Since usage of its primary material, raw concrete

the day of the style being invented and published, there always be a pro contra
from the public opinion about this brutalism concept. Some people would say
that brutalism is a style that we love because of its ugliness. Brutalism start
to appear from the late 1970s. It does seems to happen that the style is being
rejected and hated by most of the people at that time. Most public opinion
taught that the brutalism style does only rely its beauty from the physical
occurance of the raw material, which is apparently not
exactly the prettiest sight back then.  However, the style still successfully growing
until it is became popular around 2010s especially in England. The reason
behind this surprisingly booming phenomenon of this style is because brutalism
can radiate the secureness which most of the people at that time endure the
traumatic experience due to the world war II incident. The style became  more suitable for the England people due to
its low budget consuming for a bigger scale building production.

the The term “brutalism” was first being published with the term nybrutalism
(new brutalism) by Swedish architect called Hans Asplund to named the style of Villa
Göth in Uppsala that created by his contemporary friends, Bengt Edman and Lennart
Holm. In England, The term was widely used by many architects such as Alison
and Peter, and it is being used for the title of the book The New Brutalism:
Ethic or Aesthetic? in 1966 by british architectural historian, Reyner

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is well known for the usage of its primary material, raw concrete (béton brut).
Concrete began to represent the bare essence of the brutalist ideology and
later on define the term brutalism itself. The uniqueness of this style is that
the design can trully reflect the “honesty of the maker”. At that time,
concrete was developed majorly because it
is a simple
and loamy material which easy to mold following the vision of the maker but still very strong
once its dry. Before Brutalism, the concrete material was usually hidden
beneath the surface, then covered it up using steel and glass. Now that
the bare concrete was being shown to the public’s eye, it showed its sculptural
qualities, creating a unique characteristic that depends on which molding
techniques being used, so this will imply to be a sort of truthfulness to the material. Since the basic idea of brutalism is
to shown the real condition of the building with nothing is seems to be tidied
up, sometimes the word “style” is no longer appropriate to define the term brutalism
itself. Although the concrete always representing the style of brutalism, other
materials such as brick, glass, steel, rough-hewn stone, and gabions also can be used to replace the usage of concrete.

Although Unite d’
Habitation by Le Corbusier being the first building that mark the born of
brutalism style, Yale’s University Paul Rudolph Hall in New Haven, Connecticut was
the first building that bring the style to United States. For Paul Rudolph, the
building was being made under a though polemic situation and pro contra
opinions from the public. For the classical Modernists group, the aesthetic
of this building betrayed the taut glass-enclosed structures of Kahn’s museum. While
for the postmodernists group, the building shamelessly represent a different
kind of history and characteristic which can be seen as a modernist movement’s
greatest sin back then.

Whatsoever, The Yale’s University Paul Rudolph Hall is indeed very
impressive. The impressive technique can successfully turn a concrete material into
both as a structure and a decoration. The columns that being made of piers of
concrete rise in both side of the hallway with the heavy slabs and thin slabs
collide and crossing each other. The projections that comes from the placement
of each of the concrete slab and the lights that spill down through skylights can
balanced each other to succesfully present a unique experience of the space. A
sequential space inside which also crossing each other can serve the most
dramatic effects by unexpected vistas inside the building and even out of it. “Paul
Rudolph’s Yale Art and Architecture Building showed modern architecture how to
find its ways out of the confusion and dead-ends of the late 1950s,” said
Timothy Rohan, associate professor at the University of Massachusetts, and
author of The Architecture of Paul Rudolph.

In conclusion, the Paul Rudolph
hall is indeed one of the greatest hystorical building which must always be maintained and preserved
well. It can manage to create a dynamic yet rigid space that present a dramatic
experience using its complex form and terxtured surfaces. Later
on, several years ago, the university start to begin major restoration and
addition which being designed by one of the New York firm Gwathmey Siegel &
Associates, but still following the Rudolph’s prior design ideas.





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