Final Report Part 1

The impulse to create art often stems from a desire to explore fundamental contrasts, to weave together seemingly disparate elements into a cohesive and thought-provoking whole. In the conception and execution of this fountain project, my central vision has been to engage in precisely this kind of dialogue: to embody the stark, monumental ideals of brutalist architecture and to juxtapose them against the inherently fluid and transient nature of water. This endeavor seeks not merely to create a functional water feature, but to establish a dynamic tension between permanence and impermanence, between the rigid and the yielding, ultimately revealing a unique aesthetic and conceptual resonance.

To understand the foundation of this project, it is crucial to first define the architectural language that serves as its inspiration. Brutalism, as a significant movement in architectural history, is characterized by a potent aesthetic rooted in honesty of materials and structural expression. As the provided definition aptly states, it is an architectural style marked by “minimalist constructions that showcase the bare building materials and structural elements over decorative design.” The hallmarks of brutalism often include the prominent use of exposed, unpainted concrete or brick, a preference for angular geometric shapes, and a predominantly monochrome color palette. This aesthetic eschews ornamentation, finding its power in the raw texture and unadorned form of the building itself. Iconic examples of brutalist architecture, from the stark concrete forms of Le Corbusier’s later works to the imposing structures of post-war urban centers, exemplify this commitment to materiality and structural clarity. These buildings often possess a monolithic quality, a sense of unwavering presence that commands attention through their sheer mass and unpretentious construction.  

In adapting this architectural language to the medium of a fountain, a unique set of challenges and opportunities arises. The inherent functionality of a fountain – the movement and containment of water – introduces a dynamic element that is often absent in static architectural structures. My design envisions an overall form that mimics a truncated pyramid, a shape that resonates with the geometric principles of brutalism through its clean lines and inherent stability. This pyramid is conceptually constructed from two triangular “fins” that are positioned vertically and at a right angle to each other. This arrangement not only establishes the angularity characteristic of brutalism but also forms two sides of a square basin at their base. This basin serves the crucial function of collecting the water, creating a defined boundary for the fluid element within the overall geometric framework.

The integration of water into this brutalist form is key to the intended juxtaposition. Channels are incorporated into the upper edge of these triangular “fins,” designed to receive water pumped from the basin to the apex of the pyramid. From this elevated point, the water will then flow downwards, tracing a dynamic path along the rigid concrete surfaces before returning to the collecting basin below. This controlled cascade introduces the element of fluidity and impermanence against the static solidity of the concrete structure. The constantly moving water, its surface reflecting light and its form ever-changing, provides a visual and temporal contrast to the seemingly immutable nature of the brutalist material. The cycle of water – its ascent and descent – further emphasizes this transient quality, a continuous flow that stands in dialogue with the fixed form of the fountain.

The design also incorporates two short walls that further enclose the square basin. These additional elements serve to more clearly define the pool of water, reinforcing the geometric containment and preventing excessive splashing. They contribute to the overall sense of order and defined space, aligning with the brutalist emphasis on clear structural articulation. These walls, envisioned in the same concrete as the fins, will seamlessly integrate with the overall monolithic aesthetic.

The initial aspiration for the construction of this fountain was to utilize poured concrete entirely. This would have been the most direct translation of brutalist materiality, allowing for the raw texture and substantial presence inherent in the material to fully manifest. However, the practical considerations of such an approach quickly became apparent. The sheer weight of a solid concrete structure of this size would pose significant challenges in terms of transportation, installation, and long-term stability. Furthermore, the process of creating the intricate channels and achieving the desired angular forms through poured concrete alone would be technically complex and potentially cost-prohibitive.

It was these practical limitations that led to the innovative decision to employ a composite construction method. The core of the fountain will be built using foam insulation boards, a lightweight and easily workable material. This foam core will then be entirely encased in a layer of concrete applied to the exterior surfaces. This approach offers a compelling solution, allowing for the creation of the desired geometric forms and integrated channels with relative ease. The concrete exterior will then provide the essential visual and tactile qualities of brutalism – the raw texture, the apparent mass, and the monochrome aesthetic. This strategic use of materials represents a pragmatic adaptation of the initial vision, ensuring both aesthetic fidelity and structural feasibility. The foam core acts as an internal armature, providing shape and reducing weight, while the concrete skin delivers the desired brutalist character to the observer.

The incorporation of the sound of flowing water as another attribute of this brutalist fountain adds a crucial sensory dimension to the project. Brutalism, while often associated primarily with its visual impact, can be further enriched by engaging other senses. The gentle cascade of water down the channels will create a subtle auditory presence, a constant murmur or rhythmic flow that contrasts with the visual stillness of the concrete. This sound will introduce an element of life and dynamism, further emphasizing the juxtaposition between the static and the fluid. The specific acoustic qualities will be influenced by the design of the channels – their depth, width, and texture – offering an opportunity to subtly shape the auditory experience. This deliberate inclusion of sound underscores the intention to create a multi-sensory encounter with the brutalist form.

In conclusion, the design and construction of this fountain represent a thoughtful exploration of the intersection between architectural ideals and the dynamic properties of water. By adapting the core principles of brutalism – its stark minimalism, geometric forms, and honest use of materials – to the context of a water feature, the project aims to create a compelling dialogue between solidity and fluidity. The innovative use of a foam core with a concrete exterior addresses practical limitations while maintaining the desired aesthetic. The incorporation of the visual and auditory elements of flowing water serves to further enhance this juxtaposition, creating a unique and engaging sensory experience. This fountain is envisioned not just as a functional object, but as a sculptural exploration of fundamental contrasts, a testament to the enduring power of both the monumental and the ephemeral. The success of this project will lie in its ability to embody the raw power of brutalist form while simultaneously celebrating the delicate and ever-changing beauty of flowing water.

*Portions of the above were written with the help of Google Gemini.

Sources:

‘Brutalist architecture’ (2025) Wikipedia. Available at: https://en.wikipedia.org/w/index.php?title=Brutalist_architecture&oldid=1278264881.