Editing Brutalist architecture (section)

== History ==
[[File:Villa Göth crop.jpg|alt=|thumb|[[Villa Göth]] (1950) in Kåbo, [[Uppsala]], Sweden. "New Brutalism" was used for the first time to describe this house.]]

The term ''nybrutalism'' (new brutalism)<ref name="A-Z">{{Cite web|url=https://www.theguardian.com/artanddesign/2014/feb/13/jonathan-meades-brutalism-a-z|title=The incredible hulks: Jonathan Meades' A-Z of brutalism|last=Meades|first=Jonathan|date=2014-02-13|website=The Guardian|language=en|access-date=2018-10-10}}</ref> was coined by the Swedish architect [[Hans Asplund]] to describe [[Villa Göth]], a modern brick home in [[Uppsala]], designed in January 1950<ref name=":5">Hans Asplund's letter to Eric De Mare, Architectural Review, August 1956</ref> by his contemporaries Bengt Edman and Lennart Holm.<ref name="The NB p10" /> Showcasing the 'as found' design approach that would later be at the core of brutalism, the house displays visible [[I-beam]]s over windows, exposed brick inside and out, and poured concrete in several rooms where the [[tongue-and-groove]] pattern of the boards used to build the forms can be seen.<ref>{{Cite web|url=https://digitaltmuseum.org/011034076087/edman-bengt-1921-2000|title=Edman, Bengt (1921–2000)|website=digitaltmuseum.org|language=en|access-date=2020-04-27}}</ref><ref name=":0" /> The term was picked up in the summer of 1950 by a group of visiting English architects, including [[Michael Ventris]], Oliver Cox, and Graeme Shankland, where it apparently "spread like wildfire, and [was] subsequently adopted by a certain faction of young British architects".<ref name="A-Z" /><ref>{{cite journal|last=Vidler|first=Anthony|title=Another Brick in the Wall|date=October 2011|volume= 136|journal=October|pages= 105–132|doi= 10.1162/OCTO_a_00044|jstor= 23014873|s2cid= 57560154|url=https://www.jstor.org/stable/23014873|url-access=subscription}}</ref><ref name="The NB p10">The New Brutalism, Reyner Banham, Architectural Press, London 1966, p10</ref>

The first published usage of the phrase "new brutalism" occurred in 1953, when Alison Smithson used it to describe a plan for their unbuilt [[Soho]] house which appeared in the November issue of ''[[Architectural Design]]''.<ref name=":0" /><ref name="bbcarts" /> She further stated: "It is our intention in this building to have the structure exposed entirely, without interior finishes wherever practicable."<ref name="The NB p10" /><ref name=":0">{{Cite magazine|url=https://medium.com/on-architecture-1/the-new-brutalism-6601463336e8|title=The New Brutalism|first=Reyner|last=Banham|magazine=[[Architectural Review]]|date=9 December 1955|via=On Architecture|access-date=2018-10-10}}</ref> The Smithsons' [[Hunstanton School]] completed in 1954 in [[Norfolk]], and the Sugden House completed in 1955 in [[Watford]], represent the earliest examples of new brutalism in the United Kingdom.<ref name=":12" /> Hunstanton school, likely inspired by [[Mies van der Rohe]]'s 1946 Alumni Memorial Hall at the [[Illinois Institute of Technology]] in [[Chicago]], United States, is notable as the first completed building in the world to carry the title of "new brutalist" by its architects.<ref>''The New Brutalism'', Reyner Banham, Architectural Press, London 1966, p. 19</ref><ref>''Brutalism: Post-War British Architecture'', Alexander Clement, Second Edition, Chapter 3</ref> At the time, it was described as "the most truly modern building in England".<ref>{{cite journal|url=https://www.architectural-review.com/buildings/1954-august-school-at-hunstanton-norfolk-by-alison-and-peter-smithson/8625095.article|title=School at Hunstanton, Norfolk, by Alison and Peter Smithson|first=Philip|last=Johnson|journal=[[Architectural Review]]|date=19 August 1954|access-date=24 September 2019}}</ref>

The term gained increasingly wider recognition when British architectural historian [[Reyner Banham]] used it to identify both an ethic and aesthetic style, in his 1955 essay ''The New Brutalism''. In the essay, Banham described Hunstanton and the Soho house as the "reference by which The New Brutalism in architecture may be defined."<ref name=":0" /> Reyner Banham also associated the term "new brutalism" with [[art brut]] and ''[[béton brut]]'', meaning "raw concrete" in French, for the first time.<ref name="A-Z" /><ref>McClelland, Michael, and Graeme Stewart, "''[https://books.google.com/books?id=GQwx1SorMocC&q=beton Concrete Toronto]: A Guide to Concrete Architecture from the Fifties to the Seventies'', Coach House Books, 2007, p. 12.</ref><ref name="British Brutalism">[http://www.wmf.org/project/british-brutalism British Brutalism.] ''World Monument Fund''.</ref> The best-known ''béton brut'' architecture is the proto-brutalist work of the Swiss-French architect [[Le Corbusier]], in particular his 1952 ''[[Unité d'habitation]]'' in [[Marseille]], France; the 1951–1961 [[Chandigarh Capitol Complex]] in India; and the 1955 church of [[Notre Dame du Haut]] in [[Ronchamp]], France.

Banham further expanded his thoughts in the 1966 book, ''The New Brutalism: Ethic or Aesthetic?'', to characterise a somewhat recently established cluster of architectural approaches, particularly in Europe.<ref>{{Cite web|url=http://findarticles.com/p/articles/mi_m0422/is_2_85/ai_104208984/pg_3|archive-url=https://web.archive.org/web/20070830232044/http://findarticles.com/p/articles/mi_m0422/is_2_85/ai_104208984/pg_3|url-status=dead|archive-date=2007-08-30|title=Historian of the Immediate Future: Reyner Banham – Book Review Art Bulletin, The – Find Articles|date=2007-08-30|access-date=2019-07-04}}</ref> In the book, Banham says that Le Corbusier's concrete work was a source of inspiration and helped popularise the movement, suggesting "if there is one single verbal formula that has made the concept of Brutalism admissible in most of the world's Western languages, it is that Le Corbusier himself described that concrete work as '[[béton-brut]]'".<ref>''The New Brutalism'', Reyner Banham, Architectural Press, London 1966 p. 16</ref> He further states that "the words 'The New Brutalism' were already circulating, and had acquired some depth of meaning through things said and done, over and above the widely recognised connection with ''béton brut''. The phrase still 'belonged' to the Smithsons, however, and it was their activities above all others that were giving distinctive qualities to the concept of Brutalism."<ref>{{Cite book|title=The New Brutalism|last=Banham|first=Reyner|publisher=Architectural Press|year=1966|location=London|page=41}}</ref>