The power of matter

From reality to cinema and vice versa. While ‘The Brutalist’ is released in Italian cinemas, here's an invitation to visit 3 buildings that exemplify brutalist architecture and the innovative use of exposed concrete in the post-war period and beyond.

Released in Italian cinemas on 6 February, The Brutalist is one of those films that, if you're an architect, you can't help but want to see. Directed by Brady Corbet, it tells a story that seems biographical but isn't: that of the Hungarian architect László Toth - played by Adrien Brody -, who survived the Holocaust and immigrated to the United States after the war. His career takes off thanks to a powerful patron, but he soon finds it difficult to maintain his architectural vision in a world dominated by compromises and economic pressures.

The film explores the relationship between creativity, power and resilience through the aesthetics and philosophy of Brutalist architecture, a movement that emerged after World War II as a bold and innovative response to the needs of reconstruction and modernisation.

Characterised by the predominant use of exposed reinforced concrete, clear and powerful geometric shapes and an aesthetic that favours functionality over decoration, this movement has also found significant expression in Italy. In our context, brutalism has taken on unique connotations, integrating with the local landscape and reflecting the country's cultural and social specificities.

Let's virtually explore three Italian brutalist buildings together, which you can plan to visit on one of your next days out as a tourist in or just outside the city.

The first is the Tree House or Experimental House designed between 1968 and 1975 by architects Giuseppe Perugini, Uga De Plaisant and their son Raynaldo. It is an emblematic example of architectural experimentation. Located in the Fregene pine forest, a few kilometres from Rome, the house was conceived as a weekend villa, blending harmoniously with the surrounding natural environment.

The structure is characterised by the innovative use of reinforced concrete, combined with glass and steel, creating a series of geometric volumes suspended on pillars that evoke the image of a tree house. This modular design, defined by autonomous volumes, reflects the influence of the 20th century avant-garde and represents an attempt to redefine the relationship between living space and nature.

Despite the state of neglect it is currently in, the Tree House continues to be of interest to scholars and architecture enthusiasts for its bold design and innovative approach to construction.

The second visit to plan is to Trieste, to the National Temple of Mary Mother and Queen, commonly known as the Sanctuary of Monte Grisa. Located on a hill overlooking the city of Trieste and designed by the architect Antonio Guacci, the building was constructed between 1963 and 1965, following a vow made by Archbishop Antonio Santin during the Second World War.

The architecture is characterised by a pyramid shape, composed of a series of equilateral triangles. This symbolises the Trinity and is made of exposed reinforced concrete. The design choice gives the sanctuary a monumental and austere appearance, that is so typical of brutalist architecture.

Inside, the use of coloured glass creates a contrasting colour scheme that enriches the spatial experience, while the geometric structure emphasises the verticality and solemnity of the sacred space.

Finally, let's move to Milan and, in particular, head towards the Gallaratese neighbourhood. Here we find the Monte Amiata Complex, designed between 1967 and 1972 by Carlo Aymonino - with his brother Maurizio - and Aldo Rossi. The residential complex represents a radical interpretation of the modern city, with particular attention to collective spaces and urban stratification.

The architectural complex is characterised by geometric volumes in exposed reinforced concrete, organised around internal courtyards, elevated walkways and public squares that evoke the layout of historic cities. Aymonino's design intention was to create an urban microcosm, inspired by the idea of a city within a city. Aldo Rossi's intervention reinforces this vision with a more rational approach, emphasising the serial nature of the buildings and their function in the urban context.

The Monte Amiata Complex is still inhabited and is open to visitors. It functions as a point of reference for understanding the evolution of Italian brutalism and the debate on collective space in post-war residential architecture.