Brutalism has been rehabilitated twice: once by nostalgia, once by Instagram. Both times we missed the point. Concrete does not photograph well; it photographs truthfully.
The board marks are not decoration but evidence — the record of the formwork, the carpenter, the morning the pour happened. A building that shows its own making is a building that trusts its audience.
What looks heavy from the street is often an act of restraint: fewer materials, fewer moves, fewer lies.