It is our intention in this building to have the structure exposed entirely, without interior finishes wherever practicable. The contractor should aim at a high standard of basic construction, as in a small warehouse (Alison Smithson, Architectural Design, November, 1953)
Introduction to the style:
Alex Kitnick. "New Brutalism: Introduction." October 136 (2011): 3-6. "New Brutalism: Introduction." The author discusses the artistic and architectural movement of New Brutalism and explores its history and meaning. He suggests that it refers to a movement in 1950s London, England and that the term was used by architects Alison and Peter Smithson to describe a residential building project in Soho, London, England. Other topics include the use of the term to describe post-World War II institutional buildings, how New Brutalist architecture relates to the work of other modern architects such as Le Corbusier, how New Brutalist art and architecture relate to each other, and themes of New Brutalism including the diversity of the world, the question of the surface, and the culture of communication.
Reyner Banham. "The New Brutalism." Architectural Review, December 1955 (reprinted in October 136, 2011). In his seminal essay architectural critic Reyner Banham attempts to codify the then emerging architectural movement of Brutalism. His definition of a New Brutalist building has several required elements: "1, Memorability as an Image; 2, Clear exhibition of Structure; and 3, Valuation of Materials ‘as found.’"
Reynar Banham. The new brutalism: ethic or aesthetic? New York : Reinhold, 1966. (on reserve in Axinn Library, ask at the Circulation Desk)
Alex Kitnick and Hal Foster, editors. "New Brutalism." October 136 (Spring 2011).
Slobodan Curcic. Review: “The New Brutalism. Ethic or Aesthetic by Reyner Banham.” Journal of Aesthetic Education 3 (1969) 171–173.
Jonathan Meades, "Brutalism A-Z." Handout to accompany 2014 Antony Dale Lecture, "Concrete poetry." Regency Society of Brighton and Hove.
Martin Filler, "The Brutal Dreams that Came True," New York Review of Books, December 22, 2016.
A listing of relevant print materials on reserve in Axinn Library (At Circulation Desk, for course LIB000).
La Haine (Mathieu Kassovitz, Criterion Collection, 1995) A gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically the low-income banlieue districts on Paris's outskirts. Aimlessly passing their days in the concrete environs of their dead-end suburbia, Vinz (Vincent Cassel), Hubert (Hubert Kounde), and Said (Said Taghmaoui)--a Jew, an African, and an Arab--give human faces to France's immigrant populations, their bristling resentment at their marginalization slowly simmering until it reaches a climactic boiling point. A work of tough beauty, La haine is a landmark of contemporary French cinema and a gripping reflection of its country's ongoing identity crisis.
This site is compliant with the W3C-WAI Web Content Accessibility Guidelines
HOFSTRA UNIVERSITY Hempstead, NY 11549-1000 (516) 463-6600 © 2000-2009 Hofstra University