You’d be hard-pressed to find a residential block in London more distinctive (and divisive) than Trellick Tower. Built in the late 1960s to a design by Ernő Goldfinger – a firm believer in the efficiency of high-rise living – the Grade II*-listed concrete building is known for its bold silhouette, which defines the west London skyline. It broke ground for many reasons, including the way Goldfinger separated the living spaces and services, giving the building its striking form: the laundry, lifts, stairs and water and heating systems occupy the more slender tower, decluttering the homes.

This division of space means that flats such as this blue-painted two-bed (reached via a blue-floored corridor – bonus points for a cohesive colour scheme) have been left with streamlined floorplans. We also love the original light switches, which Goldfinger cleverly embedded into doorframes and banisters: another slick space-saving trick.

This three-bedroom flat is the second in this series found within Trellick Tower. Unfolding across the 19th floor, the home’s enviable location at the end of the building’s corridor means it has 270-degree views across London. Our favourite place to pore over the city below is from the balcony: a private sliver of outdoor space from which to watch the sunset.

The interiors, meanwhile, have received design studio Krokalia’s golden touch. Dark oak parquet flooring, inspired by that found in Goldfinger’s own home, runs throughout, while repurposed honey-hued cedarwood characterises the kitchen. The practice also uncovered much of this flat’s original metalwork – such as the steel door handles – as part of its sensitive restoration. 

When architect Frederick Gibberd came to design Pullman Court, he drew inspiration from ocean liners. Completed in 1935, the now Grade II*-listed white building comprises a cluster of blocks of varying heights that call to mind the structure of a ship.

This flat sits in a corner of the development and features two bedrooms that take full advantage of this location, with unobstructed views over the estate and its neighbouring green spaces. In the living room, clean interiors – think painted concrete floors and white walls – allow the architect’s consideration for natural lighting, which pours in through original Crittall windows, to take centre stage.

This live/work apartment was designed by the ever-trailblazing Georgie Walton: the sole qualified architect among the members of Team 4, the practice founded in 1964 that included Richard Rogers and Norman Foster. When Walton swiftly split from the group, she went on to create some fine examples of modernist architecture – including Cliff Road Studios, which she built in 1968 and is often lauded as her most memorable piece of work.

Originally conceived as an artist’s studio, it’s easy to imagine feeling inspired here, thanks to the abundant natural light pouring through Crittall windows and skylights, the open-plan layout and the soaring double-heigh ceilings. Not only does the ground-floor apartment have a peaceful private courtyard, but access to a shared communal garden, where lush lawns call for days basking in the sun with a book in hand.

The Barbican needs little introduction: arguably one of the best-recognised brutalist developments in the UK, the vast estate has achieved cult status among fans of this architectural style. This Type 21 apartment has been beautifully restored by Beasley Dickson Architects, who have left many of its charming original features, such as wooden door frames, kitchen units, switches and famous Barbican sink, intact.

Equally striking is the view from the living room, where floor-to-ceiling glazing frames views of St Paul’s and the City beyond. These sliding glass doors also lead to a generous balcony, which spans the width of the living and dining rooms. The two bedrooms also have their own slices of outdoor space, both of which overlook the private Thomas More gardens.

Architect Frank Gilks’ 1970s building features a rectangular façade and ribbon windows, which are telltale signs of its modernist heritage. It makes a punchy addition to the street (conveniently located just off Stoke Newington Church Street), where it’s nestled among Georgian terraces. Peeking over neighbouring chimneys, the block is an example of the era’s focus on vertical living, while the harmonious mix of concrete, metal window frames and brickwork was designed to make the most of what were then innovative material and engineering techniques.

The two-bedroom, ground-floor flat itself has recently undergone a sympathetic renovation, which included the addition of a new minimalist kitchen and bespoke joinery. But the best thing about this place might just be the bright and airy interiors, especially on a sunny day, when trees dapple the light across the walls.

Words Lalia Saidy Khan