I grew up in southeast London and there's a lot of brutalist

Host: The gentle hum of the evening filled the room, creating a relaxed atmosphere for deeper conversation. Jack sat at the table, his fingers lightly resting on his cup, reflecting on Kate Herron's words. Jeeny stood near the window, her gaze directed outward, contemplating the significance of the statement.

Jeeny: “I’ve been thinking about what Kate Herron said: ‘I grew up in southeast London and there’s a lot of brutalist architecture.’ It’s interesting how she connects her upbringing to the architecture around her, isn’t it? The idea that our environment—the places where we grow up—shapes the way we experience the world. Brutalist architecture, with its raw, imposing style, is often seen as controversial, but for Herron, it was just part of her landscape.”

Jack: “Yes, exactly. Herron is showing us how architecture is more than just buildings—it becomes part of the fabric of who we are. The structures around us influence not only the way we see the world but also how we feel within it. Brutalism, with its heavy concrete forms and stark lines, might be harsh to some, but to Herron, it represents something familiar, something that defined her environment growing up. It’s a reminder that we often don’t realize how much our surroundings shape us until we reflect on them.”

Jeeny: “Right. And I think it’s also about how people’s perceptions of certain architectural styles change depending on their personal experiences. Brutalism has been criticized for being cold or oppressive, but for someone who grew up with it, it becomes part of their identity, part of their history. Herron doesn’t seem to see it as something to fear or reject; it’s simply part of the world she knows. It’s a reminder that beauty or significance isn’t universal—it’s subjective and often based on what we’re used to.”

Host: The stillness in the room deepened as they reflected on the relationship between environment and identity. Jack’s fingers rested on the table, while Jeeny’s expression softened, considering how our surroundings influence the way we experience and relate to the world.

Jack: “It makes me think about how often we take for granted the influence of our environment—the buildings, the streets, the places we inhabit. We don’t always realize how much they shape our perspective until we’re forced to step outside of them. Herron is showing us that architecture isn’t just functional; it’s cultural. It shapes the way we move through the world, how we see things, and even how we define ourselves.”

Jeeny: “Exactly. And it’s also about how we often react to what’s unfamiliar. Brutalism, with its starkness, might seem intimidating or impersonal to some, but to Herron, it’s a part of her story, her sense of place. What we find unpleasant or alien is often just a product of not understanding the context in which it was created. For her, those buildings are tied to memories, to experiences. It’s a reminder that beauty, or value, often lies in the personal significance we attach to something.”

Jack: “And I think that’s the beauty of architecture in general. It’s not just about what a building looks like—it’s about the experience of living in and around it. Herron grew up with those structures, and for her, they’re part of her identity, part of her landscape. The form and style of a building can carry so much meaning beyond just aesthetics.”

Jeeny: “Yes, and I think that’s why architecture is so important to our cultural identity. It’s more than just about design—it’s about how buildings tell the story of a place, a community, and the people who live there. For Herron, those brutalist buildings represent a chapter in her life, a specific moment in time that shaped her worldview.”

Host: The quiet in the room grew deeper as they reflected on how architecture serves as both a reflection and a shaper of identity. Kate Herron had shown them that the buildings and structures we encounter throughout our lives leave a lasting impact on how we perceive the world. Jack leaned back slightly in his chair, while Jeeny’s gaze turned from the window back to him, both of them understanding how deeply our surroundings shape us.

Jack: “So, Herron is really showing us that architecture isn’t just about how things look—it’s about the emotional connection we have to the spaces we inhabit. Those brutalist buildings weren’t just concrete and steel to her—they were a part of her story, a part of her identity.”

Jeeny: “Exactly. Herron reminds us that architecture shapes how we experience the world. What we might think of as cold or harsh can actually be meaningful depending on our experiences. It’s a reminder that beauty isn’t just about surface-level aesthetics—it’s about the personal significance we attach to the spaces we occupy.”

Host: The evening had fully settled in, the quiet understanding between them a reminder that our environment, the spaces we inhabit, and the architecture around us are not just structures—they are deeply tied to our identity, our history, and our experiences. Kate Herron had shown them that architecture can shape our worldview in ways we often don’t realize until we stop to reflect. The world outside had darkened, but inside, there was light—a recognition that the spaces we live in leave a lasting imprint on who we are.