Traditional Architecture V. Brutalism

A School of Place

Since 1966 the Birmingham Power Signal Box has been telling trains where to go. Commuters out there know the feeling. This Brutalist Brummie starlet was thrown a farewell party by Network Rail on Christmas Eve, and in doing so has inadvertently shone a spotlight on a perpetually interesting conversation – as far as architecture’s concerned, what’s worthy and what’s not? 

First-off, we’ll put your mind at rest, as the New Street Station box is Grade II listed and currently considering its options. Good news for fans of Brutalism. Or it should be. Unfortunately, there’s been a black cloud lurking for a while now.  

A major worry for GOBs (Groupies of Brutalism – you heard it here first) is that since at least 2021 architectural historians have voiced concerns that these buildings are in danger of demolition. They further claim that it’s all about left- and right-wing politics. Seriously. 

Historian and author Barnabas Calder told Dezeen that “the demonisation of brutalism is part of a broader, politically motivated shift towards more traditional styles of architecture.” 

Pointing to social housing block Trellick Tower in London, Calder elaborates. “There are some very, very visible manifestations of the welfare state in brutalist architecture” and the social housing built in that style “was being deliberately run down and badly maintained.” 

So, according to Calder, despite many of the Brutalist structures having been built by private developers, their position in the political timeline made them the perfect target for successful “right-wing attempts to link the style to socialist ideals.” 

At this point it would be fair to point out that Trellick Tower has been Grade II listed since 1998. However, not all Brutalist projects have been so lucky. 

 Demolition of the western block of Robin Hood Gardens in London proceeded in 2017 despite a frantic and unsuccessful attempt to get it listed status. The Gardens’ “Streets in the Sky” concept by those gurus of Brutalism Alison and Peter Smithson could have been lost forever. Fortunately, the V&A stepped in. 

The museum not only acquired a three-storey section of the exterior facades and interiors of a Robin Hood Gardens maisonette flat, but sent part of it to the 2018 Venice Architecture Biennale.   

One of the obvious things to ponder is how this sits next to Barnabas Calder’s “demonisation of Brutalism” and “politically motivated shift towards more traditional styles of architecture.” 

Stand up to the mic, housing secretary Michael Gove. For Mr Gove has given his support (and a foreword) to a paper calling for a new UK architecture school. Not just any old school either, but one which will focus on teaching traditional design principles. 

Dezeen states that the paper, A School of Place, was published by the right-wing think-tank Policy Exchange. It also notes the report’s focus in urging the government to support and “wholeheartedly revive traditional architecture.” 

From this, it would seem that Calder has a point. Perhaps so, however, it’s also worth noting Catherine Croft’s response to his idea. As director of the Twentieth Century Society, she believes that there are other aspects to take into consideration. 

“In most cases, Brutalist buildings are demolished because developers think they can put something bigger and more lucrative on the site,” she explained in the same Dezeen report. “The nature of the building on the site is really of not much relevance to them.” This is especially pertinent if you can accept that many Brutalist buildings were cheaply built and in dire need of renovation. 

Of course, this immediately brings another two questions to mind. Firstly, how do we decide what’s worthy of being saved from the bulldozers? And secondly but equally significantly, have elements of Brutalism now become part of the UK’s traditional architectural landscape?  After all, once upon a time Bath’s Royal Crescent was cutting-edge design. This is certainly something that the proposed School of Place should investigate. 

So, returning to that Brummie signal box, like it or loathe it, do you feel it’s earned a permanent place in the city’s heart? Or is it just an ugly reminder of 1960’s politics? 

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