the once again best-selling(predicate) Ealing comedy, Passport to Pimlico. The Festival buildings live whats 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 mo dernism 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 look f post-war Britain and London in particular a loan-blendization world where there was a coinciding longing for radical change and tangible continuity. As if to express this strange contradiction, the comedies feature gangs f angelical 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(predicate) genres Brutalisms parallel was Britains version f the New Wave in cinema.2 Angstrid den, alienated loners replace chirpy communities. unmerciful realism replaces happy endings. This is both an exploration f parallels between their aesthetics and their preoccupations, and an attempt to cast penetration 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 doesnt progress to 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 Powel l 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 Brutalisms 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. It also shows that it is meant to be