Vi behöver platser där vi inte hela tiden kan vara på andra ställen. Gränsen mellan ute och inne, mellan här och där behöver inte alltid suddas ut. Vi kan må bra av att förstärka den ibland. Att inte hela tiden kunna välja. Restaurangen ska vara en plats där man kan fokusera på maten, på sitt sällskap. Inte vara någon annanstans. Inte hålla på med något annat. WIFI fritt vore fint. Rummet är kyrkligt med sin tunga betong och ljus från ovan samt indirekt från innergården. Långbord för att möta andra. Möbler i trä. Annars betong och så mjölkvita fönster ut mot innergården. Dubbeltakhöjd. Skalar man bort distraktioner så hamnar fokuset på det som är kvar alltså sällskapet och maten. Innergården är viktig och ska erbjuda vandrarhemsgästerna samt restaurangbesökarna en avskild plats utomhus. En plats skild från huset och skild i från Mariefred. Få material. Betong, Glas, Grus och Björkar. En trappa leder ner till en plan där man kan sitta på stolar vid bord eller på trappstegen. Glaspartierna släpper här igenom ljus inifrån byggnaden men erbjuder mer privat atmosfär än om det vore genomskinligt. Tänker mig att det kan bli väldigt fint på natten när baren och restaurangen alstrar mycket ljus. Kanske i olika färger. I sovsalarna är det framförallt avskalat. Det är sängar på höjden. Knirr och knarr. Snarkande och hostande. Ett stort fönster med sittplats. Fönstret är viktigt inte bara för utsikten utan för att ge de boende information om hur de ska förbereda sig för att gå ut. Betong och trä. Ett handfat, klädskåp som på simhall. Ett bord och bänk.  I korridorerna är det betong, takfönster, och fokus på rörelse till rum på övre plan. På undre kommer har man kopplingen till innergården. Som en Finlandsbåt fast fint. Man är som på väg till sin hytt. Jag känner att Mariefred kräver fler material, byggnadstyper för att  kännas tillgänglig, tolerant och öppen och den behöver rum där man kan dra sig undan från staden själv. Platser som skiljer sig från det övriga. Som tilltalar andra. Kanske inte majoriteten men det är inte poängen. / We need places where we don’t have the option to be in another place. The boundary between inside and outside, between here and there do not always have to be erased. We might as well strengthenit  sometimes. Not have to choose all the time. The restaurant should be a place where you can focus on the food, on your companion. Not to be elsewhere. To not be occupied with anything else. WIFI free would be nice. The room is like a church with its heavy concrete and light from above and indirectly from the courtyard. Long table for meeting others. Wooden furniture. Otherwise, concrete and so milky white windows facing the courtyard. Double ceiling height. If you remove distractions you increase the focus on what is left, the party and the food. The courtyard is important and should offer hostel guests and restaurant visitors a secluded spot outdoors. A place separate from the house and Mariefred. Few materials. Concrete, Glass, Gravel and birches. A staircase leads down to a level where you can sit on chairs at tables or on the steps. The glazed sections lets the light  through from inside the building but offers more private atmosphere than if it were transparent. I Imagine that this could be very nice at night when the bar and restaurant produces very bright light. Perhaps in different colors.  In the dorms, it is mainly unadorned. There are beds in stacks. Knirr and squeaks. Snoring and coughing. A large window seat. The window is important not only for the view but to give residents information about how to prepare to go out. Concrete and wood. A sink, cupboards as the indoor swimming pool. A table and bench. In the corridors it is concrete, skylights, and a focus on operating the rooms on the upper floor. At the bottom will have the link to the courtyard. As an a ferry. You are on your way to your cabin. I feel that Mariefred require more materials, building types to feel accessible, tolerant and open, and it needs room where you can pull away from the town itself. Places that are different from the other. That appeals to others. Maybe not the majority but that's not the point.

This thesis analyzes the Brutalist Campus and its context within the collegiate environment of the 1950s-1970s. It first defines the significance of the nation-wide phenomenon by examining its social and physical characteristics. A primary case study, SUNY Old Westbury, is then analyzed under a historic preservation perspective to determine the primary preservation dilemma of the campuses: incorporation or modification of elements within the dense, concrete-heavy environment that does not break the fluidity or movement of the holistic, interconnected nature of Brutalist design. The primary preservation dilemma is broken down into its related issues and uses both the primary and supportive case studies as evidence. From the analysis, a set of processes is proposed for management of the Brutalist campus.

Between the late 1940s and the 1970s, the New Brutalism attempted to establish an ethical architecture befitting post-World War II Britain. For this reason, it became a popular style for public buildings, including social housing. Brutalist social housing estates were conceived by progressive post-war architects to house Britain’s neediest. Through an analysis of the utopian roots of Brutalism and the decline of the style and its ethic in scholarship and popular culture, I analyze the current redevelopment of three seminal Brutalist housing estates and the rediscovery of the Brutalist aesthetic by contemporary scholars and consumers alike. In this thesis, I argue that due to multiple factors, including a housing shortage across Britain, rising real-estate values and a general consumer interest in mid-century design, these estates are undergoing such regenerations. My thesis enhances our understanding of how social and political influences have shaped post-war British social housing up to the present.

We study the Embassy building of the Czechoslovak Socialist Republic, which received the 1971 Award of the Royal Institute of British Architects for the best newly completed building in London. We examine the building from an architectural point of view and chart its construction; we also place it in the broader context of Czech architecture built in the 60's to represent the State abroad. The main body of work in this context consists of the series of embassies designed by the circle of architects associated with Karel Filsak and Jan Šrámek. Today, these buildings are considered to be some of the finest examples of Czechoslovak architecture of that era. Given the Architecture Award bestowed on the Embassy, we also consider the building within the context of British architecture of the day. We chart the development of New Brutalism, defined as the style pioneered by the group of artists associated with Alice and Peter Smithsons, and we investigate the influence the New Brutalism had on the recipients of the RIBAAwards in the years 1965-1971. We find British as well as foreign influences in these buildings, drawing comparisons with the Embassy building. Keywords architecture, representation, embassy, 20th century, sixties, brutalism, London, Great Britain, The Royal Institute of British Architects...

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I denna stuide har Floragatan 13 observerats, för att se om långtråkighet kan ha en intim relation med arkitektur i förhållandet till tid. Om långtråkighet har förankring i byggnadens materiella och dess egenskaper, att arkitektur är bränslet till bomben. Floragatan 13, (1972) Stockholm, en byggnad mot bakgrund av vad som kan anses företräda en betongbrutalistisk byggnad i Sverige. Studien är genomförd ur ett begreppsperspektiv, en litteraturläsning och tillämpar den filosofiska inriktningen fenomenologi som metod och teori. Tonvikten ligger på upplevelseaspekten av den valda byggnaden, där fantasin och känslor använts som verktyg utifrån Martin Heideggers fenomenologiska teori; det poetiska mätandet och begreppet tid har används som en expanderande förståelsehorisont. En semantisk begreppsanalys samverkade med arkitekturanalysen och undersökningen har drivits där de olika studiefaserna har upplyst och influerat varandra i en gradvis kunskapsutveckling och där empiri och teori har analyserats och förenats. Dessa delar ger inte ensam en fullständig beskrivning om en byggnad kan uttrycka långtråkighet men man kan närma sig vad som omfamnar "långtråkighetens estetik" och byggnadens "väsen". / In this study, Floragatan 13 has been observed, to see if boredom can have an intimate relationship with architecture in relation to time. If boredom is rooted in the materiality of the building and its characteristics, that architecture is the fuel for the bomb. Floragatan 13, (1972) Stockholm, a building against the background of what can be considered to represent a concrete brutalist building in Sweden. The study is conducted from a conceptual perspective, a literature reading and applies the philosophical orientation of phenomenology as method and theory. The emphasis is on the experiential aspect of the chosen building, where the imagination and emotions have been used as tools based on Martin Heidegger's phenomenological theory; the poetic measurement and the concept of time have been used as an expanding horizon of understanding. A semantic conceptual analysis interacted with the architectural analysis and the investigation has been conducted where the different study phases have enlightened and influenced each other in a gradual development of knowledge and where empiricism and theory have been analyzed and united. These elements alone do not provide a complete description of whether a building can express boredom but one can approach what embraces the "aesthetics of boredom" and the "essence" of the building.

Thesis (Ph. D.)--University of Chicago, Dept. of Art History, March 2003. / Includes bibliographical references. Also available on the Internet.

The thesis focuses on the icons of the czech brutalism who are nowadays often a subject of discussion. It aims to provide coherent outlook to the reader, not just a technical description of the building but more so the process of its construction from the idea on the paper to the its final state. It observes how the views have been transformed and the perspective of the public, which is oftentimes dimmed by the stigma of the era in which these buildings were created. The goal of this thesis is to extend the knowledge about qualities of the brutalist architecture among younger generation so they could make better judgement of what will happen to these buildings in the future. For this purpose there is a didactic elaboration that will introduce brutalism to the high school students. KEYWORDS architecture, 20th century architecture, brutalism, architecture in education

\"A Modernidade em Hans Broos\" é um estudo que parte da obra alemã e brasileira do arquiteto Hans Broos (1921), compreendida entre fins da década de 1940 e os anos 1970. O cenário alemão pós-guerra torna-se contexto chave, onde o arquiteto reúne densa formação teórica e prática, e experiências que conformarão o cerne de seu fazer arquitetônico. À formação ampla e diversificada junta-se o desejo de contextualizar suas propostas no ambiente brasileiro, quando aqui chega no início da década de 1950. Este encontro inicial com a arquitetura da Escola Carioca resultará especialmente fértil, maduro e complexo quando o arquiteto assimila os pressupostos gerais do Brutalismo Paulista, que se mesclam às referências que o mantém atrelado à experiência alemã. O objetivo da tese é demonstrar o quanto sua arquitetura brutalista mantém-se afinada aos pressupostos de sua formação, seja pela via teórica e indireta, seja pelo exemplo direto do trabalho do mestre Egon Eiermann. A partir de referências múltiplas, também sua obra ajudará a compor o cenário multifário do Brutalismo Paulista nos anos 1960 e 1970. / \"Modernity in Hans Broos\" is a study developed from the analysis of the german and brazilian works by architect Hans Broos, between the late 1940s and the 1970s. The postwar german situation is the key context, in which the architect gathers a dense theorical and practical background, and experiences that will form the core of his architectural practice. To this broad and diverse background, he adds the desire of contextualizing his work to the brazilian environment, when arriving here in the early 1950s. This primary encounter with the brazilian architecture of the Carioca School will prove specially fertile, mature and complex when the architect assimilates the main concepts of the Paulista Brutalism, which are bound to the references he attains to his german experience. The focus of the thesis is to show in what dimension his brutalist architecture is aligned to his background\'s concepts, wether by the theoric and indirect way, or by the direct example of the works of master Egon Eiermann. From multiple references, Hans Broos\'s work will also cope with the multifaceted scenario of 1960s and 1970s Paulista Brutalism. Keywords: Hans Broos, Post-World-War-II german architecture, Paulista Brutalism

Confronted with issues, whose (socioeconomic) causes cannot be resolved through the modification of the built environment, architectural interventions may often inadvertently aid the reproduction of the problems they seek to resolve. In eliminating symptoms of social inequality, alienation and marginalization, architecture can legitimize the social order out of which they arise. In such situations, architects’ attempts to concern themselves with narrowly practical concerns are insufficient even to their own aims, and in order to properly address the issues facing it, architecture must simultaneously operate as a vehicle for social critique and political emancipation. In the work of philosopher Slavoj Žižek, a critical-emancipatory intervention corresponds to an emphasis of a constitutive tension and discord (“the gap”) within what is commonly perceived as a stable, neutral background. Critique strives not to explicitly reveal existing problems. Instead, it reveals an inherent inconsistency within an implicit, ideological fantasy of order and harmony that allows us to naturalize these problems. Consequently, the critical-emancipatory potential of architecture resides not in its programmatic content nor in its representational image, but in its capacity to disrupt the reassuring affective texture of ideology. Critique resides in a formally subtle (concerning architecture in its narrowest definition as an affective structure), yet politically radical shift in how problems of everyday life are interpreted and processed; re-introducing a minimal sense of disquietude that is both critical and emancipatory. The disquietude, that marks an absence of a fantasy of order and harmony, can, paradoxically, only be sustained as a product of a formally (representationally) ordered and harmonious appearance. The critical-emancipatory disquietude is not a compromise of the order and harmony, but rather a reflection of its uncompromisingly egalitarian nature.