Quote: "Brutalist architecture is an architectural style that emerged during the 1950s in the United Kingdom, among the reconstruction projects of the post-war era..."
Raw, unfinished concrete structures with an emphasis on function over form.
Historical context: Understanding the political and social climate of the time when Brutalism emerged is crucial to understanding its development and popularity within the architectural field.
Structural expressionism: The use of raw concrete and other industrial materials is a defining characteristic of Brutalism, and understanding how these materials were used to express structure is important.
Brutalist aesthetics: Understanding the visual language of Brutalism, including its use of clean lines, geometric shapes, and repetition, can help to decode some of the more intricate designs.
Building Typologies: Understanding the various building typologies that emerged within Brutalism, such as housing, government buildings, cultural centers, and universities, can provide useful insight into how the style was adapted to different contexts.
Geographic regions: Understanding how Brutalism developed in different regions of the world can provide insight into how the style was adapted to different cultural and environmental contexts.
Architectural influencers: Understanding the various architects and designers who helped shaped the trajectory of Brutalism can help to contextualize the development of the style.
Criticism and controversy: Understanding the reception of Brutalism, including criticism and controversy, can provide a useful perspective on how the style has been perceived and how it continues to be evaluated today.
Preservation efforts: Understanding the preservation efforts aimed at preserving Brutalist buildings can provide insight into how the style is valued and how it continues to be relevant in contemporary architecture.
New Brutalism: This was the original phase of Brutalism which emerged in the 1950s and 1960s. Its buildings were characterized by their raw, unfinished gray concrete facade, and their use of exposed steel reinforcing and rough-hewn textures. The style emphasized functionality and simplicity, eschewing both ornamentation and fine materials.
Heroic Brutalism: This was an iteration in the 1960s and 1970s, which featured larger, grander structures with monumental characteristics, often used as seats of government, sports complexes, or educational institutions. These structures were typically designed to emphasize a sense of national pride and identity, and frequently included elements like cantilevers or oversized concrete beams.
Structural Expressionist Brutalism: In the 1970s and 1980s, a version of Brutalism called Structural Expressionist emerged. This style utilized modern engineering and construction techniques to create more expressive, visually stimulating buildings than seen in previous Brutalist styles. Developments in computer-aided design and prefabrication of building components allowed architects to construct larger, sleeker edifices, often resembling a tessellated or folded sheet of metal.
Socialist Brutalism: Formed under the political philosophy of communism, Socialist Brutalism might be described as a brutalist variation on heroic. The style's concrete and steel constructions evoke a utilitarian-inspired aesthetic and lean more heavily into communal values by creating enormous public spaces without the need for excessive ornamentation or grandeur.
Japanese Metabolism: Happening in Japan in the 1950s and 1960s, the Metabolism design movement took Brutalism and added unique asymmetrical designs and futuristic features, while still incorporating a raw concrete facade. The style's spaceship-like designs and sweeping curves also embraced organic architecture — an emphasis on design that integrates with nature.
Late Modernism Brutalism: Late Modernism Brutalism was an iteration in the 1960s and 1970s, combining Brutalism's raw use of concrete with a more sophisticated architectural design. Many buildings emphasized a sleek, precise design form with sharp lines and repeated geometric shapes.
Postmodern Brutalism: The Brutalism of the 1980s had evolved from the muscular, raw aesthetic of New Brutalism. Postmodern Brutalism added ornamentation, decorative masonry, and sculptural forms to the movement, in opposition to the starkness of earlier Brutalism.
Quote: "Brutalist buildings are characterized by minimalist constructions that showcase the bare building materials and structural elements over decorative design."
Quote: "The style commonly makes use of exposed, unpainted concrete or brick, angular geometric shapes and a predominantly monochrome color palette; other materials, such as steel, timber, and glass, are also featured."
Quote: "Derived from the Swedish phrase nybrutalism, the term 'new brutalism' was first used by British architects Alison and Peter Smithson for their pioneering approach to design."
Quote: "The style, as developed by architects such as the Smithsons, Hungarian-born Ernő Goldfinger, and the British firm Chamberlin, Powell & Bon, was partly foreshadowed by the modernist work of other architects such as French-Swiss Le Corbusier, Estonian-American Louis Kahn, German-American Mies van der Rohe, and Finnish Alvar Aalto."
Quote: "In the United Kingdom, brutalism was featured in the design of utilitarian, low-cost social housing influenced by socialist principles and soon spread to other regions around the world, most notably Eastern Europe."
Quote: "Brutalist designs became most commonly used in the design of institutional buildings, such as provincial legislatures, public works projects, universities, libraries, courts, and city halls."
Quote: "The popularity of the movement began to decline in the late 1970s, with some associating the style with urban decay and totalitarianism."
Quote: "Brutalism's popularity in socialist and communist nations owed to traditional styles being associated with bourgeoisie, whereas concrete emphasized equality."
Quote: "Brutalism has been polarizing historically; specific buildings, as well as the movement as a whole, have drawn a range of criticism (often being described as 'cold' or 'soulless') but have also elicited support from architects and local communities..."