Brutalism style mainly has emphasis on materials, textures and construction, producing highly expressive forms. Popular in the 1960s and 1970s brutalism originated post–World War II when the design of low-cost housing and government buildings were composed of mainly raw, unrefined materials. Culturally and economically speaking, nations around the world — from Europe to South America — were looking to rebuild after the war. Steel was expensive to import at that time, so builders turned to affordable concrete. As such, brutalism’s etymology comes from the French word meaning “of concrete,” or béton brut.

野蛮主义风格主要强调材料，纹理和构造，产生高度表现形式。 野蛮主义在1960年代和1970年代流行，起源于第二次世界大战后，当时廉价住房和政府大楼的设计主要由未经加工的原材料组成。 从文化和经济角度来讲，从欧洲到南美的世界各国都在寻求战后重建。 当时钢材进口价格昂贵，因此建筑商转向了负担得起的混凝土。 因此，野兽派的词源来自法语，意为“具体的”或“贝顿·布鲁特”。

Brutalism, one of the 20th century’s most controversial architecture movements. It’s one of the most vilified architectural styles of the last century — is back in vogue with design fans as nostalgia mixes with a new-found respect for its socialist principles and celebration of raw concrete.

野兽派，是20世纪最具争议的建筑运动之一。 它是上世纪最恶劣的建筑风格之一，随着怀旧与对社会主义原理的新发现以及对未加工混凝土的赞誉得到了新的尊重，它又与设计迷们重新流行起来。

Brutalism style mainly has emphasis on materials, textures and construction, producing highly expressive forms. Popular in the 1960s and 1970s brutalism originated post–World War II when the design of low-cost housing and government buildings were composed of mainly raw, unrefined materials. Culturally and economically speaking, nations around the world — from Europe to South America — were looking to rebuild after the war. Steel was expensive to import at that time, so builders turned to affordable concrete. As such, brutalism’s etymology comes from the French word meaning “of concrete,” or béton brut. As an artistic movement, brutalism formed as a response to modernism. “Where Modernism was poised and polite, often incorporating white plaster and walls that concealed the buildings’ internal logic, Brutalism evolved into something bold and confrontational, its heavy, rugged forms forged of inexpensive industrial materials that disguised nothing at all.

野兽派风格主要强调材料，纹理和结构，产生高度表现形式。 野蛮主义在1960年代和1970年代流行，起源于第二次世界大战后，当时廉价住房和政府大楼的设计主要由未经加工的原材料组成。 从文化和经济角度来讲， 从欧洲到南美，世界各国都在战后寻求重建。 当时钢材进口价格昂贵，因此建筑商转向了负担得起的混凝土。 因此，野兽派的词源来自法语，意为“具体的”或“ 贝顿·布鲁特 ” 。 作为一种艺术运动，野兽派是对现代主义的回应。 “在现代主义风度翩翩而礼貌的地方，通常将白色的灰泥和墙壁掩盖起来，掩盖了建筑物的内部逻辑，而野蛮主义则演变成大胆而对抗的东西，其沉重，坚固的形式由廉价的工业材料伪造而成，根本无法掩饰。

Around the world at the height of its popularity, this architectural style took on numerous ideological interpretations. In Eastern Europe for example, brutalism became associated with socialism and authoritarian power, while in warmer, post-colonial climates like Brazil, India, Ghana, and Kenya, brutalism seemed to assert a new freedom. Architects and builders sought to project a sense of strength through their fortress-like designs, while also celebrating the imperfect appeal of handmade items.

在全球范围内，这种建筑风格在其鼎盛时期得到了无数的意识形态解释。 例如，在东欧，野蛮主义与社会主义和威权主义联系在一起，而在诸如巴西，印度，加纳和肯尼亚这样的更温暖的后殖民主义气候中，野蛮主义似乎在主张一种新的自由。 建筑师和建筑商试图通过他们的堡垒式设计来彰显力量感，同时还庆祝手工制品的不完美外观。

Brutalism was in vogue from 1950 to 1973, and there are several reasons for it.

从1950年到1973年，野蛮主义风行一时，其原因有很多。

· The devastation of WWII. New housing, offices, factories and other buildings were needed and quickly needed.

· 第二次世界大战的破坏。 需要并Swift需要新的房屋，办公室，工厂和其他建筑物。

· The mass production. Mass production facilities were set up during the WWII, and now they were set up to churn out steel, concrete and other stuff in droves.

· 批量生产。 在第二次世界大战期间建立了大规模生产设施，现在则建立了大规模生产钢铁，混凝土和其他物品的设施。

· The ideas of Le Corbusier. He was the father of Brutalism, and propagated it to become brutal

· 勒·柯布西耶的思想 。 他是野蛮主义之父，并传播了野蛮主义

· The availability of cheap concrete and cheap steel. Because of the war, those materials were ubiquitous and easily available.

· 提供廉价的混凝土和廉价的钢材。 由于战争，这些材料无处不在并且容易获得。

· The plastic qualities of concrete. It is basically castable stone, and when reinforced, it can basically be cast in any form whatsoever imaginable.

· 混凝土的塑性 。 它基本上是可铸造的石头，并且经过加固后，基本上可以以任何可能的形式铸造。

· The post-war Collectivist and anti-individual mindset. Not only were most adult men war veterans (and brainwashed into discipline and Collectivist mindset), but also Socialism, Marxism and other Collectivist and Etatist ideologies were in vogue.

· 战后集体主义者和反个人的心态。 不仅大多数成年男性的退伍军人(并且被洗脑到纪律和集体主义的心态中)，而且社会主义，马克思主义以及其他集体主义和民族主义意识形态也在流行。

Brutalism emerged as a counter-paradigm to both the glass façades of the Bauhaus style and the refined surfaces of Functionalism. Brutalism was seen as “being honest to the materials” and “letting the bare form dominate”. Brutalist buildings are usually constructed with recurring modular elements forming masses representing specific functional zones, distinctly articulated and grouped together into a unified whole.

残酷主义成为包豪斯风格的玻璃幕墙和功能主义精致表面的反范式。 野蛮主义被视为“对材料诚实”和“让裸露的形式占主导”。 野兽派建筑通常是由重复出现的模块化元素构成的，这些模块化元素形成了代表特定功能区域的质量，并被清楚地表达并分组为一个统一的整体。

Concrete is used for its raw and unpretentious honesty, thus contrasting dramatically with the highly refined and ornamented buildings constructed in the Revival style, the refinement of Art Nouveau, the lightness of Bauhaus style and the large white smooth surfaces of Functionalism. Surfaces of cast concrete are made to reveal the basic nature of its construction, showing the texture of the wooden planks used for the casting forms. No finishing, no trim, no painting, no plastering, no handling of the structures whatsoever once the mold planks have been removed. Brutalist buildings may use other materials such as brick, glass, steel, rough-hewn stone, and gabions.

混凝土以其原始和朴实的诚实而著称，因此与以复兴风格建造的高度精致和装饰性建筑，新艺术风格的精致，包豪斯风格的轻盈以及功能主义的白色大光滑表面形成了鲜明的对比。 通过浇铸混凝土的表面来揭示其结构的基本性质，从而显示用于浇铸形式的木板的质地。 一旦移除了模板，就不会进行任何修整，修剪，喷漆，抹灰，结构的任何处理。 野兽派建筑可能使用其他材料，例如砖，玻璃，钢，粗石和石笼网。

The result was astonishing hideousness. Not only is concrete cheap; it also looks cheap, and the buildings of this era are simply butt ugly. They were intended to be that way as well — aesthetics were never the primary goal of Brutalist architects, and there are prisons which are far cozier and pleasant than Brutalist high-rise housings.

结果是 令人惊讶的丑陋。 混凝土不仅便宜，而且价格便宜。 它看起来也很便宜，这个时代的建筑简直是丑陋的。 他们也打算那样做-美学从来不是野兽派建筑师的主要目标，而且监狱远比野兽派高层住宅舒适和令人愉悦。

Brutalist architecture characteristics:

野兽派建筑特点：

The 1960s and 1970s were years of great expansion in universities and public buildings, and this is where the Brutalist style is most often found. The development of béton brut, a concrete with no formal finish, was intrinsically linked to this style.

1960年代和1970年代是大学和公共建筑大张旗鼓的几年，这是最经常发现野兽派风格的地方。 没有正式表面处理的混凝土贝顿·布鲁特的发展与这种风格有着内在的联系。

When the form work is lifted from the poured concrete, the rough, naturally textured surface is the final finish. The amount of texture on the surface is dependent upon the amount of texture on the form work.

当从浇筑的混凝土中抬起模板时，粗糙的，自然纹理的表面是最终的饰面。 表面上的纹理量取决于模板上的纹理量。

The smooth texture of glass for windows and doors forms an attractive contrast. Most windows in Brutalist buildings do not open and the buildings are thoroughly climate- controlled. The design of the building is largely dependent on the shape and placement of the various room masses. Outlines are quite intricate and exterior walkways are emphasized.

门窗玻璃的光滑质感形成鲜明的对比。 野兽派建筑物的大多数窗户都无法打开，并且建筑物受到了严格的气候控制。 建筑物的设计在很大程度上取决于各种房间的形状和位置。 轮廓十分复杂，强调了外部走道。

A pioneer of modern architecture, Charles-Édouard Jeanneret, known as Le Corbusier, was not only the main predecessor of and influence upon Brutalism, but also created some of its most iconic structures. He first considered the use of concrete as a student with Auguste Perret in Paris, then in 1914 he studied the technology of reinforced concrete with the engineer Max Dubois. As Le Corbusier recalled, “reinforced concrete provided me with incredible resources, and variety, and a passionate plasticity…” His early design for the Dom-Ino House (1914–15), an un-built prototype for temporary residences required after World War War, used a concrete modular structure for which residents could build their own exterior walls using materials stored on site. The idea was, as he described it, “a juxtaposable system of construction according to an infinite number of combinations of plans.”

著名的勒·柯布西耶(Le Corbusier)是现代建筑的先驱，查尔斯·爱德华·詹纳雷(Charles-ÉdouardJeanneret)，不仅是野兽派的主要前身和影响力，还创造了一些最具标志性的建筑。 他最初在巴黎的奥古斯特·佩雷(Auguste Perret)的学生中考虑使用混凝土，然后在1914年与工程师Max Dubois一起研究了钢筋混凝土的技术。 正如勒·柯布西耶(Le Corbusier)回忆的那样，“钢筋混凝土为我提供了令人难以置信的资源，多样性和热情的可塑性……”他为Dom-Ino住宅(1914–15)的早期设计，这是二战后需要建造的临时住宅的原型战争使用了混凝土模块化结构，居民可以使用现场存储​​的材料建造自己的外墙。 正如他所描述的那样，这个想法是“根据无限数量的计划组合构建的可并置的系统”。

His Unité d’habitation in Marseilles (1952), an apartment complex in France, was seen as the first project in 10 years example of Brutalism in urban planning, while his Maisons Joule (1951–55) influenced the movement’s approach to private residences. Nonetheless, Le Corbusier did not identify with the term “Brutalism” movement and was outraged when his work was described as part of the Brutalist movement. As he wrote, “‘[b]éton brut’ was born at the Unité d’habitation, Marseille, where there were eighty contractors and such a massacre of concrete that there was no way of imagining how to construct useful relationships through rendering. I had decided: leave everything ‘brut’ [raw/unfinished]. I called it ‘béton brut.’ The English immediately jumped on the bandwagon and dubbed me ‘Brutal’.”

他在法国马赛的住宅区马赛(1952)的单位居住被视为城市规划中野蛮主义十年来的第一个项目，而他的Maisons Joule(1951–55)​​影响了该运动对私人住宅的态度。 然而，勒·柯布西耶(Le Corbusier)并未认同“野蛮主义”运动一词，当他的作品被描述为野蛮运动的一部分时，他感到愤怒。 正如他所写的那样，“ [b]étonbrut”出生于马赛联合大区，那里有80名承包商，而且屠杀的混凝土如此之大，以致无法想象如何通过渲染来构建有用的关系。 我已经决定：将一切“残酷” [原始/未完成]。 我称它为“ 伯顿·布鲁特” 。 英国人立即跳上了车队，称我为“野蛮人”。

Le Corbusier’s design called for a giant reinforced concrete framework fit with modular apartments. The mammoth complex, which could house up to 1,600 people, was largely devoid of decorative elements and laid the framework for future Brutalist projects.

勒·柯布西耶(Le Corbusier)的设计要求一个巨大的钢筋混凝土框架，以适合模块化公寓。 这个庞大的建筑可容纳1600人，基本上没有装饰元素，为未来的野兽派项目奠定了框架。

In 1949 the Swedish scientist and pharmaceutical boss Elis Göth commissioned Bengt Edman and Lennart Holm to build him a private residence in Uppsala, Sweden. The Villa Göth consisted of a two-story rectangular block constructed from dark brick, with exposed I-beams and a number of béton brut floors and ceilings displaying the casting forms of the concrete. Hans Asplund, a leading Swedish architect, used the term “Nybrutalism” (“New Brutalism”) to characterize the building.

1949年，瑞典科学家兼制药业负责人ElisGöth委托Bengt Edman和Lennart Holm在瑞典乌普萨拉建立私人住宅。 VillaGöth别墅由两层的矩形砖块组成，这些砖块是由深色砖砌成的，带有裸露的工字梁以及许多展示混凝土浇铸形式的Bétonbrut地板和天花板。 瑞典著名建筑师汉斯·阿斯普伦德(Hans Asplund)使用“非暴力主义”(“ New Brutalism”)一词来表征建筑物。

Brutalism in India

印度的野蛮主义

When Louis Kahn was designing the National Assembly Building in Bangladesh in 1962, he was approached by an admiring Indian architect, Balkrishna Doshi, to design the 60 acre campus for the Indian Institute of Management in Ahmedabad, India. Much like his project in Bangladesh, he was faced with a culture enamored in tradition, as well as an arid desert climate.

路易斯·卡恩(Louis Kahn)于1962年在孟加拉国设计国民议会大楼时，一位令人敬佩的印度建筑师Balkrishna Doshi与他接触，为印度艾哈迈达巴德的印度管理学院设计了60英亩的校园。 就像他在孟加拉国的项目一样，他面临着传统所迷恋的文化以及干旱的沙漠气候。

For Kahn, the design of the IIM Ahmedabad institute was more than just efficient spatial planning of the classrooms.In 1961, a visionary group of industrialists collaborated with the Harvard Business School to create a new school focused on the advancement of specific professions to advance India’s industry. This Building is an example of a Brutalist Architecture.

对于卡恩(Kahn)而言，艾哈迈达巴德IIM学院的设计不仅仅是对教室进行有效的空间规划。1961年，一群有远见的实业家与哈佛商学院合作创建了一所新学校，专注于发展特定行业来推动印度的发展。行业。 该建筑是野兽派建筑的一个例子。

Brutalism in Britain

英国的野蛮主义

The word Brutalism in relation to architecture was first coined by a Swedish architect, Hans Asplund, to describe a square brick home called the Villa Göth in 1949.According to the architectural photographer Eric de Maré, a number of British architects who visited the Villa Göth, including Michael Ventris and Oliver Cox, picked up on the “New Brutalism” tag and introduced it at home, where, as de Maré wrote, it “spread like wildfire.” Brutalism is still sometimes referred to as New Brutalism for this reason.

与建筑有关的野蛮主义一词最早是由瑞典建筑师汉斯·阿斯普伦德(Hans Asplund)创造的，用于描述1949年的方形砖房，称为哥德别墅。根据建筑摄影师埃里克·德·马雷(Eric deMaré)的说法，许多访问过哥德别墅的英国建筑师包括迈克尔·文特里斯(Michael Ventris)和奥利弗·考克斯(Oliver Cox)在内的人们，都采用了“新野兽派”标签并将其引入家中，正如deMaré所写，它“像野火一样蔓延开来”。 由于这个原因，野兽派有时仍被称为新野兽派。

This was picked up by English architects where the style was further honed by Alison and Peter Smithson. Together they are particularly known for East London’s Robin Hood Gardens council housing complex. Completed in 1972, it was built from precast concrete slabs and though built with the Smithsons’ ideals for ideal living, it never quite lived up to its goals. In 2017 the eastern block was demolished as part of a refurbishment plan. But to show how far Brutalism has come, the Victoria & Albert Museum acquired three stories of the demolished building.

英国建筑师对此进行了挑选，Alison和Peter Smithson进一步磨炼了这种风格。 他们在一起以东伦敦的罗宾汉花园花园议会大厦而闻名。 它于1972年完工，由预制混凝土板建造而成，尽管按照史密森斯人理想生活的理想建造，但从未实现其目标。 作为翻新计划的一部分，2017年，东部街区被拆除。 但是，为了展示野蛮主义已经走了多远，维多利亚和阿尔伯特博物馆获得了这栋被拆除建筑的三个故事。

Alison and Peter Smithson had met as students at Durham University, where they began a lifelong personal and professional relationship. In 1949 they won an architectural competition for their design for the Hunstanton Secondary Modern School (1949–54) in Norfolk, later seen as an exemplar of Brutalist style. Indeed, the two quickly became leaders of the new movement, growing in prominence through their collaborations with artists at the London Institute of Contemporary Arts and as members of Team 10, a group of architects who favored a new vision of urban planning. The Smithsons wrote articles advocating for the use of unfinished concrete, exposed building structures, and inexpensive fabricated materials to create buildings adapted to particular locations. Placing the Brutalist movement within a historical context, they cited the early work of Ludwig Mies van der Rohe, the architecture of Frank Lloyd Wright, and traditional Japanese architecture — which they wrote showed “a reverence for the natural world, and from that, for the materials of the built world” — as influences. Their ideas were informed by the economic and social realities of post-World War Two Britain, which required large-scale rebuilding in many heavily-bombed cities — they described their approach as “make do and mend.”

艾莉森(Alison)和彼得·史密森(Peter Smithson)曾在达勒姆大学(Durham University)读书时相识，并在那里建立了终身的个人和职业关系。 1949年，他们为诺福克郡的汉斯坦顿中学现代学校(1949-54)设计而赢得了一场建筑竞赛，后来被视为野兽派风格的典范。 的确，两人很快成为新运动的领导者，通过与伦敦当代艺术学院艺术家的合作以及作为第10团队成员的团队而日益突出，该团队是一群支持城市规划新视野的建筑师。 Smithsons撰写的文章主张使用未完成的混凝土，裸露的建筑结构和廉价的预制材料来制造适合特定位置的建筑物。 他们将野兽派运动置于历史背景下，引用了路德维希·密斯·凡·德·罗(Ludwig Mies van der Rohe)的早期作品，弗兰克·劳埃德·赖特(Frank Lloyd Wright)的建筑以及传统的日本建筑，他们写道，这表明“对自然世界的崇敬，造物世界的材料” –影响。 他们的想法是从第二次世界大战后英国的经济和社会现实中得知的，这要求在许多炸弹严重的城市中进行大规模重建-他们形容自己的做法是“做事并修补”。

Concrete is used in Brutalist architecture because it is a simple, pliable material which responds to the genuine architectural expression, but still very clear and remarkable once dry. Interestingly, concrete acquires the properties of the mold which it was poured in, and then straightforwardly conveys the honesty, a word commonly used to describe the bare essence of the Brutalist ideology. Honesty was important because of the idea that nothing is “tidied up” or kept hidden beneath the mask. It is what it is — and Brutalist architecture counts on the people who live in it, or work in it, to understand that and to appreciate it.

在野兽派建筑中使用混凝土是因为它是一种简单，易弯曲的材料，可以响应真正的建筑表现，但干燥后仍然非常清晰和引人注目 。 有趣的是，混凝土获得了浇铸模具的特性，然后直接传达了诚实 ，这个词通常用来描述野兽派意识形态的本质。 诚实很重要，因为这样的想法是，“什么都没有整理”或隐藏在面具下。 就是这样 -野兽派建筑依靠居住在其中或在其中工作的人们来理解和欣赏它。

This is also one of the reasons why the word “style” is sometimes avoided, since the general term style somehow seems to downgrade the initial endeavor of Brutalist ideology, which was supposed to take things to a higher level.While this was obviously not the first time concrete was used in architecture, it was the first time that concrete was used for the facade. Before Brutalism, the plain raw material was usually hidden beneath the surface, be it an embellishing floral facade or the one made of steel and glass. Now that the bare concrete was the true protagonist for once, it showed its sculptural qualities, embodying monumentality and achieving formalism, and so the decision could be seen as a sort of truthfulness to the material.

这也是有时避免使用“风格”一词的原因之一，因为通用术语“风格”似乎在某种程度上降低了野兽派意识形态的最初尝试，这本来应该将事情推向更高的水平。第一次将混凝土用于建筑中，这是第一次将混凝土用于外墙。 在野蛮主义之前，普通的原材料通常隐藏在表面之下，无论是装饰性的花卉外墙还是由钢和玻璃制成的外墙。 现在，裸露的混凝土曾经是真正的主角，它展现出了雕塑的品质，体现了纪念性并取得了形式主义，因此该决定可以被视为对材料的一种真实性 。

The Fall of Brutalism

野蛮主义的沦陷

Not only is Brutalism hideous, it is downright hostile! While concrete does indeed allow just any forms imaginable, the easiest tools of any architect are ruler and straightedge — and they also were used. Concrete may be castable, but planks are not easy to bend, and making any other moulds than rectangular is both difficult and expensive. So the results were horrible.

野蛮主义不仅可怕，而且是彻头彻尾的敌对行动！ 虽然混凝土确实的确允许任何可以想象的形式，但是任何建筑师最简单的工具是尺子和直尺-并且也使用了它们。 混凝土可能是可浇铸的，但木板不易弯曲，制造矩形以外的其他模具既困难又昂贵。 因此，结果令人震惊。

In Finland, the Brutalist high rises bear the name derkkukuutio (“GDR Cube”). Brutalism was especially popular in Communist countries, as the Communist power holders quickly saw this style of architecture as subjugating and repressing their subjects into mindless automations — human drones in human hives.

在芬兰， 野兽派高层建筑的名字叫derkkukuutio (“ GDR立方体”)。 残酷主义在共产主义国家特别流行，因为共产主义强权持有者很快将这种建筑风格征服并压制了他们的臣民，使其陷入了无意识的自动化-人类蜂巢中的无人机。

During Soviet times architectural imagination was outlawed, overruled by diabolical logic and practicality. A planner’s goal was to fit as many people into the smallest space possible, in the shortest amount of time. The social consequences of cramming thousands of poor people into a sardine box were ignored. Robbers, rapists, flashers, pick pockets and sunflower seed munching petty thugs lurk the anthill of damp passages and dark corners of its 70 plus floors, and 22 unit breadth of the ”Kvartirni Blok”. A solid steel door and daylight are cherished commodities for the honest, hard working Russians trying to forge ahead in uncertain times. Yet they still prevail while their calculated lifespan has been over for years ago.

在苏联时期，建筑的想象力被取缔，被恶魔般的逻辑和实用性所推翻。 计划者的目标是在尽可能短的时间内使尽可能多的人适应最小的空间。 将成千上万的贫困人口塞入沙丁鱼盒子的社会后果被忽略了。 强盗，强奸犯，闪光灯，采摘口袋和葵花籽咀嚼着小恶棍，掩盖了潮湿的通道和70多个楼层的阴暗角落以及22单位宽度的“ Kvartirni Blok” 。 坚固的钢制门和日光灯是诚实，勤奋的俄罗斯人的珍贵商品，他们试图在不确定的时代进取。 然而，尽管计算寿命已超过数年，但它们仍然占上风。

Brutalism is Atheism concretified: completely soulless, empty and void style of architecture which only professes a machine for living, and protection from the forces of nature, but nothing else. It emanates anomie, aggression and hostility.

野兽派是无神论的具体化：完全没有灵魂，空虚的建筑风格，只不过是一种生存的机器，并受到自然力量的保护，而没有其他东西。 它散发出失范，侵略和敌意。

The social problems of the Brutalist banlieues ought to be known to everyone. The fate of the Pruitt-Igoe complex showed everyone which ought to have been known long time ago: Le Corbusier was the enemy of humankind.

野兽派的社会问题 应该为所有人所熟知。 Pruitt-Igoe建筑群的命运向所有人展示了很久以前就应该知道的一切： 勒·柯布西耶(Le Corbusier)是人类的敌人。

By the 1970s, however, brutalism lost its edge and many of these monolithic, gravity-defying structures (such as Alison and Peter Smithson’s Robin Hood Gardens housing project in East London, which was completed in 1972), were demolished. Concrete doesn’t age well, and just like its weathered aesthetic, the material took on a negative connotation of urban decay and economic failure. “The irony is that Brutalism was born out of utopian idealism. The style’s progenitors — Peter and Alison Smithson, Le Corbusier, Moshe Safdie — shared a commitment to social welfare through architecture.

但是，到1970年代，野蛮主义失去了优势，许多单片的，抗重力的结构(例如1972年在伦敦东区的艾莉森(Alison)和彼得·史密森(Peter Smithson)的罗宾汉花园(Robin Hood Gardens)住房项目被拆除。 混凝土老化不佳，就像其风化的美学一样，这种材料具有城市衰败和经济失败的负面含义。 具有讽刺意味的是，野蛮主义源于乌托邦理想主义。 风格的始祖-彼得和艾莉森·史密森(Peter and Alison Smithson)，勒·柯布西耶(Le Corbusier)，摩西·萨夫迪(Moshe Safdie)，共同致力于通过建筑实现社会福利。

Heading into the 1980s, Brutalism fell out of favor. Part of this was due to the cold and austere nature of the architecture, which was often associated with totalitarianism. Another mark against Brutalism was that the raw concrete used in construction didn’t age well, often showing signs of water damage and decay that brought down the overall aesthetic.

进入1980年代，野兽派失宠了。 部分原因是由于建筑的冷酷和严酷性质，通常与极权主义有关。 反对野蛮主义的另一个标记是，建筑中使用的原始混凝土老化不佳，经常显示出水损坏和腐烂的迹象，从而降低了整体美观性。

People called the reinforced concrete of Brutalism “monstrous,” pointing out that it “does not age gracefully but instead crumbles, stains, and decays.” He blamed Le Corbusier for architects’ love of concrete, stating that a “single one of his buildings, or one inspired by him, could ruin the harmony of an entire townscape.”

人们称野兽派的钢筋混凝土为“可怕的”，并指出其“没有优雅地老化，而是崩溃，变色和腐烂。” 他指责勒·柯布西耶(Le Corbusier)建筑师对混凝土的热爱，并指出“他的一栋建筑或受他启发的一栋建筑可能破坏整个城市景观的和谐。”

Brutalism came to symbolize urban decay and economic hardships that were out in the open for world to see. Raw concrete made the perfect canvas for graffiti artists, whose vandalism only contributed to the decline of these structures. Throughout the 1980s, the style gave way to the High-tech architecture and Deconstructivism that would make way for Post-Modern architecture.

野蛮主义开始象征着城市的衰败和经济困境，这些世界已经公开露面了。 未加工的混凝土为涂鸦艺术家提供了理想的画布，他们的破坏行为仅助长了这些结构的衰落。 在整个1980年代，这种风格被高科技建筑和解构主义所取代，后者将为后现代建筑让路。

A renewed Appreciation for Brutalism

对野蛮主义的重新认识

Over the past 5 years, a new appreciation for Brutalism has emerged. I noticed more and more interest in brutalist architecture,” People are excited about it and loved the graphic quality of it. The hashtag #brutalism has over 500,000 images and conservation groups are increasingly trying to save examples of Brutalism, which are all too often demolished without a second thought.

在过去的五年中，人们对野蛮主义有了新的认识。 我注意到人们对野兽派建筑越来越感兴趣，”人们对此感到兴奋，并喜欢它的图形质量。 标签#brutalism拥有超过500,000张图像，并且保护组织越来越多地试图保存残酷主义的例子，而这些例子经常被人们不加思索地拆除。

No one knows exactly why Brutalism has become fashionable once again, Brutalism is the techno music of architecture, stark and menacing. Brutalist buildings are expensive to maintain and difficult to destroy. They can’t be easily remodeled or changed, so they tend to stay the way the architect intended. Maybe the movement has come roaring back into style because permanence is particularly attractive in our chaotic and crumbling world.”

没有人确切知道为什么野兽派再次流行起来，野兽派是建筑，鲜明和险恶的技术音乐。 野兽派建筑维护昂贵且难以销毁。 它们无法轻松地进行重塑或更改，因此它们倾向于遵循建筑师的意图。 也许运动已经重新流行起来了，因为在我们这个混乱而崩溃的世界中，持久性特别有吸引力。”

The new generation does not find Brutalist buildings ugly at all. Some architects, such as the Japanese Tadao Ando, use concrete extensively even today, emphasizing all of its inherent qualities.It Could be that Brutalism simply came too early, and that people weren’t ready for the new concept of “brutal” honesty in architecture?

新一代完全没有发现野兽派的建筑丑陋。 一些建筑师，例如日本的安藤忠雄(Tadao Ando)，甚至在今天仍然广泛使用混凝土，强调其所有固有的品质。可能是野蛮主义来得太早了，人们还没有为新的“野蛮”诚实概念做好准备。建筑？

In more recent years, a new appreciation for brutalism has emerged, and design experts suggest that in today’s digital world, brutalism’s graphic, angular nature plays well with social media, which tends to favor striking visuals. More philosophically, these same experts speculate whether this new appreciation has also grown out of a desire for more permanence in this rapidly changing — if not chaotic — world.

近年来，人们对野兽派有了新的认识，设计专家建议，在当今的数字世界中，野兽派的图形，棱角分明的性质在社交媒体中发挥了很好的作用，而社交媒体倾向于青睐醒目的视觉效果。 从哲理上讲，这些专家推测这种新的升值是否也源于在这个瞬息万变的(即使不是混乱的)世界中渴望更持久的愿望。

Advocates for the preservation of brutalist architecture say that this often misunderstood style should be a reminder of a time when governments invested in civic spaces — public housing, libraries, city halls — that are lacking today. Brutalism then, as it is now, remains one of the most polarizing design movements in history, and it seems here to stay in some form or another.

主张保留野兽派建筑的拥护者说，这种经常被误解的风格应该提醒人们，当时政府投资于缺乏公共空间(公共住房，图书馆，市政厅)。 当时，野兽派仍然是历史上最具两极分化的设计运动之一，在这里似乎以某种形式存在着。

The Contemporary Applications

当代应用

Today, we’re seeing brutalist furniture emerge through statement pieces that can blend into a variety of design styles. The look is most commonly manifested in lighting and wall sculptures, but you can find a variety of vintage and contemporary consoles, sideboards, and armoires that exhibit characteristics of brutalism. Cast concrete furniture is another raw yet sophisticated way to bring this look into your own space. “It is a diverse material which can be shaped and molded into intricate designs which is why it is so popular today,” Or, if not the material itself, the look and feel of concrete. “Today, elements of the design style are being brought into the home through color, furniture and accessories. Cool concrete grays tones are being balanced with warm brass and tan shades,” The look of concrete is sleek and modern but has this variation and imperfection in color that is widely appealing,”.

今天，我们看到野兽派家具通过可融入各种设计风格的个性宣言而出现。 外观最常体现在照明和墙壁雕塑中，但是您可以找到各种具有野兽派特征的老式和现代控制台，餐具柜和衣橱。 铸造混凝土家具是将这种外观带入您自己的空间的另一种原始而精致的方法。 “它是一种多样化的材料，可以成型和模制成复杂的设计，这就是为什么今天如此流行的原因。”或者，如果不是材料本身，则是混凝土的外观和感觉。 如今，设计风格的元素已通过色彩，家具和配件带入了家中。 凉爽的混凝土灰色调与温暖的黄铜和棕褐色调相平衡，“混凝土的外观圆滑而现代，但这种变化和不完美的颜色非常吸引人。”

They say that trends are circular and what’s old becomes new again. This is true for fashion, music, and art. In the case of architecture, there’s no architectural style that exemplifies this principle better than Brutalism. From the mid-20th century, this style rose in popularity before reaching its peak in the mid-1970s, when it came crashing down as a model of bad taste. But that’s all changing now, with a renewed interest and appreciation for this once derided architectural style.

嘿，趋势是循环的，旧的变成了新的。 时尚，音乐和艺术都是如此。 就建筑而言，没有任何一种建筑风格能比野兽派更好地体现这一原则。 从20世纪中叶开始，这种款式开始流行，直到1970年代中期达到顶峰，当时它以不良品味的典范而崩溃。 但这一切现在都在改变，人们对这种曾经被嘲笑的建筑风格重新产生了兴趣和欣赏。

Known for its use of functional reinforced concrete and steel, modular elements, and utilitarian feel, Brutalist architecture was primarily used for institutional buildings. Imposing and geometric, Brutalist buildings have a graphic quality that is part of what makes them so appealing today. The word Brutalist doesn’t come from the architecture’s fortress-like stature, but from the raw concrete its often made from — béton brut.

野蛮建筑以其功能性的钢筋混凝土和钢材的使用，模块化的元素以及功利感而闻名，主要用于机构建筑。 富丽堂皇的野兽派建筑具有图形化的品质，这是今天使其如此吸引人的部分原因。 野兽派这个词不是来自建筑的堡垒般的身材，而是来自通常由bétonbrut制成的混凝土。

Associated with schools, churches, libraries, theaters, and social housing projects, Brutalism is often intertwined with 20th-century urban theory that looked toward socialist ideals. With the need for construction after World War II, Brutalism took hold around the world, but particularly in the UK and Eastern European Communist countries, where it was sometimes used to create a new national socialist architecture.

残酷主义与学校，教堂，图书馆，剧院和社会住房计划相关联，通常与20世纪的城市理论交织在一起，后者关注社会主义理想。 由于第二次世界大战后对建筑的需求，野蛮主义在世界范围内流行开来，尤其是在英国和东欧共产主义国家，有时被用来创建新的国家社会主义建筑。

A number of contemporary architects, including Peter Zumthor, Tadao Ando, Daniel Libeskind, Tadao Ando and the late Zaha Hadid have created Brutalist-influenced works, while others, including Jurgen Mayer Hermann, known as J Mayer H, have been described as “quasi-Brutalist.” In 2015 the Swedish artist Olafur Eliasson cast massive chunks of glacial ice in concrete to create sculptures and, subsequently, developed a building design for Illulissat Icefjord Park in Greenland. The installation A Clockwork Jerusalem (2014), at the 2014 Venice Biennale, included a central circular mound of earth taken from the manmade hill at Robin Hood Gardens, in homage to the Smithsons’ vast, now largely demolished Brutalist housing estate in East London. Noted architects of the Brutalist movement, particularly Le Corbusier and Louis Kahn, have extensively influenced subsequent architecture, while Moshe Safdie, one of the world’s leading architects, has continued to create innovative designs influenced by Brutalism, such as his Altair Towers in Sri Lanka.

包括彼得·祖姆索(Peter Zumthor)，安藤忠雄(Tadao Ando)，丹尼尔·里伯斯金(Daniel Libeskind)，安藤忠雄(Tadao Ando)和已故的扎哈·哈迪德(Zaha Hadid)在内的许多当代建筑师创造了受到野兽派影响的作品，而其他人，包括尤尔·梅耶·赫尔曼(Jurgen Mayer Hermann)，被称为J Mayer H，则被描述为“准”。 -野蛮主义者。” 2015年，瑞典艺术家奥拉维尔·埃里亚森(Olafur Eliasson)在混凝土中浇铸了大块冰川冰，以制作雕塑，随后为格陵兰岛伊卢利萨特(Illulissat Icefjord)公园开发了建筑设计。 2014年威尼斯双年展上的装置《发条耶路撒冷》(2014年)包括一个中央圆形的土丘，取自罗宾汉花园的人造山丘，以向史密森一家在伦敦东部现已大面积拆除的野兽派住宅区致敬。 野蛮运动的著名建筑师，特别是勒·柯布西耶和路易斯·卡恩，对以后的建筑产生了广泛的影响，而世界领先的建筑师之一摩西·萨夫迪则继续创作受到野蛮主义影响的创新设计，例如他在斯里兰卡的Altair塔。