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Overview
Highpoint One, an architectural masterpiece located in Highgate, London, stands as a testament to the vision of renowned architect Berthold Lubetkin. Completed in 1935, this iconic residential building not only reflects the principles of modernist architecture but also embodies the social ideals of its time, making it a significant landmark in London's architectural landscape. Lubetkin, a key figure in the modernist movement, believed that architecture should serve a social purpose. His designs often merged functionality with aesthetic appeal, and Highpoint One is no exception. The building is characterised by a combination of large, horizontal bands of windows and smooth, white render. The elevation is punctuated by a series of projecting balconies and the rhythmic arrangement of windows creates a sense of lightness and transparency, inviting natural light into the interior spaces. Highpoint One is often celebrated for its aesthetic qualities, particularly its striking silhouette against the Highgate skyline. The buildings modernist style, marked by its angular forms and vertical lines, represents a
departure from the ornate Victorian architecture that dominated London at the time.

Photograph John Maltby / Riba Collections ©1938
Lubetkin's design also includes several communal facilities, such as a rooftop terrace and gardens, which promote a sense of community among residents. This focus on shared spaces was groundbreaking in the early 20th century, as it encouraged social interaction and fostered a sense of belonging. The integration of nature within the architectural framework reflects Lubetkin's belief in the importance of green spaces for urban living, a principle that remains relevant today.
Highpoint 1 is often celebrated for its aesthetic qualities, particularly its striking silhouette against the Highgate skyline. The building's modernist style, marked by its angular forms and vertical lines, represents a departure from the ornate Victorian architecture that dominated London at the time. Lubetkin's work not only pushed the boundaries of architectural design but also challenged societal norms by advocating for affordable and quality housing. Highpoint 1 was designed to be accessible to a broader demographic, thereby contributing to the social fabric of the community.

Photograph John Maltby / Riba Collections ©1938
“For a long time, I have dreamed of executing dwellings in such conditions for the good of humanity. The building at Highgate is an achievement of the first rank"
- Le Corbusier, 1935.
Le Corbusier’s approval for Highpoint One was hardly surprising. Lubetkin had been inspired by many of Corbusier's ideas on urban planning and was particularly affected by his Plan Voisin of 1925, which sketched a vision of cruciform towers set in lush parkland. And in early 1935 he had taken the other members of Tecton (the architectural practice he formed in 1932 with six young AA graduates) to Paris to visit Le Corbusier’s villas. The client for Highpoint was Sigmund Gestetner, the owner of a company that manufactured office equipment. Gestetner had been interested in building housing for his workers, but when he lost the proposed site in Camden, he agreed to commission Lubetkin & Tecton to design a commercial block of apartments.
One of the most notable features of Highpoint 1 is its innovative approach to apartment living. The building comprises 140 flats, designed with the needs of modern urban dwellers in mind. Each apartment is equipped with amenities that enhance comfort and convenience, a forward-thinking concept at the time of its construction. The layout prioritizes open spaces and efficient use of natural light, with thoughtful attention to both individual privacy and communal living
The site presented some difficulties. It slopes steeply to the west. There was a covenant on the rear of the site that prohibited building and local council regulations stipulated that the building height on the road end should not exceed 65 feet. Tecton explored a number of different plans and evaluated them against a checklist of requirements: economic needs; height; privacy; views; orientation and circulation. The chosen plan was a double cruciform, aligned perpendicular to the street. Entrance is made at the road end through a curving porte-cochère. Highpoint One incorporated many innovative features and was technically advanced for the time.
The engineer, Ove Arup, persuaded the Borough surveyor to waive the conventional regulations that would have required an internally obtrusive frame of columns and beams. Instead, he used a monolithic panel and slab technique, whereby the exterior walls are treated as monolithically combined stanchions and beams - the “eggshell” structure. This continuity allowed the thickness of the walls to be reduced and gave an almost unobstructed floor area. Other innovations included ceiling hot water radiant panels, built-in refrigerators that had a central condenser in the basement, a separate system of small service lifts, folding windows that slide to one side of the opening, carefully designed kitchens and bathrooms and built-in wardrobes that fit beneath the spine beam supporting the middle of the slab. Lubetkin's design also includes several communal facilities, such as a rooftop terrace and gardens, which promote a sense of community among residents. This focus on shared spaces was groundbreaking in the early 20th century, as it encouraged social interaction and fostered a sense of belonging. The integration of nature within the architectural framework reflects Lubetkin's belief in the importance of green spaces for urban living, a principle that remains relevant today.

Photograph John Maltby / Riba Collections ©1938

Photograph John Maltby / Riba Collections ©1938
Building Design


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Entering the building

An oblique entrance lobby delivers one to the centre of the building and presents a high-ceilinged hall and winter garden in which both staircases are given equal prominence. This “architectural promenade” continues at the west end of the building, stepping down one level to a tearoom and terrace overlooking the garden on the slope below. The central east-west axis contains the two-bedroom (Type B) flats. The north-south axes contain the three-bedroom (Type A) flats. The services, lifts and staircases are grouped at the crossing points. The living rooms are orientated to maximise the direct sunlight. Most of the bedrooms are on the quieter, shadier sides of the building. And, except in the central spine, there are no partition walls between neighbours.
Early Residents
Lubetkin persuaded Gestetner to set moderate rents to encourage a social mix but they were, nevertheless, firmly in the middle-class bracket. The rents in 1936 ranged from £145 to £175 p.a. for the two bedroom flats and £150 to £225 p.a. for the three bedroom flats. By contrast the working-class flats at Kensal House, designed in 1937 by Maxwell Fry for the Gas, Light and Coke Company, cost £25 p.a. for a two bedroom flat, £30 p.a. for a three bedroom flat.
Early residents of Highpoint included Beatrix Lehman (actress), Ernö Goldfinger (whose 1939 house, 2 Willow Road, in Hampstead is now run by the National Trust), Erich Mendelsohn (architect of the De La Warr Pavilion at Bexhill-on-Sea) and Michael Ventris (who deciphered the Minoan Linear B script – an achievement said to be comparable with the discovery of the structure of DNA).

HIGHPOINT I
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