The true architect of ‘The Brutalist’ is production designer Judy Becker

In many ways, architecture is the star of the 2024 film The Brutalist. Nominated for 10 Academy Awards, including Best Picture, the film follows decades of the life and work of László Tóth, an ingenious Bauhaus-trained Hungarian architect who survives the Holocaust and immigrates to the United States to pursue a new life.

Cowritten and directed by Brady Corbet, it’s a fictional story with underpinnings of world and architectural history. The narrative centers around Tóth, played by Academy Award winner Adrien Brody, designing and building a monumental, brutalist-style community center and church-like space for a wealthy and mercurial client.

That building, known in the film as the Institute, does not actually exist as a built project. So production designer Judy Becker had to design it for the film. The final building design showcases brutalism on a grand scale, with large and cascading rectilinear blocks of concrete topped with soaring towers.

“The first thing Brady asked me to do, and this was well before official prep, was to design the Institute,” says Becker, whose production design is among the film’s Oscar nominations. The building is so essential to the story that how it looked ended up guiding the rest of the film’s production. Becker, not the fictional Tóth, is the true architect behind The Brutalist.

[Photo: courtesy A24]

Drawing from a personal passion

Though not a trained architect, Becker drew from decades of interest in art and architecture—particularly the stark concrete modernism of the brutalist style—to bring the Institute to physical form. “The movie seemed kind of tailor-made for me because, for a very long time, I’ve been in love with brutalist architecture,” she says. “Way before there was a group of people that loved brutalist architecture, I loved it.”

Becker’s architecture for The Brutalist was also inspired by the mid-century works of modernist architects trained at the Bauhaus, which the fictional Tóth attended before the outbreak of World War II and his imprisonment at the Buchenwald concentration camp. These biographical details in the script were some of the few aspects guiding the design of the Institute.

[Photo: courtesy A24]

Building an architectural connection to the film’s characters

Two specific architectural details were also drawn directly from the script’s dialog: an aperture in the Institute’s roof and a central altar on which the aperture projects a cross at noon. Revealed in dialog only until the very end of the 3-hour-20-minute film, Becker’s design for the Institute also had to reflect an architectural connection to the two concentration camps where Tóth and his wife, separated during the war, were imprisoned. Much was open to Becker’s interpretation.

[Image: courtesy A24]

“I researched in great detail the architecture of the concentration camps and looked at overhead plans and aerial photographs, and also the interiors of the bunkers where the [people] were imprisoned,” says Becker. “It was very, very useful for me to do that. It was also very emotional, and let’s say stressful and draining, but important.”

Her research also extended to the outbuildings of the concentration camps, including their crematoriums. “Personally, I intended the Institute to look like a gigantic crematorium that was passing as a church,” she says.

[Image: courtesy A24]

Some of these details appear only briefly, or obliquely, in the film. The most comprehensive view the audience is given of the building is a scale model used for a client review and a community meeting. The actual building is shown as a nascent construction site and later, as a nearly finished project.

[Image: courtesy A24]

Becker says filming the building was essential to the story, but a challenge to do without actually building it. What ended up in the film is a pastiche of the scale model, sets to show the construction site, and a combination of location shoots that included an abandoned grain silo and an underground reservoir in the city of Budapest. “It was a complicated process,” she says.

Crafting original mid-century work for the Brutalist

Becker’s role as production designer also involved more typical facets of the job, such as set design and location furnishing. But, unique to a film about an architect, she also had to put her mid-century design chops to work creating an avant-garde library space that appears early in the film, as well as Bauhaus-inspired furniture Tóth’s character creates shortly after arriving in the U.S.

[Image: courtesy A24]

“Most of the time, when I did additional research for those periods, it was to avoid imitating anyone,” Becker says. “I didn’t want what László designed to look like another designer.”

[Photo: courtesy A24]

Though Becker says her work as a production designer always involves getting inside the minds of the characters in the film, this project called on her to almost become the actual architect behind the architecture of The Brutalist. “I was really trying hard to make him original, make his work original,” Becker says. “Sometimes, I believe that he did exist! I talk about him as if he was a real person. But he only lives inside of me as a designer.”

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