Ernö Goldfinger - Trellick Tower

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Contents
Introduction
Modernism in Britain 3
Post-War London 4
1. Cultural Context
1.1 Modernism in Europe 7
1.2 Immediate need for housing 8
2. Architect
2.1 The ‘Real’ Gӧldfinger 10
2.2 Foundations / Paris years 11
2.3 Revolutionary road 13
2.4 Influences 14
2.5 Early works 16
2.6 Making a home 18
3. Architectural ideas
3.1 The Sensation of space 21
3.2 Urbanism and Spatial order 24
3.3 Elements of enclosed space 26
4. The Building
4.1 Rising high 28
4.2 Balfron Tower 33
4.3 Trellick Tower, A ‘familiar’ design 38
4.4 Site context 39
4.5 The ‘last’ real building 43
4.6 Synthesis 47
5. Towers of Terror 53
5.1 The ‘Good’ days 54
Conclusion 56
Bibliography 59
Illustration credits 62
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Introduction
Modernism in Britain
It is apparent that in order to discuss an exemplary architectural work of the

twentieth century which is influenced by and dedicated to the most influential
movement since Renaissance and Medieval architecture, is of vital importance,
to realize the significance of the movement itself and the consequences of its
penetration to the established culture. Regarding Modern architecture in
Britain one has to consider a series of antagonisms. ‘The conflict between
Empiricism and Formalism as style, between the historicist and the modern
and between Socialism and Capitalism’1 comprise oppositions and
contradictions which are expressed in some forms.
To make a fair appraisal of the situation during the time that Modern
architecture planted in Britain two are the basic agents that has to be
mentioned hitherto; ‘ from 1890 onwards avant–garde culture had been
putting new life into the theory and practice of architecture’2 hence, new ideas
spread across Europe spanning the First World War. Secondly, the large
number of émigré architects who came to Britain.
By 1933 numerous architects left their countries towards France like Erich
Mendelsohn and Peter Caspari, North America and Britain. Amongst the later
were Walter Gropius, Maxwell Fry and Marcel Breuer followed a year later by
Ernö Goldfinger whose work marks the invigoration and the maintenance of
an undeclared war among the perception of design and the value of tradition
as well as the predominance of a ‘new’ architecture which treats the enclosing
space as a piece of art with functional extensions.
1
unknown writer www.archinect.com/features/article_print.php?id=4475_0_23_0_M [accessed on
25/08/10]
2
Benevolo, Leonardo, History of Modern architecture, Volume 2 The Modern movement (London,
Routledge & Kegan, Paul, 1971) p.376
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‘Modern architecture had been fully established in Europe under the

leadership of Gropius and Le Corbusier’3. Britain’s leading contribution, at the
moment, on the evolution and establishment of Modern wave was the
reconciliation of the émigrés architects and the provision of ‘new, virgin land’.
In the period of post-war London until the reconstruction after the Blitz and by
the era of high-rise buildings, the progressives were in the ascendant.
Surprisingly, one may say, for Britain was focused on the antiquarian and the
traditional culture which both of them were embodied in their established
buildings.
Post-War London
‘The Blitz has cleared some sites and we must clear many more, but for
what?’4
Despite Britain’s early reaction on industrialization and repudiation of

accepted and traditional styles and values, -what Modern architecture stands
for- numerous monumental modern buildings were built throughout the years
in London. Ernӧ Goldfinger’s accurate comment betrays both excitement and
uncertainty for the forthcomings, three years after the cessation of
bombardments. Both architects and planners had become obsessed with
massive scale works while at the same time a large number of citizens were
against. However, the idea of high-rise buildings started to be almost
necessary due to economic and social reasons.
It took London ten years starting from 1962 to experience the completion of
three great monumental examples. Two of them received relatively not to
intense critic comparing to the third which gained some recognition. The
Alexander Fleming House at Elephant and Castle, 1959, the Balfron Tower, at
Rowlett Street, Poplar, 1965-1968, and the Trellick Tower at Edenham Street,
3
Richards, J.M Architecture D’aujourd’hui Special issue, no39, (London, 1952) p.5
4
Warburton, Nigel Erno Goldfinger – The life of an architect (Abingdon, Oxfordshire, Routledge, 2005)
p.125
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1968-1972 represent probably the ‘only examples in England of large-scale

works of high modern architecture at its most ambitious’5. More specifically,
Trellick Tower comprised almost the most practical answer to Britain’s post-
war housing crisis.
5
Dunnett, James, The architect as a constructor Architectural Review, vol. 173, no1034 (London, April
1993) p.42
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1. A symbol of London, St. Pauls Cathedral emerges from the flames during one of the most
devastating raids on 29 December, 1940.
2. A view widely accepted both in Britain and Germany before the war was that indiscriminate
bombing of cities would quickly undermine the morale of the civilian population, spreading
confusion and anarchy. In fact, nothing of a kind happened during the Blitz; people quickly learned
how to continue with their lives despite the bombing and destruction.
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Cultural context chapter 1
Modernism in Europe
The effect of interwar on modernism, ideologically, was immense, affecting

directly architecture. Nonetheless, it had insignificant impact on Britain where
reoriented ideas were generally rejected and modernist constructions were
undoubted ambiguous. The evolution of radical notion on design was different
from country to country. German masters fired up the abrupt explosion of
modernity in English culture after a long period of dullness. Pre-war period
projects like those of Gropius, Mendelsohn, and Beuer, Maxwell-Fry’s house at
Kingston, 1937 and Chermayeff house at Halland are just some examples. The
dominant utilized ideas and the new way of thinking led British architects to
the creation of the M.A.R.S group (Modern Architectural Research) the English
version of C.I.A.M (Congres International d’Architecture Moderne) which
alerted public with an influential exhibition in London in 1937. Golffinger was
involved with both with groups. The later was founded in 1928 at the Chateau
de la Sarraz in Switzerland and constituted by 28 European architects under
the umbrella of Le Corbusier who was the main protagonist in French modern
architecture affecting all Europe as he created the foundations of the ‘new
idea’. In Italy, modern architects tried to obey at the established order of
Fascism, distorting the appearance of the buildings adding needless
monumental and classical details on the rational style. Low Countries were
among the main contributors in terms of modern design. Neoplasticism,
known as De Stijl movement expressed the clarity and precision of simple lines
and the basic colours, engaging the simplicity with abstraction both in
architecture and painting. Finally, Scandinavia contributed with important
examples of modern architecture as well as creating a hard-working school of
thinking which influenced and created many great architects such as Alvar
Aalto.
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1.1 CIAM Group 1933

The only photograph has ever
been taken with all members
of the group. Le Corbusier,
Auguste Perret and Alison
and Peter Smithson can be
recognised in this picture.
Immediate need for housing
Post-war London was clearly in urgent need of a massive reconstruction. By

1969 more than four million public dwellings were built. Ernö Goldfinger wrote
to his brother George:
‘I have a tremendous amount of work to do and hope to have even

more in the near future. Building has been at a standstill for the last four
years, and there are heaps to be done. There is a Government which
seems to mean business6.
East London was suffered from impetuous bombardments and the entire
surrounding area was in great need for thousands of dwellings. The GLC
(Greater London Council) commissioned Goldfinger many years after the
beginning of reconstruction of London in 1965 to build the best possible and
most effective housing complex including, numerous amenities. It was the
period where tower blocks started to proliferate marking the architectural
face of Britain. The immediate need for housing would create a chain reaction
both technically and philosophically changing the perception of the concrete-
6
p.123
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made housing schemes. Rowlett Street’s housing complex and Cheltenham

Estate in Kensal are extremely similar and comprise two of the most famous
high-rise accommodation buildings in post-war London. The later is the ideal
example regarding the definition of the development of Modern architecture
and its fall.
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Architect chapter 2
The real Goldfinger
‘Goldfinger was a man who thought big, a champion of communism, an

eccentric, a bully who put people in fear. And that was just the
architect’.7
Ernö Goldfinger’s presence and ideas were forceful, radical and autonomous.
During the construction of Trellick tower he maintained the critical idea that
even though Unite d’ Habitation in Marseilles (1947-1952) was an influential
masterpiece of modern architecture Le Corbusier had made a mistake by
placing the shops and other amenities half way up to the building for nobody
would normally pass through that level.
The name Goldfinger sounds, for most people, as a villain one, confusing it with
that of James Bond’s enemy, Auric Goldfinger. Ernö’s assistant Jacob Blacker
ironically said once that ‘the only difference between the two men is their first
names’8. However similar these two men may be, Erno succeeded to make his
lifelong architectural idea accepted from the people and permanent to the
‘architectural pantheon’. He was born in Budapest on 11th of September 1902,
and despite the privilege of growing up in a prosperous, Jewish family he was a
Marxist for the most of his life. Regarding his architectural inception the first
and most sparkling influence was Muthesius’s book Das Englishe Haus which
was given to his mother by the architect Emil Agoste during the construction of
a house for Goldfingers in 1914. The book’s impact was long-lasting and
Goldfinger described it, after 50 years, as ‘the most fundamental book on
British domestic architecture’.
7
Ezard, John Article History, How Goldfinger nearly became Goldprick, Guardian on-line <http ://
www.guardian.co.uk /uk/ 2005 /jun/03/film.hayfestival2005> [accessed on 22/05/2010]
8
Warburton, Nigel Erno Goldfinger – The life of an architect (Abingdon, Oxfordshire, Routledge, 2005) p.2
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Foundations / Paris Years
In 1919, after the collapse of Austria-Hungary and the rise of Bela Kun’s
Communistic government, Goldfingers moved to Vienna and a year later Ernö
went to Paris. That decision put him into the right place, from architectural
career’s point of view. His admission in the Ecole superieure des beaux-arts
introduced him to avant-garde, artistic circles including Braque, Max Ernst, Man
Ray and Jeanerette. More importantly, Beaux-arts taught him the very
definition of a coherent, rigorous and intelligible drawing, produced after a
series of sketches and research, not to mention the knowledge of the classical
architecture which Goldfinger always had been admiring.
2.1 Erno Goldfinger

Paris 1920s
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2.2 Unite d' Habitation Marseilles by Le Corbusier 1947-1952

This tower block brings together Le Corbusier’s vision for communal living along with needs and realities
of post-war France and represents a new era for Modern architecture.
2.3 Unité d' Habitation roof terrace and nursery.
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Revolutionary Road
In 1923 Charles-Edouard Jeanneret, known as Le Corbusier published the book

which discomposed the established tradition of the Beaux-arts. Vers une
architecture, (Towards an Architecture) created from a series of articles for the
magazine L’Esprit nouveau had a tremendous influence on Goldfinger. He
acknowledged Le Corbusier’s significance and comprehended a unique
harmony and a new vision in his work. The essential meaning of the book
comprised an unprecedented juxtaposition with the tradition of the Beaux-
arts.
A dozen of students who embraced the book expressed their desire to evolve
their knowledge for the ‘new idea’ of Modern architecture. Something about
the Beaux-arts education was not as it should be. Goldfinger writes that ‘at the
Beaux-arts everything was dead. All the stirring of Modern architecture was
ridiculed; we felt that something had to be done’.9
The reaction of some students of architecture thereafter, who asked from Le
Corbusier to be their patron in a new, modern atelier, indicates the potentials
of some individuals in a new, free-from-forms fundamental architectural
world. He declined the honour though, saying that he doesn’t teach
architecture, he only makes it. He proposed instead a French master of the
concrete Auguste Perret who accepted to take over the atelier. For Perret
architecture was construction. The reality and the power of the notional
elements and the truth of materials which constitute architecture were
undoubtedly the essential principles which led his work. Not only was he
among the most impressive designers of the first half of the twentieth century
but also the ubiquitous influence of Goldfinger which followed him until the
end of his career. He discovered the possibilities of reinforced concrete and as
Perret did as a young architect was governed by the ‘discipline of Classical
architecture’10. Perret’s hypothesis that all architectural forms should be
9
Warburton, Nigel Erno Goldfinger – The life of an architect p.22
10
Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works 1, (London, Architectural Association, 1983)
p.11
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visible and explainable ‘by reference to the logic of structural design and
technique of construction’11 along with the importance of the structural frame
that it should be immovably embed to the ground, led Goldfinger to formulate
the grandness to feel and see how a building is supported and he notes that
materials are extremely important to be hidden.
Influences
Goldfinger’s hardness on schemes and the same time romantic enthusiasm,

which emanate from the extensive consistency of his works, define buildings
with permanent importance and monumental appearance. The title
‘Monumental’ is used not necessary due to the size, but having as goal to
impress and manipulate people who experience each space. These qualities
are not just expression of his influences deriving from his academic career but
they have deeper roots to French tradition of Structural Rationalism which
gained under Perret’s training and as an extension to ‘Viollet-le-Duc and to
Laugier’12. However, Goldfinger’s developed style includes a considerable
share of Le Corbusier’s Idealism for he has always been concerned for social
issues. He never succumbed to the conventional style of modern architecture
known as the ‘white box’, those abstruse forms of ‘nothing’ which he
insolently used to name as the ‘kasbah’13 style. In addition, the ideas that he
maintained alive, taken from some interiors of Adolf Loos showing a
minimalist style, and finally the principles of Constructivism which Goldfinger
embodied in his style confronting Melnikov’s USSR pavilion at the Paris
exhibition in 1925. Constructivists’ concepts were closely tight with socio-
political issues;
11
Dunnett, James, , The architect as a constructor Architectural Review vol. 173, no. 1034 (London, Emap
Inform publications, April 1983) p.9
12
Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works 1, (London, Architectural Association, 1983)
p.11
13
‘A description which echoes certain German criticisms of the Weissenhof Siedlung’ adopted by James
Dunnett & Gavin Stamp, Ernö Goldfinger, Works 1 p.9
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‘The use of bare steel by its slenderness allowed the free movement of
space and structure, but it was almost romantic affirmation of faith in
modern industry and the power this conferred on organizing labour’14.
2.4 Atelier Jaussely

Beaux Arts c.1922
Erno Goldfinger
Is third from right
holding stove pipe
14
Dunnett, James, , The architect as a constructor Architectural Review vol. 173, no. 1034 p.9
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Early Works
Goldfinger’s early work is remarkable and beyond Beaux-arts limitations and

establishments. His partnership with his friend and fellow Hungarian architect
Andras Szivessy – known as Andre Sive - inspired him to design furniture, an
action which was non-approved in the Beaux-arts. They both designed covers
for magazines and were lucky enough to refit some apartment’s interiors and
shops. Their most notably work is that of Helena Rubinstein’s beauty salon in
London in 1926. The salon was located in a Georgian building from which
Goldfinger impressed by. He designed the shop front with clear, strong lines
constructing deliberately an unprecedented image for Britain’s established
culture. This action was meant to underline the antithesis between modern
architecture and tradition. They also created Helena’s Rubinstein name four
times in a row made of lights in sans-serif fonts, giving the sense of an alien
architectural device. Despite their satisfaction the owner reacted in terms of
the design. The main entrance was made by solid heavy glass and a ‘tubular,
chrome-plated, steel handle running the full height of the door’15. The interior
walls were covered in dark glass using indirect light in both sides of the shop.
The only direct light was in the centre provided by lamps with silvered shades.
Nonetheless, neither the client nor the public sympathised architects’ ‘radical
vision’ for the ornamental style was missing. The description as ‘the first
modern shop in London’16 though by Charles Reilly, shows the significance of
the architects’ creation.
15
16
ibid
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2.5 Variation drawing

Of the Safari chair
that Goldfinger
designed in 1934
2.6 Helena Rubinstein

Salon, London 1917
‘The first modern
shop in London’
by Ernӧ Goldfinger
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Making a home
‘A young architect ought to be made to build his own house first’17
In 1934 Goldfinger and his British wife Ursula Blackwell moved to London.
There is however a notable difference between the rest of the émigrés and
Goldfinger. He was a lifelong anglophile and he moved to Britain not as a
result to Adolf Hitler’s shadow and the sense of a general discomposure in the
rest of the Europe. He felt that Modern architecture was missing from Britain
and he was ready to provide his ‘services’ to this ‘virgin country’.
In 1937 he designed his most interesting building during the pre-war years; the
terrace of three houses in Hampstead, No 1 – 3 Willow Rd. The central one,
no. 2, was for Goldfinger’ s own occupation. This scheme comprise an example
of proportional design in his work where he merged more traditional Georgian
styles – in order to avoid conflict with the British establishment and the
surrounding owners - with concepts taken by French avant-garde movement
of 1930’s. It also reveals the influence of Le Corbusier’s idealism in the rational
style of Goldfinger, interlaying between society and integrity. Thus, the house
is way different in organization from the traditional structures.
This is a concrete building where the concrete is almost completely invisible. A
brick facing was important for two reasons; firstly, because it simplified the
procedure to gain planning permission from London County Council which was
quite parochial and narrow minded in its aesthetic views and secondly for
Goldfinger had a real respect for the simplicity and orderliness of brick, the
chief material of the Georgian terraces that he admired. The elements of the
interior constitute an exquisite palette of colours. Timber is everywhere,
ranging from the cheapest plywood, carefully varnished, to the finest
hardwoods used in some of the furniture which most of them were designed
by him. ‘The dramatic fenestration of the piano noble has deeply recessed
clerestory windows’18 and the row of windows on the second floor is projected
17
18
Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works 1 p.76
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forward in a concrete frame. The first floor is free, expanding towards all
available spaces such as living room, dining room and study room, all part of a
circulation without connection, utilizing every single space, one into another,
around the stairwell which leads to the similar organised second floor. As
F.R.S. Yorke, mention in his book ‘A key to Modern architecture’ ‘A single large
apartment, correctly oriented, subdivided and planned in relation to the
services, gives more valuable space and is more useful than several small,
independent cells, and it permits greater freedom of movement’19
Most of the people who have lived in Goldfinger’s buildings have experienced
- inducing historians and others – this essential success which spreads beyond
stylistic external and internal forms. This is part of his juxtaposition with the
“styles” which overlaps each architect’s personality. Regarding those
inhabitants of his buildings who are still rail against him, as in Trellick tower’s
case, they tend to be condescending and the blame lies with those charged
with maintaining and servicing. Once denominated as the champion of high-
rise living, he is now, admired for his integrity, his deepest constancy and his
commitment to rational design. His pragmatic approach of re-used successful
elements of older designs, on which the Beaux-arts had a leading role, infused
with negligible or rarely major modifications had as a result an exceptional
coherence on his buildings, many times ahead of their time such as the tower
blocks he proposed in the CIAM cruise in Athens in 1933. Those buildings
comprised the key design which evolved, years later in projects such as
Alexander Fleming House, the Balfron and the Trellick tower.
19
F.R.S. Yorke A Key to Modern Architecture (London, Blackie & Son, 1939) p.86
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2.7 2 Willow Road House, Hampstead, London Front facade
2.8 2 Willow Road House, Hampstead, London Goldfinger’s drawing of the piano noble
2.9 2 Willow Road House,

Hampstead, London
The estate is under
responsibility of National
Trust since 1994
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Architectural ideas Chapter 3
The sensation of space
‘Architecture masters space, limits it, encloses it, circles it. It has this
prerogative to create magical places totally the work of the intellect.’20
The first years of the Second World War were extremely disheartened and
unproductive for Goldfinger. Nevertheless, he put himself into research and
writing with colossal passion and positive thinking. The main area which he
investigated was one of the basics, as he used to say, vital aspects of
architecture. The Sensation of Space (November, 1941) along with two other
articles, Urbanism and Spatial Order (December, 1941) and Elements of
Enclosed Space (January, 1942) were published in the Architectural Review
‘constitute his most fully developed theoretical statement’21
Goldfinger was aware of the sensation we experience in an enclosed space. A
blaze of psychological effects is taking place, for all individuals, who are found
themselves in a defined space. Every man experiences differently this
sensation which is a natural phenomenon. The way a space is enclosed defines
the psychological effects subconsciously, as the phenomenon of music where
‘is not necessary to listen in order to be affected by it’22. He expresses a more
intense interest on the way we live architecture rather than aesthetic view
that is a related to beauty which is a human phenomenon.
The sensation of space can only be experiential through the presence of a
person in a space, not by imagination. The drawings and the photographs
cannot describe spatially any space, as well as the words. Three dimensional
models do give the experience of the space, but in wrong scale. Goldfinger
indicates two factors which regulates the spatial sensation; the ‘enclosing
20
Britton, Karla Auguste Perret (London, Phaidon, 2001) p.44
21
22
Goldfinger, Erno The sensation on space, Architectural Review (London, Emap Ltd. November 1941) p.30
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agent’ - that is the wall or anything else that surrounds the person and the
enclosed space itself.
Furthermore, he divides the effects of a view of a building in three categories
according to the position of the observer. It begins as ‘plastic’, looking the
building from distance as a whole, appreciating the mass and the sculptural
qualities. Closer to a building, the frame of our view becomes smaller, focused
on a specific fragment. That is ‘pictorial’ effect where the structure is
experienced as an organised surface. The ‘spatial’ effect is succeeded only
when the person stands into the building.
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3.1 Ernӧ the writer

Photographed by
Bill Brand, c. 1940
3.2 The Sensation of

Space
Golfinger’s
summative table
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Urbanism and Spatial Order
The second article is focused on three basic factors which constitute

architecture; ‘the purpose of a building, the possibility of making it and the
effect it produces. That is to say, the functional needs the constructional
methods and the emotional effect’23. Architecture has always been integral
part of politics, economics and as extension of technology. Goldfinger makes
clear, that new technological and constructional methods create new
functional needs which in turn create new technical questions that we must
answer if we desire further development. The landscape we live in, utilizes all
the above features creating an urban agglomeration where each building
should be examined in relation to the surrounding buildings and the space
between them. In other words, the author observes the dual or multiple use of
a building, defining the outside as part of a civic public context while the inside
is provided for ‘hidden’ and personal functions. In extension, people inside
their houses perceive the walls as barriers to the outside world, while an
individual ‘within’ a square or a street experiences as ‘boundaries’ the very
same walls placing him or her in a conscious spatial order.
More importantly, Goldfinger analyses the significance of the experience one
may perceive within a city. He underlines the difference of the approach in to
a city which is way different than is used to be.
‘The traveller does not approach the city gates from without, on foot or
horseback. He will enter the city from the inside by train or enter the
town emerging from underground, having travelled by tube to the heart
of the city’24.
Travellers by air, he continues are able to appreciate the whole picture they
get from above more integrated. He explicates also that high speed means
have changed the perception of a space which characterises as ‘kinetic’.
23
‘Urbanism and Spatial order’, reprinted in James Dunnett & Gavin Stamp Ernö Goldfinger, Works 1 p.51
24
ibid p.53
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From the point of view of the town,

the individual is a mere brick in the
spatial order of the street or square
The façade, however, is also part of

the screen or wall which separates
the urban spaces from the unknown
of the individual privacy
The walls of a building (even if they

are transparent) are, to a person
inside, screens separating the
enclosure he occupies from the
urban spaces beyond. But to a
person outside, these same walls are
screens delimitating the street, itself
an enclosure.
Approaching from outside, only after

penetrating through the city gate is
the traveller gripped by the tangle of
the medieval streets and urban
spaces.
Paris, 1551 plan by Oliver Truschet
and Germain Hoyau
3.3 Goldfinger’s explanatory

research material taken from his
article Urbanism and Spatial Order
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Elements of Enclosed Space
The third and last article completes the concept behind the words. All together
betrays coherence and mature approach on his architectural ideas. What has
been written in these articles is a proof of how the ‘obvious’ becomes obscure
and neglected. Regarding the main idea of the last article, Goldfinger strongly
believes that the completion and the use of an enclosed space depend on the
available technology. The enclosure, architecturally speaking, is consisted of
three elements; the floor, the horizontal base and the ceiling, the covering
member. The spatial sensation exists both in a space which is built with the
three elements that mentioned above, and within an enclosed external space
defining as limits the natural boundaries such as walls. The experience though,
in the latter case is now in motion as the means of transportation change the
way we observe the buildings and the whole city. Goldfinger not only
discusses these aspects of architecture but he utilise them, on his projects. The
experience for instance, a visitor gets taking a ‘promenade’ in one of long
corridors in Trellick tower is always different. It could be described as a
concatenation of images and spaces creating multiple impressions in terms the
inhabitation of the building.
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Density
Three degrees of enclosure shown
in: 1. Solid & paper walls (traditional
Japanese), 2. Solid and transparent
glass with the view beyond
(modern European ) and 3. Purely
imaginary enclosure of a frame
and, beyond it, trees and bushes
forming spatial barriers.
Continuity
4 and 5, two colonnades to a
different scale: domestic and
monumental. Bernini’s colonnade of
St. Peters Rome 5, has the effect of a
solid screen; only when you are near
to the columns open 6, at Nancy, the
Louis XV grilles partially close the
space left open in the corners of the
Place Stanislas. 7. Perret’s church at
Le Raincy is an example of the use
for purposes of partial enclosure of
typical material of today.
Texture
8. Effects of enclosure obtained by
contrast of texture: rough and
smooth; brick, concrete, flint and
trees. 9. Mirror walls produce
disconcerting effects of spatial
enclosure. 10. The rhythm of
architectural modulation is enhanced
by the deep shadow of the plastically
3.4 Goldfinger’s explanatory treated façade of Tarragona
research material taken from his cathedral. 11. Mural paintings totally
article ‘The elements of Enclosed breaking down the solidity of a wall
Space’ surface.
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The building chapter 4
Rising high
Britain expressed a substantial alternation towards European architecture

since the Medieval. British movements since then have been spread around
Europe but Britain itself has always denied any foreigner penetration of style,
being obsessed with antiquarian and ornamental style. However, during the
first quarter of the twentieth century Britain had nothing to contribute on
architecture. Post-war Britain had a great need to relearn from Europe, not
only the cultural need of an independent architectural style which earlier,
William Morris and Annesley Voysey had already introduced to the public as
well as the potentials of the machine, of mass production and scientific
methods. The realization of these potentials along with Le Corbusier’s
influence on many British designers and the inflow of several émigré architects
led to the creation of structures that Britain had never seen before. The
disaster of 1940s was the reason that ‘the comprehensive plan, the first of its
kind was drawn up and now step by step is being implemented’25. More
importantly, after the blitz of the Second World War there was immediate
need for housing. Despite the pessimism of the British people, Goldfinger was
positive and prepared for the task of rebuilding Britain. In rebuilding these
monstrous size-areas LCC (London County Council) commissioned large scale
buildings and blocks of flats. Goldfinger’s first chance to build large scale
making extensive use of reinforced concrete was in 1945 in collaboration with
Colin Penn with a commission to convert an old bomb-damaged Victorian
warehouse in the new offices and printing press of the daily newspaper Daily
Worker. His left wing contacts resulted in many more commission such as the
Headquarters of the Communist Party in Covent Garden. In the mid-1950s, he
started using his own ‘language’ throwing off some the details he obtained
25
Goldfinger, Erno Architectural Design: Special issue; London today, a guide to post war London
(London, June 1961) p.239
28
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from Auguste Perret. A mature language of architectural expression’26, which

he discovered designing Albemarle Street offices and Moorgate skyscraper in
1955. His ambition to build upwards since CIAM Congress in Athens in 1933
was still intense. Despite the fact that many of his high-rise projects were
never built, somehow, he seemed to know that he will eventually ‘live his mark
on London’s skyline’27.
The idea of a high-rise domestic –tower-block- accommodation would serve
LCC’s dual purpose on their quest for covering the vast unexploited areas and
most importantly to provide shelters for the thousands of people who were in
need. Tower blocks, most of the times, were seen as a quick solution to cure
problems caused by disintegrating and unsanitary 19th century dwellings or to
replace buildings destroyed by German aerial bombing. Post war Britain
comprised the ideal place for a tower block building ‘boom’. From 1950 until
the late 1970s there was a dramatic rise in tower block construction. Patrick
Dunleavy writes:
‘The modern tower blocks were to include features that would foster
desired forms of resident interaction, an example being the inclusion of
Le Corbusier’s streets in the sky in some estates’28.
An important aspect of tower blocks was the Brutalist method. Brutalism led
to the construction of austere buildings with large exposed concrete sections.
‘Concrete was to be an integral part of the tower block designs; it could be
poured on site, offering boundless flexibility to the building designers’29.
Regarding the planners, concrete was economical and long lasting, if not
indestructible. Nonetheless, many architects, leading by the perception of
26
James Dunnett, & Stamp, Gavin Ernö Goldfinger, Works 1p.75
27
28
Dunleavy, Patrick The politics of mass housing in Britain, 1945-1975 (Oxford, Clarendon Press, 1981) p.57
29
Power, Anne Estates on the Egde: Social consequences on mass housing in Northern Europe (London,
MacMilan, 1997) p.59
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Alison and Peter Smithson, who coined the term in 1953, adopted by the
French beton-brut which means raw concrete and Le Corbusier used for most
of his buildings, became followers of this style not due to financial reasons but
because they appreciated the 'honesty', the sculptural qualities, and perhaps,
the uncompromising, anti-bourgeois, nature of the style.
Discussions for erections of tower-blocks had already started before 1950 in
terms of the ‘clear’ sites that World War II left behind. Taking Goldfinger’s
note that they should clear more sites is revealed a reasonable aspect of how
London could take advantage of its recreation. Discussions for Barbican Estate
began in 1952, and the decision to build new residential properties was taken
by the Court of Common Council on 19 September 1957. It was built between
1965 and 1976, by Chamberlin, Powell and Bon.
30
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4.1 Goldfinger's first book

Golfinger was responsible for the explanation of the plan for the wider public in its second version
three years after the first publication
4.2 Brutalism had created faithfully devoted architects who wouldn't hesitate to express their intense
passion for 'naked' buildings as Denys Lasdun did in National Theatre, 1963-1976
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4.3 Daily Worker 73, Farrington Road,

London, 1946
Elevation of the first large scale project of
Goldfinger and photograph as executed
showing the retaining ground floor
4.4 Moorgate Skyscraper, London

EC2, 1955
This project was carried out as a
design exercise to familiarise
architects with technology of tall
buildings
32
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Balfron Tower
Goldfinger’s first chance to build high-rise domestic accommodation was with

the Balfron Tower as inextricable part of Rowlett Street estate in Poplar, in
East London, also known as the Brownfield estate in 1963. It was the further
development of the Abbots Langley scheme he designed in 1956 in
Hertfordshire on a gigantic scale. The building is similar to his initial design for
high-rise buildings in 1933. James Dunnett characterises the Balfron tower as
the English version of Le Corbusier’s Unite d’ Habitation in Marseilles.
Moreover, Dunnett who has worked for Goldfinger and clearly understood his
principles describes Goldfinger’s architectural method in the most distinctive
style;
‘The Rational unsentmentality which was the strength of his

architectural design allowed him to build at this scale with complete
confidence and unique architectural sureness ’30.
The design of the complex was outside the established limits of British housing
design which comes in oppose to Goldfinger’s vision that he stated in Sunday
times in 1960; ‘I Would like to see London a park city: not, and I emphasize
not, a garden city.’ He however, established a strong relationship with LCC
after the completion of Alexander Fleming house in Elephant and Castle in
1959. Hence, this alliance led to three principal subsequent commissions, the
Haggerston School, and the two major schemes dominated by Balfron Tower.
The 28-storeys tower, which begun in 1965 and completed in 1967 forms part
of the estate adjacent to the Northern approach to Blackwall Tunnel in East
London, where Goldfinger went on to build two other substantial blocks,
Garradale House and Glenkerry House. The service tower is the most striking
feature of the block with its distinctive silhouette and its separation from the
main one which contains 156 apartments of various sizes served by bridge-like
30
33
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walkways; the so-called access galleries on every third floor is the only
connection between the two towers. These free-standing bridges lie on
neoprene eliminating the transmission of mechanical noise from the service
tower which houses the two lifts, the boilers and other services. ‘The dramatic
relationship between the two towers, and the space between them,
constitutes one of Goldfinger’s most powerful inventions’31. Balfron Tower’s
massive scale bush hammered concrete wall is pierced only by an array of slit
windows and along with the cantilevered boiler room and the four impressive
chimneys give this impression of a new-age fortress. Nigel Warburton
describes the boiler room as modernist gargoyle-equivalent. The overall effect,
especially at night, when it is lit from above is dramatic and unprecedented. Its
aesthetic appeal is that of the ‘heroic’ and august rather than beautiful.
Goldfinger’s design consists an interactive way of moving inside the residential
tower which is divided in two storeys in every three habitable storeys and it
houses the lift lobbies which alternate with tank rooms and other communal
spaces. The secondary staircase is located into the Southern end of the block
as a separate element. Despite his influence from Le Corbusier’s Unite d’
Habitation he marks the position of the largest maisonettes, highlighting the
line between the two squares in a row of double-height balconies
corresponding to a row of larger apartments. He always makes use of a
complicated proportional system which includes every element of the
structure. In this case Goldfinger make an extensive use of the Golden Section
on every void that exists is this pulpit-like organised surface of balconies. The
technical specification of the entire block is high, by using for instance double
glazing throughout, specially designed controls panels for the kitchen and light
switches as implants within the metal door frames.
Goldfingers lived for two months in flat 130 on the 26th floor. He had to have a
perception of living in such a different space. He would become keen to
31
James Dunnet and Nigel Hiscock To this Measure of Man: Proportional design in the work of Ernö
Goldfinger adopted by Louise Cambell’s Twentieth century architecture and its histories (London, Society
of Architectural Historians of Great Britain, 2000) p.109
34
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answer critics who had never tried to do it. He had the obligation to
experience the view, the fact that the world is 200 feet below and the
relationship with the neighbours. Most importantly, he would be able to
recognize the benefits and the problems in order to avoid them in the future.
However, many critics believed that this way of living will destroy the
traditional East way of life, eliminating the community spirit and the sense of
neighbourhood. ‘Goldfinger, predictably, had a robust response;
‘I have created nine separate streets, on nine different levels, all with
their own rows of front doors. The people living here can sit on their
doorsteps and chat to the people next door if they want to. A
community spirit is still possible even in these tall blocks, and any
criticism that it isn’t is just rubbish’32
32
35
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4.5 Elephant and Castle complex site plan

Alexander Fleming House (1959-0963) was commissioned by the Ministry of Health. Architectural
Review wrote ‘The triple block of offices sets a standard of clarity and vigour and it is hoped the
buildings that are to fill the still empty sites nearby will live up to it’. Odeon Cinema added in 1967
4.7 Southeast view, across railway
4.6 Goldfinger's axonometric drawing of

the penultimate design, 1959 and (right)
Southeast view, across railway
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4.8 Balfron Tower aerial view

East India Dock Road A12 Blackwall Tunnel Northern approach
4.9 Balfron Tower Axonometric

drawing (NW view) and
west elevation
4.10 Ernӧ Goldfinger in his flat ,

no. 130 on the 26th floor of the
Balfron Tower
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Trellick Tower
A ‘familiar’ design
The period before his next commission which was meant to be the swan song
not only for Goldfinger but also for high-rise Modern architecture marked by
two incidents; the disaster of the Roman point tower block in Canning Town in
1968 and the completion of a remarkable similar building to Balfron Tower in
Anniesland area of Glasgow in Scotland by J. Holmes and partners. The press
reported against architects who championed the ‘streets in the sky’ of the
high-rise buildings. Apart from the debate in Britain regarding the social
dislocation living in such a house, concerns for safety were added. Goldfinger
went to examine Roman Point himself and he assured the public that he never
uses prefabricated system as it was in Roman Point’s case but only poured
concrete which is at least three times better. Regarding the Anniesland Court
tower, it hasn’t become clear hitherto if there was any design imitation or it
was just a coincidence. It seems however, that this very design worked as
reference point that modern architects appreciated for multiple reasons.
4.11 • Anniesland Court • Balfron Tower • Trellick Tower

• Anniesland, Glasgow, Scotland • Poplar, East London • North Kensington, London
• J Holmes & Partners • Erno Goldfinger • Ernӧ Goldfinger
• 24 storeys • 27 storeys • 31 storeys
• 1965-1968 • 1965-1967 • 1968-1972
•Grade I listed • Grade II Listed • Grade II* Listed
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4.12 Roman Point

16th of May 1968
Following the gas
explosion
Site context
Despite public opinion about high-rise solution, GLC trusted Goldfinger who
was given the brief to build what became the Cheltenham Estate in Kensal,
North Kensington. The site is close to the ‘elevated section of the A40 coming
into London’33. Right across the estate, facing South to Elkstone Road, is the rail
line which leads in Paddington Station in less than two miles. Behind the most
visible façade of the tower, head to North and where Golbourne Street ends,
runs the Grand Union Canal. The area used to be occupied by slum houses
which Government considered totally ‘unfit for human habitation’. Goldfinger
had the chance to transform the site in a qualitative and yet, large scale shelter
for a large number of people. Goldfinger’s solution was the combination of high
and low – rise buildings including shops, nursery and several amenities with
dominating element a thirty-one storey block, four storeys higher that Balfron
tower, linked to the main tower and to a seven-storey block known as Block B.
The so-called ‘sister building’ of the first tower represents the confidence and
33
p.123
39
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the ‘mature expression of the ideas of modern architecture whose absence

from the work of his contemporaries has been regretted’34
Goldfinger’s intention was to develop his latest scheme of Balfron Tower as a
single design from the beginning eliminating all the problematic features.
Despite the similarities of the two schemes, Trellick Tower has numerous
improved alterations.
4.13 Meanwhile Gardens

In 1976, four years after the
Completion of the estate
the locals and the authorities
created the Meanwhile
Gardens which in now a
wonderful place to make
outdoor activities or to
walk by contributing
to the development of the site.
34
Dunnett, James, The architect as a constructor Architectural Review p.42
40
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Grand Union Canal
4.14 Edenham Street Housing block

Aerial view of the wider area showing key landmarks
4.15 Trellick Tower The most remarkable landmark in North Kensington
41
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4.16 Edenham Street Estate

Master plan of the site highlighting the estate
42
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The last ‘real’ building
The very first visit towards the Trellick Tower creates similar perception as in
Balfron Tower, in terms of its sculptural qualities. The complex gives the visitor
an impression of penetralia while the same time the vision is distracted by the
countless elements within the space ending up to the service tower. The
scheme was constructed during an experimental period in social housing -
when building high was thought to save construction time, building cost and
rapidly increase housing density to meet a growing demand-. A passage from
Leonardo Benevolo’s History of Modern Architecture written for a different
project is adopted to describe the essential mannerisms of the building in the
most rational and distinctive way;
‘At the same time the absolute clarity of the plan and the tremendous
skill of the architect in interpreting all the functions with appropriate
means, gave the building a controlled yet irrepressible energy’35
This aspect becomes clear once the visitor has walked around the complex and
has entered into the building. The conceptual and physical coherence between
the urban landscape and the multiple spaces of the building, along with the
unique use of materials betrays a much warmer style than Balfron, where
Goldfinger utilizes his personal architectural language that he developed since
he was a student in the Beaux Arts.
The service tower is four storeys taller than Balfron, as well as the main one,
and is linked to a seven storey block, known as block B and to the main tower
at every third floor via bridge-walkways. Being four storeys higher than
Balfron, and changing the orientation of the cantilevered boiler room, Trellick
is given the impression of much greater lightness and verticality. Both of the
schemes share Goldfinger’s concept which had been developed in the
‘Goldfinger oeuvre during the late 1950’s and 60’s and both are similarly sited
35
Benevolo, Leonardo, History of Modern architecture, Volume 2 The Modern movement p.588
43
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and share common architectural details and organizational ideas’36. On each

site, he has placed a separate lower slab at the right proportional angles to the
service tower which forms an ‘ell’37 that helps on the definition of the ‘interior’
of each site. Goldfinger designed both of the buildings in a non-typical ‘linear-
block’ or zeilenbau siting so that these slabs can be positioned on either
north/south or east/west order creating a more effectively enclosure of the
communal spaces within the block, defining the perimeter of each site. He has
used the same technical specifications as in Balfron Tower such as the
neoprene pads on the bridge-walkways between slab and tower achieving
sound and vibration isolation and to permit ‘independent movement of the
structures of up to 2 inches’38. Goldfinger’s occupancy at Balfron Tower was
the reason he created three, instead of two lifts, for he became witness of
waiting more than twenty minutes on the reception in order to get the lift to
the 26th floor.
The complex facade of the main tower reflects an effective and proportional
arrangement of apartments. The corridors are every third floor with stairs
going up or down to a mix of flats and duplexes. ‘This idea, and the purity of
the geometry behind it, draws strongly on Le Corbusier's Unité d'habitation in
Marseille, of which Trellick is a somewhat diluted but higher-rise variant’39.
The number of the flats is in most of these street-corridors eighteen. However,
the inclusion of larger maisonettes means that on the twenty-fourth floor
there are only thirteen flats. The same happens on floors three and six in Block
B. Looking at the front facade of the building, the lines become clearer gaining
a more open character. The whole facade seems to be more constantly
organized with balconies and by the raising of the pulpit ones from the mid-
36
International Multifamily Housing Trellick Tower
<http://housingprototypes.org/project?File_No=GB010> [accessed on 27/11/2010]
37
Unit of measurement, approximating the length of a man's arm adopted by <http : //
housingprototypes .org / project? File_No=GB010 > The article writer uses this unit to describe
Goldfinger’s installation of slabs.
38
Boland, Lee Chairman of Trellick Tower Residents Association, Interview, 17th of May, 2010
39
Glynn, Simon Trellick tower, London <http://www.galinsky.com/buildings/trellick/index.htm> [accessed
on 15/08/2010]
44
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point to the third point. ‘Cedar boarding lines the balcony reveals to soften the
concrete, and the boiler house is cantilevered playfully at the top of the lift
tower’40 often characterised as a cyclopean eye. Being that high though makes
the flow of the water much easier in comparison to a single 300 foot flue.
4.17 Edenham Street

Estate
Site model
4.18 Edenham Street

Estate
Site axonometric
40
Design Museum and British council Erno Goldfinger http://designmuseum.org/design/erno-goldfinger>
[accessed on 15/04/2010]
45
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4.19 Trellick Tower South view
46
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Synthesis
Trellick has a mixture of nine different apartments. All of them have double-
glazed windows on both sides of the building. Moreover, the kitchen and the
dining area are located at the gallery level having in front of them large
balconies, facing south. Goldfinger’s aim was to provide his tenants with the
spectacular view across London without having to leave their seats. Floor to
ceiling glass along the length of the kitchen-diner beckons visitors to gaze at
the panorama before them. ‘He used proportional systems in his buildings
applying a modular grid and regulating lines to achieve more harmonious
results’41. ‘Both the main block and the Service Tower are founded on large
diameter, belled-out in situ concrete piles bearing on the stiff clay at about
20m below ground level’42.
There are 217 dwellings from which 42 are located in Block B and 11 are
maisonettes, 5 on the 23rd floor and 6 on the later block. The maisonettes are
on two levels and they have two toilets. Mrs. Lee Boland, one of the first
tenants who knew Goldfinger personally expresses her satisfaction of living in
one of these maisonettes in such an iconic building for more than 35 years.
She still admires the everyday features of the apartment such as the windows
which are turn inside out for safety cleaning and the light switches that are
recessed into the metal door frame, similarly to Balfron Tower. All of the
amenities, such as the doctor’s surgery, the old people’s club, hobby rooms,
laundries, a newsagent and a supermarket are located beneath Block B.
Colour has always been an important factor on Goldfinger’s work. This can be
experienced strikingly into the main reception. The monochrome concrete is
penetrated by colourful natural light through deep red and blue coloured glass
precast window creating a strong juxtaposition between solid and transparent.
Additionally, wall tiles on every floor have different colours, creating a notional
41
Goldfinger p.110
42
Boland, Lee Chairman of Trellick Tower Residents Association, Interview, 17th of May, 2010
47
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code where every tenant knows where he or she is once the lift door is open.
It is worth to mention that the footprint of the building is extremely small. The
most direct way to experience that is by standing on the corridor of the top
floor and looking down, and then to move towards the south side of the
tower. But yet, while being inside it feels very spacious and comfortable with
many spaces to discover.
Once again James Dunnet’s description of the building blends the rational
aspect with a romantic and poetic approach, which while experiencing the
building, becomes acceptable and intelligible in terms of Trellick Tower’s
overwhelmed atmosphere;
‘It is as though Goldfinger, from among the functionalist totems, had
chosen as a source of inspiration the after facts of war. The sheer
concrete walls of the circulation towers are pierced only by slits;
cascading down the façade like rain, they impact a delicate sense of
terror. At the summit of the tower the boiler house is cantilevered far
out; with its ribbon glazing and surmounted by flues it evokes the bridge
of a warship. At night the estate is illuminated by the merciless beam of
powerful arc lights mounted on the summit of the slab’43.
4.20 Balfron Tower and

Trellick Tower to the same
scale and with suggested
proportional schemes of
double squares and golden
section rectangles superimposed
43
Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works 1p.7
48
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4.21 Trellick Tower Main entrance and bridges-walkways connecting with Block B
4.22 Loggia (parade) at the ground floor of Block B where the amenities and the shops are
49
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50
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4.25 Four-person flat at access gallery level 4.26 six-person corners flat above gallery level
4.27 Four-person flat above access gallery level 4.28 Six-person maisonette, upper
level, with access gallery
51
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4.29 Main entrance

/reception of the
Tower
4.30 Main Tower’s

corridor – 23rd floor
52
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4.31 Entrance into the bridge-walkway (access 4.32 Staircase at the 30th floor which goes all the
gallery) towards the main residential block way to the ground floor
4.33 Mrs Lee Boland’s apartment South view

Goldfinger's intention to provide his tenants with the spectacular view across London without having
to leave their seats becomes clear
53
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Towers of Terror chapter 5
When completed in April 1972, Trellick Tower was the tallest residential
building in Europe. Mrs Lee Boland and her husband Columb, were truly
overwhelmed by its scale and once they went inside they were amazed by
every single element Goldfinger had created. The block became instantly a
remarkable place where most of the people who visited it initially they ended
up tenants. It had become a ‘cultural icon’ from its tenant’s point of view, for
its spaciousness, the natural light, the soundproofing between residences and
the stunning views. It still remains an iconic Modern high-rise example not
only for North Kensington area but for London.
The impressive silhouette of the tower however, reminds the inhabitants what
they have been through until today, having spent more than fifteen years in
the so-called Tower of Terror. ‘Sadly, during the 1970s Goldfinger was to
witness the social deterioration of the estate, something which affected him
deeply’.44 The ‘dark days’ of Trellick Tower have been attained by vandalisms
and crimes, especially on the stairs between the lift-floor and the flats above
and below. Goldfinger declared that bad management created that situation.
It has become clear that council’s unwillingness to install a concierge system or
other security means created most of the problems.
The idea of living in a tower block, not specifically the Cheltenham Estate, had
destructive influence on tenant’s life. This aspect is expressed forcefully by
Alice Coleman in her book Utopia on Trial. She emphasizes the theory that as if
Modern architects build high, the life of the people who are willing to live in
those buildings, due to economic reasons, gains an extremely low quality. It is
the ‘Utopian design’ she continues that blurred people’s mind in post-war
Britain which is responsible for this situation.
44
54
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‘This Utopia was conceived in compassion but has been born and bred in
authoritarianism, profligacy and frustration. It aimed to liberate people
from the slums but has come to represent an even worse form of
bondage’45.
In conclude, Coleman identifies three basic factors on which crime has been
rely on; anonymity, lack of surveillance and alternative escape routes, all
strongly connected with the idea of Modern high-rise architecture.
The ‘Good Days’
In 1987, following an Estate Action Programme a concierge reception system

was introduced. Six years later the tenants achieved to have twenty-four hours
security and continuously monitored entrance. The estate is managed by the
RBK&C Tenant Management Organization which is constituted by the
residents themselves. The act of designating Trellick Tower as a Grade II* listed
building by English Heritage (22 December 1998) shows the essential value of
the ‘unwelcome’ architecture of Erno Goldfinger.
The completion of the Trellick Tower underlines the high-watermark of the
Goldfinger’s career. His uncompromising stance challenged critics and general
public to investigate the architect’s former projects and his personal
interpretation in terms of the rational style and the sensitive social Idealism.
Being within a Goldfinger’s building, especially the Trellick Tower, is a
revelation of his ideas and his influences, a patchwork of controlled forms,
rhythms and architectural values unequalled in Britain since Edwin Lutyens
who had been characterised as an imaginative architect adapting traditional
styles for the requirements of his era.
Trellick Tower emerges today as an exciting but confounding example of
Modern architecture. Exciting for its completeness and confounding because
of the choice of elements. Besides Edenham Street’s urban precision and
45
55
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structural quality, the scheme comprises an undeniable iconic monument,

from sociological point of view. This project reflects clearly an artistic theory;
‘The intellectual power required to create a significant work of art can

often seem frightening to others’.
In retrospect, Goldfinger’s architecture is a demanding one as it seems, and

it encloses integrity driven neither from archetypal of Modern Movement nor
from exclusion of elements and materials but from his faith on society, the
‘Classical utter plans of Durand through Auguste Perret’46 and his personal
developed architectural merits. Nevertheless, this peculiar experience one
may have within Trellick Tower tend to be an endangered one as the Tenant
Management Organisation has decided to deny public access without special
permission. Moreover, there have been numerous proposals for renovation,
mostly of the exterior spaces marking the eternal value and the permanence
of the scheme.
46
56
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5.1 ‘Close but far away, affined but neutral ’

Errnӧ Goldfinger at the age of 75 by a group of children in the courtyard of Trellick Tower. A very
descriptive picture that describes the diversity and the maturity of his but also how close to the
oncoming generation is through his diachronic work.
Conclusion
All of Goldfinger’s buildings have a timeless presence. Jim Cadbury-Brown

declares his interest; ‘The English architectural scene is divided into two: those
who have worked for Ernö and those who have been deprived of that
experience’47. His architecture has been marked with the inherent acronym of
the ‘heroic’ one. Architects such as Jim Cadbury-Brown and James Dunnet,
who have worked for Goldfinger, stresses the importance of his distinctive
contribution to British architecture. His peremptory personality and the
appraisal on his work are just two of the characteristics which together
originate the dissociation between himself and others of his contemporaries
and friends. Despite his willing to be part of British architecture, in order to
change it there is not any example that proves his compromise with the
established ideas.
47
Jim Cadbury-Brown, John Winter, James Dunnett Erno Goldfinger: A tribute by three architects who
have all at some time worked in his office, RIBA Transactions (London, RIBA, 1982) p. 19
57
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‘I try to solve problems in a rational way…Like one solves maths

problems…and there is this other thing – the architecture of enclosing
space. It is a mystery which is a personal affair – no one else’s
businesses’.48
His course in architecture and the project which terminated with clearly shows
an essential request for the best possible solution by any means. A closer look
on his work discloses a valuable consideration in terms of his architectural
perception which establishes his architectural language as a universal one. This
is because Goldfinger is not a man of changing fashions. He does exactly the
opposite to Eero Saarinen’s idea that each building has its own solution.
Not many buildings which derive from the building ‘boom’ of the sixties have
taken such a prominent position in British heart. A principal reason might be
the fact that Trellick Tower radiates numerous ideas, memories and some of
the lost prestige which has been trapped into the space. Examining the
building technically and structurally is beyond its era. Moreover, this ‘delicate
sense of terror’ which has been marked its existence, is harmonically bound
with a grim romanticism reminding both ‘good and bad days’ of the building.
Goldfinger may not was a man of changing fashions but his building became a
fashionable icon of North London. Twenty first century dictates hitherto a
nostalgic and pessimistic approach in terms of fashion icons. This, along with
the veritable historic value of the building, the indescribable views, the
location of it, and also the fundamental principles behind all of its functions -
which successfully arise from the architect’s concept and coherently take
shape- establish a monumental space in terms of scale and experience.
The last high-rise modern building was built as a further development of an
already successful project. The ‘swan-song’ project of Erno Goldfinger has
been essentially appreciated after his death. From historical point of view,
Trellick Tower marks the end of a revolutionary era and signals the beginning
48
Goldfinger p.88
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of a new one. The global reputation of the estate is due to fundamental

and substantive reasons well-perceived by the public and its tenants and most
importantly from the intense exposure both from the press and the media
coverage which tend to obscure its original status.
Notwithstanding, Jim Cadbury-Brown condenses Goldfinger’s personality in a
single quote, through which Trellick Tower as well as most of his later buildings
can be appreciated in a more sentimental but existent way;
‘We salute Erno Goldfinger for being the whole man, the rational artist.
His tests are: Is it clear? Is it true? Is it beautiful? We thank him for the
example he sets of Classical European thought, of reason rather that
intuition. We salute him for his work which is not romantic, not lyrical
unambiguous, It is reasoned, cool, considered, ordered, beautiful.
Buildings not particular of today but of our time. Free of stylistic quirks
and free, thank heaven, from literary explanations and obscure
interpretations’49.
Word count 8257
49
Jim Cadbury-Brown, John Winter, James Dunnett Erno Goldfinger: A tribute by three architects who
have all at some time worked in his office, RIBA Transactions (London, RIBA, 1982) p. 20
59
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Bibliography
Benevolo, Leonardo History of Modern Architecture, v.2 The modern movement (London,
Routledge & Kegan Paul, 1971) pp. 376-380, 587-603, 685-705
Benton, Charlotte, with contributions by Elliot, Jones and Harwood, Elain A different
world: Émigré architects in Britain 1928-1958 (London, RIBA Heinz Gallery, 1995) pp.
32-43
Deckler, Thomas The modern city revisited (U.S.A/Canada, Spon Press, 2000) pp. 81-94
Dunleavy, Patrick The politics of mass housing in Britain, 1945-1975 (Oxford, Clarendon
Press, 1981) pp.40 -60
Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works 1, (London, Architectural
Association, 1983)
Elwall, Robert Erno Goldfinger (London, John Wiley & Sons, 1966)
F.R.S. Yorke A Key to Modern Architecture (London, Blackie & Son, 1939)
French, Hilary Key urban houses of the twentieth century (London, Laurence King
Publishing, 2008) pp. 70-73, 140-145
James Dunnett and Nigel Hiscock To this Measure of Man: Proportional design in the
work of Ernö Goldfinger adopted by Louise Cambell’s Twentieth century architecture and
its histories (London, Society of Architectural Historians of Great Britain, 2000) pp. 88-
120
Power, Anne Estates on the Egd: Social consequences on mass housing in Northern
Europe (London, MacMilan, 1997) pp. 55-112
Warburton, Nigel Erno Goldfinger – The life of an architect (Abingdon, Oxfordshire,

Routledge, 2005)
Journals
Astragal, ‘Goldfinger topped’ Architect’s Journal 27th of October 1975 (London, Emap
Ltd.) p. 22-24
Astragal, ‘Monuments to Modernism’ Architect’s Journal, vol. 193, no. 3, 17th of July,
2008 (London, Emap Ltd, 2008) pp.6-7
Banham, Reyner, Smithson, Alison and Peter ‘English Brutalism’ a selection of writings,
Zodiac, no. 18 (Milan, Edizioni di Comunita, 1968) pp. 42-50
60
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Dunnett, James, ‘The architect as a constructor’ Architectural Review vol. 173, no. 1034
(London, Emap Inform publications, April 1983) pp. 42-48
Goldfinger, Erno Architecture D’ Hui Special issue no. 39 (Great Britain, 1952) pp. 1-82
Goldfinger, Erno ‘Le Corbusier at Pessac’ RIBA journal (London, RIBA, 1969) pp. 381-
382
Goldfinger, Erno ‘The Last of the master builders’ Building Design, no. 240, 7th of March
1975 (London, Nina Wright, 1975) pp. 14-15
Goldfinger, Erno ‘The sensation on space’ Architectural Review (London, Emap Ltd.
November 1941) pp. 29-32
Goldfinger, ‘Erno The work of August Perret’ AA Journal (London, Architectural
Association, January 1955) pp.144-145
Jim Cadbury-Brown, John Winter, James Dunnett ‘Erno Goldfinger: A tribute by three
architects who have all at some time worked in his office’ RIBA Transactions (London,
RIBA, 1982) pp. 19-26
Joedicke, Jurgen ‘A History of Modern architecture’ (translated in English by James
Palmes), The architectural press (London, Elsevier, January 1959) pp. 54-63
Milner, Rebecca ‘Erno Goldfinger, the architect as furniture designer’ Architectural
Design, vol. 72, no. 4, (London, July 2009) pp. 4-10
Proctor, Robert ‘The Architect’s Intention: Interpreting Post-War Modernism through the
Architect Interview’ Journal of design history, vol. 19, no.4 (Oxford, Oxford university
press, 2006)
Stalder, Laurent ‘New Brutalism ‘topology and image’, some remarks on the architectural
debates in England around 1950’ Journal of architecture, vol 13, no. 3, 2008 (London,
RIBA, June 2008) pp. 263-281
Waroff, Deborah ‘Goldfinger!’ Building Design, no.199, 3rd of May, 1974 (London, Nina
Wright, 1974) p. 6
William Holford, Graham Baker, Ernӧ Goldfinger, Benveti Hubert ‘London Today Special
issue; A guide to Post-War London’ Architectural Design (London, June 1961) pp. 233-
244
Electronic resources
Barker, Don ‘Primary Prefab’ < http:// www.architectureweek.com /2006/0906 /building_1-

1.html> [accessed on 10/08/2010]
Design Museum and British council ‘Erno Goldfinger’ <http:// designmuseum.org/
design/erno-goldfinger> [accessed on 15/04/2010]
Dr. Klags, Mary ‘Modernism and Modernity’ <http:// doggo.tripod.com/
doggmodernism.html> [accessed on 19/08/2010]
Ezard, John Article History,’ How Goldfinger nearly became Goldprick’ Guardian on-line
<http :// www. guardian .co.uk/uk/2005/jun/03/film.hayfestival2005> [accessed on
22/05/2010]
61
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From here to Modernity Architects frameset, ‘CIAM; Rethinking architecture’ < http: //
www.open2.net/modernity /4_2_frame.htm> [accessed on 20/05/2010]
Glass, Charles ‘But don’t go in’ <http:// davidaslindsay.blogspot.com/ 2010/06/but-dont-
go-in.html> [accessed on 18/08/2010]
Glynn, Simon ‘Trellick tower, London’ < http :// www.galinsky.com / buildings / trellick /
index.htm> [accessed on 15/08/2010]
Glynn, Simon ‘Unite d’ Habitation (Cite Radieuse), Marseille’
<http://www.galinsky.com/buildings/marseille/> [accessed on 17/08/2010]
Hatherley, Owen Utopian ‘ Modernism in London : A Series of Drifts...’ < http:// www.
archinect. com/ features/article_print. php?id=40475_0_23_0_M> [accessed on
15/10/2010]
International Multifamily Housing ‘Trellick Tower’ <http: //housingprototypes. org /project
?File_No=GB010> [accessed on 15/10/2010]
Modern British Architecture ‘2, Willow Road, Hampstead’ <
http://brst440.commons.yale.edu/?p=335#more-335> [accessed on 15/10/2010]
Moran, Joe ‘Towers of Terror’ < http://www.newstatesman.com/200507180049>
[accessed on 15/08/10]
Naylor, Karl ‘Observations from London on Britain and the world: The looming presence
of Trellick tower’ <http://karl-naylor.blogspot.com/2010/07/looming-presence-of-trellick-
tower.html> [accessed on 18/08/2010]
Whitfield, Matthew ‘2, Willow Road, Hampstead, London’ < http:// thefilter.blogs.com
/the_filter_review /2005/04/ 2_willow _road_h.html> [accessed on 05/10/2010]
Other resources
Boland, Lee Chairman of Trellick Tower Residents Association, Interview, 17th of May,
2010
Residential property, Tribunal service Restoration of Trellick tower (London, 3rd of March,
2010)
Keay, Boyce Reyner Banham suggested by 1966 Brutalism had become a style. To what
extent was he correct? HA3008, Level 3 Dissertation (Kingston University, April 2003)
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Illustrations
1, 2 Found in <http://spitfiresite.com/2010/09/battle-of-britai-blitzkrieg-became-the-
blitz.html> Retrieved 29 November, 2010
1.1 Found in <http://www.open2.net/modernity/4_2.htm> Retrieved 29 November, 2010
2.1 Found in Warburton, Nigel Erno Goldfinger – The life of an architect (Abingdon,
Oxfordshire, Routledge, 2005) p.17
2.2, 2.3 Found in <http://www.essential-architecture.com/STYLE/STY-M10.htm>
Retrieved 29 November, 2010
2.7, 2.9 Foundin <http://www.sneakymagpie.com/wp-ontent /uploads /2008
/10/2933756485 _f10e57b353.jpg> Retrieved 29 November, 2010
2.8 Found in Elwall, Robert Erno Goldfinger (London, John Wiley & Sons, 1966)
3.2 Found in Goldfinger, Erno The sensation on space, Architectural Review (London,
Emap Ltd. November 1941) p.30
3.3 Found in Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works 1, (London,
Architectural Association, 1983) p. 52
4.1 Found in <http://www.clusterflock.org/2009/08/the-county-of-london-plan-1945.html>
4.2 Found in <http://www.skyscrapercity.com/showthread.php?p=53878955>
4.5 Found in <http://thecarandtheelephant.com/chapter/remade> Retrieved 12 January
2011
63
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Architectural Association, 1983) p.104
4.8 Recreated map of the site. Original map found <maps.google.co.uk> Retrieved 29
November, 2010
4.10 Found in <http:/,/londonist.com/2008/05/londonist_behin_6.php> Retrieved 30
November, 2010
4.11 Found in Wikipedia, <http://en.wikipedia.org> Retrieved 30 Novembers, 2010
4.12 Found in Wikipedia, <http://en.wikipedia.org> Retrieved 30 Novembers, 2010
4.13 Found in Meanwhile Gardens official website <http:// www.mgca.f2s.com/
AboutUs.html> Retrieved 29 November, 2010
4.14 Found in Google maps <http://maps.google.co.uk/> Retrieved 30 November, 2010
4.15 Found in < http:// commons.wikimedia.org/ wiki/File: Grand_Union_ Canal
_and_Trellick_Tower.jpg> Retrieved 14 January 2011
4.16 Recreated fragment of master plan found in <www.novarcstudio.com/
edenham_pro> Retrieved 30 August, 2010
4.19 Personal visit to Trellick Tower at 10 May, 2010
4.20 Found in James Dunnett and Nigel Hiscock To this Measure of Man: Proportional
design in the work of Ernö Goldfinger adopted by Louise Cambell’s Twentieth century
architecture and its histories (London, Society of Architectural Historians of Great Britain,
2000) p.90
4.21, 4.22 Personal visit to Trellick Tower at 10 May, 2010
4.23 Recreated plans found in Dunnett, James & Stamp, Gavin Ernö Goldfinger, Works
1, (London, Architectural Association, 1983) p. 122
4.24 Elaborated elevations found in <www.novarcstudio.com/ edenham_pro> Retrieved
30 August, 2010
4.25, 4.26, 4.27, 4.28 Recreated plans found in Dunnett, James & Stamp, Gavin Ernö
Goldfinger, Works 1, (London, Architectural Association, 1983) p. 122, 123
4.29 – 4.33 Personal visit to Trellick Tower at 10 May, 2010
64
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5.1 Found in < http://designmuseum.org/design/erno-goldfinger> Retrieved 15

November, 2010
65

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AR3020

It is apparent that in order to discuss an exemplary architectural work of the

‘Modern architecture had been fully established in Europe under the

Despite Britain’s early reaction on industrialization and repudiation of

1968-1972 represent probably the ‘only examples in England of large-scale

Cultural context chapter 1

The effect of interwar on modernism, ideologically, was immense, affecting

1.1 CIAM Group 1933

Immediate need for housing

Post-war London was clearly in urgent need of a massive reconstruction. By

‘I have a tremendous amount of work to do and hope to have even

made housing schemes. Rowlett Street’s housing complex and Cheltenham

The real Goldfinger

‘Goldfinger was a man who thought big, a champion of communism, an

Foundations / Paris Years

2.1 Erno Goldfinger

2.2 Unite d' Habitation Marseilles by Le Corbusier 1947-1952

2.3 Unité d' Habitation roof terrace and nursery.

In 1923 Charles-Edouard Jeanneret, known as Le Corbusier published the book

Goldfinger’s hardness on schemes and the same time romantic enthusiasm,

2.4 Atelier Jaussely

Goldfinger’s early work is remarkable and beyond Beaux-arts limitations and

2.5 Variation drawing

2.6 Helena Rubinstein

‘A young architect ought to be made to build his own house first’17

2.7 2 Willow Road House, Hampstead, London Front facade

2.9 2 Willow Road House,

Architectural ideas Chapter 3

The sensation of space

3.1 Ernӧ the writer

3.2 The Sensation of

Urbanism and Spatial Order

The second article is focused on three basic factors which constitute

From the point of view of the town,

The façade, however, is also part of

The walls of a building (even if they

Approaching from outside, only after

3.3 Goldfinger’s explanatory

Elements of Enclosed Space

The building chapter 4

Britain expressed a substantial alternation towards European architecture

from Auguste Perret. A mature language of architectural expression’26, which

4.1 Goldfinger's first book

4.3 Daily Worker 73, Farrington Road,

4.4 Moorgate Skyscraper, London

Goldfinger’s first chance to build high-rise domestic accommodation was with

‘The Rational unsentmentality which was the strength of his

4.5 Elephant and Castle complex site plan

4.7 Southeast view, across railway

4.6 Goldfinger's axonometric drawing of

4.8 Balfron Tower aerial view

4.9 Balfron Tower Axonometric

4.10 Ernӧ Goldfinger in his flat ,

4.11 • Anniesland Court • Balfron Tower • Trellick Tower

4.12 Roman Point

the ‘mature expression of the ideas of modern architecture whose absence

4.13 Meanwhile Gardens

Grand Union Canal

4.14 Edenham Street Housing block

4.15 Trellick Tower The most remarkable landmark in North Kensington

4.16 Edenham Street Estate

The last ‘real’ building

and share common architectural details and organizational ideas’36. On each