Liittyvä
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The Second Studio is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, the show covers a wide array of subjects with humor and honesty and features a variety of creative professionals in unscripted and more personal conversations.
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Британка и Universal Universal отмечают 20 лет в образовании. В юбилейный год зовем в подкаст Britanka Talks выпускников UU, ставших успешными игроками в своих индустриях.
Кино, дизайн, музыка, архитектура, маркетинг, искусство, fashion, интерьеры: слушаем истории и узнаём, как устроены творческие индустрии глазами их участников.
Сайт Британки: britishdesign.ru
Больше контента — на сайте 20-летия Британки и UU: britanka20.ru
#britanka20 #20UU -
Подкаст о хорошем дизайне проверенном временем.
Истории создания и обсуждение лучших примеров промышленного дизайна и не только.
Кирилл Михайлов — мультидисциплинарный дизайнер
Кирилл Дравин — рекламный дизайнер, художникПодробнее: linktr.ee/GoodDesignPodcast
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Для всех, кому интересен процесс создания красивого дома и желающих стать автором своего дизайнерского интерьера.
Меня зовут Елена Козлитина,
я-эксперт по дизайну интерьера уже 18 лет и знаю, как сделать твой интерьер дизайнерским. 16 лет я обучаю дизайну интерьера.
Практический опыт, знание рынка дизайнерских и строительных услуг и понимание того, как можно оптимизировать расходы клиента на ремонт, сохраняя при этом дизайнерскую идею, послужили мотивами к созданию подкаста «Жить красиво» для всех, кому интересен процесс создания красивого дома и желающих стать автором своего дизайнерского интерьера.
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О том, что под капотом дизайна и ИТ: люди из креативных индустрий, развитие, карьера и коммуникации.
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Ёмкие подкасты основателя Study Kvo — Сани Кво. Покдаст про дизайн, экологичную работу и развитие в любимо деле. Разбираем узкие места во фрилансе, трудоустройстве в компанию и какие ошибки дизайнеры допускают на своём пути.
Саня Кво в соцсетях: sanya_kvo
Study Kvo — онлайн-школа по веб-дизайну и UX/UI дизайну. Учим делать современные макеты и продавать свои услуги. К нам приходят новички из обычных оффлайн-профессий и близких сфер: граф. дизайн, вёрстка, SMM и становятся успешными дизайнерами. Выпускники дизайнят на фрилансе и в крупных компаниях, например: Ozon, Сбер, ВТБ, Pinkman, МТС. В СНГ и Европе.
🔹Обучение:
– Курс по веб-дизайну: https://sanya-kvo.ru/
– Курс по UX/UI дизайну: https://sanya-kvo.ru/uxui
🔹Бесплатные марафоны:
– В Телеграме: https://t.me/study_kvo
– В ВК: https://vk.com/study_kvo
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Подкаст о тебе, обо мне, обо всем на свете.
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Подкаст-исследование об искусстве через призму русского контекста. Автор и ведущий подкаста «Искусство [по-русски]» Сафронов Илья приглашает на подкаст различных художников, деятелей визуальной культуры и разных крутых специалистов, с которыми они обсуждают от эфимерного и сложного до базового и простого.
Говорят, что современная русская школы дизайна и искусства все еще не сформирована. Разбираемся так ли это. Смотрим на события в сфере и обсуждаем жизнь и работу современного художника.Если вам нравится данный подкаст, вы можете поддержать его в паблике VK: https://vk.com/artinrussia
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Подкаст-доказательство, что диджитал-специалисты тоже люди и что за «успешным успехом» стоит много труда, и это далеко НЕ ПРОСТО!
Катя, Оля, Аня и Настя – 4 дизайнера, которые решили разнести в пух и прах успешную жизнь и показать ее какая она есть в реальности. Если ты устал от работы, карьеры и бизнеса или просто заебался – включай подкаст. Пусть он станет маяком, что все получится и чтобы подняться с колен иногда просто нужна вера в себя и поддержка рядом.
Телеграмм Кати – основательницы школы и подкаста https://t.me/kate_inspire
Школа дизайна https://sovaschool.ru/
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Не просто делюсь новостями из мира дизайна и технологий, но и стараюсь их обьяснить. Я Никита Нова — арт-директор и жук-самодур. Рассказываю про дизайн то, чего не видят остальные
Выпуски выходят каждые дне недели. Потому что на нашу сферу события не влияют так же быстро, как политика на общество
Мой подкаст для тех, кто хочет оставаться востребованным специалистом и видеть возможности в изменениях. А не возмущаться «куда катится мир» -
Brutalist Architecture Explained
Brutalism represents one of the most polarizing architectural movements of the 20th century. Emerging out of the modernist ethos, Brutalism emphasized exposed concrete, geometric forms and an avant-garde, experimental approach to design. The style sparked intense debate regarding the intersection of architecture, art and social purpose. Here is a deep dive into the history, principles, iconic buildings and evolving legacy of this controversial architectural phenomenon.
Origins and Influences
The term "Brutalism" has roots in the French béton brut meaning raw concrete. The name was coined by architectural historians referencing Le Corbusier's Beton Brut concrete aesthetic showcased in his 1952 Unité d'Habitation housing complex. Brutalism subsequently grew into a broader stylistic movement, but concrete remained its signature material.
Beyond Le Corbusier, Brutalism drew ideas from early 20th century avant-garde architecture, utilizing bold geometric forms, open-planned interiors and an absence of superficial decoration. Bauhaus's principles of functionality and eliminating design frivolity influenced Brutalism's stern, imposing aesthetic. Brutalist architects also shared a utopian vision that buildings could enable social reform, improving lives through innovative design.
Brutalism gained traction in post-war Britain through the contributions of architects like Alison and Peter Smithson. Their Hunstanton Secondary School (1954) brought Brutalist tenets of honest materials and functional, flexible spaces into the public realm. British architects sought to rebuild communities devastated by war via thoughtful, modern designs.
As Brutalism spread worldwide, the style took on localized traits. Scandinavian Brutalism incorporated more wood and color. Indian Brutalist works blended concrete and brick with vernacular styles. In America, Paul Rudolph and Louis Kahn pushed structural experimentation and monumental forms that became hallmarks of bold U.S. Brutalist architecture.
Defining Architectural Features
Brutalism is characterized by several signature technical and aesthetic features:
- Exposed concrete construction - Raw, textured concrete surfaces were left uncovered to embrace the structural bones. This eliminated the need for applied decoration.
- Blocky, angular forms - Buildings were designed via repetitive, chunky geometric shapes and modules stacked together resembling megastructures.
- Function over form - Practical functions and services dictated the ultimate forms. Design elements were logically derived from uses within.
- Interior rawness - Interiors often revealed pipes, steel framework and ventilation ducts, blurring the line between exterior and interior.
- Monumentality - Buildings conveyed bold, imposing mass and presence through sheer scale and sculptural shapes. A sense of gravity and permanence was conveyed.
- Experimental structures - Many Brutalist buildings featured experimental approaches to zoning, circulation and construction like elevated walkways and modularity.
- Urban contexts - Brutalism was commonly employed in civic and institutional projects intended as cultural markers within cities. Campuses and public housing developments provided blank canvases.
Brutalist buildings share a visceral impact, conveying weight, texture and mass. However, the style encompasses significant diversity in materials and individual interpretation. At its best, Brutalism achieved a sublime fusion of art, functionality and 1960s progressive ideology. But many structures descent into inhumane, alienating spaces. The public reception to Brutalism grew increasingly negative through the 1970s and 80s as the utopian ideals faded.
Post-War Popularity
Brutalism proliferated across Britain, Europe, North America, India, Brazil and parts of Africa during the 1950s-70s postwar construction boom. The need for rapid, affordable reconstruction dovetailed with modernist ideas about the potential of architecture to uplift society through technology. The hospital, university, civic and housing sectors saw especially wide use of Brutalism for major projects.
British architects Alison and Peter Smithson coined the term New Brutalism in 1953 to describe their raw, modernist designs. They produced iconic works like Robin Hood Gardens (1972), whose elevated "streets in the sky" embodied utopian aspirations for public housing. Brutalism became the favored style for many British state projects and universities due to its low cost, flexibility and socialist undertones.
In America, Louis Kahn's Salk Institute (1965) and Yale Center for British Art (1974) brought monumental, powerful Brutalism into high culture. Paul Rudolph blended Brutalism with regionalism in his rough textured designs like Boston's City Hall (1968). In Canada, Moshe Safdie's Habitat 67 (1967) modular housing complex pushed structural experimentation.
In India, Brutalism fused with local traditions producing striking complexes like the Indian Institute of Management (1977) by B.V. Doshi. In Australia, One Central Park by Ateliers Jean Nouvel, comprises a cantilevered vertical garden integrating nature and local elements inspired by original Brutalism concepts.
Decline and Backlash
By the 1970s, Brutalism fell out of favor as tastes moved back towards historicism. Public housing projects like Pruitt–Igoe in St. Louis that failed to deliver on utopian promises tarnished the movement. Architectural priorities shifted towards human scale, decoration, history and contextualism.
Critics increasingly deemed the Brutalist aesthetic too jarring and inhuman. Structures like Boston City Hall faced backlash for their alienating monotony and lack of adornment. Concrete quality issues also plagued buildings, leading surfaces to deteriorate at accelerated rates. By the 80s, Brutalism was disparaged for being cold, pretentious and antisocial.
Many Brutalist buildings faced demolition or extensive renovations. Prominent works like the FBI Headquarters, Atlanta Federal Center and Third Church of Christ Scientist were razed. Others received dramatic overhauls, like Rudolph's Government Center in Boston which was reclad. Current preservation debates surrounding Brutalist works reveal continued divisions over the style's merits.
Brutalism's Changing Image
In recent years, Brutalism has undergone a partial critical and public reappraisal. Appreciation for its sculptural forms, textured surfaces and audacious experimentation has grown, especially among younger architecture fans. Once reviled structures have gained protected status, including the UK's Preston bus station and London's Southbank Centre.
Historic Brutalist works have inspired some contemporary architects adopting aspects like exposed concrete in boutique projects. But outright reproductions remain rare as the style is still polarizing for many. Traces of Brutalist influence in mass housing risks creating oppressive spaces devoid of human spirit and natural elements.
Nonetheless, Brutalism's thinkers were earnestly exploring the potential of architecture to uplift the human experience through community, stability and excitement. The style's ultimate failure does not negate its generative power as a provocative dialogue probing the intersection of space, art and society. Brutalism deserves a renewed debate on its conflicting ideals, aspirations and outcomes.
Brutalist Principles and Philosophy
Beyond concrete and monumentality, Brutalism embodied avant-garde sensibilities from 20th-century modernism that sought to advance architecture's capabilities. Early theorists like Le Corbusier conceived of buildings as "machines for living in" emphasizing function and efficiency via rational design. This thinking molded Brutalism's focus on practicality and flexible uses.
For Brutalist architects, honesty of form and material was paramount. Stripping ornamentation revealed the basic essence of a building and its construction. This sincerity extended to exposing interior structures like ducts and pipes. Elevating functional needs as the driver of form marked a radical departure from classical notions of fixed architectural orders.
Brutalists also believed architecture could enhance communal wellbeing and provide an antidote to social ills. Housing projects were designed to uplift the urban working class via dignified, light-filled spaces and shared facilities that encouraged neighborly bonds. Schools, hospitals and civic buildings were crafted to make modern services available to all. While undoubtedly over-optimistic, qualities like democracy and accessibility were central to the Brutalist vision.
Ultimately, Brutalism aimed to advance architecture's relevance by fusing art, functionalism, technology and social purpose into an integrated whole. Brutalist designs represent ambitious experiments pushing the boundaries of what buildings can do and signify in society. The style's jarring disruption of architectural convention matched the tumultuous generational tensions of the 1960s - love it or hate it, Brutalism rejected complacency and forced a reaction.
Notable Brutalist Architects and Styles
While Brutalism spread worldwide, it took on localized traits reflecting respective architects and cultural contexts. Some of the most notable practitioners include:
Le Corbusier (France) - The pioneer of rough concrete modernism whose vision of architecture as "machines for living" heavily influenced the Brutalists. His Unité d'Habitation (1952) remains a quintessential Brutalist work.
Alison + Peter Smithson (UK) - Coined the term New Brutalism and designed acclaimed British works like Robin Hood Gardens housing complex (1972). They viewed Brutalism as -
"АрхиВЗГЛЯД"- это мои истории, вдохновение и размышления в роли начинающего специалиста в области архитектуры. Через этот путеводитель по миру архитектуры я делюсь последними новостями, вдохновляющими историями и развитием архитектурной сферы. В рамках подкаста я буду приглашать гостей из этой области для обмена уникальными взглядами на актуальные темы.
Меня зовут Назира, и вместе мы начнем это захватывающее путешествие в мир архитектуры.
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Рассказываю про веб-дизайн — как начать, продолжить и не закончить.Среди моих клиентов Яндекс, зарубежные крипто-стартапы и самые известные блогеры.
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Редакторы и гости проекта «Полка» разговаривают о книгах, о жизни, о том, как они связаны, о приключениях идей, странностях истории и тщете всего сущего. Что делать? Кто виноват? Как найти покой в наши мрачные дни? Мы ищем ответы в том, что написано до нас и пишется сегодня. Этот подкаст готовят и ведут Юрий Сапрыкин, Варвара Бабицкая, Лев Оборин и Полина Рыжова.
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Феллини что, укурился? Прокофьев что, глухой? Почему Чёрный квадрат Малевича не чёрный, не квадрат и не Малевича?И почему вся эта хрень стоит так дорого? Только на «Глаголев FM» культуролог Анастасия Четверикова объясняет шедевры мирового искусства на пальцах, по-пацански.
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Продвигающий стендап 14.12.2024 в Москве "Не трать ещё год на то же самое": https://annaivannikova.ru/#rec688946737
Книга "Точка Опоры — искусство быть взрослым" https://www.chitai-gorod.ru/product/tochka-opory-iskusstvo-byt-vzroslym-3029705
Телеграм-канал с ежедневной пользой: https://t.me/anna_art_piano
Записаться на коучинговое сопровождение, узнать детали работы, связаться лично по всем вопросам: https://t.me/anna_ivannikova_ICF
Мерч подкаста (мотивационный стикерпак): https://www.ozon.ru/product/stikery-1-sht-listov-1-1562842704/
Поддержать на Бусти: https://boosty.to/anna_art_piano
Автор подкаста: Анна Иванникова @anna_ivannikova во всех соцсетях
Художник подкаста: Александра Almist https://vk.com/almist_art
Благодарю за ваши отзывы, подписки и обратную связь. Это очень важно и ценно! -
О литературе, которая отказывается умирать.
Читать:
http://t.me/armenifedor (Telegram)
Читать и писать:
vk.com/armenifedor (Вконтакте)
Смотреть:
https://www.youtube.com/c/ArmenZakharyanSt -
Sách là kho tàng lưu trữ những di sản, thành tựu vô giá được truyền từ thời kỳ này sang thời kỳ khác, từ thế hệ này qua thế hệ khác. Nghe sách có thể là một sở thích, một hoạt động để giết thời gian khi không biết làm gì, là vài phút ngẫu hứng ngồi tìm đọc trong một thư viện, cửa hàng sách nào đó ngày mưa hoặc là một thói quen.
Chúng ta có thể chủ động tiếp cận tiếp nhận thêm nhiều kiến thức hơn nữa thông qua việc nghe sách thuộc mọi lĩnh vực từ kinh tế, văn hóa, chính trị cho đến những cuốn tiểu thuyết phiêu lưu, tâm lý tình cảm, các cuốn sách tạo động lực hay quyển tự sự về cuộc đời có thực…
Waves là nền tảng âm thanh trực tuyến cung cấp các audiobook và podcast tại Đông Nam Á. Hãy truy cập vào waves8.com để truy cập miễn phí hàng triệu podcast hoặc liên hệ Waves nếu bạn muốn tạo ra những podcast riêng của mình nhé!
Thông tin liên hệ:
Website: https://waves8.com/
Facebook: https://www.facebook.com/WavesVietnam
Instagram: @wavesvietnam
Hãy tải ứng dụng Waves để cập nhật những tập podcast mới nhất và có những trải nghiệm miễn phí tuyệt vời nhất:
iOS: https://apps.apple.com/gb/app/waves-podcast-player/id1492378044
Android: https://play.google.com/store/apps/details?id=com.waves8.app
Đây là playlist tổng hợp những sách nói mình tìm thấy trên mạng. Nếu bạn là chủ sở hữu của nội dung và muốn gỡ nội dung xuống thì liên hệ nền tảng nghe podcast, họ sẽ giúp mình gỡ xuống! -
Литературный подкаст «Закладка» с Екатериной Шульман и Галиной Юзефович
![Искусство [по-русски]](https://is1-ssl.mzstatic.com/image/thumb/Podcasts122/v4/36/8f/35/368f3588-929f-36f4-9d5e-8e1932b93aff/mza_2978136621464001421.png/80x80bb.jpg)
