brutalist architecture – Steel City Snapper photography

Another example of brutalist architecture, this time in the form of Hull’s George Street car park. The multi-storey construction takes the form of a continuous spiral and it was developed and designed in the 1960s by Maurice Weston who had built other similar car parks.

As with many car parks from the 60s (in the UK at least), the parking bays were designed for smaller vehicles, meaning that some of today’s considerably larger cars – particularly SUVs, I would imagine, find it a greater challenge to fit. I’ve noticed similarly small bays in other car parks from those times, often with the disadvantage of concrete pillars that form part of the structure meaning that the bays cannot easily be widened.

Nikon F80 & Tamron 28-300mm F/3.5-6.3 Di VC PZD on Kodak Tri-X. Ilfotec DD-X 1+4 @ 20° 9mins.

Taken on 9 August 2025

Back in October I visited the My Brutal Life exhibition in Sheffield. The exhibition featured a variety of pieces from various artists, covering photography, painting, collage, poetry, and film, all linked by the theme of brutalist architecture.

The venue for the exhibition was the Moore Street Electricity Substation, itself a notable brutalist building that sits just on the edge of the city centre. While the substation is in active use, one of it’s floors is empty. This floor was originally intended to hold the equipment that would provide electricity to two foundries and a car factory that were never built.

It forms an impressive space – effectively a large concrete emptiness with no source of natural light at all – that was perfect for this exhibition. I had seen a number of the pieces on show previously – something that’s bound to happen when you visit local exhibitions featuring local artists and of local subject matter – but others were new to me, or at least not seen before by myself in person.

One of the artist’s featured was Jen Orpin, a Manchester-based painter who has produced a number of works featuring roads and bridges, notably concrete spans across motorways. I first came across her work in a feature in the Guardian newspaper and her compositions of brutalist bridges crossing mysteriously empty stretches of road caught my eye. There’s a photorealism to the work that evokes recognition and a sense of otherworldliness. You can see example of her work on her website: https://www.jenorpinpaintings.co.uk/

Although the exhibition space was far too dimly lit for me to take film photos (I had no tripod), I did take a number of pictures of the staircase that needed to be ascended to reach the exhibition space (126 steps!) and of the substation itself, which you can see here in this post.