[pt] Alison e Peter Smithson foram os precursores do movimento arquitetônico chamado de Novo Brutalismo que surgiu na Inglaterra no ano de 1953. Interessados pelo Movimento Moderno em Arquitetura participaram dos últimos Congressos do CIAM, do qual se desligaram para integrar o grupo Team 10. Começaram suas carreiras no período do pós-guerra quando além de ser necessário reconstruir parte da Europa bombardeada, foi preciso adequar as cidades para o uso dos veículos motorizados que começavam a invadi-las. Diante de tantas mudanças na vida das comunidades, sua grande preocupação foi a preservação da identidade destas comunidades, respeitando seus hábitos sociais e culturais. Este respeito pela vida, tradição e valores levou-os a propostas absolutamente revolucionárias para a época: Projeto Hunstanton School; Projeto Golden Lane; Projeto Universidade de Sheffield. Participaram do movimento artístico britânico Independent Group no qual fizeram as exposições Parallel Of Life and Art e This is Tomorrow. Podemos definir seu trabalho e suas ideologias com suas próprias palavras: a arquitetura surge como resultado direto de um sentimento de vida. / [en] Alison e Peter Smithson were the predecessors of the Architectural Movement called New Brutalism that happened to appear in England in 1953. They were involved with the Modern Architectural Movement and they took part in the last CIAM Congresses, but broke up with it and organized themselves into a new group - Team 10. They began their careers in the post-war period when besides being necessary to reconstruct part of Europe which had been devastated by bombs, it was necessary to adapt the cities to the use of motor vehicles which were beginning to invade them. In face of so many changes in the communities lives they were very concerned in sustaining the identity of these communities, respecting their culture and social values. This respect for life, tradition and values led them to propose absolutely revolutionary for their time: Hunstanton School; Golden Lane Project; University of Sheffield Project. They took part in the British movement Independent Group within which they made the exhibitions Parallel of Life and Art and This is Tomorrow. We can define their work and their ideas with their own words: we see architecture as the direct result of a way of life.

A pesquisa consiste no estudo dos projetos de habitação coletiva de Alison e Peter Smithson, compreendido entre os anos 1950 e 1972. São dois os projetos analisados, o projeto para Golden Lane, desenvolvido para um concurso, em 1951, e o conjunto Robin Hood Gardens, cuja construção foi finalizada no ano de 1972. Os procedimentos adotados para elaborar esta investigação foram o estudo da produção escrita dos arquitetos, bastante ampla e significativa para o entendimento global dos seus projetos, o redesenho das obras, incluindo a produção de desenhos e maquetes eletrônicas dos edifícios, o que possibilitou uma análise sistemática de cada um destes dois projetos, permitindo o entendimento da obra dos Smithsons e sua relação com o contexto do pós-guerra. / This research consists of the study of council housing projects made by Alison and Peter Smithson, from1950 to 1972. Two projects were analysed: the project for Golden Lane, developed for a competition in 1951,and Robin Hood Gardens, whose construction was finished in 1972.The procedures adopted to elaborate this investigation were: the study of the architects' written production, extensive and significant to the overall understanding of their projects and the re-design of the projects, including the building of computer-generated scale models of the buildings, which allowed a systematic analysis of each of these two projects, thus bringing a good perception of the Smithson's work and their relation to the post-war context.

A pesquisa consiste no estudo dos projetos de habitação coletiva de Alison e Peter Smithson, compreendido entre os anos 1950 e 1972. São dois os projetos analisados, o projeto para Golden Lane, desenvolvido para um concurso, em 1951, e o conjunto Robin Hood Gardens, cuja construção foi finalizada no ano de 1972. Os procedimentos adotados para elaborar esta investigação foram o estudo da produção escrita dos arquitetos, bastante ampla e significativa para o entendimento global dos seus projetos, o redesenho das obras, incluindo a produção de desenhos e maquetes eletrônicas dos edifícios, o que possibilitou uma análise sistemática de cada um destes dois projetos, permitindo o entendimento da obra dos Smithsons e sua relação com o contexto do pós-guerra. / This research consists of the study of council housing projects made by Alison and Peter Smithson, from1950 to 1972. Two projects were analysed: the project for Golden Lane, developed for a competition in 1951,and Robin Hood Gardens, whose construction was finished in 1972.The procedures adopted to elaborate this investigation were: the study of the architects' written production, extensive and significant to the overall understanding of their projects and the re-design of the projects, including the building of computer-generated scale models of the buildings, which allowed a systematic analysis of each of these two projects, thus bringing a good perception of the Smithson's work and their relation to the post-war context.

A pesquisa consiste no estudo dos projetos de habitação coletiva de Alison e Peter Smithson, compreendido entre os anos 1950 e 1972. São dois os projetos analisados, o projeto para Golden Lane, desenvolvido para um concurso, em 1951, e o conjunto Robin Hood Gardens, cuja construção foi finalizada no ano de 1972. Os procedimentos adotados para elaborar esta investigação foram o estudo da produção escrita dos arquitetos, bastante ampla e significativa para o entendimento global dos seus projetos, o redesenho das obras, incluindo a produção de desenhos e maquetes eletrônicas dos edifícios, o que possibilitou uma análise sistemática de cada um destes dois projetos, permitindo o entendimento da obra dos Smithsons e sua relação com o contexto do pós-guerra. / This research consists of the study of council housing projects made by Alison and Peter Smithson, from1950 to 1972. Two projects were analysed: the project for Golden Lane, developed for a competition in 1951,and Robin Hood Gardens, whose construction was finished in 1972.The procedures adopted to elaborate this investigation were: the study of the architects' written production, extensive and significant to the overall understanding of their projects and the re-design of the projects, including the building of computer-generated scale models of the buildings, which allowed a systematic analysis of each of these two projects, thus bringing a good perception of the Smithson's work and their relation to the post-war context.

This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into "how" dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida's writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships. In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas. Crucial to the undermining of their respective enemies is the friends' collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. It also appears that through the making of these projects, the unrecognised architects are able to convert themselves to being recognised as new figureheads. This thesis contends that as a consequence of the power within each of the three friendship partnerships, the architects are enabled to collaborate against the dominant ideology of their respective enemies and gain status. It also contends that a cycle of friendship and warring is the political system by which the institution of modern architecture has historically reengineered itself to suit the times.

[EN] Exhibitions are a cornerstone of Alison and Peter Smithsons' multifaceted approach to their work. A powerful medium for conveying and materialising their ideas which provided them, throughout their career, with the opportunity to freely create experimental constructions to relay their thoughts. The exhibitions they staged in the 1950s and 60s, such as 'Parallel of Life and Art', 'House of the Future', and 'Patio & Pavilion' were, and still are, at least as important to architectural critics as their few built works or many writings. However, from the 1970s onwards little is known about their prolific work in the realm of exhibitions. In his lecture 'The Masque and the Exhibition: Stages Towards the Real' in 1980, Peter Smithson mentioned the importance of exhibitions in shaping the Smithsons' architecture as places of opportunity in which to experiment with reality. This comment makes it logical to think that if the exhibitions held before then had always been a powerful tool - a tool used, furthermore, by the Smithsons to create some of their most intense productions - then those staged after said lecture, which acknowledged and highlighted this aspect of their work might, despite being little known, be at least as intense as the previous exhibitions with greater media visibility. This idea, together with the expectations raised by the 'Christmas-Hogmanay' exhibition - not only because it was staged whilst said lecture was being drafted but also because of the ideas that sprang from the analysis of a related collage mentioned in the prelude to this doctoral thesis - channelled the research towards this final period of the Smithsons' exhibition architecture. The research herein focuses specifically on two groups of exhibitions that stand out amongst the Smithsons' wide range of documented exhibitions on account of their inherent intellectual cohesion enabling the concepts staged by Alison and Peter Smithson to be seen more clearly. This doctoral thesis consists of four chapters. It begins with an introductory chapter which firstly analyses and contextualises architecture in the shape of exhibitions; then outlines the importance of exhibitions in Alison and Peter Smithson's work; and finally puts the specific period under study into context in terms of both their career and the discourse of architecture in general. The two main chapters in this thesis are entitled 'Christmas Exhibitions' and 'Tecta Exhibitions', each organised in a similar fashion: a short introduction to the group of exhibitions followed by an in-depth analysis of each exhibition in the group based mainly on the unpublished documentation to which the author had access in the three main archives devoted to Alison and Peter Smithson: The Alison and Peter Smithson Archive in the Special Collections Department of the Frances Loeb Library at Harvard Design School (USA); the Alison and Peter Smithson Archive / Tecta Archive at Lauenförde (Germany); and the Smithson Family Archive in Stamford (United Kingdom). Finally, each chapter ends with an essay which analyses and links up the different concepts conveyed by each individual exhibition and the exhibitions in the group as a whole. The last chapter is a short epilogue that gathers up all the concepts set out previously in relation to the Christmas and Tecta exhibitions, and shows how they all tie in together in the Smithsons' most experimental work: the Hexenhaus at Bad Karlshafen. / [ES] Dentro del enfoque polifácetico del trabajo de Alison and Peter Smithson, las exposiciones son pieza fundamental. Un medio poderoso para comunicar y materializar sus ideas que les brindó a lo largo de toda su trayectoria la oportunidad de abordar con libertad la construcción experimental de su pensamiento. Sus propuestas expositivas de la década de los cincuenta y sesenta, como Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sido y son tanto o más relevantes para la crítica arquitectónica como sus escasas obras construidas o sus abundantes escritos. Sin embargo, a partir de la década de los setenta, poco se conoce de su prolífica producción expositiva. Peter Smithson en la conferencia "The Masque and the Exhibition: Stages Towards the Real" en 1980 expresaba el importante significado que tenían las exposiciones para la conformación de su arquitectura como lugares de oportunidad para experimentar con la realidad. A partir de esta reflexión, parece lógico pensar que si hasta ese momento dichas instalaciones siempre fueron una herramienta con la que los Smithson han ofrecido algunos de sus momentos más intensos, las realizadas a partir de ese momento de reconocimiento consciente y puesta en valor de esta faceta de su trabajo, pese a su poca difusión, podrían entrañar una intensidad al menos similar a las que ya han destacado hasta el momento en los medios. Esta consideración, unida a las expectativas generadas en torno a la exposición Christmas-Hogmanay, tanto por ser simultánea a la elaboración de dicha conferencia, como por las ideas que se desprenden del análisis de un collage vinculado a la misma que aparece como preludio de esta tesis doctoral, ha dirigido la investigación hacia este último periodo de su arquitectura expositiva. En concreto, el estudio se centra en dos grupos que, dentro del amplio abanico de montajes expositivos realizados, destacan por poseer una cohesión intelectual propia que permitirá descubrir con mayor claridad las reflexiones que Alison y Peter Smithson ponen en escena. La tesis doctoral se estructura en cuatro grandes apartados. Arranca con un capítulo de introducción dedicado a enmarcar el tema de estudio en el que primero se analiza y contextualiza la arquitectura hecha exposición; después, se presenta la relevancia que tiene la obra expositiva en el trabajo de Alison y Peter Smithson; y finalmente se contextualiza el periodo concreto en el que se centra el estudio atendiendo tanto a su propia trayectoria como al discurso arquitectónico general. Los dos grandes apartados de la disertación son las exposiciones de Navidad y las realizadas junto a TECTA, estructurándose ambos de manera similar. Tras una breve introducción al grupo de exposiciones que se va a analizar, aparecen ampliamente documentadas cada una de las exposiciones que conforma el grupo a partir, principalmente, de la documentación inédita a la que se ha tenido acceso en los tres principales archivos dedicados a Alison and Peter Smithson: The Alison and Peter Smithson Archive en el Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estados Unidos); The Alison and Peter Smithson Archiv / TECTA Archiv en Lauenförde (Alemania); y The Smithson Family Archive en Stamford (Inglaterra). Finalmente, cada capítulo se cierra con un ensayo en el que se analizan y relacionan las diferentes reflexiones que las exposiciones ofrecen, de manera individual y en su conjunto. El último capítulo es un breve epílogo que reúne y entrelaza todo lo anteriormente expuesto, a través de las exposiciones de Navidad y TECTA, en su obra más experimental, la Hexenhaus en Bad Karlshafen. / [CA] Dins de l'enfocament polifacètic del treball d'Alison i Peter Smithson, les exposicions en són una peça fonamental. Un mitjà poderós per a comunicar i materialitzar les idees que, al llarg de tota la seua trajectòria, els van brindar l'oportunitat d'abordar amb llibertat la construcció experimental del seu pensament. Les seues propostes expositives de la dècada dels cinquanta i seixanta, com ara Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sigut i són tant o més rellevants per a la crítica arquitectònica com les seues escasses obres construïdes o els seus abundants escrits. No obstant això, a partir de la dècada dels setanta, poc es coneix de la seua prolífica producció expositiva. Peter Smithson, en la conferència "The Masque and the Exhibition: Stages Towards the Real" al 1980, expressava l'important significat que tenien les exposicions per a la conformació de la seua arquitectura com a llocs d'oportunitat per a experimentar amb la realitat. A partir d'aquesta reflexió, sembla lògic pensar que, si fins a eixe moment les dites instal·lacions sempre van ser una eina amb la qual els Smithson han ofert alguns dels seus moments més intensos, les que van realitzar a partir d'aquest moment de reconeixement conscient i posada en valor d'aquesta faceta del seu treball, tot i la poca difusió, podrien contenir una intensitat com a mínim similar a la d'aquelles que ja han destacat fins al moment en els mitjans. Aquesta consideració, unida a les expectatives generades entorn a l'exposició Christmas-Hogmanay, tant per ser simultània a l'elaboració de la dita conferència, com per les idees que es desprenen de l'anàlisi d'un collage vinculat a la mateixa que apareix com a preludi d'aquesta tesi doctoral, ha dirigit la investigació cap a aquest últim període de la seua arquitectura expositiva. En concret, l'estudi se centra en dos grups que, dins de l'ampli ventall de muntatges expositius realitzats, destaquen per posseir una cohesió intel·lectual pròpia que permetrà descobrir amb una major claredat les reflexions que Alison i Peter Smithson posen en escena. La tesi doctoral s'estructura en quatre grans capítols. Arrenca amb un apartat d'introducció dedicat a emmarcar el tema d'estudi, en què primer s'analitza i contextualitza l'arquitectura feta exposició; després, es presenta la rellevància que té l'obra expositiva en el treball d'Alison i Peter Smithson; i finalment es contextualitza el període concret en què se centra l'estudi, atenent tant a la seua pròpia trajectòria com al discurs arquitectònic general. Els dos grans capítols de la dissertació són les exposicions de Nadal i les realitzades junt amb TECTA, i s'estructuren tots dos de manera similar. Després d'una breu introducció al grup d'exposicions que s'analitzarà, apareixen amplament documentades cadascuna de les exposicions que conforma el grup, a partir principalment de la documentació inèdita a la qual s'ha tingut accés en els tres principals arxius dedicats a Alison i Peter Smithson: The Alison and Peter Smithson Archive a l'Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estats Units d'Amèrica); The Alison and Peter Smithson Archiv / TECTA Archiv a Lauenförde (Alemanya); i The Smithson Family Archive a Stamford (Anglaterra). Finalment, cada capítol es tanca amb un assaig en què s'analitzen i relacionen les diferents reflexions que les exposicions ofereixen, de manera individual i en conjunt. L'últim capítol és un breu epíleg que reuneix i entrellaça tot allò exposat anteriorment, a través de les exposicions de Nadal i TECTA, en la seua obra més experimental, la Hexenhausen Bad Karlshafen. / Ábalos Ramos, A. (2016). ALISON AND PETER SMITHSON: THE TRANSIENT AND THE PERMANENT [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62223