Based in Montreal, architect and sculptor David Umemoto has created a number of Brutalist cubic volumes and sculptures. The forms, which derive from Brutalist principles, have been amalgamated in one work as part of a three-dimensional tessellating cube. When disassembled, the forms clearly resemble architectural elements and spaces. They can then be rearranged in any manner of compositions to create a series of both additive and subtractive volumes. Subsequently, Umemoto has repeated this process in some cases to generate modular city-scapes. Speaking of his work, Umemoto said: "This scalable modular building system is based on the theory that there is a universal order. Molecules, cycles, ecosystems, the order is the norm and chaos an accident." "Everything is connected, organized and structured; it is only a matter of place, time and scale. Thus, we can speak of a cellular system rather than modular elements that not only can be interchanged but also transformed. They obey rules in a rigid frame but with an organic development." In terms of process, the forms were created by Umemoto as reliefs using styrofoam as a placeholder for the concrete. Here the concrete, when wet, inhibits the space left within the styrofoam and once dry, can simply be removed to reveal the negative of the styrofoam form. Umemoto hasn't just used this technique for volumetric purposes, either. In one instance, a pattern using a more complex array of curves was carved onto a styrofoam sheet and impressed onto the concrete. "The work is an exploration of the patterns and codes, sometimes obvious, sometimes obscure, that govern our environment," said Umemoto.
Posts tagged with "Brutalism":
A long-standing fortress of state secrecy is under siege. The federal government is selling Washington, D.C.'s J. Edgar Hoover Building to a developer who, citizens hope, will turn the FBI's headquarters into a mixed use development. Designed by Charles F. Murphy and completed in 1975, the 2.8 million square foot Brutalist building is praised and reviled for all the reasons Brutalist buildings are praised and reviled. Despite its historical significance and because of $80 million in deferred maintenance, the building will likely be replaced with development that creates a more pedestrian-friendly streetscape. There are, however, massive bureaucratic hurdles to clear before the property can be developed. First, the congressionally-approved 1974 master plan must be revised s0 the site can be developed as a non-office building. However, the Pennsylvania Avenue Development Corporation, the entity that created the plan, folded in 1996. Its responsibilities are now shared by the National Park Service, the General Services Administration (GSA), and National Capital Planning Commission (NCPC). The three agencies must agree on every step of the plan for it to move forward. When and if these master plan revisions are approved, the agencies can develop design guidelines for the site. The design guidelines must be adopted before developers can bid on the property because of a particular arrangement the federal government requires of this site. The GSA, the federal office responsible for securing land for a new complex, must offload underperforming assets (like the J. Edgar Hoover Building) before acquiring new ones. The developer will take a risk in buying this property because the exchange must occur before what can be built on the property is absolutely final. Finally, the developer's plans will go though the city's design review boards. Developers willing to endure a potentially Kafka-esque wait will be rewarded with prime land on the capital's most prestigious avenue.
In London's high-end Mayfair neighborhood, the Brutalist United States embassy, originally designed by Eero Saarinen, has been keeping watch over Grosvenor Square for 55 years. Diplomats will soon be exiting the building, however, as developers prepare for a hotel conversion by David Chipperfield Architects. The Architects Journal reports that Chipperfield bested Foster+Partners and U.S. firm Kohn Pedersen Fox Associates (KPF) for the job. However, there is some uncertainty as to whether Chipperfield has actually been commissioned or not. A spokesman for Qatari Diar, the company that now owns the site, refused to confirm that Chipperfield won the competition, stating: "A range of options on the best use of this important site are currently being considered." Qatari Diar Real Estate Investment has secured the remaining 939 years on the Mayfair district building’s lease and will not be allowed to alter the embassy's design as it was awarded grade 2 listing status for its historical and architectural significance and its "dynamic facade" in 2009. According to the Department of Culture, Media & Sport (DCMS), the concrete building was the "first purpose-built US embassy in Europe." The building's "dynamic facades, well-detailed stonework and consistency of detail and the innovative application of the exposed concrete diagrid" led to its protected status, the DCMS added. Occupying 225,000 square feet, the embassy takes up the entire west side of Grosvenor Square and currently has, according to Bloomberg, around 750 staff. Philadelphia-based KieranTimberlake has drawn up plans for the new U.S. embassy in Nine Elms, just south of the Thames, which is set to welcome occupants in 2017. The firm's winning design has been described by the Times as having a "moat" due to its semi-circular pond on one side. The new embassy resembles a crystalline cube and is surrounded by extensive public green spaces.
John Puttick, a British architect currently practicing in New York City, has won an international competition to redesign and modernize an iconic Brutalist bus station in England. The landmark structure in the city of Preston, Lancashire, is described by The Twentieth Century Society as "one of the most significant Brutalist buildings in the UK." It was recently threatened with demolition but now will be saved. The structure was designed in 1968–1969 by Ove Arup & Partners with Keith Ingham and Charles Wilson of Building Design Partnership with E. H. Stazicker. John Puttick Associates was founded in 2014 and previously Puttick established and led MAKE Architects’ Beijing and Hong Kong offices and worked for David Chipperfield Architects. He also spent a year in Houston at Acumen design studio. The design for the station was selected by RIBA in an international competition and also won a local Preston poll of citizens selecting their favorite design.
As Boston continues to ponder its Brutalist city hall, professor suggests covering the behemoth with a glass veil
Like so many Brutalist buildings around the word, Boston's iconic City Hall has not necessarily endeared itself to the public. Since it opened in the 1960s, there have been calls to update the building, completely overhaul it, and to demolish it outright and start over. There have, of course, also been calls to preserve it. The latest idea to revamp City Hall comes from Harry Bartnick, a Suffolk University professor, who wants to cover the structure with a tinted glass curtain structure. In an op-ed in the Boston Globe, he called the idea "simple, obvious, and cost-effective." "The generally outward sloping angle of the glass would impart a feeling of greater stability, and redistribute the visual mass toward the ground," Bartnick argued. "Translucent glass would allow the original wall-surface variations to still be seen, but now softened by filtration through the glass 'veil.'" He continued that the intervention would help the building's efficiency by establishing a "climate-controlled, passive solar interior environment." There are no plans to actually move forward with this project, but, as Bartnick noted, his idea comes as the area undergoes major changes including a new residential tower by César Pelli. Boston Business Journal also recently reported that Center Plaza, a 720,000-square-foot, mixed-us complex nearby, is set to receive a $25 million facelift. Along with new retail tenants, the CBT Architects–led transformation will update exterior walkways, street-level lobbies, and the existing rooftop.
The clock is ticking yet again for East London’s Robin Hood Gardens, the 1972 Brutalist public housing complex designed by Alison and Peter Smithson. In a call to arms, Lord Richard Rogers and Simon Smithson, the son of the architects, have written a letter to over 300 members of the architecture and construction industries in support of the 20th Century Society’s campaign to protect the iconic “streets in the sky” buildings from being demolished. The future of the seminal social housing estate has been in limbo since former Culture Secretary Andy Burnham granted it a listing certificate of immunity six years ago, essentially foiling any landmark designations that would ensure the buildings’ survival and preservation. Now that the certificate has expired, 20th Century Society, a conservation organization for modern architecture, is urging the new Minister for Sport, Tourism and Heritage to add the buildings to the statutory list of buildings of special architectural and historical interest. “The Smithsons were clearly great architects: the Economist Building, completed in 1964 and Grade I-listed in 1988, is without a doubt the best modern building in the historic centre of London. Robin Hood Gardens, which pioneered ‘streets in the air’ to preserve the public life of the East End terraces that it replaced, was the next large-scale job that the Smithsons embarked upon. It was architecturally and intellectually innovative. In my opinion, it is the most important social housing development from the post-war era in Britain,” wrote Lord Richard Rogers in the letter. Composed of two long concrete blocks, the 7-story buildings in Poplar, London feature balconies that face a rolling, man-made green. Curbed reported that the goal was to “create a modern, bustling city in the sky,” but it has fallen into disrepair, beset with problems including crime and graffiti. Architects, including Zaha Hadid, Norman Foster, Richard Meier, and Rogers, stand behind the controversial postwar complex, lauding its architectural significance as an exemplar of the Smithsons’ New Brutalism—characterized by exposed materials, contextual design, and the marriage of regional styles and modernism. Below is the full letter from Lord Richard Rogers and Simon Smithson: Dear Friends, I am writing to ask you to support listing Robin Hood Gardens as a building of special architectural interest, in order to protect one of Britain’s most important post-war housing projects, designed by Alison and Peter Smithson, from demolition. Previous efforts in 2009 to have the building listed failed, but the case has now been re-opened and we understand that the new Minister for Sport, Tourism and Heritage will be reviewing the arguments at the end of this week. The buildings, which offer generously-sized flats that could be refurbished, are of outstanding architectural quality and significant historic interest, and public appreciation and understanding of the value of modernist architecture has grown over the past five years, making the case for listing stronger than ever. The UK's 20th Century Society has submitted a paper setting out why they believe Robin Hood Gardens should be listed (i.e. added it to the statutory list of buildings of special architectural and historical interest). Two further assessments are set out below: “Alison and Peter Smithson were the inventors of the New Brutalism in the 1950s and as such they were the ‘bellwethers of the young' as Reyner Banham called them. In many ways [Robin Hood Gardens] epitomizes the Smithsons’ ideas of housing and city building. Two sculptural slabs of affordable housing create the calm and stress free place amidst the ongoing modernization of the London cityscape. The façades of precast concrete elements act as screens that negotiate between the private sphere of the individual flats and the collective space of the inner garden and beyond. The rhythmic composition of vertical fins and horizontal ’streets-in-the-air' articulates the Smithsons’ unique proposition of an architectural language that combines social values with modern technology and material expression. Despite the current state of neglect and abuse Robin Hood Gardens comprises a rare, majestic gesture, both radical and generous in its aspiration for an architecture of human association. As such it still sets an example for architects around the world.” Dr Dirk van den Heuvel, Delft University, Holland. “The Smithsons were clearly great architects: the Economist Building, completed in 1964 and Grade I-listed in 1988, is without a doubt the best modern building in the historic centre of London. Robin Hood Gardens, which pioneered ‘streets in the air’ to preserve the public life of the East End terraces that it replaced, was the next large-scale job that the Smithsons embarked upon. It was architecturally and intellectually innovative. In my opinion, it is the most important social housing development from the post-war era in Britain.” Lord Richard Rogers Last time listing was considered the views of the architectural community were ignored but we believe there is now a real chance of saving the building for posterity but only if the Minister hears, first hand, the views of the profession on the architectural merits of these exceptional buildings. Can we ask you to support the efforts of the 20th Century Society by writing right now to the Minster to support listing and saying why you believe Robin Hood Gardens should be saved? Click here to open an e-mail to the relevant Minister at the Department for Culture Media and Sport, Tracey Crouch MP: Ministeremail@example.com. For more information on the building click here, https://en.wikipedia.org/wiki/Robin_Hood_Gardens, and for details of the 20th Century Society case, please click here, http://www.c20society.org.uk/casework/robin-hood-gardens/ For Tweets: #SaveRobinHoodGardens Also, can we ask you to forward this e-mail to anyone else you know who might be willing to help save these important buildings? Yours sincerely, Richard Rogers and Simon Smithson
As AN recently reported, the very long and very heated fight over Paul Rudolph’s Government Center in Goshen, New York would likely end in the courts or with demolition. While local attorney Michael Sussman promised to sue the county to save the building, it sure looked like Rudolph's work was not long for this world. For one, construction equipment is now conspicuously lurking outside the building. But now there is a glimmer of hope for preservationists. The New York Times is reporting that a State Supreme Court judge has ruled that demolition cannot begin before July so he has time to hear arguments on the preliminary injunction. To be clear, the building could certainly still end in demolition; it might just be making a pitstop in the courts first. [h/t Curbed]
Why is Paul Rudolph—like much of Brutalism—so unloved by officialdom? His Orange County Government in Goshen, New York has been under threat of demolition by local government for several years. Now an elegant canopy the architect designed and built in 196o for Sarasota High School in Florida may also end up in a local landfill. Rudolph designed the elongated covering to connect the School with a new addition he designed behind it’s main brick building. The addition is undergoing a thorough renovation and the main building is being taken over by the Ringling College of Art & Design to become a midtown exhibition space. The Ringling wants to renovate the old school and argued that the canopy sits in the way of construction workers and materials entering the building. Ringling College claimed: "We are removing...only the area necessary to continue renovation of the historic Sarasota High School building. We also believe, but do not have final corroboration, that the section we are taking down is also not part of the original Paul Rudolph design but was added on later." But now several groups from Sarasota Architectural Foundation and Docomomo are asking the Ringling to hold off on the demolition. They are also asking the public to contact Larry Thompson (941-359-7601 or 941-365-7603), president of The Ringling College of Art & Design, and ask him to save the Rudolph canopies and incorporate them into the permanent collection of the new museum.
What do the English have against works produced by members of the Independent Group? The loose post–World War II group of artists, architects, writers, and critics produced public art, gallery installations, and even architecture. On this side of the Atlantic we always think the Brits save their landmarks—unlike the American tendency to tear them down before they can be landmarked. But early this year Transport for London destroyed Eduardo Paolozzi’s playful and colorful mosaics that stood over the entrance to the Tottenham Court Road tube station. Now it seems that local authorities will destroy one of the countries best-known housing developments-Alison and Peter Smithson’s 1972 Robin Hood Gardens in Tower Hamlets near the Docklands development in London’s East End. Housing authorities in the English capital have been trying to demolish the 213 unit affordable housing project for many years and despite lack of maintenance in the project since 2000 and several high profile attempts to save and preserve the project it still seems doomed. But now another last minute push is being made to save Robin Hood by the lobbying group the Twentieth Century Society. They have challenged the listing—or landmarking—process as “flawed” and thus the building should be saved. According to British magazine The Architect’s Journal, Richard Rogers has thrown his support behind the effort to save the complex saying, “Robin Hood Gardens is one of a handful of great low-cost housing estates. It was a world-shaking building but it’s been looked after appallingly. Whatever anyone says, I don’t know of better modern architects than the Smithson’s: they were certainly outstanding.” Lets hope this significant housing project can be saved.
If Boston City Hall were a celebrity, it might be a fixture on tabloid “Worst Dressed” lists. The Brutalist building elicits strong sentiments from architectural observers and everyday citizens alike, but most agree the City Hall Plaza could use some sprucing up. In his inaugural State of the City address Mayor Marty Walsh called on residents to help him reimagine the barren, 11-acre brick expanse. Boston City Hall Plaza is an inductee into Project for Public Spaces’ "Hall of Shame" and rated on par with Barbie’s Dream House by California Home and Design. But perhaps the city can help elevate the windswept space. Even in a city replete with 18th-century Georgian-style churches, the plaza, built in the 1960s, has long been an architectural bane. Walsh’s administration has spruced up the interior somewhat, revamping the 3rd floor mezzanine and installing the Stairs of Fabulousness by artist Liz Lamanche to inject a sorely needed pop of color, but the Brutalist face of the building belies these improvements. The administration has issued a Request for Information (RFI) to gather the data required to take concepts from the drawing board to actualization. Last year, AN reported the municipality’s master plan for revitalization designed by Utile Architecture + Planning with Reed Hilderbrand Landscape Architecture, but other than the replacement of the bunker-like Government Center subway station with a sleek steel-and-glass exterior, little else has been done, notes local news site Bostinno. Other plans announced last year involved replacing a labyrinth of staircases with sloped walkways to ease access to City Hall from the subway station, installing seating, and resolving frequent flooding by planting trees in an open-joint permeable brick paving system to simultaneously green the concrete expanse. Big players the likes of landscape architecture firm Halvorson Design and architecture and engineering firm HDR had signed on. This year, Mayor Walsh’s administration is sizing up plans for a city-sponsored seasonal skating rink to be named “Frozen Harbor” as well as a 20,000-square-foot, glass-enclosed restaurant called “Polar Bar”, according to Boston Herald. Officials have not made headway with securing permits and no project costs or plans have been put forward yet.
Terra cotta rain screen transforms brutalist eyesore into energy-efficient community space.Considered an aesthetic and functional failure almost since its construction in 1974, the old public library in Lawrence, Kansas, was overdue for a renovation four decades later. Gould Evans' challenge was to transform the low-slung brutalist behemoth, a poor environmental performer lacking both adequate daylighting and a sense of connection to the community, into an asset. "The desire was to try to come up with a building that basically reinvented the library for the community," said vice president Sean Zaudke. Rather than tacking an addition on to one end of the existing structure, the architects elected to wrap a 20,000-square-foot reading room and open stacks area around the old facade. In so doing, they altered the exterior for the better, swapping bare concrete for an earth-hued terra cotta rain screen punctuated by plentiful glazing. They also significantly enhanced the library's environmental performance, with early estimates suggesting that the new Lawrence Public Library will see a 50 percent reduction in energy usage despite a 50 percent increase in square footage. The decision to entirely enclose the old building within the addition was a critical component of the architects' sustainability strategy. "It allowed us to come up with a continuous facade utilizing a continuous insulation system," explained Zaudke. "It helped a lot with energy performance." Gould Evans chose a terra cotta rain screen from NBK to better tie the library to its surroundings. The building is located in an interstitial zone, immediately adjacent to buildings constructed in the 1950s but not far from Lawrence's thriving historic downtown. "We selected terra cotta because it could play by both sets of rules," said Zaudke. "It has an historic connotation, but it's also a much more modern-looking material." Daylighting was another of the architects' key concerns. "Because there were so few windows in the old library, wherever you went there was a sort of phototropic behavior," said Zaudke. "People just gathered around the windows. The rest was not as utilized." Gould Evans significantly altered the user experience by creating an open reading room within the wraparound addition, all of which is exposed to daylight. Other library functions are contained within the core, which in turn is lit both by a continuous clerestory and a series of Solatubes. The clerestory also prevents glare within the reading room by illuminating the inside of the facade. Gould Evans used prescriptive data to determine the overall balance of terra cotta to glass on the new facade—about 60/40—as well as on each exterior wall. To reduce thermal gain on the east and west faces, the architects placed terra cotta baguettes over each horizontal slit window. Together, the baguettes and the depth of the wall act as sunshades. As for Lawrence Public Library's old concrete facade, "we didn't want to just pretend it wasn't there," said Zaudke. Instead, Gould Evans partially overlaid it with a tongue-in-groove system of unstained wood. "The concrete had a harsh feel to it," explained Zaudke. "By wrapping it with wood and revealing it in places, there's this nice dialog that occurs. Everywhere it opens up is where some core function reveals itself—it's an interesting dynamic." At the library entrance, the architects brought the wood outside, encased in glass to protect it from the elements, said Zaudke. "That vocabulary of cracking open the library, of making it accessible, is present at the entry."
Despite pleas for preservation from some of the nation’s top architects, demolition work has begun on a nationally significant example of “Brutalist” architecture in north America, the 1967 Morris A. Mechanic Theatre in Baltimore, Maryland, designed by the late John M. Johansen. A yellow backhoe with a spike-like attachment began chipping into the theater’s concrete exterior earlier this month, ending any chance that the building could be saved. One local preservationist was able to salvage the original letters from the building, but nothing else. The Mechanic is one of two major Brutalist works by Johansen targeted for demolition in recent years, along with the 1970 Mummers Theater in Oklahoma City, Oklahoma. Owners of the Baltimore theater, a development group headed by David S. Brown Enterprises, plan to replace it with a high rise containing 476 residences and street level commercial space. Shalom Baranes Associates of Washington is the architect. Named for local businessman Morris Mechanic, who built it, the 1,600 seat theater at 1 N. Charles Street was designed to be the sculptural centerpiece of Charles Center, a 33-acre renewal project in downtown Baltimore. When it opened, the theater was hailed as a symbol of the city’s rejuvenation. The building was considered a prime example of the architectural movement known as “Brutalism” or “New Brutalism,” because it involved creating an unadorned, free form building with raw concrete -- “breton brut” in French. Johansen, a pioneer in the movement, described the theater as “functional expressionalism,” because the exterior was designed to express what was going on inside The building received numerous awards and accolades in architectural circles, but it also sparked controversy. One theater critic, unimpressed with the exposed concrete interior, lamented that going to the Mechanic was like watching performances inside a storm drain. A public official likened its shape to that of a poached egg on toast. In 2009, it was ranked Number One on a British publication’s list of the “World’s Top Ten Ugliest Buildings.” Johansen defended it to the end. “The Mechanic Theatre is one of my favorites,” he said in 2007. “It’s right up there at the top of the list. It’s a dear, dear building. It’s not brutalistic, as some say. It’s like a flower, opening its petals. It has drawing power.” The theater closed in 2004, after a larger performing arts center opened in the restored 1914 Hippodrome Theater several blocks away, with more seats and backstage facilities designed to accommodate touring Broadway style shows. The Mechanic was dormant for years, and eventually was acquired by Brown and owners of a parking garage underneath. They initially asked Baranes to prepare a design that retained most of the theater’s shell as part of a larger development, but opposed efforts to have the theater designated a city landmark -- a warning signal to preservationists. Before he died in 2012 at age 96, Johansen, the last of the “Harvard Five,” pleaded with Baltimore officials to designate the theater a landmark and not issue a demolition permit. To support his case, he submitted a hand-drawn design showing how the theater could be incorporated into a larger mixed use center. More than a dozen well known architects wrote letters to the city supporting landmark designation, including Hugh Hardy, Richard Rogers, Richard Meier, Kevin Roche, and James Stewart Polshek, who urged public officials to save the building from “the wrecking ball of greed.” Baltimore’s Commission for Historical and Architectural Preservation added the Mechanic to a “special list” that offered temporary protection from demolition. But two other civic bodies in Baltimore, the Planning Commission and City Council, never agreed to add it to the city’s permanent landmark list, which would have given it more protection. Saying they could find no tenants for the repurposed theater after years of looking, the developers abandoned their initial plans, asked Baranes to design a mixed use development without the theater on the site, and applied for a demolition permit. They waited out the six month protection period afforded by the preservation panel’s emergency listing and received their demolition permit earlier this year.