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The famous British Brutalist architect discusses his work and the process of thinking about architecture with students in a question-and-answer format.
Striving to adapt the progressive ideas of the pre-war modern movement to the specific human needs of post-war reconstruction, Alison and Peter Smithson were among the most influential and controversial architects of the latter half of the twentieth century. As younger members of CIAM (Congrès Internationaux d'Architecture Moderne) and as founding members of Team 10 they were at the heart of the debate on the future course of Modern Architecture. Their polemics and designs - addressing issues such as the rising consumer society and the orientation of urban planning - laid the foundations for New Brutalism and the Pop Art Movement of the 1960s. An important adaptation made by the Smithsons and their generation was the rejection of modernism's machine aesthetics. The new notions of place and territory were juxtaposed to Le Corbusier's machine à habiter. To the Smithsons a house was a particular place, which should be suited to its location and able to meet the ordinary requirements of everyday life and to accommodate its inhabitants' individual patterns of use. This exhibition examines the evolution of the Smithsons' approach to this everyday "art of inhabitation." It does this by extensively documenting most of their designs for individual dwellings, especially their optimistic House of the Future of 1956 and the series of renovations of and additions to the fairy-tale-like Hexenhaus in Germany from the late 1980s onward
This is the first overview of the career of Alison and Peter Smithson, the most controversial yet most widely-influential of post-war architectural practices. From their first youthful project, the school at Hunstanton, to their final works, they epitomised the idea of the avant-garde architect, and were strongly engaged with artists and critics and with groups and tendencies in Britain and beyond. 0Structured thematically and chronologically, the book gives a coherent and compact narrative of the Smithsons' work and ideas. As well as all of the major buildings - including the Economist complex, the Garden building at St Hilda's College, and the Robin Hood Gardens estate - the book also discusses unbuilt projects, including substantial work for the British embassy at Brasilia and the Kuwait mat-building. It culminates with the less well-known factory additions, museum and house for Axel Bruchhauser, a furniture manufacturer in Germany. Central to their work, Mark Crinson argues, was a concern with belonging, with how we identify ourselves with places in a context of change.0Lavishly illustrated with new colour images as well as original drawings and historic photography, this book is an essential read for architects, students and enthusiasts for modernism wanting to learn more about the Smithsons.
An extended exploration of the authors' theories and work over the past seventeen years, in which not only their aesthetic but also their political and emotional concerns are made plain.
Alison (1928-1993) and Peter Smithson (1923-2003), two of the most influential and controversial architects of the latter half of the twentieth century, strove to adapt the progressive ideas of the pre-war modern movement to the specific human needs of the period of post-war reconstruction.As younger members of CIAM (Congrés Internationaux d'Architecture Moderne), and as founding members of Team 10, they were at the heart of the debate on the future course of modern architecture. The uncompromising modernity of their Hunstanton Secondary Modern School (1949-1954) heralded the Smithsons' role as the leading exponents of the New Brutalism and the Pop Art movement of the 1960s. In this book Risselada has collected together the most important published essays about the career of this partnership of British architects, from early contributions by Rayner Banham, Philip Johnson, Kenneth Frampton, and Peter Cook, to more recent texts by Peter Eisenmann, Christine Boyer, Beatriz Colomina, and Luisa Hutton.
Architects Alison and Peter Smithson kept a visual diary of a drive from their London office to their Wiltshire cottage. The contrast of their sleek Citroen DS 19 with the verdant landscape links the urban and the rural in a sensible continuum. It was originally published as A Sensibility Primer in 1983.
Fundamentals of the Physical Environment has established itself as a well-respected core introductory book for students of physical geography and the environmental sciences. Taking a systems approach, it demonstrates how the various factors operating at Earth’s surface can and do interact, and how landscape can be used to decipher them. The nature of the earth, its atmosphere and its oceans, the main processes of geomorphology and key elements of ecosystems are also all explained. The final section on specific environments usefully sets in context the physical processes and human impacts. This fourth edition has been extensively revised to incorporate current thinking and knowledge and includes: a new section on the history and study of physical geography an updated and strengthened chapter on climate change (9) and a strengthened section on the work of the wind a revised chapter (15) on crysosphere systems - glaciers, ice and permafrost a new chapter (23) on the principles of environmental reconstruction a new joint chapter (24) on polar and alpine environments a key new joint chapter (28) on current environmental change and future environments new material on the Earth System and cycling of carbon and nutrients themed boxes highlighting processes, systems, applications, new developments and human impacts a support website at www.routledge.com/textbooks/9780415395168 with discussion and essay questions, chapter summaries and extended case studies. Clearly written, well-structured and with over 450 informative colour diagrams and 150 colour photographs, this text provides students with the necessary grounding in fundamental processes whilst linking these to their impact on human society and their application to the science of the environment.
The artist and architect Peter Smithson is one of the best-informed and insightful critics of Modernist and Postmodernist architecture. In Flying Furniture he sheds light on the construction of furniture, particularly mobile furniture, which has rendered obsolete the distinction between 'movables' and 'immovables.' The works featured here extend from Bauhaus up to the present day, representing such essential designers as Alison and Peter Smithson, Stefan Wewerka, El Lissitzky, Jean Prouvé, Marcel Breuer, Walter Gropius, Mies van der Rohe and Gerrit Rietveld. The book itself testifies to the possibilities and dynamism of the field of design with its unique shape, its playful layout and the witty remarks and quotations throughout.