Eight "really evocative" brutalist buildings in Washington DC

Washington DC has a large number of significant brutalist buildings. Here, architectural photographer Ty Cole picks eight of the most interesting.

Largely built in the 1960s and 70s as the federal government expanded, Washington DC has numerous brutalist buildings built by leading architects including Marcel Breuer.

Cole photographed the most prominent ones as part of the Capital Brutalism exhibition at the National Building Museum in Washington DC, which he co-curated with University of Oklahoma professor Angela Pearson.

"I'm a huge fan of both modernist buildings and the architects that built and designed them," said Cole. "Brutalism is essentially sculptural and it photographs beautifully."

Although public sentiment can often be negative towards brutalist buildings, especially as they age, Cole aimed to present the buildings in a positive light.

"I didn't like how brutalist buildings were portrayed, because they were always shot in black and white – they had this dystopian feeling, kind of post-apocalyptic," he said.

"I've always photographed them in colour. I wanted to portray them in a more positive light," he continued. "If it's photographed well it's really evocative."

Below, Cole gives his thoughts on Washington DC's key brutalist buildings:

Robert C Weaver Federal Building by Marcel Breuer (1968)

"The Weaver Building, designed by Marcel Breuer, is probably my favorite building in the Capital Brutalism exhibition. The scale and shifting perceptions as you walk around and under the structure are unlike any other. We chose it for the exhibit due to its unique floor plan and curving geometry.

"The massive precast concrete window panels, each weighing 13 tons, are a feature I focused on in my photography, capturing the way they recess into the buildings' body, creating an almost organic rhythm across the facade."

Lauinger Library by John Carl Warnecke (1970)

"Lau, as its commonly known among Georgetown University students, is an imposing building.

"Since its completion, many students have been outspoken about their disdain for it, yet some adore it. As an outsider, and admittedly, a photographer, I'm quite fond of the building.

"Walking around it, it sort of changes and unfolds. I enjoyed finding vignettes that brought out its 'friendly monster' personality – its monumental form peeking out from beneath a canopy of greenery."

James V Forrestal Building by Curtis and Davis Architects and Engineers (1969)

"This concrete playground, as I call it, on Independence Avenue spans across 10th Street SW, blocking views from L'Enfant Plaza to the Smithsonian Castle and the Mall. This has been a main source of criticism from DC residents, understandably. Studio Gang addressed this in their reimagining for the exhibition.

"I returned multiple times to explore underneath the Independence Avenue structure, with its coffered ceilings. The huge concrete mass, supported by gigantic columns, feels both monumental and, in some ways, playful."

Euram Building by Hartman-Cox Architects (1983)

"The Euram Building is the one outlier in this exhibit, due to its extensive use of brick. Because of its concrete structure and solid brick facade, we believe it's deserving of the brutalist label and thought it would instigate dialogue."

"Walking through its open spaces you can feel the interplay of light and structure – its brick and concrete materials grounding the design while the open atrium above brings in natural light.

"I tried to capture that sense of openness, the way the building seems to breathe and connect with its surroundings. Despite its austere materials, it feels remarkably approachable, blending modernity with the timeless beauty of Dupont Circle."

Hirshhorn Museum, by Skidmore, Owings & Merrill (1974)

"The Hirshhorn Museum is, to me, a gentle giant. Its towering, cylindrical form casts a quiet, commanding presence over the National Mall.

"As I photographed it, I wanted to capture the museum's monumental scale and its surprisingly soft interplay with the surrounding space. The sharp concrete forms are softened by the natural light that floods its open-air plaza, and there's a beauty in how it creates a sense of openness amidst its solid exterior form."

J Edgar Hoover Building by Charles F Murphy and Associates (1975)

"The Hoover Building stands as a symbol of both power and isolation, with its towering and fortress-like design. As I shot it, I couldn't ignore how its scale creates an overwhelming sense of permanence – an almost oppressive feeling.

"The raw, unrefined concrete surfaces and sharp angles evoke a sense of foreboding, yet there's a haunting beauty in its sheer presence. This is a building that demands attention, one that challenges both the photographer and the observer to look deeper into its harsh exterior and the power it represents."

DC Metro Stations

"When I photographed the DC Metro stations, I'm always struck by their cathedral-like quality. The expansive coffered ceilings and bold concrete vaults create a space that feels both monumental and intimate.

"As commuters pass through these stations, they often take their surroundings for granted, but there's an elegance to the symmetry and structure of the space that I wanted to highlight in my images.

"These stations are more than transit hubs – they are an integral part of the city's urban identity, a testament to the lasting influence of the brutalist design on everyday life."

Hubert H Humphrey Building by Marcel Breuer (1977)

"The Humphrey Building is an architectural marvel of tension and grace, with its heavy concrete form floating above the ground like a suspended sculpture. I found myself fascinated by the interplay between its raw, unyielding structure and the delicate details, like the deeply recessed windows that change the building's character throughout the day."

"When the light hits just right at sunrise, the building almost glows, revealing the softer side of its otherwise formidable design. It's a building that surprises you, inviting you to explore how its form evolves with the light and the passing hours."

The photography is by Ty Cole.

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