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Greyscape celebrates Brutalist, Modernist and Constructivist architecture. We bring you a carefully considered edit of the best examples of those designs from around the world.

Greyscape was born out of a passion for under-appreciated 20th Century design. Originally launched in 2016 as a passion project an Instagram account, our audience grew fast, with thousands sharing a similar interest in game-changing buildings. We now have an unrivalled position as a crowdsourced archive of little and well-known architecture. Greyscape is a destination where everyone can learn, share and interact with the very best in Brutalism, Modernist and Constructivist design.

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A place to explore Brutalism, Modernism, Constructivism and the concrete world.

GreyScape exploring brutalism, modernism and constructivism

NEWS From The Concrete Community

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New Brutalists’ “Japanese” Pavilions: The Smithsons and Theo Crosby

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architect Manuel Herz

Babyn Yar Synagogue, ‘The architectural response to the Holocaust’, architect Manuel Herz observes, ‘has been concrete and stone, as if the architecture has to be as heavy as the crime’.

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The Values of The Brutalist, concrete giants, European legacy in a new land

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@Barbican_City_of_London

The Barbican Estate - if you visit you’ll know t

The Barbican Estate - if you visit you’ll know that calling Brutalism ‘ugly’ is just missing the point.

The name on everyone’s lips, the Barbican! From

The name on everyone’s lips, the Barbican! From collabs with @highsnobiety to photo shoots with the stars of The Brutalist. To us it’s … home! Worth the hype? - we say yes, but what’s your view?

Would Corbusier have been wriggling in his cinema

Would Corbusier have been wriggling in his cinema seat at the sight of ‘Villa Arpel’ in Jacques Tati’s 1958 film Mon Oncle? Created on a set with production designer Eugène Roman, Tati had, by placing his determinedly upwardly mobile, fictional brother-in-law in this modernist house, created a brilliant way of lampooning a particular class of post war aspiring fellow Frenchmen. It was a huge hit in the cinema, a brilliant comment on how post-war France saw itself during Les Trente Glorieuses and how its class system was evolving. Watching their American cousins love of labour saving devices, this was a generation who all aspired to have a washing machine (in reality most people didn’t get one for years) wanted a car (again the privilege of the few). They were all the target of Tati who understood the shift in society. Photo with thanks to @gilbertkann

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