Furniture in The Brutalist: How Early Modernist Designers Influenced a Monumental Tale
Directed by actor-turned-filmmaker Brady Corbet, The Brutalist tells the story of László Tóth (Adrien Brody), a fictional Hungarian Jewish architect and furniture designer who survives the Holocaust and relocates to America in 1947 to rebuild his life. Spanning 215 minutes with a 15-minute intermission, the film draws inspiration from the lives of pioneering architects and designers such as Marcel Breuer, Louis Kahn and Mies Van der Rohe.
Join us as we explore the design details and furniture in The Brutalist and how they shape the narrative, with insights from the film’s production designer Judy Becker and set decorator Patricia Cuccia. With thanks to our friends at Chaplins Furniture for sponsoring this article, we’ll uncover how the production design team captured the essence of early Modernist and postwar designers, and the challenges they faced in crafting the world of The Brutalist.
Also starring Felicity Jones as Tóth’s wife, Erzsébet, and Guy Pearce as the wealthy industrialist Harrison Lee Van Buren, this film places the creation of groundbreaking furniture and monumental architecture at its core, telling the story of one man’s resilience and vision.
Read on, watch the video interview below for more insights, or listen to our brand new Film and Furniture podcast on Podbean, Spotify, Apple Podcasts, and all your usual platforms.
Tóth and Breuer: Shared Design Principles, Different Journeys
Marcel Breuer, born in Hungary in 1902, is one of the most revered figures in modern architecture and furniture design. His work at the Bauhaus in Germany, under the tutelage of Walter Gropius, shaped his development into a master of the International Style, with an emphasis on new materials like tubular steel. Breuer’s most iconic designs, the Wassily chair (1925) and the Cesca chair (1928), revolutionised furniture design, using modern, industrial materials to create sleek, functional pieces that continue to be influential today.
While the real-life Breuer and the fictional Tóth share many design hallmarks—such as the use of tubular steel in their furniture—there are clear differences in their personal stories. Breuer left Hungary before the war in 1935, moving first to London, where he designed the Isokon laminated plywood furniture that became widely imitated, and the long chair inspired by Alvar Aalto, before eventually settling in the U.S. in 1937. He went on to design major works like the IBM Research Facility and the Whitney Museum of American Art.
Tóth, on the other hand, who is also Hungarian, flees Europe in 1947 after surviving the Holocaust, arriving in Pennsylvania with little more than his memories and a vision for the future. While Tóth’s character draws on Breuer’s design principles, and those of several heavyweight designers who fled Europe under the Nazi regime, his journey is entirely fictional, offering a unique take on the lost potential of other designers who did not survive the camps.
In discussing the film’s design process, Becker and Cuccia revealed how Tóth’s character was developed with Breuer in mind, while still maintaining his distinct identity: “One of the things that motivated Brady [Corbet] and Mona [Fastvold] to write the script was that, in fact, there were no architects and designers that survived the camps, like László, so he’s completely fictional in that sense” says Becker. “Marcel Breuer and Walter Gropius and others who had been at the Bauhaus left Germany and Hungary before the war. We wanted to explore the idea of someone who did survive, and what kind of creativity had been lost in the camps. Brady and Mona were influenced by Breuer to a degree, but I tried to make László’s design work his own.”
Despite having no formal architectural training, Becker explains, “I really tried to make László his very own person. I designed everything through his very unique experience. Essentially I had to try to channel a completely made up, influential architect: I got to create him, and I tried to create him in a consistent developmental way, from Bauhaus to Modern, Functional Modernism through to Brutalism. And it made sense to me for him and his psychology—only someone that creative, strong and stubborn could have gone on to create in that way.”
Reflecting on her desire to work on the film, Becker adds, “I had been wanting to work with Brady for years. It was a lucky opportunity to dive into Brutalism and architecture in a way that was incredibly gratifying.”
Cuccia also shares her approach to research: “I was somewhat familiar with the Bauhaus, but I had to immerse myself further. For my work as a set decorator, I drew heavily on Mies van der Rohe and his studio’s methods and philosophy.”
The Miller and Sons Furniture Showroom – A Monumental Transition
After arriving in the U.S., Tóth takes refuge in his cousin’s humble furniture shop, Miller and Sons. Surrounded by colonial-style, factory-made furniture, he is initially horrified by what he finds. His cousin’s shop represents the old-world aesthetic, a stark contrast to the modernism Tóth aspires to. However, under his influence, the shop is transformed into a sleek modernist showroom, featuring tubular steel designs. One of the key highlights in the film is a first look at the shop window showcasing a minimalist desk and chair.
“Tubular steel was common at the time of the Bauhaus, and many designers were creating similar cantilever chairs,” explains Cuccia. “We wanted Tóth’s designs to reflect his struggle, using the simplest forms he could find, while still staying true to his vision.”
This transformation of the showroom serves as a reflection of Tóth’s own evolution as a designer. The furniture he creates for the shop is simple, functional, and grounded in his early Bauhaus influences—serving as a reminder of the creativity he was able to tap into, despite the trauma of his past.
“It was essential for Judy that László designed even the furniture in his apartment—everything had to be something he created, from the beds to the chairs. Every piece was a simple design,” adds Cuccia. “We did run into some issues when it came to fabricating the pieces to look sleek and polished,” says Becker.
Furniture Focus 1: Tubular steel design classics for your own home
Tóth’s designs in The Brutalist are rooted in the modernist principles championed by Breuer, particularly the use of tubular steel. Two iconic designs, the Wassily and Cesca chairs, stand as testaments to the marriage of form and function in modern furniture.
Wassily Chair – With its tubular steel frame and leather seating, the Wassily chair, designed by Breuer in 1925, broke all conventions of traditional furniture design, offering a lightweight, minimalist approach to comfort.
Cesca Chair – Another key piece designed by Breuer in 1928, the Cesca chair combines tubular steel with natural wood, offering both strength and elegance in a single piece.
Laccio coffee table and side table – Breuer’s use of tubular steel to define lines in space – beautifully exhibited in the simple Laccio side table – revolutionised furniture construction and inspired many subsequent generations of designers.
S 35 L Armchair – This comfortable club chair was presented in 1930 at the ‘Paris Grand Palais’ as a contribution by the Deutscher Werkbund. Together with Walter Gropius and Herbert Bayer, Marcel Breuer organised this premier of contemporary German furniture production in France. With the S 35 he succeeded in integrating all of the functions of a tubular steel cantilever chair with the construction of a single uninterrupted line.
These revolutionary designs can be found today in Chaplins Furniture‘s modern collections, offering design enthusiasts the opportunity to incorporate these timeless pieces into their own homes.
A commission – Van Buren’s library
Harry Lee, the son of Harrison Lee Van Buren, a wealthy Pennsylvania industrialist, stumbles upon Miller and Sons’ new modernist shop window. Impressed, he commissions the company and Tóth to redesign his father’s library as a surprise. What once was a dark, heavy space filled with Art Deco furniture and deep red drapes is now reborn into a light-filled, minimalist marvel. Tóth’s visionary redesign includes floor-to-ceiling plywood bookcases that hinge open in unison, creating a stunning visual spectacle.
“There was a description of the shelves being installed in the script, where they open all at once, like a flower,” says Becker. “So I had this idea that the cabinets could open simultaneously, and the special effects department installed a trigger mechanism. When you pushed it, they all opened together. It was the easiest solution, and it worked perfectly—it was such a satisfying moment when we saw it come to life.”
The minimalist design of the room called for absolute precision. “Minimalism is not easy. People think it’s simple, but there’s nothing to hide behind. Everything has to be flawless,” Becker continues. “From the wood to the construction, everything had to be perfect. We spent a lot of time figuring out how to make the cabinets work, especially because the ceiling was so high and the wood planks were too short. We had to seam them, and that was a huge decision. It was really time-consuming, and we had to ensure the seams were invisible, which was a challenge.”
There was another hurdle when it came to sourcing the plywood. “The first batch we received wasn’t what we expected. It had a veneer on top, but it was a cheap particle board with a mirror finish, which wasn’t going to work for the look we were going for. After a lot of searching, we found beautiful, bleached plywood—but it was incredibly expensive, especially with the lumber embargoes,” says Cuccia. “But the plywood was the most important part, and I’m so glad we persisted because it really elevated the design.”
But it wasn’t just the bookcases that were the centerpiece of the room. The transformation also included the addition of a show-stopping chaise with a built-in book stand, which would ultimately steal the show in the newly designed space. “The chaise was a crucial part of the room’s evolution,” says Becker. “It wasn’t just about creating a sleek, minimalist space; it had to evoke a sense of quiet sophistication. The chaise was a statement piece, a combination of form and function that perfectly encapsulated Tóth’s design philosophy.”
The space was filmed in a stunning 18th-century house outside of Budapest, a home built by a beer factory owner and left mostly unchanged since its construction. Cuccia reflects, “The house was gorgeous, but it had these tiled ceramic stoves in every corner, which we had to hide with plywood screens to maintain the room’s modern aesthetic.”
The study was shot in the conservatory of this grand house, where Becker added a multicoloured skylight to bring light and vibrancy to the room. “The room had to feel alive—bright, airy, and full of natural light,” explains Becker. “The skylight was a way to open up the space and bring in a sense of optimism and possibility, perfectly reflecting Tóth’s vision for the space.”
Tóth’s transformation of the study from a heavy, outdated room to a minimalist masterpiece would undoubtedly be Instagram-worthy in today’s world. The dark, rich Art Deco furniture (sourced from a collector in Hungary) was replaced by the stunning plywood bookcases, and the chaise chair became the defining feature in the center of the room—everything was intentional, and everything had a purpose. It was a visual shift that matched Tóth’s own journey of reinvention, all crafted through careful design choices, determination, and a strong connection to the modernist ideals that inspired him.
A Millionaire’s Modern Awakening: The Van Buren Institute
Initially, Harrison Lee Van Buren is dissatisfied with the library redesign and aggressively orders Tóth and Miller out of his house. However, as time passes, Van Buren begins to appreciate the magnificence of the transformation, particularly after a feature in a national magazine, titled A Millionaire and His Moderns. His newfound admiration may be partially driven by ego, as he suddenly sees the potential in championing Tóth’s visionary design approach.
Van Buren’s perception shifts, and he soon reaches out to Tóth to commission an even larger project—the Van Buren Institute. This ambitious design is intended to house a library, theatre, gym, and a Christian chapel. The resulting building is an embodiment of the principles of brutalism: raw, unpolished materials; functionality above form; and an uncompromising honesty in its construction.
For Tóth, the Institute represents more than just another commission—it’s an opportunity to fully manifest his architectural vision.
Discover more on the architecture of The Brutlalist in our forthcoming feature.
Modernism in Full View
In another standout scene, the architect’s office, where the financing for the Van Buren Institute is discussed, offers a visual feast of striking modernist furniture. The space features a black Haller USM sideboard, a black Barcelona chair and Barcelona Low Table by Mies Van der Rohe, a grand glass desk with steel legs, and a Motherwell-esque abstract painting adorns the wall. “We wanted the office to reflect a true Mid-Century Modern style,” says set decorator Patricia Cuccia. “But sourcing the right pieces in Budapest proved to be quite a challenge.”
Cuccia further elaborates, “We also wanted to dress the outside area with Bertoia side chairs, because in New York, where we’re supposed to be, there are these wonderful outdoor seating areas filled with Bertoia chairs.” Unfortunately, despite their efforts, the team couldn’t locate any in Budapest. “It was one of those moments where you have the vision but can’t quite execute it in the exact way you want,” Cuccia explains, showcasing the challenges the team faced.
Furniture Focus 2 – Mid Century classics
USM Haller storage units – The extraordinary USM Haller Storage units designed by Fritz Haller & Paul Schaerer are available in 14 customizable colors.
PK61 Coffee Table – Designed in 1968 by Poul Kjærholm for luxury Danish furniture and lighting manufacturer Fritz Hansen, the PK61 features a stunning satin brushed stainless steel frame and a top in glass, slate, Granite or white rolled marble.
MR Chaise Lounge – The MR Collection represents some of the earliest steel furniture designs by Mies van der Rohe. The material choice was inspired by fellow Bauhaus master Marcel Breuer, while the forms are thought to be modern derivatives of 19th century iron rocking chairs.
These designs can be found today at Chaplins Furniture, offering design enthusiasts the opportunity to incorporate these timeless pieces into their own homes.
The Legacy of The Brutalist – A Labour of Love
Brady Corbet faced numerous hurdles and spent years getting The Brutalist off the ground. As he once remarked, “Architecture isn’t so different from independent filmmaking,” and indeed, the production team encountered significant challenges bringing the film to life—from sourcing materials to managing a tight budget. Despite these obstacles, the film’s design became a true labour of love, one that has deeply resonated with both audiences and critics, earning an impressive ten Oscar nominations including Best Production Design.
“I thought it was going to be a great movie,” says production designer Judy Becker. “But I didn’t know if others would respond the way they have. It’s been incredibly rewarding to see the film connect with so many people.”
The Brutalist not only celebrates the work of influential architects like Breuer but also introduces a new generation to the enduring beauty of modernist furniture and brutalist architecture.
The Brutalist is now playing in cinemas across the UK and USA.
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