Graphic Journey Blog

The Brutality of brutalism

As humble graphic designers our work is instantly disposable. Not so with architects. Their work is around for us all to love or hate for a very long time indeed.
 
In recent years many so call ‘iconic’ structures have appeared up and down our country and around the world. From where I live in Clerkenwell I can witness the daily spectacle of the Shard slowly making its way up to the heavens in what will become London’s biggest phallus yet…

The epic 1,017ft Shard by Renzo Piano

I was very touched to hear David Chipperfeild’s view on architecture at the opening of his new and beautiful Turner Contemporary Gallery in Margate.  The whole notion of showpiece architecture appals him. His buildings are relatively quiet, modest affairs almost vernacular in some cases…

David Chipperfield's Turner Contemporary Gallery at Margate

his Museum of Modern Literature in Marbach, Germany

and the humble River and rowing museum at Henley -on- Thames

This got me thinking about the way in which architectural whims are imposed on us mere mortals through the persuasion of ‘signature’ architects and their clients who both seem to want to immortalise their egos through epic structural legacies.
 
We’ve all seen these things dotted around the country especially on beaches…

Above the thirty foot sound mirror
at Denge Marsh. Photographed by Julian Hills

Made mostly from reinforced concrete, built to survive bomb blasts, they were the bunkers, gun emplacements, observation points and radar reflectors of W11 and are still dotted around our coastline.
 
It was this brutal aesthetic that was to become a movement in its own right. ‘Brutalism’ was taken up by a group of architects in the 1960s and 70s who literally fell in love with exposed reinforced concrete and the rest is history in the ever present weather stained existence in all our major cities.
 
Here are some notable examples…

The Hayward Gallery designed by Norman Engleback, assisted by Ron Herron and Warren Chalk

The National Theatre designed by Denys Lasdun completed in 1976

Its dark underbelly

and masculine dominance

The Barbican in London designed by Chamberlin,Powell and Bon in the 70s

IBM South Bank HQ designed by Denys Lasdun

University of Leeds

 Trellick Tower designed by Ernő Goldfinger. Completed in 1972 and much lauded by architects who I would think don't live there.
The Brunswick Centre design by Patrick Hodgkinson, completed in 1972

Chichester Festival Theatre designed by Philip Powell and opened in 1962

Trinity Carpark in Gateshead immortalized in the film 'Get Carter' now reduced to this...

I have long tried to appreciate these buildings but have come firmly to the belief that they have an anti people harshness. This inhumanity manifests itself in the overwhelming and intimidating size along with the unforgiving texture of exposed concrete.

The raw material

The worse example I could find in London is this building…

Samson House Southwark Street. Designed by Fitzroy Robinson & Partners in 1976

Its similarity to this is uncanny…

I find both structures incredible frightening. And having to endure these  ‘in your face’ monsters day after day is an affront. But as with all things architectural one man’s meat …
 
A pity that there are not more David Chipperfield's whose work avoids the ‘mines bigger than yours’ syndrome...

His work has grace and an understated dignity. If only architects could leave their egos in a box and think more about the effect that their work has on the people that they have to share the planet with, our environment would be much better for it.

I think I should own up to the fact that back in 1986, when my then design consultancy, Carroll, Dempsey & Thirkell had bought and old warehouse, we chose a young up and coming architect to design our new home in Bloomsbury...

 

And the architect we chose - why, David Chipperfield of course.

The forgotten building

Here in London we are in the throws of the Festival of Architecture, which runs until July 20th. While the various students and devotees of all things built are rushing all over town to take part in the many events, there is a lonely, dark and brooding building, sitting waiting to be discovered, in quiet back street in Clerkenwell.

In fact only two minutes from where I live. It has always fascinated me. It even frightens me.

I’ve never seen anyone entering or leaving it. It buzzes with a low frequency electronic hum. From these things…

It’s clearly a dangerous place.

This is the entrance.

It reminds me of this.

David Lynch’s ‘Eraserhead’ 1977. In that film all of the action takes place in a similar sinister building, which pulsates with distant haunting sounds. If you’ve never seen it, but think you know about cinema, you don’t, until you have. I like to imagine that Lynch would love my neglected architectural find and would say, “Hey Mike. That’s a real swell building. I love the overhanging roof. Let’s have coffee and some cherry pie”.

A Sense of Place

The brilliant British copywriter, David Abbott, gave me this book twenty years ago. When I turned to page 7 and readChristopher Alexander’s introduction I immediately knew why David admired it so much.

Just read this…

Effortless economy, coupled with elegance and emotion. The Timeless Way of Building is about the humanity that can be engendered when creating a building or space for people to use - a vital ingredient that many architects leave out of the equation when designing. Alexander has minutely analysed why it is that certain buildings; rooms, outdoor spaces, plants, texture and furnishings have an intuitive sense of being just right. Making us feel at ease in a setting. It is one on the most beautiful architectual books I have ever read. If you haven’t already discovered it, do seek it out. It’s well worth it. The book is peppered throughout with wonderful, life affirming photographs, brilliantly selected.

Here are some examples…