Reyner banham the new brutalism

A classic!

"The New Brutalism" is a book written by Reyner Banham, a British architectural critic and historian, published in 1966. The book is a seminal work that explores the architectural movement known as Brutalism, which emerged in the 1950s and 1960s.

In the book, Banham defines Brutalism as a style of architecture that emphasizes the use of raw concrete, exposed structure, and a rejection of ornamentation. He argues that Brutalism is a response to the perceived superficiality and lack of authenticity of modern architecture, which had become dominated by International Style and its emphasis on sleek, curved lines and glass facades.

Banham sees Brutalism as a return to a more honest and authentic form of architecture, one that celebrates the raw materials and construction processes of building. He argues that Brutalist buildings are not just functional, but also aesthetically pleasing, with their rugged, unfinished surfaces and bold, geometric forms.

The book is divided into three main sections. The first section provides an overview of the historical and theoretical context of Brutalism, including its roots in the work of Le Corbusier and Walter Gropius. The second section is a critical analysis of the key characteristics of Brutalist architecture, including its use of concrete, its emphasis on structure, and its rejection of ornamentation. The third section is a case study of several notable Brutalist buildings, including the National Theatre in London, the University of East Anglia, and the Barbican Estate.

Throughout the book, Banham is critical of the excesses of Brutalism, arguing that many Brutalist buildings are overly large, monotonous, and lacking in human scale. However, he also sees Brutalism as a necessary corrective to the superficiality of modern architecture, and argues that it has the potential to create a more authentic and meaningful built environment.

"The New Brutalism" was widely influential in shaping the debate about architecture and urban design in the 1960s and 1970s. It remains a classic work of architectural criticism and a key reference point for anyone interested in the history and theory of modern architecture.