Exploring Washington through ‘Capital Brutalism’ at the National Building Museum

Brutalism, an extension of the Modern movement, gained popularity in the 20th century, as war-torn Europe sought to rebuild in the aftermath of the Second World War. The genesis of the term can be traced to the French phrase béton brut, meaning ‘raw concrete’ and is expressed through the use of exposed concrete or brick, unapologetically bold geometric forms and a monumental scale. In the United States, Brutalism emerged as a popular style for buildings designed as part of urban renewal efforts and government expansion in the 1950s and 1960s, which were particularly well-suited for institutional and government buildings, intended to project stability and authority.

The National Building Museum’s latest exhibition, Capital Brutalism, is the largest survey of Brutalist architecture in Washington, DC. Co-organised with the Southern Utah Museum of Art (SUMA), it examines the past, present and future Brutalist architecture in the nation’s capital, spotlighting seven significant buildings and the Washington Metropolitan Area Transit Authority (WMATA) Metro system in the city. Through archival material, architectural drawings and construction photos, the exhibition showcases how the “Brutalist phenomenon” took shape in Washington DC during the Cold War period. Contemporary art photography by Ty Cole captures the current state of these iconic structures, while speculative designs by leading architecture firms—including Brooks+Scarpa, Diller Scofidio + Renfro, Gensler and BLDUS and students from the School of Architecture at UNLV envision future possibilities for five of the buildings.

The architecture exhibition highlights the polarising public discourse on Brutalism, illustrating both appreciation and criticism of the style. While it is appreciated for its economic efficiency, functional design and egalitarian roots, critics have often viewed its imposing scale and robust aesthetics as uninviting, with some referring to DC’s Brutalist buildings as “modern dinosaurs” or “gun turrets”. Furthermore, a rigid, geometric form poses challenges for adaptive reuse, often leading to high renovation costs. Beyond design controversies, the exhibition delves into the deeper social impacts of Brutalism, revealing how the architectural movement intersected with urban policies that often displaced marginalised communities and reinforced racial segregation.

The James V. Forrestal Building, serving as the headquarters of the U.S. Department of Energy was built between 1965 and 1969 as part of the federal government’s comprehensive urban renewal plan under the Southwest Washington Urban Renewal Project. Moving for a large-scale clearance of the neighbourhood—comprising predominantly African-American and immigrant communities—the plan made room for the development of a new white-washed downtown.

The building, spanning almost 230 metres across an entire block along Independence Avenue, with its three distinct wings—the East, North and West Building— is raised on a series of pilotis, nonetheless creating an unfortunate visual disassociation between the National Mall and the formal L’Enfant Promenade. Likened to a “giant billboard” by critics, the building today stands as a reminder of the presence of the mid-century architectural style, formidable in austerity and striking in presence. However, it also stands testament to the dark history lying in its wake. The Southwest Washington area holds significant historical importance, particularly as a crucial stop on the Underground Railroad and its physical demolition highlights the systemic erasure of Black history in the capital.

Today, the building’s long spam creates a seemingly stark, binary choice; either remain unchanged, frozen in time with its flaws (spatial and structural), or make way for a new intervention. Studio Gang reimagines the future of the building through a “third way” – suggesting a more sustainable and flexible solution for the structure, moving away from the binary of preservation or demolition. The rigid structure of the building is, in fact, conducive to being “sliced” and “pruned”, allowing improved views, daylight and access. The sliced and pruned remains, including precast concrete panels, are slated to be repurposed in new residential developments, contributing to housing in the area. Additionally, by splitting the building into two smaller sections, its expanse is humbled to a human scale. The reimagined proposal for the former federal building preserves its historical significance while also forging a new identity for the structure and the city.

The Robert C Weaver Federal Building, part of the same urban renewal initiative, has a history closely linked to that of the Forrestal Building. Designed in alignment with the Guiding Principles for Federal Architecture, the manifesto focused on bridging the gap between architecture and the fine arts, advocating for the design of federal buildings that not only exemplify modern architectural excellence but also incorporate local and regional design elements. A key figure in the German Bauhaus movement, Marcel Breuer created a 700,000 square feet precast concrete monolith, housing 5000 employees of the U.S. Department of Housing and Urban Development (HUD), as formidable as the Forrester Building it shares the Southwest Federal Center site with. Critiqued today as a building with “10 floors of basement”, in the future, Brooks + Scarpa reimagines a structure repurposed to meet the growing housing shortage in the city.

In similar states of neglect but equally important in representing the history of Brutalism in Washington, D.C., the exhibition also covers the past, present and future of iconic structures such as the Hirshhorn Museum and Sculpture Garden, the Joseph Mark Lauinger Library, the J. Edgar Hoover Building, the Hubert H. Humphrey Building, the Euram Building and the DC Metro. Reserved for federal and institutional architecture, the buildings are home to several federal department headquarters, museums and libraries commemorating the mostly white, male leaders they are named after. These reimagined proposals aim to preserve and repurpose this 20th century architectural heritage with a creative mix of solutions. Concepts range from the ethereal “Bubble” structure to a fully “hackable building” transformed to accommodate a mix of uses. Other designs integrate themes of social justice and playfulness to ensure these Brutalist structures can be adaptively reused, celebrating their historical significance and future functionality.

Current discourse on conservation, shaped by cultural, environmental and urban development considerations seeks to extend the lifecycle of buildings, reduce resource consumption and curb carbon emissions for environmental sustainability. In this context adaptive reuse remains central in meeting urban needs without forsaking historical character, balancing preservation with functional adaptability. However, achieving true equity in conservation requires a deeper examination of which histories are prioritised and who benefits from preservation efforts. The Brutalist architecture in Washington, D.C., while emblematic of the federal government’s authority, evokes the nation’s complex racial history, pointing to the displacement and marginalisation of communities. Yet, future redevelopment plans overlook opportunities to reclaim these historically significant sites in ways that honour and revive these buried narratives.

‘Capital Brutalism’ will be on display at the National Building Museum through February 17, 2025.