BRUTALIST ARCHTECTURE

GUIDED BY-
AR. K. K.
BHATIA.

PRESENTATION
BY-
PAYAL MUSMADE
 ABOUT BRUTALISM
Brutalism is the architecture
movement that the public loves
to hate, and architects dare to
love.
Brutalism has its roots in state-
led reconstruction after World
War II.
When used in describing
architecture, brutalism refers to a
dynamic geometric style that is
massive, monolithic and blocky
in appearance, and typically
contains copious amounts of
poured concrete.
 ABOUT BRUTALISM
Brutalist architecture is a movement in
architecture that flourished from the 1950s to
the mid-1970s
The term originates from the French word for
"raw" in the term used by Le Corbusier to
describe his choice of material raw concrete.
The best known proto Brutalist architecture is
the work of the Swiss architect Le Corbusier
With its origins lying in Bauhaus movement, it
gave birth to styles like Structure
expressionism and Deconstruction.
The building is a long, horizontal concrete slab
form composed of six eight storied blocks
separated by expansion joints and bears close
resemblance to the architects earlier work, the
Marseilles apartment block.
 ABOUT BRUTALISM
The smooth texture of glass for windows and doors forms an
attractive contrast. Most windows in Brutalist buildings do not
open and the buildings are thoroughly climate- controlled.
The design of the building is largely
dependent on the shape and placement
of the various room masses. Outlines are
quite intricate and exterior walkways
are emphasized.
In many architectural and design circles, brutalist architecture
has been criticized for its uncommunicative and even ugly
style. It has also been slammed for ignoring historic
architectural precedent as well has empathy for its
surrounding architectural environment. the rough, naturally
textured surface is the final finish.
 PHILOSOPHY
Talking about basic characteristics, Its design philosophy can
be summarised in these two dictums..
Form follows function a mantra
originally expressed by Frank
Lloyd Wright's early mentor Louis
Sullivan, meaning that the result
of design should derivedirectly
Timber shuttering marks can be seen in
from its purpose below picture of Royal national theatre

Truth to materials is a tenet of modern architecture, which

holds that any material should be used where it is most
appropriate and its nature should not be hidden. Concrete,
therefore, should not be painted and the means of its
construction should be celebrated by, for instance, not
sanding away marks left by timber shuttering.
Ar. LE CORBUSIER
FASHIONED THE BEAUTY OF
BRUTALIST ARCHITECTURE.
The origins of Brutalism can
really be traced back to French-Swiss architect Le Corbusier.
Le Corbusier explains house as "a machine for living in" and this
quote is majorly applied to majority of buildings, and is also the
important part of Brutalist Architecture.
Corbusier worked extensively in unadorned raw materials, which
was praised by many as pure honesty in architecture.
He also developed a novel system of reinforced concrete columns
that bore the weight of buildings, allowing interior walls to be
load free and thus preserve the option of removing them to create
more open interiors.
 .LE CORBUSIER
This system of reinforced concrete was the basis of his
aesthetic, proudly displayed in many of his buildings without
being covered or decorated.

Unit dHabitation, Marseille Saint-Pierre Church, The Barbican, London,

LE CORBUSIER, Firminy, France, 1963 1960s-1970s.
COMPLETED IN 1952. Inspired by Unite
represents the birth of dHabitation
Brutalism.
Marseille - la cite radieuse,
Le Corbusier
Exposed concrete
works

Le Corbusier's Notre Dame du

Haunt
 .LE CORBUSIER

Le Corbusier believed the

tower block was the
Le Corbusier developed this
solution for rehousing the
grid using a proportional
masses that had been
The result was measurement system based
displaced during the
a self- on his Modulor Man a
second world war, and
contained concept that combined the
that high rise building
concrete vessel proportions of a six foot tall
could be used to create
that is human figure with the
spacious city homes with
structured like mathematics of the golden
the same amenities as a
an ocean liner. section.
typical street.
 LE CORBUSIER in india
Le Corbusier spent the 1950s bringing concrete to
Chandigarh and 'the City Beautiful' now celebrates its
creator.
Chandigarh was one of India's first planned cities, and was
Le Corbusier's largest project.

Le Corbusier also
designed the Open
Hand, which is a
symbol of the
government of
Chandigarh
 Le Corbusier was commissioned to lead the design of
Indias first Modernist planned city, Chandigarh, and to
this day it serves as an unrivalled example of Modernist
planning and Brutalist architecture.

The Palace of Assembly, Le Corbusier's Tower The Secretariat

Chandigarh, India, 1963 of Shadows
The Millowners Association
Building designed by Mill Owners Association
Architect Le Corbusier in Building, Ahmedabad,
Ahmedabad, Gujarat, India India, 1954

Museum and Art

Gallery, designed by
Le Corbusier,
Chandigarh, India
Ar. Walter Netsch
1928-2011
Walter A. Netsch, was an American
architect based in Chicago.
He was most closely associated with the brutalist style of
architecture.
Netsch established a distinctive approach to design using
what he called field theory, a highly versatile approach to
the geometric generation of architectonic structures intended
to be uniquely suited to their purposes and environments.
He designed and built his famously fantastic and unusual
Chicago home and filled it with unique objects and artwork
that inspired him.
WALTER Netsch

The Circle Campus of the University

Northwestern University
Library

Air Force
Academy
Chapel
 WALTER
Netsch

UIC Campus: Netsch's Miami University Art

Brutalism Museum

The Hardin Library for the

Health Sciences is located at the Regenstein Library
Inland Steel Building
University of Iowa campus.
 Ar. Paul Rudolph
Paul Rudolph was born in Elkton,
Kentucky in 1918.
Bachelors degree in Architecture at
Auburn University in 1940.
After working with E. B. Van Koeren
in Birmingham and Ralph Twitchell
in Sarasota.
He went to the Harvard Graduate School of Design in
1941 to study with Bauhaus founder Walter Gropius.
He was a Naval officer till 1946.
A remarkable architect not only designs on one scale,
but can shift between residential and large-scale
buildings while maintaining a distinct style or set of
techniques to link them all together.
 Yale Art and Architecture
Building in New Haven, Connecticut

One of the earliest known

examples of Brutalist
architecture in America is
Paul Rudolph's Yale Art and
Architecture Building in
New Haven, Connecticut,
an imposing, fortress-like
building that juxtaposes
masses of textured concrete
with layers of steel-framed
glazing.
 Paul Rudolph was awarded the
commission for the Yale Art and
Architecture building during his six
year stint as departmental chair,
between 1958 and 1965.
His unique position as both client
and architect gave him the
opportunity to explore a bold new
direction for architecture that still
divides opinion.
Completed in 1963, the building is
formed of intersecting volumes of
bush-hammered concrete.
Smooth concrete and glass
horizontal elements are supported
by a sequence of towers that
protrude above the roof in a series
of turrets
 Paul Rudolph's Yale Art and
Architecture Building showed
modern architecture how to find its
ways out of the confusion and
dead-ends of the late 1950s.
The building, now known
as Rudolph Hall, occupies a corner
site bordered on its south side by
road, and on the north by red brick
buildings.
While the building's street-facing
windows frame views of its
Modernist forerunner, Rudolph had
made a controversial turn away
from the functionalism that
characterised Kahn's design.
 Massive piers of concrete
rise.
Projections are over-
emphasised throughout.
Heavy slabs are crossed by
thin slabs. Spaces inside cross
too and offer sequences of
most dramatic effects by
unexpected vistas inside the
building and even out of it.
The concrete was cast in
place using corrugated
wooden moulds and bush-
hammered to expose the
aggregate.
 The Yale Art and Architecture building
features elements typical of the Sarasota
School terraced levels, an open plan core
and plays on light and shadow although
externally it
features the raw
concrete of Brutalist
architecture.
By the 2000s the
building had
The main entrance is undergone several
set back from the street,
accessed through a
further renovations
chute and stairwell that compromised
between two concrete Rudolph's original
columns.
design.
 Orange County Government
Center

The Orange County Government Center, located

on Main Street in Goshen, New York, was the
main office of the government of Orange County.
It housed most county officials' offices and
meetings of the county legislature
 Famous on all ends of the architectural spectrum, the
Orange County Government Center takes Paul
Rudolph's fundamental ideas of the houses he designed
decades before to a much larger scale.
This fascinating architectural structure was built to be
the office and government of Orange County in New
York, containing everything from records to a
Department of Motor Vehicles for the state.
 The obviously brutalist style was
infused with Rudolph's interest in
"working with Mies Van Der Rohe's
concept of implied space.
Drawings reveal an internal spatial
complexity, but pictures and
exterior renderings show a more
simple structure and mechanical
framework.
Columns are regularly spaced, and
within their structural module the
air-conditioning ducts and light
fixtures are hidden from view.
In order to rid the shorter, less
structural spans of their clutter,
concrete frames were used as
cantilevers to add support.
 Natural light was just as
important in this design as in
the previous ones done by Paul
Rudolph, and so clerestories
are carefully placed to the
north and south sides of the
building to increase the flow of
natural light in the interior.

The extrusions of the boxes

as seen from the exterior
reveal fundamental ideas of
the forms found within the
walls, as they punctuate
what would be a massive
exterior wall to another
scale.
 The whole
complex is
placed on a
grid
consisting of
spaces that
vary in
width,
creating a
3:1 rhythm
with
everything
from walls to
rooms.
The system of intersecting and
parallel planes of solid wall and
window openings added a spatial
harmony to the mass, and the
surfaces of the varying-leveled
courtyard spaces also followed the
pattern of the grid.
This grid is also followed with the
choosing of construction materials.
The external facades were
emphasized with cast concrete and
extending roofs, fusing different
textures and techniques.
Rudolph wonderfully represents his
ability to fully plan a design, which
is noticeable in the final finishes of
the materials.
THANK YOU..!!