Review I: Trellick Tower
Last weekend, my exploration of London’s architectural heritage led me to two iconic brutalist landmarks in West London: Trellick Tower and Alexandra Road Estate. Despite their shared brutalist design principles, each site exhibited distinct characteristics that set them apart. These visits enriched my understanding of brutalism’s physical manifestation and its complex relationship with societal dynamics.
Ernő Goldfinger
My first stop was Trellick Tower, nestled close to the vibrant Portobello Market and the charming Notting Hill neighbourhood. Designed by the renowned architect Ernő Goldfinger for the Greater London Council in 1972, Trellick Tower was intended as public housing. At a time when concrete structures were falling out of favour, Trellick Tower’s initial years were marred by crime and gang activity. However, the 1990s saw a transformation in public perception, thanks in part to renovations, improvements in the surrounding area, and favourable architectural critique.
This shift in sentiment towards Trellick Tower underscores the broader narrative of brutalism’s journey from a symbol of social housing to a gentrified architectural style celebrated by the ‘educated’ classes, such as artists and designers. This transition reflects broader socio-economic shifts, including changes in productivity, ideological battles, and social structures. Brutalist buildings in London, once a bastion for the working class, now appeal to a different demographic, marking a significant evolution in their societal role and perception.
Trellick Tower from the distance view
Approaching Trellick Tower from Ladbroke Grove station, its stature and unique design immediately distinguished it from the surrounding colourful, low-rise buildings. The closer I got, the more palpable the change in atmosphere became, highlighted by a massive graffiti wall that, despite the area’s improved safety, evoked memories of its past associations with crime. The building’s concrete facade, interspersed with small stones, served as a reminder of its origins in low-cost public housing. The tower’s most striking feature was its external service tower, dotted with irregularly placed square windows and topped by a protruding room, reminiscent of a watchtower. This element added a sense of surveillance and authority, intensifying the building’s presence. Removing the tower might alleviate some of its imposing aura but would also strip away much of its unique character.
Graffiti wall of Trellick Tower
Close up of Trellick Tower
Following my visit to Trellick Tower, I discovered its precursor in East London, Balfron Tower, also a creation of Ernő Goldfinger. Constructed approximately a decade earlier, Balfron serves as a fascinating counterpart to Trellick, embodying the early manifestations of Goldfinger’s brutalist vision. Nearby, a concentration of brutalist structures, including Carradale House, Glenkerry House, and Robin Hood Gardens, promise a comprehensive exploration of the brutalist movement. These sites, with their rich architectural and historical contexts, offer a unique opportunity to deepen my understanding of brutalism’s impact and evolution within London’s urban landscape, indicating potential future avenues for my research and appreciation of this distinctive architectural style.
