Brutalist architecture is an addictive beast that has a bewitching spell on those who delight in its elephantine aggression.
Coined from the french phrase "beton brut" - raw concrete - by the British architectural critic Reyner Banham, Brutalism described the style of simple, blocky concrete constructions which flourished in the 1950s & 60s (its origins begin earlier in the 20th century). It was, of course, a pun on the french word to reflect the overall general disgust in which the style was received in the country. Yet I have come to learn that whilst it often evokes much distain amongst critics and the general public alike, there are many, like me, who have an insatiable appetite for the utilitarian concrete ogres whose mundane functions, like a gaping wound, are left very much exposed.
I have been traveling the world to take photographs of buildings for the past 15 years, even before I knew I was doing it. Now I actively seek them out mostly for that purpose, as well as hunting out the derelict and abandoned. Sometimes I feel as if I did not find Brutalism, but it rather splendidly and violently, discovered me.
The more brutalist structures I find; in Berlin, Bulgaria, Ukraine, London....the better. Each concrete structure I ponder upon, I realise that each are different and beautifully unique in their ugliness; and I love one as much as the other. Each one I approach and get that same excited twinge in my stomach, as if starstruck. These buildings are my boyband obsession, my excitement, my love.
In the next few weeks I am going to look at some of these buildings I have photographed in a little more detail, placing these monstrosities underneath my hypothetical microscope (a concrete one obviously). I want to consider why are these buildings so alluring? Why are they so divisive? What is the story behind the ugly?
London is a treasure trove of beautiful architecture, and is well served with Brutalist buildings. Trellick Tower, built on the Cheltenham estate in Kensal town, is an accommodation block designed by the infamous architect, Erno Goldfinger. The building was opened in 1972, and its purpose was very much a reply to the outdated social accommodations of the time - replacing the Victorian housing of the area which had long become sub-standard. It was actually Goldfinger's follow up apartment block - the first being the Balfron Tower in East London.
It's hard to miss Trellick Tower as you approach from little Venice; all 322ft tall, it dominates the skyline with its high-rise form looming, yet it is almost thin and precarious. It resembles the large body trunk of a giant headless robot transformer, it's unusual service tower its robot arm, looking like it is ready to swing out at any moment. This stand alone service tower feature was very unique to such a building - with a projecting plant room that contains the main heating system. One of the benefits of this design, was the reduction in the need for pumps, and indeed resulted in a reduction of pipework compared to its contemporaries - this also meant less heat loss.
The apartments inside themselves were designed in such a way that was to utilise every single inch of space as much as possible, and efficient design choices were taken. For example, bathrooms were given sliding doors to save space, and the light switches were embedded in the door surrounds.
Thought was also given to the overall experience and communal aspect. All apartments in Trellick Tower were given a balcony and large windows - this is to maximise the amount of natural light for each occupant. Goldfinger even designed slight variations to each accommodation, so that every apartment was slightly different. The intent was to provide quality throughout, using quality materials Goldfinger aimed to provide an exemplary example of social accommodation, intertwining this with modern design.
Goldfinger himself describing Trellick Tower said "the whole object of building high is to free the ground for children and grown-ups to enjoy Mother Earth and not to cover every inch with bricks and mortar".
Much thought went into the design, with Goldfinger using his earlier Belfron Tower to gain learnings and feedback from residents there to make an improved living experience in his new creation. Almost like a method actor, Goldfinger even lived in a Balfron Tower apartment to submerge himself in this high-rise lifestyle himself.
Unfortunately, by the time Trellick Tower opened, the very idea of high rise social accommodations were already out of date. By 1972, the council had been replaced and the replacing new council body refused Goldfinger's request to vet tenants and provide a concierge in the tower. Subsequently the tower became vandalised even before it opened, and rough sleepers and drug pushers took residence in the corridors and areas where they could access. By the late 1970s, the high serious crime rate and social issues had escalated to such a scale that no one wanted to live in the tower - it reached such critical point the building was nicknamed the Tower of Terror. It was to be Goldfinger's last major project, and one he never saw to live to its potential.
It wasn't until the 1980s that Trellick Tower began a resurgence with the establishment of a residents' association. Security measures and a concierge were finally put into place, which saw crime levels drop.
In the 1990s, the Tower really began to prosper. The popularity, and affluence of the Notting Hill area helped improve Trellick Tower's status, as well as a BBC documentary praising the tower's merits. With property prices booming and apartments suddenly selling for excellent money. The general respectability of the area was changing and had changed; the tower became a sought after place to reside. The building was awarded Grade II listed status in 1998, furthering its importance.
Trellick Tower has since appeared in many films and TV and even books. Its dystopian look makes a tremendous backdrop. I first learnt of it whilst reading Amis' London Fields, whilst it is said to have inspired Ballard's classic novel Hi-Rise. This contradiction is terms repeats often when I have studied these buildings - they were designed and built with such modern (for the time) outlook - and yet became so quickly outdated and negatively associated. Yet Trellick Tower is an example of how this has become full circle.
This beautiful, fascinating and precarious structure stands tall today and is seemingly prospering, but not without warning or caution. The tragic Grenfell tower fire has highlighted this only too well, questioning (and quite rightly) the very core of the suitability of high rise accommodations yet again. Nothing is more painfully obvious than the poignant graffiti tributing the loss of lives that should never have occurred.
From concept to creation, Trellick Tower had an ingenious birth - with innovation and user experience at its helm. For a Brutalist building, it is not overtly obvious compared to some. And its slender appearance gives it almost a subtlety. Yet Trellick Tower was never truly able to live to his true potential as a gigantic great, its means of its aim and purpose of its creator. And its declining years leaves a tainted and tragic history to its past.
I have been traveling the world to take photographs of buildings for the past 15 years, even before I knew I was doing it. Now I actively seek them out mostly for that purpose, as well as hunting out the derelict and abandoned. Sometimes I feel as if I did not find Brutalism, but it rather splendidly and violently, discovered me.
The more brutalist structures I find; in Berlin, Bulgaria, Ukraine, London....the better. Each concrete structure I ponder upon, I realise that each are different and beautifully unique in their ugliness; and I love one as much as the other. Each one I approach and get that same excited twinge in my stomach, as if starstruck. These buildings are my boyband obsession, my excitement, my love.
In the next few weeks I am going to look at some of these buildings I have photographed in a little more detail, placing these monstrosities underneath my hypothetical microscope (a concrete one obviously). I want to consider why are these buildings so alluring? Why are they so divisive? What is the story behind the ugly?
London is a treasure trove of beautiful architecture, and is well served with Brutalist buildings. Trellick Tower, built on the Cheltenham estate in Kensal town, is an accommodation block designed by the infamous architect, Erno Goldfinger. The building was opened in 1972, and its purpose was very much a reply to the outdated social accommodations of the time - replacing the Victorian housing of the area which had long become sub-standard. It was actually Goldfinger's follow up apartment block - the first being the Balfron Tower in East London.
It's hard to miss Trellick Tower as you approach from little Venice; all 322ft tall, it dominates the skyline with its high-rise form looming, yet it is almost thin and precarious. It resembles the large body trunk of a giant headless robot transformer, it's unusual service tower its robot arm, looking like it is ready to swing out at any moment. This stand alone service tower feature was very unique to such a building - with a projecting plant room that contains the main heating system. One of the benefits of this design, was the reduction in the need for pumps, and indeed resulted in a reduction of pipework compared to its contemporaries - this also meant less heat loss.
The apartments inside themselves were designed in such a way that was to utilise every single inch of space as much as possible, and efficient design choices were taken. For example, bathrooms were given sliding doors to save space, and the light switches were embedded in the door surrounds.
Thought was also given to the overall experience and communal aspect. All apartments in Trellick Tower were given a balcony and large windows - this is to maximise the amount of natural light for each occupant. Goldfinger even designed slight variations to each accommodation, so that every apartment was slightly different. The intent was to provide quality throughout, using quality materials Goldfinger aimed to provide an exemplary example of social accommodation, intertwining this with modern design.
 |
| Renovations are still being carried out as of January 2019 |
Goldfinger himself describing Trellick Tower said "the whole object of building high is to free the ground for children and grown-ups to enjoy Mother Earth and not to cover every inch with bricks and mortar".
Much thought went into the design, with Goldfinger using his earlier Belfron Tower to gain learnings and feedback from residents there to make an improved living experience in his new creation. Almost like a method actor, Goldfinger even lived in a Balfron Tower apartment to submerge himself in this high-rise lifestyle himself.
Unfortunately, by the time Trellick Tower opened, the very idea of high rise social accommodations were already out of date. By 1972, the council had been replaced and the replacing new council body refused Goldfinger's request to vet tenants and provide a concierge in the tower. Subsequently the tower became vandalised even before it opened, and rough sleepers and drug pushers took residence in the corridors and areas where they could access. By the late 1970s, the high serious crime rate and social issues had escalated to such a scale that no one wanted to live in the tower - it reached such critical point the building was nicknamed the Tower of Terror. It was to be Goldfinger's last major project, and one he never saw to live to its potential.
It wasn't until the 1980s that Trellick Tower began a resurgence with the establishment of a residents' association. Security measures and a concierge were finally put into place, which saw crime levels drop.
In the 1990s, the Tower really began to prosper. The popularity, and affluence of the Notting Hill area helped improve Trellick Tower's status, as well as a BBC documentary praising the tower's merits. With property prices booming and apartments suddenly selling for excellent money. The general respectability of the area was changing and had changed; the tower became a sought after place to reside. The building was awarded Grade II listed status in 1998, furthering its importance.
Trellick Tower has since appeared in many films and TV and even books. Its dystopian look makes a tremendous backdrop. I first learnt of it whilst reading Amis' London Fields, whilst it is said to have inspired Ballard's classic novel Hi-Rise. This contradiction is terms repeats often when I have studied these buildings - they were designed and built with such modern (for the time) outlook - and yet became so quickly outdated and negatively associated. Yet Trellick Tower is an example of how this has become full circle.
This beautiful, fascinating and precarious structure stands tall today and is seemingly prospering, but not without warning or caution. The tragic Grenfell tower fire has highlighted this only too well, questioning (and quite rightly) the very core of the suitability of high rise accommodations yet again. Nothing is more painfully obvious than the poignant graffiti tributing the loss of lives that should never have occurred.
From concept to creation, Trellick Tower had an ingenious birth - with innovation and user experience at its helm. For a Brutalist building, it is not overtly obvious compared to some. And its slender appearance gives it almost a subtlety. Yet Trellick Tower was never truly able to live to his true potential as a gigantic great, its means of its aim and purpose of its creator. And its declining years leaves a tainted and tragic history to its past.
Comments