View allAll Photos Tagged brutal_architecture
From the unpublished series: ‘Gagarin Monuments’ by René Nuijens.
Photographed on a Leica M6 with 35mm
Lauderdale Tower on the Barbican Estate, built in the 1960s and 70s and is a prime example of concrete Brutalist architecture. In London, UK
Taken January 2022
Originally built in 1973, the building formerly known as the “Charter House” is a recognisable part of Ashford’s skyline, as well as its heritage. It was once the headquarters for “Charter Consolidated”, at the time a large corporation with mining interests across the globe, most of which were located across the continent of Africa. Because of this, many heads of African states visited Ashford, one being the first President of Zambia, Kenneth Kaunda, who was known as Africa’s Ghandi.
A pocket of rain at sunset paints a beautiful rainbow over medical buildings near Vancouver General Hospital. The 20 storey building in the middle is famous for it's Downtown Vancouver views from a dentist chair. That'd be the Frank Stanzi Building (aka 805 Medical Dental Building) built in 1974 and the style of architecture is called "brutalism". To the right of this highrise is the Fairmont Medical Building. Broadway Plaza Building on the far left. I'm standing on the west side of the Granville Street Bridge looking over eight lanes of traffic, False Creek, Granville Island and into the Fairview neighbourhood. Captured in Vancouver, British Columbia, Canada ~ March 27, 2018 🌈
This photo reminds me of looking over a balcony at rainbows in Honolulu, Hawaii.
Aloha nui loa 🌈 Very much love
Somewhere between a utopia abandoned and a future that never asked for us, this structure looms—too calculated to be chaotic, too chaotic to be home.
It hums silently in a language made of glass, steel, and doubt.
Las Casas Americanas in Bilbao, Spain.
Design (1957): Rufino Basañez, Esteban Argarate & César Larrea.
The Catholic parish church of the Resurrection of Christ was built between 1964 and 1970 according to plans by the architect Gottfried Böhm in the Lindenthal district of Cologne. The two architects Wilhelm Jungherz and Klaus Micheel were also involved in the design.
The church building illustrates to a large extent the idea of architecture as sculpture.
The church is excellently integrated into the urban planning. It serves as a vanishing point for the Lindenthal Canal, which is lined with avenues. At the end of the canal, wide staircases form squares, which are bordered on the sides by community buildings. Finally, the church rises together with the parish tower.
The staggered height development with projections and recesses and beveled edges creates a sculptural character. At the north-west corner, the open spiral staircase emphasizes the tower. The plastic effect is reinforced by the calculated use of the material colors, the change from reddish brickwork to light exposed concrete surfaces.
The floor plan is asymmetrical and polygonal. The angles and niches resulting from this in the outline are assigned liturgical tasks. Together with the different room heights and the reduced incidence of light, the room is given liveliness. The building appears as a walk-in sculpture. The windows, also designed by Böhm, are predominantly red-glazed. Together with the reddish masonry, they reinforce the cave-like atmosphere.
Photography & retouching by Matthias Dengler
instagram.com/matthiasdengler_
Ernő Goldfinger
See more of Trellick Tower at: jza.photography/trellick-tower/
All my shots of Social Housing at: jza.photography/personal/social-housing/
Slowly the bullet scarred tower blocks of Sarajevo are being repaired. The wholes are gone, but the patches are still very much visible. Cosmetic healing.
This was my first attempt at brutalism architecture, I am satisfied with the result, but the next one will not be in minifig scale. I do not have that many LBG parts :). And I am missing symbolism in all of this.
Don't know why I feel irate.
Barely slept, I feel tired.
And I can't face the world, I need time
Wait! 🌘
Prague | Czech Republic
While photographing this modern facade, I wanted to capture the architectural musicality created by these sunshades. My intention was to transform these functional elements into an abstract composition where light plays with horizontal lines. I chose black and white to strip down the image and emphasize rhythm and contrasts. By framing at an angle, I sought to create dynamic tension, as if these white lines were floating in space, like contemporary musical staves. Here, geometry becomes visual poetry, where each blade of light tells a part of architecture's modern story.