Editing Brutalist architecture (section)

== Motif ==
[[File:Students' dormitory Goce Delčev Skopje 1.jpg|thumb|upright|Student dormitory (1971) by [[Georgi Konstantinovski]] in [[Skopje]], North Macedonia]]
[[File:Телевизорка.jpg|thumb|upright|"TV buildings" named for the con&shy;crete window frames that resemble TV screens ([[Belgrade]], Serbia)]]

New brutalism is not only an architectural style; it is also a philosophical approach to architectural design, a striving to create simple, honest, and functional buildings that accommodate their purpose, inhabitants, and location.<ref name=":2" /><ref>{{Cite journal|last=Heuvel|first=Dirk van den|date=2015-03-04|title=Between Brutalists. The Banham Hypothesis and the Smithson Way of Life|journal=The Journal of Architecture|volume=20|issue=2|pages=293–308|doi=10.1080/13602365.2015.1027721|s2cid=219641726|issn=1360-2365|url=http://resolver.tudelft.nl/uuid:062a1bed-804e-4af6-8a30-5e5a9122002d}}</ref> Stylistically, brutalism is a strict, modernistic design language that has been said to be a reaction to the architecture of the 1940s, much of which was characterised by a retrospective nostalgia.<ref name=":3">{{cite book|author=Rasmus Wærn|title=Guide till Sveriges Arkitektur: Byggnadskonst Under 1000 År|publisher=Arkitektur Förlag|year=2001|isbn=9789186050559|location=Stockholm}}</ref>
Peter Smithson believed that the core of brutalism was a reverence for materials, expressed honestly, stating "Brutalism is not concerned with the material as such but rather the quality of material",<ref>Hans Ulrich Obrist, Smithson Time (Cologne, Verlag der Buch- handlung Walther König, 2004), p. 17</ref> and "the seeing of materials for what they were: the woodness of the wood; the sandiness of sand."<ref>A. and P. Smithson, 'The "As Found" and the "Found", in, D. Robbins, ed., The Independent Group, op. cit., p. 201.</ref> Architect John Voelcker explained that the "new brutalism" in architecture "cannot be understood through stylistic analysis, although some day a comprehensible style might emerge",<ref>Published Letter, John Voelcker, ''Architectural Design'', June 1957</ref> supporting the Smithsons' description of the movement as "an ethic, not an aesthetic".<ref>{{cite book|last=Davies|first=Colin|title=A New History of Modern Architecture|publisher=Laurence King Publishing|year=2017|isbn=978-1-78627-056-6|location=London|pages=277}}</ref> Reyner Banham felt the phrase "the new brutalism" existed as both an attitude toward design as well as a descriptive label for the architecture itself and that it "eludes precise description, while remaining a living force". He attempted to codify the movement in systematic language, insisting that a brutalist structure must satisfy the following terms, "1, Formal legibility of plan; 2, clear exhibition of structure, and 3, valuation of materials for their inherent qualities 'as found'."<ref name=":0" /> Also important was the aesthetic "image", or "coherence of the building as a visual entity".<ref name=":0" />

Brutalist buildings are usually constructed with reoccurring modular elements representing specific functional zones, distinctly articulated and grouped together into a unified whole. There is often an emphasis on graphic expressions in the external elevations and in the whole-site [[architectural plan]] in regard to the main functions and people-flows of the buildings.<ref name="GRIDS">{{cite web|url=http://www.grids-blog.com/wordpress/plan-of-the-month-smithsons-golden-lane-project-1952/|title=Featured Plan: Smithsons' Golden Lane Project (1952) – GRIDS blog|last1=Dutton|first1=John|date=26 July 2013|website=GRIDS blog|publisher=USC School of Architecture|access-date=11 November 2017|archive-date=13 June 2021|archive-url=https://web.archive.org/web/20210613101420/http://www.grids-blog.com/wordpress/plan-of-the-month-smithsons-golden-lane-project-1952/|url-status=dead}}</ref> Buildings may use materials such as concrete, brick, glass, steel, timber, rough-hewn stone, and [[gabion]]s among others.<ref name=":4" /> However, due to its low cost, raw concrete is often used and left to reveal the basic nature of its construction with rough surfaces featuring wood "shuttering" produced when the forms were cast [[In situ#Civil engineering|in situ]].<ref name=":4" /> Examples are frequently massive in character (even when not large) and challenge traditional notions of what a building should look like with focus given to interior spaces as much as exterior.<ref name=":0" /><ref name=":4" />

A common theme in brutalist designs is the exposure of the building's inner-workings—ranging from their structure and services to their human use—in the exterior of the building. In the [[Boston City Hall]], designed in 1962, the strikingly different and projected portions of the building indicate the special nature of the rooms behind those walls, such as the mayor's office or the city council chambers. From another perspective, the design of the [[Smithdon High School|Hunstanton School]] included placing the facility's water tank, normally a hidden service feature, in a prominent, visible tower. Rather than being hidden in the walls, Hunstanton's water and electric utilities were delivered via readily visible pipes and conduits.<ref name=":0" />

Brutalism as an architectural philosophy was often associated with a [[Socialism|socialist]] [[utopia]]n ideology, which tended to be supported by its designers, especially by [[Alison and Peter Smithson]], near the height of the style. Indeed, their work sought to emphasize functionality and to connect architecture with what they viewed as the realities of modern life.<ref name=":2">{{cite web|url=https://www.archdaily.com/645128/spotlight-alison-and-peter-smithson|title=Spotlight: Alison and Peter Smithson|last=Goodwin|first=Dario|date=22 June 2017|website=www.archdaily.com}}</ref> Among their early contributions were "[[streets in the sky]]" in which traffic and pedestrian circulation were rigorously separated, another theme popular in the 1960s.<ref name="GRIDS" /> This style had a strong position in the architecture of European [[Communist state|communist]] countries from the mid-1960s to the late 1980s ([[People's Republic of Bulgaria|Bulgaria]], [[Czechoslovak Socialist Republic|Czechoslovakia]], [[East Germany]], [[Soviet Union|USSR]], [[SFR Yugoslavia|Yugoslavia]]).<ref>{{cite book|author1=Kulić, Vladimir |author2=Mrduljaš, Maroje |author3=Thaler, Wolfgang |year=2012|title=Modernism In-Between: The Mediatory Architectures of Socialist Yugoslavia| publisher= Jovis | location=Berlin|isbn=978-3-86859-147-7 | language=English }}</ref> In Czechoslovakia, Brutalism was presented as an attempt to create a "national" but also "modern socialist" architectural style. Such prefabricated socialist era buildings are called [[Panelák|panelaky]].

A sub-genre of brutalism is "brick brutalism" or "brickalism", where the dominant structural material is brick rather than concrete. Examples range from the Smithson's house in Soho (1952) to [[Colin St John Wilson]]'s [[British Library]] (1982–98).<ref>{{cite book|chapter-url=https://books.google.com/books?id=icO3DwAAQBAJ&pg=PT96|pages=96 et seq|chapter= Brickalism|title=Redefining Brutalism|author=Simon Henley|publisher=Routledge|date=18 October 2019|isbn=978-1-000-70138-8 }}</ref><ref>{{cite news|url=https://www.archdaily.com/771230/londons-brutalist-british-library-given-listed-status|title=London's Brutalist British Library Given 'Listed' Status|author=James Taylor-Foster|date=3 August 2015|work=Arch Daily}}</ref><ref>{{cite book|url=https://books.google.com/books?id=ohDfCgAAQBAJ&pg=PT192|title=The Rough Guide to London| page=192|publisher=Penguin|date=2016|isbn=978-0-241-25841-5 }}</ref>