Reyner Banham's "The New Brutalism" (originally a 1955 essay, later expanded) argues that Brutalism is not a single style but a set of attitudes and techniques emphasizing honesty of materials, exposure of structure, and clarity of function. Banham traces precedents in European modernism and British postwar architecture, distinguishing two strains:
OCR Issues: Older PDFs weren't searchable, making it hard for scholars to find Banham’s specific definitions of "imageability" or "topological unity." reyner banham the new brutalism pdf fixed
The central tension of Banham’s essay—and the question posed in his title—revolves around whether New Brutalism is an ethical stance or an aesthetic choice. This dichotomy is where the text’s enduring power lies. Banham argues that for the early proponents, particularly the Smithsons, Brutalism was fundamentally an ethic. It was a commitment to "truth," a rejection of the polished, antiseptic modernism of the International Style in favor of a raw acknowledgment of materials and social reality. This approach demanded a respect for the nature of materials ("truth to materials") and a desire to create architecture that respected the complexity of human association. Reyner Banham — "The New Brutalism" (fixed PDF)
Valuation of Materials "as found": Whether it is raw concrete (béton brut) or brick, the material should not be painted or disguised. Banham argues that for the early proponents, particularly
In the early 1950s, young British architects (most notably Alison and Peter Smithson) began moving away from the "soft" modernism of the post-war era. Reyner Banham, a prolific critic, codified this movement in his 1955 essay "The New Brutalism" in The Architectural Review. He later expanded this into the definitive 1966 book. 2. Ethic vs. Aesthetic
Influential Architects and Buildings
Why “fixed” PDFs miss the mark
