Concrete Heritage: The Brutalist Architecture of Cornwall and Its Social Purpose

Brutalist architecture in Cornwall—exemplified by Lys Kernow (New County Hall) in Truro and complemented by distinctive commercial buildings such as the windowless former book store—represents a unique narrative of mid-20th-century modernist design adapted to local conditions and civic needs. This article provides a detailed academic analysis of this architectural movement’s local expressions, exploring its origins, key examples, social influences, controversies, and ongoing relevance, before highlighting Alter Architects’ leadership in adaptive reuse of Cornwall’s Brutalist heritage. Some may initially think this is ugly – however, as architects deeply engaged in our craft, we believe this approach is truly revolutionary.

Origins and Philosophy of Brutalism

Emerging in post-war Britain during the 1950s, Brutalism was defined more by its ethical underpinnings than by purely stylistic traits. Architects and theorists like Alison and Peter Smithson and Reyner Banham promoted an approach that valued honesty of material, modular construction, and a rejection of ornamentation in favor of clear structural expression and social functionality. The movement was aligned with the optimism, egalitarianism, and pragmatism of the post-war Welfare State and the urgent need for rapid reconstruction. Its signature use of exposed concrete ("béton brut") and large geometric forms was intended to embody transparency and accessibility in civic and institutional spaces.

Lys Kernow: Cornwall’s Brutalist Civic Landmark

The New County Hall in Truro, now known as Lys Kernow, stands as Cornwall’s monumental example of Brutalism, designed by Francis Kenneth Hicklin and Alan Groves and completed in 1966. This building reflects the ambition of post-war civic architecture to create efficient, resolute, and visually distinctive spaces for local government. Located strategically above the railway station in Truro, Lys Kernow’s expansive quadrangular form encloses a courtyard adorned with reflecting pools and Barbara Hepworth’s sculpture “Rock Form Porthcurno,” integrating art, architecture, and landscape.

The design embraced a rigorous modular grid and leveraged local materials, such as granite and concrete, aligning with Brutalism’s tenet of material honesty and functional legibility. Its austere yet thoughtful presence balances monumentality with sensitivity to the Cornish setting, contrasting with some harsher Brutalist expressions found elsewhere in the UK.

Windowless Building - Truro

Another provocative example of Brutalist and modernist commercial architecture in Cornwall is the windowless former WHSmith building at the corner of Lower Lemon Street, Truro. Designed by architect John Crowther in the mid-20th century, this building challenges conventional commercial architecture norms through its lack of external windows, creating a solid and monolithic street presence. The building’s flat white façade and sharp geometry provide a stark contrast to the surrounding historic Georgian and Victorian streetscape, marking a deliberate modernist assertion amid traditional urban fabric.

The windowless design was a bold aesthetic and functional choice, emphasizing privacy, security, and the internal commercial layout rather than external display. This architectural extremity exemplifies the modernist challenge to historicism and ornamental façades, offering a compelling juxtaposition alongside more traditional and ornate buildings in Truro. The building garnered critical attention and set a precedent in Cornwall for unapologetic, minimalist urban commercial architecture, reflecting broader modernist tendencies in mid-century Britain.