The Split Personality Of Brutalist Web Development

No frills, or flashing neon frills with sprinklers attached? ‘Brutalist’ websites have flourished in recent years, but their guiding philosophy remains unclear.

Of all the design trends to hit the Internet in recent years, brutalism is surely the most eye-catching, and the most poorly defined. A variety of major brands have embraced ‘brutalist’ aesthetics online. There are even directories for those interested in seeing a selection of them in one place. The style has well and truly entered the mainstream.

Desktop homepage of Bloomber.com
Bloomberg.com’s stark, no-nonsense design went live in 2016 and was refined in 2018. It is often touted as a leading example of brutalism’s growth online. (Large preview)

Indeed, brutalist web design has grown so quickly that there does not seem to be a clear consensus on what the style actually is. To some it means practicality, to others audacity. Much like the architecture it takes its name from, brutalist web development has become two competing philosophies in one. Neither is necessarily ‘right’, but knowing the difference is important. It may even be sensible to start calling them different things.

A Brief(Ish) History Of Brutalism

Before we get ahead of ourselves, let’s recap the term ‘brutalist’ — where it came from and what it means. Brutalism is a style of architecture that took off after World War II, reaching its peak in the ‘50s and ‘60s. Championing simple, geometric designs and bared building materials, the trend was in large part a reaction against the ornate, over-designed structures of preceding decades.

The name comes from béton brut, which is French for raw or rough concrete. Concrete is a common material for brutalist structures, lending itself as it does to the style’s no-frills approach. Other materials can be and are used, but concrete is especially common. Whatever structures are made of, embellishments are deemed unnecessary. The form and the materials are enough.

The United Kingdom, with its fondness for grey, drab things, particularly took to the style. Notable examples of brutalist architecture here include the Royal National Theatre, the Barbican Estate, and Balfron Tower. It has proven especially popular for public buildings — libraries, theatres, universities, housing estates, and so on.

The Royal National Theatre in London
The National Theatre in London. Designed by Denys Lasdun and opened in 1976, it is a textbook example of brutalist architecture. It is both one of the most hated and most loved buildings in Britain. Photograph by Henry Hemming. (Large preview)

Although there is not a catch-all definition that everyone agrees on, deference is often paid to English architectural critic Rayner Barnam, whose 1955 essay ‘On the New Brutalism’ attempted to outline the core ideas of the style. In anticipation of those of you who would not read the whole thing, Barnham boiled the philosophy down to the following:

In the last resort what characterizes the New Brutalism in architecture as in painting is precisely its brutality, its je-m’ en-foutisme, its bloody-mindedness.

Loosely translated, je-m’ en-foutisme translates as ‘don’t give a damn attitude. To be sure, brutalist buildings are unconcerned about conventional standards of beauty. They are also rather divisive. Where some gush over their firm, utilitarian character, others decry ugliness, impersonality, and, well, brutality.

Love it or hate it, brutalist architecture celebrates rawness. Indeed, Barnam opened his essay with a quote by Swiss-French architect Le Corbusier: “Architecture is the establishing of moving relationships with raw materials.” Le Corbusier’s Unité d’habitation housing designs inspired a generation of brutalist architects.

Balconies at La Maison du Fada in Marseille
Balconies at La Maison du Fada in Marseille, France. Designed by Le Corbusier and completed in 1952, it was a pioneering example of brutalist residential design. Photograph by Jean-Pierre Dalbéra. (Large preview)

So in short, brutalist architecture not only reduces construction to its fundamental materials, it finds beauty in that simplicity. Critics say it’s a bit in your face, a bit impersonal, a bit totalitarian even. The dual meaning of ‘raw’ and ‘brutal’ has clouded the definition, but as a rule, the goal is rawness and the result is perceived by some as brutal.

The style has waned in popularity since its postwar heyday, but it endures as one of the most distinctive around. A good few have attained listed status, and I for one am glad they have. A city of brutalist buildings would be a bit much, but a city without any is poorer for it.

FURTHER READING

Practicality Or Audacity?

So what’s all this got to do with web development? The philosophy, mainly, and the way it has splintered. Brutalism has found new life online, especially in the last three or four years. A slew of sites have taken on the brutalist moniker, and with the trend’s rise have come accompanying aw(ww)ardsarticles, and directories.

Browsing through these things you may well get the impression that not everyone is talking about the same thing. That’s because they aren’t. In the world of web development, ‘brutalist’ has grown to encompass a variety of styles. It’s a disservice to designers to keep lumping together such different approaches. I have separated web brutalism into two types below, but as we shall see even that may not be enough.

TYPE ONE: L’INTERNET BRUT

The first type of brutalist web design has much more in common with its architectural forebears. Think of it as l’Internet brut, where the raw materials are HTML and, to a lesser extent, CSS. The backgrounds are light, the text is black, and the hyperlinks are blue. There’s some wriggle room, but that’s the gist of it. No faffing about. Short of displaying actual code you couldn’t get much rougher.

The first ever website
In the beginning was the Style, and the Style was with Brutalism, and the Style was Brutalism. (Large preview)

There are countless examples of this style, big and small. The first ever website is an inadvertent disciple, while more recently Brutalist Web Design by programmer David Bryant Copeland puts forward a lovely little manifesto for the style.

Going up in the world, other websites with strong brutalist streaks include:

Although the raw materials of these sites are very similar, they don’t all look the same. They are shaped around their content and purpose. Like their architectural cousins, there’s actually a huge variety in form.

Craigslist’s London homepage as it appears in 2020
A proper l’Internet brut website. It even has grey! (Large preview)

As you can see with the Craigslist homepage above, there is very little in the way of excess, and possibly even less in the way of style. It’s barely changed in 20(!) years, because it hasn’t needed to. Take a look at the code and even a novice like me can follow how the pages are put together. You don’t have to guess how it’s built because it’s all right there in front of you.

With sites like this you’ll often notice an overlap with the ‘publicly minded’ leaning on a lot of these websites — marketplaces, forums, encyclopedias. It’s oddly appropriate to see a site like Wikipedia take on the digital form of, say, Robin Hood Gardens. Bloomberg has plenty of company in the news space as well. Papers like The New York Times and The Washington Post have embraced similarly blunt, functional designs in recent years. News design has always had a strong brutalist streak.

Desktop homepage of The Washington Post website
The Washington Post’s revamped website rolled out in 2015. Newspaper designer Mario Garcia praised it at the time for ‘avoiding clutter and crowdedness.’ (Large preview)

It bears mentioning here that several of the sites used as examples here didn’t set out to be brutalist. Much like Villa Göth, which is widely considered the source of the term brutalism, they set out to be practical and simple. They were adopted, so to speak. Their success is what inspired (and continues to inspire) architects and developers alike. They’re so unconcerned about appearances that they became shining examples of brutalist design without even realizing it!

Sites in this vein don’t always scream beauty, but there is an elegance to their functionality. They are unconcerned and unpretentious, shaped for their purpose using the raw elements of the web. (Pun intended.)

TYPE TWO: L’INTERNET FOU

This is the split. Right here. Those of you with even a passing interest in web design trends will know what we’ve looked at so far fails to account for a huge number of ‘brutalist’ sites. As Vitaly Friedman noted in Smashing Book 6:

Brutalism in architecture is characterized by unconcerned aesthetics, not intentionally broken aesthetics. When applied to web design, this style often goes along with deliberately broken design conventions and guiding principles.

The rise of ‘brutalist’ design over the last few years has had a lot more to do with brutalness than with rawness. This is the madder world, at times bordering on anarchy. Here design conventions are subverted and usability is an afterthought — and that’s not when it’s being actively sabotaged. These are the sites that prompt articles titled ‘Style Over Substance’, and for The Washington Post to sum up the style as ‘intentionally ugly.’

Desktop homepage of art magazine Toiletpaper
The homepage of artists’ magazine Toiletpaper. (Large preview)
Desktop homepage of self-described brutalist website JI SOO EOM
JI SOO EOM, another site found in the Brutalist Websites directory. (Large preview)

In the suitably migraine-inducing article ‘Brutalism: BrutAl wEbsIteS for mOdern dAy webMAsTeRS’, Awwwards describes this second strain as follows:

Brutalism in web design laughs in the face of rationalism and functionality, in the world of design it can be defined as freestyle, ugly, irreverent, raw, and superficially decorative, etc.

I hope it isn’t controversial to say that this is an altogether different approach to type one. At a stretch, you might argue that this approach is more the domain of artists and graphic designers, and that art is, therefore, the rawest form their websites can take, but that would be a stretch. There’s no question brutalist architecture can drift into ‘statement’ territory, but that’s not its natural realm.

The Brutalist Websites directory suggests, ‘Brutalism [online] can be seen as a reaction by a younger generation to the lightness, optimism, and frivolity of today’s web design.’ There are shades of the founding brutalist ethos in this, but it is more irreverent and subversive. They can be very beautiful in their own way, but also cut from a completely different cloth from the Craigslists of this world.

This Town Ain’t Big Enough For The Two Of Us

So there you have it. When brutalist web design isn’t going all in on rationalism and functionality, it’s laughing in the face of rationalism and functionality. All clear?

The term has grown to encompass approaches that are in many senses at odds with each other. Indeed, Pascal Deville, who founded the Brutalist Websites directory after coining the term in 2014, thinks the style has splintered into three micro-stylistics:

  1. Purists,
  2. UX minimalists,
  3. Anti-ists (or artists).

Having vetted hundreds of submissions over the years, he’d know better than just about anyone else. He says:

The purists reference strongly to the architectural characteristics of Web Brutalism, such as the concept of ‘truth to materials’ and the use of the purest markup elements available. The UX minimalists, in contrast, see efficiency and performance as the main driver of Web Brutalism and even believe that the radical limitation of possibilities can boost conversions. The ‘anti-ists’ or artists see web design as an (still) undervalued form of art and don’t show much respect the status quo and mostly get bad press.

What is a ‘proper’ brutalist website? To an extent, the answer depends on the context. If a website belongs to an artist then something brash may be more appropriate than something unconcerned. Generally speaking, though, it seems to me that the sensibilities of the ‘anti-ist’ type are actually much closer to something like Dadaism, with all its absurdity and mirth and mess, or the avant-garde leanings of Expressionism.

Small Dada Evening by Kurt Schwitters and Theo van Doesburg
Small Dada Evening by Kurt Schwitters and Theo van Doesburg. (Large preview)
Typical Vertical Mess as Depiction of the Dada Baargeld by Johannes Theodor Baargeld
Typical Vertical Mess as Depiction of the Dada Baargeld by Johannes Theodor Baargeld. Which branch of ‘brutalist’ web design do these look more like to you? (Large preview)

I don’t want this to come across as a game of semantics, where different styles are filed away neatly into little boxes. What I am more concerned with is highlighting different approaches so that each may be given the space needed to flourish. As Deville acknowledges, the creative potential of the web is still being explored. ‘It’s a new form of art and I’m very happy to experience first hand,’ he says. ‘It’s happening now.’

This has practical consequences as well. Whether you’re a developer talking to a client or a client talking to a developer, it pays to be clear which version of brutalist web design you’re on about. If you’re a real champ you’ll naturally refer them to this article. Otherwise, visual examples like the one below are likely your best bet for getting to the point.

Example to two different brutalist website styles
They’re both ‘brutalist’ so be sure what you’re asking for. The design on the left is a project by Constantin Grosnov. (Large preview)

Beyond that, maybe we should start giving different styles different names. I appreciate this would be rather inconvenient to a lot of people. Domains have been bought, awards awarded, and articles written, but going forward the label seems too restrictive. It can no longer contain so many approaches. If nothing else, the split personality of brutalist web development shows how much terrain remains to be explored in web design.

There are countless schools of art — Brutalism, Expressionism, Romanticism, Art Deco, Futurism, Dadaism, Impressionism, absurdism, modernism, minimalism, and on and on and on. They find form through paintings, buildings, literature… why not websites? As the links below show, I’m not alone in asking this. With every new development style, ‘anti-mainstream’ becomes less adequate for describing what designers are doing. They are starting to explore the philosophy of web design in ways that haven’t been done before.

The ‘Dadaist’ strain of brutalist web design has one thing absolutely right: the scope for what a website can be is far, far too narrow. The web is an infinite sandbox, and embracing the breadth of possibilities within it can only be a good thing. That starts with expanding our vocabulary.

Smashing Editorial (ra, yk, il)

Load Google Fonts Asynchronously For Page Speed

Any file that the browser needs to render the page, where it will not show the page without it, is known as part of the critical path. Normally, any CSS file is part of this critical rendering path.

Though Page Speed Insights is a good tool, remember that Google still uses what real users see as a metric for judging page speed and user experience.

The Web Font Loader uses a little sleight-of-hand to make site visitors feel like the page is rendering faster.

CSS blocks the rendering of the page, which gives impression of slower page speed. What the Web Font Loader does is defer the loading of Google Fonts until after other parts of the page have started to render.

How To Use the Web Font Loader

In your page, include a link to the Web Font Loader script. You can set this link to load the latest version, but for performance, it is better if you link to a specific version of the script.

Then, indicate what font families you would like to load from which font service.This is what the code looks like on this very site (We’re using Google Fonts.)


<script src="https://ajax.googleapis.com/ajax/libs/webfont/1.5.18/webfont.js"></script>
<script>
 WebFont.load({
    google: {
      families: ['Source Sans Pro:400,600,700,400italic,700italic', 'Roboto Condensed:400,700']
    }
  });
</script>

There are different methods for Typekit, Fontdeck, and Fonts.com. You can consult the documentation on Git Hub for the Web Font Loader project for specific instructions.

Another way you can use the Web Font Loader is in the head of your pages. This method uses JavaScript to load fonts ansynchronously. Google will show you this method when you go to use Google Fonts if you click on the JavaScript tab.

JavaScript Google Fonts Asynchronous Code

This is what this script looks like. (It is similar to the previous script, but utilized a different way.)


<script type="text/javascript">
  WebFontConfig = {
    google: { families: [ 'Roboto+Condensed:400,700:latin', 'Source+Sans+Pro:400,600,400italic,700italic,700:latin' ] }
  };
  (function() {
    var wf = document.createElement('script');
    wf.src = ('https:' == document.location.protocol ? 'https' : 'http') +
      '://ajax.googleapis.com/ajax/libs/webfont/1.5.18/webfont.js';
    wf.type = 'text/javascript';
    wf.async = 'true';
    var s = document.getElementsByTagName('script')[0];
    s.parentNode.insertBefore(wf, s);
  })(); </script>

In my own testing, this method seemed a little slower than what I am using, putting the former script in the footer. Either way is a compromise. You must test for yourself and decide what works for your site.

More: JavaScript Font Loader Code

 

How To Fix Defer Parsing of Javascript in WordPress (5 Ways)

As somebody who is trying to understand how to defer parsing of Javascript, we believe you have a problem. You own or have visited a website of somebody you know (maybe a client?) and it takes forever to load. And when you ran it through website speed testing tools, you got a recommendation which you’re not sure how to implement.

In this article, we’re going to share several ways of how to fix this warning and ultimately, make the website load faster, without throwing this error!

If you’re short on time, here are some quick actions you can do:

Instructions for How To Defer Parsing of JavaScript

  1. Download the Async plugin here.
  2. Click on Plugins > Add New > Upload plugin and select the file you have just downloaded.
  3. Click on Activate of the installed plugin.
  4. Go to Plugins and click on Settings for the Async plugin you have just installed.
  5. Clicking on Enable Async Javascript, or Apply Async as two of the most common ways to apply the fix.
  6. Test your website, to see that everything is still working well.

 

More:

Optimize Font Awesome to ridiculously low size of 10KB!

Font awesome makes a web designers life easy. Adding icons is as simple as adding a <h1> tag. Resizing is done through attributes, flipping, stacking, spinning is all possible with font awesome. But apart from those 10 icons and some styles, all other icons are of no use to us. They load along with the ones we need.

Though font awesome is cached by browsers since many websites use it, we have to give attention to first-time visitors who may have a browser without cached font awesome css. Moreover, font awesome version updation is done every time when new icons are added and you should also keep version of the CDN link up to date.

Why should we optimize font awesome?

I like my website to load faster on desktops as well as on mobile devices. It is one of the main reasons why I switched from WordPress to Jekyll.

Read: Why did I choose Jekyll over WordPress?!

If we are using only 10 icons then why should we load 100 other icons?

Since fontawesome is a huge file, we have to trim it down to our needs. If we are using only 10 icons then why should we load 100 other icons? The size of font awesome web font is 90KB. Added to that, minified font awesome css is 30KB. So overall 120KB! What I’m trying is to reduce this to below 12KB which is more than 90% compression!!

This will decrease the load time multiple folds! My website scored 89% on Google pagespeed insights after implementing this. It used to be 52%!

How can we optimize font awesome?

Basic idea is to edit the font file to make it as small as possible. Removing unwanted glyphs will reduce the size drastically. But we should analyze our website to make sure we note down all the font awesome icons that are in use.

In my case, removing unused glyphs reduced the woff file size from 90KB to 8.5KB. This size depends on how many icons you need. The size increase with the increase in the number of icons. Removing unwanted css from fontawesome.min.css reduced the size from 30KB to 2KB. The overall size of font awesome after optimizing is around 11KB!

There are two ways to do this.