Author Owen Hopkins highlights more than 250 Brutalist architects in the new release The Brutalists: Brutalism's Best Architects.
Saved by Abe (@abevizcarra). Discover more of the best Brutalists, Typography, Album Covers, and Brutalism inspiration on Designspiration
In this second installment of his revamped “Beyond London” column for ArchDaily, Simon Henley of London-based practice Henley Halebrown discusses a...
Image 7 of 10 from gallery of Fighting the Neoliberal: What Today's Architects Can Learn From the Brutalists. St Peter's in Klippan by Sigurd Lewerentz. Image © Flickr user seier licensed under CC BY 2.0
Graphic, brutalists style
Deathcore brutalists joined at Grammercy Theatre by Aborted, AngelMaker, OV Sulfur and Ingested
Owen Hopkins’s The Brutalists is an A-to-Z encyclopedia of blocky concrete and utopian ideals.
A steel tabletop sculpture in the manner of Miró - but with the roughness of the brutalists. A deliberate rustiness adds appropriate ...
Like the brutalists of Montreal’s past, MRDK isn’t creating spaces to be ignored. Rather than play it safe and favour the comfortable, the duo’s impulse for audacious design is exactly what has made the studio resonate within the city.
Hans Poelzig: Architecture as Gesamtkunstwerk: Architect Hans Poelzig (1869 – 1936) was an eclectic visionary. He worked with sculptural effects, weight and vibrantly structured facades, a style which differed significantly from the classical modernity of Walter Gropius or Mies van der Rohe. His interior for the ´Capitol Lichtspiele´ movie theatre in Berlin with its dramatic lighting effects shows strong aspects of Art Deco, his city planning designs show a penchant for the grandiose and monumental, and his designs for the Festspielhaus Salzburg or the Schauspielhaus in Berlin (nicknamed "stalactite cave") are nearly phantasmagorical in their use of finely carved and endlessly repeating detail. In many designs, he foretells the style of the modernists and brutalists of the sixties and seventies. His proposal for the annex of the Berlin Reichstag and redesign of the Platz der Republik, designed in 1929, does appear like a perfect example of sixties modernism. For Poelzig, architecture was an art of symbolic forms. According to his belief in the idea of ´Gesamtkunstwerk´, he also designed the movie sets for German expressionist films such as ´The Golem´. Poelzig died in 1936, just before he could emigrate to Istanbul to escape the Nazis. Highly regarded by his contemporaries, he was director of the Breslau arts and crafts school, city planning director in Dresden, First Chairman of Deutscher Werkbund, board member of the Federation of German architects and professor at Technical University of Berlin-Charlottenburg and Prussian Academy of Arts.
gavina showroom facade, via altabella 23, bologna, italy, 1961-1963 architect: carlo scarpa, 1906-1978 have we lost sight of the boldness of the gavina showroom exterior? in central bologna, scarpa replaced the entire ground floor facade of a historic building with a huge concrete slab. it was bush hammered to a finish that would have made contemporary brutalists proud, but studded with the most delicate details in brass, hardwood, and frameless glass and touched up with highlights in gold leaf. this both-and is typical of scarpa's work, combining postwar macho realism with touches of proustian luxury and nostalgia, allowing an unrivaled scope in textures and expression. a similar rejection of modernism's often superficial formal unity is found in the houses of alvar aalto, starting with the almost collage-like villa mairea, and in just about everything enric miralles built. no surprise then that scarpa had studied aalto carefully, just as miralles studied both the older masters. I arrived in a taxi with three badly smitten students who were ready to miss lunch for another scarpa visit. sadly, we found the showroom empty with one of its round windows shattered. here's hoping the refined interior will survive. retail design, under which category this particular work of art falls, is famously short-lived. I am guessing the transience led scarpa to his choice of facade - a single piece of stone that won't be going anywhere anytime soon. the carlo scarpa set.
