Abstract

Brutalism was an architectural trend that emerged after World War II, and in the 1960s and 1970s, it spread throughout the world. The development of brutalist architecture was greatly influenced by post-war avant-garde art. The greatest impact on brutalism was exerted by such avant-garde trends as art autre, art brut, and musique concrète. Architects were most inspired by the works of such artists as Jackson Pollock, Jean Dubuffet, Pierre Schaeffer, Eduardo Paolozzi, and Nigel Henderson. The main aim of the research was to identify and characterize the most important ideas and principles common to avant-garde art and brutalist architecture. Due to the nature of the research problem and its complexity, the method of historical interpretative studies was used. The following research techniques were employed: analysis of the literature, comparative analysis, multiple case studies, descriptive analysis, and studies of buildings in situ. The research found the most important common ideas guiding brutalist architects and avant-garde artists: rejection of previous principles and doctrines; searching for the rudiments; mirroring the realities of everyday life; glorification of ordinariness; sincerity of the material, structure, and function; use of raw materials and rough textures.

Highlights

  • It is hard to imagine greater integration of art and engineering than in brutalist architecture, especially in its beginnings. This connection did concern the architectural space, into which works of art were introduced, nor only buildings decorated with ornaments, reliefs, and mosaics

  • Integration between architecture and art took place at the most basic level. It was the level of rudimentary ideas, common foundations, the most deeply rooted principles and values from which architecture and art grew

  • The term “brutalist architecture” should be understood as a global architectural style of the second half of the 20th century. This term is much broader than “New Brutalism”, which was the architectural doctrine of young British architects

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Summary

Introduction

It is hard to imagine greater integration of art and engineering than in brutalist architecture, especially in its beginnings. This connection did concern the architectural space, into which works of art (paintings, sculptures, tapestries) were introduced, nor only buildings decorated with ornaments, reliefs, and mosaics. Integration between architecture and art took place at the most basic level It was the level of rudimentary ideas, common foundations, the most deeply rooted principles and values from which architecture and art grew. These ideas concerned strictly engineering issues, such as construction, materials, technical elements, and installations. Artist and architects considered their meaning, aesthetics, and ways of designing and exposing

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