dystopia

Trellick Tower: The fall and rise of a modern monument

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5

Fosco Lucarelli and
Mariabruna Fabrizi


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Image: Ernö Goldfinger’s monumental
Trelleck Tower in London (built 1972)

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Drawing by San Rocco / Salottobuono
Published in San Rocco Magazine
№ 5 — Fall 2012 [Scary Architects]
Reposted from the blog microcities

Recalling his first job experience, a certain gentleman still remembers the horrified faces of his friends after revealing he was just about to start working at Ernö Goldfinger’s architectural firm. In retrospect, he admits, it was pretty much like the reaction of the peasants to young Harker’s sister when he announced that his brother was going to visit Count Dracula.

Few architects, if any, would earn as much public loathing as Goldfinger during the 1960s and ’70s, and it is not by chance that Ian Fleming’s villain was named after him.

Ernö Goldfinger in front of Trellick Tower_45687163_8

Hated for his short temper as well as for his architectural production, Goldfinger — a lifelong Marxist who practiced in Perret’s atelier — embodied the last phase of heroic, utopian modernism, and experienced its subsequent fall in public opinion.

The socialist utopian ideology associated with the Brutalist style was a perfect fit in the context of the British post-war housing shortage, and the development of high-rise buildings in the relatively flat London boroughs was initially touted by the government as a modern, forward-looking solution. If high-density housing was the setting, then concrete was to be the protagonist. For two decades, practicality had been aesthetics: being economical, flexible and indestructible, concrete became a metaphor for “the future” and acquired enough respect to be emphatically exposed on the façades of large buildings.

Starkly aggressive, with its thirty-one floors towering over a low-rise neighborhood, Goldfinger’s 1972 Trellick Tower in London is a tragic syntax comprising raw concrete, deep shadows, and sky bridges evoking the purified silhouette of a mediaeval castle. With its uncompromising materiality — which inelegantly quotes Le Corbusier — the tower is a daring presence in London’s post-war landscape, an expressionistic monument for the masses. Continue reading →

Yesterday’s tomorrow is not today

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7

Hugh Ferriss’ modernity

Untitled.
Image: Rendering by Hugh Ferriss
of the UN Building proposal (1947)
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What’s so fascinating about [Hugh] Ferriss is what makes him so different to his near-contemporary Iakov Chernikhov. While the latter made fantasy cities out of bizarre amalgams of what did exist and what hadn’t yet been invented, Ferriss drawings take the actually constructed and make it look utterly unreal.

Owen Hatherley, “Fairytales and real estate” (2007)

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many

T.S. Eliot, “The Waste Land” (1922)

It’s an odd feeling one gets from time to time, that the future we remember was more futuristic than our own. And yet it’s unmistakable. The moment we inhabit is a peculiar retrogression upon the past; its temporality is all off.

Architectural sketch by Hugh Ferriss, 1917

Architectural sketch by Hugh Ferriss, 1917

Architectural sketch by Iakov Chernikhov, late 1930s

Architectural sketch by Iakov Chernikhov, late 1930s

Hatherley’s observation regarding the perpendicular paths of Ferriss and Chernikhov — paths that converge around the right angle of modernity — extends further than he even imagined. Whether working from unreality to reality or vice versa, the two celebrated draughtsmen charted a collision course from their respective points of origin. This might even be seen to represent a pattern of nonsensuous dissimilarity, inverting the old Benjaminian trope.

Meeting somewhere along the middle in the early 1930s, at least within the realm of ideas, the drawings of Ferriss and Chernikhov thereafter approximate each other visually (in terms of sensuous similarity) the further out one moves diverging from this date. That is to say, Ferriss’ sketches become more pronouncedly gothic the earlier on one looks. A tenebrous crayon rendering from 1917, shown above, amply illustrates this fact. Oppositely, Chernikhov’s sketches began exhibiting numerous gothic features toward the end of the 1930s, becoming progressively gloomier along the way. No one denies the influence of Hugh Ferriss over the comic-book city of Gotham; producers of the new Batman movies just announced would do well to take a look at Chernikhov’s later works for inspiration, especially after their blunder casting Ben Affleck as the dark knight. Continue reading →