Berlin's 22 Brutalist buildings form the densest Brutalist collection in continental Europe. The style arrived here as both social programme and architectural statement — raw concrete deployed for housing estates, churches, university buildings, and Cold War infrastructure on both sides of the Wall.
Werner Düttmann's St. Agnes church is the defining sacred example: stripped-back concrete geometry that turns light into the primary material. Le Corbusier's Corbusierhaus — his Berlin Unité d'Habitation — brought the béton brut vocabulary to its fullest residential expression. The Czech Embassy by Věra Machoninová and Vladimír Machonin shows socialist Brutalism at its most sculptural, while the Mäusebunker by Gerd Hänska and Magdalena Hänska pushed laboratory architecture into a ventilation-driven form that remains one of Berlin's most photographed buildings.
The residential strand runs deep: Georg Heinrichs's housing complexes at Stangerbader Strasse and Pichelsdorf, the Schlange by Wilfried Stallknecht and Heinz Mehlan, and Bernhard Binder's Hohenzollerndamm apartments all used exposed concrete to house Berliners at scale. Ralf Schüler and Ursulina Schüler-Witte's Bierpinsel added a Pop-Brutalist exclamation mark to Steglitz.
