
Ray Eames used to say that things that work are better than things that are beautiful because things that work remain beautiful. And it seems that, albeit in a different cultural context, it is this conviction that has given rise to Brutalism, an architectural movement that spread through Europe and then around the world since the 1950s onwards, at a time of disorientation and transition when Mankind, wounded by war, was rising up to refound the culture of building: no longer the pure lines of the Modern Movement but an approach that privileges ethics over aesthetics, that embraces spontaneity and intentional roughness as a manifesto of blunt and anti-rhetorical functionalism.
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