40 research outputs found
Mechanism and landscape: Reyner Banham and América
No full textPeter Reyner Banham (1922-1988) foi um dos críticos e historiadores de arquitetura responsáveis pela revisão crítica do movimento moderno. Esta dissertação pretende abordar o olhar do autor em direção às expressões vernaculares modernas na arquitetura, design na paisagem dos Estados Unidos. Este olhar seria amparado pela relação entre arquitetura e tecnologia. O Primeiro Capítulo consiste em um estudo historiográfico dos deslocamentos intelectuais da Europa aos Estados Unidos da América. A formação das instituições de ensino de arquitetura americanas será investigada, bem como a trajetória de arquitetos, críticos e historiadores de arquitetura europeus, dando destaque a geração de intelectuais ingleses à qual Banham pertence. O Segundo Capítulo investigará a obra de Reyner Banham sobre as relações entre arquitetura moderna e tecnologia, focando em seu estudo crítico a respeito dos historiadores modernos e suas posturas em relação à arquitetura americana. O Terceiro Capítulo é um estudo teórico sobre o olhar de Banham sobre as paisagens culturais dos Estados Unidos, e dos objetos da arquitetura cotidiana, da cultura de consumo de massa, e das expressões anônimas no espaço urbano.Peter Reyner Banham (1922-1988) was one of the architectural historians responsible for the critical revision of the modern movement. This dissertation aims on the approach on the author\'s view of the modern vernacular expressions in architecture, design in the United States landscape. This specific view have been supported by his experience in the relationship between architecture and technology. The first chapter consist in a historiographical survey on the intellectual displacements from Europe to the United States of America. The formation of the American architecture teaching institutions will be investigated, as the trajectory of the European architects, critics and architectural historians, outlining Reyner Banham\'s generation of British intellectuals. The second chapter visits Reyner Banham\'s works, regarding the relationships between modern architecture and technology, focusing his critical study on the modern historians and how they stand towards American architecture. The third chapter is a theoretical study on Banham\'s view on the cultural landscapes of the U.S., and the objects of everyday architecture, mass consumption culture, and the anonymous expressions in urban spaces
Pier Paolo Pasolini e Reyner Banham: sguardi sulla città con la macchina da presa
No full textEvery landscape exists only for the gaze that discovers it, conscious perception, judgement and description. Each gaze, implementing a double relationship with respect to the reality to which it refers, one of listening, but also one of extraneousness , returns something 'true' and something 'false'.
Every landscape, therefore, takes shape in its image.between objectivity and subjectivity. In this perspective, the interest of the essay focuses on the observer considered in an active dimension, as author of visual practices, images creator.
Two authorial visions were examined, relating in particular to the representation of the urban landscape. These
are the audiovisuals "Pasolini e... la forma della città" (1974) and "Reyner Banham loves Los Angeles" (1972).
Between classical and ideological editing, images and words, camera shots fixity and mobility, authorship triggers an active intertextuality between the object and its image, but also interprets 'renaissance, neo-realist and post-modern' views
What are words worth?
No full textCrítica ao espectáculo sim sim não não. Trabalho de Maria Duarte, Sílvia Figueiredo e João Rodrigues a partir de John Berger e Susan Sontag. Interpretação: Maria Duarte e Sílvia Figueiredo. Violoncelo: Tatiana Leonor. Piano: Teresa Doutor. Co‑produção: Maria Duarte, Sílvia Figueiredo e João Rodrigues/Culturgest. Local e data de estreia: Palco do Grande Auditório da Culturgest, 11 de Abril de 2018
Los Ángeles: Hardware and Software. Una lectura contemporánea de las cuatro ecologías de Reyner Banham
No full textOver the course of the 20th century, Los Angeles was for many the epitome of the immediate future: it was an enormous system of infrastructures; a city built up from the automotive scale. But also a supercity forged by the fantasies of immigrants who arrived in California with the promise of a better life. This fiction was boosted by the real estate business and the Hollywood factory of dreams. Los Angeles imaginary has been fostered through the opposing visions projected by the city itself ranging from the utopian seduction of paradise to dystopian horrors. Probably, one of the most seductive visions was Reyner Banham’s who, willing to explain Los Angeles as a coherent city, ended up contributing decisively to its myth. Due to the many difficulties of travelling to be physically in Los Angeles, the opportunity of discovering the city arises by means of an imaginary journey guided by Banham himself. This essay is an approach to Los Angeles from the distance which considers Banham’s work, and his Los Angeles: The Architecture of Four Ecologies book, as the true conductor in this fictional trip. In short, it would not so much consist of a critical assessment concerning his urban theory rather than a personal exploration of the complexity of this metropolis by analyzing a fragment of it. As one of the most significant arterial roads in L.A., this paper addresses a particular study of Wilshire Boulevard by travelling through its history, the perspective of cinema and the author\u27s own imagination.Durante buena parte del siglo XX, Los Ángeles fue para muchos el prototipo de ciudad del futuro, de un futuro inmediato: un gigantesco sistema de infraestructuras territoriales; una ciudad pensada por y para el transporte, construida desde la escala del automóvil. Pero también una superciudad forjada por las fantasías de generaciones de inmigrantes que llegaban a California con la promesa de una vida mejor, una ilusión que alentaban sus dos principales industrias: la de la especulación inmobiliaria y la de los sueños de Hollywood. Su imaginario se nutre de todas las visiones que ella misma proyecta, miradas que se debaten entre la seducción utópica del paraíso y el horror distópico y a las que han contribuido escritores, cineastas, críticos y tantos y tantos personajes mediáticos. Probablemente, una de las visiones más seductoras sea la de Reyner Banham quien, en su afán por intentar explicarla como ciudad, terminó contribuyendo decisivamente al mito de Los Ángeles. Ante la dificultad material de visitar físicamente la ciudad, la posibilidad de descubrir Los Ángeles mediante un viaje imaginario guiado por Banham es el punto de partida de este TFG. El trabajo que se explica a continuación consiste, pues, en una aproximación a Los Ángeles desde la distancia, tomando la figura de Reyner Banham y, por supuesto, su libro Los Angeles: The Architecture of Four Ecologies, como guías para este viaje imaginario. En definitiva, no se trataría tanto de un trabajo de crítica de su teoría urbana sino, más bien, de una personal exploración de la complejidad de esta metrópolis mediante el análisis de un fragmento de la misma. Concretamente, de Wilshire Boulevard, una de las calles más representativas de la ciudad y que este trabajo recorre a través de su historia, la visión que el cine nos ofrece del célebre bulevar y, por supuesto, de la propia imaginación de esta autora
Actors and Vehicles of Architectural Criticism (5)
No full textKeynote Lecture Agendas, Actors and Authorship: Reconsidering The New Brutalism. Ethic or Aesthetic? Réjean Legault Université du Québec à Montréal (UQAM) In the last decade, Brutalism has clearly returned to the forefront of the architectural agenda. The single most important reference for any discussion of this topic has been, and remains Reyner Banham’s book The New Brutalism. Ethic or Aesthetic? simultaneously published in English and German in 1966. Written by a British author known for ..
The Rise and Fall of Visual Paradigms: An Interview with Mario Carpo
No full textMario Carpo is Reyner Banham Professor of Architectural History and Theory at The Bartlett School of Architecture. He specializes in history of architectural theory and history of cultural technologies, focusing on the early modern period and contemporary digital design theory. He is the author of The Second Digital Turn (MIT Press, 2017), The Alphabet and the Algorithm (MIT Press, 2011), and Architecture in the Age of Printing (MIT Press, 2001), among other books
Actors and Vehicles of Architectural Criticism (5)
No full textKeynote Lecture Agendas, Actors and Authorship: Reconsidering The New Brutalism. Ethic or Aesthetic? Réjean Legault Université du Québec à Montréal (UQAM) In the last decade, Brutalism has clearly returned to the forefront of the architectural agenda. The single most important reference for any discussion of this topic has been, and remains Reyner Banham’s book The New Brutalism. Ethic or Aesthetic? simultaneously published in English and German in 1966. Written by a British author known for ..
'I giovani delle colonne' Tradición y continuidad ante litteram
No full textResumenEn el ámbito del Politécnico de Milán de mediados de los años cincuenta, un grupo de estudiantes empezaba a utilizar en los ex tempore académicos una serie de referencias estilísticas muy personales, relacionadas con cierto bagaje histórico y tradicional, dando comienzo a una protesta que pretendía denunciar los limites del racionalismo di maniera que la enseñanza universitaria del momento transmitía. El uso 'provocador' de arcos, columnas y pináculos en sus investigaciones formales valió a los jóvenes Michele Achilli, Daniele Brigidini, Maurizio Calzavara, Guido Canella, Fredi Drugman, Laura Lazzari, Giusa Marcialis, Aldo Rossi, Giacomo Scarpini, Silvano Tintori y Virgilio Vergelloni el apelativo de 'giovani delle colonne'.El debate sobreexcederá los confi nes de la propia universidad para alcanzar el papel de pequeña revolución, sacudiendo la estancada arquitectura milanesa en junio de 1955 con la lectura pública de la memoria redactada por Guido Canella y Aldo Rossi frente a los representantes del Movimento di Studi per l’Architettura. Su discurso -fundamentado en la necesidad de 'reconectarse con la tradición,reconocer su sustancia humanística y los medios fi gurativos […] de su lenguaje expresivo'- formulaba una analogía evidente respecto a la línea investigadora dirigida por el grupo BBPR ya desde los primeros años de la segunda postguerra.La inquietud subversiva de los giovanni delle colonne llevaría a Rossi a investigar sobre el neoclásico milanés y la arquitectura de la ciudad, a partir de la 'reinterpretación' de la tradición según una nueva clave lingüística aún por experimentarse. Bajo esta óptica, el valor de la experiencia de este grupo -no considerado por Reyner Banham en su ataque a la retirada italiana del Movimiento Moderno- reside en haber adelantado o forzado algunos de los temas promovidos por la teoría de la continuità de Ernesto N. Rogers, marcando así las premisas para el desarrollo progresivo de un posible método operativo inédito.AbstractIn the mid 50’s background of the Politecnico di Milano, a group of students started to make use of a range of very personal stylistical references in the academic ex tempore, related to a specific historical and traditional baggage, giving thus birth to a protest that aspired to expose the limitations of razionalismo di maniera imparted by the academic way of teaching of the period. The 'provocative' use of arches, columns and pinnacles in the formal researches of Michele Achilli, Daniele Brigidini, Maurizio Calzavara, Guido Canella, Fredi Drugman, Laura Lazzari, Giusa Marcialis, Aldo Rossi, Giacomo Scarpini, Silvano Tintori and Virgilio Vergelloni earned them the epithet of 'giovani delle colonne'.The debate was destined to overcome the boundaries of the university in order to reach the condition of little revolution and excite the stagnant architectural Milanese debate in June 1955, through the public reading of the report by Guido Canella and Aldo Rossi in front of the exponents of theMovimento di Studi per l’Architettura. Their speech –based on the need to refer to tradition and recognise the humanistic essence, the fi gurative means […] of its expressive language– presumed the existence of an analogy with the line of research drawn by the BBPR group from the early years of the second postwar.The ‘subversive restlessness’ of the giovanni delle colonne seems to have driven Rossi to do research on the Milanese neo-classic and on Milan’s architecture, starting from the ‘reinterpretation’ of tradition through an unexperimented linguistic key. In this view, the value of this group’s experience –which was not considered by Reyner Banham in his attack to the Italian Retreat from Modern Architecture– is known for having disclosed or forced some of the themes Rogers discussed in his theory of continuità,preparing the ground for the development of an innovative operational method.</p
The Rise and Fall of Visual Paradigms: An Interview with Mario Carpo
No full textInterview conducted by Stephannie Fell Contreras
at The Bartlett School of Architecture (March 10th, 2020) and via Zoom (April 14th, 2020)
Mario Carpo is Reyner Banham Professor of Architectural History and Theory at The Bartlett School of Architecture. He specializes in history of architectural theory and history of cultural technologies, focusing on the early modern period and contemporary digital design theory. He is the author of The Second Digital Turn (MIT Press, 2017), The Alphabet and the Algorithm (MIT Press, 2011), and Architecture in the Age of Printing (MIT Press, 2001), among other books
An historical vindication of the Naked Gospel [electronic resource] : recommended to the University of Oxford.
No full textPamphlet on the question of allegiance to William and Mary on the doctrine of the Trinity, 1689-1693."The substance of the 'Historical vindication of The naked Gospel' was incorporated by M. Le Clerc into his Life of Eusebius ... which led to the suspicion that he was himself the author of that 'Vindication'"--Wallace, R. Antitrinitarian biography, 1850, v. 1, p. 207.Reproduction of original in British Library.WingIncludes bibliographical references.Electronic reproduction
