A presente dissertação de mestrado busca reconhecer e analisar a arquitetura bancária do Rio Grande do Sul – destacadamente de Porto Alegre –, influenciada pelo que se convencionou como Brutalismo; uma produção que se concentrou nos anos setenta, mas atingiu parcialmente as décadas adjacentes. Entre as características próprias desta vertente, destacam-se a franca exposição do concreto aparente, a monumentalização da estrutura como geratriz da forma e o alto teor artesanal presente – tanto no projeto quanto na execução dessas edificações –. Merece destaque, também, a contraposição existente entre essa última característica apontada e a ênfase freqüente na industrialização e nos seus respectivos componentes seriais. O trabalho ainda investiga algumas questões-chave do Brutalismo, pertinentes à categorização da produção local. Contextualiza a experiência como parte do fenômeno da expansão bancária em âmbito nacional, examinando a evolução das edificações específicas do programa dentro do contexto mais amplo de manifestações influenciadas pelo Brutalismo na capital gaúcha. E procura estabelecer um balanço da experiência, analisando as principais influências externas detectáveis e os desdobramentos autóctones desta produção. / This dissertation aims to recognize and to analyze the banking architecture in Rio Grande do Sul - notably in Porto Alegre - characterized by the influence of what is known as Brutalism. This production was concentrated in the seventies, but partially reached the adjacent decades. Among the common characteristics attributed to this banking architecture, it’s important to highlight the exposure of raw concrete, the monumentalized structure as the main generator of the form and the high artisanal level present – both in design and in execution of these buildings –. Deserves mention as well the existing contrast between the last feature pointed and the frequent emphasis on industrialization and on its respective standard components. The paper also investigates some key-issues of Brutalism, relevant to the categorization of local production. Besides, it contextualizes this experience as a part of the bank expansion phenomenon nationwide, examining the evolution of the specific building program within the broader context of events influenced by Brutalism in Porto Alegre. And finally, this dissertation seeks to establish a balance of the local experience, analyzing the main detectable external influences and native developments of the production.

A presente dissertação de mestrado busca reconhecer e analisar a arquitetura bancária do Rio Grande do Sul – destacadamente de Porto Alegre –, influenciada pelo que se convencionou como Brutalismo; uma produção que se concentrou nos anos setenta, mas atingiu parcialmente as décadas adjacentes. Entre as características próprias desta vertente, destacam-se a franca exposição do concreto aparente, a monumentalização da estrutura como geratriz da forma e o alto teor artesanal presente – tanto no projeto quanto na execução dessas edificações –. Merece destaque, também, a contraposição existente entre essa última característica apontada e a ênfase freqüente na industrialização e nos seus respectivos componentes seriais. O trabalho ainda investiga algumas questões-chave do Brutalismo, pertinentes à categorização da produção local. Contextualiza a experiência como parte do fenômeno da expansão bancária em âmbito nacional, examinando a evolução das edificações específicas do programa dentro do contexto mais amplo de manifestações influenciadas pelo Brutalismo na capital gaúcha. E procura estabelecer um balanço da experiência, analisando as principais influências externas detectáveis e os desdobramentos autóctones desta produção. / This dissertation aims to recognize and to analyze the banking architecture in Rio Grande do Sul - notably in Porto Alegre - characterized by the influence of what is known as Brutalism. This production was concentrated in the seventies, but partially reached the adjacent decades. Among the common characteristics attributed to this banking architecture, it’s important to highlight the exposure of raw concrete, the monumentalized structure as the main generator of the form and the high artisanal level present – both in design and in execution of these buildings –. Deserves mention as well the existing contrast between the last feature pointed and the frequent emphasis on industrialization and on its respective standard components. The paper also investigates some key-issues of Brutalism, relevant to the categorization of local production. Besides, it contextualizes this experience as a part of the bank expansion phenomenon nationwide, examining the evolution of the specific building program within the broader context of events influenced by Brutalism in Porto Alegre. And finally, this dissertation seeks to establish a balance of the local experience, analyzing the main detectable external influences and native developments of the production.

A presente dissertação de mestrado busca reconhecer e analisar a arquitetura bancária do Rio Grande do Sul – destacadamente de Porto Alegre –, influenciada pelo que se convencionou como Brutalismo; uma produção que se concentrou nos anos setenta, mas atingiu parcialmente as décadas adjacentes. Entre as características próprias desta vertente, destacam-se a franca exposição do concreto aparente, a monumentalização da estrutura como geratriz da forma e o alto teor artesanal presente – tanto no projeto quanto na execução dessas edificações –. Merece destaque, também, a contraposição existente entre essa última característica apontada e a ênfase freqüente na industrialização e nos seus respectivos componentes seriais. O trabalho ainda investiga algumas questões-chave do Brutalismo, pertinentes à categorização da produção local. Contextualiza a experiência como parte do fenômeno da expansão bancária em âmbito nacional, examinando a evolução das edificações específicas do programa dentro do contexto mais amplo de manifestações influenciadas pelo Brutalismo na capital gaúcha. E procura estabelecer um balanço da experiência, analisando as principais influências externas detectáveis e os desdobramentos autóctones desta produção. / This dissertation aims to recognize and to analyze the banking architecture in Rio Grande do Sul - notably in Porto Alegre - characterized by the influence of what is known as Brutalism. This production was concentrated in the seventies, but partially reached the adjacent decades. Among the common characteristics attributed to this banking architecture, it’s important to highlight the exposure of raw concrete, the monumentalized structure as the main generator of the form and the high artisanal level present – both in design and in execution of these buildings –. Deserves mention as well the existing contrast between the last feature pointed and the frequent emphasis on industrialization and on its respective standard components. The paper also investigates some key-issues of Brutalism, relevant to the categorization of local production. Besides, it contextualizes this experience as a part of the bank expansion phenomenon nationwide, examining the evolution of the specific building program within the broader context of events influenced by Brutalism in Porto Alegre. And finally, this dissertation seeks to establish a balance of the local experience, analyzing the main detectable external influences and native developments of the production.

\"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

Concrete is the work, which sets its goal to make connection between digital game and interactive art. Visuals of the work rely on brutalism architecture. Game mechanics is based on options offered by the aesthetics of the architecture. Visual content has been created within game engine Unity and it is controlled thru the custom controller. The controller is based on mechanics of the Rubik's cube. Visually it is adapted to the content of the work. The work is presented as a working prototype.

Wood is often perceived as a flawed material. When painted, technologically treated or sealed, in a pursuit to make it more predictable and durable, some of its most important qualities are mislaid. This project explores the aesthetic, material and constructional possibilities of wood, and suggests the possibility of a wood brutalism architecture. The project includes a written manifesto for the benefits of wood in the human habitat, proposes a CO₂ based economic strategy for our built environment and promotes massive wood buildings as our carbon savings account. To find out what a wood brutalism of today might be, the project includes an analysis of the relationship between the material concrete, Betón-brut and the zeitgeist of the 60´s and 70´s. In the application of the manifesto and Bois-brut on a case study housing project in Östberga, Stockholm, the Trellick tower has acted as a brutalist mirror reference. Vernacular timber buildings have provided clues in the search for the essence of wood.

Brutalist architecture, popularized in Britain in the late 1950s and heralded as a progressive form of Modernism in the United States until the 1970s, now presents a conundrum to preservationists as it ages. Once critically acclaimed, many Brutalist buildings have lost their appeal over time. The unpolished materials have proven unpopular with many who live and work in these structures, and key examples of the style are now facing demolition. Though “Brutalism” has become a nebulous architectural designation in the preservation community, this paper focuses on a specific subset of late Modernist architecture that primarily utilizes unfinished concrete to promote the philosophy of material truth and unapologetic permanence. While artistry of form and overall functionality affect preservation of Brutalist buildings in the United States, an important factor in the decision to demolish is often overlooked: the interplay of public opinion with critical acclaim, both in the past and within current architectural climates. This project examines the Brutalist approach to architecture and chronicles the shifts in critical and public perspective of several key case studies, focusing on university structures (the Yale Art and Architecture Building, Harry Ransom Center, and the University of Texas School of Nursing), theaters (Morris Mechanic Theater and Alley Theater), and civic buildings (Orange County Government Center, Boston City Hall, and Prentice Women’s Hospital). Understanding how and why shifts in opinion took place is critical in making informed preservation decisions about Brutalist architecture. / text

Consacrer une recherche monographique à un architecte vivant est un exercice d’autant plus ardu que Claude Parent (né en 1923) œuvra à se mettre en scène, autant dans son travail qu’à travers son activité de critique. Le regard historien le plus détaché ne peut être totalement neutre face à des réalisations souvent peu patinées par la mémoire, bien que parfois déjà patrimonialisées. C’est peut-être le moins volontaire des paradoxes que Claude Parent aima à construire autour de sa personne. À travers ses très nombreux écrits, il se construit un personnage de scandale et, pour cela, s’est tôt présenté comme marginalisé par la profession. Il se revendiqua néanmoins « homme de chantier », humble devant la force de l’acte architectural. Cette étude se situe dans le genre consacré de la monographie. Celui-ci est cependant revisité par un croisement avec l’étude des acteurs de la profession d’architecte à l’époque où Claude Parent en débat publiquement, avec l’analyse des structures de maîtrise d’ouvrage et de maîtrise d’œuvre, et avec l’étude des politiques d’urbanisme dans lesquelles l'architecte inscrit ses réalisations autant que ses spéculations théoriques. Cette recherche s’attarde aussi sur la complexité des rapports normatifs que la critique architecturale entretient avec les pratiques projectuelles et constructives. Claude Parent s’étant pensé autant en architecte qu’en homme de médias, sa stature professionnelle et publique composite, ainsi que son regard sur l’époque, non moins complexe, éclairent particulièrement bien les décennies 1950-1990, encore peu étudiées en histoire de l’architecture / To dedicate a monographic research to an alive architect is a difficult exercise, particularly since Claude Parent (born in 1923) himself contributed to his own myth-making, as much in his work as through his activity as a critic. The most detached historian outlook cannot be totally neutral in front of buildings often little skated by memory, although sometimes already considered like « heritage ». It is maybe the least voluntary paradoxe which Claude Parent liked to build around his person. Through his numerous articles, he builds himself a character of scandal and, because of this, was somewhat marginalized by the profession. He claimed to be nevertheless a « man of construction », humble in front of the strength of the architectural act. This study follows the general practice of the monography. It is however revisited through the study of the actors of the architectural profession when Claude Parent debated publicly the subject, with the analysis of the commissioners and architects, and with the study of the urban politics in which the architect places his buildings and his theoretical speculations. This research also questions the complexity of the normative relationships which architectural criticism entertains with design and constructive practices. Claude Parent considers himself like an architect as well as a man of medias. His professional, public and composite stature, as well as his outlook on the period, more complex, shed light on the decades 1950-1990, still little studied in the history of architecture

Som del av Miljonprogrammet uppfördes under 1960–70-taleten del bostadsområden med anpassbara bostäder byggda med byggsystemet Skarne66. Detta innebar att flyttbara väggelement möjliggjorde förändring av bostädernas planlösningar. Denna inbyggda möjlighet till förändring skapar idag ett dilemma för kulturvårdens bevarandepraktiker som traditionellt sätt ägnat sig åt att bevara ett originalskick. Studiens syfte är därav att undersöka vilka tankar som låg till grund för uppförandet av 1960–70-talets anpassbara bostäder. Och arbetet ämnar besvara frågeställningen om dagens bevarandepraktiker står i motsättning till 1960–70- talens arkitekturteorier? Metoderna som tillämpas för att ta reda på detta är litteraturstudier, intervjuer samt en fallstudie av bostadsområdet Västra Orminge i Nacka. Resultaten visar att tongivande tankar vid uppförandet var rationalisering, funktionalitet och boendeinflytande. Anpassbarheten visade sig utnyttjas främst vid förändring i familjekonstellationer, och funktionen att montera ner väggelement finns kvar och brukas i viss utsträckning än idag. Utifrån tankarna bakom uppförandet diskuteras hur ett bevarande av de anpassbara bostäderna bör utföras. För att utröna detta analyseras hur Dean Sullys förklaringsmodell gällande materialfokuserat, värdefokuserat respektive människofokuserat förhållningssätt står i relation till bevarande av anpassbara bostäder. Slutsatser som dras är att ett traditionellt materialfokuserat förhållningssätt till bevarande inte är kompatibelt med 1960–70-talets anpassbara bostäder. Ett förslag som grundas i det undersökta materialet är att ett ”funktionalistiskt förhållningssätt” skulle vara ett alternativ för denna typ av bostäder. / As a part of the Swedish Million Programme during the 1960-70s some residential areas were constructed with movable inner walls using a construction system called Skarne 66. In other words, they built flexible housing. The built-in function of change brings a dilemma to the conservation/cultural heritage field who ́s priorities for a long time has been to conserve objects in their original state. The purpose of this study is therefore to examine which thoughts laid the foundation to the 1960-70s flexible housing. The study aims to answer the question if today’s conservation practices stand in opposition to the 1960-70s architectural theories. The methods used to answer this question is literature study, interviews and a case study of the residential area called Västra Orminge in Nacka. The results show that influential theories during the time period was rationalization, functionality and residential influence. The flexibility was shown to mainly be used when family constellations changed. The function to dismantle the movable walls is still functional and used to some extent to this day. Then there is a discussion about how flexible housing should be conserved, with the influential theories from the 1960-70s as a backdrop. To find out how it should be done Dean Sully ́s explanatory model about materials-based, values-based, and peoples-based approach to conservation stands in relation to conservation of flexible housing. Conclusions drawn from this is that the more traditional approach to conservation, material-based, is not compatible with the flexible housing of the 1960-70s. A suggestion based on the examined literature is that a “functionalistic approach” could be an option when dealing with flexible housing.

The University of Massachusetts Amherst, the Commonwealth’s flagship campus, is home to several Brutalist buildings. Similar to other buildings of this genre, they have gone unrecognized for their importance to the campus and their prominent architectural significance. Additionally, due to the ravages of close to 50 years of exposure coupled with limited maintenance and, in some instances, neglect they are now at a point where restorative maintenance is critical in ensuring their future contribution to the campus. This thesis addresses the importance of creating a comprehensive, long-term plan for these buildings, by first looking to the University’s most prominent, yet neglected building, the Fine Arts Center designed by Pritzker Prize-winning architect Kevin Roche. The research and design hereafter is an attempt to address the current limitations that exist in relation to the building and to address necessary changes that pertain to the revitalization of the building to meet current University needs. A thorough investigation into best practices for concrete repair, cleaning, and protection are explored, as well as possible design interventions that may be implemented in the future. These design interventions aim to benefit the overall conservation of the building as well as maintain a sensitivity to the architect’s original design intentions. This thesis analyzes past design interventions that have been made, which lacked a sensitivity to the original design, and how this has had a negative impact on the building. Architectural explorations as part of this thesis are used to develop a framework for design thinking and to create a model approach. Investigations into necessary upgrades and alterations to meet current code requirements such as accessibility, fire safety, and energy use are all considered. These explorations are meant to merge into specific guidelines which can then become part of a long-term comprehensive plan. This thesis demonstrates that creating a comprehensive plan with a set of conservation protocols as well as architectural design guidelines will help ensure the building's future on the campus. It also serves as an argument that architectural design considerations play a larger role in the context of conservation. This thesis aims to serve as a case study for other buildings on the University of Massachusetts Amherst campus, as well as other campuses around the United States and beyond. This study can be seen as a proactive measure to further prevent deferred maintenance and negate the use of unsuitable conservation methods through exigent repairs. It also serves as a means of preventing unsuitable design interventions, which ultimately compromise the building of its significance and authenticity.