View allAll Photos Tagged brutal_architecture
Las Casas Americanas in Bilbao, Spain.
Design (1957): Rufino Basañez, Esteban Argarate & César Larrea.
Ernő Goldfinger
See more of Trellick Tower at: jza.photography/trellick-tower/
All my shots of Social Housing at: jza.photography/personal/social-housing/
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.
I photographed these rather brutalist looking wheat/flour silos from the train. They intrigue me every time I pass by there.
Can you spot the theme?
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Nikon D750, Nikkor 18-35 f3.5-4.5
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.
It doesn’t emerge.
It asserts itself —
rising from the dark
as if light was never part of its design.
Hard edges.
Heavy mass.
Zero warmth.
A fortress of glass and steel
built without doubt,
without compromise.
No accident lives here.
Every angle is a decision.
Every line, a verdict.
This isn’t a building you enter —
it’s one you submit to.
Geometry, weaponized.
An architecture of authority.
An algorithm in concrete form:
cold, infinite,
precise to the point of violence.
You don’t arrive.
You are reduced.
Here, architecture doesn’t speak.
It commands.
And everything else is silent.
Welcome to NordLB.
Hanover.
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_
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.
I have a special relationship with brutal architecture. Prague is full of it if you know where to look – this building is close to where we live, the home of Financial and Social Administration of the Czech Republic. So fitting.
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.
An example of Brutalism architecture,
by Arch. Marcel Lambrichs, C. Grochowski and D. de Laveleye 1969-73
@Brussels, Belgium
This image is from Washington, DC in 2019, but I don't remember exactly what I was shooting. Something tells me it's a government building...
This 12 story high-rise building located in downtown Jacksonville, Florida is 155.58 feet high and is used as a switching station. The structure was built in 1972 in the Brutalism architectural style and has an exposed structure as its facade.
Credit for the data above is given to the following websites:
www.emporis.com/buildings/216199/at-t-building-jacksonvil...
Azuma the 3rd Generation of East Coast Main Line traction after HST's and Class 91's to thunder across the brutal architecture of Ryther Viaduct.
Built in the early 1980s across the River Wharf flood plains of Ozendyke Ings as part of the ECML Selby Diversion.
(Courtesy of Wikipedia)
During the late 1970s, the National Coal Board (NCB) began development of a new coalfield around Selby, North Yorkshire and with the associated subsidence risks to the fast East Coast Main Line a diversionary route for the ECML was authorised under the British Railways (Selby) Act, 1979. Construction of the first purpose-built section of high-speed railway in the UK commenced on 29 July 1980 and the 14-mile section opened on 3rd October 1983.
800113 working a regular test 5Q22 13:00 York to Peterborough.
10th April 2019