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Alexander Clement

Book Description Condition: New. Bookseller Inventory ST Seller Inventory ST Language: English. Brand new Book. Seller Inventory AAZ New copy - Usually dispatched within 2 working days. Seller Inventory B Seller Inventory mon Book Description Hardback. Not Signed; The term Brutalism is used to describe a form of architecture that appeared, mainly in Europe, from around - Some r.

Book Description Crowood Press, Book Description The Crowood Pre, Condition: Brand New. In Stock. Brutalism: Post-War British Architecture. Alexander Clement. Publisher: The Crowood Press Ltd , This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Synopsis About this title The term Brutalism is used to describe a form of architecture that appeared, mainly in Europe, from around - About the Author : Alexander Clement is a design historian whose interest in architecture began at school and intensified while studying the history of art at Staffordshire University, where he developed a particular interest in twentieth century building.

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Brutalism: Post-War British Architecture

Customers who bought this item also bought. Stock Image. This was sterner stuff and it was dubbed the New Brutalism. This New Brutalism became the defining architectural style of the age. It became a huge part of what shaped town and city centres; in its office blocks, car parks, bus stations, shopping centres, schools, hospitals, universities and housing.

Brutalism became part of the lives of people from Thamesmead to Tyneside, from Portsmouth to Preston. Great industrial cities like Glasgow, Birmingham, Manchester all saw their skylines transformed as the fabric of these cities was torn to pieces and put together anew. Preston bus garage, for example, with its long, low layers, like a giant concrete cake, is a mixture of everyday functionality and bonkers architectural excess.

Why We Should Value our Brutalist Architectural History - Shaun Carter - TEDxSydneySalon

And that was the thing about the Brutalists. It was a style of architecture rooted in that post-war spirit of social planning and managed urban space — but it was also wigged out modernism of the most extraordinary kind. When it opened in high-rise blocks were already beginning to fall out of favour and it became a magnet for drugs and crime.

But unlike the Tricorn the Trellick Tower was to be handed a reprieve from the unlikeliest of places — a Tory manifesto. This reaction is how you react to art. For Meades, the triumph of post-war British Brutalist architecture was its scale. There is something almost geological about it; it was akin to basalt crags or limestone cliffs. Brutalism was bold art; it was art that existed on its own terms.

And it was great modernist art; it was about the human world, it tried to outdo nature, it imposed its own logic on time, space and experience. You would have passed a giant block of flats which ran along the side of the motorway; its tiny windows the only indication that people lived there. It looked like a giant wall in a dystopian film designed to keep prisoners in or zombies out. The building was a series of concrete planes and pillars, walkways and underpasses all stacked up in an asymmetrical pattern. The idea was that it would become a commercial centre, the businesses would move in and that the shop fronts would add the colour.

Within a year it was clear that the Tricorn was an economic failure. It was never used as a shopping centre. The residential apartments were all deemed uninhabitable and were soon abandoned to everyone except the pigeons. High-end commercial businesses refused to move in and the retail units became home to lower league commercial enterprises — pound shops, shops selling shell suits and knock-off T-shirts, shops selling dream catchers.

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Slowly bits of the Tricorn began to crumble, the sea air and rain seemed to eat into the concrete and made it appear like living — or dying — organic matter. The detritus from the stalls would rot. It was as if the rotting concrete had the stench of rotting fruit. In the s, the Tricorn Centre was voted the third most ugly building in Britain. In it was voted the most hated building in Britain by Radio 4 listeners.

In it was pulled down. This development was a regeneration project. As the navy was scaled down and as the nature of warships changed HMS Vernon became redundant. This regeneration redevelopment is a perfect example of that millennial, Blairite, urban planning that took place though towns and cities in the UK throughout from the s up until when the banks collapsed and the money run out. The architectural style of these regeneration projects is difficult to sum up — or even name neo-lib architecture? Regeneration architecture? Blairite architecture?

Overdraft architecture? Neo-something-or-other architecture? But it is instantly recognisable. This change may prove as stark and dramatic as the fall from grace that Brutalism went through in the s. There is a general sense that the neo-liberal age — and its concomitant architecture — is past its sell-by date. This perhaps explains why there has been a revival of interest in Brutalism — its ambition and its ideology stands in stark contrast to the ordinariness and socially divisiveness of the neo-lib leisure parks and the windswept, tatty, empty high streets.

But this renewed interest in Brutalism avoids the awkward truth that the Tricorn, along with a lot of other Brutalist architecture, failed. The New European is proud of its journalism and we hope you are proud of it too. We believe our voice is important - both in representing the pro-EU perspective and also to help rebalance the right wing extremes of much of the UK national press.

Brutalism: Post-war British Architecture

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