Brutalism will never happen again. Our stock of Brutalism is limited, and sadly under constant attack. The demolition and ‘refurbishment’ of great buildings by Rudolph, I M Pei, Denys Lasdun and other giants of the movement should be taken as seriously as would the loss of buildings by Donato Bramante, Christopher Wren or Frank Lloyd Wright. Brutalism deserves far better than the wrecker’s ball: it was the pinnacle of world architecture through all of history. — Aeon

Surfing on this social media hype, the German Architecture Museum (DAM) and the Wüstenrot Foundation have started using the hashtag #SOSBrutalism to make these buildings visible worldwide in order to contribute to saving those that are currently threatened.

"Brutalism represents an anti-attitude, an anti-idyll," says campaign co-initiator Philip Kurz, of the Wüstenrot Foundation. [...]

The German Architecture Museum also plans to create an exhibition next year based on its online campaign. — dw.com

Poland-based studio Zupagrafika has a thing for modernist and Brutalist architecture. And to share that passion, it has created playful illustrated paper cutout models of Brutalist buildings in London; modernist buildings in Warsaw; and a new series, Paris Brut, featuring Brutalist architecture from the 1950s–70s located in the city center and outlying banlieues. — Slate

The greatest work of art at New Haven’s Yale Center for British Art is arguably the landmark building itself—and Louis Kahn’s last structure is due to reopen this month after a 16-month renovation of its public galleries and lecture hall, and an upgrade of its accessibility, security, mechanical and electrical systems. This is the third phase of a $33m conservation project that began in 2008. — theartnewspaper.com

The uncertainty looming over the building’s future is serving as a call to action for preservation groups in Atlanta and around the world who are beginning to mobilize. [...]

Ironically, to gain the Breuer building, Atlanta lost its original Carnegie Library. [...]

As evidenced by the transformation of the former Whitney Museum into the Met Breuer, it is clear that with a careful restoration, Breuer’s works can be an iconic piece of the urban fabric in which they reside — artsatl.com

On March 18, when the Metropolitan Museum of Art opens an annex at Madison Avenue and 75th Street in Manhattan, it will be attempting to shrug off the ghost of a museum past.

The specter is the Whitney Museum of American Art, which called the iconic Marcel Breuer building on that corner home for nearly five decades. In an eight-year deal, the Met is leasing the Breuer building from the Whitney— which relocated to its dazzling new Renzo Piano–designed home last year... — Architectural Record

The hotel plan by the Procaccianti Group Inc. [...] is being welcomed by construction-trades unions, city officials and surrounding business owners. But Ned Connors, an architect and historian of the Weybosset urban renewal project, says he will miss the Fogarty building.

It’s not ugly, he said, it’s just … different. At about 50 years old, he said the Fogarty building is in the most dangerous time in a structure's life: when it’s too old to be hip but too young to be venerated. — providencejournal.com

Brutalism lost the good fight in 2015. [...]

Demolition on another building by Johansen began late last year as well: Stage Theater, once known as the Mummers Theater, in Oklahoma City. The Oklahoman‘s Steve Lackmeyer called the 1970 project the number-one modernist building in the city that should have been spared. [....] Preservationists had hoped to turn it into a children’s museum. Models of the building show what a delightful museum it might have made [...]. — citylab.com

There’s the legacy of Brutalism being such a negative term. It begins the conversation with negativity about these buildings, and this falls into the misreading of them as harsh, Stalinist, or some other kind of monstrous, mean architecture. The name plays into that mischaracterization that’s grown around a lot of them. I think “Heroic’” is a better title for what their actual aspirations were. The architects had a real sense of optimism. They were developing architecture for the civic realm. — citylab.com

These are confusing times in the business of protecting the country’s architectural heritage. [...]

Recently, two large modernist buildings were up for consideration for listing: the British Library in St Pancras, and an East End council estate, Robin Hood Gardens. Both have been controversial [...]

Yet the library has been granted the immortality of a Grade I listing, while the estate has been denied recognition and is set to be demolished. — theguardian.com

Goldfinger’s [brutalist] buildings were decreed “soulless.” Inhabitants claimed to suffer health problems and depression from spending time inside of them. Some of Goldfinger’s buildings were vacated because occupants found them so ugly. Yet, architects praised Goldfinger’s buildings. [...]

This divide—this hatred from the public and love from designers and architects—tends to be the narrative around buildings like Goldfinger’s. Which is to say, gigantic, imposing buildings made of concrete. — slate.com