Relevant bibliographies by topics / Reyner Banham

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Reyner Banham'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Reyner Banham"

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Langevin, Jared. "Reyner Banham." Architectural Theory Review 16, no. 1 (April 2011): 2–21. http://dx.doi.org/10.1080/13264826.2011.560389.

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SPARKE, P. "Peter Reyner Banham 1922 1988." Journal of Design History 1, no. 2 (January 1, 1988): 141–42. http://dx.doi.org/10.1093/jdh/1.2.141.

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Rosenblum, Charles L. "Review: Reyner Banham and the Paradoxes of High Tech, by Todd Gannon with Reyner Banham." Journal of the Society of Architectural Historians 78, no. 1 (March 1, 2019): 116–17. http://dx.doi.org/10.1525/jsah.2019.78.1.116.

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McAuliffe, Mary. "Review: A Critic Writes: Essays by Reyner Banham by Reyner Banham, Mary Banham, Paul Barker, Sutherland Lyall, Cedric Price." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 268–70. http://dx.doi.org/10.2307/991610.

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Wiryomartono, Bagoes. "Reyner Banham and modern design culture." Frontiers of Architectural Research 1, no. 3 (September 2012): 272–79. http://dx.doi.org/10.1016/j.foar.2012.07.004.

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DIMENDBERG, EDWARD. "The kinetic icon: Reyner Banham on Los Angeles as mobile metropolis." Urban History 33, no. 1 (May 2006): 106–25. http://dx.doi.org/10.1017/s0963926806003543.

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Architectural historian P. Reyner Banham (1922–88) is widely known for his numerous writings on the modern built environment, including the book Los Angeles: The Architecture of Four Ecologies (1971). In the BBC television film Reyner Banham Loves Los Angeles (Julian Cooper, 1972), he concretized his earlier insights about the importance of mobility in the Southern California metropolis by employing the proclivity of the cinematic medium to represent movement. While traditional notions of the urban icon commonly understand it as a static monument or landmark, in these two works Banham challenges the suitability of this view to a city as inflected by automobility as Los Angeles and proposes the motorway and the experience of driving as its most characteristic iconic forms.
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Golan, Romy, and Nigel Whiteley. "Historian of the Immediate Future: Reyner Banham." Art Bulletin 85, no. 2 (June 2003): 401. http://dx.doi.org/10.2307/3177354.

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Haywood, S. "Reyner Banham: Historian of the Immediate Future." Journal of Design History 16, no. 2 (January 1, 2003): 187–89. http://dx.doi.org/10.1093/jdh/16.2.187.

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NAYLOR, G. "Theory and Design: The Banham Factor. The Ninth Reyner Banham Memorial Lecture." Journal of Design History 10, no. 3 (January 1, 1997): 241–52. http://dx.doi.org/10.1093/jdh/10.3.241.

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Meyer, Regina Maria Prosperi. "Los Angeles, a metrópole radical de Reyner Banham." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 23, no. 41 (December 30, 2016): 12. http://dx.doi.org/10.11606/issn.2317-2762.v23i41p12-31.

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O livro Los Angeles – a arquitetura de quatro ecologias de Reyner Banham (1922-1988) publicado em 1971 tem sido desde sua primeira edição objeto de muita controvérsia. Há quem veja nele um texto seminal, com muita ascendência sobre arquitetos que se lançaram em análises de outras realidades urbanas a partir daquela década. Mas, sua fortuna crítica inclui também críticas acadêmicas severas e, não raramente, demolidoras. As disputas que se travavam naquele momento, em torno do incontornável exame dos dogmas do Movimento Moderno, estão presentes no livro de forma reflexiva, corajosa e, algumas vezes, provocativa. Porém, passadas quatro décadas é interessante debruçar-se sobre o livro buscando apreciar as suas teses a partir do desenvolvimento das metrópoles contemporâneas, estas que, provavelmente, teriam sido designadas pelo autor como metrópoles capitalistas da quarta era da máquina. O artigo busca salientar também a força e a legitimidade da inovação metodológica que o autor forjou para articular a sua tese e seu objeto – a grande Los Angeles.
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Dissertations / Theses on the topic "Reyner Banham"

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Florence, Luiz Ricardo Araujo. "Mecanismo e paisagem: Reyner Banham e a América." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-17102014-103006/.

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Peter 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.
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Poli, Elisa. "Réinvention du modernisme architectural : l'oeuvre de Peter Collins." Paris 1, 2009. http://www.theses.fr/2009PA010700.

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La thèse porte sur l’analyse de l’oeuvre de Peter Collins, historien de l' architecture d' origine anglaise. Le premier chapitre est dédié à la biographie de l'homme et du chercheur. Dans le deuxième chapitre est encadrée la figure de J-F. Blondel et l'importance de l'idée du classicisme dans l'évolution de la recherche de Collins. Le troisième chapitre prend en compte son premier livre publié « Concrete. The Vision of a new Architecture» et sa réception. Le quatrième chapitre est dédié au deuxième livre de Collins «Changing Ideals in Modern Architecture» et à ses liens avec R. O. Collingwood, J. Scott et R. Banham trois intellectuels que pour plusieurs raisons ont eu un rôle majeur dans la production de l’auteur. Le cinquième chapitre décrie son dernier livre «Architectural Judgement» et présente l'hypothèse d'une théorie esthétique du précédent.
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Beringer, Hubert. "Habitat 67 dans la presse architecturale." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010577/document.

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Habitat 67 est un complexe résidentiel modulaire de 158 logements, conçu par Moshe Safdie, et construit à Montréal pour l’Exposition universelle de 1967. Sa médiatisation continue fut exceptionnelle par son intensité, son rayonnement et sa durée, en particulier dans la presse spécialisée. Nous avons étudié les publications d’Habitat 67 dans les périodiques d’architecture, une par une et comme un tout, car elles contenaient une énigme en forme de retournement médiatico-historiographique. En effet, Habitat 67 s’imposa d’abord, durant une décennie et sur le mode de l’hypermédiatisation, comme incarnation universelle d’un renouveau salvateur de l’architecture moderne progressiste, une « idée dont le temps est venu » selon la formule canonique de Peter Blake, rédacteur en chef de la revue new-yorkaise Architectural Forum. Puis, sans transition, Habitat 67 servit d’argument essentiel à l’enterrement express du même Mouvement moderne, à titre de fantasmagorie universitaire tardive et déliquescente, « projet de fin d’études construit » selon la sentence du critique et historien d’audience transatlantique Reyner Banham, qui reste prégnante jusqu’à nos jours. L’incohérence apparente laisse entrevoir l’existence d’un objet historique spécifique, Habitat 67 dans la presse architecturale, dans lequel le retournement trouverait origine et explication autonomes. D’où l’idée d’étudier cet objet pour lui-même, par lui-même, et dans son contexte propre. À la croisée des approches d’étude de la réception et d’esthétique de la réception telles que théorisées en histoire de l’art dans les années 1990, notamment par Dario Gamboni et Pierre Vaisse, nous partons à […]
Habitat 67 is a residential complex of 158 modular apartments, designed by Moshe Safdie, and built in Montreal for the 1967 World Exhibition. Preliminary explorations of its unprecedentedly abundant, widespread and long-lasting coverage in the architectural press had revealed enigmatic synchronicity with the rise and fall of megastructure, ending in death and mourning of the whole Modern Movement. Taking advantage of theories of reception, this study is a methodical and exhaustive survey of the specialised mediatisation of Habitat 67, in itself and in its own context, aiming to establish the autonomy and critical historiographic impact of the phenomenon. After a methodological introduction, the report opens with a prologue unveiling early, academic related, self-training of Safdie as an analyst of editorial policies and their relationship to modern architecture. This portrait of a student pioneering in reception studies by militant commitment is giving brand new and much deeper understanding of the still historiographically vivid «student project that got built» diagnosis emitted in 1967 by critic Reyner Banham. The essay is then structured along the chronological succession of architectural projects and objects to which the media coverage is supposed to refer to, starting with thesis project of 1961. Safdie’s formerly published analysis of editorial policies appears to be fully integrated in the original design as well as in its mediatisation strategy, resulting in lasting and international diffusion as a highly relevant avant-garde feature, providing a progressive dimension to the capitalistic media-favourite «New Montreal Skyline», until 1963. [...]
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Leandro, João Gonçalo Ribeiro. "Continuity ou continuità : o debate entre Reyner Banham e Ernesto Rogers na década de 1950." Master's thesis, 2016. http://hdl.handle.net/10316/32898.

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Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da Faculdade de Ciências e Tecnologia da Universidade de Coimbra.
O presente trabalho tem como principal objeto de análise explorar as interpretações da palavra “Continuidade” quando perspetivada no período da década de cinquenta. Não obstante a importância do Pós-Guerra para abordar estas interpretações, este período viria a constituir uma premissa para a arquitetura realizada no resto do século XX. Neste sentido, o principal motivo para esta análise será a compreensão do contributo dos lados inglês e italiano para com a revisão do Movimento Moderno e qual o seu ponto de partida e influência. Deste modo focar-se-á o debate protagonizado pelas duas linhas de pensamento no final da década de cinquenta, como episódio essencial desta revisão. Ao contrário da Primeira Grande Guerra, a Segunda não possui a proclamada mística tão efusivamente defendida por Antonio Sant`Elia, onde a fábrica e a hidroelétrica representavam o modelo de evolução arquitetónica, mas sim uma crise de valores humanos que por certa via viriam a constituir uma mudança na forma de pensar em geral. Na arquitetura, a resposta à crise de valores dá-se por intermédio de várias frentes. Por um lado, a oposição Italiana a uma crise moral, cultural e de emergência, protagonizada pelo arquiteto Ernesto Rogers; por outro lado, a necessidade de continuidade pela tecnologia em Inglaterra descrita e teorizada por Reyner Banham e tornada realidade pelas mãos de Peter e Alison Smithson e James Stirling. O tema encontra a razão para o seu estudo na noção de que a arquitetura resulta de um conjunto de pensamentos alargados, onde a sua mutação requer a consciência do que antecede.
The ongoing thesis main focus is to analyse the theme inherent to the word “Continuity”, when applied to the fifties of the XX’s century. Regardless the still present Post-war importance in this period, this decade would become an important mark for the rest of the Architecture in the XX century. In this way, the primary motive for its analysis is the comprehension of the relationship that both sides, the English and the Italian, have towards the Modern Movement, and in this case understand the point of origin and its influence through time. Also, another aim is to study the debate held by the two movements at the final stages of the fifties decade. The Second World War, as opposite to the First World War, does not hold the same mystique so strongly defended by Antonio Sant’Elia, where the factory and the hydroelectric represent the model to the evolution of architecture, but a crisis of human values which would tend to a change the way of thinking. The answer to the human values crisis is given by the intermediate of two fronts. On one side, the Italian opposition to a moral, cultural and emergency crises embodied by Ernesto Rogers; on the other side the necessity of imposing a change in England, described and theorised by Reyner Banham, and turned reality by the hands of Peter and Alison Smithson and James Stirling. The theme finds reason for its study in the notion that architecture results on a set of extended thoughts, where its mutation requires a conscience on what comes before, becoming only then possible to choose from rupture or continuity.
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Chadwick, Ashley Blair. "Negotiating the represented city : Los Angeles, the city of perpetual becoming." 2012. http://hdl.handle.net/2152/19671.

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Los Angeles has long been identified as a fragmented city, by nature of its cosmology and those constructed perceptions that constitute it in the collective imaginary. In an effort to articulate, interrogate and understand such a place, we have come to rely on its representations to function as mediators of meaning, delivering through their simulation of the city an experience of the real, lived Los Angeles. As a result, the relationships between the real and the representation become skewed, altering the processes by which we engage with the everyday. To better understand the implications of this dialectic, I examine four representations of the city: Disneyland, David Hockney’s “Domestic Scene, Los Angeles,” David Gebhard and Robert Winter’s A Guide to Architecture in Southern California and the BBC “One Pair of Eyes” installment “Reyner Banham Loves Los Angeles.” By analyzing representations of Los Angeles produced in a range of media, it becomes possible to discern the complex relationships between the real and envisioned Los Angeles, and to recognize the constructive force that emerges out of this discursive space.
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Semaan, Christian. "La dialectique du signe et de la matière depuis les années 1950 en architecture." Mémoire, 2010. http://www.archipel.uqam.ca/3938/1/M12030.pdf.

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En observant le contexte architectural actuel, on note que les architectes s'intéressent davantage à faire valoir l'apparence de la surface de l'enveloppe extérieure de leurs bâtiments. Ce déplacement nous interpelle sur les raisons derrière ce type de changement au niveau conceptuel en architecture. L'examen de deux ouvrages récents nous révèle l'existence d'une tension entre l'aspect significatif et l'aspect matériel, ou pour le dire autrement, entre le signe et la matière. Notre objectif sera de faire l’histoire de cette dialectique afin de mieux saisir la nature de ce déplacement et comment cette opposition a pu déplacer la conception vers la surface et vers l'enveloppe extérieure. Notre étude montre que l'hypothèse de base de la dialectique du signe et de la matière se divise en trois parties. La première expose la dialectique existante, dans les années 1950 en Angleterre, du formalisme de Colin Rowe et Robert Slutzky et d'autre part, de l'image des matériaux trouvés comme tels des brutalistes promus par Reyner Banham. En deuxième partie, cette dialectique se développe aux États-Unis à partir des armées 1960 pour prendre une autre forme d'opposition entre le modèle sémiologique de Robert Venturi et de Denise Scott Brown et en contre partie le projet tectonique de Frampton basé sur son interprétation matériel et significatif de la construction. L'opposition actuelle entre les descriptions phénoménologiques de la surface et l'ambition d'une politicisation significative de l'enveloppe constitue le troisième moment de la dialectique du signe et de la matière. Avec chaque position, cette dialectique est reformulée par les modèles théoriques de chaque discours. Ainsi, l'introduction de la sémiologie a déplacé l'ambigüité perceptuelle par une ambigüité plus sémantique. Par la suite, les considérations phénoménologiques apportées à la matière ont introduit des notions sensorielles. La nouvelle opposition illustre une apparente incompatibilité de modèles et de sensibilités qui appelle une réconciliation dont 1'horizon n'est pas encore perceptible. Le développement de la dialectique du signe et de la matière à partir des années 1950 est donc l'explication que nous proposons au déplacement conceptuel du débat sur l'apparence et plus particulièrement au niveau de la surface et de l'enveloppe. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : façade, surface, enveloppe, théorie, conception, dialectique, opposition, matière, signe, construction, représentation, Colin Rowe, Robert Slutzky, Kenneth Frampton, Reyner Banham, Robert Venturi, Denise Scott Brown, David Leatherbarrow, Alejandro Zaera Polo.
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Books on the topic "Reyner Banham"

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Richardson, Sara S. Reyner Banham: A bibliography. Monticello, Ill: Vance Bibliographies, 1987.

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Richardson, Sara. Reyner Banham: A bibliography. Monticello, Ill., USA: Vance Bibliographies, 1987.

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Reyner Banham: Historian of the immediate future. Cambridge, Mass: MIT Press, 2002.

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Banham, Reyner. A critic writes: Essays by Reyner Banham. Berkeley: University of California Press, 1996.

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Whiteley, Nigel. Reyner Banham: Historian of the Immediate Future. MIT Press, 2003.

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Whiteley, Nigel. Reyner Banham: Historian of the Immediate Future. The MIT Press, 2001.

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Whiteley, Nigel. Reyner Banham: Historian of the Immediate Future. The MIT Press, 2003.

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A Critic Writes: Selected Essays by Reyner Banham. University of California Press, 1997.

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Institute, Getty Research, ed. Reyner Banham and the paradoxes of high tech. Getty Research Institute, 2017.

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Whiteley, Nigel. Banham and 'otherness': Reyner Banham (1922-1988) and his quest for an architecture autre. Architectural history, 1990.

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Book chapters on the topic "Reyner Banham"

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Fraser, Murray. "Reyner Banham's Hat." In Forty Ways To Think About Architecture, 197–203. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118822531.ch29.

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"1960 Reyner Banham." In The Barcelona Pavilion by Mies van der Rohe, 168–71. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-050.

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"1960 Reyner Banham." In Mies van der Rohe Barcelona-Pavillon, 188–91. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619911-050.

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Whiteley, Nigel. "The puzzled lieber Meister: Pevsner and Reyner Banham." In Reassessing Nikolaus Pevsner, 213–33. Routledge, 2017. http://dx.doi.org/10.4324/9781315089096-13.

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Christensen, Peter H. "Introduction." In Buffalo at the Crossroads, 1–14. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749766.003.0001.

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This chapter provides a background of the complete portrait of the city of Buffalo, which moves beyond its relatively small city limits to tell the full story that the Erie Canal, hydroelectric power, international trade, and suburbanization play in the vicissitudes of Buffalo's history. It focuses on both Erie and Niagara counties from the eighteenth century to the present. It also describes Buffalo's periphery to provide useful insights into the full scope of how the grand City of Light, powered by Niagara's heaving currents and celebrated at the Pan-American Exposition of 1901, had its own undercurrents and afterlives. The chapter mentions Reyner Banham, who brought a fresh set of foreign eyes to Buffalo's uncanny importance. It explores how Buffalo is indebted to Banham for cultivating a global interest and local reinvestment in its urban fabric.
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"12. Cropping the View: Reyner Banham and the Image of Buffalo." In Buffalo at the Crossroads, 255–64. Cornell University Press, 2020. http://dx.doi.org/10.1515/9781501749797-015.

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Santos, Eliana Sousa. "Reyner Banham’s Desert Landscapes 1." In Changing Representations of Nature and the City, 141–52. Routledge, 2018. http://dx.doi.org/10.4324/9781315538167-11.

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b, a. "Walter Gropius’s silos and Reyner Banham’s grain elevators as art-objects." In Industries of Architecture, 1–2. Taylor & Francis, 2015. http://dx.doi.org/10.4324/9781315670362-9.

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Stead, Naomi. "The Rocket-baroque Phase of the Icecream Vernacular: On Reyner Banham’s Criticism of Architecture and Other Things." In Association of Architecture Schools in Australasia. University of Technology, Sydney, 2007. http://dx.doi.org/10.5130/aab.an.

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Conference papers on the topic "Reyner Banham"

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Campo-Ruiz, Ingrid. "Experimenting with prototypes: architectural research in Sweden after Le Corbusier’s projects." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.893.

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Abstract: Le Corbusier’s architectural production throughout the twentieth century served as a reference for subsequent developments in architecture and urban planning in Sweden. Some of the buildings and urban plans subsequently developed in Sweden and influenced by Le Corbusier’s ideas and projects also impacted on the international architectural scene. This research analyses how the study of Le Corbusier’s works affected projects in Sweden from the 1920s to the 1970s and how they also became an international standard. Le Corbusier’s works provided a kind of prototype, with which Swedish architects experimented in alternative ways. During the 1920s, Le Corbusier’s Pavilion de l’Esprit Nouveau and the Stuttgart Weissenhofsiedlung impressed influential Swedish architect, including Uno Åhrén, Gunnar Asplund and Sven Markelius, who later became proponents of modernism in Sweden. The 1930 Stockholm Exhibition marked a breakthrough for functionalism in Sweden. After 1930, urban plans for Stockholm and its suburbs reflected some of Le Corbusier’s ideas, such as the urban plan by Sven Markelius, and Vällingby’s town centre by Leif Reinius and Sven Backström. After 1950, Léonie Geisendorf , Ralph Erskine, Sigurd Lewerentz and Peter Celsing placed considerable emphasis on rough texture in poured concrete. Lewerentz, who admired the works of Le Corbusier, designed the churches of Markuskyrkan in 1956 and St Peter’s in Klippan in 1966, with a wider international impact. Reyner Banham included several works by Le Corbusier and also Markuskyrkan Church by Lewerentz in his book The New Brutalism: Ethic or Aesthetic? in 1966. Keywords: Sweden, twentieth-century architecture, urban planning, prototype, architectural experiment, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.893
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Adams, Daniel, and Marie Law Adams. "Resource Industries in the Post-Industrial City." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.43.

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Resource industries are present in the post-industrial city in a mutable state, as the goods of global trade pass through as interim piles (salt, sand, and gravel), in holding tanks (petroleum), and silos (cement). The flow of resources is fundamental to urban life and shapes the urban landscape, yet engagement with this mode of industry in the city has been largely outside the realm of the design disciplines. If Reyner Banham’s Los Angeles was made legible through the mediating lens of the windshield and the rear-view mirror, then the constructed landscapes of primary resources in today’s post-industrial city are only understandable through the windshield of the front-end loader that acts as the mediator between global networks and local distribution. The material terminals that these loaders serve are not classified by permanent structures, but rather by the through put dictated by the demands of the city. This dynamic relationship of primary industry to the contemporary city is better understood through the relational terms of ecology than formal conventions of architecture. As such, the environments created by the flows of primary industry to urban centers require new modes of engagement from designers. The current architectures of such resource industries in cities- containers, sheds, fences – result from practices of use-based zoning, homeland security, and offsite mitigation, but such static structures fail to engage the dynamic dimensions of a fluid industry. In order to create a new framework, this paper analyzes the spatial and programmatic opportunities that result from re-conceiving these three regulatory conventions through an analysis of a realized project with a global marine terminal in Boston Harbor.
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