This is the last in a series of sculptures entitled Gli Edifici. The buildings are severe and minimal: rectilinear forms stripped of detail down to basic walls, with window and door apertures. These hard and unbending structures support the softer, organic shapes of branches, fruits and organs which are cast in bronze. Cut edge against rounded fruit, cold steel next to warm bronze, patinated colour contrasting with steel-gray: these physical contrasts bear witness to life and death, and each plays its part in the narrative.

Saint Barbara, a virgin martyr of dubious authenticity, was said to have died during the reign of Emperor Maximilian at about the turn of the fourth century. According to accounts of Barbara's life that date from the seventh century, she was the extremely lovely daughter of Dioscurus, who, to discourage the attention of her numerous suitors, locked her in a tower. On discovering that she had become a Christian during her imprisonment, he denounced her and tried to kill her, but because of her faith she remained beyond his reach. The Roman authorities subjected her to torture, but she still refused to renounce her faith. Her father was then instructed to kill her, and on doing so was struck by lightning and reduced to ashes. Saint Barbara is the patron saint of artillery, and because of her association with lightening, is prayed to during storms. In Italian Renaissance painting and sculpture, she is represented holding her tower, which is usually depicted in the manner of the architecture of the period.

In Barbara's Tower Keir Smith has taken as his model for the building a tower block in south east London. The barren branch with its single apple represents temptation. In formal terms, Smith has used the apple as a small organic presence against hard and resistant geometry.