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In That's Brutal, What's Modern?: The Smithsons, Banham, and the Mies-Image, Mark Linder offers an original understanding of New Brutalism as a consequential and generative episode in the history of post-photographic imaging practices. This episode exemplifies and anticipates the kinds of congnition and intelligence that dominate architectural imagination today. Linder aims to recover a specific and integral, yet overlooked, aspect of the peculiar novelty of New Brutalism by recconsiderung the entirety of Alison and Peter Smithson’s work as a fitful and evolving fifty-year fascination with the imaging potential they found in the architecture of Mies van der Rohe.
