INTERVIEW: AB ROGERS - IS BRUTALISM BACK?
Greenway Associates first came into contact with Ab Rogers almost two decades ago, when we had the pleasure of working on the Tate Modern Public Concourses together. We went on to work together on various other cultural projects and exhibitions in London, and it was always evident to us that Ab’s passion for user-led design would take him far.
Ab is a very interesting character, as although he grew up marinating in ‘architecture royalty’, (his family is awash with design-led minds, including his late father Richard Rogers) he has certainly succeeded on his own terms. Ab leads Ab Rogers Design (ARD) - a multidisciplinary design and architecture studio with 30 years of international experience in culture, retail, hospitality and residential - with every project focusing on creating spaces defined by the needs of their users.
We couldn’t think of anyone better to interview about the topic of Brutalism.
Ab Rogers
GA: Your work on Balfron Tower last year was inspiring and thought provoking. What are your thoughts on the resurgence of interest in Brutalist architecture in the UK?
Ab:
There has been a passion for brutalism for quite a few years now. In contemporary architecture, we regularly lose sight of the structure.
We replace proud buildings with cladding and often, developer led architecture is driven by the act of building. But brutalism is honest.
The term comes from ‘Béton Brut’ - which is French for raw concrete. The materials express themselves; they are raw, apparent and legible. People have a real fondness for this kind of authenticity.
GA: Brutalism often receives mixed reactions. How do you respond to criticism of this architectural style?
Ab:
Brutalism is often misunderstood, like much of the modern movement. Some feel alienated by its lack of traditional references. But all of these different opinions, and the things born from them, are what make the world interesting and inspiring.
Belfron Tower - Masterplanning Sketch by Ab Rogers
GA: Rising architectural personality Noris Obijiaku has been building a social community by vlogging about the Brutalist council estates of London, including Balfron Tower and Trellick Tower. As an established London-based designer, do you have any advice for students who want to shape their landscape and build a successful career?
Ab:
Young designers and architects should apply their thinking in as many ways as possible. I always recommend starting with a diagram of function, designing from the inside out, and focusing on how the space will actually get used rather than obsessing over bold exteriors.
We need sympathetic architecture which responsibly responds to the world around us. Contemporary architecture really needs to be nimble and adaptable.
It is important to be honest, authentic and inventive, and to engage with the collective intelligence which surrounds you.
And of course one must think more, build less, and always continue learning.
Social media communities like ‘thedesignssuite’ are bringing attention to topics like Brutalist conservation, as well as the realities of being an architecture student.
‘Two Doves’ - a concrete scultpure by Brutalist Artists, William Mitchell which symbolises Peace, Love and Learning,
GA: We recently discovered the public works of art by English sculptor William Mitchell, which were incorporated into many Brutalist social housing projects and public spaces. However, many of these artworks have already been demolished or continue to face the threat of demolition.
In your opinion, should they be conserved? Are there still challenges in conserving Brutalist architecture and design today?
Ab:
It is incredibly important that we refrain from the fossilisation of architecture. For it to stay alive, architecture must transform and we mustn’t be overly sentimental.
Preserve the bones and refresh the flesh.
GA: What Brutalist features do you find most compelling or inspiring?
Ab:
I love the juxtaposition of raw materials, like when marble meets concrete. I think concrete slides however are very painful to slide down.