Brutalist buildings are a significant component of Washington, D.C.’s architectural identity. In the National Building Museum’s new exhibition, Capital Brutalism, this identity is explored further. Co-organized with the Southern Utah Museum of Art (SUMA), Capital Brutalism is a comprehensive exhibition of Brutalist architecture in Washington, D.C., to date, running until February 17th, 2025.
The architectural exhibition examines the history, present condition, and future prospects of Brutalist architecture, highlighting seven controversial structures and the Washington Metropolitan Area Transit Authority Metro system. The exhibition comprises archival documents, drawings, architectural models, and contemporary photographs tracing the origins of the Brutalist movement in the U.S. capital during the Cold War. Additionally, the exhibition presents speculative redesigns, inviting visitors to imagine how these buildings could be adapted for future use, crafted by leading architecture studios, including Studio Gang, Brooks + Scarpa, Diller Scofidio + Renfro, and BLDUS.
The exhibition spotlights seven buildings in the D.C. area, including The Robert C. Weaver Federal Building; Hirshhorn Museum and Sculpture Garden; Hubert H. Humphrey Building; Lauinger Library (Georgetown University); J. Edgar Hoover Federal Bureau of Investigation (FBI Headquarters); James V. Forrestal Building; and The Euram Buildings in Dupont Circle. Centered around this local architecture, the exhibition “offers a though-provoking exploration of the architecture’s historical, cultural, and lasting impact.”
During the 1960s and 1970s, Brutalist architecture was highly prevalent in Washington D.C. This era saw the creation of various landmarks, including Marcel Breuer’s Weaver Building, I.M. Pei’s L’Enfant Plaza, and Interstate 395. In fact, the typology was seen as an economical solution for federal urban renewal projects. The exhibition also confronts the fact that this architecture led to the displacement of thousands of residents and businesses, mainly affecting African American and immigrant communities. “Capital Brutalism” seeks to document this period, revealing the social and economic undertones of Brutalism through archival materials.
According to the exhibition, many Brutalist buildings “face widespread public aversion” and are dubbed as “ugly” structures globally. However, there is simultaneously a growing recognition of their cultural value, sparking preservation efforts. In fact, the exhibition explores the options these structures are left with, be it renovation or demolition, and the challenges accompanying these decisions.
Although modernist architecture is not usually considered heritage, there has been a recent transformation in the conversation around their cultural significance. In other similar news, Heatherwick Studio recently unveiled the design of a new large-scale renovation project transforming a 138-year-old exhibition hall to become one of the main attractions of Olympia. Additionally, Skidmore, Owings & Merrill (SOM) has just completed the restoration works for Lever House, one of New York’s Modernist landmarks. However, some structures are facing a different adversity, running the risk of being demolished. In India, the iconic Ahmedabad Municipal Corporation recently announced its plan to demolish the Sardar Vallabhbhai Patel Stadium, a Brutalist landmark in the city.
