1-3 Willow road - Dissertation Example

3 Willow Road ________________________________________ This dissertation was written in partial fulfillment for the degree of ____________.Year: 2011 Word Count: 6,256 (25 pages) TABLE OF CONTENTS I. Introduction……………………………………………………………..3 II. Chapter I: The Architect: Erno Goldfinger…………………………3 III. Chapter II: The Content: The Building…………………………12 IV. Chapter III. The Context: Proportion and Other Elements of Style…………………………………………………………………14 V. Conclusion……………………………………………………………..16 Introduction The building 1-3 Willow Road is a rowhouse consisting of 3 homes set together. Built in 1939 by architect Erno Goldfinger, 1-3 Willow Road is an example of Modernist British architecture in Hampstead Heath, London, England. He was a modern pioneer of the Modernist movement. Originally from Hungary, he studied in Paris at the Ecole des Beaux Arts. He rebelled against the conservatism of the Beaux Arts and and he and a group of students broke away to form a new studio. They at first asked Le Corbusier to be the head of the studio but he declined. It was thereafter run by one of his contemporaries, Auguste Perret. Perret introduced the use of reinforced concrete construction, and whose his rationalist style and passion for the unadorned greatly influenced Goldfinger. Goldfinger resided in the center construction, Number 2 Willow, with his family until the time of his death in 1987. Although the construction of the building was at first disputed it was later acquired by the National Trust of England and is today an historic landmark. Here it will be discussed: the architect, including every salient detail about his work; the content of the Hampstead house building itself; and the context of the work, including proportion and other elements of style. Chapter I. The Architect: Erno Goldfinger Significance 1-3 Willow Road was controversial at the time of its conception, and the residents—as well as the city council—rejected the idea of its being built. “The Hampstead house was [originally] built for solicitor Geoffrey Walford of Piccadilly, his wife Ursula Walford and her four children from a first marriage.”1 Erno Goldfinger had to revise his plans several times before they were approved and construction could begin. Although a modern interpretation of a Georgian style building, it is an important example of the revolutionary ideas the architects of the Modern period hoped to establish. It was modeled after 18th- and 19th-century terrace houses, but built with modern materials and detailing. This building may be seen as part of the International style movement that has social and political undertones. These particular architects—being much more concerned with building homes for the everyday man rather than elaborately-decorated edifices that had characterized much of the architecture that had preceded it—also set forth to consider the function and utility of the structure. With the advances in new technology, new materials were invented. As such, these buildings were famous for being the first to utilize such technological advancements. Many new ideas in the arts and architecture flourished and Goldfinger’s work embodies these precepts. Therefore, 1-3 Willow Road is an excellent example of what one would call Modernist principles. Although he became more well known for his buildings following WWII, the houses on Willow Road can be seen as their precursors. Cultural and Historical Background Hampstead Heath, where Willow Road sits, is a celebrated and picturesque part of London, England. Just minutes by train from the heart of London, many people go there to enjoy the nearby countryside. There are many ponds, a garden filled with flowers and trees and an aviary, as well as a zoo. Mainly rural, the area has several ponds and acres of undeveloped land. Although the countryside has been well preserved there are many Georgian, Edwardian, and Victorian buildings. Areas of the Heath—as it is commonly referred to—are recognized for their designed landscapes representing different periods of the town’s history. Hill Garden from the 20th century, an 18th century mansion, Kenwood, and Golders Hill Park from the 19th century. Largely untouched by modernity in terms of its setting, 1-3 Willow Road reflects the avant- garde history of many of its residents. “The relevant volume of Pevsner's Buildings of England…devotes fifty pages to Hampstead.”2 Writers, musicians and artists have long inhabited the Hampstead Heath and it was home to many important figures in prominent artistic circles at the time of its construction. Keats and Constable Hunt were among the few who, in previous times, celebrated the Heath’s beauty in both literature and painting, respectively. “The poet John Keats wrote his famous Ode on a Grecian Urn while living in this Hampstead house.”3 Another famous psychoanalyst might also have been renowned to have lived there. “At the age of 82, Freud fled from Nazi persecution in Vienna to this Hampstead house where he lived and worked for the last year of his life. His daughter Anna, pioneer of child psychoanalysis, continued to live here until her death…”4 Although the residents were made up of artists and intellectuals, some opposed the design of the Willow Road house as did the London City Council. After revising his plans several times and limiting the amount of concrete structure that was visible, it was finally accepted. It has since been described by Gavin Stamp as “[the building with] the most distinguished Modern manifestation of that return to more intelligent building methods evident in England at the end of the 1930s[, having] weathered much better than many of the famous white boxes so extensively illustrated in the journals.”5 Presevation of the land and disputes settled by the enactment of laws governing the sale and distribution of the Heath had been going on for centuries. The objections to Willow Road were not unusual. Approximately a decade after Goldfinger’s death, in 1995, the houses were bought by the National Trust of London. One of the first modern buildings to be acquired, the building once again became a matter of dispute. Conservationists and preservationists both resisted the idea but later deferred to the judgment of the National Trust. The Architect and Architectural Ideas Erno Goldfinger’s Hampstead House fits into the architect’s work as a whole because he had already had experience working in various different types of styles—including Industrial and Modern styles—with some level of influence being exerted upon him through International and Brutalist styles of architecture. The specific issues that Goldfinger was addressing with regard to the Hampstead House ultimately had a lot to do with popularity over function. The main function of the Hampstead House was to serve as lodging. And, as one will be able to see from the photos, it wasn’t necessarily the most “beautiful” architecture around—which is part of what was upsetting to the City Council where Hampstead House was located, one of the initial problems with the plans to build the house there. The problems that Goldfinger was trying to address included issues of form. In England, many of the buildings that had previously built focused much more on ornamental embellishments rather than serving the purposes of being a functional, given it albeit a much more simple type of design. The key ideas and contextual elements that were trying to be embodied will be discussed in the section about the context of the architecture itself. Architectural Issues and Ideas Influenced by Le Corbusier and Gustave Perret, architect Erno Goldfinger designed 1-3 Willow Road embodying many of the principles that inspired Modern Architecture. He and his family later occupied the House themselves. “[What] happened over the years in number 2, the Goldfingers' house, [were] changes in the floor plan layout.”6 The idea of function as a necessary requirement for the design of the form itself is evidenced here in the buildings final use as residences. The Modernists saw the extensive use of decoration in building as over-embellished and no longer true to the function. They sought to erect buildings for the common man, to better assist the middle and working classes—and not only the declining aristocracy. They hoped to create structures that were beautiful in their simplicity with a break from the previous historical styles. As the 1930s progressed, artists retreated from the cold abstractions of high modernism to a more comfortable and friendlier feeling of warmth. The solid white rectangles of the concrete structures were replaced with those covered in brick and wood. Goldfinger followed suit with 1-3 Willow Road, and the houses have a very English—although modern—feel. Because there was such an adamant rejection of his plans to build the structure, Goldfinger adapted his design to be in keeping with the existing buildings in the surrounding area, many of which were done in the Georgian style. He created the houses on Willow Road as a modern interpretation of a Georgian style building. Although much smaller than his other buildings, much of the design incorporates the same materials and design elements. Reinforced concrete, steel and glass were widely popular in the years following WWI and the advancement of the Industrial Revolution. His later work was a response to the need for better public housing. Utilizing the same materials, he created buildings much taller in size. Like the skyscrapers of the United States, the Trellick Tower and the Balfour Tower were also inspired by this simplicity of design. Another of the prominent design theories of the Modernist movement was architecture as a means of enveloping space. “‘[M]odern’ [architecture] is defined variously according to different contemporaneous Euro-American architectural currents.”7 Goldfinger was an important proponent of this idea in the Modernist movement, having a preoccupation with space. He furthered the idea saying that the way a person experiences the space they are in has a psychological effect on them. He sought to create a pleasing environment in which to be with his buildings. His principal statement is that architecture is a way of enclosing space. The way in which it is enclosed has a psychological impact on anyone within that space. This sensation, which we, as human beings are subjected to, is determined, says Goldfinger, by the enclosed agent and the enclosed space. He also affirms that the sensation of space cannot be experienced simply by visual contemplation. It cannot be experienced by any organ alone. Moreover, one of the most important agents of its perception is nevertheless visual. So is the perception of pictorial and plastic phenomena, but while the essence of perception in these two is conscious, that of spatial perception is subconscious. Plastic and pictorial visualisation is static while spatial visualisation is quote un-quote kinetic. He then concludes, “When space is enclosed with the skill of an artist, when the purpose is to move, then the spatial sensation becomes spatial emotion and enclosed space becomes architecture.”8 Space can be a huge component of how a building feels. It is one thing to be in an enclosed space, but it’s entirely another element to feel like one’s personal space is being encroached upon by a building. It can be very difficult to gauge what kind of space might be appropriate in terms of how near or far away objects and parts of the house might look like when designing a building. For example, in some kinds of minimalist architecture, the house—from the inside—might appear smaller than it actually is simply because of the way it is designed. A building is like a beautiful woman—it must be maintained in order to keep its appearance of beauty. It is very possible that Goldfinger—and his contemporaries—definitely believed that beauty could be found even in the most mundane types of designs. Therefore, it comes as no surprise that these buildings which Goldfinger built were homages to his idea of beauty, and his idea of space. Of course, as we shall see, Le Corbusier had very strict ideas as to what constituted beauty—and how elements of light influenced the work he did. For architects like Le Corbusier who influenced Goldfinger, he made certain that the elements of light were one of the key linchpins of his style of architectural design. Not only that, but Le Corbusier had an influence on Goldfinger in several other areas as well. Goldfinger’s usage of space was also thusly influenced by Le Corbusier, and it was a cardinal sin in architecture to waste an inch of space. Thus, any kind of design which was not an efficient use of space was seen as anathema in the architectural world in which they inhabited at the time. The reason one needs to get a good architect is paramount.  A good architect on the project lays the foundation for everything else. “Architectural services should be calculated as part of the project cost, typically just under ten percent of the building budget…Architects bring a global vision to the very complicated process of building…”9 Ideally, one wants to choose an architect for the project who has character.  In the same way this architect’s character is, so shall the proposed structure be.        One wants an architect who will be able to see the project through from inception to completion.  Therefore, this person is going to have to envision the project as well as bring it to fruition. The architect has to have a good idea in mind of what the finished product is going to look like.  Therefore, one must choose an architect who not only can produce physical plans for what a building will look like—but someone who has a vision.        By vision, this doesn’t mean that he (or she) can see well—although that is definitely important too.  By having vision, it should be taken to mean that this architect should ideally have a good grasp of architectural principles such that he or she knows what makes a striking building, and how that knowledge can best be applied to any one particular project.        Now, in this instance, one should be looking for an architect with solid experiential knowledge in designing larger structures, especially if he were building a house like the Hampstead House.  If one finds someone who specializes in building large complexes, that would be even more highly advisable.        The main role of an architect is to interpret a customer’s ideas, and not only that but making up the professionally-devloped plans and blueprints for any work on a building that might need to be completed. Architects fulfill a wide range of purposes and tasks so that the building of the structure is pulled off smoothly.        In short, one wants to hire someone for the position of architect that is going to be competent.  One also wants to hire someone who knows what he or she is doing.        Ideally, one is looking for an architect who not only knows his or her facts, but also ideally specializes in building the kinds of venues that are planned for being built.  One doesn’t want this architect to come fresh out of school with no experience.        For a major project, one should be seeking an architect who has at least 10 years’ worth of experience under his or her belt.  That, however, is just the beginning.        This architect should have either:  1)  gone to one of the top universities in the country; or 2)  have graduated in the top 5% of his undergraduate class.  This not only demonstrates that the architect cares about his or her education but places a value on education.        One should be concerned that your architect is the sort of person who has an educated mind.  He or she will be open to new and fresh ideas, while at the same time will be somewhat of a traditionalist as far as thinking about the scope of the project, what one might require on a macro level, and also what one is thinking one would like the ultimate end-product to look like in terms of the finished building, holistically speaking.        One’s architect should definitely have a sense of style and what is trendy in terms of buildings.  At the same time, one’s architect should have a very keen sense for what is traditional in architecture, and perhaps he or she knows how to best blend those two worlds in order to create a unified, new vision.        The architect should consider everything that a potential client is thinking about, whether it be deciding what kind of materials the beams should be constructed from to whether your structure should be “green,” i.e., environment-friendly, or not.  From inception to fruition, this building is going to be something that represents one’s name-brand image forever (or at least for the foreseeable future), and so one should plan carefully what is the style and essence one wishes to show the world.        A building not only represents one’s individual tastes, organization, or company, but it says a lot about what one thinks about the world.  For example, a company that strives to build a green, or environmentally-friendly, building stresses the fact that it cares about the environment.        Thus, many people do notice those kinds of things in whether to choose to support your particular establishment.  Thus it would behoove one well to consider things like that as one goes about in one’s decision how one hires one’s architect.        If one decides to “go green,” there are numerable architects one can choose who would be well-suited to help you do this.  On the other hand, if one chooses not to be environmentally-friendly in one’s choice of building, there are plenty of old-fashioned architects who will still cater to one’s particular needs and interests.        Really, whether one decides to go green or not depends on the type of image one is willing to display to the public.  It is becoming increasingly popular for organizations to build sustainable buildings because the public they are seeking to gain support from places that support eco-friendly atmospheres.        The ideal architect for one’s potential project is someone whom one knows will be suitable for one’s purposes.  For all practical purposes, one should be trying to build within the specifications given by one’s superiors—or perhaps not, if one is a private builder.        One’s architect has to be someone reliable and trustworthy.  He or she needs to be the type of person one could call in the middle of the night and say, “No, I want to scrap those plans,” and it is sure that he or she would do it in a second.        This is not to say that the person should be at one’s every beck and call.  However, that architect should be available to the builder whenever the builder needs to get a hold of the person, just in case one should want to change any of the plans.        The ideal architect should be willing to bend to the builder’s whim a bit and cater to the builder’s needs.  If one’s architect is not willing to work with the builder, then the builder does not want to work with that person. The architect must understand that his work is a reflection of who he is, and anything less than that architect giving his or her personal best is not good enough for one’s individual self or a company. Choosing a contractor is an important business.  It’s one that’s not to be taken lightly, for this person is ultimately going to hire the people who work on one’s structure.        Therefore, this matter should be approached with some care.  The contractor is going to basically follow the architect’s blueprints down to a tee. Therefore, the architect will probably know a contractor whom he or she works with and can recommend someone suitable for any particular project. If one hires an excellent architect in the first place, the architect will probably know someone who is a first-rate contractor.  That is partially why choosing an architect is so, so important—because he or she could very well determine the quality of the end-product here. In any case, any building is going to have a specific structure with plans that might be in flux, as noted with the Hampstead House.  Thus, as one can see, the importance of knowing one’s architect is of premier importance.        One’s contractor is basically going to tell the builder the lay of the land and how the project is going to be carried out.  The contractor is going to be the person who hires everyone who works on the project. “In Liverpool City Council v. Irwin (1977), the House of Lords noted two distinct circumstances in which the courts might imply terms:  1) if it were necessary to give business efficacy to a contract; and 2) if the terms were simply spelling out what both parties knew was part of the bargain.”10        One ideally wants a contractor who has been in the business for awhile, preferably 15 to 20 years.  The more experience the contractor has, the better.  “The contractor will carry out its work in a good and workmanlike manner—that is, it will carry out the work using the same degree of skill as would an averagely competent contractor who is experienced in that kind of work:  Hancock and Others v. B W Brazier (Anerley) Ltd (1966).”11 In addition proper materials, a reasonably fit building, and a deadline must all be agreed upon within the contract.12        The contractor is going to be a significant person one hires; therefore, one should choose one’s contractor wisely.  Since this person is going to hire everyone on the job who will personally work on the project, from laying bricks to concrete, one wants to know that this person is similarly reliable and trustworthy.        When building a structure, it’s important to get an accountant one can trust because this person is basically going to have to keep all one’s finances in order.  This person should be hired as soon as possible and one should not delay—because one’s financial worries will be less if one knows that there is someone watching over everything with the eye of a hawk and knowing where every one of one’s monies is spent.  Thus, all the money issues that one may have could be handled well by an accountant who knows something about how to distribute and manage funding properly.        There are many types of procurement options, but the cost plus fixed fee is probably the safest way to go.  Basically, this is the best way to choose. A cost plus fixed fee may be the type of procurement best suited for this project.  “In this case the contract payment is calculated by tracking costs internally, looking at the receipts, and then, using internal accounting resources, calculate payment based upon the tracked costs.”13        Since costs are tracked internally (most likely by the accountant one hires), this accountant will look at the receipts and then calculate payment accordingly.  The problems that one runs into with fixed pricing and things like that are that projects can be delayed due to bad weather, personal problems, etc.        Therefore, having a cost plus fixed fee is a guarantor that everyone on the project gets paid for their work, and it also assures the client that the client is getting what he or she paid for.  In essence, everything is going to be paid for and there will be no excesses in cost.        Prices should be selected based on what the going rates are for materials.  This can be discussed with the contractor at some length, however one prefers to have the discussion, whether formally or informally.        In terms of impressing the stakeholders with various stages of the project, some effort should be made in order to make this a special event.  Planning and executing a building is a major milestone in any individual’s or company’s span of life, and therefore it should be summarily celebrated. Money issues can be resolved by the accountant. Balance sheets are taking a severe toll worldwide and liquidity is ever harder to come by especially since lending had virtually frozen. This combination of reduced liquidity, more difficult lending terms and the deteriorating trading environment in the wake of the recession in developed countries and creeping regulatory restrictions is making individuals and companies the world over to focus sharply on their procurement functions. While procurement has long been identified as an important contributor to operational performance in construction, it is widely overshadowed (in terms of board level representation and other seniority metrics) by more bottom-line or customer oriented functions like marketing and sales. As individuals and companies are making either a deliberate re-focusing or are forced by events to elevate the importance of procurement there are many choices that need to be made in order for the exercise to bear the intended results. That is why, with such projects, it is important to have an excellent architect, an excellent contractor, and an excellent accountant. Chapter II. The Content: The Building The Actual Building The building itself is actually situated within Hampstead Heath. It is a rural landscape. This means that there are some trees, grass, bushes, and plants, but not a whole lot else. It is kind of like rural farmland akin to living on the moors, only less dreary and there are not as much tumbleweed or thorny bushes like one might find out on the moors. Hampstead House does not stand out much within this landscape, and that is part of the genius of its creation and design. In a rural landscape, trees take on personalities. Before one knows it, one is walking through a virtual winter wonderland when it snows. The rural landscape is sometimes harsh, especially in the winter. It can be especially difficult to design buildings that don’t contrast too much with the harshness of the rural landscape. Rural areas tend to have a lot of wild brush. The Hampstead House, the way it is designed, goes along perfectly with the rural landscape. It has an oasis of beautiful trees surrounding the simple, rectangular yet boxy brown shape of the building. The drooping weeping willows and old gnarly, knobby oak trees reach towards the skies as the geese fly overhead in formation. Within the rural landscape, the Hampstead House stands in a regal fashion, dwelling it its own simplicity—basic yet so majestic. Its simple shape, the colors of the building, and various other elements make this a popular tourist attraction in northern London. On any given day, thousands of visitors stream through the Hampstead House to get a glimpse of history, where several famous people—including artists, writers, and others made their homes for various years. Undoubtedly, this house has a simple yet distinct look that makes its visage unique. More will be discussed about the contextual elements of the building in the chapter to follow. The orientation of the building, or its relative position, faces outward towards the street. The position of the building definitely tells one something about its character and overall appearance. Most likely, the building is probably orientated in an east-west position, so that one can easily look upon the sunrise and the sunset every day. The Hampstead House boasts a beautiful view of rural northern England, the best really of what London has to offer in terms of buildings and architectural delights from the twentieth century. So superior is its exterior decoration, really almost nothing could be done on the inside to diminish the appearance of the buildings outer beauty. The materials with which the building was made include concrete and steel. Also, some of the outer exterior is made of wood which gives the Hampstead House a gloriously simple yet elegant appearance. It is the quality of the timbre of the wood that makes this house unique and that much more special. Thus, this building has a quite diverse materiality, and, in fact, is something that one might expect to see in rural London. The Hampstead House is a design worthy of inspection. The Hampstead House is actually a Modern interpretation of a Georgian-style building. There are columns at the entrance way with two symmetrical pillars. Similar characteristics include a 1- to 2-story box, larger, multi-paned windows on the bottom floor than the smaller of the top floor and a brick facade. Georgian-style house designs are very elegant. Usually they are common in the American South, where many mansions and plantations were built using that same style. In the Hampstead House, we still see how this simplistic beauty is retained by the way the entire building has been shaped by Goldfinger. It only makes sense that the Georgian was what he made an improvement on in terms of style. In terms of space, that is what will be discussed in the following portion of this piece—and how space complements or is a detriment to the overall look of the house, on the inside and on the outside as well. This house has a wonderful look to it which belies its simplistic nature and style. Of course, even though Goldfinger was probably not planning it, he designed a stunningly beautiful piece of architecture which retains its natural charm even today. It really is a wonder to behold the Hampstead House—the place where so many memories and wonderful pieces of art and writing were created. The spatial structure of the Hampstead House is wonderful because it is so light and airy. There is an excellent and efficient use of space which is evenly distributed throughout the structure. Chapter III. The Context: Proportion and Other Elements of Style Photos Courtesy: HousingPrototypes.org The inhabitational qualities of the Hampstead house includes a sense of space surrounded by structural form. This has a positive effect on the visitor. The detailing is devoid of ornamentation, and is definitely minimalist in scope. Le Corbusier mentioned that the use of light was one of the things he said was essential—inviting in the visitor with the use of it. He was also in favor of Industrial-style architecture. He knew, however, that many people disapproved of such architecture, saying, “Industrial buildings are accepted as deplorable necessities by some critics…the term…utilitarian [being used to describe it…”14 The use of light is important for many reasons. For example, light can be used to open up the dark spaces in a room. It can be used to deflect the most depressive darkness. Light is a key component when it comes to designing a building, therefore. Some of the best examples of context can be taken from literature itself. For example, take The Fountainhead by Ayn Rand—who exemplified Objectivism. Certain kinds of statements which Dominique Francon made about Roark, the male architect, speaks volumes about how architecture can affect someone. It was this kind of connection that Ayn Rand—being an objectivist—wanted to connote in her writing. She wanted to show how women were at the bottom of the totem pole in terms of being recognized for their efforts—and how they were spoken to within the field of architecture. The lawyer who is interviewing her about her architectural expertise gives her some rather snide comments, which might be better addressed to someone who had no idea about what the field of architecture represented. It is this continual struggle against Roark’s domineering and dominating personality, and Dominique rails against it—although secretly she also loves him as well. So, it is a seeming battle of the sexes within The Fountainhead. This book is about so much more than just architecture, however—it is about how men and women get along and how they are able to complement or destroy each other, depending on whether they are being creative or destructive elements in the universe. V. Conclusion Certainly, the Hampstead House is not the only work of architecture that Erno Goldfinger so masterfully designed. Other buildings Goldfinger is most well-known for are considered buildings which emulate Brutalist-style architecture. “Brutalist architecture features big, repetitive, angular geometries, with textured board-marked surfaces.”15 Following WWII, England was eager to rebuild and there was a great need for public housing. He designed a number of tall buildings, similar in construction to the modern skyscrapers of the United States. They were ideal for the purpose of housing many people in a small area, i.e., Le Corbusier-style ‘cities in the sky.’ Here he departed from the International Style, and the buildings were characterized by the likes of buildings such as the Trellick Tower, which served as headquarters for the Daily Worker newspaper and the British Communist Party. “[International-style architecture was a] term coined in 1932 by Philip Johnson and Henry Russell Hitchcock, the organizers of the First International Exhibition of Modern Architecture in New York…”16 Housing, schools, and businesses followed this style, similar to the Alexander Fleming House for the Ministry of Health and the London City Council in Putney. Certainly, Goldfinger was the type of architect who will be remembered throughout time. His designs have inspired and thrilled us, and we will never forget them. Hampstead House will remain a bastion of quality for the ages. Let’s not forget why—because it simply oozes with architectural talent, design, and style. Hampstead House is going to be a classic example of architectural design in the years to come, as such. Why is this? There are several reasons. Hampstead House is hopefully going to be a design that will last for years. Now, Goldfinger’s 2 Willow Road house in the rowhouse is held within the National Trust of the UK—because those were the personal living quarters of Erno and his wife Ursula. Goldfinger’s buildings were classic, and definitely part of the Modern architectural style which we had become accustomed to seeing from him. The Hampstead House is a classic piece of architecture for various reasons, but perhaps one of the ones that stands out most emphatically is the fact that this place has been the home to so many famous people over the years—and it happens to look wonderful. Even though the architectural design is simple—this is part of the house’s undying charm. Even though the Hampstead House may not be typically seen as “perfect” Modern architecture, it is a good example of architecture that works. It is a great testament to Goldfinger’s talent and a demonstration of his ability to blend different architectural styles that were factors which triggered Goldfinger’s claim to fame. The Hampstead House will be remembered not necessarily only because of its famous inhabitants, but also because of the beauty of its style. The Hampstead House is a great example of Goldfinger’s Modernistic architectural stylings. Goldfinger’s majestically marvelous yet simple design within the realm of the Hampstead House has shown that his types of stylings will outlast many more. Public housing in England was revolutionised with the likes of Goldfinger’s different approach. He decided to bring modernization to England’s public housing circuit. The Hampstead House is a unique piece of architecture—not only because so many people who lived there were well-known later on—but because of its singular excellence in architectural pioneering. The Hampstead House, with its small windows on top, and its bigger windows on bottom, is a marvelous work of staggering genius. Hampstead Heath is a famous neighborhood from which Hampstead House hails. What drew these people to Hampstead was due to the wondrous locale of this rural modern location. Hampstead Heath is now an upscale neighborhood in northern London. Hampstead House will definitely be an example in the future for other architects to emulate. While Hampstead House is not overtly ornamental or decorative, there is something enchanting about the building itself that draws one into its realm of charm. This building is most unique because of its lovely brown timbre contrasted with the white outline of the windows. Even though this building, with its very boxy structure, is not necessarily the most aesthetic of buildings in terms of outright overall stunning appearance. It is really the subtleties of the building that are the most excellent points of this smaller but important and effective piece of architecture. Hampstead House in a town where the street is dipped, in a place where a lot of the houses are built of brick. Although, some houses are built with thatched rooves. So many people in England still use coal to heat their houses, but in the Hampstead House, they now have furnaces. Hampstead House is definitely a most unique lasting piece of architecture, and is something of beauty even though its beauty is not common. It is a type of beauty which is that simply because of the nature of its simplicity. The Hampstead House is, in essence, is probably going to be known as Goldfinger’s greatest crowning achievement. It took a lifetime, but Goldfinger left his mark on architecture forever with the Hampstead House. Not only was it a work of cultural significance for England, but it would remain forever a masterpiece that would be remembered as long as it was still around. That is partially why Hampstead House remains a natural treasure for the UK, and remains a lasting piece of England’s history. Goldfinger’s contribution to Modern architecture has been immeasurable. It is for Hampstead House which he will be always remembered. This one, greatest piece of architecture has spanned the test of time, and will certainly live on in the annals as a wonderful building that is more than just a building—he is also going to be remembered as one of the most interesting persons in architecture, who brought personality and life to all the work that he engendered. This inspiration of his in architecture will live on for years to come. It is hoped that he will be remembered for the good elements that he brought to the discipline instead of any of the difficulties he had while alive. Goldfinger’s greatest crowning achievement in his life, found in the Hampstead House—definitely will never be forgotten—as well as the lasting piece of architectural greatness that he left behind, to show the world what the heights of architecture could reach. BIBLIOGRAPHY Gavin Ambrose, Paul Harris, and Sally Stone. The Visual Dictionary of Architecture. UK: Ava Publishing, 2008. D. Chappell. The JCT Design and Build Contract 2005.  UK: Wiley-Blackwell, 2007. Erno Goldfinger, James Dunnet, Gavin Stamp, and the Architectural Association of Great Britain. Erno Goldfinger. UK: Architectural Association, 1983. Image credits for Hampstead house. [9 November 2011]. . Le Corbusier. Towards a New Architecture. UK: Courier Dove Publications, 1986. Lesley Logan. Frommer's London Day by Day. US: John Wiley and Sons, 2009. Michael Leapman and Roger Williams. DK Eyewitness Travel Guide: Great Britain. US: Penguin, 2011. James Neal. Architecture: A Visual History. US: Sterling Publishing Company, 2001. Stephen Sennott. Encyclopedia of Twentieth Century Architecture. US: Taylor and Francis, 2004. Dennis Sharp and Sally Rendel. Connell, Ward, and Lucas: Modern Movement Architects in London. UK: Francis Lincoln Ltd., 2008. P. Skrzypczak. Considerations in Procurement: Contract Types and Assigning Risk. [11 November 2011]. .        Richard Tames. London: A Cultural History. UK: Oxford University Press, 2006. Nigel Warburton. Erno Goldfinger: The Life of an Architect. US: Psychology Press, 2004. Working with an architect. [11 November 2011].   .   Read More