Brutalism is coming in from the cold thanks to the efforts of Peter Chadwick and photographer Nicholas Grospierre. The two enthusiasts for all things concrete are behind "This Brutal World" and "Modern Forms: A Subjective Atlas of 20th-Century Architecture", photobooks capturing the divisive movement in all its monolithic glory. Pictured is Pierresvives, Montpellier by Zaha Hadid Architects (2012). Chadwick argues that contemporary architects continue to emulate the aesthetic first pioneered by Le Corbusier in the 1940s.<br />
Brutalism is coming in from the cold thanks to the efforts of Peter Chadwick and photographer Nicholas Grospierre. The two enthusiasts for all things concrete are behind "This Brutal World" and "Modern Forms: A Subjective Atlas of 20th-Century Architecture", photobooks capturing the divisive movement in all its monolithic glory. Pictured is Pierresvives, Montpellier by Zaha Hadid Architects (2012). Chadwick argues that contemporary architects continue to emulate the aesthetic first pioneered by Le Corbusier in the 1940s.
courtesy Paul Riddle/VIEW
For "This Brutal World" Chadwick, who started as an architecture blogger, sourced monochrome images from a variety of photographers to form his compendium. He says that black and white photography lends itself well to capturing Brutalist buildings, emphasizing the strong shapes it became known for.
Geisel Library, University of California, San Diego —
For "This Brutal World" Chadwick, who started as an architecture blogger, sourced monochrome images from a variety of photographers to form his compendium. He says that black and white photography lends itself well to capturing Brutalist buildings, emphasizing the strong shapes it became known for.
Courtesy University of California, San Diego
The rapid development of concrete engineering in the mid-twentieth century allowed architects to craft increasingly outrageous designs for even the most perfunctory of buildings, such as the Grand Central Water tower, with its vertical cantilever structure.
Grand Central Water Tower, Johannesburg —
The rapid development of concrete engineering in the mid-twentieth century allowed architects to craft increasingly outrageous designs for even the most perfunctory of buildings, such as the Grand Central Water tower, with its vertical cantilever structure.
Coutesy GAPP Architects
Warsaw resident Grospierre sourced many of his 200 Modernist buildings in Poland and the former Eastern Bloc. Many of the Brutalist works that feature were "large-scale housing estates done very cheaply," he says, a factor that has contributed to their poor condition today.
Residential tower, Saint Petersburg —
Warsaw resident Grospierre sourced many of his 200 Modernist buildings in Poland and the former Eastern Bloc. Many of the Brutalist works that feature were "large-scale housing estates done very cheaply," he says, a factor that has contributed to their poor condition today.
Nicolas Grospierre
Designed by Louis Khan, the Salk Institute is another example of large-scale public Brutalism. Commissioned by Dr Jonas Salk, the creator of the polio vaccine, and intended for use as a Biology department, Khan took the concrete boulevard and angled the blocks' windows to face the altogether softer sight of the Pacific Ocean.
Salk Institute, La Jolla, California —
Designed by Louis Khan, the Salk Institute is another example of large-scale public Brutalism. Commissioned by Dr Jonas Salk, the creator of the polio vaccine, and intended for use as a Biology department, Khan took the concrete boulevard and angled the blocks' windows to face the altogether softer sight of the Pacific Ocean.
BenjaminAntony Monn/ARTUR IMAGES
Grospierre says he was drawn to Modern buildings partly because of their state of disrepair. They are "the embodiment of an idea of progress -- a certain type of progress -- abandoned over 30 years ago."
Space Museum and Heliport, International Fairgrounds, Tripoli —
Grospierre says he was drawn to Modern buildings partly because of their state of disrepair. They are "the embodiment of an idea of progress -- a certain type of progress -- abandoned over 30 years ago."
Nicolas Grospierre
Chadwick argues that Rem Koolhaas' De Rotterdam is another example of contemporary architecture riffing on aesthetics more than half a century old. In essence, he says a Brutalist building is one "avoiding unnecessary details... with a strong form and a lot of straight lines and faceless facades... It's bold, it's domineering; it's an indication that it's aesthetically different with it's surroundings."
De Rotterdam, Rotterdam —
Chadwick argues that Rem Koolhaas' De Rotterdam is another example of contemporary architecture riffing on aesthetics more than half a century old. In essence, he says a Brutalist building is one "avoiding unnecessary details... with a strong form and a lot of straight lines and faceless facades... It's bold, it's domineering; it's an indication that it's aesthetically different with it's surroundings."
Matteo Rossi/ARTUR IMAGES
The structure of "Modern Forms" is dictated by the buildings featured. Grospierre has curated a gradual blend, each building bearing similar properties to those around it, the effect reinforcing the ties that bind a global, century-spanning movement.
Dead Sea Museum and Visitor Centre, Neve Zohar —
The structure of "Modern Forms" is dictated by the buildings featured. Grospierre has curated a gradual blend, each building bearing similar properties to those around it, the effect reinforcing the ties that bind a global, century-spanning movement.
Nicolas Grospierre
Raw concrete, or "beton brut" found its way into many other Modern -- though not ostensibly Brutalist -- buildings, such as the columns of the Tehran City Theatre. The capital of Iran's most iconic building also draws upon concrete engineering: the Azadi Tower may be clad in marble, but underneath is tons of the stuff.
Tehran City Theatre, Tehran —
Raw concrete, or "beton brut" found its way into many other Modern -- though not ostensibly Brutalist -- buildings, such as the columns of the Tehran City Theatre. The capital of Iran's most iconic building also draws upon concrete engineering: the Azadi Tower may be clad in marble, but underneath is tons of the stuff.
Nicolas Grospierre
Grospierre manages to sandwich obscure, UFO-shaped buildings such as the Institute of Scientific Research and Development in Kiev, between builds in Iran and Poland. The authors suggests imposing works such as the Institute must toe a certain line with their surrounding, saying "it's a question of weight [and] of the visual impact the work produces."
Institute of Scientific Research and Development, Kiev —
Grospierre manages to sandwich obscure, UFO-shaped buildings such as the Institute of Scientific Research and Development in Kiev, between builds in Iran and Poland. The authors suggests imposing works such as the Institute must toe a certain line with their surrounding, saying "it's a question of weight [and] of the visual impact the work produces."
Nicolas Grospierre
Chadwick suggests Brutalist buildings have theatrical qualities to them -- perhaps why the style lends itself so well to public and ceremonial buildings, such as the Sunset Chapel in Mexico. A rectilinear boulder dropped among forest greenery, from the inside it makes maximum use of the stunning vistas around it.
Sunset Chapel, Acapulco —
Chadwick suggests Brutalist buildings have theatrical qualities to them -- perhaps why the style lends itself so well to public and ceremonial buildings, such as the Sunset Chapel in Mexico. A rectilinear boulder dropped among forest greenery, from the inside it makes maximum use of the stunning vistas around it.
Courtesy Bunker Arquitectura
Grospierre discovered similar concrete monoliths in Poland. He argues that whilst Modernism was underpinned by a "social program", Brutalism was "simply taking advantage of concrete technology" -- the type of technology that was able to create the vast curves and gravity-defying forms like those of the Sanctuary of the Divine Mercy.
Sanctuary of the Divine Mercy, Kalisz —
Grospierre discovered similar concrete monoliths in Poland. He argues that whilst Modernism was underpinned by a "social program", Brutalism was "simply taking advantage of concrete technology" -- the type of technology that was able to create the vast curves and gravity-defying forms like those of the Sanctuary of the Divine Mercy.
Nicolas Grospierre
Casar de Cáceres Bus Station, Cáceres, Spain, 2003
Casar de Cáceres Bus Station, Cáceres, Spain, 2003
Courtesy Justo Garciá Rubio
Trans World Airlines (TWA) Terminal, JFK Airport, New York, New York, USA, 1962 by Eero Saarinen and Associates
Trans World Airlines (TWA) Terminal, JFK Airport, New York, New York, USA, 1962 by Eero Saarinen and Associates
Phaidon