Latest news with #Brutalism
The Independent
3 days ago
- Lifestyle
- The Independent
Artist makes mini versions of Brutalist buildings to champion ‘unloved' style
An artist has been recreating Brutalist buildings in miniature to champion the often 'unloved' architectural style he said is an integral part of the UK's urban heritage. Adam Carthy, 39, started his business called Spaceplay around 2016 – the same time as the demolition of Birmingham Central Library which was heralded for its Brutalist architecture, a style popular in the 1950s to 1970s and characterised by block-like, hulking concrete structures. His mission is to champion Brutalist buildings by replicating them in miniature. Mr Carthy, who is from Balsall Heath in Birmingham and has an architectural background, has so far made tiny versions of around 60 buildings, many from around the UK including Trellick Tower and Alexandra Road Estate, both in London, and the University of East Anglia library. He has also made his own small takes on international buildings including the Jenaro Valverde Marin Building in San Jose, Costa Rica, and Torres Blancas in Madrid, Spain. 'A lot of Brutalist buildings are being demolished now, a lot of them are being neglected, a lot of them are unloved and so we're losing part of our urban heritage, and particularly urban heritage that my generation and the previous two generations grew up with,' Mr Carthy told the PA news agency. 'There were a lot of exciting buildings that came from the 60s and 70s, some that are still very successful and loved or have had a kind of renaissance, like the Royal National Theatre or the Hayward Gallery. 'What we are trying to do is bring attention to something that is unloved and giving it value.' He often visits the buildings he recreates and says holding his models up to their larger counterparts feels 'magical'. 'I visited Alexandra Road Estate last week and to hold the model and see the estate in the background felt magical,' he said. He said that recreating Trellick Tower was especially meaningful as he got to tour the inside of the building with someone who has lived there since it was opened. 'When I started making London buildings, it was Trellick Tower that stood out like nothing else and just how many people know about that building and feel connected to it,' he said. 'There's nobody that doesn't know it – it's so iconic – and I love every time I drive into London on the A40 and I can see it just standing there, clear above everything else in the landscape. 'I've also had the fortune to connect with people that live there and be shown around by a lady who has lived there since it opened and I was blown away by how connected the people there felt – everyone coming in and leaving seemed really happy and it felt like everyone knew each other.' He said it can take anywhere between a month to two months to create the miniature models, depending on the level of detail required. As for the process, Mr Carthy starts by creating a brand new digital model of the buildings he is depicting based on things like architectural drawings and photographs he has taken from visits to the sites. He 3D prints those files using resin printing before making moulds and then the concrete is involved. ' Concrete is a wonderful material, it's so versatile, and I love the process of how you start with a powder and then it becomes a liquid and then it sets into a solid,' he said. 'You can't remould it, you can't adjust it, so you have this one-time process of the set-up and the action and then it's done forever and you can't undo it. 'I embrace that process and really enjoy it and over the years, I've introduced more refined processes through talking to people, through watching videos, testing and trial and error, trying out different mixes and different types of aggregates.' He added he also uses a vibrating table which vibrates the concrete so air bubbles are reduced, and a compression tank to make the models compact. He said he has achieved thousands of sales as he often makes multiple versions of the same model for those with a similar love of Brutalism, with his work being requested as far away as America and South Korea. 'There's definitely a sense of community around the love of Brutalism and to be part of that and connecting to people through the work I do is amazing,' he added. 'I've designed the models so they can sit in the palm of a hand so people can feel connected to them because they might have a particular memory linked to the building. 'People can feel a sense of ownership over it – it's your place and it's part of you.'
Yahoo
3 days ago
- Lifestyle
- Yahoo
Artist makes mini versions of Brutalist buildings to champion ‘unloved' style
An artist has been recreating Brutalist buildings in miniature to champion the often 'unloved' architectural style he said is an integral part of the UK's urban heritage. Adam Carthy, 39, started his business called Spaceplay around 2016 – the same time as the demolition of Birmingham Central Library which was heralded for its Brutalist architecture, a style popular in the 1950s to 1970s and characterised by block-like, hulking concrete structures. His mission is to champion Brutalist buildings by replicating them in miniature. Mr Carthy, who is from Balsall Heath in Birmingham and has an architectural background, has so far made tiny versions of around 60 buildings, many from around the UK including Trellick Tower and Alexandra Road Estate, both in London, and the University of East Anglia library. He has also made his own small takes on international buildings including the Jenaro Valverde Marin Building in San Jose, Costa Rica, and Torres Blancas in Madrid, Spain. 'A lot of Brutalist buildings are being demolished now, a lot of them are being neglected, a lot of them are unloved and so we're losing part of our urban heritage, and particularly urban heritage that my generation and the previous two generations grew up with,' Mr Carthy told the PA news agency. 'There were a lot of exciting buildings that came from the 60s and 70s, some that are still very successful and loved or have had a kind of renaissance, like the Royal National Theatre or the Hayward Gallery. 'What we are trying to do is bring attention to something that is unloved and giving it value.' He often visits the buildings he recreates and says holding his models up to their larger counterparts feels 'magical'. 'I visited Alexandra Road Estate last week and to hold the model and see the estate in the background felt magical,' he said. He said that recreating Trellick Tower was especially meaningful as he got to tour the inside of the building with someone who has lived there since it was opened. 'When I started making London buildings, it was Trellick Tower that stood out like nothing else and just how many people know about that building and feel connected to it,' he said. 'There's nobody that doesn't know it – it's so iconic – and I love every time I drive into London on the A40 and I can see it just standing there, clear above everything else in the landscape. 'I've also had the fortune to connect with people that live there and be shown around by a lady who has lived there since it opened and I was blown away by how connected the people there felt – everyone coming in and leaving seemed really happy and it felt like everyone knew each other.' He said it can take anywhere between a month to two months to create the miniature models, depending on the level of detail required. As for the process, Mr Carthy starts by creating a brand new digital model of the buildings he is depicting based on things like architectural drawings and photographs he has taken from visits to the sites. He 3D prints those files using resin printing before making moulds and then the concrete is involved. 'Concrete is a wonderful material, it's so versatile, and I love the process of how you start with a powder and then it becomes a liquid and then it sets into a solid,' he said. 'You can't remould it, you can't adjust it, so you have this one-time process of the set-up and the action and then it's done forever and you can't undo it. 'I embrace that process and really enjoy it and over the years, I've introduced more refined processes through talking to people, through watching videos, testing and trial and error, trying out different mixes and different types of aggregates.' He added he also uses a vibrating table which vibrates the concrete so air bubbles are reduced, and a compression tank to make the models compact. He said he has achieved thousands of sales as he often makes multiple versions of the same model for those with a similar love of Brutalism, with his work being requested as far away as America and South Korea. 'There's definitely a sense of community around the love of Brutalism and to be part of that and connecting to people through the work I do is amazing,' he added. 'I've designed the models so they can sit in the palm of a hand so people can feel connected to them because they might have a particular memory linked to the building. 'People can feel a sense of ownership over it – it's your place and it's part of you.'
Otago Daily Times
26-05-2025
- General
- Otago Daily Times
Architectural diversity a fine thing
Tastes change but the Archway lecture theatres remain a heritage building Mark Baxter writes. Remember the ceremonial bridge the University of Otago wanted to spend $1 million on (back when $1m was a lot), simply to increase the university's "prestige"? They are at it again and wanting to demolish teaching space simply in order to create a faux Oxbridge-like lawn. To compound this poor decision, the teaching space they want to demolish is the wonderfully Brutalist Archway lecture theatres. Now I love Brutalism. But some people hate Brutalism. And that's OK. Neither opinion is right or wrong; aesthetics are subjective. But love it or hate it, it needs to be protected. Indeed, it is the hate part of that spectrum of opinion towards significant buildings that is an important part of exactly why some of such buildings need protected. Destroying character buildings simply because some people dislike them, will leave us with just characterless bland cookie-cutter buildings. Tastes change and many heroic or iconic buildings have gone from widespread praise to being hated within a generation and are destroyed because of this. In the 1950s Otago's now iconic, historic clock-tower building was proposed to be demolished as a dowdy old unsafe building. Luckily university management disagreed and preserved it, or the Otago campus could have looked like the Cadbury factory buildings. Literally a cookie-cutter vista. Brutalism is a significant architectural form, especially for public buildings, and it is strongly symbolic of the post-war consensus and cradle-to-grave welfare-state era — a great era of New Zealand, where we were world leaders in many things. That is important and comforting heritage to me, and a massively important part of the country's history. The Archway theatres are the only strongly Brutalist buildings left on the campus. While much is made of the protected Richardson building, that is more of a modernist building that has some elements of Brutalism, notably the raw concrete finish. Archway is more faithful to Brutalism by being a more minimalist construction and clearly showcasing structural elements over decorative design. In the words of NZ Institute of Architects, the Archway theatres are "architecture that is different and special", and "speak to a moment in our architectural history" and "remains an accomplished work of significant merit". Some see a building with a strong architectural style like Brutalism being close to the historic Gothic-revival "Clock-tower" precinct as a problem. And that is a fair concern. But like the original architects, planners and university management of the time, I disagree it's a problem. The Archway theatres are separate to the Gothic-revival precinct, and they do not affect the very vast majority of views of the Gothic-revival precinct's vistas. The Gothic-revival precinct can be viewed from most directions without seeing the Archway theatres at all. Further, the Archway theatres are not of a size or scale that they impact on the Gothic-revival precinct, and they no way overwhelm the Gothic-revival buildings by scale. Heritage is not simply just about very old things. The separate precinct area south of the historic Gothic-revival precinct (i.e. which contains the Archway theatres), also contains a selection of various aged and various styled buildings. This architectural diversity makes a fine narrative of the university's, and indeed of the country's, public architectural development history, and all in close proximity. There are layers of history and heritage, and it would be a mistake to erase this piece of strong Brutalism from this narrative. The university is justifying the proposed demolition by pointing out that "flat-floor" teaching space is the way of future education and that lecture theatre style teaching will decline. While this is indeed the current speculation and trend, firstly, we are far from that future. And nor does this changing trend mean that lecture theatre style teaching will ever stop entirely. The university relies heavily on them and often has no spare theatres of this size to use as an emergency substitute if a theatre is made unavailable (this situation will be much worse with the loss of the four Archway theatres). If it was proposed to replace Archway Theatres with a new teaching space, the shift to increased "flat-floor" teaching might be relevant here. But it is not. The proposed replacement is a lawn. Replacing usable teaching space with a lawn seems poor use of taxpayers' money. While traditionally Archway 1-4 are not the most comfortable lecture theatres, they have been refitted over the years and have better acoustics than when I was a student. They are well-equipped with up-to-date as modern audiovisual facilities as good as the other of the university's theatres. Yes, the passageways are narrow and dark and can indeed have a maze effect (though I personally thought this effect was part of the charm; never knowing quite where you'd exit the building after having your brain's battery drained by either a boring or interesting lecture). However, both these issues could be relatively easily fixed by gutting the centre of the building and creating a lobby with a clear roof. Any plant that is needed relocated could be relocated under the voids under the building's seating areas, and appropriately visually screened off with a dark material so as to not affect the aesthetic. You can't save every old building, but this one has significant heritage values in its context and still has a much-needed use — hence making it into a lawn is a waste of resources. — Mark Baxter is a life member of the Otago University Students Association.
Condé Nast Traveler
22-05-2025
- Condé Nast Traveler
Chez George — Hotel Review
Why book? Set on a hilltop in the historic Santa Teresa neighborhood of Rio De Janeiro, Chez Georges is a striking example of Brazilian Brutalism, offering sweeping 360-degree views of Sugarloaf Mountain and Guanabara Bay. Just a 20-minute drive from the vibrant Copacabana Beach, its secluded setting feels like an urban retreat, where time slows down and the morning begins with the gentle sound of birds. Whether lounging by the 50-foot pool, listening to soft Brazilian music from the record player, or watching the sunset, Chez Georges offers a tranquil, almost dreamlike escape. Set the scene It was early morning when I stepped out of my Uber and found myself in front of a large wooden door that resembled a garage. A keypad was mounted beside it, and a voice crackled through the speaker, asked for my name, and then buzzed me in. I walked into what appeared to be a garage, where a glass-clad elevator waited. Pressing the button for the top floor, the elevator climbed two stories, where the view gradually opened up around me. The boutique hotel itself was airy and minimalist. What struck me were the small, artistic details—artwork tucked into bookcases alongside records, candlesticks, Portuguese books, and musical instruments. Colored glass light fixtures hung from the ceiling in the lobby, casting soft reflections. Outside, a wooden deck stretched out with lounge chairs positioned toward the pool and the hotel. The open doors let in the gentle sounds of birds, and the peaceful atmosphere made the entire place feel like home. The staff seemed young, and upon arrival, I was the only one there. The backstory Wladimir Alves de Souza, a prominent Brazilian architect known for his contributions to Brazilian Brutalism and Modernism, designed the original residence in 1974. The property was constructed as a private home in Rio de Janeiro's historic Santa Teresa neighborhood. Decades later, in 2019, the property was transformed into a boutique hotel by Pierre Bident Moldeva, a technology entrepreneur, and Olivier Verwilghen, a musician. Despite having no prior experience in hospitality, the two were drawn to the idea of creating the kind of space that reflected their personal aesthetics. One of the distinctive features of Chez Georges is its integration of music into the architectural design. The villa includes a recording studio connected to a music production room located beneath the villa's private pool. The interior design features a mix of Brazilian and European modernism, with furnishings sourced from antique markets in Paris, Brussels, and Ghent, alongside pieces by Brazilian designer Ricardo Fasanello, like the dining room chairs. The rooms While Chez Georges may be modest in size, with only a handful of suites, the rooms themselves feel anything but small. Each suite is designed with 70s-inspired minimalism. Inside, you'll find a standard wardrobe, desk, and queen-size bed, but it's the floor-to-ceiling windows that steal the show, opening onto a shared balcony with sweeping views that's perfect to watch the sunrise. The design blends grey concrete ceilings, muted earth tones, and richly textured hardwoods to create a calm, grounded atmosphere. The bathroom, featuring a wooden sink and blue and white mosaic walls, also offers a view—this time of Santa Teresa and the concrete pergola outside. Each suite is named after a legendary musician named George, from Harrison to Benson, and notably, there are no televisions, encouraging guests to truly unplug. Food and drink There's no dinner service, but the hotel more than makes up for it with a generous array of breakfast options: Mornings begin with Pão de queijo, a colorful plate of fresh fruits like dragonfruit, kiwi, mango, and grapes, along with a selection of cold plates, cakes, toast, eggs, and freshly pressed fruit juices. The neighborhood/area The hotel opens directly onto the Santa Teresa Tram, also known as the Bondinho—a historic tramway that's been in operation since 1877. As one of the world's oldest street railways, it offers a scenic and nostalgic ride over Arcos da Lapa and into downtown Rio, making it a charming and accessible way to explore the city. Just steps from the tram, the street is lined with lively restaurants, bars, clothing boutiques, and souvenir shops. A five-minute walk away, you'll find Indecente Café, a vibrant new coffee shop that offers a cozy atmosphere and a menu of paninis and lattes. While Santa Teresa quiets down in the evening, late-night options are still available, like Ago, a laid-back Afro-Brazilian bar about a ten-minute walk from the hotel, serving fried shrimp pastries and smoked cinnamon cocktails in a welcoming space. The service Truly the highlight of my stay. Though the atmosphere was laid-back, the staff were exceptionally warm and attentive, always ready with suggestions on things to do and the best ways to get around. Upon arrival, I was greeted with a welcome drink and a sense that nothing was too much to ask. They addressed me by name and took time during breakfast to chat about my travels and my experience in Brazil. One staff member shared how much they loved working there because it allowed them to live in their beautiful country while meeting people from all over the world. One evening, when I mentioned I was a bit hungry, someone kindly opened the kitchen and brought me a freshly sliced mango to enjoy in my room. There was always someone willing to help, and they were dedicated to giving me a good experience. Accessibility There's an elevator to get up to the main property and accessible suites on the ground floor.
South China Morning Post
10-05-2025
- Entertainment
- South China Morning Post
What to see and do in Basel, 2025 Eurovision Song Contest host in Switzerland
With its exposed concrete, sharp lines and overhanging roof, the St Jakobshalle, an icon of 1970s Brutalism in Switzerland on the outskirts of Basel, will provide a stark contrast to the bright colours and flaming-piano pyrotechnics of the Eurovision Song Contest when it plays host to the event from May 10 to 17. Advertisement Its cold concrete and unwelcoming facade is representative of why so many travellers heading south to Italy or onwards to the Swiss Alps speed through without giving the city a second glance. Basel's industrial legacy still looms large. With a long history as a centre for textiles and chemicals industries, the city is often associated with an industrial skyline, grey highways and smoking chimneys. But Basel's image is being redefined. The Rhine, a river once tainted by industry, is now clean enough to swim in. St Jakobshalle arena will host the 2025 edition of the Eurovision Song Contest from May 10 to 17, 2025. Photo: AFP Yves Parrat, chemist with the local health department, says the water quality is regularly checked at three different points during the bathing season.
