This project attempts to distil the essence of Brutalism, which celebrates the rawness of structure, unadorned materials, geometric forms and subdued colour palettes. It inspires the backdrop of this penthouse unit and the miscellany of custom utilitarian structures within that suggests rather than prefix patterns of use for the owner who works from home.
Shadow and light
Concrete and steel
Day and night
Cerebral and visceral
The owner is a fan of science fiction media, of which Brutalist architecture is often the backdrop. This aesthetic became the driver for many aspects of the home, such as the drama conjured by pure volume, a dark palette intensified by a varied texture base comprising steel, concrete and glass, as well as a light treatment juxtaposing comforting shadows and spaces humanised by daylight.
This project attempts to distil the essence of Brutalism. The style that emerged in the 1950s in the United Kingdom celebrates the rawness of structure, unadorned materials, geometric forms and subdued colour palettes. Its genesis backtracks to Europe, made common by architects such as Auguste Perret and Le Corbusier who extolled its formal possibilities and intrinsic beauty by using it exposed and unpainted – a treatment known as béton brut.
At the front of the two-bedroom penthouse, we removed an en-suite. This establishes an open plan for the common areas, as well as a fluidity suited for the multifarious daily activities of the owner who works from home. We reimagined the raw, bare space as a private world, with extruded volumes and carved out spaces akin to a miniature city. Thus, custom mini-structures rise from the floor into a dining table, kitchen island and study table cocooned with a tall glass shield. These elements suggest rather than prefix ways of use. The bedroom is tucked away as an elevated haven. Beneath it is created a cavernous music room for the owner to indulge in his love for electronic music.
