Eco brutalism

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Eco Brutalism Architecture. Eco Brutalism Architecture. Architect Motivation. Eco Brutalism. Green Building Architecture. Architecture Design Process. Futuristic Building. Brutalism Eco-brutalists believe that brutalism’s brutal honest aesthetic can be harnessed for the creation of both beautiful and green buildings. What is Eco-Brutalism? The eco-brutalism

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Brutalism in architecture mainly emerged during the middle of the 20th century, between the 1950s and 1970s. It is represented by massive, rugged, and often monolithic structures, mostly built from raw concrete and other materials from industry. The term “Brutalism” originates from the French word “brut,” meaning raw, and it was popularized in the 1950s.Le Corbusier can be rightfully considered one of the fathers of Brutalism. He was one of the first architects to work with raw concrete (béton brut) and developed design principles that included functionality and minimalism. His Unité d’Habitation in Marseille, France, completed in 1952, is frequently cited as a seminal Brutalist work.Government Service Center, Boston, Massachusetts © Gunnar KlackAlso, Alison and Peter Smithson developed the concept of “New Brutalism,” which wanted to devise an honest and direct architectural language that considered post-war society’s needs. Completed in 1954, their design for Hunstanton School in Norfolk is considered one of the early samples of Brutalist architecture.How do you identify Brutalism?Renovation of a Brutalist House in Brazil © Edgard CesarThe main architectural characteristic of Brutalism is the use of raw and simple materials. One of the major pointers toward Brutalism is the use of exposed concrete or béton brut. Buildings in this style have massive and monolithic appearances characterized by geometric shapes and repetitive modular elements.Brutalism’s focus on directness about materials and structure, combined with its monumental scale, makes it a powerful and recognizable architectural approach.Key Points to Identify Brutalism:Extensive use of raw, unadorned concrete as a primary building material.Bold, repetitive modular elements and geometric forms.Monolithic, fortress-like structures with an imposing presence.Emphasis on utility and social functionality, often for public and institutional buildings.Stark contrasts solid and void spaces, using natural light to enhance the design.Why was Brutalism hated?Les Choux de Créteil Buildings / Gérard GrandvalThere are many reasons why Brutalism was hated and loathed, thus provoking a strong reaction against the style, especially from the 1970s. Its massive, blocky forms and repetitive geometric patterns often seemed inhumanly uninviting and oppressive to the general public. The raw concrete surfaces characteristic of Brutalism were prone to weathering and staining, often giving buildings a rundown appearance.Brutalist architecture was often used for government buildings, social housing, and educational institutions. Many of them have been built at times of rapidly developing urbanization and social change.Pirelli BuildingMany Brutalist projects, especially large-scale housing estates, were criticized for poor urban planning. In some cases, a monolithic and

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Loved and loathed, revered and reviled: Brutalism remains one of the most controversial and misunderstood architectural styles of the 20th century.Sir Denys Lasdun’s Grade II* National Theatre. © Historic England. Contributed by Mark Hammond. See the List entry.To its fans, Brutalism represents the bold, ambitious and utopian energy of the post-war era, in which architects set about transforming towns and cities to better serve the people. To critics, Brutalism was a monstrous, dystopian landscape-destroyer.What is Brutalism?The Tricorn Centre in Portsmouth, designed by Owen Luder and Rodney Gordon, was described by Prince Charles as ‘a mildewed lump of elephant droppings’ and compared to Stonehenge and Lincoln Cathedral by Jonathan Meades. It was demolished in 2004. © Historic England Archive. BB96/10639.Not necessarily brutalA common misconception is that the word Brutalism derives from the word brutal: in reality it probably came from the French expression ‘béton brut’: French for ‘raw concrete’ and coined by the architect Le Corbusier during the construction of Unité d’Habitation in 1952.The term ‘nybrutalism’ was used by the Swedish architect Hans Asplund to describe the Villa Göth in 1950, and was later picked up by visiting British architects.The Barbican Centre, City of London. © Historic England Archive. DP100575.In his seminal 1955 essay, the architectural critic Reyner Banham described the emerging trend in British architecture as ‘The New Brutalism’. Banham characterised this movement by its ‘its bloody-mindedness’ and described Alison and Peter Smithsons’ Grade II* listed school at Hunstanton as one of England’s first examples.Smithdon School, Hunstanton. © Historic England Archive. DP180592.Not all concreteThe Smithsons priority was ‘reverence for materials’, be they timber, brick, concrete or glass: a Brutalist building should be constructed from natural materials honestly expressed.The Hunstanton School might not meet your expectations for a Brutalist building, but as Banham explained it is without decoration and ‘made of

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– that was used to support a writing desk.Interior of the 100 Bayswater Road extension designed by the Smithsons alongside an illustration from Bruno Taut’s House and People of Japan.Through Japan, respect to history and historical fabric was mooted in Crosby and the Smithsons’ articulation of New Brutalism and their extension designs. Yet it can also be seen as a tension that pulled their relationship apart, not long after the completion of the two pavilions in 1960. (Although they maintained contact and collaborated occasionally) After encountering Jane Jacobs’ The Death and Life of Great American Cities, Crosby turned into an advent advocate for preservation. Crosby, later as a founding partner of the multidisciplinary design firm Pentagram, dedicated most of his energy to interior, renovation and refurbishment projects. The only major building that he completed in central London was the Shakespeare’s Globe, an “authentic” reconstruction of the 16th-century theatre. His design at The Lacket, therefore, can be regarded as one of Crosby’s last built works for New Brutalism, and also a link between his post-war neo-avant-gardism and preservationist tendencies.About Juliana KeiJuliana is a Lecturer at the Liverpool School of Architecture. She is currently completing a monograph on Theo Crosby with Stephen Parnell and Alan Power to be published by Lund Humphries. As part of the Hong Kong Design History Network, she is a curator of the Hong Kong Pavilion in the London Design Biennale, June 2021.Juliana also wants to express her gratitude to Matt Woollven from Giles Quarme Architects and Thoby Young, the current Lord Kennet for their generous input in this research.Follow JulianaTwitter @yatshunkei Instagram @julikeiThe history of 100 Bayswater RoadThe house dates from 1820 and became the home of the author JM Barrie in 1900 and it was here that he wrote Peter Pan which was published in 1905. What people are saying -->. Eco Brutalism Architecture. Eco Brutalism Architecture. Architect Motivation. Eco Brutalism. Green Building Architecture. Architecture Design Process. Futuristic Building. Brutalism

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The “reverence for the natural world” – the Japanese architectural influence on New Brutalism and its realisation.View of Crosby’s extension of The Lacket showing the living room (left) and bedrooms (right)In Autumn 2020 Juliana Kei, Lecturer in Architecture at the University of Liverpool, was able to visit two overlooked house extensions that reflect the tenets of New Brutalism – one in Bayswater by Alison and Peter Smithson and the other The Lacket by Theo Crosby. What captured Juliana’s attention was that underpinning the two designs were their idea of New Brutalism.In Reyner Banham’s 1966 book New Brutalism: Ethic or Aesthetic, Juliana explains, he made reference to a one-page article published in the January 1955 issue of the Architectural Design, as the “manifesto” of New Brutalism. The article in question was written by Alison and Peter Smithson, and Theo Crosby, who was at the time the technical editor of the AD and a close friend of the Smithsons. In current studies of post-war British architecture, Crosby has been recognised as an effective behind-the-scene promoter for the Smithsons’ and the Independent Group’s (IG) works. In addition to using the AD as a conduit to disseminate the ideas of the IG milieu, Crosby is also credited as the organiser of the 1956 This is Tomorrow exhibition held at the Whitechapel Gallery in London. This article retrieves the 1955 New Brutalism “manifesto.” Juliana continues, I will also use two house extensions designed by Crosby and the Smithsons, for the same client, to examine their propositions in the manifesto.In the AD manifesto, Crosby and the Smithsons dedicated the introduction, and five out of the seven paragraphs on the importance of Japanese architectural influence on the Modern Movement and New Brutalism.They declared,‘Our belief that the New Brutalism is the only possible development for this moment from the Modern Movement…because fundamentally both movements have used their yardstick Japanese architecture – its underlying idea, principles, and spirit.’They went on to explain that, through Japanese architecture, New Brutalism found a “reverence for materials” and a close affinity with “peasant dwelling forms”, which resulted in an “architecture as the direct result of a way of life.” They even suggested that the Smithsons’ Hunstanton School “owes as much to the existence of Japanese Architecture as to Mies.”Hunstanton Secondary School, Alison and Peter Smithson RIBA CollectionsThe manifesto is puzzling. Neither the Smithsons or Crosby had been to Japan at the time of

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Few architectural styles provoke as much debate as Brutalism. Once seen as stark and imposing, its unapologetic use of raw concrete and geometric forms is now experiencing a renaissance. Renewed cultural interest from nostalgia-fueled social media and the Oscar-nominated movie The Brutalist have all prompted the once-maligned aesthetic to step back into the spotlight. But Brutalism isn’t just about architecture anymore. It's also influencing interior design, furniture, and even home décor trends. Whether you’re looking to fully embrace its austere beauty or simply incorporate elements of the striking aesthetic into your home, here’s a closer look at Brutalism’s past, present, and future.Walker McKinley, founder and CEO of architecture and interior design firm McKinley StudiosTrey Trahan, founder of Trahan Architects Defining Characteristics Brutalist architecture and design are instantly recognizable for their bold, no-nonsense aesthetics. Hallmarks of the style include: Raw Concrete: Exposed concrete surfaces, often left unfinished, define the look of Brutalist structures. Some designs also incorporate brick, steel, or glass—but concrete remains the primary material.Geometric Forms: Brutalist buildings favor rigid, block-like shapes and exaggerated proportions, creating a sense of weight and permanence.Function-First Philosophy: Rooted in modernist principles, Brutalist design prioritizes function over decoration, resulting in minimal ornamentation and an emphasis on utility.Monolithic Structures: Many Brutalist buildings have fortress-like appearances, characterized by heavy, cantilevered forms and deeply recessed windows.Expressive Brutality: Unlike other minimalist styles, Brutalism does not shy away from the roughness of its materials, embracing imperfections and emphasizing texture. History Getty / Simon McGill Brutalism emerged in the mid-20th century

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On Tap Magazine recently released its July edition, which focused on design in Washington. BrutalistDC founder Deane Madsen was thrilled to be interviewed by M.K. Koszycki for the issue, an excerpt of which is below:On Tap: Why is Brutalist architecture so important to the architectural landscape of DC?Deane Madsen: For one, there’s just so much of it. Look at any satellite image of Southwest DC and you’ll find enormous superblocks of government buildings rendered in concrete: the Department of Energy, the Department of Housing and Urban Development, L’Enfant Plaza. Two, most of it arose during an era of urban renewal in Washington. The Brutalist architecture in the District breaks from the traditions of Neoclassical, Federal and Gothic Revival to present buildings constructed at the height of post-war optimism.OT: What are some common misconceptions about Brutalism and how do you respond to them?DM: Probably the biggest misconception about Brutalist buildings is that they’re somehow brutal. I sometimes joke that these buildings are not, in fact, out to kill you—chunks of concrete falling off the FBI Building are the result of neglect, not malice. The other default reaction to Brutalism is that it’s ugly. I get it, not everyone appreciates the aesthetic. And there’s no way I’m going to be able to change someone’s taste, but when I’m giving tours of Brutalist buildings, I encourage people to get up close and examine tactile features such as board-formed concrete. On the pairs of columns at the base of HUD, for example, you can

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As an architectural response to the need for affordable, functional buildings during the post-war era. Its name comes from the French phrase "béton brut," or "raw concrete"—the term was popularized by British architects Alison and Peter Smithson in the 1950s. However, by then, Swiss-French architect Le Corbusier had already laid its foundation. Brutalism flourished from the 1950s to the 1970s, and its monolithic aesthetics were showcased in public buildings, government complexes, and university campuses. The movement prioritized function over ornamentation, favoring utilitarian materials and honest, unadorned structures. By the 1980s, Brutalism fell out of favor. It was criticized as cold, oppressive, and emblematic of urban decay. Many of the style's most quintessential buildings faced neglect or even demolition. However, in the 21st century, a new wave of appreciation has revived interest in Brutalist design, sparking debates on preservation and inspiring a new generation of designers to reinterpret its principles. Current Popularity "Architecture is a more diverse field now and a more collaborative act," says architect Trey Trahan. "As a result, I think contemporary buildings in the Brutalist style are becoming more interesting, refined, and nuanced." The style has also taken on a different cultural identity. While Brutalism once symbolized governmental authority and urban density, today’s resurgence has reframed it as a bold, avant-garde aesthetic. Others have long been surrounded by Brutalism in their hometowns, and have found within it new meaning. "Growing up in the 60s and 70s [in Canada] meant that I spent a lot of time in Brutalist. Eco Brutalism Architecture. Eco Brutalism Architecture. Architect Motivation. Eco Brutalism. Green Building Architecture. Architecture Design Process. Futuristic Building. Brutalism Eco-brutalists believe that brutalism’s brutal honest aesthetic can be harnessed for the creation of both beautiful and green buildings. What is Eco-Brutalism? The eco-brutalism

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Inward-facing design created an environment perceived as unsafe or alienating.Brutalism emerged as a reaction against the ornamentation and frivolity of earlier styles, like Beaux-Arts and Art Deco. However, since tastes in architecture changed, the pendulum moved to the other extreme, favoring a totally opposite direction, with styles emphasizing human scale, warmth, and aesthetic diversity. Brutalism fell out of grace due to the turn toward diverse and more pleasing designs.Notable Brutalist projectsUnité d’Habitation, Marseille (1952)© Gili MerinThis residential building, designed by Le Corbusier, is one of the most famous examples of Brutalism. It features raw concrete and a roughly textured façade, with a horizontal design and elevated columns supporting a roof garden. This building’s modular approach, performed in concrete, has been highly influential on housing design through its adherence to the principles of Brutalism.The Barbican Centre, London (1982)ShutterstockDesigned by Chamberlin, Powell, and Bon, the Barbican Centre is a large complex with residential apartments and a performing arts center alongside other cultural facilities. Massive concrete structures, massive use of exposed concrete, and angular forms are characteristic hallmarks of Brutalism. The Barbican represents one of the most important cultural spots and residential complexes, embodying the style’s social and functional characteristics.Hunstanton School, Norfolk (1954)© Anna ArmstrongThis school by Alison and Peter Smithson is one of the style’s early examples and one that greatly influenced Brutalist architecture. It is a raw concrete building with a modular design and open expression of the structural elements, offering a prime example of what the Smithsons meant by the term “New Brutalism.” The clarity of form and function at Hunstanton School befits the principles underlying Brutalism in an educational setting.The Boston City Hall (1968)Designed by Kallmann McKinnell & Knowles, Boston City Hall is one of the better-known expressions of Brutalist architecture. Its bold and raw concrete exterior, with intricate geometric forms, is characteristic of the style, which focuses on rugged materiality and monumentality. Deep overhangs and deeply set windows dramatize the design through a series of cantilevered elements, thereby arresting the visual presence in downtown Boston.The National Theatre, London (1976)Designed by Sir Denys Lasdun, the National Theatre is a key example of Brutalist architecture in the cultural sector. Its use of exposed concrete and its distinctive, angular forms contribute to its imposing and sculptural quality. The building’s design includes a complex arrangement of volumes and terraces, reflecting the Brutalist principle of showcasing structural elements and materials while creating a

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At first it looked great, but once we started killing each other in game, it quickly felt very ghoulish. most maps these days are made with something called trenchbroom. Try opening a map and looking for export options. You can open the original game's levels too If you enjoy brutalism and video games I highly recommend Control. Beautiful, beautiful game. I hated Brutalism before playing Control. Just look at how intimidating the Boston City Hall fortress is, as it looms over you, while you try to even find the entrance.But Control's architectural and furnishings atmosphere was very appealing, and it warmed me towards the Boston and Cambridge buildings that I'd previously disliked.Screenshots: Boston definitely makes it hard to love.Some of the best ambassadors for Brutalist architecture I've experienced are the Barbican in London and the Bonaventure in Los Angeles. They make good spaces for people. I can second this. I literally just completed my first playthrough of the game over the weekend (backlog pain is real).The architecture and design in the game is the best brutalist work I've seen in a game. If you enjoyed Control (and don’t forget the DLCs!) you will probably also enjoy Alan Wake 2 which is part of the same universe and interconnected with it.(I never played the first Alan Wake but it’s not a hard requirement, there are recaps on YouTube) The scene has existed since the beginning, but the work that has been coming out of the Quake community for the last 6 years or so has been outstanding. They keep making more and knocking it out of the park. I've played all of it, and keep coming back for more :). I am still playing Q2 on a daily basis. You can download Q2 and see all live servers without downloading an address file. is still an active development for quake2 executable and anticheat detection.There are roughly 20-30 people playing almost on a daily basis. We have tournaments too. (This year's tournament will play its finals).You can also check q2servers.com. Most players have been playing for over 20+ years. The average age. Eco Brutalism Architecture. Eco Brutalism Architecture. Architect Motivation. Eco Brutalism. Green Building Architecture. Architecture Design Process. Futuristic Building. Brutalism Eco-brutalists believe that brutalism’s brutal honest aesthetic can be harnessed for the creation of both beautiful and green buildings. What is Eco-Brutalism? The eco-brutalism

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The article’s publication, and their knowledge about Japan mostly came from films and books written by Bruno Taut in the 1930s. However, a different vision of New Brutalist architecture emerges when Japanese architecture is used as a lens to review Crosby and the Smithsons’ works.In This is Tomorrow, for example, Group 1 (Crosby, Edward Wright, Germano Facetti, and William Turnbull) and Group 6 (the Smithsons, Eduardo Paolozzi, and Nigel Henderson) installation both emphasised the changeable and replaceable quality of artworks in a mass-produced structure.Group 6 Architectural Press Archive / RIBA CollectionsThis Is Our Tomorrow Group 6 John Maltby / RIBA CollectionsThis relationship between arts and architecture responded directly to the concept of Tokonoma – an alcove in traditional Japanese houses designated for an object that corresponds to the season– that was celebrated by Taut. Both installations manifested a different approach towards the integration of arts and architecture from the other groups: the integration was through a clear delineation of and dedication to artworks, rather than blurring the boundary between arts and architecture.Tokonoma, Tottori Prefecture CC BY 2.5Two years after the exhibition, Crosby and the Smithsons were offered another opportunity to realize their thinking on New Brutalism. The premise was similar to This is Tomorrow they devised their respective “pavilions” under a similar design brief. In 1958, Wayland Young (Lord Kennet), then a junior minister of Housing and Local Government, commissioned the Smithsons to design an extension for his Victorian-era house on Bayswater Road, London. He also asked Crosby to build an addition to the Kennet family’s 18th-century cottage, called The Lacket, in Wiltshire. The function of the extensions are similar, too: both include a living room and two bedrooms. The Smithsons extension also has a bathroom, while Crosby added a storage room for the cottage.The bathroom and bathroom skylight of 100 Bayswater Road extension.At first glance, the house extensions do not look that similar. Crosby’s Lacket addition is a Z-shaped volume with three components, whilst the Smithsons’ extension in Bayswater appears as one entity. The Bayswater extension is rendered white with an exposed concrete roof. The Lacket addition is partly cladded with cedar panelling and partly constructed with local stone. [Crosby’s extension to the Lacket perhaps shares more material similarities with the Smithsons’ own summer home near Fonthill, Wiltshire.] However, a closer examination of the two houses reveals approaches that resonate with the 1955 New Brutalism manifesto and This is