Brutalist Architecture in the Soviet Union

Brutalist architecture is a style that emerged in the mid-20th century, characterized by its stark, geometric designs and the use of raw concrete. The term “Brutalism” comes from the French word “béton brut,” meaning raw concrete, which was a primary material used in this architectural style. The plasticity of concrete, its "sculptural" possibilities were hardly the main element of the artistic language of neo-brutalist architects. Brutalism is known for its massive, monolithic structures and a focus on functionality over form.

Origins and Key Figures

Brutalism began in the United Kingdom in the 1950s, with architects like Alison and Peter Smithson leading the movement. They were inspired by the works of Le Corbusier, particularly his use of raw concrete and modular design. The style quickly spread across Europe, the USA, Canada, Japan, Brazil, and in the 1970s and 1980s also in the USSR.

Brutalism in the Soviet Union

In the Soviet Union, Brutalism took on a unique character, influenced by the region’s political, social, and economic conditions. Soviet architects embraced Brutalism for its cost-effectiveness and the ability to create large-scale housing and public buildings quickly. The style became prominent in the 1970s and 1980s, with many iconic structures still standing today.

The architectural style is characterized by:

Functionality First: The primary focus is on the practical use of the building, ensuring it serves its intended purpose efficiently.

Exposed Materials: Brutalist buildings often feature raw concrete, steel, and glass, leaving these materials exposed rather than covering them with decorative elements.

Simple, Geometric Forms: The aesthetic is dominated by straightforward, geometric shapes that emphasize the building’s structure and function.

Monumental Scale: Many Brutalist structures are large and imposing, reflecting the power and permanence of the institutions they house.

Famous Examples of Soviet Brutalist Architecture

Druzhba Sanatorium

Druzhba Sanatorium, (Yalta, 1985). Пансионат "Дружба" (Ялта, 1985)

The “Druzhba” Sanatorium in Yalta is a striking example of Soviet Brutalism. Built by 1985 under the leadership of a team of architects from the Kurortproekt Institute under the leadership of I. A. Vasilevsky., this building resembles a UFO with its circular structure and elevated position. In 1980, the leaders of the trade unions of the USSR and Czechoslovakia decided to jointly build the Druzhba boarding house in Crimea for workers of the two countries. A difficult site with a 40-degree slope between the road and the unique Golden Beach was allocated for the construction of the boarding house. The construction site had a crack in the earth's crust, experienced landslides, and was characterized by a seismicity rating of 9 points. A special building project was developed by the design team of "Kurortproekt" in 1978-1980, including architects I. A. Vasilevsky, Y. Stefanchuk, V. Divnov, L. Kesler, and engineers N. V. Kancheli, B. Guryevich, E. Vladimirov, E. Ruzyakov, E. Kim, V. Maltz, V. Hansgorye, and E. Fedorov. They proposed a stable structure on three tower supports, which transferred the load from the building to the rock.

The centerpiece of the composition is a glass atrium shaped like a crystal. Public spaces are located on different levels. The base is formed by a swimming pool bowl suspended from the building's three supports. In the center, there is a light and music fountain. Frequent stained glass windows around the fountain create the illusion of a moving water space. At night, this effect is enhanced by the illumination of three crystal chandeliers, turning the atrium into a glowing crystal.

On the central terrace of the atrium there is a plastic composition “Awakening”, made of ceramics. (Artist R. Tsuzmer, architect R. Tevosyan).

Hotel rooms are located behind the outer ring of the building and face the sea. Between the rooms and the atrium are open light wells. The supports are encircled by a glass corridor-gallery, which widens conically upward through the floors. This area houses a cafe, billiard room, and gym. The building is crowned by a three-part cantilevered restaurant. The roof of the fifth floor is at the level of the driveway and the main entrance to the resort. The roof features an observation deck with a panoramic view at a height of 56 meters above sea level. The building’s supports contain three high-speed elevators that transport guests to the residential floors and the seashore. Thanks to the architectural design of the building, the natural slope and existing vegetation remained unchanged. Additionally, for the first time on the entire site, heating and hot water were provided using thermal energy from the sea.

Ship-house" on Bolshoi Tula Street

"Ship-house" on Bolshoi Tula Street (Moscow, 1973-1986). "Дом-корабль" на Большой Тульской улице (Москва, 1973–1986)

The “Ship-house” on Bolshaya Tulskaya Street in Moscow is another notable example. This residential complex, designed by architects Vladimir Davidovich Babad and Vsevolod Leonidovich Voskresensky, was constructed between 1972 and 1986. The Ship House is a 14-story residential building on Bolshaya Tulskaya Street in Moscow, known for its unusual shape and colossal size. It is also referred to as the "Titanic," "the house of nuclear engineers," "the bachelor's house," and the "horizontal skyscraper." The building is 400 meters long, 15 meters wide, and 50 meters tall. It has 14 floors, including two technical floors without windows. Additionally, it features duplex apartments on the 12th and 14th floors, and all floors, except the second and thirteenth, are residential. The building contains a total of 980 apartments. Residents began moving into one end of the building while the other end was still under construction. Due to the fact that  V. Babad, previously worked exclusively on the construction of atomic reactors, he incorporated some of their features into this building. For example, the building has high seismic resistance, with facades and ends positioned at angles of 87° and 93° (instead of 90°) to each other to prevent folding.

Ministry of Highway Construction of the Georgian SSR

Ministry of Highway Construction of the Georgian SSR  (Здание Министерства автомобильных дорог Грузинской ССР)

The Ministry of Highway Construction building in the Georgian SSR, now acquired by the Bank of Georgia in 2007, is a striking example of Soviet Brutalist architecture. Located in Tbilisi, Georgia, this 18-story building was designed by architects George Chakhava and Zurab Jalaghania and completed in 1975. The engineer was Temur Tkhilava. Its unique design features interlocking concrete forms that resemble a stack of blocks, creating a visually dynamic and innovative structure.

The building's location on a steep slope presented a unique challenge, which the architects ingeniously addressed by orienting three of the interlocking blocks on an east-west axis and the remaining two on a north-south axis. This configuration not only optimized the building's footprint but also created a dynamic interplay of volumes and shadows.

The Ministry of Highway Construction building is a prime example of Soviet Brutalist architecture. Characterized by its raw concrete exterior, geometric forms, and emphasis on functionality, the building reflects the era's ideals of progress and social engineering. The structure's imposing scale and bold design solidified its status as a landmark in Tbilisi's skyline.

Originally intended to house the Ministry of Highway Construction, the building reflects the Soviet Union’s emphasis on infrastructure development and modernization. The architects aimed to symbolize progress and modernity through the building’s bold design, which stands out against the backdrop of Tbilisi’s traditional architecture.

In 2007, the building underwent a significant transformation when it was acquired by the Bank of Georgia. A comprehensive renovation project was undertaken to adapt the space to the bank's needs while preserving its architectural integrity. A new main entrance and underground lobby were added, creating a seamless transition between the historic structure and modern amenities.

One of the most remarkable aspects of the building is its use of cantilevered sections, which create a sense of balance and harmony despite the massive concrete forms. This design not only maximizes the use of space but also allows for natural light to penetrate the interior, enhancing the building’s functionality. Celebrated for its bold aesthetic, the structure remains an iconic example of Soviet-era architectural ambition.

Today, the former Ministry of Highway Construction remains an iconic landmark in Tbilisi, admired for its architectural innovation and historical significance. It serves as a testament to the creativity and ambition of Soviet-era architects, continuing to inspire and captivate visitors and architecture enthusiasts alike.

“Amanaus” Hotel in Dombay

The Abandoned “Amanaus” Hotel in Dombay (Заброшенная гостиница “Аманауз” в Домбае)

The abandoned “Amanaus” Hotel in Dombay, built in 1985, is a haunting reminder of the Soviet Union’s ambitious architectural projects.

At the foot of the Caucasus Mountains in the resort village of Dombay in the Karachay-Cherkess Republic, one can still see this Soviet monolith. The futuristic structure, dating back to approximately the mid 1980s, resembles honeycombs that will never be inhabited. It was intended to be a resort accommodating 630 people.

The actual construction probably began between 1980 and 1982. It is still mystery but  the construction was abruptly halted in 1985, just a few months before completion. A glimpse inside reveals that only wallpapering and furnishing remained. Utilities were already installed, walls plastered, and some doors fitted. The sudden cessation of construction remains a mystery.

Unfortunately, we have not yet found reliable information about the course of construction and its abrupt halt. It is likely that records or official decrees may be found in libraries, if not in press reports, and we plan to investigate this further.

The creators of the hotel were most likely inspired by the architecture of French ski resorts. In resorts like Tignes, Val Thorens, La Plagne, or Le Corbier, cozy alpine chalets are interspersed with similar multi-story structures. And it cannot be said that these buildings look unattractive or out of place.

Residential Complex "Aul"

Residential Complex "Aul" (Almaty, Kazakhstan, 1983)Жилой комплекс “Аул” (Almaty, Kazakhstan, 1983)

The unfinished "Aul" microdistrict on Tole Bi Street is an impressive experiment in urban development. The complex, consisting of four towers built in 1983, is just a part of a large-scale reconstruction project for the entire "Tastak" area along Tole Bi Street. The project was designed by architects B. Voronin, L. Andreyeva, V. Vi, M. Dzhaikipbayev, and E. Rykov.

Originally, the plan was to construct 33 monolithic towers of varying heights, grouped together similarly to the existing structure at the intersection with Volkhovskaya Street. In addition to residential buildings, the plan included the creation of service enterprises, but this was hindered by the collapse of the country and its economy.

The core structure of the towers is made of monolithic reinforced concrete, constructed using sliding formwork. The towers themselves are designed in a trefoil configuration, allowing the architects to arrange them in various compositions. Spaces were left between the buildings for walkways, but higher up, the buildings almost touch each other, forming arches. The main expressive feature is the numerous semicircular balconies that densely populate the building's facades. The corners of the solid walls also have a rounded shape.

Vilnius Palace of Concerts and Sports

Vilnius Palace of Concerts and Sports

In 1960 (or 1961, according to some sources), a competition was announced by the Institute of Urban Development Design for the creation of a sports hall in Vilnius, intended to expand the large sports complex adjacent to the Žalgiris Stadium. Three architectural teams participated in the competition. The second-place project, designed by Eduardas Chlomauskas, Jonas Kriukelis and Zigmantas Lendzbergis, was selected for construction due to its distinctive plastic silhouette.

The Vilnius Palace of Concerts and Sports is a notable example of brutalist architecture. Completed in 1971, the building incorporates key brutalist elements such as exposed concrete, a utilitarian design, and sculptural, raw forms. The original engineering innovation of the building lies in its cable-stayed roof structures, designed by engineer Henrikas Karvelis. The façade and interior were finished with dolomite tiles, a material typical for that period. The foyer was decorated with wooden panels integrated into the walls, designed by artist R. Kavaliauskas. The northern wing of the building housed a café-bar adorned with mirrors and brown leatherette, designed by T. Baginskas.

The palace's hall was designed for versatile use, featuring a transformable platform and a stage weighing 46 tons, which could be folded back against the hall’s rear wall. The seating capacity varied depending on the event: for hockey, the hall could accommodate 3,176 spectators; for basketball, 4,520; and for boxing, 5,400. If adapted for conferences or concerts, the maximum capacity could reach 6,000 people.

The arena itself, primarily used for volleyball and basketball, had a seating capacity of 4,400. It is emblematic of Communist Modernism and remains one of the few surviving sports arenas in this architectural style.

The exterior of the Sports Palace bears similarities to other contemporary structures, including the Wiener Stadthalle in Vienna (1958), the Sports Palace in Minsk (1966), the Hala Olivia in Gdańsk, Poland, and the now-demolished Volgar Sports Palace in Tolyatti, Russia. However, it features an original roof design that sets it apart. Unfortunately, due to safety concerns, the palace was closed in 2004.

Conclusion

Brutalist architecture in the Soviet Union represents a fascinating blend of functionality, ideology, and artistic expression. These structures, with their bold designs and raw concrete forms, continue to captivate architects and enthusiasts around the world. They stand as a testament to a unique period in architectural history, reflecting the ambitions and challenges of the Soviet era.