Today in class we examined different terms in Brutalism and one of my three was FRS Yorke. I found that he also studied at Birmingham School or Architecture and was a pioneer in international style and modern architecture in Great Britain. In 1962 his work offices were awarded a Bronze RIBA award for its detail and proportionate style. Houses at Geida Park were a classic example of buildings with reinforced concrete as a material. He was also the editor of the annual volume ‘Speculation’ from 1935 as well as the author of Modern Houses Books.
Alison and Peter Smithson.
The Smithsons were my second term that i looked into. In the early summer of 1954 they were said to be the sources of the term ‘New Brutalism.’ They lived in a time of frustration after World War 2 at the power of the establishment therefore they intended to make a mockery of the new humanism political left and new empiricism political right. They wanted to draw attention to certain aspects of their architectural design and aimed to create a style of architecture that lay above fashion trends. In terms of their architectural design process they looked closest into structural, spacial and material concepts that are necessary. They took inspiration from Le Corbusier and Mies Van De Rohe for their honest interpretation of materials with direct love for their ruthlessness and intellectual clarity. On top of that they also took inspiration from Palldio and Van Burgh or their clear cut massive forms, all of the above showed their buildings materials honestly. The school in Huntington was the first true brutalist building for many with the services also being shown on the outside of the building showing its true form and how the building works – this did however attract worldwide attention and is a reason why the smith sons are still so well known today.
The Modular is an anthropometric scale of proportions devised by Le Corbusier (1887–1965). It was developed as a visual bridge between two incompatible scales, the imperial and the metric system. It is based on the height of a man with his arm raised.
It was used as a system to set out a number of Le Corbusier’s buildings and was later codified into two books.