Ar­chi­vio del­le ar­chi­tet­tu­re bru­ta­li­ste

Ar­chi­ve of Bru­ta­li­st Architecture

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Pe­ter Chad­wick, art di­rec­tor e gra­phic de­si­gner na­to nel Nord Est dell’In­ghil­ter­ra al­la fi­ne de­gli an­ni Set­tan­ta, è en­tra­to in con­tat­to con la Bru­tal architecture da ra­gaz­zi­no, quan­do vi­de la for­na­ce di Dor­man Long a Lac­ken­by, do­ve la­vo­ra­va il non­no e, ne ri­ma­se af­fa­sci­na­to. Una fa­sci­na­zio­ne che lo ha por­ta­to a do­cu­men­ta­re, pri­ma nel Re­gno Uni­to e poi in gi­ro per il mon­do, le ar­chi­tet­tu­re che han­no ca­rat­te­riz­za­to gli an­ni Ses­san­ta e Set­tan­ta del se­co­lo scor­so in­sie­me a ope­re di ar­chi­tet­ti con­tem­po­ra­nei, da Za­ha Ha­did a Pe­ter Zum­thor, do­ve l’in­fluen­za del Bru­ta­li­smo è in­ne­ga­bi­le. Il li­bro, na­to pri­ma on­li­ne con il pro­get­to twit­ter @Bru­ta­lHou­se do­ve Chad­wick ha ini­zia­to a con­di­vi­de­re il suo ar­chi­vio fo­to­gra­fi­co, rac­co­glie ol­tre 300 pro­get­ti or­ga­niz­za­ti so­lo ap­pa­ren­te­men­te in or­di­ne spar­so; si pos­so­no ri­tro­va­re in­ve­ce si­mi­li­tu­di­ni di for­me. Co­sì il St. Jo­se­ph’s Ho­spi­tal di Ber­trand Gold­berg (1974, Ta­co­ma, USA) è ac­co­sta­to al Ber­gi­sel Ski Jump di Za­ha Ha­did Ar­chi­tec­ts (2002, Inn­sbruck, Au­stria) o il Po­wer Plant di Geir Grung (1965, Røl­dal, Nor­way) Via Azul Hou­se di Guil­ler­mo Acuña Ar­qui­tec­tos Aso­cia­dos (2005, San­tia­go del Ci­le). Le fo­to­gra­fie so­no tut­te in bian­co e ne­ro, a sot­to­li­nea­re la mas­sa den­sa e gri­gia del ce­men­to. (On prin­ted pa­per) Pe­ter Chad­wick, an art di­rec­tor and gra­phic de­si­gner born in the nor­th-ea­st of En­gland in the la­te 1960s, ca­me in­to con­tact wi­th bru­ta­li­st architecture as a boy when he was cap­ti­va­ted by the Dor­man Long com­pa­ny’s bla­st fur­na­ce in Lac­ken­by, whe­re his gran­d­fa­ther wor­ked. This fa­sci­na­tion led to him do­cu­men­ting, fir­st in the UK and then el­sewhe­re in the world, the ty­pi­cal architecture of the 1960s and 1970s along wi­th works by con­tem­po­ra­ry ar­chi­tec­ts in­clu­ding Za­ha Ha­did and Pe­ter Zum­thor, whe­re the bru­ta­li­st in­fluen­ce is un­de­nia­ble. The book, whi­ch star­ted out on­li­ne as the twit­ter pro­ject @Bru­ta­lHou­se, whe­re Chad­wick be­gan sha­ring his pho­to ar­chi­ve, brings to­ge­ther over 300 de­si­gn pro­jec­ts in a see­min­gly ran­dom fa­shion, but whi­ch do in fact di­splay si­mi­la­ri­ties of form. Ber­trand Gold­berg’s St. Jo­se­ph’s Ho­spi­tal (1974, Ta­co­ma, USA), for exam­ple, is found along­si­de the Ber­gi­sel Ski Jump by Za­ha Ha­did Ar­chi­tec­ts (2002, Inn­sbruck, Au­stria), whi­le Geir Grung’s Po­wer Plant (1965, Røl­dal, Nor­way) is seen next to the Via Azul Hou­se by Guil­ler­mo Acuña Ar­qui­tec­tos Aso­cia­dos (2005, San­tia­go de Chi­le). The pho­to­gra­phs are all in black and whi­te, whi­ch hi­ghlights the den­se, grey mass of con­cre­te

This Bru­tal World Phai­don, 2016 pp. 224, ill. 320, £ 29,95 www.phai­don.com

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