View allAll Photos Tagged brutal_architecture,
Takes me back to when I was a University of Chicago student in 1970. Brutalist times!
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In Chicago on January 30th, 2015, outside the Regenstein Library on the campus of the University of Chicago, designed by Skidmore, Owings & Merrill and completed in 1970, on the north side of East 57th Street, east of South Ellis Avenue.
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Library of Congress classification ideas:
Z733.U55 University of Chicago. Library—Pictorial works.
Z679.2.U6 Library buildings—United States—Pictorial works.
NA712.5.B78 Brutalism (Architecture)—United States—Pictorial works.
Z675.U5 Academic libraries—United States—Pictorial works.
E169.12 Nineteen seventies—Pictorial works.
NA737.S53 Skidmore, Owings & Merrill—Pictorial works.
LD933 University of Chicago—Pictorial works.
F548.68.H9 Hyde Park (Chicago, Ill.)—Pictorial works.
F548.68.S69 South Side (Chicago, Ill.)—Pictorial works.
F548.37 Chicago (Ill.)—Pictorial works.
Brutalism brutalised - 3
The laborious demolition of the built-like-a-brick-sh*thouse Central (aka Madin) Library in Birmingham.
A former phone booth stands quietly under a canopy of leaves.
Its glass is dulled, its frame weathered — the receiver long gone.
No more voices pass through this space.
Now, only plants grow through its base, creeping inward with subtle insistence.
The scene is not tragic — it’s gentle.
Nature doesn’t invade; it reclaims.
"The Last Call at Bata"
(Un écho du dernier dialogue, suspendu dans le silence végétal)
"Reclaimed Frequency"
(Les ondes perdues reprises par la nature)
"Photosynthesis of a Forgotten Line"
(La photosynthèse d’une ligne oubliée)
"Public Silence / Private Growth"
(Silence public, croissance intime)
"Ghost Booth by the Factory"
(La cabine fantôme au seuil de l’industrie)
"Nature Dialing In"
(Quand la nature compose le numéro)
"The Phone Never Rings Anymore"
(Le téléphone ne sonne plus jamais)
"Between Signals and Roots"
(Entre les signaux et les racines)
"Factory Line Disconnected"
(La ligne de la fabrique déconnectée)
"The Vines Are Listening"
(Les lianes écoutent encore)
This booth, once a node of communication, has become a chamber of stillness.
The photograph captures the moment where urban infrastructure becomes organic sculpture,
where the line between utility and poetry dissolves.
Camera 6x7 focal 90mn
Film provia 100 asa
Exposition 1/60 f11
Cabine publique téléphonique devant la fabrique Bata France-Alsace
Août 2009
Balboa Park BART station
San Francisco
"Expressionist architecture" and also Brutalism
architecture: Corlett & Spackman
20210624_185446
skydebanehave børnehave/kindergarten, copenhagen, denmark 1948-1950.
architect: hans christian hansen, 1901-1978, working for the copenhagen municipal architects department.
three years after the german occupation, hans christian hansen designed a small kindergarten for an old private garden recently purchased by the municipality. he was well into his forties and had been a job architect with the municipal architects department since receiving a gold medal from the academy ten years earlier. he was in his twentieth year of employment there. but the work he had done both for the city and in private practise followed closely what was happening in copenhagen at the time.
the kindergarten, by any standards a modest building, is important to us since this is where we meet, for the first time, the unique architect hans chr. hansen became. he was clearly distancing himself from the wartime brick nationalism of the klint school, but without making that most common mistake in modern architecture of dismissing everything learnt in the previous period. the brickwork was still there, only in the gables, the informal compostition (which you cannot see from this photo), the humanity of it.
but so was a concrete frame in beton brut, a south facing glass facade with a balcony and screen wall in painted wood for privacy and shade, a corrugated roof (since changed), and that restless section which would characterise almost every building subsequently to come from his drawing board. even the dense web of verticals across the facade, we have seen so often, was there.
hansen the architect had arrived at himself, midcareer, with another twenty-odd years to go. late from a personal point of view, perhaps, but for his proto-brutalism, 1948 was timely or even early.
more words, yada, yada, yada.
the comments I have added to some of my photos can be read together as a kind of mangled, yet surprisingly brief essay on hansen. repetitious and opinionated, it reflects the writer above his subject, but until someone does some serious research on hansen, a complete lack of competition makes me immune to criticism. enjoy :)
01. introduction, amager 1966.
02. the engineer as ideal, hansen's pre-war architecture, sundholm 1939.
03. the church he didn't build. war and the return to tradition, 1942-1944.
04. following fisker. wartime housing, hulgårds plads 1943.
05. the architect finding himself in kindergarten, skydebanen 1948.
06. developing the restless section. hanssted school 1954.
07. early industrial. nyborggade transformer 1958.
08. the brutalist, bellahøj 1961.
09. perfect self-confidence, ringbo nursing home 1961.
10. perfect idiosyncrasy. ringbo bell tower 1961.
11. the masterpiece, bremerholm 1962.
12. on the fine art of knowing when to be a backdrop. svanemølle 1966.
13. industrialized construction, a first response. svanemølle 1966.
14. concrete charm, bellahøj gas regulator 1967.
15. late irreverence. gasværksvejen school 1969.
don't copy texts and comments. respect the photos that are marked all rights reserved. for photos with a CC license, please name photographer "SEIER+SEIER".
Everyone talks about how ugly our government buildings are, but I can't get enough of this aesthetic, especially in the winter.
Now visible from Blackfriars Road, since the demolition of Ludgate House #bankside #sampsonhouse #brutalist #brutalism #spaceship #london
Taken in October 2015, of a friend of mine I had back then. She was very important for me, as she was the first model I had multiple shoots with.
This was sadly also one of the last I had with her.
We had known each other since 2010, when we both studied at the same place to become teachers. We quickly found a connection in terms of photography and modelling, and had many great shoots together through the years, although work and our individual families took most of the time.
Sadly, we lost contact in 2017, and haven't spoken together since.
The shoot was on a beautiful fall Saturday, at the college of education where we had both studied. The buildings had, since we finished our studies there, been turned into a school for kids with learning disabilities and or other types of disabilities, so they couldn't fit into the regular school system.
But the place was the same. A building from the late 60's or early 70's, built in the Brutalism architecture style, with almost exclusive use of concrete. Today it's on the preserved list of historic buildings in Denmark, because of this, and even part of the interior is included (horrible orange curtains that can never be replaced, although 80% of them were almost white because of sun damage and decoloring over the years).
For the shoot, she opted for this amazing goth-inspired dress, which suited the architecture so good.
I hope to one day be able to use the building again for a shoot. It has this raw authentity!
A rather strange looking building just behind Kamakura beach, Japan.
Instagram: www.instagram.com/zellersamuel
Portfolio & Prints: www.samuelzeller.ch
1960s swimming pool details, Helsinki, Finland 2023.
Minolta Hi-Matic E
Foma Fomapan 400 shot at ISO 500
Compard R09 One Shot 1+100 90 min semi-stand, 20°C
5 min presoak
Agitation 1st 90 seconds + 15 s at 30 and 60 min.
The ASU Art Museum, a mash-up of adobe and brutalism architecture.
Taking a walk around the Arizona State University campus 42 years after I first set foot here, finding both familiar and new sites.