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The Trellick Tower, standing prominently in North Kensington, London, is one of Britain's most significant examples of Brutalist architecture and a testament to the post-war vision of social housing. Designed by architect Ernő Goldfinger and completed in 1972, the 31-story building rises to 322 feet (98 meters) and represents a bold architectural statement about modern urban living.
The tower's design emerged from the post-war need for high-density social housing in London. Commissioned by the Greater London Council (GLC) in 1966, Goldfinger based the design on his earlier Balfron Tower in East London, refining and expanding upon that concept. The architect himself famously lived in the Balfron Tower for two months to better understand the experience of high-rise living.
Architecturally, the Trellick Tower is distinguished by its innovative split design: a main access tower, connected to the main building by bridges at every third floor. This separate service tower contains the elevators, stairwell, and originally housed the building's heating system. The design was revolutionary for its time, as it allowed the apartments themselves to be free from the noise and vibration of the elevators while maximizing living space.
The building's striking silhouette is characterized by its raw concrete exterior, a hallmark of Brutalist architecture. Goldfinger's attention to detail is evident in the building's carefully composed façade, which features deep-set windows and protruding concrete balconies. The service tower is topped by a bold architectural feature housing the building's mechanical equipment, creating a distinctive crown that has become an iconic part of West London's skyline.
Each apartment in the Trellick was designed with remarkable attention to detail. The majority are dual-aspect, meaning they have windows on both sides, providing excellent natural light and ventilation. The flats were also equipped with then-innovative features such as underfloor heating and separate kitchens with waste disposal units. Most units have private balconies, offering views across London.
The internal layout was carefully planned around a "streets in the sky" concept, with wide access corridors occurring every third floor. These corridors served three floors of apartments: one at corridor level, one above, and one below, accessed by internal staircases within the flats. This arrangement maximized efficiency while creating a sense of community among residents.
However, the Trellick Tower's early history was troubled. By the mid-1970s, the building had become notorious for social problems and crime, partly due to the lack of a concierge system and secure entrance. The situation improved significantly in the 1980s with the introduction of a security system and the "Right to Buy" scheme, which allowed many tenants to purchase their flats.
In 1998, the building received Grade II* listed status, recognizing its architectural significance and ensuring its preservation. This listing marked a turning point in the public perception of Brutalist architecture and helped cement the Trellick's status as an architectural icon rather than a problem building.
The building underwent significant renovations in the early 2000s, including improvements to the heating system and windows, while maintaining its architectural integrity. These renovations helped transform the Trellick from a symbol of failed social housing into a desirable residence, with apartments now highly sought after by both social tenants and private buyers.
Today, the Trellick Tower houses a mix of social housing tenants and private owners. Its community has developed a strong sense of identity, and the building has become a symbol of successful social housing and architectural preservation. The tower's distinctive silhouette has been embraced by popular culture, appearing in numerous films, television shows, and artworks.
The building's influence on architecture and urban design continues to be significant. Its innovative approach to high-rise living, with separated service tower and thoughtful apartment layouts, has influenced subsequent residential tower designs. The success of its rehabilitation has also provided valuable lessons about the importance of proper management and maintenance in social housing.
Goldfinger's design has proven remarkably adaptable to changing times. The generous space standards and dual-aspect apartments continue to provide excellent living conditions, while the robust concrete construction has stood the test of time. The building stands as a reminder that well-designed social housing can be both architecturally significant and successful in its primary purpose of providing quality homes.
The Trellick Tower remains one of London's most recognizable buildings, a testament to the ambition of post-war social housing and the enduring power of thoughtful architectural design. Its journey from a controversial social housing project to a celebrated architectural landmark reflects changing attitudes toward Brutalist architecture and the potential for such buildings to adapt and thrive in contemporary cities.
One Canada Square, the iconic centerpiece of London's Canary Wharf development, stands as a symbol of Britain's 1980s financial revival and the transformation of London's former docklands. Completed in 1991, the 50-story skyscraper was designed by Argentine-American architect César Pelli in collaboration with Adamson Associates and Frederick Gibberd Coombes.
The building's design emerged from the ambitious Canary Wharf development project, spearheaded by Canadian developer Olympia & York. Standing at 235 meters (770 feet), it remained the UK's tallest building from its completion until 2010, when it was surpassed by The Shard. The building's distinctive form - a simple square plan topped with a pyramid - was influenced by both postmodern architectural principles and practical considerations.
The tower's architectural style represents classic 1980s postmodernism, combining modern materials with historical references. The pyramid crown, which has become one of London's most recognizable architectural features, was inspired by the pyramid-topped towers of Manhattan's 1920s and 1930s Art Deco skyscrapers. This element serves both aesthetic and practical purposes, concealing the building's mechanical equipment while creating a memorable silhouette on the London skyline.
The exterior is clad in stainless steel and glass, with durable DuPont Corian at its base. The facade employs a grid of square windows punctuated by stainless steel panels, creating a sophisticated pattern that emphasizes the building's height while maintaining a human scale through its detail. The materials were chosen not only for their appearance but also for their durability in London's climate.
Structurally, One Canada Square is a testament to modern engineering. Its steel-frame construction with a concrete core was designed to withstand London's clay soil conditions. The building's foundation extends 30 meters below ground level, and the structure is designed to sway up to 33 centimeters in high winds. The central concrete core houses the building's 32 elevators, arranged in four banks to efficiently serve different floor zones.
The building's ground floor lobby is particularly noteworthy for its architectural treatment. The space features a dramatic 11-meter-high ceiling and is clad in marble and stainless steel, creating a grand entrance befitting a major financial center. The lobby's design includes public art installations, including pieces by Keith Milow and Judith Cowan, integrating cultural elements into the commercial space.
One of the building's most innovative features was its advanced building management system, which was state-of-the-art for its time. The system controls everything from heating and cooling to security and elevator operation, making it one of the first truly "smart" buildings in the UK.
The tower's floor plates are designed for maximum efficiency and flexibility, with each floor providing approximately 28,000 square feet of space. The core design allows for both single-tenant and multi-tenant configurations, contributing to the building's long-term commercial viability. The windows were carefully sized and positioned to maximize natural light while maintaining energy efficiency.
One Canada Square's impact on London's urban development has been profound. It served as the catalyst for the transformation of the Canary Wharf area from derelict docklands to a major financial district. The building established new standards for office design in London and demonstrated that large-scale commercial development could succeed outside the traditional City of London.
The tower's construction coincided with significant infrastructure improvements, including the extension of the Docklands Light Railway and later the Jubilee Line Extension. These transport links were crucial to the building's success and the wider development of Canary Wharf.
Initially, the building faced skepticism due to its location and the early 1990s property crash. However, it eventually proved successful, attracting major financial institutions and establishing Canary Wharf as London's second financial district. The building's design has influenced subsequent developments in the area, setting a standard for quality and scale.
Today, One Canada Square remains a crucial part of London's commercial architecture, though it is now surrounded by other tall buildings. Its distinctive profile continues to be immediately recognizable, and its design has aged well, avoiding the dated appearance that affects many buildings of its era.
The building's environmental performance has been upgraded over the years to meet modern standards. While not originally designed with sustainability as a primary concern, various retrofits have improved its energy efficiency and environmental impact, demonstrating how 1990s commercial architecture can be adapted to meet contemporary environmental standards.
One Canada Square stands as a landmark of late 20th-century commercial architecture and urban regeneration. Its success helped establish London's position as a global financial center and demonstrated how architectural ambition could drive urban transformation. The building remains a symbol of London's financial power and the successful regeneration of the Docklands area.
Heathrow Terminal 5, opened in 2008, represents one of the most significant developments in British aviation architecture and infrastructure. Designed by Rogers Stirk Harbour + Partners (formerly Richard Rogers Partnership), the £4.3 billion project created a new benchmark for airport terminal design, combining functionality with architectural elegance.
The terminal's origins date back to 1989 when BAA (now Heathrow Airport Holdings) first proposed its construction. However, the planning process became one of the longest in UK history, with a public inquiry lasting from 1995 to 1999. Final approval was granted in 2001, with construction beginning in 2002.
Architecturally, Terminal 5 is distinguished by its flowing, wave-like roof, which appears to float above the main building. The roof structure, spanning 156 meters, is one of the building's most innovative features. Designed in collaboration with Arup, it uses natural light to create a bright, airy atmosphere while providing solar shading. The single-span structure allows for maximum flexibility in the space below, as it eliminates the need for internal supporting columns.
The terminal complex consists of three buildings: the main terminal (T5A) and two satellite buildings (T5B and T5C). The main terminal building is the largest, covering an area of 353,000 square meters over five levels. Its design emphasizes clarity and ease of movement, with a logical progression from check-in on the top floor down through security and to the departure lounges.
The building's environmental credentials were groundbreaking for its time. The roof's design incorporates north-facing windows to maximize natural light while minimizing solar gain. The terminal uses combined heat and power technology and harvests rainwater for non-potable uses. These features helped it achieve a BREEAM rating of "Excellent" for its environmental performance.
One of the most innovative aspects of Terminal 5's design is its structural system. The main terminal building uses a series of tree-like columns that branch out to support the roof, creating both structural efficiency and visual drama. This solution allows for large, column-free spaces that can be easily reconfigured as needs change.
The construction process itself was remarkable for its scale and complexity. Much of the terminal was prefabricated off-site to ensure quality control and reduce on-site construction time. The project required the diversion of two rivers and involved the construction of a new spur of the Heathrow Express rail line.
The terminal's baggage handling system was designed to be one of the most advanced in the world, capable of processing 12,000 bags per hour. Although it experienced significant problems during the terminal's opening, it has since become a model of efficiency. The system runs underground in a series of tunnels that connect all three terminal buildings.
The public spaces within Terminal 5 were carefully considered to create a sense of calm and order often lacking in airport terminals. The departure lounge features double-height spaces with views across the airfield, while retail areas are integrated in a way that doesn't impede passenger flow. The design emphasizes intuitive wayfinding, using natural light and clear sightlines to help passengers navigate the space.
Transportation links were integral to the design. The terminal includes a new transport interchange incorporating both Underground and rail connections. The rail station, situated beneath the main terminal, provides direct links to London via the Heathrow Express and Piccadilly Line.
Despite its troubled opening in March 2008, which saw significant baggage handling issues and flight cancellations, Terminal 5 has since become one of the world's most successful airport terminals. It handles around 32 million passengers annually and has won numerous awards for its architecture and engineering.
The terminal's impact on airport design has been significant. Its emphasis on passenger experience, environmental performance, and operational efficiency has influenced subsequent airport projects worldwide. The integration of transportation links and the focus on creating a calm, orderly environment have become standard aspirations for new terminal designs.
Today, Terminal 5 continues to evolve with changing aviation needs. The flexibility built into its design has allowed for adaptation to new security requirements and changing passenger expectations. Its architectural quality and operational efficiency have made it a benchmark for airport terminal design, demonstrating how good architecture can enhance the travel experience while meeting complex operational requirements.
Hammersmith Bridge, spanning the River Thames between Hammersmith and Barnes, stands as one of London's most distinctive and historically significant bridges. Designed by Sir Joseph Bazalgette and completed in 1887, this suspension bridge represents a remarkable example of Victorian engineering and architectural design.
The current structure is actually the second bridge on this site. The first Hammersmith Bridge, designed by William Tierney Clark and opened in 1827, was London's first suspension bridge. However, by the 1870s, this original wooden-decked bridge was no longer adequate for increasing traffic, leading to the commission of Bazalgette's replacement structure.
Bazalgette's design was revolutionary for its time. The bridge combines the principles of suspension bridge engineering with elaborate Victorian decorative elements. The structure features ornate cast iron towers, decorated with gothic-style details and painted in the distinctive green and gold color scheme that has become its trademark. The towers support the suspension cables and are anchored by massive stone abutments at each end.
The engineering of the bridge was particularly innovative. Its suspension system uses a combination of links and rods rather than traditional cables, creating a more rigid structure. The bridge spans 250 meters (820 feet), with a central span of 128 meters (422 feet). The deck is supported by wrought iron chains, each link being 3.7 meters (12 feet) long and weighing about 130 kg (287 pounds).
The bridge's ornamental features are exceptional for an engineering structure. The towers are adorned with architectural elements, including decorative capitals, Gothic Revival details, and ornate metalwork. The parapets feature elaborate cast-iron panels, and the entire structure demonstrates the Victorian desire to combine engineering functionality with artistic beauty.
Throughout its history, the bridge has faced numerous challenges. During World War II, it was a potential target for German bombing raids, and special protection measures were implemented. In 1997, the bridge was closed for extensive strengthening work after structural weaknesses were discovered. The work took two years and cost £12 million.
More recent history has seen significant challenges. In 2019, the bridge was closed to all traffic after cracks were discovered in the pedestals, leading to a complex and ongoing restoration project. This closure highlighted the unique engineering challenges of maintaining a Victorian suspension bridge in the modern era.
The restoration work has revealed much about the bridge's original construction techniques. The intricate system of suspension chains, the complex cast iron decorative elements, and the innovative use of wrought iron all demonstrate the sophisticated engineering capabilities of Victorian builders.
The bridge's architectural significance extends beyond its structural elements. Its location and design make it a crucial part of the Thames riverside landscape. The bridge creates a distinctive silhouette, particularly notable during sunset when its elaborate metalwork is silhouetted against the sky. The views from the bridge of the Thames reach towards Chiswick are considered some of the finest along the river.
Environmental factors have played a significant role in the bridge's history. Temperature fluctuations cause the iron structure to expand and contract, while the tidal nature of the Thames at this point means the bridge must cope with varying water levels and river traffic. These factors were considered in both the original design and subsequent maintenance work.
The bridge's cultural significance is considerable. It has featured in numerous paintings, photographs, and films, becoming an iconic symbol of West London. Its distinctive appearance has made it one of London's most recognizable bridges, despite being smaller than many of its counterparts.
Today, Hammersmith Bridge represents both the achievements of Victorian engineering and the challenges of maintaining historic infrastructure in the modern era. Its ongoing restoration demonstrates the complex balance between preserving historic structures and ensuring they meet contemporary safety standards.
The bridge's influence on bridge design and engineering continues to be studied. Its innovative use of materials and decorative elements influenced subsequent bridge designs, while its current challenges provide valuable lessons for the maintenance of historic infrastructure.
Looking ahead, the bridge's restoration and preservation represent a significant engineering and conservation challenge. The solution must balance the need to maintain the bridge's historic character while ensuring it can meet modern traffic requirements and safety standards, making it a fascinating case study in infrastructure preservation.
The London Aquatics Centre, designed by renowned architect Zaha Hadid, stands as one of the most striking architectural legacies of the 2012 London Olympics. Completed in 2011, the building embodies Hadid's signature fluid design language while serving as a world-class swimming facility.
The building's most distinctive feature is its spectacular wave-like roof, which sweeps up from the ground in a graceful curve that seems to defy gravity. The roof spans 160 meters in length and 80 meters in width, its fluid form inspired by the movement of water. During design development, Hadid described wanting to create a structure that reflected the fluid geometries of water in motion.
The original competition design was adapted significantly for the Olympics while maintaining its architectural integrity. For the 2012 Games, the building featured temporary wings that increased the seating capacity from 2,500 to 17,500. These "water wings" were removed in 2014 during the venue's transformation to legacy mode, revealing the more elegant permanent structure beneath.
Structurally, the building is a remarkable feat of engineering. The roof, which weighs 3,000 tonnes, is supported by just three concrete cores, with its spans achieved through a complex steel framework. The roof's steel structure consists of steel trusses arranged in a longitudinal format with spans of up to 120 meters, making it one of the most ambitious pool covers ever built.
The interior of the building is equally impressive. The main pool hall contains three pools: a 50-meter competition pool, a 25-meter diving pool, and a 50-meter training pool. The pools feature moveable floors and booms, allowing the spaces to be reconfigured for different uses. The diving pool has a "dry" diving area equipped with harnesses for training.
The building's environmental credentials were paramount in its design. The roof includes natural lighting through strategically placed windows, reducing the need for artificial lighting. The pools' water is filtered and recycled, and the building includes sophisticated environmental control systems to maintain optimal conditions while minimizing energy use.
The exterior of the building features extensive glazing, creating a visual connection between the interior and exterior spaces. The glass walls offer spectacular views of the Olympic Park (now Queen Elizabeth Olympic Park) while flooding the interior with natural light. The undulating roof form appears to float above these transparent walls.
Post-Olympics, the building underwent a significant transformation to convert it into a public swimming facility. This included the removal of the temporary seating wings and the installation of new glazing and facilities. The conversion demonstrated the success of the original design's flexibility and its ability to adapt from an Olympic venue to a community facility.
The materials used in the building reflect both practical and aesthetic considerations. The roof is clad in aluminum panels, while the interior features extensive use of concrete and wood. The pool hall's ceiling is lined with timber, helping to control acoustics while providing visual warmth.
The approach to the building is carefully considered, with a plaza that allows the dramatic form to be appreciated from various angles. The landscape design integrates the building with the surrounding park, with the roof form appearing to emerge from the ground plane.
Inside, the spatial arrangement is highly functional while maintaining architectural drama. The main pool hall is a vast, column-free space that allows uninterrupted views of all pool areas. The diving boards are treated as sculptural elements, integrating with the overall architectural composition.
Today, the London Aquatics Centre serves as both a high-performance training facility and a public swimming venue. It continues to host major swimming and diving competitions while providing swimming lessons and public sessions to the local community. The building demonstrates how Olympic venues can successfully transition to legacy use while maintaining architectural excellence.
The building has won numerous architectural awards and is considered one of Zaha Hadid's finest works. It represents a perfect synthesis of dramatic form and practical function, creating an inspiring space for both elite athletes and recreational swimmers. Its success has influenced subsequent aquatics facility design worldwide, showing how bold architecture can enhance sporting venues.
The London Aquatics Centre stands as a testament to innovative design and engineering, proving that municipal sports facilities need not be utilitarian in their architecture. It remains one of the most significant architectural achievements of the 2012 Olympics and continues to serve as an important part of London's sporting infrastructure.
The London Wall, originally built around Londinium by the Romans around 200 AD, represents one of the most significant ancient structures in Britain's capital. The wall defined London's boundaries for over a millennium, and portions of it remain visible today across the City of London.
The original construction took place between 190-225 AD, during the reign of Emperor Septimius Severus. The wall stretched for approximately 3.2 kilometers (2 miles), enclosing an area of about 330 acres. Built primarily of Kentish ragstone brought from quarries near Maidstone, the wall stood approximately 6 meters (20 feet) high and 2.5 meters (8 feet) thick, with a defensive ditch (or vallum) in front.
The wall's architectural design included a series of gates at key points: Aldgate, Bishopsgate, Newgate, and Ludgate, with Aldersgate added later. These gates were more than simple openings; they were substantial structures that controlled access to the city and collected tolls. The wall was also fortified with defensive towers placed at regular intervals, approximately every 50 meters.
Today, visitors can see several well-preserved sections of the Roman wall across London. Here are the key locations:
Tower Hill: One of the most impressive surviving sections stands near Tower Hill tube station. This segment includes Roman masonry at its base, with medieval additions above. The site includes informative plaques explaining the wall's construction and history.Cooper's Row: Behind the Grange City Hotel, visitors can see one of the best-preserved sections, incorporating a Roman tower base. This section stands almost to its original height and clearly shows the distinctive red tile layers used by Roman builders.London Wall: Along the street named London Wall, particularly near the Museum of London, several sections remain visible. The most notable is the stretch within the Barbican complex, where a substantial portion of the wall stands alongside a medieval church tower.Noble Street: Near the Barbican, this section provides an excellent example of the wall's construction techniques, with clearly visible bonding tiles and ragstone layers. The site includes detailed information panels about the wall's history.St. Alphage Garden: This public garden contains a well-preserved section of the wall that later formed part of the medieval church of St. Alphage. The different building phases are clearly visible in the stonework.The wall underwent significant modifications throughout its history. In the medieval period, it was heightened and strengthened, with additional gates added. The Romans' original construction technique can still be identified by the characteristic red tile bonding courses used to strengthen the ragstone walls.
The engineering of the wall was remarkably sophisticated. The foundations were typically 2.4-3 meters deep and built of chalk and gravel, topped with thick pieces of sandstone. The main structure used the distinctive Roman technique of laying courses of squared ragstone with red tile bonding courses every few feet.
During the medieval period, the wall played a crucial defensive role and helped shape London's development. The gates became important landmarks, giving their names to areas of the city that are still used today. The wall's course influenced street layouts that remain visible in modern London's street pattern.
Archaeological investigations have revealed much about the wall's construction and history. Recent discoveries include evidence of repairs and modifications from various periods, as well as the identification of additional Roman bastions and towers not previously documented.
The wall's influence on London's development cannot be overstated. It defined the city's limits for centuries and influenced its street pattern and property boundaries. Many modern streets still follow its course, including London Wall, which runs along part of its northern section.
Conservation efforts have preserved many sections of the wall, with several having been incorporated into modern buildings. The Museum of London has played a crucial role in interpreting these remains, providing context through exhibitions and educational programs.
Today, the London Wall represents one of the city's most important archaeological treasures. Its remains provide tangible evidence of Roman engineering and construction techniques, while its influence on London's development continues to be visible in the modern city's layout and structure.
A walking trail known as the "London Wall Walk" connects many of the surviving sections, marked by plaques installed by the Museum of London. This trail allows visitors to trace the wall's course and understand its historical significance in shaping the city of London.
The preservation of these Roman wall sections amid modern development demonstrates London's commitment to maintaining its historical heritage while accommodating growth and change. Each surviving section tells part of the story of London's evolution from Roman Londinium to the global city it is today.
The Royal Botanic Gardens at Kew houses some of the world's most significant Victorian glasshouses, with the Palm House and Temperate House standing as masterpieces of 19th-century architectural innovation and engineering. These structures represent not just botanical history, but the culmination of British imperial ambition, technological advancement, and Victorian ingenuity.
The Palm House (1844-1848) The Palm House stands as the earliest surviving curvilinear glasshouse in the world and was the first large-scale structural use of wrought iron. Designed by Decimus Burton and engineered by Richard Turner, it represents a watershed moment in architectural history. The structure's revolutionary design borrowed from shipbuilding techniques, with its framework resembling an upturned hull.
Measuring 363 feet long, 100 feet wide, and 66 feet high, the Palm House's construction involved pioneering techniques. Richard Turner's innovative use of wrought iron allowed for thin yet strong supporting ribs that maximized light penetration while supporting the 16,000 panes of glass. The glass sheets were bent to follow the curvilinear form - a revolutionary technique at the time.
The building features a sophisticated climate control system. Underground furnaces originally heated the house through a basement corridor system, with hot water pipes running throughout the structure. Steam released through pipes maintained humidity levels suitable for tropical plants. This system, though modified, remains fundamentally unchanged today.
The Temperate House (1859-1898) The Temperate House, twice the size of the Palm House, is the world's largest surviving Victorian glasshouse. Its construction, also designed by Decimus Burton, took nearly 40 years to complete due to funding issues. The building showcases the evolution of glasshouse design in the latter half of the 19th century.
The structure comprises five pavilions: the central block, two octagons, and two wings. Its architectural style is more ornate than the Palm House, featuring decorative motifs typical of the high Victorian period. The framework combines wrought iron, wood, and steel, demonstrating the transition in construction materials during the Victorian era.
Recently restored (2013-2018), the Temperate House required the replacement of 15,000 panes of glass and 69,000 individual elements. The restoration revealed the sophisticated ventilation system, which included a complex arrangement of underground chambers and vertical shafts that helped regulate temperature.
The Evolution House (1952) Though less celebrated than its Victorian predecessors, the Evolution House represented mid-20th century modernist architecture at Kew. Designed by John Ryder and Associates, it demonstrated how glasshouse architecture adapted to modern materials and construction techniques. The structure was demolished in 1994 but remains significant in understanding the development of glasshouse design.
The Princess of Wales Conservatory (1987) This modern addition to Kew's glasshouse collection, designed by Gordon Wilson, represents contemporary environmental consciousness in glasshouse design. Its angular, geometric form contrasts with the curved elegance of the Victorian structures, while its energy-efficient design includes computer-controlled climate systems managing ten different micro-climatic zones.
Architectural Innovation and Influence The Kew glasshouses pioneered several architectural innovations:
Structural Engineering: The Palm House's design influenced subsequent iron and glass structures worldwide, including Crystal Palace.Climate Control: The sophisticated heating and ventilation systems developed for these buildings influenced greenhouse design globally.Glazing Techniques: Methods developed for bending and setting glass on curved frameworks advanced architectural possibilities.Materials Technology: The structures demonstrated new possibilities for iron, steel, and glass in large-scale construction.Conservation Challenges The preservation of these historic structures presents unique challenges. The iron framework is susceptible to corrosion from constant high humidity, while the glass panels require regular replacement due to weathering. Major restoration projects have been necessary approximately every 25 years.
The most recent restoration of the Temperate House demonstrated modern conservation approaches, combining historical accuracy with contemporary sustainability features. This included the installation of modern environmental control systems while maintaining the Victorian aesthetic.
Legacy and Influence The Kew glasshouses have influenced architectural design worldwide, particularly in botanical gardens and conservatories. Their impact extends beyond architecture into fields including:
Botanical Science: The structures enabled the study and preservation of plants from various climatesEngineering: Their innovative use of materials influenced structural designEnvironmental Control: Their climate management systems influenced greenhouse technologyCultural History: They represent Victorian ambitions in science and empireToday, these glasshouses continue to serve their original purpose while adapting to contemporary challenges. They demonstrate the evolution of architectural approaches to creating controlled environments for plants, from Victorian engineering prowess to modern sustainable design. Their ongoing preservation represents both a tribute to Victorian innovation and a commitment to botanical science and architectural heritage.
Westminster Underground Station's dramatic reconstruction in the late 1990s transformed it from a modest Victorian station into one of London's most architecturally significant transport hubs. The station serves as a masterclass in modern transport architecture, combining complex engineering challenges with striking aesthetic design.
Original Station (1868-1999)The original Westminster station opened in 1868 as part of the District Railway (now the District Line). Like many Victorian underground stations, it featured a simple brick building at street level with staircases leading to subsurface platforms. The station remained largely unchanged for over a century, despite the addition of the Circle Line in 1949.
The Jubilee Line Extension ProjectThe station's revolutionary transformation came as part of the Jubilee Line Extension project in the late 1990s. Architect Michael Hopkins and Partners, working with engineers from Halcrow Group, faced the extraordinary challenge of building a new deep-level station while protecting both the existing Victorian underground lines and the Houses of Parliament just meters away.
Engineering ChallengesThe project's complexity cannot be overstated. The new station had to be excavated to a depth of 32 meters (105 feet) while:
Maintaining operation of the existing District and Circle linesProtecting the foundations of Portcullis House abovePreserving the historic Parliament buildings nearbyManaging the high water table from the nearby ThamesArchitectural DesignThe station's striking design is characterized by its exposed architectural elements. The most dramatic feature is the 39-meter-high ticket hall, where massive steel uprights painted in silver-grey support the weight of Portcullis House above. These exposed structural elements create a cathedral-like space that makes the station's engineering visible and celebrated rather than hidden.
Key architectural features include:
Exposed concrete walls with a bush-hammered finishStainless steel and glass panelsDeep escalator shafts lined with exposed concrete panelsA complex network of visible beams and trussesNatural light penetrating deep into the station through large skylightsThe Box Within a BoxThe station employs a "box within a box" construction technique. The outer box is formed by deep concrete walls that keep out groundwater and provide structural support. Within this, a separate inner box houses the station's operational spaces. This innovative design solution allowed for the safe construction of the deep-level platforms while protecting surrounding structures.
Platform Level DesignThe Jubilee Line platforms, located at the deepest level, feature:
Platform edge doors (a first for the London Underground)High ceilings with exposed concrete surfacesDramatic lighting effectsClear sightlines for passenger safetyEmergency escape routes integrated into the designIntegration with Portcullis HouseThe station's design is intrinsically linked with Portcullis House above, the parliamentary office building also designed by Michael Hopkins and Partners. The two structures share foundation systems and structural elements, creating a unified architectural whole despite their different functions.
Environmental ConsiderationsThe station's design incorporated several environmental innovations:
Natural ventilation systemsEnergy-efficient lightingHeat recovery systemsSustainable drainage solutionsUse of durable materials requiring minimal maintenanceAwards and RecognitionThe station's design has received numerous accolades, including:
RIBA Award (2000)Civic Trust Award (2000)Concrete Society Award (2000)Royal Fine Art Commission Trust Building of the Year Award (2000)Impact and InfluenceWestminster Station has become a benchmark for modern transport architecture, demonstrating how infrastructure projects can be both functional and architecturally significant. Its influence can be seen in subsequent transport projects worldwide, where exposed structural elements and dramatic internal spaces have become common features.
LegacyToday, Westminster Station stands as one of London's most architecturally significant transport buildings. It demonstrates how contemporary architecture can successfully interface with historic surroundings while creating dramatic new public spaces. The station handles millions of passengers annually while continuing to serve as an example of how infrastructure projects can transcend mere functionality to become genuine architectural achievements.
The station remains a testament to the possibilities of modern engineering and architecture, proving that even the most complex technical challenges can result in spaces of remarkable architectural quality. Its success has influenced transport architecture globally, showing how underground stations can be both efficient transport hubs and compelling public spaces.
Dartmouth House, an elegant mansion situated in Charles Street, Mayfair, stands as one of London's finest examples of Anglo-French architectural style. Currently home to the English-Speaking Union, this Grade II* listed building represents the evolution of London's aristocratic residences from the 18th through the 19th centuries. On a recent trip to London, we attended an event at Dartmouth House, so we had the rare chance to go inside and see the lush interiors (and snap some pictures!).
Origins and Early DevelopmentThe original house was constructed in the 1750s during the initial development of Mayfair as London's most fashionable residential district. The site was part of the extensive Berkeley estate, and like many properties in the area, it was built on land leased from the Berkeley family. The initial structure was a typical Georgian townhouse, more modest than the building we see today.
The TransformationThe house underwent its most significant transformation in the 1890s under the ownership of Lord Revelstoke, a prominent banker. He commissioned the architect Richard Norman Shaw to combine two existing houses and create the current mansion. Shaw, known for his innovative approach to architectural design, created a harmonious blend of English and French architectural elements, reflecting the Francophile tastes of the late Victorian period.
Architectural FeaturesThe exterior of Dartmouth House displays the refined elegance of French Renaissance architecture, with its distinctive mansard roof, ornate stonework, and tall windows. The Portland stone façade features delicate carvings and decorative elements typical of the period, while maintaining a sense of English restraint in its overall composition.
The building's most remarkable architectural features include:
A grand entrance hall with marble columns and an impressive staircaseThe Long Drawing Room, featuring Louis XIV style decorationThe Small Drawing Room, with its exceptional French marble fireplaceThe Churchill Room, retaining much of its original 18th-century detailingThe Revelstoke Room, showcasing elaborate ceiling plasterworkA courtyard featuring a marble fountain, believed to be from the Palace of VersaillesInterior Design and DecorationThe interior of Dartmouth House represents the height of late Victorian taste for French-inspired decoration. The Long Drawing Room particularly exemplifies this style, with its ornate gilded mirrors, elaborate ceiling moldings, and crystal chandeliers. The room's proportions follow the French salon style, while the decorative elements combine both English and French influences.
The marble staircase, a focal point of the house, demonstrates the Victorian passion for dramatic architectural statements. Its sweeping design and elaborate wrought-iron balustrade create a sense of grandeur typical of the period's finest mansions.
The CourtyardOne of Dartmouth House's most distinctive features is its courtyard, unusual for a London townhouse. The space is designed in the style of a French château courtyard, complete with a marble fountain that adds both visual interest and historical significance to the space. The courtyard's design creates an unexpected oasis within the urban setting of Mayfair.
Modifications and PreservationThroughout the 20th century, Dartmouth House has undergone several careful restorations to preserve its architectural heritage while adapting to modern use. When the English-Speaking Union acquired the building in 1926, modifications were made to accommodate its new institutional role while respecting the original architectural features.
Recent preservation efforts have focused on:
Restoration of original decorative elementsConservation of period featuresModernization of facilitiesMaintenance of the historic fabricProtection of original architectural detailsHistorical SignificanceThe architectural significance of Dartmouth House extends beyond its aesthetic appeal. The building represents:
The evolution of London's grand residential architectureThe influence of French design on English architectureThe wealth and aspirations of the Victorian banking classThe preservation of historic buildings for institutional useCurrent StatusToday, Dartmouth House continues to serve as both the headquarters of the English-Speaking Union and as an events venue. The building's architectural splendor is maintained through ongoing conservation efforts, ensuring that future generations can appreciate this remarkable example of Anglo-French architectural fusion.
The house remains one of Mayfair's architectural gems, its preserved features offering valuable insights into late Victorian architectural tastes and building practices. Its successful adaptation to modern use while maintaining its historical integrity makes it a model for the preservation of historic buildings in contemporary London.
The architectural legacy of Dartmouth House demonstrates how careful stewardship can preserve historic buildings while allowing them to remain relevant and useful in the modern era. Its blend of English and French architectural elements, sophisticated interior design, and well-preserved features continue to make it one of London's most significant historic houses.
Lancaster House, one of London's most magnificent neoclassical mansions, stands proudly at the edge of St. James's Palace, its Portland stone façade a testament to the grandeur of late Georgian architecture. The house's story began in 1825 when Frederick, Duke of York and Albany, second son of George III, commissioned Benjamin Dean Wyatt to create what he envisioned would be one of London's most opulent private residences. However, the Duke's mounting debts and untimely death in 1827 left the ambitious project incomplete. The unfinished structure, then known as York House, stood as a symbol of aristocratic overreach, its bare walls a testament to the fine line between ambition and excess that characterized the period.
The unfinished house found its savior in 1829 when the immensely wealthy 2nd Marquess of Stafford, later the 1st Duke of Sutherland, purchased it for £72,000. Under the Sutherlands' ownership, the house entered its most significant phase of architectural development. While retaining Wyatt's services, they also brought in other prominent architects, including Sir Charles Barry, to complete and enhance the design. Barry, who would later gain fame as the architect of the Houses of Parliament, brought his distinctive touch to the project, particularly in the refinement of the interior spaces and the integration of modern conveniences that were revolutionary for their time. The result was a masterpiece of neoclassical architecture that would come to be known as Stafford House before eventually receiving its current name, Lancaster House.
The exterior of the house exemplifies the finest elements of neoclassical design, with its symmetrical wings extending from a prominent central block. The main entrance is marked by an imposing portico supported by Ionic columns, while elaborate window surrounds and decorative cornices add to the building's stately appearance. A grand double staircase leads to the entrance, creating an appropriately dramatic approach to this architectural marvel. The use of Portland stone, the premier building material of London's finest buildings, gives the façade a warm, creamy color that seems to glow in the evening light, while its careful carving and detailing demonstrate the highest levels of craftsmanship available in Georgian London.
Yet it is the interior of Lancaster House that truly captures the imagination. The spectacular Great Hall and principal staircase rise through three stories, creating an entrance sequence of breathtaking impact. The staircase itself is a masterwork of engineering and aesthetics, its sweeping curves and elaborate balustrades creating a sense of movement that draws the eye upward to the richly decorated ceiling above. The Sutherlands spared no expense in the decoration, which was largely completed between 1829 and 1840. Drawing heavy inspiration from the Palace of Versailles and other French royal palaces, the interior established what became known as the "Louis XIV Style" in England. The State Drawing Room, with its gilt decoration and damask wall hangings, the State Dining Room with its elaborate carved woodwork, and the Music Room with one of London's finest painted ceilings, all speak to the unparalleled luxury of the age. Queen Victoria herself is said to have remarked to the Duchess of Sutherland that she had come "from my house to your palace," a testament to the exceptional grandeur of the interiors.
The house's decorative schemes were executed by some of the finest artists and craftsmen of the day. The ceiling paintings, many depicting classical scenes and allegorical figures, were created by artists such as Giuseppe Marti and Charles Robert Leslie. The gilded work throughout the house was carried out by specialist craftsmen who had studied French techniques, while the marble chimney pieces were carved by the most skilled sculptors available. Each room was treated as a complete artistic composition, with the furniture, textiles, and decorative objects carefully chosen to complement the architectural elements.
Throughout the 19th century, the house evolved to meet the changing needs of its residents. Modern heating and ventilation systems were installed in the 1850s, followed by the addition of service areas and staff accommodation in the 1860s. These modifications were carried out with remarkable sensitivity to the original design, integrating new technologies without compromising the architectural integrity of the spaces. The final decades of the century saw further modernization of domestic facilities and the installation of electric lighting, making Lancaster House one of the first great London houses to embrace this new technology. The Sutherland family's commitment to maintaining the highest standards while adapting to modern conveniences ensured that the house remained both beautiful and functional.
A new chapter in the building's history began in 1913 when Sir William Lever purchased it for £300,000 and presented it to the nation for government use. This marked the beginning of Lancaster House's role as a venue for government functions and international diplomacy. The transition from private residence to public building was handled with remarkable care, preserving the original character of the rooms while adapting them for their new ceremonial functions. The house became a setting for numerous historical events, including the signing of independence agreements for several former British colonies and crucial Cold War negotiations.
The preservation of Lancaster House has been a testament to British conservation practices. The building has undergone several careful restoration campaigns, each aimed at preserving its architectural features while ensuring its continued usefulness. In the 1950s, extensive work was carried out to repair war damage and restore the decorative schemes to their original splendor. The 1980s saw a major program of stone cleaning and repair, which revealed the full beauty of the Portland stone façade. More recent work has focused on the conservation of the interior decorative schemes, with particular attention paid to the gilded surfaces and painted ceilings that make the house so remarkable.
Lancaster House's influence on British architecture has been profound and lasting. It established new standards for aristocratic London residences and successfully integrated French and English architectural styles to create a distinctive aesthetic that was widely imitated. The house's innovative features, such as its sophisticated ventilation system and the integration of service areas, became models for other great houses of the period. Moreover, its successful adaptation for government use became a model for other historic buildings, demonstrating how architectural heritage could be preserved while serving contemporary needs.
Today, Lancaster House remains under the management of the Foreign and Commonwealth Office, continuing its role as a prestigious venue for government functions while maintaining its architectural splendor. Recent conservation efforts have focused on preserving both the exterior stonework and the elaborate interior decorative schemes, ensuring that this masterpiece of neoclassical design will continue to stand as a testament to the finest achievements of 19th-century British architecture. Its story represents not just the apex of private aristocratic patronage but also the successful transition of a great house from private to public institutional use, a journey that mirrors the broader transformations of British society in the modern era.
In recent decades, Lancaster House has gained renewed fame as a popular filming location, particularly as a stand-in for Buckingham Palace's interior in numerous films and television productions. Its magnificent state rooms, with their gilt decoration and sumptuous furnishings, have proven to be an ideal double for the Palace's private apartments, which are rarely accessible to film crews. Productions such as "The King's Speech," "The Crown," and "Downton Abbey" have all utilized Lancaster House's grand interiors to recreate the splendor of royal residences. The remarkable similarity between Lancaster House's state rooms and those of Buckingham Palace – a testament to their common architectural heritage and the influence of French palatial design on British aristocratic taste – has made it the premier choice for filmmakers seeking to capture the essence of British royal grandeur. This contemporary role as a "stand-in palace" adds yet another layer to the building's rich history, allowing millions of viewers worldwide to appreciate its architectural magnificence, albeit often without realizing they are actually seeing Lancaster House rather than Buckingham Palace itself.
The London Trocadero, a landmark building in London's West End, has a fascinating architectural history that spans over 200 years of London's entertainment and leisure development. Located at the heart of Piccadilly Circus, this building has undergone numerous transformations, reflecting the changing nature of public entertainment in the capital.
The site's history as an entertainment venue began in 1826 when it opened as the Argyll Rooms, an elegant assembly space designed for the fashionable London society. The original building was created in a neoclassical style, typical of the Georgian period, featuring grand reception rooms and ballrooms where the elite of London would gather for social events.
In 1882, the site was transformed into the Restaurant Trocadero, taking its name from the famous Château du Trocadéro in Paris. The restaurant was designed to be one of London's grandest dining establishments, featuring ornate Baroque-style interiors with elaborate plasterwork, mirrors, and gilt decorations. The building was significantly expanded and remodeled during this period, establishing its reputation as a premier entertainment venue.
The early 20th century saw further changes to the building. In 1896, J. Lyons and Co. acquired the property and embarked on an extensive renovation program. The company, famous for their corner houses and teashops, transformed the Trocadero into an even more opulent venue. They commissioned architect W.G.R. Sprague to redesign the interiors, resulting in a stunning example of Edwardian baroque architecture.
One of the most significant architectural changes came in the 1930s when the building was partially converted into a cinema. The Trocadero underwent a dramatic Art Deco makeover, with the addition of the famous curved corner facade that became a distinctive feature of Piccadilly Circus. This renovation included the installation of innovative lighting schemes that complemented the area's famous illuminated advertising signs.
The post-war period brought further modifications to the building. In the 1960s, parts of the original structure were demolished and rebuilt to accommodate modern entertainment facilities. However, many of the original Edwardian features were preserved, creating an interesting architectural fusion of old and new elements.
The most dramatic transformation came in the 1980s when the Trocadero was reimagined as a major leisure complex. The 1984 renovation saw the creation of a multi-level shopping and entertainment center, featuring a distinctive postmodern design that attempted to blend with the building's historic elements. The architects incorporated glass elevators, metal walkways, and neon lighting, creating a space that epitomized 1980s architectural aesthetics.
In the early 1990s, the building underwent another significant refurbishment. The Segaworld arcade, opened in 1996, required major structural modifications to accommodate multiple floors of gaming machines and simulators. This renovation included the addition of escalators and new internal layouts, though efforts were made to preserve some of the building's historic features.
The Trocadero's architecture also includes several hidden gems that many visitors never saw. Below ground level, there are remnants of the original Victorian wine cellars, and some of the original Edwardian tilework and decorative features can still be found in less accessible areas of the building.
The building's facade has always been one of its most distinctive features. The corner section, with its curved windows and stone detailing, remains an excellent example of early 20th-century commercial architecture. The original Portland stone exterior, despite numerous modifications, continues to contribute to the architectural character of Piccadilly Circus.
In recent years, the Trocadero has undergone further changes. Parts of the building have been converted into a hotel, requiring significant internal modifications while preserving the historic facade. These changes represent the latest chapter in the building's architectural evolution, demonstrating its continued ability to adapt to changing times.
From an architectural perspective, the Trocadero represents a fascinating palimpsest of London's entertainment architecture. Its various layers - Georgian, Victorian, Edwardian, Art Deco, and Postmodern - tell the story of how public entertainment spaces have evolved over two centuries. Each renovation and modification has added to this architectural narrative, creating a unique building that embodies the history of London's West End.
The Trocadero stands as a testament to the adaptability of historic buildings in modern cities. While its interior has been repeatedly transformed to meet changing consumer demands, its exterior remains an important part of Piccadilly Circus's architectural heritage. The building's ability to accommodate such diverse uses while maintaining its historic character makes it a significant example of architectural preservation and adaptation in London.
The red telephone box, also known as the "K6" or "Jubilee Kiosk," is an enduring symbol of British culture and design. This iconic structure, with its distinctive bright red color and crown emblem, has become as synonymous with London and the United Kingdom as Big Ben or the double-decker bus. The history of this architectural gem spans nearly a century, reflecting changes in technology, society, and design aesthetics.
Origins and Early DesignsThe story of the red telephone box begins in the 1920s. Prior to this, public telephones in the UK were housed in a variety of structures, lacking a unified design. In 1924, the Post Office, which was responsible for telecommunications at the time, decided to hold a competition to design a national standard for telephone kiosks.
The winning design came from Sir Giles Gilbert Scott, a prominent British architect known for his work on Liverpool Cathedral and Battersea Power Station. Scott's original design, known as the K2 (Kiosk No. 2), was introduced in 1926. It was a classically inspired structure with a domed roof, reminiscent of Sir John Soane's design for his wife's tomb. The K2 was made of cast iron and stood at 9 feet 3 inches tall, weighing about three-quarters of a ton.
The Birth of an Icon: The K6While the K2 was well-received, its size and cost limited its widespread adoption. In 1935, to commemorate King George V's Silver Jubilee, Scott was commissioned to design a new, more compact kiosk. This resulted in the creation of the K6, the model that would become the quintessential British telephone box.
The K6 retained many of the design elements of its predecessor but was smaller and more cost-effective to produce. It stood at 8 feet 3 inches tall and was made of cast iron with a teak door. The most significant visual change was the replacement of the royal crown of George V with the Tudor Crown, which was painted in gold on all sides of the box.
Architectural FeaturesThe K6's design is a masterpiece of functionalism meeting aesthetics. Its rectangular shape with a domed roof not only provided shelter for callers but also created an instantly recognizable silhouette. The use of cast iron allowed for intricate detailing, including the panels with the crown and the word "TELEPHONE" molded into the structure.
The door of the K6 was a critical design element. Made of teak, it was chosen for its durability and resistance to warping. The door featured a large glass panel, allowing natural light to enter and creating a sense of openness while still providing privacy for the caller.
The interior of the box was designed with efficiency in mind. It included a shelf for telephone directories, a light fixture, and of course, the telephone itself. The compact yet functional interior design allowed the K6 to serve its purpose effectively without sacrificing its exterior aesthetic appeal.
Color and SymbolismPerhaps the most striking feature of the telephone box is its vibrant red color. Initially, Scott had proposed a silver exterior with a greenish-blue interior. However, the Post Office opted for the bright red color to make the kiosks more visible. This decision inadvertently created one of the most recognizable color schemes in architectural history.
The red color, officially known as "Post Office Red" or "Currant Red," became deeply associated with British identity. It matched the color used for postal pillar boxes and royal mail vans, creating a cohesive visual language for British public services.
Proliferation and PeakThe K6 was an immediate success. By 1940, there were 35,000 K6 kiosks across the UK. This number continued to grow, peaking at around 70,000 in the 1980s. The design became so popular that it was adopted in many parts of the British Empire, spreading the iconic red box across the globe.
Challenges and PreservationWith the advent of mobile phones in the late 20th century, the practical need for public telephone boxes began to decline. Many K6 boxes were decommissioned, sold, or simply left to deteriorate. However, recognizing their cultural and historical significance, efforts to preserve these icons began in earnest.
In 1986, several hundred K6 kiosks were given Grade II listed building status, protecting them from removal or alteration. Many local communities have also taken it upon themselves to preserve their local phone boxes, often repurposing them as miniature libraries, art galleries, or even tiny cafes.
Legacy and Modern InterpretationsThe influence of the red telephone box extends far beyond its original purpose. Its design has inspired countless souvenirs, artworks, and even modern architectural projects. In 2012, British architect John Pawson created a modern interpretation of the K6 for an installation at the London Design Festival, demonstrating the enduring appeal of the original design.
Today, while functional red telephone boxes are rare, their architectural and cultural significance remains strong. They stand as a testament to the power of good design, the importance of public infrastructure, and the ability of architecture to become a symbol of national identity.
The red telephone box, particularly the K6 model, represents a perfect fusion of form and function in public architecture. Its journey from a practical communication tool to a beloved cultural icon illustrates how thoughtful design can transcend its original purpose to become a part of a nation's identity. While completely useless in the age of cell phones and WiFi, they're still a beautiful and welcome site to behold on London's street. Long may they remain!
Nestled in the heart of Soho, Hazlitt's Hotel stands as a great example of the rich architectural and cultural heritage of 18th-century Georgian London. Comprised of three Georgian townhouses at 5, 6, and 7 Frith Street, the hotel offers guests a unique opportunity to step back in time while enjoying modern comforts.
Origins and Development of SohoTo understand the architectural significance of Hazlitt's, one must first consider the development of Soho itself. In the late 17th century, what is now Soho was primarily open fields and woodlands, used as a hunting ground. The area's name is believed to have originated from a hunting call, "Soho and away," which eventually stuck as the neighborhood's moniker.
The land around Soho Square was granted to the Bentinck family, Earls of St Alban's and later Dukes of Portland, in 1698. They developed the area by granting building leases to speculators and wealthy citizens seeking to construct substantial houses. This period marked the beginning of Soho's transformation into one of London's most fashionable suburbs.
Construction of Frith StreetThe site where Hazlitt's now stands has a fascinating history. Behind it once stood the grand Monmouth House, originally planned by James Scott, Duke of Monmouth (the illegitimate son of King Charles II). After Monmouth's execution for rebelling against James II, the house was purchased by Sir James Bateman, Lord Mayor of London.
Sir James's son, William (later the first Viscount Bateman), demolished the stables on the east side of Frith Street and replaced them with a group of new houses. These houses were constructed using materials from the old stables, a common practice in the 18th century that exemplified early sustainability efforts in architecture.
The renowned architect Thomas Archer, known for his Baroque style, assisted with the site plans for these new houses. This involvement of a prominent architect underscores the importance and prestige of the development at the time.
Hazlitt's Buildings: 5, 6, and 7 Frith StreetThe three townhouses that now comprise Hazlitt's were built in 1718. No. 5 was constructed by Joel Johnson, a bricklayer, while No. 6 and 7 were part of the larger group of houses built under William Bateman's direction. These two buildings are now the only survivors of this original group, although plans for all five can still be found in the Northamptonshire Record Office.
The buildings exemplify the Georgian style of architecture, characterized by symmetry, proportion, and a focus on classical elements. The original Georgian paneling, dating back to the 18th century, has been discovered and restored throughout the hotel, providing an authentic glimpse into the architectural interiors of the period.
Notable Residents and VisitorsOver the centuries, these buildings have been home to a diverse array of notable figures, each contributing to the rich tapestry of the hotel's history. William Duncombe, an 18th-century writer, was the first occupant of No. 4 (now demolished) and held the lease of No. 5. The celebrated author Jonathan Swift was a frequent visitor to No. 5, which was home to his protégée, the poetess Mary Barker.
No. 6 housed several distinguished residents, including the Prussian Resident (a sort of honorary consul) from 1757 to 1764, and Henry, 13th Baron Willoughby of Farnham, from 1768 to 1775. Joseph Munden, a celebrated actor, also resided here, as did Lady Frances Hewitt, a women's prison reformist.
The hotel's namesake, William Hazlitt, lived and died at No. 6 Frith Street in 1830. Hazlitt, considered one of the greatest English essayists and critics, spent his final days in what was then a boarding house. This connection to literary history adds an additional layer of cultural significance to the building's architectural importance.
Preservation and AdaptationIn 1986, these three townhouses were transformed into Hazlitt's Hotel. The conversion was carried out with a deep respect for the buildings' historical and architectural integrity. The goal was to create a hotel that maintained the charm and character of the Georgian period while providing modern amenities.
The preservation efforts are evident throughout the hotel. Original features such as wooden floors, doors, and antique furniture have been retained, even if they show signs of age and settling. This commitment to authenticity means that guests may find slightly uneven floors or doors that don't fit perfectly – all part of the building's unique character.
The hotel's decor and furnishings have been carefully selected to complement the Georgian architecture. Each room is individually decorated with period furniture, creating an immersive historical experience for guests.
Architectural Challenges and Modern AdaptationsAdapting 18th-century buildings for modern use presents unique challenges. The hotel has had to balance preservation with the expectations of 21st-century travelers. This includes incorporating modern heating systems, which can affect antique furniture, and finding creative solutions for plumbing and electrical systems without compromising the historical integrity of the buildings.
Despite these challenges, Hazlitt's has successfully merged historical architecture with contemporary comfort. The hotel stands as a prime example of adaptive reuse in architecture, demonstrating how historical buildings can be preserved and given new life without losing their essential character.
Marble Hill House, situated on the banks of the River Thames in Twickenham, London, is a remarkable example of Palladian architecture and stands as a testament to the refined taste of early 18th-century England. Built between 1724 and 1729, this elegant villa has a rich history that reflects the social and architectural trends of its time.
The house was commissioned by Henrietta Howard, Countess of Suffolk, who was a mistress of King George II when he was Prince of Wales. Howard, a woman of considerable intellect and cultural sophistication, envisioned Marble Hill as a retreat from court life and a place where she could entertain her circle of literary and politically influential friends.
The design of Marble Hill House is attributed to several notable figures of the time. Lord Herbert, later the 9th Earl of Pembroke, is believed to have been involved in the initial concept. He was an amateur architect with a keen interest in Palladian design. However, the execution of the plans was overseen by the professional architect Roger Morris, with input from Henry Herbert and Colen Campbell, another prominent architect of the Palladian revival in England.
Palladian architecture, inspired by the works of the 16th-century Italian architect Andrea Palladio, was gaining popularity in England during this period. It emphasized symmetry, perspective, and the principles of classical Greek and Roman temple architecture. Marble Hill House exemplifies these principles beautifully.
The house is a compact villa, almost square in plan, with a symmetrical façade. It stands three stories high, with the main reception rooms on the first floor, a common feature of Palladian villas designed to take advantage of views and light. The exterior is characterized by its simple, harmonious proportions and the use of Portland stone, which gives the house its distinctive pale appearance.
The front façade features a central projecting portion with a triangular pediment, supported by four Ionic pilasters. This creates a temple-like frontispiece, a hallmark of Palladian design. The windows are arranged symmetrically, with larger windows on the first floor emphasizing the importance of the main reception rooms.
Internally, the house is organized around a central hall, another typical feature of Palladian design. The Great Room, which occupies the full depth of the house on the first floor, is the most impressive space. It features elaborate gilded decorations and a ceiling painting by Giovanni Battista Cipriani, added in the 1760s.
The interior decoration was initially supervised by Howard herself, with guidance from her friends, including Alexander Pope, the famous poet who lived nearby. The house was furnished with an impressive collection of paintings, including works by Carracci, Maratta, and Van Dyck, reflecting Howard's refined taste and connections.
Over the years, Marble Hill House underwent several changes. In the 1760s, Henrietta Howard made some alterations, including the addition of the Cipriani ceiling painting in the Great Room. After her death in 1767, the house passed through various owners, each leaving their mark on the property.
In the late 19th century, the house fell into disrepair. However, its historical and architectural significance was recognized, and in 1902 it was purchased by the London County Council to save it from demolition. This marked the beginning of its life as a public monument.
Extensive restoration work was carried out in the early 20th century to return the house to its 18th-century appearance. The grounds, which originally extended to 66 acres, were also restored and opened as a public park. Today, only about 12 acres remain, but they still provide a beautiful setting for the house.
In 1986, the management of Marble Hill House was taken over by English Heritage. They have continued to maintain and restore the property, including a major project in the early 21st century to recreate the 18th-century interior based on detailed inventories from Henrietta Howard's time.
The architectural significance of Marble Hill House extends beyond its own walls. It served as a model for many other Palladian villas built along the Thames during the 18th century, influencing the development of what became known as the "Arcadian Thames" landscape. Its compact, symmetrical design was particularly influential, providing a template for smaller country houses that was widely imitated.
Marble Hill House also plays a crucial role in the story of women in architecture. Although designed by men, it was commissioned and largely overseen by a woman, Henrietta Howard. Her vision and taste shaped the house, making it an important example of female patronage in 18th-century architecture.
Today, Marble Hill House stands as one of the last surviving examples of the elegant villas that once lined the Thames in Twickenham. Its pristine Palladian architecture, beautiful interiors, and historical associations make it a valuable resource for understanding 18th-century design, social history, and the development of the English country house.
As a public monument, it continues to educate and inspire visitors, offering insights into the life of the Georgian elite and the architectural principles that shaped their world. Marble Hill House remains not just a beautiful building, but a tangible link to a pivotal period in English history and architecture.
The Millennium Bridge, officially known as the London Millennium Footbridge, is a steel suspension bridge for pedestrians crossing the River Thames in London. It links Bankside with the City of London, connecting St. Paul's Cathedral on the north bank with the Tate Modern and Shakespeare's Globe Theatre on the south bank. The bridge, which has become an iconic part of London's modern architectural landscape, has a fascinating history that includes an unexpected wobble, closure, and even a cameo in popular culture.
The concept for the Millennium Bridge emerged in the mid-1990s as part of the larger regeneration efforts along the Thames. The Southwark Council launched a competition in 1996 for a new footbridge to commemorate the millennium. The winning design was a collaborative effort between Arup (engineers), Foster + Partners (architects), and Sir Anthony Caro (sculptor).
The design was revolutionary in its simplicity and elegance. It consists of a narrow aluminum deck supported by steel cables anchored to steel piers. The most striking feature is its minimalist design, with the suspension system placed beneath the deck rather than above it. This unconventional approach allowed for unobstructed views along the river and created a sleek, low-profile structure that wouldn't compete visually with the historic buildings nearby, particularly St. Paul's Cathedral.
Construction began in late 1998, with the main work occurring throughout 1999. The bridge is 325 meters long, with a main span of 144 meters. The deck is just four meters wide, emphasizing its role as a pedestrian-only crossing. The supporting cables are tensioned to pull with a force of 2,000 tons against the piers on each side, essentially holding it in place.
The Millennium Bridge was opened with great fanfare on June 10, 2000, by Queen Elizabeth II. It was the first new bridge to be built over the Thames in London for more than 100 years, and excitement was high. However, this excitement quickly turned to concern on the opening day when the bridge began to exhibit an alarming swaying motion.
As pedestrians crossed the bridge, they noticed a significant lateral movement - a wobble - that became more pronounced as more people tried to correct their balance in response. This phenomenon, known as synchronous lateral excitation, occurs when the natural sway motion of pedestrians walking amplifies the bridge's slight movement, causing it to sway more. As the bridge swayed, people adjusted their gait to the movement, inadvertently exacerbating the problem.
The wobble was so severe that some pedestrians reported feeling seasick. Videos of people struggling to walk in a straight line on the swaying bridge quickly went viral, earning it the nickname "The Wobbly Bridge." Just two days after its grand opening, on June 12, the bridge was closed to the public for safety reasons.
This closure was a significant embarrassment for the designers and city officials. It also presented a complex engineering challenge: how to stabilize a bridge that was fundamentally sound in its design but exhibited unexpected behavior under specific conditions.
Arup engineers spent almost two years studying the problem and developing a solution. They discovered that the bridge was moving sideways at a frequency that matched pedestrians' walking pace, creating a positive feedback loop. The solution involved installing dampers to dissipate the energy from the vibrations and prevent lateral movement.
Retrofitting the bridge cost £5 million, on top of the original £18.2 million construction cost. A total of 37 viscous dampers (similar to car shock absorbers) and 52 tuned mass dampers were installed. These dampers allow the bridge to absorb movement without transferring it to the main structure.
After extensive testing, including trials with up to 2,000 people walking over the bridge, it was finally reopened on February 22, 2002. Since then, the bridge has functioned as intended, with no recurrence of the wobble.
Despite its initial troubles, the Millennium Bridge has become a beloved part of London's urban fabric. Its elegant design has won numerous awards, including the 2003 Royal Institute of British Architects Stirling Prize. It carries an estimated 4 million people each year, providing a vital pedestrian link between the cultural institutions on the South Bank and the City of London.
The bridge has also entered popular culture, featuring in several films and TV shows. Most notably, it appears in "Harry Potter and the Half-Blood Prince" (2009), where it is dramatically destroyed by Death Eaters. This cinematic destruction ironically came years after the bridge had overcome its real-life structural challenges.
The Millennium Bridge stands as a testament to innovative design and engineering problem-solving. Its initial wobble, while a setback, led to advances in the understanding of pedestrian-induced vibrations in bridges. This knowledge has influenced the design and modification of bridges worldwide.
Today, the Millennium Bridge is more than just a river crossing; it's a popular spot for tourists and locals alike, offering spectacular views of St. Paul's Cathedral and the London skyline. Its sleek design harmonizes with both the historic and modern elements of London's riverscape, symbolizing the city's blend of tradition and innovation.
From its conception as a celebration of the new millennium to its wobbling debut, complex rehabilitation, and ultimate success, the Millennium Bridge has had a journey as dynamic as the city it serves. It stands not only as a physical link across the Thames but as a bridge between London's past and future, embodying the city's resilience and adaptability in the face of challenges.
The story of Freemasons' Hall begins in 1775 when the Premier Grand Lodge of England purchased a house with a garden in Great Queen Street, London. This location would become the site for a succession of buildings, each serving as the headquarters for English Freemasonry.
The first Freemasons' Hall was constructed between 1775 and 1776 under the direction of Thomas Sandby, an architect and founding member of the Royal Academy. Sandby's design was in the Palladian style, popular in England during the 18th century. This initial structure was relatively modest, consisting of a simple meeting hall and a few additional rooms. As Freemasonry grew in popularity and membership, this first hall quickly became inadequate for the organization's needs.
In 1821, the decision was made to demolish Sandby's hall and create a grander, more expansive building. The renowned architect Sir John Soane was commissioned for this project. Soane, famous for his innovative use of space and light, designed a new Freemasons' Hall in his characteristic neoclassical style. The building, completed in 1828, featured Soane's trademark manipulation of space, creative use of natural light, and elegant proportions. It included a Grand Temple, library, and museum, reflecting the growing importance of Freemasonry in British society.
However, disaster struck in 1883 when a fire severely damaged Soane's building. While some elements of the structure survived, it became clear that a complete reconstruction would be necessary. This event set the stage for the creation of the Freemasons' Hall we see today.
The current Freemasons' Hall, often referred to as the third hall, was built between 1927 and 1933. It was conceived as more than just a headquarters; it was designed as a Masonic Peace Memorial to honor the Freemasons who lost their lives in World War I. The project began with an architectural competition, which was won by Henry Victor Ashley and F. Winton Newman.
Ashley and Newman's design marked a significant departure from the classical styles of the previous halls. Their vision for Freemasons' Hall embraced the Art Deco movement, which was at its height in the 1920s and 1930s. Art Deco, characterized by bold geometric forms, lavish ornamentation, and a sense of luxury and modernity, was seen as the perfect style to express the forward-looking spirit of Freemasonry in the interwar period.
The exterior of Freemasons' Hall is a striking example of Art Deco architecture. The building's façade is clad in Portland stone, featuring clean lines and strong vertical emphasis typical of the style. The main entrance is particularly noteworthy, with its bronze doors and sculptural elements. The sculptor Gilbert Bayes was commissioned to create allegorical figures for the façade, including representations of Peace and Progress, which flank the central tower.
Internally, the building is a treasure trove of Art Deco design. The centerpiece is undoubtedly the Grand Temple, a massive ceremonial space that can seat 1,700 people. The Grand Temple is a perfect cube, measuring 123 feet (37.5 meters) in each dimension – height, width, and depth. This perfect cubic form holds great symbolic significance in Masonic tradition.
The Grand Temple's interior is a masterpiece of Art Deco craftsmanship. The walls are lined with various marbles, while the ceiling features an elaborate mosaic depicting the zodiac. The room is illuminated by a series of stained glass windows, which bathe the space in colored light. Every element of the design, from the geometric patterns in the floor to the stylized light fixtures, reflects the Art Deco aesthetic.
Beyond the Grand Temple, Freemasons' Hall contains numerous other impressive spaces. The Vestibules and corridors are adorned with beautiful mosaics, marbles, and bronze fixtures. The Grand Officers' Robing Room, the Board Room, and other ceremonial spaces each have their unique decorative schemes, all adhering to the overall Art Deco theme.
The Library and Museum of Freemasonry, integral parts of Freemasons' Hall, also reflect the building's Art Deco heritage. The library houses an extensive collection of Masonic literature in a space designed to harmonize with the rest of the building. The museum, which displays a wide array of Masonic artifacts and regalia, is housed in rooms that complement the historical items with their period architecture.
Over the years, Freemasons' Hall has undergone several renovations and additions to meet changing needs while preserving its architectural integrity. In 2014, a new wing was added to provide additional office space and modern facilities. This extension was carefully designed to complement the original Art Deco structure while meeting contemporary requirements.
The building's significance extends beyond its function as a Masonic headquarters. It has become an important landmark in London, recognized for its architectural merit. In 1974, Freemasons' Hall was designated as a Grade II* listed building by Historic England, acknowledging its exceptional interest and ensuring its preservation for future generations.
This listing has implications for how the building is maintained and modified. Any alterations or renovations must be carried out with careful consideration for preserving the original character and features of the building. Over the years, several restoration projects have been undertaken to clean and repair the stone façade, update the building's systems, and ensure accessibility for all visitors.
Today, Freemasons' Hall stands as one of the finest examples of Art Deco architecture in Britain. Its imposing exterior and lavishly decorated interior continue to impress visitors and serve as a testament to the skill of its architects and craftsmen. The building not only functions as the headquarters of the United Grand Lodge of England but also as a public museum and event space, allowing a wider audience to appreciate its architectural splendor.
The architectural history of Freemasons' Hall reflects the changing fortunes and aspirations of Freemasonry in England over more than two centuries. From Sandby's modest Palladian hall to Soane's neoclassical vision, and finally to Ashley and Newman's Art Deco masterpiece, each iteration of the building has left its mark on London's architectural landscape. Today, Freemasons' Hall stands as a monument not just to Masonic history, but to the enduring power of architecture to inspire and amaze. Copy
The Royal Hospital Chelsea, an iconic landmark in London, stands as a testament to both architectural grandeur and social welfare. Commissioned by King Charles II in 1682, this magnificent structure has served as a retirement home and nursing care facility for British soldiers for over three centuries. Its rich history and distinctive design make it a significant piece of England's architectural heritage.
Origins and CommissionThe idea for the Royal Hospital came from Sir Stephen Fox, a wealthy politician and former army paymaster. Fox proposed the establishment of a facility to care for aging or injured soldiers, inspired by Louis XIV's Hôtel des Invalides in Paris. King Charles II embraced the concept, seeing an opportunity to demonstrate his benevolence while also creating a prestigious architectural project.
The king appointed Sir Christopher Wren, the renowned architect responsible for St. Paul's Cathedral, to design the hospital. Wren's involvement ensured that the project would be of the highest architectural quality, befitting its royal patronage.
Wren's DesignWren's design for the Royal Hospital exemplifies the English Baroque style, characterized by its grandeur, symmetry, and classical elements. The hospital complex is arranged around three courtyards: Figure Court (the central courtyard), Light Horse Court, and College Court.
The main façade of the hospital faces the River Thames, presenting an impressive frontage stretching over 250 meters. This river-facing elevation is dominated by a central portico with Doric columns, crowned by a triangular pediment bearing the royal coat of arms. The use of red brick with stone quoins and window surrounds creates a striking contrast, typical of the English Baroque style.
Wren's design incorporated two main wings flanking the central courtyard, each three stories high. These wings housed the pensioners' living quarters, designed as long galleries with individual cubicles for the residents. This layout provided both privacy for the pensioners and a sense of community, reflecting the dual nature of the hospital as both a home and an institution.
Key Architectural FeaturesSeveral architectural elements of the Royal Hospital are particularly noteworthy:
The Great Hall, located in the west wing, is a magnificent space used for dining and important ceremonies. Its high ceiling, large windows, and ornate plasterwork create an atmosphere of grandeur befitting the hospital's royal connections.
The Chapel, situated in the east wing, is a masterpiece of Wren's ecclesiastical design. It features a beautiful altar piece and an elaborate ceiling, demonstrating Wren's skill in creating uplifting spiritual spaces within a larger institutional context.
The Figure Court, the central courtyard, is adorned with a bronze statue of Charles II by Grinling Gibbons. This courtyard serves as the heart of the hospital, providing a dignified open space for the pensioners and visitors.
The colonnade surrounding Figure Court is another significant feature, providing covered walkways and adding to the classical elegance of the design. The Doric columns support an entablature that runs around the entire courtyard, unifying the space.
Construction and ModificationsConstruction of the Royal Hospital began in 1682 and was largely completed by 1692, although work on some parts of the complex continued into the early 18th century. The project was funded through a combination of royal patronage, public subscription, and a tax on coal entering London.
Over the centuries, the hospital has undergone various modifications and additions, though efforts have been made to maintain the integrity of Wren's original design. In the 19th century, new infirmary wings were added to provide better medical care for the pensioners. These additions, while necessary for the hospital's function, were designed to complement the existing architecture.
In the early 20th century, the original pensioners' cubicles were modernized to provide more comfortable living quarters. This renovation was carried out with careful consideration for the historical significance of the building, balancing the needs of modern residents with the preservation of architectural heritage.
The Soane Stable BlockA significant addition to the Royal Hospital complex came in the early 19th century with the construction of the Stable Block, designed by Sir John Soane. Completed in 1815, this building showcases Soane's distinctive style, characterized by its innovative use of space and light. The Stable Block, with its elegant proportions and clever functional design, complements Wren's original buildings while asserting its own architectural identity.
Gardens and GroundsThe architectural story of the Royal Hospital is not complete without mentioning its extensive grounds. The South Grounds, facing the Thames, were originally designed as formal gardens in the late 17th century. These gardens have evolved over time but continue to provide a dignified setting for the hospital buildings and a pleasant environment for the pensioners.
The Royal Hospital's grounds also include Burton's Court, a large open space to the north of the main buildings. This area, named after a 17th-century landowner, has been an integral part of the hospital's landscape for centuries and contributes to the overall spatial composition of the site.
Legacy and InfluenceThe Royal Hospital Chelsea has had a lasting impact on British architecture and institutional design. Its successful blend of monumental architecture with functional living spaces set a precedent for later hospital and military buildings. The hospital's design influenced not only other medical facilities but also civic and educational institutions, demonstrating how architecture could express both authority and benevolence.
Today, the Royal Hospital stands as a living monument to architectural history. It continues to fulfill its original purpose, providing a home for retired soldiers, while also serving as a tourist attraction and a venue for events such as the annual Chelsea Flower Show. The ongoing care and preservation of this remarkable complex ensure that Wren's masterpiece will continue to inspire and educate future generations about the rich architectural heritage of England.
Wilton’s Music Hall in London stands as a testament to the rich cultural history of 19th-century entertainment and a rare surviving example of a Victorian music hall. Nestled in the heart of East London, Wilton’s began life as a pub and evolved into one of the most iconic venues of its time. Its story is one of architectural significance, resilience, and restoration, reflecting the vibrant social and artistic changes that shaped London over the past 150 years.
Origins: From Public House to Concert HallThe roots of Wilton’s Music Hall can be traced back to the early 18th century when the area around Wellclose Square, near the London Docks, was a bustling commercial district. Originally, the site was home to a series of public houses catering to the local population of sailors and dockworkers. One of these establishments, known as the Prince of Denmark, stood on the site where Wilton’s would eventually emerge.
In 1828, the Prince of Denmark was replaced by the Mahogany Bar, a new public house named for its lavish mahogany fittings. It became a popular venue for locals, providing a place for drinking, socializing, and informal entertainment. The Mahogany Bar was eventually purchased by John Wilton, a successful publican and entrepreneur, who had grander ambitions for the establishment.
The Birth of Wilton’s Music HallIn 1853, John Wilton undertook a major expansion of the Mahogany Bar, transforming it into a grand music hall. The new hall, completed in 1859, was designed by the architect Jacob Maggs. It featured a simple, rectangular plan and was built of brick with a stuccoed facade that matched the architectural tastes of the time. The auditorium, located behind the pub, had a capacity of around 1,500 people and was adorned with a large balcony, fluted columns, and a proscenium arch. The design of the hall was intended to evoke a sense of grandeur, while still maintaining an intimate atmosphere suitable for the popular entertainment of the era.
Wilton’s was an immediate success, drawing audiences from across London to see performances that ranged from operatic arias to bawdy songs and comedic acts. It became a hub for East London’s working-class population, offering affordable entertainment in a lavish setting. Wilton’s Music Hall was part of a broader trend in Victorian London, as music halls grew in popularity and became a defining feature of the city’s social and cultural landscape.
Architectural FeaturesWilton’s Music Hall is notable for its blend of architectural styles, reflecting both its function as a music hall and its origins as a public house. The building’s exterior is relatively unassuming, with its simple brickwork and the remnants of its original pub frontage. However, the interior tells a different story. The main hall features cast iron pillars supporting a balcony that wraps around three sides of the auditorium. The hall’s wooden floor, the curved gallery, and the slightly faded elegance of its decorative plasterwork all contribute to the atmosphere of a bygone era.
The original gas lighting and early ventilation systems were typical of mid-19th-century public buildings, designed to accommodate large crowds in confined spaces. Wilton’s would have been a marvel of modern design at the time, with its combination of architectural innovation and opulent decoration aimed at providing an immersive experience for its audiences.
One of the most remarkable aspects of Wilton’s is its resilience. Unlike many music halls of the period, which were demolished or heavily remodeled over time, Wilton’s has retained much of its original structure and decoration. The survival of the hall’s original features, including the ornate barley twist columns and the finely detailed plasterwork, offers a rare glimpse into the architectural and artistic sensibilities of the Victorian era.
Decline and ClosureDespite its early success, Wilton’s Music Hall faced challenges as the 19th century wore on. The rise of larger, more commercial theaters and changes in public tastes led to a decline in the popularity of traditional music halls. By the 1880s, Wilton’s had lost much of its audience, and in 1888, the hall was closed. The building was repurposed as a Methodist Mission, serving the local community in a different capacity, but the grand auditorium remained largely intact.
Over the following decades, the building fell into disrepair, and its historical significance was largely forgotten. By the mid-20th century, Wilton’s was in a state of near ruin, with much of the structure in danger of collapse. The hall narrowly avoided demolition on several occasions, saved in part by the efforts of local campaigners and architectural historians who recognized its value as one of the last surviving Victorian music halls.
Restoration and RevivalThe late 20th century saw a growing interest in the preservation of historic buildings, and Wilton’s became the focus of a major restoration effort. In the 1960s, the building was granted Grade II* listed status, recognizing its architectural and historical importance. However, it wasn’t until the 1990s and early 2000s that serious efforts were made to restore the hall to its former glory.
The restoration of Wilton’s Music Hall was a careful and painstaking process, with architects and conservators working to preserve the building’s original features while ensuring its structural integrity. The hall’s faded grandeur, with its peeling plaster and timeworn fittings, became part of its charm, offering visitors a sense of stepping back in time.
In 2004, the building was re-opened to the public as a functioning performance venue, and today, Wilton’s Music Hall hosts a wide variety of events, from theatre productions to concerts and exhibitions. Its revival is a testament to the enduring appeal of Victorian architecture and the power of cultural preservation.
Wilton’s Music Hall is more than just an architectural relic; it is a living piece of history that continues to play a vital role in London’s cultural life. Its architectural significance lies in its status as one of the few surviving music halls from the 19th century, and its preservation offers a window into the world of Victorian entertainment. From its origins as a modest pub to its transformation into a grand music hall, and its eventual restoration, Wilton’s journey mirrors the broader story of London’s social and cultural evolution. Today, it stands as a cherished landmark, where the past and present converge in one of the city’s most unique and atmospheric venues.
Strawberry Hill House, located in Twickenham, London, is a remarkable example of Gothic Revival architecture and a testament to the eccentricity and vision of its creator, Horace Walpole. This architectural gem has played a significant role in shaping the Gothic Revival movement and continues to captivate visitors with its unique blend of medieval and Georgian aesthetics.
Origins and Early Development:The story of Strawberry Hill House begins in 1747 when Horace Walpole, the son of Britain's first Prime Minister, Sir Robert Walpole, acquired a small cottage named "Chopp'd Straw Hall." Walpole, a writer, antiquarian, and art historian, saw potential in this modest property and embarked on an ambitious project to transform it into a "little Gothic castle."
Walpole's vision for Strawberry Hill was heavily influenced by medieval architecture, particularly that of Gothic cathedrals and castles. However, rather than creating an authentic reproduction, he aimed to evoke the atmosphere and romance of medieval buildings through a playful and imaginative interpretation of Gothic elements.
The transformation of Strawberry Hill occurred in several stages between 1749 and 1776. Walpole worked with a team of designers and architects, including John Chute, Richard Bentley, and later James Essex, to realize his unique vision.
Architectural Features:The exterior of Strawberry Hill House is characterized by its asymmetrical layout, crenellated roofline, and pointed arched windows. The white stucco facade, punctuated by Gothic details, creates a striking contrast against the surrounding greenery.
One of the most notable features of the house is the Gallery, added in 1760-1763. This 56-foot-long room was inspired by the fan-vaulted ceiling of Henry VII's Chapel in Westminster Abbey. The intricate plasterwork ceiling, with its delicate tracery and pendants, is a masterpiece of craftsmanship and one of the finest examples of Gothic Revival interiors.
The house's interiors are a fantastical mix of Gothic elements and 18th-century comfort. Walpole's eclectic taste is evident in rooms like the Library, with its Gothic bookcases and chimney piece, and the Holbein Chamber, named for its copies of Hans Holbein portraits.
The Great Parlour, designed to evoke a medieval great hall, features a magnificent chimney piece based on the tomb of John of Eltham in Westminster Abbey. The room's walls are adorned with crimson damask, creating a rich backdrop for Walpole's collection of portraits and curiosities.
One of the most innovative aspects of Strawberry Hill is its use of light and color. Walpole incorporated stained glass windows throughout the house, creating dramatic lighting effects and enhancing the Gothic atmosphere. Many of these windows featured heraldic designs or scenes from literature and history.
Influence and Legacy:Strawberry Hill House had a profound impact on architectural taste in the late 18th and early 19th centuries. It helped popularize the Gothic Revival style and inspired numerous imitations across Britain and beyond. The house became a must-see attraction for fashionable society, with Walpole himself often conducting tours for visitors.
Walpole's approach to architecture at Strawberry Hill was revolutionary for its time. He prioritized the evocation of mood and atmosphere over historical accuracy, an approach that would later influence the Romantic movement in art and literature. In fact, Walpole's novel "The Castle of Otranto," often considered the first Gothic novel, was inspired by and written at Strawberry Hill.
The house also played a crucial role in the development of the concept of the "romantic interior." Walpole's eclectic mix of genuine antiques, modern imitations, and custom-designed pieces set a new standard for interior decoration that would influence designers for generations.
Later History and Restoration:After Walpole's death in 1797, Strawberry Hill passed through various owners and underwent several alterations. In the mid-19th century, Lady Waldegrave made significant additions to the property, including a new wing designed by George Devey in a sympathetic Gothic style.
By the late 20th century, Strawberry Hill had fallen into disrepair. A major restoration project was undertaken between 2007 and 2010, bringing the house back to its former glory. The restoration aimed to recreate Walpole's original vision as closely as possible, using his detailed descriptions and inventories as guides.
Today, Strawberry Hill House stands as a beautifully preserved example of early Gothic Revival architecture. It continues to inspire and intrigue visitors, offering a unique glimpse into the imaginative world of Horace Walpole and the birth of the Gothic Revival movement.
The house's influence extends beyond architecture into the realms of literature, art, and design. Its playful approach to historical styles prefigured later movements like the Arts and Crafts movement and even aspects of postmodern architecture.
Strawberry Hill House represents a pivotal moment in architectural history. It embodies the spirit of 18th-century antiquarianism, the birth of the Gothic Revival, and the power of individual vision in shaping architectural trends. As a building that blurs the lines between fantasy and reality, past and present, Strawberry Hill continues to captivate and inspire, standing as a testament to the enduring appeal of the Gothic imagination.
As one of the busiest transport hubs in London, London Bridge Railway Station has a rich architectural history that reflects the evolution of railway infrastructure and the changing face of the city. From its humble origins in the 19th century to its recent redevelopment, this iconic station has served as a vital gateway connecting the capital to the rest of the country.
The First Station (1836-1921)London Bridge's railway history began in 1836 with the opening of the London and Greenwich Railway, the world's first passenger railway line to use steam locomotives. The original station structure, designed by the engineer John Urpeth Rastrick, was a modest two-story brick building located on Tooley Street. Its design was functional, with a simple gabled roof and a single platform serving the line's two tracks.
As rail travel grew in popularity, the station underwent several expansions in the following decades. In 1847, the London and Brighton Railway and the South Eastern Railway both opened new lines terminating at London Bridge, necessitating the construction of additional platforms and facilities. These early expansions, while necessary, lacked a cohesive architectural vision, resulting in a somewhat haphazard complex of buildings.
The Terminus Bridge (1866-1921)The turning point in London Bridge's architectural development came in 1866 with the construction of the Terminus Bridge, designed by the renowned engineer Sir John Hawkshaw. This grand, cast-iron and glass structure spanned the River Thames, providing a dramatic visual gateway to the City of London.
Hawkshaw's design was a testament to the Victorian era's engineering prowess. The bridge's soaring arches, measuring 155 feet (47 meters) in height, supported a series of wide trainshed roofs that covered the station's platforms. The use of glass and iron created a sense of openness and light, in contrast to the heavy masonry of earlier railway architecture.
The Terminus Bridge became an iconic landmark, recognized for its innovative design and strategic location. It served as the public face of the station, welcoming both commuters and visitors to London with its impressive, if somewhat imposing, presence.
Rebuilding and Expansion (1921-1978)By the early 20th century, the increasing volume of rail traffic and the station's aging infrastructure had rendered the original buildings and Terminus Bridge obsolete. In 1921, a major redevelopment project was undertaken to rebuild and expand the station.
This redevelopment was overseen by the architect's firm of Holden and Pearson, who were tasked with creating a modern, functional station that could handle the growing number of passengers and trains. Their design replaced the Terminus Bridge and most of the older structures with a new, unified complex of buildings.
The centerpiece of the 1921 redevelopment was the grand, Neo-Baroque station building fronting Tooley Street. This imposing structure, clad in Portland stone, featured a grand central arched entrance flanked by clock towers. The interiors were equally impressive, with a monumental booking hall and vast concourse spaces to accommodate the flow of passengers.
Behind the grand façade, the station's layout was organized around a series of island platforms connected by subways and bridges. This streamlined configuration allowed for more efficient movement of trains and passengers, a significant improvement over the previous haphazard arrangement.
The 1921 redevelopment also saw the construction of additional service buildings, including a dedicated parcels office and a signal box. These utilitarian structures, while less architecturally ornate than the main station, played a crucial role in the station's day-to-day operations.
Contemporary Redevelopment (1978-Present)In the latter half of the 20th century, London Bridge Station underwent further transformations to meet the evolving needs of rail travel. The most significant redevelopment took place between 1978 and 1980, when the station's main concourse and platforms were rebuilt and expanded.
The 1978-1980 project, designed by the architectural firm Grimshaw and Partners, introduced a more modern aesthetic while respecting the station's historic character. The new concourse building, clad in mirrored glass and steel, provided a striking contrast to the ornate Victorian-era structures. Its soaring, column-free spaces and abundant natural light created a more open and airy feel for passengers.
The latest phase of redevelopment, completed in 2018, has further enhanced the station's functionality and visual appeal. This £1 billion project, led by Grimshaw Architects, has transformed London Bridge into a state-of-the-art transportation hub, featuring:
An expanded and reorganized platform layout, with the addition of new tracks and platformsImproved accessibility, including lifts and escalators to all platformsA spacious new concourse with natural light and clear wayfindingRetail and commercial spaces integrated into the station's designThroughout these successive redevelopments, the station's architects have strived to balance the need for modern, efficient infrastructure with the preservation of the site's historic character. The iconic Tooley Street façade, for instance, has been carefully restored and integrated into the new design, ensuring that London Bridge Station continues to serve as an architectural gateway to the City of London.
Today, London Bridge Station stands as a testament to the enduring importance of rail transport in the life of the capital. Its architectural evolution, from a modest 19th-century terminus to a state-of-the-art 21st-century hub, reflects the city's own transformation over the past two centuries. As a vital link in London's transportation network, the station will undoubtedly continue to shape the urban landscape for generations to come.
The Bank of England, often referred to as the "Old Lady of Threadneedle Street," stands as one of London's most iconic and historically significant buildings. Its architectural evolution mirrors the institution's growing importance in British finance and governance over more than three centuries.
Founding and Early Structure (1694-1734)The Bank of England was founded in 1694, initially operating from rented premises in Mercers' Hall and then Grocers' Hall. In 1734, the Bank moved to its first purpose-built home on Threadneedle Street, designed by George Sampson. This original structure was relatively modest, featuring a single great room for banking transactions and offices surrounding a central courtyard.
Expansion under Sir Robert Taylor (1765-1788)As the Bank's operations expanded, so did its physical presence. Sir Robert Taylor was appointed as the Bank's architect in 1765. Over the next two decades, he extended the Bank westward, creating a symmetrical stone screen wall along Threadneedle Street. Taylor's most significant contribution was the Rotunda, a domed public banking hall that became the heart of the Bank's operations.
The Soane Era (1788-1833)The appointment of Sir John Soane as the Bank's architect in 1788 marked the beginning of the most transformative period in the Bank's architectural history. Soane worked on the Bank for 45 years, gradually expanding and rebuilding it into a complex covering three acres.
Soane's design was revolutionary. He created a windowless, fortress-like exterior to ensure security, while ingeniously using top-lighting and double-height spaces to illuminate the interior. His use of classical elements, combined with his innovative approach to space and light, resulted in a building that was both functional and aesthetically striking.
Key features of Soane's design included:
The Tivoli Corner: An iconic rounded corner inspired by the Temple of Vesta in Tivoli, Italy.The Old Dividend Office: A grand, top-lit banking hall.The Consols Office: Another impressive banking hall featuring Soane's characteristic use of shallow domes and lanterns for lighting.The Bank Stock Office: Notable for its use of caryatids (sculpted female figures serving as architectural supports).By the time Soane retired in 1833, he had rebuilt nearly every part of the Bank, creating what many consider his masterpiece.
Victorian Renovations (1844-1902)The Victorian era saw further modifications to the Bank. In 1844, C.R. Cockerell added the London Underground Bank station beneath the building. Towards the end of the century, the internal courtyard was roofed over to create additional office space.
20th Century Reconstruction (1925-1939)The most dramatic change to the Bank came in the 20th century. By the 1920s, the Bank had outgrown Soane's building. The decision was made to demolish most of the existing structure and rebuild on a larger scale. Sir Herbert Baker was appointed as architect for this massive project.
Baker's redesign was controversial. While he retained Soane's exterior wall (which remains to this day), he demolished most of the interior, replacing Soane's intricate network of courtyards and top-lit halls with a seven-story structure built around a central courtyard. The new building featured a gigantic banking hall and increased office space to accommodate the Bank's growing staff.
Key features of Baker's design included:
The central courtyard: A large open space surrounded by the main building.The banking hall: A vast, impressive space with high ceilings and classical details.The Governors' Room: An ornate chamber featuring wood paneling and a painted ceiling.While Baker's design increased the Bank's functionality, many architectural historians lament the loss of Soane's interiors, considered among the most innovative of their time.
Post-War to PresentSince Baker's reconstruction, changes to the Bank have been relatively minor. In the 1980s, a new dealing room was added, and various technological upgrades have been implemented over the years.
In 2016, the Bank announced plans for a major renovation of its headquarters, aiming to modernize the facilities while respecting the building's historic character. This ongoing project includes updating infrastructure, improving accessibility, and creating more flexible work spaces.
Architectural SignificanceThe Bank of England building is a Grade I listed structure, recognizing its exceptional architectural and historical importance. Its exterior, largely unchanged since Soane's time, remains one of the most recognizable facades in the City of London.
The building's architecture reflects the changing needs and status of the Bank over three centuries. From Sampson's modest initial structure to Soane's innovative and secure design, and finally to Baker's grand reimagining, each phase represented the Bank's role at that time.
Today, the Bank of England stands as a unique architectural palimpsest. Its fortress-like exterior conceals a largely modern interior, creating a striking juxtaposition between old and new. This blend of architectural styles and eras makes the Bank of England not just a functional center of British finance, but also a living museum of architectural history, embodying the evolution of both banking and design in the heart of London.
Westminster Cathedral, the mother church of the Roman Catholic Church in England and Wales, stands as a striking example of Neo-Byzantine architecture in the heart of London. Its history and architectural development offer a fascinating glimpse into late 19th and early 20th-century religious architecture in Britain.
The story of Westminster Cathedral begins in 1884 when Cardinal Henry Manning acquired the site, formerly occupied by Tothill Fields Prison. The location, just a short distance from Westminster Abbey and the Houses of Parliament, was chosen deliberately to assert the presence of the Catholic Church in the center of British political and religious life.
The design of the cathedral was entrusted to John Francis Bentley, a prominent Victorian architect known for his work on Gothic Revival churches. However, for Westminster Cathedral, Bentley was instructed to depart from the Gothic style that dominated English church architecture at the time. Instead, he was asked to create a design inspired by early Christian Byzantine architecture, particularly that of Constantinople (modern-day Istanbul).
Bentley immersed himself in the study of Byzantine architecture, traveling to Italy to examine examples firsthand. His final design incorporated elements from various Byzantine churches, including the Hagia Sophia in Istanbul and San Marco in Venice. The result was a unique blend of Byzantine and Romanesque styles, creating what is often referred to as Neo-Byzantine architecture.
Construction of Westminster Cathedral began in 1895. The foundation stone was laid on June 29, 1895, and the structure was completed in 1903, just a year after Bentley's death. The cathedral was consecrated on June 28, 1910.
The exterior of Westminster Cathedral is characterized by its distinctive striped brickwork, alternating bands of red brick and Portland stone. This polychrome effect is reminiscent of Byzantine and Romanesque churches in Italy. The most striking feature of the exterior is the 284-foot (87-meter) high campanile, or bell tower, which stands apart from the main building and is crowned with a cross.
The cathedral's façade is dominated by a large portico with three arches, above which sits a mosaic of Christ Enthroned, designed by Robert Anning Bell and completed in 1916. The portico is flanked by two towers, each featuring a large rose window.
Internally, the cathedral's most impressive feature is its vast nave, measuring 360 feet (110 meters) long and 156 feet (48 meters) wide. The nave is covered by a series of domed ceilings, the highest reaching 117 feet (36 meters). These domes are supported by massive marble columns, each hewn from a single piece of stone.
One of the most striking aspects of the interior is that much of it remains undecorated, with bare brick walls visible in many areas. This was partly due to financial constraints but has also become a distinctive feature of the cathedral. The areas that are decorated showcase stunning mosaics, particularly in the sanctuary and side chapels.
The sanctuary is adorned with an elaborate baldacchino (canopy) over the high altar, made of precious marbles and adorned with lapis lazuli. Behind the altar, the apse features a mosaic of Christ in Majesty, designed by Robert Anning Bell and completed in 1935.
The side chapels, dedicated to various saints, feature some of the cathedral's most exquisite mosaics. The Lady Chapel, completed in 1912, is particularly noteworthy for its intricate mosaic work depicting scenes from the life of the Virgin Mary.
The cathedral's crypt is also of architectural interest, featuring a low vaulted ceiling supported by short, sturdy columns. It contains the tombs of several cardinals and archbishops of Westminster.
Over the years, Westminster Cathedral has seen several additions and modifications. The Blessed Sacrament Chapel, designed by Maurice B. Adams, was added in 1908. The cathedral's grand organ, one of the largest in the country, was installed in stages between 1922 and 1932.
In terms of modern additions, the Papal Throne, used by Pope John Paul II during his visit in 1982, is a notable feature. More recently, a new bronze door for the west entrance was installed in 2006, designed by sculptor James Atherton Moss.
Westminster Cathedral's unique architectural style set it apart from other major churches in London at the time of its construction. Its Byzantine-inspired design was a bold statement, differentiating it from the Gothic style of Westminster Abbey and St. Paul's Cathedral's Renaissance architecture.
Today, Westminster Cathedral stands as a testament to the vision of its founders and the skill of its architect. Its distinctive red and white striped exterior and soaring campanile have become an iconic part of London's skyline. Inside, the vast, domed spaces and glittering mosaics continue to inspire awe in visitors and worshippers alike.
The cathedral's architecture brilliantly combines the grandeur of Byzantine design with uniquely British elements, creating a space that is both monumental and intimate. As such, Westminster Cathedral remains not just an important religious site, but also a significant architectural landmark in the history of British ecclesiastical architecture.
In the heart of London's bustling South Bank stands a structure that seems almost out of time - a faithful recreation of one of the most iconic theatres in English history. Shakespeare's Globe Theatre, opened in 1997, is more than just a performance venue; it's a living bridge between the past and present, offering a tangible link to the world of William Shakespeare and the birthplace of some of the greatest works in the English language. This modern incarnation, born from the vision of American actor Sam Wanamaker and built through painstaking historical research, represents a unique architectural achievement. It not only honors the original Globe of 1599 but also serves as a working theatre, an educational center, and a testament to the enduring power of Shakespeare's works. As we explore the architectural history of both the original and reconstructed Globe Theatres, we uncover a story of innovation, preservation, and the timeless allure of Elizabethan drama.
The Original Globe Theatre (1599-1644)The original Globe Theatre was built in 1599 by the Lord Chamberlain's Men, Shakespeare's playing company. It was constructed using timber from an earlier theatre, The Theatre, which was dismantled and moved across the River Thames to Southwark.
The Globe was a three-story, open-air amphitheater approximately 30 meters (100 feet) in diameter that could house up to 3,000 spectators. Its structure was polygonal, thought to be either 20-sided or 18-sided, with a thatched roof over the rear portion of the gallery. The central area, known as the "pit" or "yard," had a raised stage at one end and was open to the sky.
The stage itself was a rectangular platform, about 13 meters wide and 8 meters deep, projecting into the yard. Above the stage was a covered structure called the "heavens," painted with stars, moons, and other celestial objects. This structure also contained trapdoors for special effects and entrances.
Behind the stage was the "tiring house," a multi-story structure where actors could change costumes and wait for their cues. Its upper levels could be used for balcony scenes, such as the famous balcony scene in "Romeo and Juliet."
The original Globe had a relatively short life. In 1613, it burned down when a theatrical cannon misfired during a performance of Henry VIII, igniting the thatched roof. It was quickly rebuilt with a tile roof but was closed down by the Puritans in 1642 and demolished in 1644.
The Concept and Planning of the Modern ReconstructionThe idea of reconstructing the Globe Theatre emerged in the early 20th century but gained significant momentum in the 1970s thanks to the efforts of American actor and director Sam Wanamaker. Wanamaker founded the Shakespeare Globe Trust in 1970 to research the original Globe and build a faithful reconstruction.
The project faced numerous challenges, including fundraising difficulties, archaeological debates, and negotiations with local authorities. However, Wanamaker's persistence paid off, and construction began in 1987, although he didn't live to see its completion.
Architectural Design and Construction of the New GlobeThe new Globe Theatre was designed by Pentagram architects, with Theo Crosby as the lead architect. The design was based on extensive research into Elizabethan architecture and theatre design, as well as archaeological evidence from the excavation of the Rose Theatre, another Elizabethan playhouse.
Construction began in 1987 and was completed in 1997. The theatre was built about 230 meters from the original site, as the exact location was occupied by listed buildings.
The new Globe is the first thatched roof building permitted in London since the Great Fire of 1666. Modern fire safety measures, including fire-retardant materials and a sprinkler system in the thatch, were incorporated to meet contemporary building codes.
Features and Authenticity of the ReconstructionThe reconstructed Globe closely follows what is known about the original theatre's design:
It is a three-story, open-air amphitheater approximately 30 meters in diameter.The stage is a rectangular platform projecting into a large circular yard.Surrounding the yard are three tiers of seated galleries.The theatre can accommodate about 1,400 spectators, compared to the original 3,000, due to modern safety regulations.The building materials and construction methods were chosen to be as authentic as possible. The frame is made of green oak and fastened together with wooden pegs. The walls are made of lime plaster mixed with goat hair and sand, supported by oak laths.
The thatched roof is made of water reed from Norfolk, based on evidence that Thames reed was used in the original Globe. The stage pillars are painted to resemble marble, a common Elizabethan practice known as "marbling."
The Globe's Impact on Modern Theatre and Shakespeare StudiesSince its opening in 1997, Shakespeare's Globe has had a significant impact on both theatrical practice and academic study:
It has provided a unique space for experimenting with original performance practices, including all-male casts, period costumes, and live music.The open-air design and close proximity of the audience to the stage have influenced modern interpretations of Shakespeare's plays.It has become a valuable resource for researchers studying Elizabethan theatre architecture and acoustics.The theatre has expanded to include the Sam Wanamaker Playhouse, an indoor candlelit theatre based on Jacobean designs, opening up new possibilities for winter performances and different theatrical experiences.The Globe complex also includes exhibition spaces and educational facilities, making it a significant cultural and educational landmark in London.
ConclusionShakespeare's Globe Theatre stands as a remarkable architectural achievement, bridging 400 years of theatrical and architectural history. Its construction required a unique blend of historical research, modern engineering, and traditional craftsmanship. The result is not just a theatre but a living museum and research center, offering insights into Elizabethan drama, architecture, and social history.
While it's impossible to create an exact replica of the original Globe, the modern reconstruction provides an invaluable approximation of the space for which Shakespeare wrote his later plays. It offers modern audiences a taste of the theatrical experience of Shakespeare's time while also serving as a venue for innovative productions and a laboratory for performance studies.
The Globe's architecture, with its open-air design, thrust stage, and galleries, continues to challenge and inspire directors, actors, and audiences, ensuring that Shakespeare's works remain vibrant and relevant in the 21st century. It stands as a testament to the enduring power of Shakespeare's plays and the architecture that first brought them to life.
The Ritz Hotel in London stands as an iconic symbol of luxury and elegance in the heart of Piccadilly. Its distinctive architecture and opulent design have made it one of the most recognizable and prestigious hotels in the world since its opening in 1906.
The hotel was conceived by César Ritz, the renowned Swiss hotelier, in collaboration with his business partner, Auguste Escoffier. Ritz had already established his reputation with the successful management of the Savoy Hotel in London and sought to create a new standard of luxury with his eponymous establishment.
The site chosen for The Ritz was previously occupied by the Bath Hotel and several adjacent buildings. These were demolished to make way for the new structure. The architectural design was entrusted to Charles Mewès and Arthur Davis, who had previously worked on the Ritz Hotel in Paris. Their task was to create a building that would embody the grandeur and sophistication that César Ritz envisioned.
Mewès and Davis designed The Ritz in the neoclassical Louis XVI style, which was fashionable at the time and aligned with Ritz's vision of French-inspired luxury. The exterior of the building is characterized by its Portland stone façade, featuring ornate detailing, balustrades, and sculptural elements. The architects paid particular attention to the proportions and symmetry of the building, creating a harmonious and impressive street presence.
One of the most distinctive architectural features of The Ritz is its mansard roof, typical of French neoclassical architecture. This steep, double-sloped roof allowed for additional floors while maintaining an elegant silhouette. The roof is adorned with ornamental dormers and chimneys, contributing to the building's overall grandeur.
The ground floor of The Ritz is notable for its arcade of arched windows, which allow natural light to flood into the public spaces and create a sense of openness and connection with the street outside. Above this, the piano nobile (first floor) features taller, more elaborate windows, emphasizing the importance of the principal rooms within.
Internally, the hotel's architecture and design were equally impressive. The Palm Court, one of the most famous spaces in The Ritz, was designed as a winter garden. Its high ceilings, mirrored walls, and abundance of natural light create an airy and elegant atmosphere. The intricate plasterwork, gilded details, and chandeliers exemplify the Louis XVI style and contribute to the room's opulent ambiance.
The Ritz Restaurant, another architectural highlight, was designed to resemble the dining room of the Palace of Versailles. Its high ceilings, ornate moldings, and large windows overlooking Green Park create a sense of grandeur and luxury. The use of mirrors amplifies the space and light, a technique often employed in French neoclassical interiors.
The hotel's corridors and public spaces were designed with equal attention to detail. Marble floors, ornate plasterwork, and gilded accents create a sense of luxury throughout the building. The grand staircase, with its wrought-iron balustrade and marble steps, serves as both a functional element and a statement piece.
The guest rooms and suites at The Ritz were designed to be spacious and luxurious, a departure from the smaller rooms common in many London hotels of the time. Each room was individually decorated in the Louis XVI style, featuring antique furnishings, silk wall coverings, and crystal chandeliers.
Over the years, The Ritz has undergone several renovations and restorations to maintain its architectural integrity while adapting to modern needs. In the 1970s, a significant renovation took place to update the hotel's facilities while preserving its historical character. More recently, in 2005, the hotel underwent a £40 million refurbishment, which included the careful restoration of original features and the integration of modern technology.
One of the challenges in maintaining The Ritz's architectural heritage has been balancing preservation with the need for modern amenities. The hotel has successfully integrated air conditioning, wifi, and other contemporary necessities without compromising its historical aesthetics.
The Ritz's architecture has influenced hotel design worldwide and has been protected as a Grade II* listed building since 1970, recognizing its historical and architectural significance. The listing covers not only the exterior but also many of the interior spaces, including the Palm Court and the Ritz Restaurant.
The hotel's location, at the corner of Piccadilly and Arlington Street, has also played a role in its architectural significance. Its prominent position makes it a landmark in the St. James's area of London, and its design complements the surrounding historic buildings.
The architecture of The Ritz Hotel in London represents a masterful blend of French neoclassical design and English craftsmanship. Its exterior grandeur, combined with the opulent interiors, created a new standard for luxury hotels in the early 20th century. Through careful preservation and thoughtful updates, The Ritz continues to stand as an architectural gem in London, maintaining its position as one of the world's most prestigious hotels while serving as a testament to the enduring appeal of classic design.
Smithfield Market, officially known as London Central Markets, has a rich history dating back nearly a millennium. Its architectural story is one of constant evolution, reflecting the changing needs of London's meat trade and the city's growth.
Medieval Origins:The site of Smithfield Market has been associated with livestock trading since the 10th century. Originally, it was a large open area known as "Smooth Field," just outside the city walls of London. In these early days, there were no permanent structures; instead, the area functioned as a vast field where livestock was bought and sold.
By the 12th century, Smithfield had become London's principal livestock market. The first recorded structure on the site was St. Bartholomew's Priory, founded in 1123, which played a significant role in organizing the annual Bartholomew Fair, a major trading event.
Tudor and Stuart Periods:During the 16th and 17th centuries, Smithfield remained an open market. However, the surrounding area saw significant development. Notable buildings from this period included the half-timbered houses and inns that catered to traders and visitors. While not part of the market proper, these structures formed an integral part of Smithfield's architectural landscape.
Georgian Era:The 18th century brought attempts to formalize and regulate the market. In 1710, an Act of Parliament established a cattle market at Smithfield, leading to the construction of pens and rudimentary facilities. However, the market remained largely open-air, and concerns about hygiene and congestion began to grow.
Victorian Transformation:The most significant architectural changes came in the Victorian era. By the mid-19th century, the old livestock market was deemed unsuitable for a rapidly growing London. In 1855, the livestock market was moved to Islington, and plans were made to create a dedicated meat market at Smithfield.
The new market was designed by Sir Horace Jones, the City Architect, who is also known for his work on Tower Bridge. Construction began in 1866 and was completed in 1868. Jones created a vast structure that combined functionality with impressive architectural details.
The market consisted of a series of large pavilions with soaring wrought iron roofs, a style characteristic of Victorian industrial architecture. The roofs were supported by slender cast iron columns, creating a sense of space and light. The use of iron and glass was not only aesthetically pleasing but also practical, allowing for natural light and ventilation.
The exterior was equally impressive, featuring a grand façade in the Italian Renaissance style. The central dome and clock tower became iconic features of the Smithfield skyline. The building's ornate details, including decorative ironwork and stone carvings, reflected the Victorian love of embellishment.
Jones's design incorporated modern amenities for its time, including an underground railway system for bringing meat into the market, hydraulic lifts, and advanced cold storage facilities.
20th Century Additions:The success of the market led to several expansions in the early 20th century. The Poultry Market, designed by Sir Thomas Bennett, was added to the east of the original market in 1875. Unfortunately, this building was destroyed by fire in 1958.
A new Poultry Market, designed by T.P. Bennett & Son, was built in 1963. This modernist structure featured a striking concrete dome, then the largest clear-spanning dome in Europe, with a diameter of 225 feet. The dome's innovative design used a concrete shell just 3 inches thick at its thinnest point.
Further additions included the General Market (1883) and the Fish Market (1888), both designed by Sir Horace Jones in a style consistent with the original market buildings.
Late 20th Century and Conservation:By the late 20th century, the focus shifted to conservation and adaptation. In 1966, the main market buildings were Grade II listed, recognizing their historical and architectural significance.
However, changes in the meat trade and urban development pressures led to proposals for redevelopment. In the 1990s and 2000s, various plans were put forward to repurpose parts of the market, sparking debates about preserving architectural heritage versus meeting modern needs.
21st Century Developments:In recent years, there have been ongoing discussions about the future of Smithfield Market. While the meat market continues to operate in the East and West Market buildings, plans have been approved to relocate the Museum of London to the General Market and Poultry Market buildings.
These plans, by architects Stanton Williams and Asif Khan, aim to preserve the historic fabric of the buildings while adapting them for new use. The designs incorporate elements of the market's industrial heritage, including exposing the Victorian ironwork and utilizing the existing basement spaces. Work is underway with the new museum scheduled to open in 2026.
Architectural Legacy:Smithfield Market's architecture tells the story of London's growth and changing needs over the centuries. From an open field to a grand Victorian market and now to a site of cultural significance, its buildings reflect evolving architectural styles and technologies.
The market's Victorian core remains a testament to the ambition and engineering prowess of the 19th century. Its iron and glass construction foreshadowed the modernist movement, while its ornate façades embody Victorian aesthetics.
Today, Smithfield Market stands as a unique architectural ensemble, blending different periods and styles. Its ongoing adaptation demonstrates how historic structures can be preserved and repurposed, maintaining their architectural integrity while serving new functions in the 21st century.
As Smithfield Market enters its next phase, its architecture continues to evolve, promising to remain a significant landmark in London's architectural landscape for generations to come.
London County Hall stands as a monumental testament to early 20th-century British civic architecture, its grand façade stretching along the South Bank of the River Thames. This imposing structure, with its Edwardian Baroque style and strategic location opposite the Houses of Parliament, embodies the aspirations and authority of London's government during a pivotal era of the city's development.
From its inception in 1908 to its completion in the late 1920s and through its various transformations in the decades since County Hall has been more than just a building. It represents the evolution of London's governance, architectural tastes, and the changing face of the city itself. Its journey from the seat of the London County Council to a multi-purpose landmark reflects broader shifts in urban planning, preservation, and the repurposing of historic structures.
This architectural history will explore the design, construction, and subsequent life of London County Hall, examining its significance not only as a work of architecture but as a symbol of London's past, present, and future. Through this building, we can trace the story of a city in constant flux yet always mindful of its heritage.
Certainly, I'll provide a comprehensive architectural history of London County Hall, covering all the key aspects and expanding beyond 800 words as needed.
Architectural History of London County Hall
Design and ConstructionThe story of London County Hall begins in the early 20th century when the London County Council (LCC) decided it needed a new, larger headquarters. The LCC had been operating from various locations since its formation in 1889, and by 1906, it was clear that a purpose-built structure was necessary to house its growing operations.
In 1908, a design competition was held, attracting entries from prominent architects of the time. The winning design came from a team led by Ralph Knott, a young and relatively unknown architect. Knott's design was chosen for its grandeur and efficient use of the challenging triangular site along the Thames, opposite the Houses of Parliament.
Construction began in 1911, but progress was slow due to various factors, including labor shortages and material scarcity caused by World War I. The building was constructed in phases, with the central section and north wing completed first. The LCC moved into these completed portions in 1922, although construction continued on other parts of the building for several more years.
Architectural Style and FeaturesLondon County Hall is a prime example of Edwardian Baroque architecture, a style that was popular in Britain in the early 20th century. This style is characterized by its grandiose scale, elaborate ornamentation, and classical elements, all of which are prominently featured in County Hall.
The building's exterior is clad in Portland stone, giving it a pale, dignified appearance. Its riverside façade stretches for 200 meters along the Thames, presenting an imposing and symmetrical face to the city. The central section is emphasized by a tall clock tower, which serves as a focal point and echoes the clock tower of the Palace of Westminster across the river.
One of the most striking features of County Hall is its curved façade, which follows the bend of the river. This design not only maximizes the use of the awkward triangular site but also creates a dramatic architectural statement. The building's river-facing side is adorned with monumental columns, ornate cornices, and decorative sculptures, all typical elements of the Edwardian Baroque style.
The main entrance, located on the Belvedere Road side, is marked by a grand portico supported by massive Ionic columns. Above the entrance, allegorical sculptures represent Peace, Progress, and Industry, reflecting the building's civic purpose and the aspirations of the time.
Internally, the building is organized around a series of courtyards, which provide natural light and ventilation to the interior spaces. The most impressive internal space is the elliptical Council Chamber, designed to accommodate all 150 members of the London County Council. The chamber features rich wood paneling, leather seating, and a public gallery, embodying the democratic ideals of local government.
Other notable interior features include grand staircases, marble-clad corridors, and elaborate plasterwork ceilings. The building also incorporated modern amenities for its time, including electric lighting and a sophisticated heating system.
Expansions and ModificationsAlthough the main structure of County Hall was completed by the late 1920s, the building continued to evolve over the decades. The most significant addition came in the 1930s with the construction of the south wing. This extension, completed in 1939, was designed to harmonize with Knott's original plans while incorporating some more modern elements.
During World War II, County Hall suffered damage from bombing raids, particularly to its river-facing façade. Post-war repairs were carried out, and some modernization work was undertaken, including the installation of new elevators and updating of office spaces.
In the 1950s and 1960s, further modifications were made to accommodate the growing staff and changing needs of the council. This included the addition of a new block to the rear of the building, which, while functional, lacked the architectural distinction of the original structure.
Post-Council Use and PreservationThe role of County Hall as a center of London's government came to an end in 1986 when the Greater London Council (which had replaced the LCC in 1965) was abolished by the government of Margaret Thatcher. This left the future of the building uncertain.
After standing empty for several years, County Hall was sold to private developers in the 1990s. This marked the beginning of a new chapter in the building's history, as it was repurposed for a variety of commercial and cultural uses.
Today, County Hall houses a mix of attractions, including the London Aquarium, a hotel, restaurants, and office spaces. While these new uses have necessitated some internal modifications, the exterior of the building remains largely unchanged, preserving its historic architectural character.
The building was granted Grade II* listed status in 1981, recognizing its significant architectural and historical importance. This listing ensures that any future changes or developments must respect the building's heritage.
Architectural Legacy and InfluenceLondon County Hall stands as a testament to the civic ambitions of early 20th-century London. Its grand scale and elaborate design reflect the importance placed on local government at the time and the desire to create public buildings that could rival the great architectural works of previous centuries.
The building's location and design have made it an integral part of London's riverscape. It forms part of a significant architectural dialogue with the Palace of Westminster across the river, creating a powerful visual representation of the relationship between local and national government.
County Hall's influence can be seen in other civic buildings of the period, both in London and across the UK. Its successful blend of grand civic architecture with practical office design set a standard for government buildings in the 20th century.
Contemporary SignificanceToday, London County Hall remains a significant landmark on the South Bank of the Thames. While it no longer serves its original purpose, its adaptation to new uses demonstrates the potential for historic buildings to find new relevance in the modern city.
The building continues to play a role in London's cultural life, hosting exhibitions and events. Its presence on the South Bank, alongside other cultural institutions like the National Theatre and the Southbank Centre, contributes to the area's identity as a hub of culture and entertainment.
From an architectural perspective, County Hall serves as an important example of Edwardian Baroque style and early 20th-century civic architecture. It stands as a reminder of a particular moment in London's architectural and political history, bridging the grandeur of Victorian public buildings with the more functional approach of modernism that would come to dominate later in the century.
London County Hall's architectural history is a rich tapestry that reflects changing political, social, and aesthetic values over more than a century. From its origins as a symbol of London's growing municipal power to its current role as a mixed-use landmark, the building continues to be an integral part of London's architectural heritage and urban fabric.
The Cutty Sark, a magnificent example of a 19th-century tea clipper, stands as a proud testament to Britain's maritime heritage in Greenwich, London. Now a museum ship, the Cutty Sark has had a long and eventful journey from its days as a working vessel to its current status as a popular tourist attraction.
Built in 1869 in Dumbarton, Scotland, the Cutty Sark was designed to be one of the fastest ships of its time. Named after a witch's garment in Robert Burns' poem "Tam o' Shanter," the ship was initially used in the tea trade, racing to bring the first tea of the season from China to London. However, the opening of the Suez Canal in the same year as the Cutty Sark's launch soon made steamships more economical for the tea trade.
Adapting to changing times, the Cutty Sark found a new purpose in the wool trade from Australia to England, where she excelled. In 1895, she set a record time for the journey from Sydney to London, completing it in just 73 days. The ship continued in this role until 1922, after which she was used as a training ship and then laid up in Falmouth, Cornwall.
The story of the Cutty Sark as a museum began in 1954 when she was moved to a specially constructed dry dock in Greenwich. The Cutty Sark Society, formed to preserve the ship, worked tirelessly to restore her to her former glory. On June 25, 1957, Queen Elizabeth II officially opened the ship to the public as a museum.
For decades, the Cutty Sark served as a popular attraction, allowing visitors to step back in time and experience life aboard a 19th-century sailing ship. The museum not only showcased the ship's structure but also featured exhibits on maritime history, the tea and wool trades, and life at sea during the age of sail.
However, the ship's journey as a museum hasn't been without challenges. On May 21, 2007, disaster struck when a fire broke out on the Cutty Sark during renovation work. The blaze, which started in the early hours of the morning, caused significant damage to the ship. About 50% of the ship's planking and other structures were not on site at the time, having been removed as part of the restoration work, which inadvertently saved these elements from destruction.
The fire was a major setback, but it also galvanized public support for the ship's restoration. The UK government pledged additional funding, and public donations poured in. The restoration project, which had begun before the fire, now took on added urgency and scope.
The restoration work was extensive and meticulous. It involved not just repairing the fire damage but also addressing long-standing issues such as the deterioration of the ship's iron frame. The project aimed to preserve as much of the original fabric as possible while ensuring the ship's long-term stability and accessibility to visitors.
One of the most innovative aspects of the restoration was the decision to raise the ship 3.3 meters above her dry dock. This allowed visitors to walk underneath the hull, providing a unique perspective on the ship's streamlined design and construction. The space beneath the ship was also used to house new visitor facilities and exhibition areas.
After nearly five years of painstaking work, the Cutty Sark reopened to the public on April 26, 2012. The restoration, costing around £50 million, had transformed the visitor experience while preserving the ship's historical integrity. Queen Elizabeth II, who had opened the original museum 55 years earlier, returned to reopen the restored Cutty Sark.
The reimagined museum offers a multifaceted experience. Visitors can explore the ship's decks, learning about life at sea in the 19th century. The hold, once used for cargo, now houses an immersive exhibition on the ship's history and the tea and wool trades. The new visitor center beneath the ship provides additional context and interactive displays.
One of the most striking features of the restored ship is the glass canopy that surrounds the lower hull. This not only protects the ship from the elements but also creates a dramatic visual effect, especially when illuminated at night.
Since its reopening, the Cutty Sark has once again become a major London attraction, drawing visitors from around the world. It continues to play a vital role in educating the public about maritime history and the age of sail. The ship also serves as a venue for various events, from afternoon teas to corporate functions, ensuring its continued relevance in the 21st century.
The story of the Cutty Sark Museum is one of resilience and adaptation. From a working vessel to a beloved museum, through fire and extensive restoration, the ship has continually evolved while maintaining its core identity as a symbol of maritime excellence. Today, it stands not just as a testament to the past, but as a bridge between history and the present, inviting new generations to explore the rich maritime heritage of Britain.
The Savoy Hotel, an emblem of luxury and sophistication in London, boasts a rich architectural history that spans over a century. This iconic establishment, situated on the north bank of the River Thames, has been a beacon of opulence and innovation since its inception in 1889.
The hotel's story begins with the visionary Richard D'Oyly Carte, an impresario who made his fortune producing Gilbert and Sullivan operas. Carte dreamed of creating a luxury hotel that would rival the finest establishments in Europe and America. To realize this ambitious project, he enlisted the services of architect Thomas Edward Collcutt, known for his work on the Palace Theatre.
Collcutt designed the Savoy in the fashionable Renaissance Revival style, popular in late Victorian England. The exterior featured a striking combination of Portland stone and red brick, creating a visual spectacle that immediately set the hotel apart. The building's façade was adorned with elaborate carvings and decorative elements, reflecting the grandeur that awaited guests inside.
One of the most innovative aspects of the Savoy's original design was its use of electricity. It was one of the first buildings in London to be lit entirely by electric lights, a feature that earned it the nickname "The Electric Palace." This forward-thinking approach extended to other amenities as well, with the hotel boasting electric lifts, hot and cold running water in every room, and an early form of air conditioning.
The interior of the Savoy was equally impressive. The grand entrance hall, with its marble columns and ornate plasterwork, set the tone for the luxurious spaces beyond. The famous Thames Foyer, originally an open courtyard, was later enclosed with a glass cupola, creating a breathtaking space that became the heart of the hotel.
As the Savoy's popularity grew, so did the need for expansion. In 1903, a significant addition was made to the hotel with the construction of the Savoy Theatre, designed by Frank Verity. This new wing seamlessly integrated with the original building, maintaining the hotel's cohesive aesthetic while providing additional amenities for guests.
The early 20th century saw further architectural enhancements under the guidance of Sir Howard Robertson. Robertson was responsible for redesigning the River Restaurant in 1937, creating an Art Deco masterpiece that offered stunning views of the Thames. His work blended harmoniously with the hotel's existing style while introducing modern elements that kept the Savoy at the forefront of luxury hospitality.
World War II brought challenges to the Savoy, as it did to much of London. The hotel suffered damage from bombing raids, but its sturdy construction and the dedication of its staff ensured that it remained operational throughout the conflict. The post-war years saw a period of restoration and modernization, with careful attention paid to preserving the hotel's historic character while updating its facilities.
A major renovation in the 1950s saw the addition of air conditioning throughout the hotel, a rarity in London at the time. This period also saw updates to guest rooms and public spaces, always with an eye towards maintaining the Savoy's reputation for luxury and innovation.
The late 20th and early 21st centuries brought new challenges and opportunities for the Savoy. In 2007, the hotel closed its doors for the first time in its history for a comprehensive renovation. This £220 million project, led by designer Pierre-Yves Rochon, aimed to restore the Savoy to its former glory while bringing it firmly into the 21st century.
The renovation, which took nearly three years to complete, touched every aspect of the hotel. Historic features were meticulously restored, including the famous black-and-white checkerboard floor in the entrance hall. Guest rooms were updated with the latest technology while retaining their classic elegance. The Thames Foyer was rejuvenated, and its glass cupola was cleaned and restored to allow natural light to flood the space once again.
One of the most significant changes was the reconfiguration of the River Restaurant. The space was transformed into the Kaspar's Seafood Bar and Grill, named after the hotel's famous cat sculpture. This new design paid homage to the Art Deco heritage of the space while creating a more contemporary dining experience.
Throughout its history, the Savoy has been at the forefront of architectural innovation in the hospitality industry. From its early adoption of electricity to its pioneering use of en-suite bathrooms, the hotel has consistently set new standards for luxury and comfort.
Today, the Savoy stands as a testament to the enduring power of thoughtful architecture and design. Its seamless blend of historic charm and modern luxury continues to captivate guests from around the world. The hotel's façade, with its Portland stone and red brick, remains an iconic sight on the London skyline, while its interiors offer a journey through the best of late Victorian, Edwardian, Art Deco, and contemporary design.
As the Savoy moves into its second century, it continues to evolve, always with an eye toward preserving its rich architectural heritage while embracing the future. It remains, as it has always been, a palace of luxury on the Thames, a living monument to the art of hospitality and the enduring allure of timeless design.
The iconic Fortnum & Mason building on Piccadilly is a prominent landmark in London's West End, boasting a rich architectural heritage that spans over three centuries. This imposing structure, which has housed the renowned luxury goods retailer since 1707, is a testament to the city's enduring commercial legacy and the evolving architectural styles that have shaped its urban landscape.
The origins of Fortnum & Mason can be traced back to the late 17th century when William Fortnum, a footman in the household of Queen Anne, began selling surplus candles and other household goods from his small premises on Duke Street. As the business grew, it eventually relocated to its current location on Piccadilly, where a modest shop was established in 1707.
It wasn't until the late 18th century that the building began to take on its distinctive architectural form. In 1776, the original shop was demolished, and a new structure was erected, designed by the architect Samuel Ware. Ware's design embraced the Georgian style popular during that era, featuring a symmetrical façade with rusticated ground floors and elegant sash windows adorned with pediments.
The 19th century saw further expansions and renovations as the business flourished. In 1824, the addition of a new wing to the east was overseen by the architect Lewis Vulliamy, who seamlessly integrated the new section with the existing Georgian structure. Vulliamy's contributions included the construction of the iconic entrance portico, with its Doric columns and pediment, which remains a defining feature of the building today.
As the Victorian era dawned, Fortnum & Mason continued to grow, necessitating yet another expansion. In 1855, the firm commissioned the architect John Griffith to design a new wing to the west, creating additional retail space and accommodating the company's burgeoning workforce. Griffith's design echoed the Georgian style of the original building while incorporating elements of the emerging Victorian aesthetic, such as the use of polychromatic brickwork and decorative terracotta details.
The late 19th and early 20th centuries witnessed further alterations and renovations, reflecting the changing tastes and commercial demands of the time. In 1907, the architect C.W. Stephens oversaw the construction of a new façade along Piccadilly, featuring a distinctive curved corner bay that became an iconic part of the building's silhouette.
The mid-20th century brought about one of the most significant transformations in the building's history. In the 1950s, Fortnum & Mason embarked on a massive restoration and modernization project, enlisting the expertise of the esteemed architect Sir Evan Tanner. Tanner's vision sought to preserve the historic character of the building while introducing contemporary elements that would enhance its functionality and appeal.
One of Tanner's most notable contributions was the creation of the striking central atrium, which unified the various wings and floors of the building into a cohesive whole. This light-filled space, crowned by a glazed roof, became the heart of the building, offering visitors a dramatic introduction to the Fortnum & Mason experience.
In the ensuing decades, the building underwent further renovations and updates to keep pace with changing retail trends and customer expectations. However, these alterations were undertaken with great care and sensitivity, ensuring that the building's historic fabric and architectural integrity remained intact.
Today, the Fortnum & Mason building stands as a remarkable synthesis of architectural styles, reflecting the city's rich cultural and commercial heritage. From the Georgian elegance of the original façade to the Victorian flourishes of the later additions and the modern interventions that have enhanced its functionality, this iconic structure represents a living tapestry of London's architectural evolution.
As one of the city's most beloved retail destinations, the Fortnum & Mason building has become an integral part of the urban fabric of central London.
The National Gallery in London, one of the world's most renowned art museums (and my personal favorite), boasts a rich and storied architectural history that spans over two centuries. Situated in the heart of Trafalgar Square, this iconic institution has undergone numerous transformations and expansions, reflecting the evolving tastes and priorities of each era.
The origins of the National Gallery can be traced back to the early 19th century when the British government acquired a collection of 38 paintings from the estate of the wealthy banker and art collector John Julius Angerstein. This modest assemblage became the nucleus of what would eventually evolve into one of the world's finest art collections. In 1824, the government commissioned the construction of a purpose-built gallery to house these artworks, and the architect William Wilkins was entrusted with the task.
Wilkins, a proponent of the Greek Revival style, envisioned a grand, neoclassical edifice that would evoke the grandeur of ancient Grecian temples. The result was a majestic structure adorned with a colossal Corinthian portico and flanked by two imposing wings. The interior featured a series of sky-lit galleries designed to showcase the paintings in the best possible light. Despite initial criticism, Wilkins' design was hailed as a triumph of neoclassical architecture and set the tone for the National Gallery's future development.
As the gallery's collection grew rapidly in the latter half of the 19th century, the need for expansion became evident. In 1876, the esteemed architect Sir John Taylor was commissioned to design a new wing known as the Wilkins Building Extension. This addition, which mirrored the original neoclassical style, provided much-needed exhibition spaces while maintaining a harmonious aesthetic with the existing structure.
The early 20th century ushered in a new era of architectural innovation for the National Gallery. In 1975, the renowned modernist architects Sir Denys Lasdun and Sir Leslie Martin were tasked with creating a new wing to house the gallery's ever-expanding collection. The resulting Sainsbury Wing, with its distinctive geometric forms and extensive use of concrete and glass, stood in stark contrast to the neoclassical grandeur of the original building. This bold juxtaposition of styles sparked considerable debate, yet it also showcased the gallery's commitment to embracing contemporary architectural expression. Many voices, including Prince Charles at the time, thought the extension ruined the facade.
In the late 20th and early 21st centuries, the National Gallery continued to evolve, undergoing a series of renovations and modernizations to meet the demands of a rapidly changing cultural landscape. The most significant of these was the Millennium Building Project, completed in 2004, which transformed the gallery's infrastructure and visitor facilities. This ambitious undertaking, overseen by the architects Dixon Jones and John Miller + Partners, introduced state-of-the-art climate control systems, improved accessibility, and created a new entrance pavilion that seamlessly integrated with the existing buildings.
Today, the National Gallery stands as a testament to the enduring power of art and architecture to inspire and captivate audiences across generations. Its architectural legacy is a remarkable tapestry woven from the threads of neoclassical grandeur, modernist daring, and contemporary ingenuity. Each addition and renovation has not only provided functional enhancements but has also contributed to the gallery's rich narrative, reflecting the ever-evolving artistic and cultural zeitgeist of its time.
As visitors wander through the National Gallery's hallowed halls, they are immersed in a unique architectural experience that transcends mere aesthetics. The interplay between the historical and the contemporary, the juxtaposition of styles, and the seamless integration of form and function create a multisensory journey that enhances the appreciation of the masterpieces on display. The National Gallery's architectural history is a living, breathing embodiment of the enduring human quest for beauty, expression, and cultural enlightenment.
The Liberty of London building, a landmark destination for fashion and luxury goods, is an architectural marvel that seamlessly blends historic grandeur with modern elegance. This iconic department store, nestled in the heart of the city, has a rich history that spans over a century and a half, intertwined with the evolution of London's retail landscape and the changing tastes of its discerning clientele.
The Origins: A Remnant of Bygone SplendorThe story of the Liberty Building begins in the late 19th century, when it was constructed as a traditional timber-framed building in the Tudor Revival style. Designed by the esteemed architects Edwin T. Hall and Ebenezer Gregg, the original structure was a nod to the architectural heritage of London, with its distinctive half-timbered façade and intricate wood carvings.
This architectural gem, completed in 1875, was initially intended to serve as a warehouse and showroom for the burgeoning retail empire of Arthur Lasenby Liberty. A visionary entrepreneur and ardent supporter of the Arts and Crafts movement, Liberty had a keen eye for exquisite fabrics and innovative design, which would shape the store's identity for generations to come.
The Golden Age of Retail OpulenceAs the Liberty brand gained popularity and prestige, the building underwent a series of expansions and renovations to accommodate the growing demand for its luxurious merchandise. In the early 20th century, the store's iconic Renaissance-style façade was unveiled, featuring ornate stonework, intricate carvings, and the iconic Tudor Revival elements that have become synonymous with the Liberty aesthetic.
Inside, the store was a veritable palace of retail splendor, with soaring atria, grand staircases, and opulent interiors adorned with intricately carved wooden paneling, stained glass windows, and lavish decorative details. The central courtyard, a hallmark of the Liberty experience, was a serene oasis where customers could escape the hustle and bustle of the city and immerse themselves in the store's enchanting ambiance.
The Evolution of a Retail IconOver the decades, the Liberty building has undergone numerous renovations and expansions, each time adapting to the changing needs of its customers and the evolving retail landscape. In the late 20th century, a bold and ambitious redevelopment project was undertaken, seamlessly integrating modern architectural elements with the historic fabric of the building.
The addition of the iconic Tudor Revival-style façade along Regent Street, designed by the renowned architects John Muir and David Walker, paid homage to the store's rich heritage while introducing contemporary materials and innovative design elements. The sleek glass atrium, soaring over the central courtyard, flooded the interior with natural light and created a breathtaking focal point for the store.
Preserving the Past, Embracing the FutureToday, the Liberty of London building stands as a testament to the enduring appeal of historic architecture and the ability to seamlessly blend tradition with modernity. The meticulously preserved Tudor Revival elements, such as the iconic timber-framed façades and intricate wood carvings, coexist harmoniously with the sleek, contemporary additions, creating a multifaceted architectural experience that captivates the senses.
Within the store's walls, the legacy of Arthur Lasenby Liberty lives on, as the retailer continues to curate a carefully selected collection of luxury goods, from exquisite fabrics and fashion to home decor and accessories. Each room, each nook and cranny, tells a story of the store's rich history, from the opulent wood-paneled rooms adorned with stained glass windows to the airy, modern spaces that showcase the latest in fashion and design.
The Liberty of London building is more than just a retail destination; it is a living museum, a celebration of London's architectural heritage, and a testament to the city's enduring spirit of innovation and entrepreneurship. As shoppers wander through its halls, they are transported through time, immersed in a world of luxury and craftsmanship that has stood the test of time.
From its humble beginnings as a timber-framed warehouse to its current status as a global retail icon, the Liberty of London building has woven itself into the fabric of the city's cultural tapestry. Its architectural evolution reflects the changing tides of fashion, design, and social mores, serving as a vivid reminder of London's resilience and its ability to embrace the future while cherishing its storied past.
Liberty of London is open daily to explore (and shop!). Check the website for opening times.
The George Inn, nestled in the heart of Southwark, London, stands as a remarkable testament to the city's rich architectural heritage and its enduring connection to the past. This historic public house, dating back to the 17th century, boasts a captivating story that intertwines with the very fabric of London's evolution.
The Origins: A Galleried Inn of the 17th CenturyThe George Inn's origins can be traced back to 1676, when it was first established as a galleried coaching inn. This architectural style, characterized by an open courtyard surrounded by multi-story galleries or balconies, was a common sight in London during that era. These inns provided lodging, refreshments, and stabling for travelers and their horses, serving as vital hubs along the bustling trade routes.
The original George Inn was constructed on the site of a former monastery, the Priory of St. Mary Overie, which had been dissolved during the reign of Henry VIII. The inn's location in Southwark was strategic, as it stood along the main road leading to the London Bridge, making it a prime stopover point for those entering or leaving the city.
The Architectural MasterpieceToday, The George Inn stands as one of the few remaining galleried coaching inns in London. Its architectural grandeur is evident in the inn's distinctive features, which have been meticulously preserved over the centuries.
The inn's central courtyard, once a bustling hub for travelers and their horses, is now a tranquil oasis surrounded by the iconic wooden galleries. These galleries, supported by ornate wooden pillars and adorned with intricate carvings, provide a glimpse into the craftsmanship and attention to detail that defined the inn's construction.
One of the most striking elements of The George Inn is its remarkable timber-framed structure. The exposed beams and timbers, darkened by age and smoke, create a warm and inviting atmosphere, transporting visitors back in time to the inn's heyday. The building's leaded windows and shutters further enhance the sense of historical authenticity, while the tiled roofs and chimneys add to the picturesque charm of the inn's exterior.
Resilience and RestorationOver the centuries, The George Inn has weathered numerous challenges, from fires to societal changes that threatened its existence. In the 19th century, as the coaching trade declined and the area around the inn became increasingly industrialized, the future of this architectural gem seemed uncertain.
However, in the early 20th century, a concerted effort was made to preserve and restore The George Inn. In 1937, the London County Council acquired the property, recognizing its historical significance and architectural value. Extensive restoration work was undertaken, ensuring that the inn's original features were carefully preserved while accommodating modern amenities.
Today, The George Inn stands as a living museum owned by the National Trust, offering visitors a glimpse into the rich history of London's coaching inns and the architectural styles that defined that era. Still a working pub, the inn's timeless charm and historical significance have made it a beloved destination for locals and tourists alike, serving as a reminder of the city's resilience and its ability to preserve its heritage amidst the relentless march of progress.
A Living LegacyBeyond its architectural splendor, The George Inn has played a pivotal role in shaping the cultural and social fabric of Southwark and London. Throughout its existence, the inn has served as a gathering place for locals, a hub for storytelling, and a venue for traditional entertainment, such as theater performances and music.
Today, The George Inn continues to embrace its legacy, hosting a variety of events and activities that celebrate the rich history and culture of the area. From traditional pub nights to historical reenactments and guided tours, the inn offers a unique opportunity to immerse oneself in the vibrant tapestry of London's past. It is now owned and managed by the National Trust, preserving it forever. And anyone who has visited, knows that it is more popular than ever!
Check out the website for opening times and reservations.
The Queen's House in Greenwich stands as an architectural jewel, a testament to the grandeur and elegance of classical architecture in England. Spanning centuries of history, its story intertwines with the evolution of British architecture and the changing tastes of royalty. From its conception to its present-day status as a cultural landmark, the Queen's House remains a symbol of artistic achievement and historical significance.
Commissioned by Anne of Denmark, wife of King James I, in the early 17th century, the Queen's House was designed to be a retreat from the hustle and bustle of court life. Its location in Greenwich, overlooking the River Thames, provided a picturesque setting for contemplation and leisure. The architectural vision for the house was entrusted to Inigo Jones, a pioneering figure in English architecture known for his mastery of classical design principles.
Construction on the Queen's House began in 1616, marking the dawn of a new era in British architecture. Influenced by the Renaissance architecture he encountered during his travels in Italy, Jones sought to bring the principles of classical proportion and symmetry to England. The Queen's House was to be his crowning achievement, a masterpiece of geometric harmony and architectural grace.
At the heart of Jones's design for the Queen's House is a perfect cube, flanked by two wings that form a symmetrical H-shape when viewed from above. This innovative layout was revolutionary for its time, departing from the medieval tradition of irregular, rambling floor plans in favor of clarity and order. The exterior facade of the house is characterized by classical elements such as Doric columns, pilasters, and a pedimented portico, all executed with meticulous attention to detail.
One of the most striking features of the Queen's House is the Great Hall, a double-height space with a magnificent ceiling adorned with elaborate plasterwork. Designed to impress visitors and dignitaries, the Great Hall served as a venue for royal receptions and banquets, showcasing the wealth and power of the Stuart monarchy. The integration of classical motifs such as gods and goddesses, foliage, and geometric patterns into the decorative scheme reflects Jones's deep appreciation for the classical heritage of antiquity.
Despite its initial purpose as a royal residence, the Queen's House saw limited use by its intended occupants. Following Anne of Denmark's death in 1619, construction on the house came to a halt, leaving it unfinished for decades. It wasn't until the reign of King Charles I and his queen, Henrietta Maria, that work resumed on the Queen's House. In 1635, the house was finally completed, though some alterations were made to Jones's original design to accommodate changing tastes and functional requirements.
During the English Civil War in the mid-17th century, the Queen's House fell into disuse and disrepair, its elegant interiors stripped of their furnishings and decorations. In the aftermath of the war, the house underwent a series of transformations, serving variously as a residence, a naval academy, and a museum. Despite these changes, the essential integrity of Jones's design remained intact, a testament to the enduring appeal of classical architecture.
In the 17th century, the Queen's House underwent a significant restoration effort under the direction of architect Sir Christopher Wren, himself a towering figure in the history of English architecture. Wren's restoration work sought to preserve the historic fabric of the building while updating its facilities for modern use. The result was a careful balance of preservation and adaptation, ensuring that the Queen's House could continue to serve as a cultural and architectural landmark for future generations.
Today, the Queen's House stands as a monument to the genius of Inigo Jones and the enduring legacy of classical architecture in England. Its elegant proportions, refined details, and timeless beauty continue to captivate visitors from around the world, offering a glimpse into the opulent world of the Stuart monarchy. As a symbol of artistic excellence and historical significance, the Queen's House remains a cherished treasure of British heritage, a living testament to the power of architectural vision and craftsmanship.
You can visit the house for free as part of the National Maritime Museum, and explore the beautiful building and the artworks it contains.
The British Museum, located in London, stands as a testament to the enduring legacy of human civilization and cultural heritage. Its architectural journey traces back to its inception in the 18th century, evolving through various phases to become one of the world's most renowned cultural institutions.
The museum's story begins in 1753 when an Act of Parliament established it as the first national public museum in the world. Initially housed in a mansion in Bloomsbury, the museum's collection comprised manuscripts, books, and specimens donated by Sir Hans Sloane. However, as the collection expanded, it soon outgrew its modest accommodations, prompting the need for a purpose-built structure.
In 1823, the museum's trustees launched a competition to design a new building. Architect Sir Robert Smirke emerged victorious with his neoclassical design, inspired by ancient Greek architecture. Construction began in 1823 and took over thirty years to complete, with the museum opening its doors to the public in 1857.
Smirke's design for the British Museum is characterized by its imposing façade dominated by a grand Ionic portico. The portico features a series of columns supporting a triangular pediment adorned with sculptures depicting the progression of civilization. This architectural style, reminiscent of ancient Greek temples, reflects the museum's dedication to the pursuit of knowledge and enlightenment.
The interior of the museum is equally impressive, with vast galleries arranged around a central courtyard known as the Great Court. The Great Court, initially an open space, was enclosed in the early 21st century with a spectacular glass roof designed by architect Norman Foster. This modern addition seamlessly integrates with Smirke's original architecture, creating a dynamic juxtaposition of old and new.
Throughout the 19th and 20th centuries, the British Museum continued to expand its collections, acquiring artifacts and treasures from around the globe. This growth necessitated further architectural interventions to accommodate the museum's burgeoning holdings.
In the late 20th century, the museum embarked on a series of renovation and modernization projects to enhance visitor experience and preserve its priceless artifacts. One significant addition was the construction of the Queen Elizabeth II Great Court, unveiled in 2000 to coincide with the new millennium. Designed by Foster and Partners, this vast covered square provides a stunning entrance to the museum and houses the world-famous Reading Room at its center.
The British Museum's architectural narrative is not without controversy and critique. While celebrated for its grandeur and historical significance, the museum has faced scrutiny over its colonial past and the acquisition of cultural artifacts from former British colonies. Calls for the repatriation of such objects have prompted debates about the museum's role in the post-colonial era and its responsibility towards restitution and reconciliation.
In recent years, the museum has endeavored to address these concerns through initiatives aimed at promoting cultural exchange and collaboration with source communities. This includes partnerships with institutions worldwide for the loan of artifacts and collaborative research projects to explore the provenance and significance of contested objects.
Looking ahead, the British Museum remains a beacon of cultural heritage and a symbol of human achievement. Its architectural legacy, spanning centuries of history and innovation, serves as a testament to the enduring power of knowledge and the quest for understanding in an ever-changing world. As it continues to evolve and adapt to the challenges of the 21st century, the British Museum stands poised to inspire and educate generations to come, ensuring that its architectural and cultural legacy endures for centuries to come.
Apsley House, also known as Number One London, is one of the most iconic buildings in London. This grand neoclassical mansion is located in Hyde Park Corner and was built in the 18th century. It was the London residence of the first Duke of Wellington, who was one of the most important military commanders and statesmen in British history. The architectural and cultural history of Apsley House is intertwined with the life and legacy of the Duke of Wellington and the broader history of the British Empire.
The construction of Apsley House began in 1771, when it was commissioned by Sir Robert Adam, one of the most renowned architects of the time. The building was originally intended to be a luxurious townhouse for Lord Chancellor Bathurst, but he never lived in it, and it was eventually sold to the Duke of Wellington in 1807. The Duke made several modifications to the building, including the addition of a grand staircase and a ballroom, which made it one of the most impressive private residences in London.
The neoclassical design of Apsley House is characterized by its symmetry and grandeur. The façade of the building features six Corinthian columns, which support a pediment with a sculpture of four horses. The interior of the house is equally impressive, with ornate plasterwork, marble floors, and a collection of fine art and furnishings. One of the most notable features of the house is the Waterloo Gallery, which was designed to display the Duke's collection of paintings and sculptures commemorating his victory at the Battle of Waterloo in 1815.
Apsley House is not only a remarkable example of neoclassical architecture, but it also has significant cultural and historical value. The house was a hub of social and political activity during the 19th century, and it hosted many prominent figures of the time, including members of the royal family, politicians, and foreign dignitaries. The Duke of Wellington himself was a central figure in British politics and society, and his military achievements made him one of the most popular figures of his time. His defeat of Napoleon at the Battle of Waterloo in 1815 was a defining moment in European history and cemented his reputation as a national hero.
The cultural legacy of Apsley House and the Duke of Wellington is reflected in the house's impressive collection of art and artifacts. The Waterloo Gallery contains a number of paintings and sculptures that celebrate the Duke's military victories, including works by artists such as Rubens and Canova. The house also contains a collection of silver and porcelain, as well as personal items belonging to the Duke, such as his sword, boots, and campaign bed. The collection is a testament to the Duke's importance as a military leader and statesman, as well as his personal taste and interests.
Today, Apsley House is a popular tourist attraction and museum. Visitors can take a tour of the house and see the Duke of Wellington's collection of art and artifacts, as well as learn more about his life and legacy. The house is also an important landmark in the history of London and the British Empire, and it serves as a reminder of the cultural and architectural achievements of the Neoclassical era.
Apsley House is a remarkable example of Neoclassical architecture and an important cultural and historical landmark in London. The house's association with the Duke of Wellington and his military and political achievements makes it a significant part of British history. Its impressive collection of art and artifacts is a testament to the Duke's personal taste and interests, as well as his role in shaping the cultural legacy of the British Empire. Whether you are interested in architecture, history, or art, a visit to Apsley House is a must for anyone visiting London.
Visiting Information
If you are interested in visiting Apsley House, it is open to the public from Wednesday to Sunday, 11 am to 5 pm. The house offers guided tours that last approximately one hour and include access to the Waterloo Gallery and other rooms in the house. Tickets can be purchased online or in person, and there are discounts available for children, students, and seniors. A visit to Apsley House is a unique opportunity to experience the grandeur and history of one of London’s most iconic buildings, and to learn more about the life and legacy of the Duke of Wellington. Check the website before you go.
The Barbican, a sprawling architectural complex in London, stands as a testament to post-war urban renewal and modernist design principles. With its bold Brutalist architecture, the Barbican is not merely a residential estate but a cultural hub, housing theaters, concert halls, and art galleries. Its history is a fascinating tale of urban planning, architectural innovation, and the evolving social fabric of London.
The story of the Barbican begins in the aftermath of World War II when London lay in ruins, ravaged by Nazi bombing raids. The City of London, the historic financial district, suffered extensive damage, leaving vast swathes of land in need of redevelopment. In response, the City of London Corporation embarked on an ambitious project to rejuvenate the area, aiming to create a modern, vibrant community amidst the rubble.
Architects Chamberlin, Powell, and Bon were tasked with designing the new development. Their vision was groundbreaking: a self-contained residential estate integrated with cultural and recreational facilities. Construction commenced in the 1960s, and by the mid-1970s, the Barbican Estate, as it came to be known, began to take shape.
The defining feature of the Barbican is its Brutalist architecture. Characterized by its use of raw concrete, geometric forms, and imposing scale, Brutalism was a popular architectural style in the mid-20th century, favored for its uncompromising aesthetic and structural honesty. The architects embraced Brutalism wholeheartedly, crafting a series of towering residential towers, interconnected by elevated walkways and surrounded by verdant gardens.
One of the most striking aspects of the Barbican is its integration of various functions within a single complex. Alongside the residential towers, the estate boasts a wealth of cultural amenities, including the Barbican Centre, Europe's largest multi-arts venue. Designed by the same architectural firm, the Barbican Centre houses theaters, cinemas, concert halls, and exhibition spaces, drawing visitors from across the globe with its diverse program of events.
The Barbican's cultural significance extends beyond its physical infrastructure. Throughout its history, it has played a pivotal role in London's artistic scene, serving as a platform for groundbreaking performances and exhibitions. From avant-garde theater productions to cutting-edge contemporary art, the Barbican has consistently pushed boundaries and challenged conventions, earning its place as a cultural powerhouse in the heart of the city.
However, the Barbican has not been without its controversies. Brutalist architecture, with its imposing presence and utilitarian aesthetic, has often divided opinion. Critics decry its perceived lack of warmth and humanity, lamenting the dominance of concrete over softer materials. Yet, supporters argue that Brutalism's uncompromising honesty and boldness are precisely what make it so compelling, asserting that the Barbican's stark beauty is a reflection of its time and place.
Over the years, the Barbican has weathered its share of challenges. Economic downturns, changing social dynamics, and shifting architectural tastes have all left their mark on the estate. Yet, through it all, the Barbican has remained resilient, adapting and evolving to meet the needs of its residents and visitors.
In recent years, the Barbican has undergone a process of rejuvenation, with efforts to enhance its public spaces and amenities. New residential developments have been integrated into the estate, bringing fresh energy and vitality to the community. Meanwhile, the Barbican Centre continues to thrive, welcoming millions of visitors each year and cementing its reputation as a cultural beacon in the heart of London.
Looking to the future, the Barbican faces both challenges and opportunities. As London continues to grow and change, the estate must find ways to remain relevant and responsive to the needs of its inhabitants. Yet, with its rich history, iconic architecture, and vibrant cultural scene, the Barbican is well-positioned to continue shaping the fabric of the city for generations to come.
The Barbican stands as a remarkable testament to the power of architecture to transform and inspire (but conversely to also create visceral detractors). From its bold Brutalist design to its diverse cultural offerings, the estate embodies the spirit of innovation and resilience that defines modern London. As it enters its next chapter, the Barbican remains a symbol of creativity, community, and urban renewal.
The British Library stands as a monument to knowledge, a repository of human thought and creativity housed within the heart of London. With its striking modern architecture and rich historical roots, the British Library is not just a building but a symbol of intellectual pursuit and cultural heritage.
Architecture:Designed by the renowned architect Colin St John Wilson, the British Library's architecture is a blend of tradition and innovation. Completed in 1997, the building's design reflects both the functional requirements of a modern library and a reverence for classic architectural principles.
The exterior of the British Library is characterized by its red brick façade, which pays homage to the surrounding historic buildings of King's Cross. However, it's the Great Court that captures the imagination of visitors upon entering. This vast, light-filled space serves as the library's central hub, with its soaring glass roof creating a sense of openness and grandeur.
Inside, the library is a labyrinth of knowledge, with over 150 million items housed within its walls. The layout is carefully designed to facilitate research and exploration, with reading rooms, exhibition spaces, and storage facilities seamlessly integrated into the building's structure.
One of the most striking features of the British Library is the King's Library Tower, which houses the library's rarest and most valuable treasures. Standing at 22 meters tall, the tower is made of glass and steel, allowing visitors to see the historic books and manuscripts contained within.
History:The history of the British Library dates back to the mid-18th century when the British Museum Library was founded. Initially housed within the British Museum, the library quickly outgrew its space, prompting calls for a dedicated building to house its ever-expanding collection.
It wasn't until the 20th century that plans for a new library began to take shape. In 1962, the British Library Act was passed, establishing the British Library as a separate entity from the British Museum. However, it would be several decades before the library found a permanent home.
Central to its mission, the British Library serves as the legal deposit library for the United Kingdom, a responsibility dating back to the Copyright Act of 1911. As such, the library receives a copy of every book published in the UK and Ireland, ensuring that the nation's literary heritage is preserved for future generations.
This vast collection of published works not only provides researchers with unparalleled access to a wealth of knowledge but also reflects the rich tapestry of British culture and intellectual life. Through its role as a deposit library, the British Library continues to uphold its commitment to safeguarding the written word and promoting a culture of learning and discovery.
In 1973, the government announced plans to build a new library at St Pancras, but it wasn't until 1982 that construction actually began. The project faced numerous delays and setbacks, including disputes over funding and design, but finally, in 1997, the British Library opened its doors to the public.
Since then, the library has continued to grow and evolve, expanding its collection and embracing new technologies to meet the changing needs of researchers and scholars. Today, the British Library is not just a national institution but a global center for research and learning, welcoming millions of visitors from around the world each year.
Sir John Soane's Museum stands as a testament to the brilliance of its namesake, Sir John Soane, an architect whose vision and creativity left an indelible mark on London's architectural landscape. Nestled in the heart of Lincoln's Inn Fields, this remarkable edifice is not merely a museum but a living embodiment of Soane's innovative spirit and profound influence on architectural design.
The story of Sir John Soane's Museum begins with its eponymous creator, Sir John Soane himself. Born in 1753 in Goring-on-Thames, Soane rose from humble origins to become one of the most renowned architects of his time. His architectural career was distinguished by his bold experimentation with space, light, and form, earning him a reputation as a visionary ahead of his time.
Soane's architectural philosophy was deeply rooted in classical principles, yet he approached design with a sense of daring and originality that set him apart from his contemporaries. His early training under the eminent architect George Dance the Younger instilled in him a profound appreciation for the classical tradition, which would later find expression in his own work.
The genesis of the museum can be traced back to Soane's acquisition of No. 12 Lincoln's Inn Fields in 1792. Over the ensuing decades, Soane expanded and transformed the property into a sprawling architectural laboratory where he could explore his ideas and showcase his collection of art and antiquities. The museum served not only as Soane's residence but also as a repository for his architectural drawings, models, and curiosities accumulated over the course of his illustrious career.
One of the most striking features of the museum is its eclectic architectural style, which reflects Soane's eclectic tastes and penchant for innovation. The façade of the building is modest and unassuming, belying the architectural wonders that lie within. Yet, upon entering the museum, visitors are greeted by a series of interconnected spaces that unfold in a mesmerizing sequence of light and shadow.
Soane's genius is perhaps most evident in the design of the museum's interiors, where he employed a variety of techniques to manipulate space and create dramatic effects. Light wells, skylights, and strategically placed mirrors bathe the rooms in a soft, diffused light, while cleverly positioned windows frame views of the surrounding landscape, blurring the boundaries between interior and exterior space.
The museum's collection is as diverse and eclectic as its architecture, encompassing everything from classical sculpture and architectural fragments to ancient artifacts and works of art. Soane's fascination with the past is evident in the numerous antiquities that adorn the museum's halls, each one a testament to his enduring curiosity and passion for discovery.
Perhaps the most famous room in the museum is the Picture Room, a soaring space adorned with paintings by some of the most celebrated artists of the day. Here, Soane's collection of Old Master paintings is displayed in a manner that is both grand and intimate, inviting visitors to linger and contemplate the beauty of the works on display.
In addition to its architectural and artistic treasures, the museum also contains a number of spaces that reflect Soane's personal interests and quirks. The Monk's Parlour, for example, is a small chamber adorned with fragments of medieval architecture and furnished with an eclectic mix of objects, including a sarcophagus purportedly belonging to an Egyptian pharaoh.
Throughout his life, Soane was deeply committed to the education and advancement of his profession, and the museum served as a hub for architectural discourse and debate. Architects, students, and scholars from around the world flocked to the museum to study Soane's drawings and models, seeking inspiration and guidance from the master himself.
After Soane's death in 1837, the museum was preserved according to his wishes and opened to the public as a testament to his enduring legacy. Today, Sir John Soane's Museum stands as a living monument to one of the greatest architects of the 19th century, a place where visitors can marvel at the ingenuity and creativity of a visionary genius whose influence continues to be felt to this day.
Nestled within the heart of London in South Kensington, the Natural History Museum stands as a testament to both scientific inquiry and architectural grandeur. With its striking Romanesque architecture and intricate detailing, the museum not only houses a treasure trove of natural wonders but also serves as a remarkable example of Victorian design. Let us embark on a journey through time, unraveling the architectural history that defines this iconic institution.
The inception of the Natural History Museum dates back to the 19th century, a period marked by burgeoning scientific exploration and a growing fascination with the natural world. In 1851, the Great Exhibition held at the Crystal Palace in Hyde Park showcased the advancements of the era, igniting a fervor for knowledge and discovery. Inspired by this momentum, a group of visionaries spearheaded the creation of a museum dedicated to the natural sciences.
The site chosen for the museum was Cromwell Gardens in South Kensington, strategically positioned amidst other cultural institutions forming what would later be known as "Albertopolis," named after Prince Albert, the consort of Queen Victoria and a staunch supporter of the arts and sciences. The architectural competition for the museum attracted numerous submissions, but it was Alfred Waterhouse, a young architect with a burgeoning reputation whose design captured the imagination of the judges.
Waterhouse's vision for the Natural History Museum was nothing short of spectacular. Drawing inspiration from Romanesque and Byzantine architecture, he envisioned a structure that would evoke a sense of awe and reverence befitting the exploration of the natural world. The museum's facade is adorned with intricate terracotta ornamentation, featuring a plethora of flora and fauna meticulously crafted by skilled artisans.
One of the most striking features of the museum is its central entrance hall, aptly named the Hintze Hall in honor of Sir Michael Hintze, a generous benefactor. Upon entering this cavernous space, visitors are greeted by the sight of a soaring vaulted ceiling adorned with intricate arches and decorative motifs. The hall exudes an air of grandeur, inviting guests to embark on a journey of discovery through the museum's vast collections.
The architectural marvels of the Natural History Museum extend beyond its facade and entrance hall. The museum comprises a series of galleries arranged around a central atrium, each dedicated to a specific branch of the natural sciences. From the majestic Blue Whale skeleton suspended in the Mammal Hall to the dazzling minerals and gemstones showcased in the Earth Hall, every corner of the museum tells a story of Earth's rich and diverse history.
One cannot discuss the architectural history of the Natural History Museum without mentioning its iconic Waterhouse Building, named in honor of its esteemed architect. Completed in 1881, this masterpiece of Victorian architecture seamlessly blends form and function, with its distinctive towers and turrets housing laboratories, offices, and storage facilities. The building's red brick exterior lends it a sense of warmth and character, while its expansive interiors provide ample space for the museum's growing collections.
Over the years, the Natural History Museum has undergone several renovations and expansions to accommodate its ever-expanding collection and evolving visitor experience. In 2009, the museum embarked on an ambitious redevelopment project known as "Darwin Centre Phase 2," which saw the construction of a state-of-the-art cocoon-shaped building housing scientific research facilities and interactive exhibits.
Today, the Natural History Museum continues to inspire and educate visitors from around the globe, serving as a beacon of knowledge and discovery in the heart of London. Its architectural splendor stands as a testament to the ingenuity and vision of those who conceived it, while its collections offer a window into the wonders of the natural world.
The Natural History Museum in London is more than just a repository of specimens; it is a living testament to the intersection of science and art, a celebration of human curiosity and exploration. From its majestic facade to its labyrinthine galleries, every aspect of the museum's architecture tells a story of innovation and discovery. As we continue to unravel the mysteries of the natural world, the architectural legacy of the Natural History Museum will undoubtedly endure, inspiring generations to come.
The Gherkin, also known as the Swiss Re Building, is one of London's most iconic modern landmarks. Located in the City of London, it stands at 30 St Mary Axe, towering over the surrounding buildings at a height of 180 meters. Its unique shape and innovative design have made it a popular tourist attraction and a symbol of modern architecture in the UK.
The story of the Gherkin began in the late 1990s, when the Swiss Re insurance company commissioned British architect Norman Foster's firm, Foster and Partners, to design a new headquarters building in the heart of London's financial district. The brief was to create a building that was both energy-efficient and visually striking while also providing flexible and efficient office space for the company's employees.
The resulting design was a radical departure from the traditional square or rectangular office buildings that dominated the City of London skyline. Instead, Foster and Partners proposed a curved, cylindrical tower that tapered towards the top, resembling the shape of a pickled gherkin. This unique shape was not only visually striking but also provided a number of practical benefits. For example, the curved glass facade maximized natural light and reduced solar gain, while the aerodynamic shape minimized wind resistance and reduced the need for additional structural support.
Construction of the Gherkin began in 2001, with the building officially opening in 2004. The project faced a number of challenges during its construction, including the need to excavate a significant amount of debris from the site and the need to protect nearby historic buildings from damage. However, the end result was a true masterpiece of modern architecture, hailed by critics and the public alike.
The building's unique shape was not just a matter of aesthetics but also reflected a commitment to sustainability. The Gherkin was designed to be as energy-efficient as possible, with a range of features and technologies that minimize its environmental impact. For example, the building's distinctive glass facade is double-skinned, which helps to insulate the interior and reduces the need for additional heating or cooling. In addition, the building features a sophisticated ventilation system that uses natural ventilation whenever possible, reducing the need for air conditioning.
Inside, the Gherkin is a marvel of modern engineering and design. The building's 41 floors provide over 47,000 square meters of office space, with each floor designed to be as flexible and efficient as possible. The building's unique shape means that the floor plan is constantly changing as you move up the tower, with each floor occupying a different segment of the curved facade. This creates a dynamic and visually stunning interior, with panoramic views of London's skyline from every angle.
Since its completion, the Gherkin has become one of London's most popular tourist attractions. Visitors can take a high-speed elevator to the top of the tower, where they can enjoy breathtaking views of the city from the building's famous glass dome in the Searcys restaurant. The Gherkin has also become a popular venue for corporate events, with a range of conference rooms and event spaces available for hire.
I consider the Gherkin to be a masterpiece of modern British architecture, combining innovative design with a commitment to sustainability and energy efficiency. Its unique shape and iconic status have made it a symbol of London's modern skyline, and a must-see attraction for visitors to the city. Whether you're admiring it from the ground or taking in the view from the top, the Gherkin is a true marvel of engineering and design.
Waterloo railway station is one of the busiest and most important railway stations in London. It is located in the Waterloo district of London, and it serves as a hub for trains to and from the south and southwest of England. In this article, we will explore the history of Waterloo railway station and its significance in London's history.
Waterloo railway station was first opened in 1848 as the terminus for the London and South Western Railway. The station was designed by William Tite and was one of the largest and most impressive railway stations of its time. It featured a beautiful arched roof, which was the largest unsupported roof structure in the world at the time.
The origin of the name “Waterloo” for the railway station can be traced back to the famous Battle of Waterloo, which took place in 1815. The battle was fought between the armies of Napoleon Bonaparte and the Seventh Coalition, comprising of the British, Dutch, and German forces, led by the Duke of Wellington. The Duke of Wellington was one of the most respected military leaders of his time, and his victory at the Battle of Waterloo was seen as a turning point in European history. The naming of the station after the battle was a way of commemorating this important event in British history. There is also a Victory Arch as the entrance to the station as a tribute to the fallen.
The station quickly became an important transport hub for London. It was the starting point for trains to the south and southwest of England, including destinations such as Southampton, Portsmouth, and Exeter. It was also the terminus for the Eurostar service to Paris and other destinations in Europe (that is no longer the case - the Eurostar trains moved to St Pancras).
Waterloo station played an important role in London's history during both World War I and World War II. During World War I, the station was used to transport troops to the front lines, and during World War II, it was used as an air-raid shelter. The station suffered significant damage during the Blitz, but it was quickly repaired and continued to operate throughout the war.
In the years following World War II, Waterloo station underwent several significant changes. The station was electrified in the 1950s, which allowed for faster and more efficient train services. In the 1970s, a new entrance was built on the south side of the station, which provided direct access to the London Underground.
Waterloo railway station played an important role in London’s history as the terminus for the Eurostar service to Paris and other destinations in Europe when the Channel Tunnel opened. The Eurostar service began in 1994, and for over a decade, Waterloo was the departure point for trains to Paris and Brussels. However, due to the limitations of the station’s infrastructure, the Eurostar service was moved to St Pancras International in 2007. The former 'international' part of the station and Eurostar terminus has been developed for domestic English use.
Today, Waterloo railway station is one of the busiest and most important railway stations in London. It serves over 100 million passengers each year and is home to a wide range of shops, restaurants, and other amenities. The station is also an important transport hub for London, providing connections to the London Underground, buses, and taxis.
Waterloo railway station has played an important role in London's cultural life as well. It has been featured in many films and television shows, including James Bond films, Skyfall and Spectre, as well as the popular television series, Doctor Who. It has also been the site of many important events, including the annual London New Year's Day Parade and the London Marathon.
In recent years, Waterloo station has undergone significant renovations and upgrades. The station has been modernized and expanded to accommodate the growing number of passengers using the station. New platforms have been added, and the station's facilities have been upgraded to provide a better experience for passengers.
Waterloo railway station is one of the most important railway stations in London's history. It was first opened in 1848 and quickly became an important transport hub for London. The station played an important role in both World War I and World War II, and it has undergone significant changes and upgrades over the years. Today, Waterloo railway station is a vital part of London's transport network, serving millions of passengers each year and providing connections to destinations across the south and southwest of England.
Covent Garden is a famous district in London that is known for its vibrant culture, street performers, and the Covent Garden Market. The market has a rich history that dates back to the 17th century, and the buildings that house it have undergone significant changes over the years. In this article, we will explore the history of the central Covent Garden market buildings and how they were rescued and turned into a tourist attraction.
The Covent Garden Market was originally established in the 1650s as a vegetable and fruit market. It was located on what was then known as the "Convent Garden" because it was an orchard belonging to the Convent of St. Peter in Westminster. The market quickly became popular and started attracting traders from all over London and beyond. By the 18th century, the market had become one of the busiest and most important in the city.
The original market was located in the open air, but due to the increasing demand and the need for more space, a covered market was built in 1830. The new market was designed by Charles Fowler and featured a beautiful iron and glass roof. The market was a huge success and became a landmark in London. It was THE wholesale fruit and veg market in London and had a culture all its own.
The architecture of the central Covent Garden Market building is a unique blend of Victorian and contemporary design. The market was designed by Charles Fowler and opened in 1830, featuring a beautiful iron and glass roof. The roof is one of the most striking features of the building and is made up of a series of wrought-iron arches that support the glazed roof. The ironwork is intricately decorated with floral patterns and scrollwork, adding to the building's ornate appearance.
The interior of the market is equally impressive, with rows of cast-iron pillars supporting the roof and creating a sense of grandeur. The pillars are decorated with floral motifs and are painted in a soft green color, which complements the natural light that floods the market through the glazed roof. The market is arranged in a grid pattern, with a central avenue and side aisles lined with stalls and shops.
However, by the mid-20th century, the Covent Garden Market had fallen into disrepair. The market was struggling to compete with modern supermarkets and was suffering from a lack of investment. The buildings were in a state of disrepair, and the market was in danger of being closed down and moved to a better location.
In the 1960s, the local council decided to redevelop the area. The plan was to demolish the market and replace it with a modern office block. This decision was met with widespread protest from the local community, who wanted to preserve the historic market.
In 1973, the Covent Garden Market Preservation Trust was established to save the market. The trust was able to secure funding and support from the government, and plans were drawn up to restore the market buildings to their former glory.
The market buildings underwent significant changes as part of the restoration project. The buildings were restored and updated to meet modern standards while still preserving their historic character. The new design features a mix of old and new elements, including modern glass structures and exposed brickwork. The result is a contemporary space that still pays homage to the building's rich history and architectural heritage.
The restoration work was carried out in stages over several years. The first phase involved restoring the market buildings and reopening them as a market for traders and artisans. The second phase involved the restoration of the piazza and the surrounding buildings. The final phase involved the creation of a new opera house, now known as the Royal Opera House.
The restoration work was a huge success, and the Covent Garden Market was transformed into a thriving tourist attraction. The market is now home to a wide range of traders and artisans selling everything from handmade crafts to gourmet food. The piazza is a popular destination for tourists and locals alike, with street performers providing free entertainment.
The success of the Covent Garden Market has inspired other cities around the world to preserve and restore historic marketplaces. The market has become a symbol of the importance of preserving historic buildings and the cultural heritage of communities.
The central Covent Garden market buildings have a rich history that dates back to the 17th century. The market has undergone significant changes over the years, but thanks to the efforts of the Covent Garden Market Preservation Trust and the support of the government, the buildings have been restored to their former glory. The Covent Garden Market is now a thriving tourist attraction and a symbol of the importance of preserving historic buildings and cultural heritage.
For a more detailed history on Covent Garden Market, check out this article.
St. Paul's Cathedral is one of the most iconic landmarks in London. The current cathedral was designed by Sir Christopher Wren and completed in 1710 after the original medieval cathedral was destroyed in the Great Fire of London in 1666. In this article, we will explore the history of St. Paul's Cathedral and its significance in London's history.
The original St. Paul's Cathedral was built in 1087 and was the largest church in England at the time. It was a symbol of the power of the church and the monarchy, and it played an important role in the religious and political life of London. However, the cathedral suffered significant damage during the English Civil War in the 17th century, and it was largely destroyed in the Great Fire of London in 1666.
After the fire, there was a debate about whether to rebuild St. Paul's Cathedral or to build a new church elsewhere. Eventually, it was decided to rebuild the cathedral on the same site, and a competition was held to select a design. Sir Christopher Wren, who was already well-known for his work as an architect and mathematician, submitted a design that was selected as the winner.
The design that Wren submitted was a masterpiece of Baroque architecture. It featured a large dome that was inspired by the dome of St. Peter's Basilica in Rome, and it was supported by four smaller domes at the corners of the building. The cathedral was built using Portland stone, which gave it a distinctive white color and made it stand out from the surrounding buildings.
The construction of the cathedral was a massive undertaking and took over 30 years to complete. It was built on the same site as the original cathedral, and many of the original features were incorporated into the new design. The cathedral was consecrated in 1697, but it was not fully completed until 1710.
St. Paul's Cathedral has played an important role in London's history ever since it was completed. It has been the site of many important events, including the funerals of Sir Winston Churchill and Margaret Thatcher, as well as the wedding of Prince Charles and Lady Diana Spencer. It has also been the site of many important religious ceremonies, including the installation of the current Archbishop of Canterbury.
The cathedral has also played an important role in the cultural life of London. It has been featured in many films and television shows, including Mary Poppins, Harry Potter and the Prisoner of Azkaban, and Doctor Who. It has also been the inspiration for many works of literature, including T.S. Eliot's poem "The Waste Land."
St. Paul's Cathedral is not only a symbol of London's history but also a symbol of its resilience. The cathedral survived the Great Fire of London, the Blitz during World War II, and many other challenges throughout its history. It has been a source of inspiration and comfort to the people of London for over 300 years.
St. Paul's Cathedral is one of the most important landmarks in London's history. It is a symbol of London's history and resilience and will continue to be a source of inspiration for generations to come.
Frequently Asked Questions about St Paul's CathedralWhere is St Paul's Cathedral in London?
St Paul’s Cathedral is located in the City of London, on Ludgate Hill, at the highest point of the City.
Can you get married in St Paul's Cathedral in London?
Yes, it is possible to get married at St Paul’s Cathedral in London. However, there are certain criteria that need to be met, such as being a member of the Church of England, having a connection to the cathedral, and obtaining a special license from the Archbishop of Canterbury. Additionally, there is a waiting list for weddings at St Paul’s Cathedral due to its popularity as a wedding venue.
When is St Pual’s Cathedral Open?
St Paul’s Cathedral is open to visitors six days a week, from Monday to Saturday. The opening hours are from 8:30 am to 4 pm, with the last admission at 3:30 pm. However, the cathedral may be closed or have restricted access due to events or services, so it’s always best to check the official website or call ahead to confirm the opening hours before planning your visit. There is an admission charge. However, if you wish to attend service, there is no charge (but you cannot wander around as a visitor). Book St Paul's Cathedral Tickets here.
When is Evensong at St Paul’s Cathedral?
The Evensong service at St Paul’s Cathedral takes place every day at 5 pm, except on Sundays when it starts at 3:15 pm. It’s a beautiful service that features choral music, hymns, and prayers, and it’s open to the public to attend. Keep in mind that the schedule may change due to special events or holidays, so it’s best to check the cathedral’s website for up-to-date information.
Can you tour St Paul’s Cathedral?
Yes, visitors can tour St Paul’s Cathedral. There are various guided tours available, such as the Audio Tour, the Triforium Tour, and the Crypt Tour. Additionally, visitors can explore the cathedral on their own with a general admission ticket. It’s recommended to book tickets in advance, especially during peak tourist season, to avoid long lines and ensure availability.
How many stairs does the St Paul’s Cathedral in London dome have?
The St Paul’s Cathedral dome in London has a total of 528 steps. Visitors who climb to the top of the dome can enjoy stunning panoramic views of the city, but it’s important to note that it can be quite a strenuous climb and is not recommended for those with mobility issues or a fear of heights.
Was Harry Potter Filmed at St Paul’s Cathedral?
Yes, the St Paul’s Geometric Staircase was used in the filming of the Harry Potter movies several times, particularly as the route to the Divination classroom. The staircase can be seen on the Triforium tour.
Leadenhall Market is a historic market located in the City of London, England. It is one of the oldest markets in London, with a history dating back to the 14th century. The market is located in the heart of the financial district and is home to many shops, restaurants, and bars.
The market was originally a meat market, and it has been a market for over 700 years. The market was first recorded in 1321, when it was a place where butchers could sell their meat. The market was rebuilt in 1445 after a fire, and it was again rebuilt in 1881 by Sir Horace Jones, the architect who also designed the nearby Tower Bridge.
The market is famous for its ornate Victorian architecture, which includes a wrought iron and glass roof, and its cobbled streets. The roof is supported by cast iron columns, and the market's façade is decorated with sculptures of various animals, including bulls and sheep.
Leadenhall Market was originally known as the market of Leadenhall, which was named after the lead roof of the original market building. The market was owned by the City of London Corporation, and it was an important source of revenue for the city.
In the 19th century, the market became a popular destination for wealthy Londoners, who would come to shop and dine in the elegant surroundings. The market was also a popular location for film and television productions, and it has been featured in many movies and TV shows, including Harry Potter and the Philosopher's Stone, where it was used as the setting for the wizarding alley, Diagon Alley during the Harry Potter scene. It is usually included on most Harry Potter Walking Tours.
Today, Leadenhall Market is a popular destination for tourists and locals alike. The market is home to a variety of shops, including clothing boutiques, antique dealers, and gourmet food shops. The market is also home to several restaurants and bars, which offer a range of cuisine, from traditional English fare to international cuisine.
Leadenhall Market has played an important role in the history of the City of London. The market has been a hub of commerce for over 700 years, and it has been a symbol of the city's prosperity and growth. The market has survived fires, wars, and economic downturns, and it remains a vibrant and thriving part of the city.
The market's ornate Victorian architecture is a testament to the city's wealth and power during the 19th century. The market's façade and interior are richly decorated, with intricate details and beautiful craftsmanship. The market's roof is a marvel of engineering, and it has been a source of inspiration for many architects and designers. It looks especially breathtaking when it's decorated for Leadenhall Market Christmas in London every year.
Leadenhall Market is also an important cultural landmark in London. The market has been the setting for many important events in the city's history, including royal visits, political rallies, and cultural events. The market has been a source of inspiration for many writers, artists, and musicians, and it has been featured in many works of literature, art, and music.
Leadenhall Market is a historic and significant part of the City of London and is now famous worldwide for its connections to Harry Potter tours of London. The market's rich history and beautiful architecture make it a popular destination for tourists and locals alike. The market has survived for over 700 years, and it remains a symbol of the city's prosperity, growth, and cultural heritage.
List of Restaurants in Leadenhall Market for ReservationsDid you enjoy your meal at one of these London Leadenhall Market bars and restaurants, then please leave a review in the comments below!
Cheese at LeadenhallChamberlain's RestaurantOld Tom's BarAmathus DrinksThe Lamb TavernLeonPizza ExpressThe Factory HouseLupitaBrokers Wine Bar & Restaurant
The King described Westminster Hall as a “great hall” which holds “reminders of medieval predecessors of the office to which I have been called” during a speech given to MPs and peers in Parliament.
Charles’s address is the latest speech to take place in the hall, a location which has been used to mark momentous moments in British history.
It dates back more than 900 years and has witnessed the trials of Guy Fawkes and King Charles I, and the lying in state of William Gladstone, Sir Winston Churchill, King George VI and his wife, the Queen Mother.
Westminster Hall was built in 1097 under William II (Rufus), the son of William the Conqueror, and was completed two years later.
According to the UK Parliament website, the hall was created to impress William II’s new subjects with his power and the majesty of his authority.
It holds the title of Europe’s largest unsupported medieval roof and, despite a fire which destroyed the original Palace of Westminster and the dropping of a dozen German bombs in 1941, the hall still stands as a proud reminder of British history.
It measures 240ft (73.2m) long, 68ft (20.7m) wide and 92ft (28m) high.
The roof was originally supported by two rows of pillars but in 1399 Richard II wanted to make the hall more impressive by making it unsupported.
It was a challenge met by carpenter Hugh Herland and architect Henry Yevele by building huge hammer-shaped oak beams and strengthening the walls.
In the 14th century the hall became a center of London life, housing the law courts and selling a host of legal paraphernalia including wigs, pens and books.
It was also the scene of the trial of Guy Fawkes and his fellow Gunpowder Plot conspirators in 1606, and King Charles I, who was tried for treason and beheaded in the 17th century.
During its use, Westminster Hall has twice escaped destruction, following the fire of 1834, caused by a stove overheating and which razed the rest of the Palace of Westminster to the ground, and during the Second World War when German bombers dropped a dozen bombs on the neighboring House of Commons chamber in 1941.
It is reported in Brewer’s Politics that Tory MP Colonel Walter Elliot broke down the hall’s oak door after the bombing with an axe, shouting: “Let the pseudo-Gothic go. We must save the Hall!”
The historic roof and the hall were saved, although Elliot could simply have opened the side door kept unlocked for emergencies.
Despite the hall being used as the location for several royals and former prime ministers to lie in state, the Queen’s husband, the Duke of Edinburgh, did not follow suit after his death in 2021.
In accordance with his wishes, the duke did not lie in state, however his death also took place during the Covid-19 crisis and at that point such mass gatherings were against the law.
The hall has also been used for celebrations to mark important moments in British history, such as the 50th anniversary of the end of the Second World War and the Queen’s Silver Jubilee in 1977, Golden Jubilee in 2002 and Diamond Jubilee in 2012.
To mark her Diamond Jubilee, a stained glass window was installed in the hall.
On Wednesday, the Queen will return to the hall for one final time.
A ceremonial procession is due to take place, which will see the Queen’s coffin travel from Buckingham Palace to the Palace of Westminster for the lying in state.
Her coffin will be closed and will rest on a raised platform, called a catafalque, in the hall and will be draped in the Royal Standard with the Orb and Sceptre placed on top.
It will be guarded around the clock by a vigil of units from the Sovereign’s Bodyguard, the Household Division, or Yeoman Warders of the Tower of London.
St Bride's Church on Fleet Street is a Christopher Wren church built after the Great Fire of London.
It's the journalists' church, and the spire is the original inspiration for tiered wedding cakes.
It is a City of London working parish church and welcomes visitors as a heritage attraction too.
While open most days, it took Open House London to remind me that this would be a good place to visit.
Not The First
This wasn't the first church at this location or even the second.
It's the eighth!
Roman
The history goes back 2000 years as there may have been a Roman villa here that was used as a place of Christian Worship which could be why St Brigid, or her followers, founded a church here in the fifth century.
The crypt has a small museum, but you also see the remains of a Roman pavement dating back to around AD 180 and a range of Roman artifacts that were discovered on this site.
Medieval
The first stone church was built here in the sixth century and survived for three centuries.
The next building lasted until 1135 and was followed by its twelfth-century successor which had an impressive tower from which rang one of London's four curfew bells.
Between the 11th and 13th centuries, the population of London increased significantly, from less than 15,000 to over 80,000.
By the year 1200, the capital city was, in effect, Westminster, a small town upriver from the City of London, where the Royal Treasury was located, and financial records were stored.
St Bride's was a significant building between the City of London and Westminster.
In 1205, the Curia Regis, a council of landowners and ecclesiastics (in effect, a predecessor of today's Parliament, charged with providing legislative advice to King John), was held in St Bride's.
And in 1207, King John held his Parliament at the church.
The wealthy bequeathed money to pay priests to pray for their souls.
The less wealthy joined parish guilds which provided similar benefits.
The Guild of St Bride was confirmed by Edward III in 1375, and 100 of its members still serve the church.
The crypt has on display the remains of the churches that stood on this site between the 11th and 15th centuries and examples of medieval floor tiles, roof tiles, stonework, glass, and other artifacts from the period.
The Eagle Lectern that is still in use was rescued from the medieval church.There is also a chapel in part of the medieval crypt.
When Christopher Wren rebuilt the church centuries later, he skillfully constructed two heavy stone arches to support the weight of the wall above this chapel space.
It was restored in 2002 as a memorial to the Harmsworth family and to the staff of Associated Newspapers who lost their lives during the First and Second World Wars.
The next St Bride's Church (the sixth on the site) was built in the fifteenth century.
It had seven altars and welcomed the pioneers of print.
Printing
In 1476, William Caxton, a merchant, businessman, and diplomat, brought to this country for the first time a printing press that used moveable type.
He set it up on a site adjacent to Westminster Abbey.
It is said that modern advertising began when Caxton wanted to sell a service book and produced a memorable poster.
After Caxton's death around the year 1492, his press was acquired by his apprentice, the printer Wynkyn de Worde, who was dependent upon printing for his livelihood and needed to ensure its commercial viability.
At the time, the area around St Bride's had become a haven for clergy, who were unable to afford the high cost of living in the very heart of the medieval city.
Since the clergy possessed almost a monopoly of literacy in those days, alongside the lawyers who were also based in the area, they were the printers' best customers.
So Wynkyn de Worde followed the best commercial principles and moved his business to the customer base, setting up his printing press in the churchyard of St Bride's in 1500.
Wynkyn de Worde was buried at St Bride's in 1535, and a plaque commemorating his life can be seen in the church.
St Bride's is also proud to possess an original example of Wynkyn de Worde's printing, dating from 1495.
Great Writers
By the 17th century, Fleet Street was attracting the great writers and diarists of the day.
A trio of Johns – Milton, Dryden, and Evelyn, lived in the vicinity.
Samuel Pepys was born in a house adjacent to St Bride's and was baptized at the church along with his eight brothers and sisters. (You can see a blue plaque marking the house where he was born in Salisbury Court.) His mother had her own pew in the church, and his brother, Tom, was buried here.
American Connections
St Bride's long-standing connection with the colonies in America began when the parents of Virginia Dare, the first child born to English emigrants to North Carolina in 1585, were married at the church in 1584.
Virginia, who was born in 1587, is commemorated with a bronze head of a little girl in the southwest corner of the church. (It's actually a replacement as the original was stolen.) The head, made by Clare Waterhouse in 1999, is formed of the features of different pupils from Bridewell Charity School, established in the 16th century in the nearby Bridewell Palace (built by Henry VIII).The parents of Edward Winslow (1595–1655), who is famous as one of the leaders of the Mayflower expedition in 1620, were also married at St Bride's. (His parents were Magdalen Oliver and Edward Winslow senior.) Edward Winslow was himself apprentice to a Fleet Street printer with strong Puritan sympathies, John Beale, before breaking his contract and leaving for Leiden to join a community of other like-minded Protestants.
He would have known St Bride's well.
Winslow was to be elected three times as governor of Plymouth, Massachusetts.
In 1957, Her Majesty the Queen unveiled a newly carved reredos as a memorial to Winslow and the Pilgrim Fathers.
In 2006, a direct descendant of Edward Winslow (also Edward, and known as Ted) came from Maryland, USA, to marry his bride, Jennifer, at St Bride's.The parish of St Bride's also helped to populate another English colony in America during the 17th century.
In 1619 one hundred girls and boys from the Bridewell Hospital orphanage, located next to the church, were sent to Virginia.
The project proved so successful that the governor requested 100 more.
All the young people received grants of land there, on their coming of age.
For a more recent sign of the close relationship, there is a plaque on one of the stalls given by the Overseas Press Club of America to commemorate American journalists who have given their lives while on duty beyond their own shores.
For another American connection, see the section on the church spire below.
Great Plague
During the Great Plague of 1665, the Court of Charles II plus lawyers, merchants, doctors, and many clergy fled the city in fear.
But the poor had to stay, and 2,111 people died in St Bride's parish (100,000 Londoners lost their lives – 20% of its population).
The vicar of St Bride's, Richard Peirson, chose to remain.
At the height of the plague in September 1665, Peirson buried 636 people within a month – 43 of them on a single day.
The dead included two of his Churchwardens.
Remarkably, Peirson survived the plague, and he was succeeded as vicar in August 1666 by Paul Boston.
Literally, two weeks later, another landmark disaster occurred.
Great Fire of London
On 2 September 1666, fire broke out in the bakery of Thomas Farriner in Pudding Lane.
Fanned by strong winds from the east, the fire spread rapidly.
On 4 September 1666, the fire crossed the Fleet River (which today runs underground) and engulfed St Bride's.
All that could be saved from the fire was some fused bell metal – some of which can be seen in the crypt.
Vicar Paul Boston left £50 in his Will to the church, which purchased new communion vessels that are still in use today.
Sir Christopher Wren
The Great Fire of London destroyed 87 churches.
Despite Wren's conviction that only 39 were necessary to serve such a small area, St Bride's was among the 51 to be rebuilt.
The £500 required as a deposit by Guildhall to launch the project was raised in a single month: a remarkable effort, given that most of the parishioners had lost homes and businesses in the disaster.
Joshua Marshall, the King's Mason, was the main contractor.
He was a parishioner and also worked with Wren on the Temple Bar and the Monument.
One of his assistants was the young Nicholas Hawksmoor, who was to become a renowned architect himself.
Construction started in 1671 and progressed quickly as Wren had built a hostel for the workmen nearby on Fleet Street.
The Old Bell Tavern is still there.Built from Portland stone, the church cost, apart from the steeple, £11,430, making it the third most expensive of all of Wren's churches.
Wren built over the remains of the previous six churches, thus forming extensive crypts.
By 1674 the main structural work was complete, and a year later, the church finally reopened for worship on Sunday 19 December 1675.
St Bride's was one of the first post-fire churches ready for worship.
And Fleet Street was one of the first main roads to be substantially restored.
Shortly after opening, galleries were added along the sides of the west walls.[caption id="attachment_24560" align="aligncenter" width="2560"] Thomas Girtin (1775–1802), Public domain, via Wikimedia Commons[/caption]
Wedding Cake Spire
A model of Wren's original plan for the steeple can be seen on the font inside the church. (The font is from St Helen's, Bishopsgate.) It was a much shorter cupola design without the additional tiers.
In the end, the 234 ft steeple – Wren's tallest – was completed in 1703.
It was struck by lightning in 1764 and lost 8 feet of height, bringing it down to 226 ft.
George III was upset about this, and one of the people he called upon to advise him was Benjamin Franklin.
Unfortunately, Franklin and the monarch did not agree.
The king insisted the new lightning conductor should have blunt ends, while Franklin thought pointed ends were more effective.
This led to political pamphleteering about 'good blunt, honest King George' and 'those sharp-witted colonists.' It can't have helped having two leading figures showing public political tempers so close to American Independence.[caption id="attachment_24559" align="aligncenter" width="415"] Illustration for 'An Account of the Effects of Lightning in St.
Bride's Church, Fleet Street, on 18 June 1764'[/caption]William Rich was an apprentice to a baker near Ludgate Circus.
He fell in love with his master's daughter.
When he set up his own business at the end of his apprenticeship, he won her father's approval for her hand in marriage.
Rich wanted to create a spectacular cake for the wedding feast and took inspiration from the spire of St Bride's church.
He created a cake in layers and began the tradition of the tiered wedding cake.
Until his death in 1811, he made a small fortune peddling cakes under its design.
Both William and Susannah are buried at St Bride's.
Newspapers and Publishers
The year before St Bride's steeple was originally finished, the Daily Courant became the first regular daily newspaper to be produced in this country.
It was published on 11 March 1702, by Elizabeth Mallet, from rooms above the White Hart pub in Fleet Street.
A brass plaque to commemorate the 300th anniversary of this first edition was unveiled by the Prince of Wales at a special service in St Bride's on 1 March 2002.
By 1709 there were eighteen different titles available in London each week.
The Daily Universal Register (which was to become The Times) was first published in 1785, and The Observer became the world's first Sunday newspaper in 1791.
As numerous regional and provincial titles were founded, they set up London offices in and around St Bride's, as did the first news agencies.[caption id="attachment_24557" align="aligncenter" width="1367"] View of St Bride's from the river in 1820.[/caption]The author Samuel Richardson, who wrote and published Pamela, the first English novel, is buried at St Bride's.
His friend, Dr.
Samuel Johnson, lived just north of Fleet Street and was part of a literary circle that included James Boswell, Joshua Reynolds, Oliver Goldsmith, and Alexander Pope.
Alongside William Hogarth, William Wordsworth, and John Keats, they were often to be seen in the coffeehouses in and around St Bride's.[caption id="attachment_24604" align="aligncenter" width="1920"] The gates from the Fleet Street entrance have this plaque erected by The Newspaper Society in 1936.[/caption]
Denis Papin
There is a new plaque on display near the Great West Doors (installed in 2020).
Denis Papin was a pioneering French scientist and inventor who revolutionized steam engineering.
In 1675, his Protestant beliefs led him to flee France for England.
Working with Robert Boyle, he famously invented a 'digesteur,' which was in effect a pressure cooker but, more significantly, was the precursor to the steam engine.
Little was known of Papin's eventual fate until an entry in the St Bride's burial register came to light, revealing that he was buried in the lower graveyard on 26 August 1713.
Jack The Ripper
Another new plaque in the base of the tower records the life of Mary Ann ('Polly') Nichols.
She is tragically remembered today as the first-known victim of the Victorian serial killer, Jack the Ripper.
Polly Nichols (née Walker) was born in the parish in 1864.
She married William Nichols, a printer, in St Bride's on 16 January 1864.
They had five children together, and she was categorically never a prostitute.
Her memorial at St Bride's states: 'Remember her life, not its end.' It can be seen inside the west door, beneath the tower.
Cholera
In 1854, London had a cholera epidemic, and 10,000 people died.
Parliament stopped any further burials in the City of London.
St Bride's crypts were sealed, and they seemed to be forgotten.
Second World War
On 29 December 1940, the church was bombed, and all that remained were the outer walls and the steeple.
It was the second time St Bride's had been burned down.
If you enter today via the Great West Doors, you can stand under Wren's saucer dome in the base of the tower – the only internal stonework to have survived the fire.[caption id="attachment_24599" align="aligncenter" width="1920"] The Great West Doors[/caption][caption id="attachment_24609" align="aligncenter" width="1920"] Looking up from the base of the tower.[/caption]By the early 1950s, services were again being held on the site, in the open air, in the former vestry, and some in the crypt chapel.
It was thanks to the Rector, Cyril Armitage, that a restoration fund enabled rebuilding work to begin.[caption id="attachment_24556" align="aligncenter" width="580"] St Bride's Church and environs, London, 1947. © Britain From Above[/caption]Walter Godfrey Allen, the architect in charge of St Bride's restoration, was a successor of Wren in the Office of Surveyor of the Fabric of St Paul's Cathedral.
This gave him access to Wren's original drawings and records.
The galleries that had been added shortly after Wren's church had opened were not replaced.
The windows have plain antique glass.
The west end is completed by David McFall's two imposing sculptures of St Bride and St Paul.The most significant change is in the eastward view.
The great free-standing canopied oak reredos, designed in the Corinthian order and embellished with eight flambeaux, is carved in the Grinling Gibbons style.
It is based on the Chapel Royal, Hampton Court, and is easily mistaken for being much older.
As is the church's stone carving, which was, incredibly, all carved in situ.
Each panel with a rose is different from the others.[caption id="attachment_24606" align="aligncenter" width="1920"] I thought this was trompe l'oeil painting until the stone carving was pointed out.
All of the carving was done in situ.[/caption]Within the Nave, the highly polished monochrome marble flooring is black from Belgium and white from Italy.
Restored
The work to rebuild began in 1953, and it took 17 years from the disaster for the restoration to be completed.
The rebuilding project made possible a series of highly significant excavations in the crypt led by the medieval archaeologist, Professor W.
F.
Grimes.
Seven sealed vaults or crypts were discovered, including two charnel houses with bones piled to the roof.
Many of these bones were found grouped together in categories (thigh bone with thigh bone, etc.) and laid out in a distinctive chequerboard pattern.
Some were the victims of the Great Plague of 1665 and the cholera epidemic of 1854.Also in the crypt is a rare Victorian iron casket.
It dates from the days of Burke and Hare – the 'Body Snatchers.' It promised 'safety for the dead' by deterring those who earned money by exhuming bodies.
And you can see a bench from the Wren church in the crypt too.
Rededication
Following its post-war reconstruction, the new St Bride's was rededicated in the presence of the Queen and Prince Philip on 19 December 1957 – the anniversary of the opening of the original Wren church 282 years earlier.
The trompe l'oeil behind the altar was painted by Glyn Jones for the rededication.
End of Fleet Street Newspapers
On 24 January 1986, 6,000 newspaper workers went on strike after the breakdown of negotiations with Rupert Murdoch's News International, the parent company of Times Newspapers and News Group Newspapers.
They were unaware that Murdoch had built a new-technology printing plant in Wapping, making their skills obsolete.
When they went out on strike, he relocated his operation overnight.
Within months the printing dinosaur that was Fleet Street was dead.
By 1989 all the national newspapers had decamped, as other proprietors followed Murdoch's lead.
Computers had consigned Wynkyn de Worde's revolution to history.
Even with there no longer being any national newspapers left on Fleet Street, the church has retained its unique ministry to journalism and all aspects of the media.
Journalists' Altar
The Journalists' Altar was established in the northeast corner of the church during the time when John McCarthy was held hostage in Beirut for more than five years in the 1990s. (It was known as the Hostage Altar during those years.) It remains a particular focus of prayer for those in the profession who have died, many during the course of their work, as well as those who are missing or whose fate is unknown.
Candles are lit here for those who die in the course of duty, and journalists from all over the world are remembered.Address: Fleet Street, London EC4Y 8AUAdmission: FreeOfficial Website: www.stbrides.com[caption id="attachment_24618" align="aligncenter" width="1920"] The shape of the clouds looks a bit like lightning, doesn't it? I heard that the spire has been struck a few times by lightning including in the 21st century.[/caption]
I have meant to visit the Temple Church for years, so I was grateful for the encouragement when it was included in the annual Open House London.
Regularly cited as a 'hidden gem,' this City of London church actually does fit the bill.
It's certainly challenging to find and is a delight once discovered.
The church sits between Fleet Street and the River Thames, within the inner sanctum of Britain's legal profession.
Once you step through the little gateway on Fleet Street, you enter a quieter world with ancient buildings, courtyards, and gardens.
Many may know it for its connection to Dan Brown's The Da Vinci Code, but its story is much older and more fascinating.The Temple Church is rightly considered one of the most historic and beautiful churches in London.
It was built by the Knights Templar, the soldier monks who protected pilgrims to the Holy Land during the Crusades.
It is an active Anglican church with a choir (Sunday Choral Mattins is at 11.15 am, and there's a Choral Evensong on Wednesdays at 5.30 pm).
Knights Templar
To talk about Temple Church requires going back to the days of the Crusades and the role of the Knights Templar.
From around 638, the Holy Land had been controlled by the Saracens (the Christian name for Arabs and Muslims at the time), who had even spread their influence westwards through North Africa and into Spain.
By the 1090s, they had started to lose some of that control, so Pope Urban II called for the Christian kings and knights of Europe to take up arms and 'recover the burial place of Christ in the holy city of Jerusalem.'The First Crusade was launched in 1095, but the 'People’s Crusade,' as it was called, was initially a disaster.
A badly organized, largely unarmed band of Christians were massacred long before they ever got there.
In 1099 a more professional army managed to capture Jerusalem, allowing Christian pilgrims once more to make their way to the Holy Land.
Yet travelers were routinely attacked, robbed, and even killed.
The Knights Templar were founded to protect Christian pilgrims visiting the city.
Their first headquarters was based in Jerusalem on the Temple Mount – a site that is sacred to the Christian, Jewish, and Muslim religions.
The knights took monastic vows yet soon became extraordinarily rich.
By 1191, they were so wealthy they were able to buy the island of Cyprus.
The medieval order was dissolved in 1312.
The Round Church
Temple Church is one of the oldest buildings in London: only Westminster Abbey and the White Tower at the Tower Of London are older.
It is also known to be one of only three existing Norman round churches which are still in England today.
Plus, it is one of the few remaining examples of Romanesque architecture left intact in the city.
By the start of the 1160s, when their earlier accommodation in Holborn became too small, the Knights Templar started on their New Temple located between the City of London with its financial wealth to the east and Royal and political Westminster to the west.
The Round Church is modeled on the round church of the Holy Sepulchre in Jerusalem, built in the 4th century by Emperor Constantine at the location believed to be the site of Christ's death, burial, and resurrection.
The circular nave in the west, which is just 17m in diameter, was considered to be the closest you could get to Jerusalem without actually undertaking the dangerous pilgrimage to get there.
The Round Church was in use by 1162.
It was constructed from cream-colored Caen stone, and the nave is supported by black columns made of Purbeck marble – at the time, they were the first free-standing columns to be constructed out of Purbeck marble.
The nave is watched over by a succession of grotesque faces, carved in stone and probably originally brightly colored.
On 10 February 1185, the newly-built church was consecrated by Heraclius, Patriarch of Jerusalem, during a lavish ceremony that is thought to have been attended by King Henry II.
During this time, the Knights Templar were extremely powerful in England.
They used the church to protect pilgrims as they made their way to and from Jerusalem during the 12th century.
The Chancel
The larger rectangular section of the building extending to the east, which now forms the chancel, was added in the 13th century.
King Henry III had expressed a desire to be buried here with his Queen, so the additional space was needed ready to accommodate a large tomb.
The chancel was consecrated on Ascension Day 1240.
It is a Gothic style with thin, graceful columns, wide-span arches, and huge windows that flood the interior with light.
In the end, Henry was laid to rest at Westminster Abbey, although one of his infant sons was buried at Temple Church.
Effigies
One of the highlights that most visitors want to see here are the life-sized stone effigies of the Knights Templar laid out on the ground in the Round Church.There are also four replica cast effigies in glass cases on loan from the V&A (Victoria and Albert Museum).
William Marshal
Probably the most famous figure depicted in the stone effigies is that of William Marshal.
He has been described as the "best knight that ever lived."He became one of the most powerful men in the country when he acted as Regent for Richard I when the King was abroad on crusade and for Henry III when the King was still a minor.
When Louis of France claimed the English crown for himself and invaded, William Marshal, aged over 70, defeated the French at the Battle of Lincoln.
He was also involved in the strife between King John and the barons that resulted in the King signing the Magna Carta (see below).
Noted for his loyalty to the kings he served, Marshal ended his long life as the Earl of Pembroke and was buried at Temple Church on 20 May 1219.
Two of his sons, and their corresponding effigies, rest alongside him.
Mother Church of the Common Law
The Templars were so powerful that several kings got them to look after their money and jewels.
One of them, King John, took refuge in the church when he fell out with his barons.
It was left to William Marshal to liaise between the two parties to bring about a resolution to the ever-increasing prospect of a civil war. That situation was averted by the signing of the Magna Carta at Runnymede, a meadow outside Windsor, on 15 June 1215.
William Marshal remained loyal to the King who died in 1216.
While Regent to the boy-king Henry III (who took the throne aged just 9 years), William twice reissued the Magna Carta under his own seal in 1216 and 1217.
Henry III then issued its fourth (and final) version in 1225.
Parliament
By 1258 the country was again on the verge of civil war.
Yet again, the Temple was a valued meeting place for a new Council.
In March 1259, they proclaimed at the Temple their first set of proposals, and the King summoned them to the Tower demanding the barons come unarmed.
They refused and insisted on meeting in Westminster.
Both sides compromised, and the meeting took place at Temple Church.
From here on, the negotiations lead to the Parliament at Westminster from which has grown all parliamentary government in England and throughout the world.
Friday the 13th
Ever wondered why Friday the 13th is considered unlucky?King Philip IV of France decided the Knights Templar were too powerful and too wealthy.
On Friday 13th October 1307, he ordered the arrest of all the French Knights Templar.
Pope Clement V eventually agreed with the French king and ordered all European Christian monarchs to arrest the Templars and seize their assets.
In England, King Edward II followed the Pope's instructions and took control of the London Temple.
He gave it to the Knights Hospitallers as they were less controversial but still part of the crusades alongside the Templars.
The Hospitallers rented out the Temple Church to two colleges of lawyers – what we now call Inner Temple and Middle Temple.
Crown Possession
After the demise of the Knights Templar in the early 14th century and after the Reformation in the 16th century, Temple Church continued to be used by members of the legal profession although the Knights Hospitaller were dissolved and their assets were then owned by the crown.
In 1608 King James I granted the whole area of 'The Temple' to the society of lawyers in perpetuity.
The Inner Temple and Middle Temple sections each have their own courts, halls, gardens, and library collections, but the original church compound contained military training facilities, residences for kings and legates of the Pope, recreational grounds, and even an early depository bank.
Shakespeare
In William Shakespeare's play Henry VI, the church served as the scene for the start of the War of the Roses.
As a result, hundreds of white and red roses were planted in the church's gardens in 2002.
Sir Christopher Wren
The church escaped the flames of the Great Fire of London in 1666 but was still worked on during Sir Christoper Wren's mass-rebuilding of The City of London.
In the late 17th century, various additions were made to the interior of the building during Wren's restoration.
These additions included wooden paneling on the walls, new wooden pews, screens that divided up the space in the church, and a new altarpiece.
It was all in a Classical style that was later considered inappropriate for the graceful Gothic arches.
Victorian Restoration
Some further restoration had been carried out in the 1820s, but the work really began about twenty years later.
Two architects, Sydney Smirke (best known for the circular reading room at the British Museum) and Decimus Burton (designer of Hyde Park Corner and many buildings in Regent's Park), were in charge of the project.
They removed the unsympathetic 17th-century additions, as well as restoring the building's structure, and adding brightly painted wall murals inspired by pre-Reformation church paintings.
We often presume today that churches have always been quite dull and dour, but pre-Reformation artwork has shown how much color was used in decoration.
Second World War
While the church wasn't harmed during the Great Fire of London in 1666, it was badly damaged during World War Two by German air raids in 1941.
Incendiary bombs destroyed the roof of the round nave, and the heat of the blaze cracked the black Purbeck marble columns.
All of the original wooden parts of the church (as well as the Victorian renovations) were destroyed as well as the many colorful wall paintings.
Temple Church has been lovingly restored and is now less flamboyant but still striking.[caption id="attachment_24431" align="aligncenter" width="1920"] The Master's Garden looking at Temple Church[/caption]
American Connections
Temple Church has a strong connection to the US.
Six members of Inner or Middle Temple were among the signatories to the Declaration of Independence in 1776: Thomas Hayward, jun., from 1778 Judge of the High Court of South Carolina; Thomas Lynch; Thomas McKean, President of Delaware and Chief Justice of Pennsylvania in 1777; Arthur Middleton; William Paca, later Governor of Maryland; and Edward Rutledge, later Governor of South Carolina.
John Dickinson of Middle Temple, who drafted the Articles of Federation and became President of Delaware in 1781, famously refused to sign since he was still seeking reconciliation with Britain as well as liberty.
Seven Middle Templars signed the American Constitution in 1787: John Blair, Chief Justice of Virginia; John Dickinson; Jared Ingersoll, first Attorney-General of Pennsylvania; William Livingston, Governor of New Jersey; John Rutledge, chairman of the drafting committee and the second Chief Justice of the United States; Charles Pinckney and Charles Cotesworth Pinckney.
The preamble of the American Declaration of Independence declares: "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness."On 31 August 1858, Abraham Lincoln, arguing against slavery, described that first sentence as "the gem of the Magna Charta of human liberty."
The Da Vinci Code
Even though Temple Church has over 800 years of history, many will have only heard about it because of The Da Vinci Code.
It certainly captured the imagination of people from around the world.
The controversial book attaches significance to the fact that the building design doesn't follow the typical cross-shaped plan of Christian churches implying that it is a deliberately pagan design.
As we have already discovered above, there is no great conspiracy about that as it was created to echo Jerusalem's Church of the Holy Sepulchre.In a scene in the film, the main characters Langston and Sophie are in Temple Church trying to solve a riddle: In London lies a knight a Pope interred.
His labor’s fruit a Holy wrath incurred.
You seek the orb that out be on his tomb.
It speaks of Rosy flesh and seeded womb.
The characters traveled to London as they initially believed that the stone effigies of the knights which lay in the church are actual tombs.
They soon realize the riddle is leading them to Westminster Abbey – not Temple Church.[caption id="attachment_24426" align="aligncenter" width="1920"] The pegasus emblem can be seen across the Inner Temple area on buildings and street furniture.[/caption]
Visitor Information
Address: Temple, London EC4Y 7BBAdmission: £5.00Opening Hours: The Church is usually open Monday to Friday, 10 am – 4 pmOfficial Website: www.templechurch.com
While the Queen takes a summer break in Scotland, we can tour the State Rooms of Buckingham Palace for the annual ten-week summer opening.
This year the rooms are available to us from 20 July to 29 September 2019, and the special exhibition marks the 200th anniversary of the birth of Queen Victoria.'Queen Victoria's Palace' tells the story of how the young monarch turned an unloved royal residence into the centre of the social, cultural and official life of the country.
Through objects from the Royal Collection and an immersive experience in the Palace's Ballroom, visitors can learn how Victoria turned Buckingham Palace into what it remains today – the headquarters of the Monarchy, a rallying point for national celebrations and a family home.
And how she created traditions that still endure including appearances by the Royal Family on the balcony at the front of the Palace and the annual summer Garden Parties.[caption id="attachment_15432" align="aligncenter" width="7347"] Queen Victoria's costume for the Stuart Ball.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption]
Summer Opening
For many years, we didn't have access to the inside of the Palace.
It was only after the Windsor Castle fire in 1992 that the decision was taken to open Buckingham Palace to visitors to raise funds for the Windsor Castle repairs.
The summer opening started in 1993 with a plan to run each year until 1997 but it proved so popular the annual summer opening has continued every year since.[caption id="attachment_15427" align="aligncenter" width="2657"] Queen Victoria's Military Jacket.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption]
State Rooms
Not all of the Palace rooms are State Rooms so you won't be going into the kitchen or private bedrooms, etc.
Buckingham Palace has 775 rooms and there are 19 State Rooms used by the royal family to welcome visitors during State and official occasions.
The State Rooms are in the oldest part of the building.
They are the grandest and most impressive rooms in the Palace so you won't be disappointed.[caption id="attachment_15424" align="aligncenter" width="3189"] A painting by Sir George Hayter (1792-1871), The Marriage of Queen Victoria, 10 February 1840, 1840-42 (1.95 x 2.73m) is moved through the Ballroom and installed in the East Gallery of Buckingham Palace.
Image credit: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019[/caption]
Queen Victoria's Palace
Queen Victoria reigned for 63 years. (It was only in 2015 that our current Queen surpassed the reign of her great-great-grandmother.)Victoria's childhood home was Kensington Palace. (A new exhibition and visitor route there this year commemorate 200 years since the iconic Queen's birth at Kensington Palace.)She ascended to the throne on 20 June 1837, aged 18.
After living under such strict controls at Kensington she took command of her own life and just three weeks into her reign, she moved into Buckingham Palace.
The building wasn't ready for such an important resident as it was incomplete with many of the rooms undecorated and unfurnished.
The Palace had been empty for seven years following the death of Victoria's uncle, George IV, who had commissioned at great expense the conversion of Buckingham House into a Palace to the designs of John Nash.
The King never occupied the Palace, and his successor, William IV, preferred to live at nearby Clarence House during his short reign.
The Queen's ministers advised her to stay at Kensington Palace until Buckingham Palace could be brought up to a suitable standard, but Victoria wanted to move immediately and begin her new life.[caption id="attachment_15429" align="aligncenter" width="2390"] The Supertunica worn by Queen Victoria at her Coronation.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption]Thomas Sully’s portrait, painted soon after Victoria moved to Buckingham Palace, provides one of the most striking early likenesses of the young Queen, who is shown wearing the Diamond Diadem made for George IV.
Victoria sat for the portrait on three separate occasions, and the artist recorded that she laughed and talked, 'a happy innocent girl of Eighteen'.[caption id="attachment_15431" align="aligncenter" width="7360"] A portrait of Queen Victoria by Thomas Sully and Queen Victoria's costume for the Stuart Ball.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption] Victoria married her first cousin, Prince Albert of Saxe-Coburg and Gotha, on 10 February 1840.
Over the next 17 years, they had nine children, eight of whom were born at Buckingham Palace.
Though Victoria was initially delighted with Buckingham Palace's 'high, pleasant and cheerful interiors', the royal residence was unmodernised and unsuitable for both official and family life.
As early as 1845 it was clear that Buckingham Palace was no longer large enough to accommodate the royal couple's rapidly expanding family.
On 10 February that year, Victoria wrote a letter to the Prime Minister, Sir Robert Peel, concerning 'the urgent necessity of doing something to Buckingham Palace' and 'the total want of accommodation for our growing little family'.
On 13 August 1846, Parliament granted Victoria £20,000 for the completion and extension of Buckingham Palace.
Additional funds were raised from the sale of George IV's seaside retreat, the Royal Pavilion, to Brighton Corporation for £50,000. In 1847 the architect Edward Blore was commissioned to draw up plans for alterations to Buckingham Palace.
Between 1847 and 1849, the East Wing was added at the front, enclosing what had previously been an open, horseshoe-shaped courtyard and introducing the famous central balcony.
Shortly afterwards a new Ballroom was added to the State Rooms to the designs of the architect James Pennethorne, fulfilling Victoria's wish for a space 'capable of containing a larger number of those persons whom the Queen has to invite in the course of the season to balls, concerts etc. than any of the present apartments can hold'.
The writer John Ruskin had witnessed the shortcomings of the Palace's other rooms for entertaining, describing an occasion at Court as 'the most awkward crush…with the ruins of ladies dresses, torn lace and fallen flowers'.[caption id="attachment_15428" align="aligncenter" width="1511"] Queen Victoria's costume for the Stuart Ball.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption]
Buckingham Palace Tour
All tickets include a multimedia tour so everyone is walking around in silence with headphones on. (Children get a family multimedia guide too and I prefer to listen to that as it's always so interesting.
The voices are from an animal 'guide'.
As well as Rex the corgi, this year there is Dash, Queen's Victoria's pet dog.)My best tip is don't rush – it's easy to get caught up in the flow of people and move on too quickly so step to the side of each room and just take it all in.
Admire the high ornate ceiling, the decorated walls, the tall windows, the flooring, the detail in the furniture... everything.
It really is a wondrous building.
The ticket entrance brings you in on the side of the building.
You pass the Feliks Topolski's panoramas, bronze bust sculptures of the Queen and the Duke of Edinburgh and an impressive life-size painting of the Queen.[caption id="attachment_15506" align="aligncenter" width="4032"] Buckingham Palace Quadrangle[/caption]This route brings you to the Quadrangle which is where cars drive into from the front of the Palace.
From here you can see the 1840 extension that was built for Queen Victoria's growing family (remember, she had nine children).
The Irish State Coach is lined up so you can imagine this was your mode of transport as you enter the palace building.
The tour route takes you up the Grand Staircase which is a glorious way to enter.
Photography is not allowed so you won't have to trip over visitors taking selfies.
But do pretend you are someone famous as you ascend the sweeping staircase.
The bannister is bronze covered in gold leaf and gives you an introduction to the gold and glitz above. In the Throne Room you can see Queen Victoria's throne, added for this year.
Do note how low it is as she wasn’t very tall.[caption id="attachment_15425" align="aligncenter" width="2207"] Queen Victoria's Throne, 1837, is conserved in the Royal Collection Trust workshop.
Image credit: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019[/caption]Victoria was only 5ft 1in but the public was always told she was 1 inch taller as being so small could suggest the Duchess and Conroy were not feeding her properly.
The family guide told me that on the day of her Coronation, after the ceremony, she bathed her dog Dash while still wearing her ceremonial robes.
Victoria ordered a new set of personal insignia for each of the six British Orders of Chivalry.
Also on display in the Throne Room, we can see her Star and Collar of the Order of the Bath.
These were considerably lighter and longer than previous versions, so they could be worn just below the shoulders to complement the necklines of her formal dresses.[caption id="attachment_15434" align="aligncenter" width="6763"] Queen Victoria's Star of the Order of the Bath.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption] [caption id="attachment_15441" align="aligncenter" width="3510"] Queen Victoria's Collar of the Order of the Bath.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption]The tour route then reaches the stunning Picture Gallery.
The audio guide informed me that in Queen Victoria’s time a great storm broke all the glass in the ceiling.
Previous years there has not been enough seating to be able to stop and take it all in.
I know there were concerns about people stopping for too long which would then delay the next timed ticket entry.
But they have listened to visitor feedback and there are plenty of seats in the Picture Gallery and some on other rooms too.
I always stop and sit down in the 47 metre-long Picture Gallery as the Royal Collection of art is incredible.
You are in a single room displaying works by Titian, Rembrandt, Canaletto, Vermeer and many more talented artists.
How wonderful is that?However many times you visit, you will always find something new.
This time I noticed the relief sculptures on the marble fireplaces.
I asked a Gallery Assistant who the four men are and was informed it is Michaelangelo, Donatello, Rafael and Leonardo (we remembered the names because of the Teenage Mutant Ninja Turtles!)In the East Gallery you can see Sir James Pennethorne’s design for the room before reaching the special exhibition in the Ball Supper Room.
This is where ball guests were served food but this year it has objects of significance to Queen Victoria.
Projections have returned the original ceiling decoration of exotic birds and gold stars against a rich blue background, allowing visitors to imagine it as Victoria and Albert would have known the room.[caption id="attachment_15507" align="aligncenter" width="3024"] Ball Supper Room ceiling projections.[/caption]Queen Victoria commissioned a tooth casket for the teeth of her children.
Do see the small envelopes with dates written on them.[gallery columns="2" size="large" ids="15510,15509"]Who do you think wore a dress like this?This wasn't a girl's dress.
Oh no, this dress was worn by Albert Edward, Prince of Wales (later King Edward VIII) in 1844-46.
It was common for young boys to wear dresses then.[caption id="attachment_15508" align="aligncenter" width="3024"] One of eleven works by Queen Victoria, in an album entitled 'The Queen.
Recollections of the Coronation'. 1938[/caption]As well as sketches of her children, there are more examples of Queen Victoria's artwork.[caption id="attachment_15512" align="aligncenter" width="3771"] Buckingham Palace Gardens by Queen Victoria, 1853-54[/caption]Victoria hosted her first musical evening at Buckingham Palace on 15 July 1837, a mere two days after moving in.
From then on, she frequently held concerts and recitals at the Palace so there are musical instruments on display.
During the 1840s and 1850s, the Palace also played host to a series of costume balls, each themed around a different historical period.
As well as providing entertainment, guests were encouraged to commission elaborate costumes to give work to the Spitalfield silk weavers in east London, whose business was in sharp decline.[caption id="attachment_15513" align="aligncenter" width="3024"] Queen Victoria and Prince Albert at the Plantagenet Ball, 12 May 1842.[/caption]The Stuart Ball of 13 July 1851 had as its theme the Restoration period, with guests dressed in the style of Charles II's court.
This took place while the Great Exhibition was on in Hyde Park (1 May - 15 October 1851) so there must have been many important overseas visitors in London.
Queen Victoria's costume for the Stuart Ball, designed by the artist Eugène Lami, has a bodice and full skirt of grey moiré trimmed with gold lace and an underskirt of gold and silver brocade.[caption id="attachment_15430" align="aligncenter" width="4912"] Queen Victoria's costume for the Stuart Ball.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption] The Queen wrote a detailed account of the occasion in her Journal and commented: 'I was so proud and pleased to see my beloved Albert looking so handsome, truly royal and distinguished, and so much admired.
I must say our costumes were beautifully made.' She illustrated her Journal entry with a sketch of herself and Prince Albert with Prince Charles Leiningen (Victoria's half-brother) in their Restoration outfits.The Palace's new Ballroom and Ball Supper Room were completed in May 1856.
Measuring 33 metres long and 18 metres wide, the Ballroom was the largest room in the Palace. (It is also two stories high.) On 17 June of that year, a Ball was held to mark the end of the Crimean War and honour the returning soldiers.
Of the evening, Queen Victoria noted in her Journal: 'Albert, even, who generally dislikes State Balls, enjoyed it, and I could have stayed up till 4, I am sure.'A watercolour by Louis Haghe, one of many views of Buckingham Palace commissioned by Queen Victoria and Prince Albert to document their lives, is the only surviving record of the Ballroom's original Italian Renaissance-inspired decoration devised by Prince Albert's artistic mentor, Ludwig Grüner.
It included red silk hangings and Raphael-inspired cartoons mounted between the high-level windows.[caption id="attachment_15442" align="aligncenter" width="3307"] The inaugural concert in the Ballroom at Buckingham Palace c.1856.
Image credit Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019[/caption]While this decoration was replaced in 1908, the Ball of 1856 has been recreated for visitors using a Victorian illusion technique known as Pepper's Ghost and a series of digital projections around the Ballroom.[gallery columns="2" size="large" ids="15514,15516"]Named after John Henry Pepper, who popularised the technique during Queen Victoria's reign, the Pepper's Ghost trick involved a stage that the audience could see and a room below that was hidden out of view.
An angled sheet of glass was then placed on the stage which reflected to the audience what was happening in the hidden space underneath.
The technique is used in Disneyland's Haunted Mansion as it's a great optical illusion.
Here, four couples appear performing the opening waltz to Italian composer Giuseppe Verdi's La Traviata.
You can't join in the dance on the 'stage' but I expect many visitors will enjoy a waltz around the room.
State Dining Room
New kitchens were also incorporated into Pennethorne's plans, providing the Palace's 45 chefs with the room and facilities to demonstrate the breadth of their culinary skills.
In the State Dining Room, the table is dressed with items from the 'Victoria' pattern dessert service, purchased by the Queen from the stand of Minton & Co. at the Great Exhibition in 1851, and the Alhambra table fountain, a silver-gilt and enamel centrepiece commissioned by Victoria and Albert from R & S Garrard in the same year.[caption id="attachment_15426" align="aligncenter" width="2136"] Dessert Stand from the 'Victoria' pattern dessert service.
Image provided courtesy of The London Library.[/caption]The room made me think of something from Alice in Wonderland as the Victorian desserts are brightly coloured and fun.
Displayed on pieces of silver-gilt from the Grand Service, commissioned by Victoria's uncle, George IV, are replica desserts based on designs by Charles Elmé Francatelli who was Queen Victoria's Chief Cook from 1840 to 1842.Do look out of the window in this room as it's your first glimpse of the Palace Gardens.
Continuing The Tour
In the Blue Drawing Room and the White Drawing Room, do notice the decorative wooden flooring visible around the edge of the room. (The floors are covered with carpet to protect them during the summer opening.)The Music Room is one of my favourites as its stunning curved windows overlook the Gardens.
Queen Victoria and Prince Albert enjoyed playing the piano and singing together.
There is a showpiece piano of Queen Victoria's on display this year.
This room has some timeline boards and a couple of exhibits including mourning writing paper and a copy of Peveril of the Peak – the last book Victoria read to Albert open on the page she reached before he died.
I love watching people discover the secret door to the Queen's private apartments in the White Drawing Room before heading down the stairs to the Marble Hall.
There are portraits of Queen Victoria and Prince Albert either side of the exit through the Bow Room and then you reach the Terrace and the Gardens.
Don't plan to leave immediately as the cafe on the terrace has lovely cakes although all are priced at £5.95.
Tea is £2.95.
I'm not a fan of drinking tea out of a paper cup but I've always had to make an exception to have a cup of tea here as it's an annual treat.
There have been some improvements in the Terrace Cafe's environment credentials although I noticed single-use plastic lids were still being put on the compostable cups.If you have brought children, the Family Pavilion is on the other side of the Terrace and is full of games and activities to let kids relax after being so good inside the Palace.
Then head into the large gift shop which is better than the ones on Buckingham Palace Road as it has a much larger range of goods.[caption id="attachment_15519" align="aligncenter" width="3024"] Who can resist "Handbag Shortbread" at £2.95? Emergency posh biscuits sound like a great idea to me.[/caption]To leave, you get to walk along the edge of the Palace Gardens.
There's a ticket office in case you would like to buy Windsor Castle tickets, and popular ice-cream sales too.
You can leave your feedback at the end of the path before exiting onto a busy main road. (That really is the only downside to visiting Buckingham Palace.) Turn left to go to Victoria station – an apt choice after seeing the special exhibition – or right to reach Hyde Park Corner station.
Buckingham Palace Summer Opening 2019
Dates: 20 July – 29 September 2019Address: Buckingham Palace, Westminster, London SW1A 1AATickets: Adult £25.00; Over 60/ Student (with valid ID) £22.80Under 17/ Disabled £14.00; Under 5 Free; Family £64.00 (2 adults and 3 under 17s)Your ticket becomes a 1-year pass when you get it stamped at the exit (end of the garden path).
Then you can return throughout the season and for the following year too.Official Website: www.rct.ukI attended a preview so had permission to take photographs in the Ball Supper Room, the Ballroom and the State Dining Room.
Do note, photography is not allowed in any rooms during the normal public opening hours.
Since the Victorian period, the British government and local councils have taken it upon themselves to ensure that housing was provided to the working classes. Part of this was out of concern for the health of lower-income persons who were often packed into slums as well as being a progressive step toward municipal planning. In the wake of destruction caused by the London Blitz, many new housing estates popped up sporting a Brutalist design that became popular in the post-war period. Today London is home to over a dozen housing estates, some of which are iconic buildings in the city. We’ve identified our top ten favorite housing estates in London, and you can let us know your favorites in the comments.
Brandon Estate
Located in Southwark, the Brandon Estate was built in 1958 to bring life back to the south side of the Thames that was full of “dingy 19th Century terrace houses interspersed with bomb sites”. The estate comprised a series of six towers, bungalows for older residents, and family homes all done in a modernist style. Today, the estate is most known for its appearance on Doctor Who where it doubled for the Powell Estate, home to Rose Tyler, her mum Jackie, and her boyfriend Mickey.
Thamesmead Estate
When Thamesmead was built in the 1960s, it transformed mostly marshland along the river into one of the largest housing estates in London. Developers felt that some of the problems caused on other estates were the product of working families being more insulated from each other than they had in terraced housing, so the new scheme was enacted to help more extended families move to Thamesmead. It’s also said that the estate had one of the most stringent requirements for assignment so as to cut down on crime. The estate was created with more pedestrian pathways in mind to make it easier for residents to get around and like the Brandon Estate, it has its share of media fame as the primary location for Stanley Kubrick’s adaptation of A Clockwork Orange.
Trellick Tower
One of the city’s housing estates that is Grade II listed, Trellick Tower opened in 1972 and was based on the Brutalist designs of Eno Goldfinger. It was one of the last high-rise housing estates built as similar designs were falling out of favor with the newly-created Greater London Council, the London County Council’s successor. Once a haven for criminal behavior, the institution of a “right to buy” program led to many residents renovating their flats and reviving the tower as a whole.
World’s End Estate
Seven twenty-story towers comprise the World’s End Estate which has one of the most enviable views in London, one that includes the Royal Albert Hall and BT Tower. Another Victorian slum converted into a housing estate, it was constructed during the 1960s, and its shops ended up becoming a rather trendy area for young people of the period. The estate has since fallen on some harder times and is treated b some as an example of the wealth disparity that exists between the residents of the estate and the rest of Chelsea.
Dawson’s Heights Estate
Built from 1968 to 1972 by then-twenty-six-year old Kate Macintosh, Dawson’s Heights Estates certainly has its fans. Still following the Brutalist architecture of the many housing estates going up at the time, Macintosh studied them all in order how to make her own design different. This led her to design two blocks located around a central public space with a tiered structure rather than the ugly block towers that seemed to define the other estates. The end result was a much more picturesque Brutalist structure that stands out in the London skyline.
Blenheim Gardens Estate
Located not too far from the Brixton Windmill, the Blenheim Garden Estates were built from 1972 to 1974 and is full of low-rise homes with brick and shingles that look cozier and inviting that most other Brutalist housing structures. With lovely homes that are “warm and efficient” and in a neighborhood such as Brixton Hill, it earns one of the higher points on the list.
Boundary Estate
Not just the oldest housing estate in London, Boundary Estate is the oldest housing estate in the world, having opened in 1900. Located in Shoreditch, construction began in 1890 following on the heels of the Housing for the Working Classes Act. A product of its time, the estate’s design is more Victorian in nature than the Brutalist structures that came later and includes lovely public spaces such as the estate’s bandstand.
Branch Hill Estate
Located in Camden, you almost have to go looking hard for Branch Hill Estate as it’s surrounded by greenery. The Camden Council formed in the 1960s and set about making its own contribution to the city’s housing estates, resulting in a more modernist two-story structures that really gave the feeling of homes rather than flats. The tiered homes are crisscrossed with pedestrian walkways and greenery, making them unlike most of the other entries on this list.
Alexandria and Ainsworth Estate
And speaking of tiered estate homes with greenery, the Alexandria and Ainsworth Estate in Camden shows that Brutalist structures don’t necessarily mean raw equals ugly. Neave Brown designed it in 1968 as a direct contrast to the high-rises that the LCC had preferred. The terraced houses were replaced by high-density, multi-tiered Brutalist homes with sharp angles and today has a lot of greenery provided by the residents. As with Thamesmead and Brandon, it’s achieved a degree of film fame as the home of Eggsy in the Kingsman film series. It was also the first post-war housing estate to achieve Grade II listed status.
Barbican Estate
Perhaps the greatest example in the city, many housing estates are also multi-use developments, but none go so far as the Barbican. It was built from the 1960s to 1980s to replace a section of London that was heavily bombed during the war. The estate today contains several housing towers, residential terrace blocks, restaurants, stores, and the Barbican Center that includes the City of London School for Girls, the Museum of London, and the Guildhall School of Music and Drama. It truly is the best example of what a housing estate can be.
Once part of the Palace of Whitehall, today Banqueting House is all the remains of this once-great royal palace. Today it is a museum while the rest of Whitehall has been rebuilt as government offices. Banqueting House is important to London for several reasons, including its architectural notoriety and the kings and queens that once called it home. We’ll explore the history of this great building from its time as part of a greater palace to its current status and examine everything that makes Banqueting House a great London building.
Of course, in talking about Banqueting House, we have to start with the Palace of Whitehall. The palace was originally a stately home constructed for the Archbishop of York, Walter de Grey, which was known as York Place. Cardinal Thomas Worsley had it rebuilt in the 15th Century to the point where it rivaled the royal palaces. It should not be much of a surprise, then, that when King Henry VIII had Worsley removed in 1530, he decided to claim York Place as his own. Prior to this, the Palace of Westminster had been the main royal home until a fire gutted most of the residence in 1512. Henry hired Anthony van den Wyngaerde to redesign and expand York Place even more and the building’s white stone earned it the name “Whitehall”.
By the 17th Century and King James I, the Palace of Whitehall had grown considerably and James commissioned architect Inigo Jones to design a new banqueting house in 1619. Two banqueting houses had existed on the site before this, and ironically it was a fire that destroyed the previous structure. Jones, as Surveyor of the King’s Works, knew that James wanted a building very different from the old banqueting house. Influenced by the work of Andrea Palladio, Jones departed from the Jacobean style that had been popular at the time by introducing Italian classicalism and ultimately introducing Britain to the Neo-Classical style of architecture. Jones completed the building in 1622 and it saw many uses not only for banquets, but for any celebration or ceremony, especially the performance of masques, or plays. The hall was not intended only for functionality, but a showing of prestige for King James.Banqueting House was the basis on which Jones drew up plans to complete reimagine the entirety of Whitehall. King Charles I commissioned the plans to renovate the palace in 1638, but he was not able to gather together the resources to begin the project before his execution in 1649, which coincidentally took place outside Banqueting House. Christopher Wren, John Webb, and others had plans for the building, but none of them came about. King William III and Queen Mary II opted to live in Kensington Palace when they came to the throne in 1689 and after a fire destroyed much of Whitehall in 1698, there was no further reason to seek the building’s renovation as a royal palace. Wren opted instead to turn Banqueting House in to a chapel royal, and the building continued to see use as a chapel for another 200 years.
In 1774, the multi-colored stone exterior was replaced with white Portland stone to a more monochrome look. The building underwent further renovations and Queen Victoria granted it to the United Service Institution as a museum in 1891. The building eventually earned Grade I listed status and still exists today as a museum, but one dedicated to its own history and that of the Palace of Whitehall. Open to the public, one of the most striking things to see is Peter Paul Reubens’ nine-paneled work, The Apotheosis of James I, detailing the union of the English and Scottish crowns and glorifying James’s reign. Banqueting House also hosts numerous events throughout the year from weddings to the plays that once used it as a stage. Banqueting House is open from 10 AM to 5 PM every day and tickets are a modest £5.50, so there’s no reason not to see this great building in which so much history occurred.
Now a symbol of London’s ever-changing nature as new development takes over; Television Centre was once home to the UK’s most beloved dramas, comedies, and cultural programs. It was constructed specifically to be the BBC’s first dedicated television broadcasting studios and would oversee the news and such memorable shows as Blue Peter, Doctor Who, Top of the Pops, Monty Python’s Flying Circus, and Casualty, among others. The history of the building is just as fascinating as the shows that were made within, so let’s have a look behind the camera at the history of one of London’s greatest buildings—BBC Television Centre.
Before Television Centre, most of the TV broadcasts were made from Alexandra Palace, and while it purchased Lime Grove Studios and other properties as homes for its programs, the BBC knew that they needed a central hub for it all. In 1949, it purchased the former White City site in Shepherd’s Bush with the intention to construct the nation’s first true home to television. At the same time, the BBC tapped architect Graham Dawbarn to design the new structure. Given the fifty-page brief he was given on what the Corporation required and the triangular shape of the site, it’s said that he retreated to a pub to ponder it over. Drawing the shape of the property on a pub napkin and truly stumped on what to do, he drew a question mark inside the shape, and that’s what inspiration hit. He then drew a more complex design on an envelope that is still in the BBC’s possession. While the design may have come easily, the actual construction was more problematic. Work on Television Centre actually began in 1950, but government restrictions on building made the process a lengthy one. The sanctions on building and the licensing of materials stopped the construction until 1953, and in the meantime, the BBC opted to renovate its studios at Lime Grove, Hammersmith, and Shepard’s Bush Empire. Stage One including the TVC scenery block was the first part of the center built, while Stage 2 and the canteen block followed in 1954. The next year would see work begin on the circular office block that composed Stage 3. Today it might seem s a little confusing as most people would think “stage” means “studio” when it really referred to that point of construction. By the time the building opened in 1960, studio TC3 was the first to be completed.For over fifty years, Television Centre really was the center of television in the United Kingdom. It housed everything necessary for any program, including studios, offices, a staff cafeteria, editing bays, scenery workshops, costume design studios, etc. Most work was able to be kept successfully in-house with only limited television production going out to the BBC’s other studios around London. Moving into the 20th Century as the area around the studios began to fall under the sway of development, English Heritage pushed for the building to receive listed status for the scenery block, the main building, and the cafeteria block. The Ministry for Culture, Tourism, and Sport would grant Grade II listed status in 2009 for the Central Ring and Studio 1, but determined the other buildings were not of sufficient interest.
At the same time, BBC Television Centre’s days were becoming numbered. By 2007, the BBC had a £2 billion funding shortfall and opted to divest itself of some of his property holdings. Selling the building in 2012, production of various programs was moved to studios around the UK, a process begun several years before when shows such as Doctor Who moved their production offices to Cardiff’s Broadcasting House, while BBC Sports and BBC Children’s moved to MediaCityUK in Salford Quays. BBC News moved into its new home in the updated Broadcasting House in London, originally constructed for BBC Radio but now incorporating BBC Television and the BBC World Service.
Now destined for mix-used by developer Stanhope, demolition began in 2015, and the building is readying itself to be the home to corporate offices, restaurants, and more. The BBC still leases some studio space there for its use as well as ITV’s. While television may no longer be the main business of Television Centre, it no doubt still has a home here and will continue to be the historical center of BBC Television if only in spirit.
Bishopsgate certainly has its own contributions to London's skyline including the Gherkin and the Leadenhall Building. Rounding out the trio is 110 Bishopsgate, better known as Heron Tower (and also known as Salesforce Tower). Finished in 2010, the tower has gained a number of claims to fame including being the tallest building in the financial district and the third tallest building in the city behind the Shard and One Canada Square. In 2012, it was chosen as the British Council of Offices's best commercial workplace. As with many of London's recent skyscrapers, its short history is filled with interesting information.
Heron Tower's origin story actually goes back to 1999 when it was designed by Kohn Pederson Fox Associates as a new office building for Bishopsgate. It wasn't approved at the time, however, out of concerns that it would block the view of St.
Paul's Cathedral. The City of London approved the final design in 2006 and Heron International signed a deal with the State General Reserve Fund of Oman for the financing. Skanska, who had built the Gherkin, then became the contractor on the development and construction began in earnest in April 2008.
Over 2008, three cranes were erected to help build the structure and the steelwork started in October. Most of the building was constructed throughout the course of 2009 and in July, Heron, Shanska, and KDF held a ceremony to install a time capsule in the tower's foundations. By December, Heron Tower took over the title of the tallest building in the City of London from Tower 42. The "topping out" ceremony to celebrate the structural completion was attended by the Lord Mayor of London and took place on 12 April 2010. The building was fully completed in January 2011.
On the whole, Heron Tower is a truly spectacular structure. It has forty-six floors, thirty-six of which are used for office space. The base floors are home to restaurants and bars as part of the tower's mixed-use buildings as are floors 38-40, which include restaurants Sushisamba and Duck and Waffle. In the lobby is one of the building's most impressive features, the 70,000 litre aquarium home to 1,200 fish. The office spaces occupying much of the tower are separated out into ten "villages" each with its own closed environment so that each firm occupying the office space can set the temperature to their own liking and ensuring that electrical or mechanical problems in one or more "village" won't affect the others.
Heron Tower is also one of the most environmentally-friendly office buildings in the city. The south elevation of the tower protects the building from excessive heat gain through its triple-skin glazed facade and solar panels that both shield the southern side and help Heron Tower generate its own power. Levels 41 to 46 have air handling plant rooms for heat recovery, while the building's adiabatic cooling uses air pressure to help control temperature and keep energy usage low. All of these elements helped Heron Tower to earn an "Excellent" rating using the Building Research Establishment Environmental Assessment Method.
As you can see, Heron Tower is more than just another skyscraper or financial district office building. It's a building that documents its past while embracing the future. It shines against the skyline for both the City of London and Greater London as a whole. While it's one of the city's more recent skyscrapers, Heron Tower makes its mark amongst London's greatest buildings.
One of the jewels of post-war skyscrapers in London, Tower 42 (once known as NatWest Tower) remains the third highest building in the City of London and the eighth highest in the Greater London area. Interestingly enough, it was actually the very first skyscraper in the City of London. While taller buildings such as Centrepoint, Millbank Tower, and BT Tower were constructed before Tower 42, these did not meet the international standards to be called a skyscraper. Long since vacated by its original inhabitants, Tower 42 remains as a striking piece of the city’s skyline.
Prior to Tower 42’s construction, no skyscrapers actually existed in the City of London. The city had height restrictions to prevent the building of towers that would block important vistas and views of other prominent landmarks. The space on which the tower would be constructed had been the property of the National Provincial Bank of England. The bank wanted to develop a new building to meet its needs on the site and applied for outline planning permission in 1963. Permission was granted in November 1964, but the Control Office & Industrial Development Act of 1965 halted the project until the bank received an office permit in 1968.
At the time Richard Seifert was appointed architect over the project, the National Provincial Bank merged with National Westminster Bank in 1970, meaning the new tower would be named National West Tower (or NatWest Tower for short). Seifert met with some initial controversy over his design, which he wanted to be 198 metres and have the Grade I listed Gibson Hall demolished to accommodate his initial design. A protection order ended up saving Gibson Hall from Seifert’s plan and the tower height was reduced to 183 metres for approval. Seifert’s final design was for a single tower with a core and three “leaves” beginning on the fifth storey that resembles NatWest’s interlock chevrons logo. Final approval was given in 1970 and construction started the next year.
John Mowlem & Co. began the construction in 1971 with the concrete core followed by the cantilevered floors, which gave the building great strength but limited the amount of office space. The tower has exactly forty-two stories, with the cantilevered floors beginning on the fifth storey, though it’s actually referred to as Level 1. The core goes another four storeys to top out at Level 46, and main contains lifts, stairs, bathrooms, and plant rooms with the cooling tower on the very top. Several innovative technologies were used for the building’s interior, such as double-decked lifts, computer-controlled air conditioning, an internal automated “mail train” for deliveries, and an automated window washing system. The tower was also one of the first to include sky lobbies, which is an interchange floor that enables people to change lifts to get to higher floors and thus reducing travel time as one goes higher.
Construction finished in 1980, and NatWest began to occupy the building that same year.
Its official opening ceremony was conducted by Queen Elizabeth II on 11 June 1981. Within five years, however, NatWest would relocate its headquarters after deregulation of the financial markets meant that financial organisations needed large, open trading floors to conduct their business, though the bank still kept offices in the tower. That would ultimately change after an IRA bomb detonated in Bishopsgate, destroying most of the glazed edifice and requiring extensive renovations. The refurbishment ultimately cost £75 million, but by the time it was finished in 1996, NatWest opted to move out rather than reoccupy its office space. Another consequence of the bombing is its inability to gain listed status as a result of not containing original features.
It was then sold in 1998 and renamed as Tower 42. Another refurbishment followed in 2004-2008 as well as another sale of the building in 2011. In 2012, an LED multimedia lighting system was added to the top of the core that was completed in time to host a display for the Summer Olympics. The 42nd storey plays host to champagne bar Vertigo 42. Tower 42 remained the tallest tower in London for ten years until the construction of Canary Wharf, but today it still makes quite the impression on the city even though it is surrounded by taller structures.
Known to most people outside London as the home of Harry Potter's Platform 9 3/4, King's Cross Station is a historic railway station in the heart of the city. The southern terminus of the East Coast Main Line that runs up to North East England and terminates in Scotland. Long before being known as the hub for railway transport, the King's Cross area was known for a different kind of transport as it was a crossing point for the River Fleet. Prior to its renaming, the area was known as "Battle Bridge" and featured one of the final battles between Roman forces and the Celtic Iceni tribe led by Boudica. Lore has it that this was Boudica's final battle as well and she is buried under one of the station's platforms.
Development of King's Cross began in 1756 with the construction of Euston Road (known as "The New Road" until the mid-19th Century), which led to the building of two-story terraced homes and a couple of hospitals. The construction of Regent's Canal in 1820 further developed the neighbourhood by providing another link between the South and the industrial North, further transforming King's Cross into an economic and transportation hub for London. It was the erection of a statue to King George IV at the Battle Bridge crossroads in 1830 that gave the borough its name. While the statue was later demolished, the name King's Cross stuck.The Great Northern Railway would provide a lasting positive change to King's Cross. Construction on the southern terminus began in 1849, as GNR purchased the land where the station is presently located because of its proximity to Regent's Canal. A temporary station was constructed at Maiden Lane in 1850 and work on the permanent King's Cross Station began in 1851. Lewis Cubitt designed the station along with Sir William Cubit, the latter of whom had built the Crystal Palace in 1851 and was a consulting engineer on the Great Southern Railway. Their design had two arched train sheds with a brick edifice at the south side to mirror the sheds inside the station. Its main exterior feature was the clock tower topping off at 112 feet and containing tenor, treble, and bass bells.
When it was finished in 1852, it had two platforms (still there today as Platforms 1 and 8) with the space in-between used for carriage sidings. The station became an immediate hit for suburban commuters, and in 1862 it was linked with the Metropolitan Railway to the London, Chatham and Dover Railway. Another station west of the main building (containing what would later be Platforms 9 through 11) would open 1875 known as the King's Cross Main Local Station. At least half of the station traffic by 1180 was suburban, and Platforms 5 and six were then added in 1893 to meet the ever-increasing demand.[caption id="attachment_7006" align="aligncenter" width="600"] Western concourse at London Kings Cross station[/caption]King's Cross Station was purchased by the London and North Eastern Railway in 1921, and they made subsequent refurbishments to modernise the station's amenities. During both World War I and World War II, the station saw quite a bit of traffic from soldiers deploying to the front as well as children being sent off to the countryside. Further platforms were added, leading to a total of fourteen, that were numbered officially in 1972, with Platforms 1-8 in the main building and 9-14 on the side building. 1987 saw the station's worst disaster with the King's Cross Fire that began on a wooden escalator and ultimately led to the deaths of 31 people. Along with the rest of British Rail, King's Cross Station was privatised in 1996, and the Great North Eastern Railway took over, leading to a restoration of the station in 2007 and a radical new design for the concourse area that would ultimately cost about £500 million.
Completed in 2012, King's Cross Station's new concourse included the restoration and reglazing of the main train shed, as well as removing the 1972 extension at the front of the station and replacing it with an open-air concourse. The concourse now features what its architect, John McAslan, believes is the longest single-span station structure in Europe with a semi-circular radius of 59 yards and over 2,000 triangular roof panels. In 2013, the restoration project won the European Union Prize for Cultural Heritage/Europa Nostra Award.The station was immortalised in J.
K.
Rowling's Harry Potter and the Philosopher's Stone as the location of Platform 9 3/4, a platform reached through a magical portal from which the Hogwarts Express would take wizarding students off to the famous school. It's believed that Rowling was thinking of nearby Euston Station when she initially wrote the scene, as Platforms 9 and 10 are in a separate building from the main station. Nonetheless, the station was still used for filming when the cinematic adaptations began, specifically using the space between Platforms 4 and 5. Today, the station has constructed a spot for Potter fans to take photos in a passageway that connects the main station to the Platforms 9-11 annexe. Initially just a sign, the area now includes a trolley disappearing into the wall and a nearby Harry Potter shop.
Today, King's Cross Station is still a constant hub of activity. The station sees over 50 million commuters per year, owing in part to it serving more Underground lines than any other station in London. Whether you're there to take a photo at Platform 9 3/4, catch a Tube train to another part of the city, or venture beyond London, King's Cross Station is a must-visit location in the city.
20 Fenchurch Street is one of London’s office buildings that certainly makes a statement. Whether you appreciate its design or decry it as yet another skyscraper built without concern for the city’s skyline, it remains a very visually striking place. Its unique curves have earned it the nickname “Walkie Talkie” from fans and critics alike. In addition to its businesses, 20 Fenchurch is also home to London’s highest greenspace in the Sky Garden, which also features a great restaurant. The building’s history is as unique as its design, and we’ll take you through the Walkie Talkie from its ground floor all the way to the tops of the trees in the Sky Garden.
Of course, to talk about the current building, we must first address the building that preceded it. The previous 20 Fenchurch was finished in 1968 by Land Securities. It was designed by architect William H.
Rogers and had a roof that was also distinctive, though most because it looked like a LEGO block on top of a skyscraper. Interestingly enough, the original 20 Fenchurch was one of London’s first skyscrapers after World War II with twenty-five storeys and 299 feet. Perhaps its most famous role was its brief appearance on the programme Party Animals, shortly before demolition was set to begin. Demolition was finished in 2008, at which point the address’s new history would begin.What was proposed to replace the previous 20 Fenchurch was originally going to be much taller. Designed by Uruguayan architect Rafael Vinoly, the first proposal in 2005 put the building at 722 feet, but there were concerns about it blocking views of St.
Paul’s Cathedral and the design was reduced in height to 525 feet and thirty-four floors. Canary Wharf Contractors were the main builders on the site and began in 2009 laying the foundation, with piling and ground works completed in June of that year. Work had been scheduled to be completed in 2011, but the Great Recession held back construction and the basement level of the tower didn’t even begin until January 2011. By the end of the year, the new 20 Fenchurch had risen above ground level and its core was beginning to take shape. While economic uncertainties may have hampered construction, Canary Wharf Group forged on to complete its first major construction project in the City of London. The steel framework was completed in 2012 and the rest of the building began to be filled in. As the tower began to rise, the use of double and triple glaze aluminum and glass presented the building with its first major design flaw. The glass and concave design actually resulted in melting cars on Fenchruch Street. Throughout 2014, several motorists reported damage to their cars after being parked near the building. A Californian specialist was brought in to handle the glare problem, with the solution being to add brise-soleil to the tower’s façade.[caption id="attachment_11655" align="aligncenter" width="600"] The Sky Garden[/caption]Despite the controversy of “Scorchgate”, the first tenants began to move into 20 Fenchurch in May of 2014. The new tower was completed in August 2014, and it met with its fair share of criticism. In addition to its melting of automobiles, it managed to win the 2015 Carbuncle Cup, which architectural magazine Building Design gives to the ugliest building in the United Kingdom that was constructed in the last twelve months. Additionally, the Sky Garden operating the first three levels was meant to be a public green space, but the limits on accessibility have since brought into question whether it truly is a public park. What’s more, the Walkie Talkie has been criticised for creating a wind tunnel at street level thanks to the building’s downdraught.
Despite all the problems it seems to create, it’s made a unique architectural mark on the city. Tenants have included firms such as Markel Corporation, Kiln Group, Caselton Securities, and more. While it may not be the most beloved of the city’s skyscrapers, 20 Fenchurch Street is nonetheless making its mark on London and time will tell whether it is a burden or boon for one of the world’s most active metropolises.You can visit the Sky Garden for free on any day of the week or in the evenings, but you must book ahead.
Bookings open 3 weeks in advance, so we recommend booking then.
To get in you have to go through airport-style security screening.
If you're dining at one of the restaurants you must also book ahead but you don't have to wait in the long line for visitors.
Headquarters of the BBC, Broadcasting House represents the totality of the BBC’s media offerings across radio and television. Originally a building for radio programmes, the expansion in the early 2000s transformed the building into the new centre of the BBC’s activities. The BBC moved its news divisions out of Television Centre and into the new wings, creating the largest single location for live broadcasts in the United Kingdom. Today, BBC Broadcasting House is a bridge from the corporation’s past to its future, existing across old and new buildings and home to timeless and cutting-edge media.
When the BBC formed as the British Broadcasting Company in 1922, its main broadcasting centre for radio was Marconi House (names for the inventor of radio) in the Strand and later Savoy Hill. The company then received its Royal Charter in 1927 and rebranded itself as the British Broadcasting Corporation. With its new status, a primary headquarters was needed, and construction of Broadcasting House began in 1928. The building was designed by G.
Val Myer in the Art Deco Style and meant to be the corporation’s first purpose-built home for radio broadcasting. For this purpose, Val Myer worked with BBC civil engineer M.
T.
Tudsbery.
It was constructed of Portland stone with nine floors above ground and three below. Raymond McGrath designed the interior, continuing the Art Deco style inside to include the studios, green rooms, dressing rooms, and the music and dance chambers. While other buildings of the era included a light well in the centre, Broadcasting House’s core was where the studios were housed. Its light, steel-framed shell and brick structure were meant to act as acoustic buffering, and the curved nature of the building’s edifice resulted in its comparison to a ship. Part of the reason for this is that nearby residents complained about the shadow it would cast over Langham Street, so he altered it to be a bit asymmetrical and honour the right of ancient light easement that the neighbourhood had.
It opened in 1932, and the BBC’s programmes were slowly moved over until all of them were housed within the structure. Henry Hall and the BBC Dance Orchestra provided the first musical broadcast on 15 March, and Stuart Hibberd read the first new bulletin on the 18th. The last broadcast at Savoy Hill took place on 14 May, and Broadcasting House opened officially the next day. Not too long after opening, the occupants discovered that the passing trains from the Bakerloo line could be heard in the below-ground studios, but fortunately, this didn’t show up in the recordings. Large windows were built into the ground floor with the thought of turning it into retail spaces, but the corporation expanded so rapidly that this never occurred.
Broadcasting House would then see a revitalisation that began in 2003 and has earned as much controversy as it has praise. The idea was to combine many of the corporation’s operations, bringing over the radio and television news from Television Centre and BBC Worldwide from Bush House. The renovation began by knocking down some of the post-war building extensions and refurbishing the interior. At the same time, a new east wing was constructed with a design that mirrors the original structure in shape. The Egton wing was finished in 2005 and later renamed after BBC DJ John Peel in 2012.
The second phase would be a rear wing that bridged the original and Peel wings and was partly the reason for the controversy. The original architect, Richard MacCormac, left the project over disagreements with the BBC, who wanted to reign in the rising costs, while MacCormac didn’t want to make revisions to his design. Bovis Lend Lease then completed the construction in 2010 and the building was turned over to the BBC in 2011. The ultimate result was a £1 billion construction cost and with continued maintenance costs that the BBC is still trying to reduce. Queen Elizabeth II opened New Broadcast House on 7 June 2013, roughly ten years since construction began.
Despite the controversial cost, the BBC now has the most advanced media centres not only in Britain and the second phase won “Programme of the Year”. It has grown from twenty-two studios to over fifty that cover everything from BBC Radio 1 to BBC Persian Television. It has a great deal of artwork with statues by Eric Gill that mirror the Art Deco of the original Broadcasting House, a glass-and-steel cone called Breathing by Jaume Plensa, and Mark Pimlott’s “Word”, a courtyard that curves very slightly to mimic the curvature of the Earth. Blending form and function, past and future, Broadcasting House is a media castle in the heart of London.
Located on the site of the former West India Docks, One Canada Square is not only a skyscraper that puts a stamp on the London skyline; it’s a symbol of economic revitalisation. For over a hundred years, the West India Docks were amongst the busiest ports in the city, but by the 1960s, business started to dwindle until the port finally closed in 1980. The British Government then developed the London Docklands Development Corporation to stimulate the area economy and things really picked up when Canadian firm Olympia & York took control of the project in 1988.
Olympia & York then hired the architecture firm of Cesar Pelli & Associates, Adamson Associates, and Frederick Gibberd Coombes & Associates, who designed a tower similar to 200 Vesey Street in New York City, another building owned by Olympia & York. The architects wanted to make sure that the building had a uniquely British character, however, and changed the design to be slightly more reminiscent of Elizabeth Tower and to use steel to honour Britain’s history as an industrial nation. The original plan was to make the building 55 storeys and 864 feet high, but that proved to make it high enough to be an obstruction for flights coming into Heathrow, and the firms had to take off five floors to comply with air traffic regulations. The building was then made denser to make up the difference.
Sir Robert McAlpine & Sons then started in construction in 1988, but the construction was slow, and after a worker strike in 1989, Lehrer McGovern took over and then contracted out most of the work to Balfour Beatty. Prior to being finished One Canada Square actually overtook Tower 42 as the tallest building in the United Kingdom, a feat capped off with the finishing of the building’s pyramid roof. The roof weighs more than 100 tonnes, is 131 feet high, and is constructed from 100,000 nuts and bolts. Construction finished in August 1991, and the Duke of Edinburgh was present for the opening ceremonies on the 26th of that month. It took some time for the tower to fill up completely since most of the tenants had not moved in at the time of the opening and a global recession prevented other firms from expanding their operations.
Of course, this was not the end of notable moments in the building’s history. In 1992, One Canada Square was subject to an attempted terrorist attack by the Irish Republican Army. The bombers had orchestrated a way to do the maximum amount of damage to the building but were thwarted because the IRA members illegally parked their van containing the bomb, causing them to get noticed by One Canada Square’s security guards. Terrorists managed to elude the guards, but the bomb proved defective and ended up doing no damage. More recently, a nineteen-year-old Harry Gallagher got in trouble with the police for illegally climbing the building, sneaking past security and climbing the pyramid roof.
Today, the fifty floors contain nearly forty tenants with businesses ranging from JP Morgan to railway company High Speed 2. While much of the building is not open to the public (unless you sneak past like Mr.
Gallagher, which isn’t recommended), you can still take it in from the ground level and enjoy a meal and cocktails at One Canada Square Restaurant. Open for breakfast, lunch, and dinner; the restaurant also offers “bottomless” dinner and brunch. While you’re in the area, be sure to explore everything the district has to offer. For Star Wars fans, the Underground station also served as the filming location for the Imperial base on Scarif in Rogue One.
One of the architectural landmarks of South Bank, the Oxo Tower has stood by the River Thames for over a century, its distinctive lettering standing out against the borough’s skyline. Today home to shops, restaurants, and offices, its origins were actually much different. Beginning construction in the late 19th Century, Oxo Tower was finished in 1900. Its original purpose was to serve as a power plant for the nearby Royal Post Office.
While some speculate that the Tower was a factory for the famous Oxo cubes, the truth is that the name appears on it as bit of stealth advertising. At the turn of the century, London had a regulation that forbade certain types of advertising such as billboards on the waterfront. Liebig Extract of Meat Company acquired the building in the 1920s with the aim of turning it into a cold storage facility for their products. It had wanted to have illuminated signs featuring its Oxo cubes, but that was rejected.
Company architect Albert Moore redid the building in the popular Art Deco style and going around the city’s regulations, he worked the company’s most famous product into the windows on the tower. This “coincidental” design played fast and loose with the city’s rules against signage and gave the company a bit of subtle promotion. The original river-facing façade was kept and extended, while most of the power plant equipment was moved out and the interior seriously renovated to serve Liebig’s intended purpose. Meat was then brought in on barges through the lading bays that are still visible from the waterfront and then processed and packed for cold store.
Oxo Tower continued to be used for this purpose until sometime after World War II, when Liebig cleared out and it became empty except for a small company using it to make “long eggs” that were inserted into meat pies. By the 1970s, the building had become completely derelict. Coin Street Community Builders purchased the tower in the 1990s with the intent to restore the structure and change its purpose yet again. The new plan was to transform it into a new type of building fast catching on in London—the mixed-used building. Oxo Tower would be renovated to contain shops, offices, restaurants, and flats.
Liftschutz Davidson Sandilands was responsible for the refurbishment which ultimately cost £20 million. The cost was met with a variety of funds, mostly consisting of bank loans, CSCB equity, a Housing Corporation grant, and English Partnerships. Work was completed in 1996 and in 1997 the Oxo Tower received the Royal Fine Art Commission/BSkyB Building of the Year Award in the category of Urban Regeneration in 1997, also winning the RIBA Award for Architecture in the same year along with the Brick Development Association Award. Other awards include the Civic Trust Award in 1998 and the Waterfront Center USA Award in 2000. As of this time, the building’s history and success in the renovation have yet to earn it listed status.
Today, the Oxo Tower has more than fulfilled CSCB’s dreams. It contains multiple shops and services from contemporary interior furnishings to hair salons. The Tower also contains a café and the well-known Oxo Brasserie, which filmgoers may recognise from the early scenes of Thor: The Dark World. Additionally, the Oxo Tower contains art galleries that regularly host new exhibits and fashion shows. The Tower’s exhibit spaces are available for hire for any number of events from a showing or a special occasion. Whatever your reason for visiting Oxo Tower, there is something that can please just about anyone from foodies to historians and architects to movie buffs.
Perhaps the top tennis championship in the world, Wimbledon is a British institution and one of the iconic places in London. The history of Wimbledon begins with the formation of the All England Croquet Club in 1868. The club embraced “lawn tennis” in 1875, and as the croquet craze died down, tennis became the predominant activity of the club and the “croquet” part of the name was dropped but added back for sentimental reasons in 1899. The club moved to its current location on Church Road in 1922 to accommodate the growing crowds. Little did the founders know that Wimbledon would become even bigger.
Centre Court is the main court at Wimbledon and the name derives from the original Worple Road location, as Centre Court was surrounded by the other tennis courts. The new stadium was designed to hold 14,000 people and was opened by King George V. By World War II, the Championships, Wimbledon were put on hold, but the club was kept open with a small staff. Unfortunately, Centre Court was one of the sites in London that fell victim to the Blitz in 1940. While 1,000 bombs fell on the borough of Wimbledon during the war, it was the one on 11 October 1940 that struck a corner of the competitors’ stand. Wimbledon wouldn’t be able to fix it until 1947 thanks to postwar rationing and the championship was still played on Centre Court even though it meant 1,200 seats were unavailable.
One of the greatest features of Centre Court is its retractable roof. When Wimbledon moved to Church Road in 1922, the championships suffered from a great deal of rain. After enough decades in which matches were postponed due to poor weather, the decision was made to have a retractable roof installed after the 2006 championships. The new roof took approximately three years to build and was finally finished in 2009. For any match in which the roof needs to be deployed, the match will stop while the roof extends over the court, a process that takes around ten minutes. The scoreboard at Centre Court is another of its primary features. The first was a rudimentary scoreboard with panels inserted by hand and lightbulbs used to keep score. This was replaced with a dot matrix scoreboard in the 1980s and an LED scoreboard in 2008, both of these keeping roughly the same aesthetic as the original. The Centre Court is also home to the Royal Box, used primarily for the Royal Family and their guests.
Built two years after Centre Court, No. 1 Court was constructed in 1924 and was attached to the west side of Centre Court. Smaller than Centre Court, No. 1 could hold 3,250 people originally and was eventually expanded to 7,328. The smaller and more intimate atmosphere of No. 1 made it a favourite of players, possibly due to cheers echoing so loudly that Centre Court patrons might think they were at the wrong match. By 1997, demands upon the tournament meant that the original No. 1 was demolished and a new No. 1 built in Aorangi Park that had a seating capacity of 11,432. In 2013, Wimbledon announced that retractable roof would also go over No. 1 Court, work on which began this past year and is expected to be completed in time for the 2019 championships.
Additionally, Wimbledon has a total of 22 grass courts, 8 American clay courts, and 5 indoor courts. The club complex has 16 permanent ground staff, which increases to 24 during the championships. The grass courts are only available from May to September, but Club members and LTA-sponsored players can use the remaining courts year-round. As the institution of Wimbledon continues, you can only expect the courts to change to meet demand new technologies that will help to maintain the popularity of tennis all over the world.
The primary building in the Tate art gallery network, the Tate Britain has long been one of the pillars of British art museums. Early in its history, the Tate was known as the National Gallery of British Art from its opening in 1897 to 1932, when it became, simply, the Tate Gallery. As the Tate network grew to include the Tate Modern and locations in Liverpool and St.
Ives, the gallery rebranded as the Tate Britain in 2000. As you might guess from the name, the Tate Britain focuses primarily on artwork of the United Kingdom and its collection ranged from the Tudor era to the present.
Prior to the Tate, the site of the gallery in Millbank was previously the Millbank Prison, which was torn down in 1890. A year previous, industrialist Henry Tate, who has made his fortune in sugar production, offered his entire collection of British art to the county. However, the National Gallery didn’t have room to house it and the decision was made to build a new gallery instead, which the National Gallery would run. Architect Sidney R.
J.
Smith designed the building in a Neo-Classical style including the large entrance portico and a dome. The firm of Higgs and Hill was responsible for the construction, which began in 1893.
The National Gallery of British Art then opened on 21 July 1897, though despite this officially name, it was still colloquially known as the Tate Gallery for its founder. At the time, it had eight rooms and 245 pieces of artwork that dated back to 1790. Its responsibilities changed for the first time in 1917 when it became the repository for British art dating back to 1500. The gallery also doubled its size in the first 15 years, adding another seven rooms that were designed by W.
H.
Romaine-Walker to hold a bequest from Romanticist landscape painter J.
M.
W.
Turner, who had given a collection of his works to the National Gallery in 1851. Turner’s collection would eventually move to the Clore Gallery, built in 1987 by James Stirling. The Tate Britain has expanded roughly fifteen times since 1897, and one such addition was the Duveen Sculpture Gallery designed by John Russell Pope, Romaine-Walker, and Gilbert Jenkins and was added in 1932.
That same year was when the gallery changed its name officially to the Tate Gallery and had added electric lighting to enable the Tate to remain open until 5 PM regardless of the weather. The Tate had to endure flooding from the Thames and bombing during the London Blitz, but fortunately most of the art collections had been moved at the beginning of the war and a painting by Stanley Spencer that was too large to move had a protective wall built around it. The Tate then broke free, becoming independent of the National Gallery in 1955.
As part of the gallery’s expansion, it further added onto itself with the extension of the north-east corner in 1979, designed by Richard Llewelyn-Davies, and taking over part of an old military hospital, which would before the aforementioned Clore Gallery. The building eventually earned Grade II listed status in 1970.
The Tate would go through another change in 2000, adopting the Tate Britain moniker due to its expansion into its satellite museums. With the opening of the Tate Modern that same year, Tate Britain’s collection of modern art was transferred there. The museum’s most recent renovation came in 2013 after it raised £45 million that added nine new galleries and was designed by Caruso St.
John. The balcony atrium under the dome also reopened after it had been closed to the public in the 1920s. The Tate Britain also features a timeline-style “Walk Through British Art” and a “Spotlights” gallery that features some of the biggest stars from British art history, alternating regularly to let visitors get an in-depth look at each artist.
The Tate Britain is open Monday to Sunday from 8 AM to 6 PM.
St.
James’s Palace may not be a palace where Queen Elizabeth II actually resides, but it still holds a very important function for the government as the de facto seat of the monarchy. Even when ambassadors are received today, they are “admitted to the Court of St.
James”. It also still provides a place to live for several members of the royal family and is the ceremonial meeting place of the Accession Council. Built in the 16th Century, it is one of the oldest castles still in use by the monarchy and has quite a history.
King Henry VIII was the one to commission the palace originally, and its site was formerly that of a leper hospital for women dedicated to St.
James the Less, from whom the palace gets its name. Henry’s purpose in building St.
James was to have it as a country seat, which can be hard to believe in modern London, though at the time it was quite a pastoral area of the city. Though he preferred the Palace of Whitehall, St.
James was meant as a more relaxed residence where he could escape from the rigors of court. As the hospital had been a gift from King Edward I, Henry simply took it back and razed it for his new country house.
Construction began in 1531 and lasted until 1536. One of the most striking features of the palace is the four-story red brick gatehouse with octagonal towers on either side. Similar to Whitehall, the palace was arranged around several court yards such as the Colour Court, the Ambassador’s Court, and the Friary Court. Unlike Whitehall, much of the palace still exists today, including the Chapel Royal, which held a coral service every Sunday at noon that was well-attended by the aristocracy when the monarch was in residence. Henry also sequestered 300 acres of land nearby for a private hunting ground, land that eventually became the basis for St.
James Park.
Though it wasn’t Henry’s main residence, after his death, future queens and kings would make even more use of St.
James’s Palace. Both Queen Mary I and Elizabeth I used the palace as a residence during their reigns. Mary signed a treaty to surrender Calais while under the palace’s roof and Elizabeth staid here when there was a concern about the Spanish Armada attacking. When Whitehall burned down in 1698, it became the primary residence of the monarch until Buckingham Palace took precedence. King Charles I spent his last night there before his execution and his sons, King Charles II and King James II, were born there. King William IV was the last monarch to use St.
James as his de facto residence, with Queen Victoria choosing Buckingham Palace instead, making it the principal royal residence from that point forward, though she did marry Prince Albert within the walls of the Chapel Royal.
Even though St.
James’s Palace ceased to be a principal residence, it continued to do royal business. Levees, or personal audiences with the monarch, continued to be held there until 1939. In 1941, the representatives of the governments of the United Kingdom, Canada, Australia, New Zealand, Belgium, Czechoslovakia, France, Greece, Luxemburg, Netherlands, Norway, Poland signed the first of six treaties that eventually led to the creation of the United Nations after World War II. Princess Diana stayed there before her wedding, and her coffin was kept in the Chapel Royal before her funeral in 1997.
Today, St.
James’s Palace continues to serve as a residence for the royal family and to house many of their offices, making it closed to the public. It also hosts official receptions for visiting heads of state and charitable events for those organisations of which the royal family are patrons. What’s more, the offices of the Royal Collection Department, the Marshall of the Diplomatic Corps, the Central Chancery of the Orders of Knighthood, the Gentleman at Arms, the Yeomen of the Guard, and the Queen’s Watermen are all within the palace. Even though it is no longer the monarch’s residence, it continues to hold an important place for the sovereign.
There's an old line from Monty Python's Flying Circus that goes, "I don't know much about art, but I know what I like." Modern art may certainly seem strange to a lot of people, due to the fact that it can include just about anything, doesn't necessarily depict traditional subjects, and can utilise some unusual materials in its creation. However, it is art nonetheless, and London has a home for these works in the Tate Modern. Since 2000, this division of the Tate group has been the place for international modern art in the city, housed in what was once the equally modern Bankside Power Station.
Bankside Power Station was designed by Sir Giles Gilbert Scott, who also designed the equally iconic Battersea Power Station, and was built between 1947 and 1963. Replacing the original power station (also known as "Bankside A"), Bankside continued to produce power for London until it closed in 1981. From that time until the 90s, there was a major question of what to do with the building. Several proposals to redevelop it into everything from an industrial museum to a concert hall were shot down while the building remained in possession of the government. It wasn't until the privatisation of the energy industry, and transfer to Nuclear Energy work began to redevelop Bankside for a new tenant.
In 1992, Tate Britain was running out of space for all its collections. To help alleviate this problem, the Tate Trustees announced plans to develop a branch of the museum dedicated solely to modern and contemporary art. With the threat of wrecking balls looming, the Tate selected Bankside as the location for this museum in 1994. The site was purchased two years later for £12 million thanks to a grant from the English Partnerships regeneration agency. The Swiss architecture firm of Herzog and de Meuron were responsible for converting the power station and spent £134 million and four years getting it ready to be an art museum.When the Tate Modern was completed in 2000, the interior itself was a work of art. What had once been the turbine engine hall was now the museum entrance and gathering space. The display area and boiler house became the museum's galleries, which stretched five stories up to the new glass roof. Queen Elizabeth II opened the museum in May, and during the first year, the Tate Modern saw 5.25 million visitors, which was nearly double what the three other Tate galleries combined saw in the same period.This larger-than-expected turnout continued, and the Tate decided that it was necessary to expand the museum in 2004. A third of the building was still being used by French company EDF Energy as an electrical substation, but they released this to the museum in 2006. After raising money for the estimated cost of £215 million, the Tate once again teamed with Herzog, and de Meuron and work began in 2009. The end result was the transformation of the plant's underground tanks into more gallery space, including two of the tanks for live performance art, billed as "the world's first museum galleries permanently dedicated to live art." The Switch House was partially demolished and converted into a ten-storey tower with galleries and opened last year.
Aside from the galleries, the Tate Modern hosts an auditorium, shops, a cafe, restaurant, and a community garden. Tate estimates that 40 million people have come through the modern art museum's doors since 200 and that it has generated £100 million in annual economic benefits for London. Galleries are arranged by artistic movements and contain works from 1900 to the present, including works by Lichenstein, Bonnard, Rothko, Matisse, and Picasso, amongst others. Open seven days a week with extended hours on the weekends; it's worth the trip for any art fan.
[caption id="attachment_8449" align="aligncenter" width="600"] © andersphoto / Adobe Stock[/caption]Also known as the V&A, the Victoria & Albert Museum was founded in 1852 as a museum of art and design. Today, it is the largest of its kind in the world, with a permanent collection of more than 4.5 million works of art from a period of more than two thousand years. It sits in the part of the Royal Borough of Kensington and Chelsea known as “Albertopolis”, so named after Prince Albert and his patronage of the arts and sciences. The area contains many buildings associated with Albert and his interests, also featuring the Royal College of Art, the Royal College of Music, the Royal Albert Hall, the Royal Geographical Society, and the Science Museum.
Albertopolis, including the V&A, began as part of the Great Exhibition in 1851. A festival dedicated to culture and technology, there was a desire by Prince Albert and those involved in the Exhibition to see this celebration of art, music, technology, and science continue. One of these men was Henry Cole, who would become the V&A’s first director. Cole, along with Richard Redgrave, began to amass a collection of pottery, porcelain, majolica, steelwork, and glass that would form the basis for the museum’s objects. The two hoped that the collection would inspire “improvements in the character of our national manufacturers.”
Thus was the beginning of the Museum of Manufacturers, which opened in May 1852 in Marlborough House and later transferred to Somerset House in September of that year. The discussion began in 1854 of creating the building in which the V&A is now located, and the museum name was changed to the South Kensington Museum. The proceeds of the Great Exhibition were used to purchase the land on which the Albertopolis would be built, and Cole approached Albert about the possibility of a museum building in the southeast corner of the property.
Prince Albert himself drew up the first concept for the temporary museum building, which was then developed into plans by architect Gottfried Semper. The “iron museum” was built by Charles Young and Company, with construction starting in 1856. The final building was 81 metres long and 9 metres high, with space for three two-storey galleries. The temporary structure was condemned as being ugly and looking like “a three-sided” boiler. It also had structural problems including a leaking roof, poor drainage, and extreme indoor temperatures. The South Kensington Museum opened in June 1857 and the Eastern Galleries were completed two years later in 1859 to house the collection of artwork.
Unfortunately, Prince Albert did not get to enjoy the museum for too long and died in 1861 of typhoid. The iron building remained the home of the museum for 42 years, with additional wings constructed, until groundwork began on the current building. Designed by Aston Webb, construction began in May 1899 with the laying of the cornerstone by Queen Victoria in her last public appearance. It was at this time that the museum name also changed to the Victoria & Albert Museum. It finished 10 years later and the opening ceremony was conducted by Victoria’s son and heir, King Edward VII, on 26 June 1909.
With the completion of the Science Museum in 1914, those objects and exhibits were removed from the V&A, which then became absolutely dedicated to art and design. Unfortunately, the V&A had become a building landlocked by its neighbours in the Albertopolis and often had to renovate from within to increase storage and gallery space. During WWII and the London Blitz, it became necessary to move the V&A’s collection to separate locations to protect it. These included a quarry in Wiltshire, Somerset House, and even the Aldwych Underground Station. Since that time, the V&A’s collection has grown by leaps and bounds, including international items and exhibits, but always putting its primary focus on art and design from Britain.
The museum is open daily from 10:00 a.m. to 5:45 p.m.
It is open later on Friday until 10:00 p.m.
Admission is free but there is an additional charge for special exhibitions.
The nearest Tube station is South Kensington.
One of the stateliest homes in London, Somerset House at one point was a Tudor palace and today sees use as a venue for the arts and major event location for the city. Its history began in 1547 when Edward Seymour received a land grant from his brother-in-law, King Henry VIII. Following Henry’s death, Edward became Duke of Somerset and Lord Protector of the Realm for the young King Edward VI. Two years later, he pulled down the Strand Inn, one of the Inns of Chancery, and several houses on the land in order to begin building a magnificent home for himself. Unfortunately for Edward, in the midst of his building scheme, he was arrested for treason in 1549 and then executed in 1552.
Still named after him, “Somerset Place” then fell into the possession of the Crown. Following Edward’s death and Mary’s ascension to the throne, her half-sister Elizabeth lived there for a time even after she became queen herself. Always under construction, the process was long and expensive, and even by 1598, historian John Stow referred to it as “unfinished.” After Elizabeth died and King James VI of Scotland became King James I of England, he made Somerset Place a home for his wife, Queen Anne of Denmark. Anne was responsible for many renovations and expansions which were designed by Inigo Jones. As a result of her work, the palace was renamed “Denmark House.”With the advent of the English Civil War, Somerset House fell under the control of the Parliamentarians who burnt the altar and chapel. They attempted to sell Somerset House but were unsuccessful, and it was where Oliver Cromwell lay in state upon his death. When King Charles II came to power in the Restoration, the home fell to his mother, Queen Henrietta Maria, who like Anne before her began an extensive rebuilding plan. Sir Christopher Wren would add the House to his list of works with a refurbishment later on, but after the Glorious Revolution, King William III and Queen Mary II became more interested in Kensington Palace and lost interest in Somerset, letting it fall into disrepair.The original Somerset House was then demolished in 1775 to make room for the current building. Mean to be a public building for London; William Chambers designed and built the new structure in a neoclassical style with three wings surrounding a central courtyard. Each wing held offices for the government and public societies, while the quadrangle itself was an open public space. It would be another twenty years before the building was completed, but the Royal Academy of Arts became the first tenant in 1779, occupying the North Wing. After Chambers had died, the remainder of the work was completed by James Wyatt. Minor additions continued through the early 19th Century, and then Robert Smirke added the East Wing in 1835.
Around this time, Somerset House (specifically some houses near the South Wing) became a home for the Admiralty and one of the stairways inside the South Wing is still known as the Nelson Staircase. These houses were later demolished and rebuilt in 1856 and today is still referred to as the New Wing. Several learned societies also made use of Somerset House, including the Royal Academy, the Royal Society, the Society of Antiquities, and even the University of London. While the building barely survived being consumed by the Great Fire of London, it was hit by a bomb during the London Blitz and many rooms in the South Wing (as well as the Nelson Stair) were damaged. It wouldn’t be until the 1950s that these sections were rebuilt under the care of Sir Albert Richardson.
Today, most of the government offices have moved out of Somerset House, and it instead plays home to many artistic exhibitions, cafés, and a restaurant. During the winter months, the main courtyard is turned into an ice skating rink available to the public and a small Christmas market for the holidays. Admission to Somerset House is free with the exception of some exhibits, and guided tours are also available.
Standing like a gateway to the royal residence of Buckingham Palace, the Admiralty Arch sits at the end of the Mall abutting Trafalgar Square.
Despite the name, the Arch today has actually little to do with the Royal Navy, its only tie being its close proximity to the Navy’s headquarters.
Instead, the Arch originated as a memorial to Queen Victoria, commissioned by King Edward VII and the government, and part of a larger memorial that included the Mall, the re-facing of Buckingham Palace, the Memorial Gardens, and the Victoria Monument.
A committee chaired by Lord Salisbury was responsible for seeing it constructed and the funds were raised from donations within the United Kingdom and overseas territories.
Aston Webb, who was responsible for the other monuments to Queen Victoria, designed the Admiralty Arch as a six-sided structure with concave facades.
The centre features a triumphal gate with five arches, though only four of them are even in common use.
The middle arch is only opened for ceremonial occasions, though it can handle auto or horse traffic, while the other two large arches routinely see cars passing through, and the final two smaller arches are reserved for pedestrian traffic.
On the Arch are engraved the Latin words “ANNO DECIMO EDWARDI SEPTIMI REGIS VICTORIAE REGINAE CIVIS GRATISSIMI MDCCCCX” which translates as “In the tenth year of the reign of King Edward VII, to Queen Victoria from a grateful nation, 1910.”Begun in that same year, the actual construction was done by the firm John Mowlem & Co.
It was built over a period of two years in a Beaux Arts style out of Portland Stone, which comes from Dorset.
The interior was built as offices for the admiralty and even contained a flat for the First Lord of the Admiralty to replace Admiralty House.
However, the First Lords chose not to live there and it instead became home to the First Sea Lords, which later included Winston Churchill and the Earl of Mountbatten.
The Admiralty Arch continued to serve this purpose for eighty years until the Royal Navy finally moved its offices out in 1994 when the armed forces all moved into the Main Building in Whitehall.
In the Navy’s place, some of the Cabinet offices moved in beginning in the 2000s, and the First Sea Lords flat ceased to be a residence for any government official.
Admiral Sir Jack Slater was the last person to live there.
Starting in 2011, the government made the decision to lease the Admiralty Arch, beginning a competitive bidding process that was won by Prime Investors Capital, represented in CEO Rafael Serrano, who were given a 250-year lease on the property.
PIC’s plan was to turn the Arch into a hotel, a plan that was given approval by Westminster City Council in 2013.
In addition to the 100-room hotel, PIC also plans to include a handful of private residences and a private members club.
The company is also working to restore the Admiralty Arch to its former glory and should open in 2018.
It's unknown yet if PIC intends to leave one of the odder aspects of the Arch in place, that of the Nose.
Artist Rick Buckley placed it there in 1997 as a protest against the “Big Brother” society he saw Britain becoming.
Before Buckley was revealed as the culprit, its height of seven feet (perfect for a rider on a horse) gave rise to the rumours that the nose belonged to the Duke of Wellington, King Edward VII, and even Napoleon Bonaparte.
Though one of the city’s best-known landmarks is out of the government’s ownership and is being converted into a hotel, it still serves as the gatehouse for the Mall and the long path to Buckingham Palace.
Its ceremonial central gate still opens for great parades as it did for the coronation of Queen Elizabeth II and her 90th birthday celebrations.
No matter its future fate, the Admiralty Arch remains one of London’s greatest architectural attractions.
One of the most well-known spots in London, Trafalgar Square is a gathering place, demonstration locale, and a connecting point for several notable landmarks. With Nelson’s Column at its centre, the square is ringed by such important buildings as St.
Matin-in-the-Fields church, Canada House, the South African High Commission, and the National Gallery. Trafalgar Square is also a focal point that connects the Mall, Pall Mall, and the Strand, as well as being a place that touches Whitehall with the remainder of Westminster and is only a stone’s throw from St.
James Palace, Buckingham Palace, and Number 10 Downing Street. While one of the most important places in London today, it has always had a prestigious history.
Going back to the 14th Century, what is now Trafalgar Square was once the Great Mews for King Richard II, where the royal hawks were kept (“mews” referring to the molting time of the birds. Prior to this, the area was known as Charing and the Eleanor Cross, erected by King Edward I, gave the whole area the name of Charing Cross, which is still the name of the square’s underground station. It later served as the mews for Whitehall Palace and remained as such through the 17th Century, effectively making the entire area the property of the Crown, a status it maintains today. The original building was destroyed by fire in 1534 and rebuilt as stables and rebuilt again in 1732 by William Kent.
The real transformation of Trafalgar Square began in 1812 under the designs of architect John Nash, who was commissioned to develop “a new street between Charing Cross and Portland Place”. Nash intended for the new street to form the basis of a public space with an open square. Clearance of the area began in 1826 after Parliament passed the Charing Cross Act and the square was named for William IV in 1830 to honour his ascension to the throne along with Queen Mary II. Work on the National Gallery began two years later, but in 1835, the square’s name was changed again to commemorate Vice Admiral Horatio Lord Nelson’s victory against the French forces at the Battle of Trafalgar.1838 then proved to be a very important year in the creation of Trafalgar Square. Sir Charles Barry presented his plan to further develop Trafalgar Square in that year. Barry’s plan included an upper terrace leading to the National Gallery and flowing down to a lower square that would feature a memorial to Lord Nelson along with two fountains. The National Gallery was completed in the same year and the Nelson Memorial Committee separately approached the government about a publicly-funded monument to the great naval hero. Architect William Railton won the competition to design the memorial with his plan for a 218-foot Corinthian Column with a statue of Lord Nelson on top and four lions at the base.
Work on the square began in 1840 and was completed by 1845. Barry was fairly unhappy about Nelson’s Column, feeling that the square should be free of any public works of art. The public as well had problems with the proposed height, and it was eventually shortened to 169 feet instead of 218. The lions at the base were not completed until 1867. Granite lions were planned originally, but sculptor John Graham Lough turned down the commission after meeting with Railton. Instead, Sir Edwin Landseer designed the bronze lions in collaboration with Baron Marochetti. Each corner of the square was meant to have an accompanying statue, with three out of four containing works dedicated to King George IV, Major General Sir Henry Havelock, and General Sir Charles James Napier. The fourth base was left blank, and today features rotating works of art.
Trafalgar Square has been a major place in London life ever since it was finished. There are many interesting aspects to it, from the standard units of measurement to the smallest police station that is now a janitor’s closet. In 2003, a renovation of the square increased pedestrian access, fully linking Trafalgar Square to the National Gallery. Public toilets, a café, and access for the differently-abled were also added to the square. Then, as now, it is one of the most iconic public spaces in the entire City.
One of the last Neo-Palladian manor homes left in London, it is named for the area of the city in which it can be found. The original Chiswick House was a Jacobean home built in approximately 1610 and was the property of the Wardour family. It was then sold to Robert Carr, 1st Earl of Somerset, and later to Carles Boyle, 3rd Viscount Dungarvan. After a fire in 1725, Richard Boyle, the 3rd Earl of Burlington, opted to rebuild the family summer home just a bit to the west of the original building.
Boyle was well-known in his day for his knowledge of classic art and architecture. He had translated the works of Italian architect Andrea Palladio. Six years before the fire at Chiswick House, he had the chance to travel to Italy and further engrossed himself in the Palladian style. Burlington decided to rebuild the manor as a “villa” in his desire to bring this classical Italian style back to prominence in England. Rather than hiring another architect, he opted to do the work himself, only partnering with protégé William Kent to help design the new Chiswick House.
Work began on the villa in 1726, just a bit north-west of the original Jacobean mansion. He modelled it after Palladio’s Villa Capra in Vicenza, though borrowed much from classical Roman buildings and merged those designs with more modern 16th Century locations. After its completion in 1729, Burlington did mean to live in the house, but only to use it for entertaining, housing his art collection, and providing an example of his architectural views. Later on, Burlington left Kent to design the gardens, relaxing the more formal style of the original gardens. Chiswick House then became one of the buildings that helped to inspire the Neo-Palladian style in both the United Kingdom and the United States.
The home remained in the Boyle family until Richard’s death in 1753. His daughter Charlotte had married William Cavendish, the 4th Duke of Devonshire, five years earlier and the house subsequently passed to them. The 5th Duke of Devonshire, also named William, and his wife, Lady Georgianna, also loved to use Chiswick House as a getaway home and a place to throw lavish parties. It remained in the Cavendish family for over 150 years. During the 19th Century, the Cavendish family leased it to a number of successive tenants. Samuel Ware built a 300-foot conservatory on the grounds in 1813 and gardener Lewis Kennedy built a geometric Italian garden around it.
During this time, the home became a well-known location for those who wished to be seen, including Handel, Charles James Fox, and Queen Victoria and Prince Albert. Albert Edward, the Prince of Wales (and future King Edward VII) lived there during the 1870s, but not too long after this, the 9th Duke of Devonshire rented Chiswick House to a pair of doctors who sued it as a mental institution. The sphinxes present at the gate were sent to Green Park for Queen Victoria’s diamond jubilee, but were never returned. It would also be the 9th Duke who sold Chiswick House to Middlesex County Council in 1929, years after it had begun to fall into decline.
It found a smattering of uses in the following years, including as a fire station during World War II. Chiswick House was damaged by a V-2 rocket on 8 September 1944, and post war, a campaign to save the house kept it from being entirely demolished, though two of the wings would still be torn down in 1953. It was also during the 1950s that the home was sold to the Ministry of Works and later passed to English Heritage, which has maintained the gardens since 1984. Hunslow Council eventually formed the Chiswick House and Gardens Trust in 2005 and fully took over management of the estate in 2010. Today, its public status leaves Chiswick Gardens open to the public and free to visit. The gardens remain open from 7AM until dusk, while the house is open from 10AM to 7PM and comes with a small cost to visit.
The House will be closed November 2016 – Re-opens fully April 2017.
[caption id="attachment_8267" align="aligncenter" width="563"] The Map Room © IWM[/caption]The process of constructing the emergency centre began in 1938 when Sir Hastings Ismay ordered the Office of Works to survey Whitehall for a suitable location. That agency determined that the best place for this centre was the New Public Offices. The Office of Works concluded that the building was close to Parliament and possessed both a strong steel frame and a large basement. Ismay and Sir Leslie Hollis began working on the basement in June 1938, installing communications and broadcasting equipment as well as installing soundproofing, insulation, and reinforcing the walls and pillars.
At the same time, the War Office, the Admiralty, and the Air Ministry were conceiving of the War Rooms as a central hub of decision-making between the various Armed Forces. The government also decided that the War Rooms would house the Cabinet, or at least a smaller War Cabinet, in order to facilitate quick discussion between the civilian government and the military. Thus, it was decided in May 1939 that the War Cabinet would occupy the Central War Room. The War Rooms became operational on 27 August 1939, only days before the invasion of Poland on 1 September. The War Rooms soon expanded to include the Transatlantic Telephone Room and an office/bedroom for the Prime Minister.[caption id="attachment_8268" align="aligncenter" width="600"] Churchill's bedroom © IWM[/caption]During World War II, the Cabinet met in the Central War Room 115 times, most notably during the Blitz and later the V-1 and V-2 attacks. Their use caused its name to change to the Cabinet Room. While Churchill's War Cabinet made use of the Cabinet Room most of the time, Neville Chamberlain's Cabinet used it only once. Besides the CWR, the Map Room was the other heavily used room out of the three original rooms, manned around the clock by members of the Royal Army, the Royal Navy, and the Royal Air Force. The Map Room saw continued use until 16 April 1945, when the lights were turned off for the first time in six years. The War Rooms ceased seeing usage in September after the Japan's surrender and the war's end.
Shortly thereafter, the maintenance and preservation of the War Rooms fell to the Ministry of Works. Some of the rooms were left intact, while others had their contents completely removed and repurposed. Three years later in 1948, Parliament considered the opening of the rooms to the public for the first time, but Charles Key MP, the minister in charge of the Ministry of Works, felt it "would not be practical to throw open for inspection by the general public accommodation which forms part of an office where confidential work is carried on." This, despite the fact that the rooms had not been used in nearly three years.
It would not be until 1984 that Parliament opened the War Rooms to the public for the first time. The Imperial War Museum had begun the process in 1974 and a feasibility study was done that ended up not moving forward. Prime Minister Margaret Thatcher, herself a fan of Churchill, had hoped that they could be opened before the next general election. This time, the Imperial War Museum was given the necessary resources to reopen the War Room and make them self-sustaining. Thatcher officially opened this division of the IWM on 4 April 1984. In 2003, the museum was expanded to include many of the rooms that Churchill, his family, and associates had used during the war, and the museum was rechristened as the Churchill War Rooms in 2010.Visiting Information
Open Daily 9:30 a.m. -6 p.m.
Adults £18 ($26), Children £9 ($13).
We recommend booking ahead and doing the guided audio tour.
Accessible easily by Tube (Westminster Station) and any Black Cab driver will know the way.
Since 1999, the London Eye (also known as the Millennium Wheel) has dotted the skyline of London and added its distinctive shape to the buildings that line the Thames River. To some its a tourist attraction, to others, it's an eyesore. Regardless of one's opinion on the Eye, it is an iconic part of the city and its history, though recent, is certainly as memorable as one of its "flights".
The inspiration for the London was was the London Wheel. First, if you need London Eye tickets, check out that link.
Located at Earl's Court, a Ferris Wheel was built as part of the Empire of India Exhibition in 1895. It was in service for nearly twelve years and at a height of 308 feet with 40 cars that could each carry 40 people, it saw over 2.5 million passengers before it was finally demolished in 1907 following the Imperial Austrian Exhibition. And even though the Wheel had been gone from the city for 92 years, some Londoners longed to see a similar attraction return.
The Eye has its origins beginning in 1993 with a competition to design a new landmark for London. Husband and wife David Marks and Julia Barfield submitted their idea for a wheel as an homage to the one from the beginning of the previous century. The pair noted that, at the time, London lacked many observation points to view the skyline from all angles and designed a Ferris Wheel with glass pods to provide a 360-degree views of the city. Not a traditional Ferris Wheel, Marks and Barfield (along with Frank Anatole, Nic Bailey, Steve Chilton, Malcolm Cook, and Mark Sparrowhawk) designed what's called a cantilevered observation wheel where only one side is fixed to the ground with projected beam around which the wheel rotates.
Ultimately, no entry into the competition was chosen, but the couple pressed on and eventually found partners willing to make the wheel a reality. British Airways funded the building that was carried out by construction firm Mace. Planning and building consent was granted for the Eye on the Thames in South Bank. Construction began in 1999 and pieces of the Eye were floated up the river to the site were they were assembled. Once the pieces were connected, the wheel was raised 2 degrees and hour until it reached 65 degrees, then left in that position for a week until it was raised the remainder of the way. Prime Minister Tony Blair opened the London Eye on 31 December 1999, but due to technical problems, no passengers were admitted to ride until 9 March 2000.
The finished product was 443 feet tall and 394 feet in diameter. Its thirty-two capsules (one for each London borough) permit passengers to view the city for twenty-five miles in any direction from its highest point. It offers the highest view of the city until the construction of the Shard was completed in 2013. Each of the capsules can hold twenty-five people, though special private flights can also be reserved. The London Eye carries approximately 15,000 passengers a day in what are called "flights" due to British Airways' former ownership of the attraction.
British Airways, along with the Marks Barfield family, sold their interest in 2006 to the Tussauds Group, who were then acquired by Merlin Entertainment in 2007. Coca-Cola later bought the naming rights in 2014. Its taken on iconic status ever since its construction and has been the centre of many interesting moments, including its magician David Blaine who stood atop a capsule for an entire thirty minute flight in 2003. In 2005, it was a feature location for the first episode of the revamped Doctor Who, in which the episode's villain used it as a communications dish. In 2013, thirty of the capsules were turned into mini-night clubs to celebrate club culture. Ultimately, it stands first and foremost as a city landmark and one of the best places for visitors to experience a breathtaking view of London.
Part of Southbank Centre, the Royal Festival Hall is one of the finest concert venues in London. Able to seat 2,500 people, it is the first post-war building in the city to receive Grade I listed status. In fact, it's partly because of the war that it was even built. South Bank was an area of London hit hard by the London Blitz and was in need of revitalisation after the war. The Royal Society of the Arts knew that it wanted to host an exhibition to commemorate the Great Exhibition of 1851 and the government ultimately picked South Bank to be the festival's chief location.
The Royal Festival Hall was to be a centrepiece of the Festival of Britain, a large performance venue specifically for the arts and presentations. London County Council's chief architect, Robert Matthew, ultimately tapped Leslie Martin to design the building. Martin's team also included Edwin Williams, Peter Moro, and the husband and wife duo of Robin and Lucienne Day. They decided that the building would eschew the classicism of the past. The foyers would have meeting spaces, restaurants, and bars without barriers to allow patrons of all classes to mix freely. They would also act as a buffer between the hall and the railway bridge to keep the train noise from disrupting concerts. The exterior was a bold white to make it shine in the bleakness of the post-war city as a sign that it would rise again.
Clement Atlee laid the foundation stone for the hall in October 1949 and construction took eighteen months and roughly £2 million to complete. It opened on 3 May 1951 and counted King George VI and Queen Elizabeth amongst its inaugural attendees. The original seating capacity was around 2,900 people who were treated to a collection of British music including Elgar, Purcell, Williams, and even Handel. The following week saw concerts from the BBC Symphony Orchestra, the London Philharmonic Orchestra, the London Mozart Players, and the London Symphony Orchestra. Eight million visitors came to the Festival of Britain, but when the Conservatives returned to power in October that same year, they shut down nearly everything but the hall, with the festival being seen as something of an overindulgent Labour project.
The hall used scientific principles in its design and was one of the first to do so, but the use of theoretical and experimental acoustic science had some drawbacks. While the hall was built to project sound outward into the audience, oftentimes performers had trouble hearing each other on stage. The original plywood overstage canopy was replaced with adjustable fabric reflectors, which reflected sound back onto the stage first for the benefit of performers. The original seats were later remodeled as well, which reduced the seating count to its present 2,500. Additional remodeling was done in 1964 and in 2007 to the facade, foyers, and terraces that removed some of the more aesthetically troublesome aspects of the Days' original designs while further attuning the acoustics inside the hall.
Up until the 1980s, the Royal Festival Hall was a ticket-only venue, meaning that even when a concert was not scheduled, the building was closed to the public. However, the patrons had a change of heart and, inspired by the original spirit of the building, opened it once again to visitors. The hall is open every day (except Christmas) from 10AM to 11PM and anyone can visit the foyers without a ticket. There are also many other parts of the hall such as the Poetry Library and the Archive Studio whose access varies. Built to celebrate the arts and give the public access to great work, the Royal Festival Hall continues to delight every day.
Long as it has been amongst the symbols of governmental power in the United Kingdom, "Number 10" as it is known, is also one of the most iconic residences for a world leader. The history of the building itself is just as fascinating as those Prime Ministers who resided within and the historical actions of their governments. Everything from its origins to its design and important moments are part of the fascinating story of this great London building.
What is now one large house began as three. The first house on the site was leased from Queen Elizabeth I to Sir Thomas Knyvet in 1581, a man who later gained fame as one of the men who stopped the Gundpowder Plot in 1605. When he and his wife died without issue, the house passed to their niece, and later to George Downing. Samuel Pepys's diary mentioned that Downing was a "perfidious rogue", so it should be little surprise that when Downing acquired the land, he wanted to throw up some cheaply built townhomes on the street that would come to bear his name.
For this task, he hired famed architect Sir Christopher Wren, who built a series of 15 to 20 houses on a cul-de-sac from 1682 to 1684. Downing wanted to maximise his profits, so the homes were built cheap with shaky foundations for the boggy ground. Winston Churchill once said that Number 10 was "Shaky and lightly built by the profiteering contractor whose name they bear." What's more, the numbering was disorganised, and what we know as No. 10 started as No. 5. Adding to the homes' problems, the Countess of Lichfield, daughter to King Charles II, wasn't too happy that Downing's townhomes were so close to her own house that people could see into her windows. The Countess's home, also known as "The House at the Back" was a large mansion that went out of her possession when she and her husband followed King James II into exile after the Glorious Revolution.
The "House at the Back" reverted to the Crown, which leased it out to loyal members of court. After it reverted to King George II, he decided to offer it to Sir Robert Walpole, the Prime Minister, for his service to the country. The lease included not only the house, but also one of Downing's townhomes. Walpole accepted the King's gift on the condition that the properties would be in the possession of the Office of the First Lord of the Treasury. He then persuaded a man named Mr.
Chicken, who was living in an adjoining cottage, to move to another residence and set about combining all three into one building. Construction was managed by William Kent, who not only connected the buildings together, but completely gutted and remodeled the inside. He also closed off the north entrance and made the No. 10 door the main entrance to make it easier for Walpole to travel to Parliament.
Becoming the home of Prime Ministers, the longest anyone has ever lived there was twenty years, during William Pitt the Younger's time as First Lord. After he died, the building saw continued use as the Prime Minister's office, but succeeding PMs opted to live in their own homes for the next 70 years. When Benjamin Disraeli became Prime Minister, he described the house's condition as "dingy and decaying" and decided that more renovations were in order. He persuaded Parliament to pay for modernising the office space, but paid for the private residence improvements himself. Electric lighting was installed in 1884 under William Gladstone. In 1910, Arthur William Balfour became Prime Minister and was the first person to bring a car to Number 10. What's more, he'd been living there even before he was Prime Minister as his uncle and predecessor, Lord Salisbury, opted not to use the residence and let Balfour have it. Balfour would revive the tradition of making Number 10 the official residence.
Over the course of the 20th Century, further improvements strengthened the building out of necessity. During the Blitz of World War II, bombs fell near Downing Street, damaging the kitchen and state rooms. The foundations were rebuilt and were steel-reinforced in the late 1950s and further renovations made Number 10 40% original materials and 60% new. Margaret Thatcher would also make her own improvements to the interior rooms during her premiership. In 1991, the original oak door was replaced with a bomb-proof metal one after an IRA mortar launched from a white van damaged the building's facade.
Today, the current inhabitant is David Cameron, who actually prefers to live in No. 11. Yet, No. 10 Downing Street will always be associated with the highest position in Her Majesty's government. Nearly every man and woman who has lived there left a definitive mark on Britain and it will always be an important place in the country's history and to London.
At one point in history, the Royal Exchange was the centre of commerce in the United Kingdom. It was also the place from which royal proclamations were read, meaning it was the same place from which history changed several times. It was the home to the insurance market for Lloyd’s of London for 150 years. While it isn’t the location for any of these things anymore, it still serves a role in London’s commerce as a place of offices, shops, and restaurants. Come with us as we explore one of the most important buildings in London for an empire’s economy.
Prior to the Tudor era, there was no central place for individuals to conduct business. Often times, these deals were conducted in the streets, shops, or wherever they could find space. For Sir Thomas Greshame, this means of transaction was insufficient. Greshame started as a liveryman and agent for King Henry VIII, all the while building a reputation as a financial expert. Though he fell out of favour during the reign of Queen Mary, Queen Elizabeth I relied on his advice regularly and even made him an ambassador to Duchess Margaret, the Governor of the Netherlands. It was this time in Antwerp that permitted him to see the Bourse, the great exchange that helped to make the Netherlands a financial powerhouse until the Spanish sacked the city in 1576.
Well before that, however, in 1566, Greshame recommended the building of the London Bourse to the city aldermen, a project that he intended to pay for from his considerable wealth. Construction of the Bourse took approximately five years, with Queen Elizabeth opening the building officially in 1571, declaring its name to be the Royal Exchange, and granting it a royal title as well as permission to sell alcohol. As it was modeled on the building in Antwerp, the Royal Exchange was Flemish in nature, with a large floor in the center that was open-air where the trading of goods was conducted. Interestingly enough, stock brokers were actually banned from trading at the Exchange, due to their “rude” behaviour. Later, the building added two more floors to the Exchange for shops, effectively building the country’s first shopping mall.
However, tragedy struck when the London Exchange became another victim of the Great Fire of London. After the fire, a second building was designed by Edward Jarman, with King Charles II laying the foundation stone. This Royal Exchange was opened in 1669 by the Lord Mayor and welcomed businesses of all types. Lloyd’s of London established its insurance exchange there during the second Exchange’s operation. A small number of stockbrokers were also permitted by government regulation, in order to keep their numbers manageable. Unfortunately, this building would meet the same fate as its predecessor when it burned down in 1838.
Sir William Tite designed the third and current Royal Exchange building and designed it similar to the original with four sides and a courtyard for trading in the middle, though with a more Italian-inspired design than Greshame’s Flemish inspiration. It was opened by Queen Victoria in 1844. The interior features twenty-four panel paintings, added in 1891, that depict the history of trade in Britain. Following Victoria’s death in 1901, the proclamation of King Edward VII was done from the steps of the Royal Exchange. Trading came to a permanent halt at the Exchange with the outbreak of World War II, and the building suffered some damage as a result of the Blitz.
The Royal Exchange would see varied uses after the war, including a home for the Mermaid Theatre and a brief return to trading in the 1980s. The building was the subject of extensive remodeling in 2001, transforming the Grade I listed property into a high-end shop and restaurant hub. Many statues are featured outside, including one to the Duke of Wellington and another to Paul Julius Reuters, who formed his news agency nearby. Today, over thirty stores operate within, from lingerie retailer Agent Provocateur to well-known jewelers Tiffany & Co. Five restaurants can be found throughout, including the Grand Café in the centre of the courtyard and Imperial City in the undercroft. If you want a taste of history and luxury, you need look no further than the Royal Exchange.
Wembley, London contains one of the most important venues in all of Britain. Wembley Stadium is the name given to two different football stadiums in Northwest London, with the first one having been torn down to make way for the more recent structure. Used not only for football matches, it has been the site of some very important performances and concerts over the years. Come with us on a journey through time as we look at the history of both Wembley Stadiums and what they have meant to the UK.
The first Wembley Stadium was constructed in 1923 as part of the British Empire Exhibition and the contract for the exhibition buildings included the stadium, from which it received its original name of Empire Stadium. This stadium was designed by Sir Robert Alpine, who designed it to hold 125,000 people, and built by architects Sir John Simpson and Maxwell Ayrton. The goal was to have it completed in time for the Football Association Cup Final, and the reason Wembley Hill was chosen as a site may have had something to do with it being used as a football pitch as early as 1880. To get the building finished in time, a total of 3,000 workers spent a grand total of twelve months on its construction. The final cost was £750,000, which would be nearly £34.5 million in today’s money. It was built entirely of concrete and its famous towers stood 50 metres tall.
The original plan for the stadium after the Exhibition was the same as all the other buildings—demolition. Sir Arthur Elvin began buying up the buildings to tear them down, however, on the suggestion of Sir James Stevenson, the chair of the Empire Exhibition, Wembley Stadium was spared. It quickly became the home of English football as the national stadium and was one of the first pitches to be referred to as “hallowed ground”. However, from the end of the Exhibition until 1951, the only team that England played there was Scotland. After that year, England began opening the stadium to matches against other international teams, who considered it a great honour to play there.
Of course, the stadium became known for much more than football. The Rugby Football League held its Challenge Cup there from 1929 until its demolition. It was also a major part of the 1948 Olympic Games as the setting for hockey, football, and equestrian competitions. However, it’s second most well-known use was for concerts. The first one of these was the London Rock n’ Roll Show in 1972, an all-star event that featured the greats from the 1950s including Little Richard, Jerry Lee Lewis, Chuck Berry, Bo Diddley, and more. Its most famous use as a concert venue was perhaps the British venue for Live Aid, featuring David Bowie, Queen, The Who, Paul McCartney, U2, and pretty much everyone who was big in the 1980s. Michael Jackson set a Guinness World Record there for seven sold-out shows with a total of 504,000 (approximately 74,000 per show).
However, all things must come to an end, and the original Wembley Stadium officially closed in 2000. Demolition occurred in 2002 with the redevelopment plans commencing in 2003. Work on the new stadium was to begin at that time, but a combination of legal and financial troubles interrupted construction numerous times, meaning that it wasn’t completed until 2007. Foster & Partners and HOK Sport designed the stadium and construction was by Australian firm Brookfield Multiplex, with Cleveland Bridge & Engineering Company constructing the new stadium’s arch. The new stadium had even more construction workers on the site than the original Wembley at 3,5000 and it can hold 90,000 spectators. Another interesting fact is that, at 2,168 toilets, it has the most of any event venue in the world.
Today, as with the original Wembley, the stadium remains the home of the England national football team, though it continues to host other events and concerts. When not playing host to one of these events, the stadium is available to tour at cost of £19 for adults. The tour lasts about 75 minutes and provides you with an in-depth look at the old and new stadiums’ history as well as letting you into the players’ tunnel, the changing rooms, and even the Royal Box. The VIP tour at £55 includes even more access with a private guide. If you want to visit, the closest Tube stations are Wembley Park and Wembley Central on the Jubilee, Metropolitan, and Bakerloo lines. With so much history, how can anyone pass that up?
For many years, Battersea Power Station has been an architectural icon of London, whether it was in use as a power station or not.
Prior to the 1930s, power to the city was supplied by multiple smaller companies that supplied power to industries and sold the excess to the public. Many of these small companies joined forces in 1925 to create the London Power Company. At the same time, Parliament came to a decision that London needed a central power grid with uniform voltages and standards. With this conglomerate of corporations ready to take up Parliament’s plan before they were forced into public ownership, they began to form a plan to power the city with a few large plants rather than many.
The proposal to build the city’s first superstation came in 1927. Battersea Power Station would be built in two segments and, once complete, would be able to generate 400,000,000 watts of electricity. Located on fifteen acres on the south bank of the River Thames, the proximity to the river provided an easy source for cooling and transporting the coal that would power the station. However, Parliament’s proposal immediately caused protests that the station would be an eyesore and that its smokestacks would harm the artwork at the National Gallery of British Art (now known as the Tate Britain).
These fears were slightly assuaged with the hiring of Sir Giles Gilbert Scott, already a well-known architect who had designed many famous British buildings, including the Liverpool Cathedral, Clare College, Cambridge’s Memorial Court, and the nation’s iconic red phone boxes. The main architect was Leonard Peace, while Scott was hired to enhance the exterior and consult on the construction. Scott designed the exterior brick cladding as well as the tower bases of the chimneys. As to the pollution problems, permission to build was granted on the basis that the plant’s emissions would be treated so that it would be “clean and smokeless”.
Construction on “A” Station began in 1929 with Sir William Carrol & Co. erecting the steelwork and John Mowlem & Co. working on the remainder of the building. “A” Station was not completed until 1935, but began generating power in 1933. As construction of “B” Station did not begin until after World War II, for many years, the eastern wall of the boiler house was covered in corrugated metal. The construction started only months after the war ended in 1945 and would continue on until “B” Station was fully operational in 1955. This brought the station’s capacity up to 509,000,000 watts and made it the third largest power station in the United Kingdom. By this point, the London Power Company was no longer in ownership of the building as the electric companies had been nationalised.
Only twenty years later, “A” Station would stop generating power after having done so for forty-two years. In 1977, Battersea Power Station would feature prominently on the album cover for Pink Floyd’s “Animals”. The year after that, under rumours that the government intended to close “B” Station, a campaign began to save Battersea for national heritage. In 1980, Michael Heseltine, the Secretary of State for the Environment, awarded the station Grade II listed status, thus preserving it from any demolition plans without Parliament’s approval. In 1983, “B” Station would shut down for good.
Throughout the Eighties, Nineties, and the early 21st Century, Battersea Power Station sat vacant while several development proposals came and went. In the meantime, it became a popular filming location, where “A” Station’s control room was used for the “Find the Fish” scene in Monty Python’s The Meaning of Life, the interior was used as a derelict warehouse for The Dark Knight, and the whole of the station became a manufacturing plant for a parallel world’s Cybermen in Doctor Who. Today, developers SP Setia and Sime Darby from Malaysia are in the process of preserving the station and converting the surrounding area into a mixed-use development that will provide shops, homes, and offices to accommodate London’s growth. In the middle of it all, Battersea Power Station will remain a feature of the city’s architecture.
Spanning the Thames and connecting Tower Hamlets to Southwark, Tower Bridge has been an iconic part of London since the Victorian period (and often wrongly called London Bridge, which is a different, less beautiful bridge). Today, it sees thousands of tourists and commuters crossing over it while ships pass beneath its drawbridge. While London Bridge had served this purpose for centuries before, the increase in trade brought on by London’s expansion necessitated a new crossing point in East London. Rather than continue to rely on the barges that would ferry people from one side to another, the government determined that a new bridge should be constructed for the masses.
The City of London Corporation made the decision to build the bridge and formed a special committee to solicit entries for a design.
The Corporation wanted to ensure that whatever design was chosen, it would not only permit crossing over the Thames, but that it wouldn’t disrupt traffic flow on the river. Of over fifty designs submitted to the committee, the one they chose was that of Horace Jones, the City Architect. In an interesting twist, Jones was not only the City Architect, he was also ones of the judges. Despite the committee forming in 1876, it wasn’t until 1884 that Jones’ entry managed to win.
John Wolfe Barry was chosen to be the engineer on the project and construction began in 1886. Jones died not too long after this in the same year and George D.
Stevenson took over. Stevenson and Barry would tweak the original design with two equal bascules to permit ship passage, brick, and a more Victorian Gothic style. 432 workers were brought in from all over the UK for the construction, sinking two massive piers into the river to support the work and utilising over 11,000 tons of steel to create the framework. The bridge had five major contractors and took eight years to complete. The Prince of Wales (the future King Edward VII) officially opened Tower Bridge on 30 June 1894.Of course, the bridge’s history didn’t stop here. Oddly enough, one the fastest ways to cross the Thames before the bridge was not over Tower Bridge, but underneath by using the Tower Subway, which opened in 1870. However, the subway itself didn’t last too long and it was turned into a pedestrian walkway. Some of the foot traffic changed from the tube to the walkway that went over the bridge, but unfortunately this was closed in 1910 due to disuse and a bad reputation for crime.
Two years later, an emergency forced pilot Frank McClean to fly between the walkway and the bascules. Another engine to open the bascules was installed during World War II as a precaution in case Tower Bridge was hit during the Blitz. After the war, another interesting moment took place when bus driver Albert Gunter had to jump the bascules when they began raising while his No. 78 bus was still on them. Needless to say, he made it across with only a few minor injuries to his passengers.
Speaking of the bascules, it may seem strange that the bridge’s raising hydraulics were powered by steam for decades until they were replaced with more modern electronics in 1976. The bascules would be further modernised in 2000 when a computer system was installed that would permit the bridge to be raised and lowered remotely. 1982 saw the reopening of the walkway above the bridge as part of the Tower Bridge Exhibition. The bridge has seen itself decorated a number of times, once in 1976 for Queen Elizabeth II’s Diamond Jubilee, and most recently for the London 2012 Summer Olympics.
Tower Bridge today is as elegant as it has ever been. Anyone travelling to London needs to make sure that they take a tour that permits them to pass over the bridge, or maybe even walk it for themselves. The Tower Bridge Exhibition is ongoing and presents an excellent opportunity to learn more about this great London landmark.
[caption id="attachment_7902" align="aligncenter" width="598"] © mitakag[/caption]A World Heritage site located in Maritime Greenwich, the Old Royal Naval College is one of the grandest examples of architecture in Greater London. Of course, the building there now is not the first one to exist on the site. In 1433, Humphrey, Duke of Gloucester, built a palace named Bella Court, but after he fell out of favour with Queen Margaret, who took over the house and renamed it the Palace of Placentia. After some remodeling from King Henry VII in 1490, he renamed it Greenwich Palace. It was here that Queen Mary I and Queen Elizabeth I were born. It remained a principal royal residence until King Charles II had it demolished in 1660, with the intent to replace it with another palace.
However, Charles never got around to building the palace apart from one wing that was designed by John Webb, now known as the King Charles Block. After the ascension of King William III and Queen Mary II, the couple chose to move into Hampton Court Palace and issued a Royal Warrant to transform Charles's palace into the Royal Hospital for Seamen, a place of healing and retirement for injured and aging sailors. Sir Christopher Wren was hired to expand the building so that it would rival Chelsea Hospital, which had been built for the army. Early in the design process, an issue arose when it was discovered that the initial plans would end up blocking Queen Mary's view of the Thames from her home. This led to the buildings being split into the four quadrants that set it apart architecturally.
Work on the buildings began in 1696, but Wren's commitments to expanding Hampton Court Palace, building St.
Paul's Cathedral, and rebuilding many of London's churches lost in the Great Fire meant that his assistant, Nicholas Hawksmoor, supervised most of the construction. While King Charles Court would finish construction in 1705, the rest of the buildings would not be completed until 1742 by Thomas Ripley. Once finished, the hospital could accommodate over 2,000 servicemen.
Wren wanted a design that was more imposing than Chelsea Hospital, and the King William and Queen Mary Courts were topped with domes not dissimilar from the one Wren designed for St.
Paul's. Both towers have a clock face, though one of them actually marks the points of a compass rather than the hours in a nod to its maritime purpose. The compass was also linked to a weather vane so that ships could determine the direction of the wind and navigate accordingly. Within the courts, the Painted Hall in King William Court and the Chapel in Queen Mary Court were the most visually striking parts of the hospital.
The Greenwich Hospital would continue operating until 1869, when decreasing numbers led to its closure. However, the buildings wouldn't go unused for long, as the Royal Navy reopened it as the Royal Naval College in 1873 for the education of officers. Greenwich became a major naval center over the net several decades. The Royal Naval War College transferred there from Portsmouth in 1914. During World War I, it became a barracks and place for scientific experiments. Prior to World War II, the Navy began to train Women's Royal Naval Service officers and increased the number of male and female officers at the college during the war. The buildings continued to see use for training and administration until the shrinking of the Royal Navy closed the Royal Naval College in 1998.
When the Royal Navy sold the Grade I listed buildings, they were purchased by the University of Greenwich, who uses them for the Business School, the Maritime Institute, and the Faculty of Architecture, Computing, and Humanities. The grandeur of the Old Royal Naval College buildings have been a big attraction for the film industry. Films that have been shot there include: Four Weddings and a Funeral, The Madness of King George, Tomb Raider, Shanghai Knights, Thor: The Dark World, and more. The Old Royal Naval College was inscribed by UNESCO as a World Heritage site with the rest of Maritime Greenwich in 1997. The buildings are still available to visit and is a must if you find yourself in that part of London.
[caption id="attachment_7843" align="aligncenter" width="600"] View on Tower of London from Thames[/caption]Castles in general were not only defensive strongholds, but also displays of power (and maybe overcompensating a bit). This was especially true for the Normans, who felt that the keep was a representation of the lord’s authority. After William the Conqueror defeated Harold of Wessex at the Battle of Hastings in 1066 and was crowned in Westminster Abbey that same year, he set about making sure everyone in England knew who was king now. To that effect, he began constructing a series of castles within days’ ride of each other, the first being right outside the City of London.
The same year that William was crowned, he started work on the Tower of London, which at first was a timber fortification enclosed by a palisade. After this was established, work started on what would become known as the White Tower around 1078. Completed in 1100, the building was 36 metres by 32 metres at the base and at least 27 metres tall. The Tower was made of Kentish stone with an entrance that was above ground with a wooden staircase that could be removed in case of attack. At the time of construction, it was the tallest building in London, practically dwarfing the rest of the city and serving not only to help William keep control over the area, but to signal his power to Londoners.[caption id="attachment_7847" align="aligncenter" width="300"] Traitor's Gate[/caption]Later kings such as Henry III and Edward I would go on to expand the tower and tis battlements further, creating the Tower we know today by 1350. It was about this time that the castle not only began to serve as a royal residence, but also as a famous prison. Some of the first major prisoners there included William Wallace, Roger Mortimer, and the captured French King John II. In 1483, Richard, Duke of Gloucester, had his nephew, the twelve-year-old King Edward V and his brother Richard, Duke of York, imprisoned in the Tower of London for their “protection”. Perhaps unsurprisingly, the two “Princes in the Tower” disappeared and Richard crowned himself King Richard III. When workmen in 1674 discovered two small skeletons in a box while making repairs, King Charles II had them interned in Westminster Abbey.[caption id="attachment_7845" align="aligncenter" width="600"] A Yeoman Warder Giving a Tour[/caption]By the Tudor era, the castle was used less and less as a royal residence and more as a prison. It saw heavy use as such during that period, serving as a prison for Sir Thomas More, Ann Boleyn, and Anne Askey, among others. Some of the last people to be tortured there were the members of the Gunpowder Plot, which included Guy Fawkes. The last person to be executed there Josef Jakobs, a German spy who was executed in August 1941, and the last prisoner was “Deputy to the Fuhrer” Rudolph Hess. Another famous use for it that persists to this day is as a repository for the Crown Jewels, which include the crowns of the Sovereigns, the Princes of Wales, rings, swords, spurs, bracelets, robes, and sceptres. Before the reign of King Edward I, these were all kept in Westminster Abbey, but after a robbery attempt on them, Edward had them moved to the Tower of London.While the monarchy has long since vacated the Tower as royal residence, one famous group of residents are the Tower Ravens. Superstition during the reign of King Charles II held that if the ravens ever left the Tower, the White Tower and the kingdom would fall, though this may have just been a story told to Charles in order to keep him from getting rid of them. At one point, there was even a menagerie housed at the Tower that included a polar bear. By the 18th Century, the zoo was made open to the public.
Today, the Tower of London continues to serve as a royal castle and its full name is “Her Majesty’s Royal Palace and Fortress of the Tower of London.” It remains open to visitors who can see tour its buildings, learning about the Tower’s history, viewing the Crown Jewels, witnessing the daily ceremonies, and so much more. This article only represents the tip of the iceberg when it comes to the Tower’s history, its contents, and its importance to Britain.
A visit to the Tower is a must for any history buff.The attraction is managed by Historic Royal Palaces and is open daily. The Tower is only closed on 24-26 December and 1 January.
Tickets are £25 for Adults, £12 for children.
If you book online in advance you avoid the lines and it's also a bit cheaper.
To get there take the Tube to Tower Hill.
A masterpiece of Victorian architecture, St.
Pancras has served the as a gateway from Greater London to the world beyond for nearly 150 years. Grade I listed, its protected status is due not only to its history, but to the magnificent design of William Henry Barlow, who had completed the Cliffton Suspension Bridge after Isambard Kingdom Brunel’s death. Spared at least once from the wrecking ball, it continues to see use today and is one of the most iconic buildings in the city.
The station’s namesake, St.
Pancras, was one of a few saints made martyrs by the Roman Emperor Diocletian when he would not renounce his faith in 304 A.
D. The Midland Railway Company was responsible for the construction of the station. The firm was founded in 1844 upon the consolidation of the Midland Counties Railway, the North Midland Railway, and the Birmingham and Derby Junction Railway. By the 1860s, the company felt the need to expand itself southward into the nation’s capital. While it had been running routes to London since its founding, making use of the lines of the London and Northwestern Railway, the expansion of its services on these lines resulted in congestion and delays. Thus, when Parliament approved the Great Northern Line into London, Midland Railway coughed up £20,000 for the rights so that it could have its own route into the city.As the land was cleared, many people in Camden were displaced with no compensation and St.
Luke’s Church was completely demolished, only to be rebuilt a couple years later in Wanstead. William Henry Barlow, as the chief engineer of the Midland Railways, was tapped to design the station. Barlow, along with Roland Mason Ordish and George Gilbert Scott, wanted to create a building that would leave the company’s mark on the city. With construction begun in 1866, the station proper only took two years to complete. The Barlow train shed was, at the time, the largest enclosed space in the world: 698 feet long, 240 feet wide, and more than 100 feet high. It would remain the largest cast iron and glass roof on Earth for years to come. Below the roof, the platform deck was raised on a grid formed by 688 cast-iron columns, with the arcade beneath used to store beer for Burton Brewery, most notably Bass and Thomas Salt. The first train arrived in the station on 1 October 1868, but there was no grand ceremony as the station was still under construction.
The next major phase of building was that of the Midland Grand Hotel, designed by George Gilbert Scott. Work began in 1868 Scott’s interest in the Gothic aspect of Victorian architecture was prevalent throughout. Scott’s love or ornamentation is evident looking at it today, but his appetite for design proved more than Midland’s budget could handle. The original cost of £315,000 quickly rose to £438,000. Despite Scott’s grand plans for the exterior, visitors today can still see unfinished spots, such as the empty plinths originally meant for statues. The hotel opened in 1873 with the completion of the East Wing and was completed in 1876 with the West Wing. While the hotel was one of the station’s best features for years, its eventual decline led to its shuttering in 1935 when it was turned into offices.[caption id="attachment_7819" align="aligncenter" width="600"] Statue on the Concourse[/caption]As the 20th Century dawned, Midland Railways was forced to merge into the London, Midland, and Scottish Railway in 1921, which had its terminus at Euston Station. During World War II, St.
Pancras was hit by the bombs of the London Blitz and required significant repairs. Even after the creation of British Rail in 1948, the station continued to limp along through the decades until privitisation brought about renewed interest in the station in the 1990s. The station was expanded to handle Eurostar trains and further expansions continued into the early 2000s. By 2005, even the Midland Grand Hotel saw renewed interest, beginning a six-year renovation process that saw it reopen as St.
Pancras Renaissance Hotel in on 5 May 2011, exactly 138 years after it opened originally. The station received its international status in 2007 when it was reopened with the new High Speed 1 service as part of Eurostar.
Today, the station serves thousands of passengers today. Whether coming or going from London, it’s hard for them not to be in awe of the grand building as they pass through it on their way to someplace else. Its beauty, history, and importance to London will ensure it continues to be a destination for many a traveler.
Perhaps the greatest residence in the city, Buckingham Palace has been the home of royalty for centuries and has been the official residence of Queen Elizabeth II since she ascended the throne in 1952, though she had lived there since her father, King George VI, became monarch in 1936. The site where Buckingham House is located was once in the possession of William the Conqueror following the Norman Invasion, though he subsequently gave it to Geoffrey de Mandeville. From here, the property changed hands several times, with Sir William Blake building a mansion there in 1624, but it was only 50 years before the house burned down.
Eventually, John Sheffield, the First Duke of Buckingham and Normandy acquired the property and had Buckingham House built in 1703. The architect, Captain William Winde, designed a three-story block house with a couple of flanking service wings. On the Duke’s death, it came into the possession of his heir, Sir Charles Sheffield, who subsequently sold it to King George III in 1761. George intended the house to be a getaway for his wife, Queen Charlotte, and a comfortable family home for her and their children, even though St.
James Palace would continue to be the official royal residence.
To make the home fit for a queen, George submitted Buckingham House to extensive renovations. Sir William Chambers was in charge of the designs and construction began in 1762 with an ultimate cost of £73,000 when completed in 1776. The ceilings designed by Robert Adam and painted by Giovanni Battista Cipriani were said to be some of the most sophisticated of their time and thoroughly appropriate for what was now dubbed The Queen’s House.
King George IV was going to use the house for much the same purpose when it passed to him in 1820, but after he changed his mind, he set about giving Buckingham House the extravagant touch for which he was known. Hiring architect John Nash and requesting £450,000 from Parliament for the renovations, George wanted to transform the house into a palace. Nash kept the main block, but demolished the north and south wings. He reconstructed them to be much larger around a courtyard while also adding a new suite of rooms to the main block. Everything was done in the neo-classical French style that George favoured.[caption id="attachment_7780" align="aligncenter" width="514"] Photo: Derry Moore[/caption]Despite all these renovations, George never resided there and neither did his brother, King William IV. When the Houses of Parliament burned down in 1834, William offered Buckingham Palace as a new Parliament building, but the Lords and Commons turned down the offer. When William died in 1837, Buckingham Palace became a true royal residence when Queen Victoria moved into it. Since the building hadn’t been lived in since George IV’s renovations, Victoria discovered that the chimneys smoked badly, the ventilation was poor, and there were hardly any guest bedrooms.
Thus began another series of renovations. The Marble Arch that was part of Nash’s design was moved to north-east corner of Hyde Park and Victoria and Albert had a fourth wing built, enclosing the courtyard and forming a quadrangle. Architect Edmund Blore created this new East Front that became the face of Buckingham Palace and included the famous balcony on which the royal family continue to make appearances. Another renovation would take place under her grandson, King George V, in 1913 when the façade on the East Front was changed to its current appearance.
While remodeling and rebuilding would occur again not thirty years later, this was due to necessity as the palace was bombed seven times during the London Blitz, with one bomb going off and destroying the chapel in 1940. Another detonated in the quadrangle and had the effect of blowing out all the inner-facing windows. Despite Hitler’s attempts to destroy Buckingham Palace and damage British morale, the opposite effect occurred as the people felt emboldened by the monarchy’s resiliency and loyalty to the people.
Today, as Queen Elizabeth II’s official resident, Buckingham Palace continues to be a working building. It has 775 rooms, including 19 state rooms for receiving guests, personal investitures, and other important functions. 50,000 people pass through annual on official business as well as guided tours when the palace is open to the public. The best way to know whether the Queen is in or not is to love above the palace to see whether the Royal Standard is flying. Whether you visit the palace for yourself or just pass by, it’s worth taking a moment to bask in the history of this great London building.
Once known as the Millennium Dome, the O2 Arena (or simply “The O2”), the building instantly became an instantly distinguishable part of the London Skyline. The original idea for the dome was conceived under the Conservative government of John Major in 1994 by the Millennium Commission, with its purpose being to celebrate the beginning of the third millennia with a World’s Fair-like exhibition building. However, the idea met with resistance and the dome project was scrapped for two years until the Commission revived it under Tony Blair’s New Labour government. The government opted to use funds from the National Lottery to help fund the dome and the Millennium Central Ltd.
Was established to administer the project.
The Millennium Dome’s designer was Richard Rogers, who was known for his functional, semi-modernist architectural style, having also designed the Lloyd’s Building and the Court of Human Rights. Construction began in 1997 and the dome was built with a steel skeleton and tensioned Teflon fabric stretched over it. It has twelve supports that poke out from the dome, giving it a crown-like appearance. These supports are meant to represent both the hours on a clock as well as the months of the year, which is fitting given the dome’s location so close to the Prime Meridian. While the Conservatives had wanted a business pavilion, Labour decided to make the dome about entertainment with twelve pavilions forming a circle.
By the time the Millennium Dome opened in 1999, it had garnered quite a reputation amongst the press, politicians, and activists for its cost of £789 million, a reported 7% of which was actually spent on the dome itself. Nearly everything about the project was criticized from projected attendance to the quality of the exhibits in the Millennium Exhibition. The attractions were organised into fourteen zones, each with different corporate sponsors: Body, Mind, Faith, Self-Portrait, Work, Learning, Money, Play, Talk, Rest, Journey, Shared Ground, Living Island, and Home Planet. Many felt the zones were lacking in content. The dome was also surrounded by a number of other performance areas and exhibits such as showings of the specially commissioned Blackadder: Back and Forth, the Millennium Dome Show (with music by Peter Gabriel), and the display of the Millennium Star Jewels, which were the subject of a notoriously failed attempted theft on 7 November 2000.
While the exhibition was enjoyed by many, it was ultimately deemed a flop by the press, especially as the government was unsure of how to dispose of the dome following the exhibition. In 2001, government agency English Partnerships took control of the building and ultimately sold it to Meridian Delta for development into a 26,000 capacity arena and 10,000 homes on the surrounding property. The Millennium Dome was officially rebranded as the O2 Arena in 2005, with telecommunications company O2 paying £6 million per year for the naming rights. The interior was developed by Anschultz Entertainment Group at a cost of £600 million. The venue opened to the public on 24 June 2007 with a concert by American band Bon Jovi, the last group to play in Wembley Stadium.The O2 Arena, with a seating capacity of 20,000, is at the centre of the complex and was the first American-style arena to open in the UK and only the second largest in Europe behind the Manchester Arena. Additionally, the O2 features a small venue known as “indigo at O2”, an exhibition space called the O2 Bubble, Brooklyn Bowl (a bowling alley and concert hall), a Cineworld Cinema, and Up at O2, a fun opportunity for visitors to climb to the top of the dome, as well as other activities. Where the Millennium Dome was largely seen as a failure, the O2 has been much more successful and continues to be a major part of London.
Justice has long walked the halls of the Old Bailey, wherein lies the Central Criminal Court of England and Wales. This is in contrast to the Royal Courts of Justice, were civil cases and appeals are heard. The building is named for nearby Old Bailey Street, which followed the lines of one of the original fortified Roman walls. The location was convenient for the speedy transfer of prisoners to Newgate Prison after sentencing. In medieval times, court was held in nearby rooms and in a later court building constructed in 1539 until they were destroyed by the Great London Fire of 1666 and then rebuilt in 1673 with an open design to help prevent the spread of disease.
The original building constructed in 1673 was three-stories of Italianate brick with the Sessions House Yard for litigants, witnesses, and court personnel to gather. The building also had a section of high, spiked wall where prisoners were held to keep them from escaping. When the building is described as “open air”, what that meant was that the court room had one wall open to the elements. Above levels were completely closed off and mainly used for court personnel, including a dining room for the justices. Trials were a public spectacle that invited members from all classes of society to attend, and even some criminals, hoping to learn how to defend themselves should they be caught.
By the 18th Century, the Old Bailey got its first major facelift. In 1737, the open air portion was walled up and the rest of the building was enclosed, as much to keep out the weather as it supposedly was to keep out the clamour of the crowd outside. The ground floor was refaced with masonry bricks and many of the windows altered to reflect the architectural style of the times. A passageway was also built that connected the court with Newgate to further facilitate prisoner transfers. Unfortunately, the work that closed off the wall led to the exact reason why it was open originally, as an outbreak of typhus in 1750 led to the deaths of 60 people, including two judges and the Lord Mayor. The introduction of nosegays and aromatic herbs helped to cut down on the spread of disease, and even some judges still carry nosegays or other flowers.Another reconstruction followed in 1774 with a semi-circular wall built in front of the bail dock which added extra security as well as further keeping out any communication between the prisoners and the public. The passage between the Old Bailey and Newgate was enclosed. In one of the wiser moves for construction, witnesses were given their own waiting room so court personnel wouldn’t have to fetch them from the pub for their case. Though there was only one courtroom, a mahogany table was installed for use by the lawyers to make their arguments. It was this incarnation of the court that became known as the Old Bailey.
The increasing number of trials by the 19th Century necessitated the building of another courtroom in 1824, converted from another building nearby. Several more were added over the next several decades with increased seating to reflect the many roles found in the modern justice system including the jurors, attorneys, justices, court reporters, witnesses, and spectators. This proved to be not enough still as the needs of justice increased, and in 1898, the Royal Institute of British Architects commissioned six designers to submit plans with no limitation on style but wanting something impressive and dignified without being too ostentatious.
The ultimate design came from E.
W.
Mountford and opened in 1907. The Neo-Baroque building was decorated with numerous symbols of its purpose, including the new 12-foot gold leaf statue of “lady of justice” holding scales in one hand and a sword in the other, situated on top of its new 67-foot dome which has become an iconic symbol of justice in Britain. Additionally, the exterior and interior were completely redone in stone and marble, respectively, as well as statues and paitnings that feature Labour, Art, Wisdom, and Truth. It also featured new waiting frooms for tinesses and many other then-modern conveniences.
However, the building was not without its troubles in later years. The Old Bailey was heavily damaged during the London Blitz and would be restored completely by 1952 with paintings commemorating the bombing inside the Grand Hall. In 1973, the IRA exploded a car bomb outside the courts and a shard of glass from the explosion is preserved inside. Today, all of these sites and more are available for tourists to visit, though it’s best to keep in mind that the Old Bailey remains a working courtroom, so do set up your visit in advance. If you’re really lucky, you may even get to see a trial.
Forming one of the corners of Trafalgar Square and existing as a landmark on par with Nelson's Column and the National Gallery. Prior to the 13th Century, there is no reference to a church existing on the site in the City of Westminster. The year 1222 marks the first recorded mention of the church when it came under a jurisdictional conflict between Eustace, the Bishop of London, and William, the Abbot of Westminster. The Archbishop of Canterbury ultimately sided with the Abbot and the monks of Westminster Abbey began to make regular use of the church from that point.
The church is dedicated to St.
Martin of Tours, and at the time it was founded, it was surrounded by fields, from which its name derives. It was during this time when much of Westminster was still undeveloped that King Henry VIII rebuilt the church in 1542 and extended its parish boundaries to keep plague victims from being brought through the Palace of Whitehall. Prince Henry, son of King James I, then enlarged it in 1607. This version of the church was a brick building overlaid with stone, a tiled roof, and a stone tower.
It was this prior church building that would be pulled down in 1721 to make way for the current church. A survey done on the church in 1710 showed proof that the walls and roof were in a state of decay. In 1720, Parliament passed an act for the rebuilding of the church that raised some £22,000 towards construction. Rebuilding commissioners selected James Gibbs as the architect on the project. His first suggestion involved a circular nave and domed ceiling, but the commissioners rejected this, so he scaled back his plan to focus on a rectilinear plan with a neoclassical design that was accepted.The foundation stone was laid on 19 March 1722 and took nearly four years to complete, with the finishing touches being placed in 1726. The final look of Gibbs' plan is a blending of Baroque and Palladian architecture that would eventually give birth to Neoclassical style. The interior is covered in white plaster with Baroque designs and arched ceilings. The ceilings are supported by Corinthian columns that help mark the galleries and arcades on either side. King George I was said to be so happy with St.
Martin's that he gave £100 for the construction workers to share amongst themselves and £1,500 towards the purchase of the organ. However, not everyone was happy with the design and it was heavily criticised at first until it became enormously popular and imitated widely in America.
St.
Martin's has ever been a fixture of this part of Westminster, even before the buildings that blocked the view of it were knocked down to construct Trafalgar Square in the 1820s. The reputation of the church increased under Vicar Dick Shepperd, who coined St.
Martin's mission as being the "Church of the Ever Open Door". He spearheaded programs to assist London's homeless and provided a place of thoughtful contemplation and ministry to soldiers going to, and returning from, the fields of World War I.
Today, St.
Martin-in-the-Fields continues to be a major place of worship for the City of Westminster in addition to serve as concert venue and community centre. Underneath the church is a crypt that not only includes gathering venues, a shop, and a chapel dedicated to Dick Sheppard, but also possesses its own lovely cafe. Visiting the church will grant you the opportunity to take in displays of art or participate in some brass rubbing for a special souvenir to take home. If you visit Trafalgar Square during your time in London, you would be remiss if you didn't visit St.
Martin's.
England is the birthplace of justice in many parts of the world where the British Empire had influence. While the Old Bailey is traditionally associated with criminal court, the Royal Courts of Justice (also known as the Law Courts) is where the ultimate legal power of England and Wales resides. The Law Courts house both the Court of Appeal and the High Court of Justice. The lower courts within its halls are more concerned with civil rather than criminal matters. Located in the Strand, the Four Inns of Court are located nearby, from which come the nation’s barristers, training for the day when they will practice in those very courts.
Prior to the 19th Century, many civil cases and appeals were heard in Westminster Hall and surrounding buildings. Parliament originally proposed a separate civil court building in 1866. Reportedly, when the government called for architects to contribute designs for the building, Parliament lied and told the men that they would be designing a cathedral. Ultimately, 11 architects responded to the call and from among them, George Edmund Street, himself the son of a solicitor, was chosen to design the Law Courts. Originally, Parliament had wanted to locate the building on the Thames Embankment, but moved it to the Strand after much debate.
Street’s design was a Victorian Gothic palace and he designed everything from the base to the spires. Construction began on the Law Courts in 1873 with Messrs Bull & Sons of Southampton tapped for the construction. Early on the construction, a strike from the masons had threatened to spill into other building trades and foreign workers had to be brought in to continue the work. It would be another nine years before Queen Victoria opened the courts on 4 December 1882. Unfortunately, as with so many great buildings, George Edmund Street would not live to see the completion of his masterpiece, having died in 1881.
As for the dimensions, the Law Courts are 470 feet from east to west, 460 feet from north to south, and 240 feet from the street to the tips of the spires. In addition to the many spires, the front of the Law Courts includes two iron gates granting admittance to the elaborate stone porches and beyond into the Great Hall. The interior has more than 1,000 rooms that include various meeting chambers, administrative offices, and at least 78 court rooms. Additionally, there are approximately 3.5 miles of corridors. The interior is filled with statues of many famous persons associated with law and justice including King Solomon, Jesus Christ, King Alfred, and Moses. There are also numerous statues and paintings of well-known judges who once administered the law in the courts.
The first extension to the Law Courts was constructed in 1910 to make room for divorce courts. These more modern additions would become the first parts of the courts to have air conditioning and tape recording. Another 12 courts were added with the Queen’s Building in 1968. The most recent addition is the Thomas More courts building, which opened in 1990 and added another 12 courts for the Chancery Division. What’s more, the court rooms also have their own unique histories, such as Court 4, which is presently the Lord Chief Justice’s Court. Originally it was located in Court 6, but the Lord Chief Justice at the time felt that was unlucky had it moved. Continuing the superstition, room 666 had its number removed from the walls and is presently unused.
While the Royal Courts of Justice are opened to tours, it continues to be used today for all manner of civil matters from lawsuits to adoption hearings. Anyone over the age of fourteen is permitted to view proceedings in the public gallery, though more private proceedings such as adoptions are not open to viewers. The tours, meanwhile, last approximately one hour and are led by legal experts with a focus on the history of the courts. They enable visitors to get a full picture of the civil court system in Britain, including the opportunity to sit where the parties to a case do and peer behind-the-scenes. Whether you come with an interest in architecture, law, or history, you’ll find it all at the Royal Courts of Justice.
At one point the tallest building in London, British Telecom (or "BT") Tower was the first building purpose-built to transmit radio waves. The General Post Office commissioned the construction of the tower, which began in 1961. The government needed a tower that could handle the British Telecom microwave network and replace another nearby tower that had been doing much of the work since the 1940s. The tower's design came from Eric Bedford and G.
R.
Yeats of the Ministry of Public Buildings and works. They developed its cylindrical shape to handle the aerials as well as survive a potential nuclear blast. The architects had noted that similarly shaped buildings had survived the bombs at Hiroshima and Nagasaki, and in the days of the Cold War, a strike on London was a very real concern.
BT Tower topped off in 1964 and was opened in 1965 by Prime Minister Harold Wilson. At the time, it achieved the status of being the tallest building in the city at 621 feet, or 189 metres, tall. BT Tower would hold onto this title until 1980 when National Westminster Tower (now known as Tower 42) was finished. With its telecommunications systems sending messages all across the UK, including for the government and the military, the entire tower fell under the jurisdiction of the Official Secrets Act. BT Tower could not appear on any maps and taking pictures of it was forbidden--despite the fact that was clearly a tall tower in the middle of the city.
Despite this secret status, it managed to appear multiple times on film and television anyway. It played a major role in the Doctor Who episode "The War Machines", where it housed the powerful--and evil--computer WOTAN. It would also feature in nearly any film that showed the London skyline and even had its own educational video for the public. Besides Doctor Who, it also showed up in the New Avengers and the "Kitten Kong" episode of The Goodies (even though it was only a model). Since its status as an official secret was revealed in 1993 (it was outed in Parliament because an MP felt it being a secret was ridiculous), it's also appeared in The Matrix, V for Vendetta, and the Harry Potter series.
The tower officially opened to the public in 1966 and became an incredibly popular destination. In addition to the office space, souvenir shop, and viewing galleries, the tower's rotating restaurant, Top of the Tower, was the place to be. Run by Butlins, celebrities to the restaurant included the Beatles, Muhammad Ali, Dusty Springfield, and more. In 1971, a bomb set by the Provisional IRA was set off in the men's toilets and the restaurant closed temporarily. It closed more permanently in 1980 for security reasons and remained closed after Butlins lease expired. The restaurant would not reopen until 2015.
By the 21st Century, communications technology had changed and so BT Tower changed with it. The microwave aerials were mostly replaced with subterranean fibre optics. The tower also installed a 360-degree lighting circle with seven programmable colours and then updated in 2009. Plans to reopen the restaurant that year were scrapped, but were picked up again in 2012 and finally reopened for the tower's 50th anniversary in June, 2015, 35 years after it closed for good. BT Tower was given Grade II listed status in 2003, which presented a problem for removing some of the aerials that were inadvertently protected by this status. It wasn't until the fixings started to fall into such disrepair as to make them dangerous that they were removed in 2011, making the core visible for the first time since its construction.
Today, BT Tower is still in use for office space and open to the public, even though its use for telecommunications has greatly changed.
While Buckingham Palace may be the current preferred residence of Queen Elizabeth, Windsor Castle is the royal residence long associated with the monarchy. The castle’s oldest parts date back to the 11th Century and King William I’s conquest of England. To consolidate his power, William built a series of castles around England, including a ring of them surrounding London, each a day’s march from the next and each other for easy reinforcement. Windsor was the first in 1070, and he built it as a motte and bailey style castle for better defense.
It became a royal residence towards the end of the 11th Century and continued to be so through the reign of William’s son, Henry I. Henry expanded the buildings of the castle and erected a stronger wall to protect it from attack. Henry’s work on Windsor Castle was sufficient enough that he was able to move his entire court there, officially making it a royal residence in 1110. His grandson, Henry II, replaced many of the wooden structures with stone and giving the castle its rectangular towers.
Interestingly enough, the only times the castle would really see any conflict was under Henry II’s son John. The first time was John’s attempt to usurp the crown while his brother, Richard I, was fighting in the Crusades. The second time was when, after John legitimately became king, rebellious barons besieged the castle after John failed to live up to his end of the Magna Carta that he’d helped negotiate there in 1215. It might have helped him to build up the castle’s fortifications, but instead, John opted to improve Windsor’s residence instead. The sieges caused extensive damage to the castle that was repaired by John’s son, King Henry III, who fixed the defences his father had neglected with new stone walls and three new towers: Curfew, Garter, and Salisbury.
King Edward III was born in Windsor Castle and was one of the monarchs to make extensive additions to it during his reign. He spent £51,000 of that era’s currency renovating the castle and constructing several new buildings, including three courts dubbed the Little Cloister, King’s Cloister, and Kitchen Court. He also constructed new lodgings for his court as well as the Norman Gate, which was later remodeled in the 19th Century. After Henry VI had the crown taken from him by King Edward IV, Edward also took up residence at Windsor and built St.
George’s Chapel in 1475.
While Henry VIII certainly enjoyed moving around as monarch, he made Windsor as much his home as any other palace and he rebuilt the principle gate in 1510, which is now named after him. He also built a tennis court at the base of the Upper Ward since he enjoyed being active. His children made various improvements during their reigns, from the fountain added by Edward VI to the cannons of Elizabeth I. During the English Civil War, the Parliamentarians took control of Windsor and looted much of the artefacts from St.
George’s Chapel, which they considered too “high church”. Charles I was held for a time at Windsor before his execution and his body was buried at St.
George’s Chapel with little ceremony.
With the Restoration, King Charles II moved back into Windsor and sought to conduct some of the most modern improvements the castle had ever seen. He also heavily renovated the interiors in the Baroque style. It continued to be a major place for the court until George I arrived from Hanover and preferred other palaces such as St.
James and Kensington to Windsor, a tradition that would continue with George II, though George III loved the palace and made multiple improvements inside and out throughout his reign. George IV would ask Parliament for £300,000 for a complete restoration of Windsor Castle, which would continue through the reign of Queen Victoria, who would make Windsor her primary residence.
In the 20th Century, King Edward VII would set about the most complete modernisation to date, a process that was continued at a slower rate by his son, George V. George’s wife, Mary of Teck, would work hard to reacquire many pieces of furniture lost from the castle over the centuries. It was during George’s reign that World War I broke out, and with anti-German sentiment high, he would change the dynastic name from Saxe-Coburg and Gotha to Windsor, a reflection of the castle’s importance to the monarchy’s power. The royal family would move to Windsor during the Second World War for their safety, and Queen Elizabeth II would later establish Windsor as a weekend residence, spending most of her time at Buckingham Palace.
A fire in 1992 caused extensive damage to the Upper Ward and the question of who should pay for it was raised for the first time in the castle’s history. Some individuals felt that the Queen herself should pay out of her personal income rather than letting the government (and by extension, the taxpayers) fit the bill. In the end, it was decided to open Buckingham Palace to paying visitors on the weekends to help fund the repairs. Today, the royal family still occupies the castle occasionally, making it the largest inhabited castle in the world as well as the longest-occupied European palace. It still provides a residence for Queen Elizabeth and her family as well as serving state functions.
Otherwise known as the “Ally Pally”, it’s not a palace per se, but a major attraction and exhibition venue in North London. Following the Great Exhibition at the Crystal Palace in 1851, the Victorian desire for science and art exhibits grew and there was a need for another venue in North London to rival the exhibition centre in Hyde Park. In 1858, Owen Jones submitted a proposal for the next great palace to go on Muswell Hill. Two years later, the Great Northern Palace company would be established to manage the project, but it had trouble raising the initial necessary capital.
Originally called “The Palace of the People” (or alternatively “The People’s Palace), it was renamed in honour of Princess Alexandra of Denmark. The Lucas Brothers, who had also built the Royal Albert Hall, were responsible for the construction beginning in 1865, but the plans had changed to a design by John Johnson and Alfred Meeson instead of the plans drawn up by Jones. Alexandra Palace was finished in 1873 and opened the same year, but a fire erupted not too long after that destroyed the building and killed three of its staff members.
Not to be undone by this tragedy, it was rebuilt even bigger and better in 1875. The new Alexandra Palace included concert halls, art galleries, a museum, large theatre, lecture hall, library, and a banqueting room. The theatre included the latest stage technology to provide productions with state-of-the-art effects. The grounds amenities grew to include a swimming pool, a Japanese village, rides, a racetrack, and more. Despite all this, financial troubles for the palace continued and it closed in 1889 while 200 acres of the parkland was sold to pay off Alexandra Palace’s debts.In 1900, the owners threatened to sell the palace for redevelopment, but a group of men from the district, including Mr.
Henry Burt, J.
P. banded together to buy Alexandra Palace and its grounds to keep it as the People’s Palace. The same year, Parliament enacted the Alexandra Park and Palace (Public Purposes) Act 1900 to create a charitable trust to ensure the building would continue to receive funding and never fall into debt again. It then closed again for a time in 1914 due to the outbreak of World War I and parts were used by the government as a P.
O.
W. camp for German and Austrian soldiers.
One of Alexandra Palace’s most memorable contributions to Britain and the world started in 1935 when the British Broadcasting Corporation purchased a wing of the building. It would be a year later that the first television broadcast would take place at the palace and it would continue to be used as a broadcasting centre (barring World War II) until 1956. In the mid-1950s, ownership of Alexandra Palace transferred to the Greater London Corporation, though the High Court ruled that the building and grounds were held on trust and must be used for charitable purposes. The palace ownership would transfer again to Haringey Council again in 1980, but would suffer a second devastating fire that same year.
The palace’s third grand opening took place in 1988 and two years later, Alexandra Palace would receive a large ice skating rink that was available to public skaters as well as hockey teams. 1990 would also see the formation of the Alexandra Palace Television Trust which created the TV Museum on site to honour the palace’s broadcasting legacy. By 1996, the Department of National Heritage granted Alexandra Palace Grade II listed status. Moving into the 21st Century, the palace theatre say its first performances in nearly 70 years starting in 2004. While the palace’s future has yet to be written, it currently still serves as a performance venue and public place as it was originally intended to be.
Since Medieval times, the Guildhall in London has been an actual and ceremonial centre for the City of London and its Corporation. Even before the current building that sits near Gresham and Basinghall streets, a Roman amphitheatre existed on the site and previous guildhall buildings served the Saxons. A previous guildhall existed on the same site in the 12th Century with the original foundation believed to have been constructed between 1120 and 1130. A crypt was constructed underneath in the 13th Century that helped become the foundation of the current Guildhall.
The elegant building that currently represents the City of London began construction in 1411. Completed in 1440, it was largely built by mason John Croxtone and, over 800 years later, it is the only non-ecclesiastical stone building of that era to survive. By the 15th Century, the Lord Mayor of London and the ruling merchant class held enough power to rival that of the king within the city. As such, they decided that a new Guildhall was necessary that could house the offices for London’s municipal government, the Court of Common Council, the Sheriff of London, and the Lord Mayor.Once completed, the Guildhall was the third-largest such structure in England, after Westminster Hall and the Great Hall of the Archbishop’s Palace in Canterbury. The Great Hall inside the structure was and still is the meeting place for the Court of Common Council, which is the City of London’s legislative body. It was also the site of many trials over the centuries. Anne Askew was tried there for Heresy in 1546, as was Henry Howard, whom King Henry VIII believed was plotting against him and had Howard executed in 1547. Lady Jane Grey and her husband, Lord Guilford Dudley, were both tried there for high treason along with Archbishop Thomas Cranmer by Queen Mary I in 1553.
In the next century, the Guildhall was one of many London buildings not spared by the Great Fire, though it was fortunate enough that its stone permitted the walls to survive. The rest of the interior was rebuilt and the building was enlarged. The interior contains many monuments to famous Britons, including Admiral Nelson, William Pitt the Elder, William Pitt the Younger, the Duke of Wellington, Lord Mayor William Beckford, and Winston Churchill. The Guildhall added a minstrel’s gallery in 1862 that included statues of Gog and Magog, who in British mythology are the protectors of London, giants who were defeated by Brutus and Cornelius and then chained to the walls of the palace that stood on the Guildhall’s site to act as its guardians.
An earlier version of the statues were destroyed during the Great Fire and the ones in 1862 were meant to replace them. However, the replacement statues were destroyed during the London Blitz along with other parts of the hall, such as the roof. The hall’s roof has been replace or repaired at least four times over its history, with the last following the German bombing of the city. The windows were also restored after the Blitz and bear the names of all the previous Lord Mayors. The windows also bear the arms of England, London, and the city’s twelve livery companies, including: Mercers, Drapers, Fishmongers, Goldsmiths, Skinners, Merchant Tailors, Haberdashers, Salters, Ironmongers, Vinters, and Clothworkers.
Today, the Guildhall still acts as the government centre for the City of London. Grade I listed, it also provides a venue for important ceremonies, dinners, and events. The west wing, constructed in 1974, is the most modern part of the building and contains a bookshop, museum, and the Guildhall Library, which houses the corporation’s art collection. No matter the reason for your visit, you can experience history and see one of the oldest city governments in action here.
Stabbing the skyline like a piece of jagged glass, the Shard is the newest and tallest skyscraper.
The building's history started in 1998 with a plan to redevelop the area around Southwark Towers.
This desire to develop high-density, multi-use towers in London came from a white paper issued by the British government.
The government wanted to see more buildings near major transport hubs that had a mixture of offices, restaurants, shops, and apartments that would guarantee that the building saw use twenty-four hours a day.
Picking up on this mission, developer Irvine Sellar acquired the property and traveled to Berlin to meet with architect Renzo Piano.
Piano wasn't a fan of the typical skyscraper, but the idea of a mixed-use tower, more a vertical city than an office building, appealed to him.
While sitting together in a restaurant, Piano took the back of the menu and started to sketch his initial design for the building, a sharp spike where the base would form the retail, restaurant, and office space, the middle would serve as a hotel, and the top would include apartments and a viewing platform.
While Sellar and Piano were enthusiastic about the project, others were not initially receptive.
The Commission for Architecture and the Built Environment, English Heritage, Royal Historic Palaces, Royal Parks Foundation, and other neighbourhood and conservation groups expressed strong criticisms of the design that ranged from its location to how it would fit in with the character of Southwark.
These problems in the planning and approval process led then-Deputy Prime Minister John Prescott launched an official inquiry in 2002.
With Prescott's determination that the tower's design ould be of the "highest exceptional quality", final permission was granted for the building to proceed in September 2003.
The demolition of Southwark Towers proceeded and the Shard managed to secure its first tenant Shangri-la Hotels, but only a few short years later, an economic recession slowed down and threatened to derail the project.
However, in 2008, the State of Qatar came to the Shard's rescue and invested £150 million for an 80% stake in the tower.
In April of that year, the demolition was under way and completed in 2009.
No sooner had Southwark Towers been demolished that construction began.
In March 2009, cranes began putting steel beams in the ground in an example of "top-down" construction, in which the foundations are dug while the core of the building is constructed.
It was construction first for Britain, and in a day-and-a-half, the construction team poured 5,400 cubic metres of concrete into the base.
By March the next year, the concrete core was raising at a rate of 3 metres per day.
By November, the Shard's height was already so much that it passed One Canada Square as the UK's tallest building.
Hydraulic screens assisted in the pouring of the concrete floors as the steel support ascended with each floor completed.
The building was enveloped on each level with extra white glass that resulted in a more vibrant and ever-changing look than other towers.
As the tower continued to climb, in November 2011, it became the tallest building in the European Union.[caption id="attachment_7491" align="aligncenter" width="600"] The View from the Shard[/caption]By June 2012, the Shard was ready for its inauguration.
The Prime Minister of Qatar was there to open the building and Prince Andrew, the Duke of York, was in attendance.
It's ultimate height was 1,016 feet with 72 habitable floors with 95 total.
The first tenants began to move into the Shard in 2013, though Shangri-la Hotels and other firms wouldn't end up moving in until 2014.
Now the Shard counts Al-Jazeera, Tiffany & Co. and Gallup amongst its office residents.
Restaurants in the Shard include Aqua Shard, Oblix, and Hutong, while floors 53-65 offer London's highest flats with gorgeous views that stretch to the farthest reaches of Greater London.
Of course, London's highest view isn't available only to those who live there.
The View comprises floors 68, 69, and 72 where the observation decks offer visitors the best place to view the entirety of London from one location.
What's more, the Shard is currently developing 460 square metres of retail space on its second floor.
This Arcade will tie into the London Bridge station that has been developed to serve the needs of thousands of commuters and tourists every day.
Already making an impact on the skyline of London and the city's culture, the Shard is one of many great London buildings that will define the city's skyline for decades to come.
Sitting just across from the Palace of Westminster, Westminster Abbey is every bit as iconic and important to Britain as the Houses of Parliament.
Prior to the 11th Century, a church had existed on the site since as early as 604 A.
D., the same year that Æthelbert built the first St.
Paul’s in London.
Later monarchs donated more land and relics to help build the church.
In 960, St.
Dunstan endowed an abbey there.
Early reports state that a young fisherman named Aldritch had a vision of St.
Peter on the site, though that seems to be a story meant to justify gifts of salmon to the Abbey (though the Fishmonger’s Company still provides a ceremonial salmon every year).
The current Abbey’s history begins eighty years later with Edward the Confessor.
In 1040, Edward sought to rebuild St.
Peter’s Abbey as a necropolis, or a burial church, that could be closely-tied to the crown as a church for royal functions as well as funerals.
The new church, named “west minster” to differentiate itself from St.
Paul’s (the “east minster”) was built in the Romanesque style—the first of its kind in England.
However, Edward would not see it completed during his life.
He was already ill by the time it was consecrated on 28 December 1065 and died eight days later.
Edward was buried in the Abbey a week later, fulfilling his original intent for the building.
Only a day after Edward’s death, Harold Godwinson is believed to have been crowned in Westminster Abbey, presumably making him the first king to do so and beginning the tradition of the church and coronations.
However, some disagreement as to whom Edward had actually chosen to be his successor led to the Norman Invasion of 1066, Harold’s eventual defeat at the hands of William the Conqueror, and William’s subsequent coronation at Westminster Abbey on Christmas day.Roughly 200 years later, Westminster Abbey would see itself as the desired burial place for another king, Henry III.
Henry was not to be left behind by the rest of Europe as the great Gothic cathedrals of the era were starting to go up and wanted to ensure that England’s capital had one as grand.
Construction began in 1245, but wasn’t finished until the 16th Century, meaning that Henry, just as Edward, didn’t live to see its completion.
The church was consecrated in 1268, but it was far from completed when Henry died in 1272.
By that point, the choir and five bays of the Abbey’s nave had been finished and construction halted for another century.
The new Westminster Abbey, with the exception of the West Towers, wasn’t finished until 1532.
During that time, King Henry VII added the Lady Chapel to the Abbey.
His son, King Henry VIII, then dissolved the monasteries and brought their buildings under control of the crown.
At the time of the dissolution, Henry’s assessor determined the income of Westminster Abbey to be £2,400 to £2,800, which would be anywhere from £1.3 million to £1.5 million today.
This was due, in part, to the Abbey being central to the life and economy of the City of Westminster.
Henry VIII wasn’t completely hard on the Abbey, however, and made it a cathedral by royal decree in 1540, at the same time, establishing the Diocese of Westminster.
The Abbey at this time was also responsible for the creation of the expression “robbing Peter to pay Paul” as money intended for Westminster Abbey was instead diverted to St.
Paul’s Cathedral.
Things at the Abbey certainly weren’t settled for quite some time as its status changed between subsequent monarchs Mary I and Elizabeth I.
In the 17th Century, the Abbey was attacked by Puritans and Oliver Cromwell was given a grand state funeral there, only to be disinterred and his body ceremoniously hung following the Restoration.
In the same century, Sir Christopher Wren designed the Western Towers that would be built from 1722 to 1745 by Nicholas Hawksmoor. In modern times, the Abbey continues to make history.
It survived the London Blitz with only minor damage.
It provided the location for the funeral of Princess Diana and the wedding of her son, Prince William.
In 2010, Pope Benedict XVI became the first pontiff to set foot in Westminster Abbey in the church’s history.
Lastly, it continues to be the coronation site for the British monarchy.
In this, the Abbey will continue to make history for centuries to come.
Near the famous London Bridge on the south bank of the Thames is Southwark Cathedral.
The origins of the church are something of a mystery and while no one really knows when the first church building was constructed, but it is believed that a church has existed on the site for over 1,000 years.
It's from 16th Century historian John Stow who related reports of a woman named Mary who had used profits from a Thames ferry she inherited to start a nunnery in Southwark.
It was believed that the nunnery existed well before the Normans came to London, possibly as early as the 7th Century.
Prior to this, a Roman villa existed there and its pavement was incorporated into the floor.
Excavation on the cathedral site in 1977 discovered a well and a pagan statue below the choir.
The first actual records of the church's existence come from the Domesday Book in 1086, describing a "minister" or monastery existing in Southwark since the time of Edward the Confessor.
Control of the church passed to Odo, the Bishop of Bayeaux and half-brother of King William I, then to William de Warrane, the Earl of Surrey.
In 1106, two Norman knights named William Pont de l'Arche and William Dauncey "refounded" the church as a priory following the rule of St.
Augustine of Hippo and renamed it St.
Mary Overie (or "St.
Mary Over the River") for the woman who had allegedly founded the original church and to distinguish it from many other churches with the same name.
In addition to the monastery, they built a hospital and counted on the patronage of the Bishops of Winchester, first William Guilford and then Henri of Blois, to construct and support St.
Mary's.
Unfortunately, tragedy struck in 1212 when a fire destroyed significant portions of Southwark, including much of the church, hospital, and priory.
The doorway on the north aisle of the nave is one the only remaining parts of the previous church.
The Bishop of Winchester at the time, Peter des Roches, began the reconstruction effort and built the current cathedral in the Gothic style, becoming one of the first Gothic buildings in London and the oldest one still standing.
Work began in 1215, the cathedral was consecrated by the bishop in 1260, and completed around 1283.
Parts of the cathedral, including the south transept and the tower, had to be rebuilt following another fire in the 1390s.
The nave roof later collapses in 1468 and the vault was rebuilt in wood.
Bishop Richard Fox constructed the stone altar screen that separates the choir from the retro-choir in 1520.With the Dissolution of the Monasteries in 1539, the cathedral was turned over to the Crown in 1540.
King Henry VIII renamed it St.
Saviour's and leased it to the congregation as a parish church, an arrangement that remained until 1611 when a group of businessmen known as "The Bargainers" purchased the church from King James I for £800.
During this period, the church developed a close relationship with Elizabethan dramatists, including William Shakespeare.
The Bard's brother, Edmund, was buried in the church in 1607 and one of the church's stained-glass windows depicts scenes from his plays with an alabaster statue below that features a reclining Shakespeare writing with his quill.
By the 19th Century, the cathedral was in need of serious repairs and there was some discussion of tearing it down, along with London Bridge, and building a smaller church on the same site.
Instead, while London Bridge's demolition went ahead, the bridge committee opted to restore the Southwark Cathedral, yet parts of the church including the lady chapel were demolished.
Architect George Gwilt came to the aid of the church and worked hard to repair and strengthen the nave and the tower, as well as restoring the aisles, choir, and retro-choir.
The Prince of Wales, the future King Edward VII, laid the foundation stone to the new nave in 1890.
In 1904, Parliament created the Diocese of Southwark and the following year renamed St.
Saviour's to Southwark Cathedral (with its official name as the Cathedral and Collegiate Church of St.
Saviour and St.
Mary Overie).
Like much of London, Southwark Cathedral did not escape the bombs of the London Blitz and sustained damage from shrapnel that is still visible on the outside of the church.
More restoration and expansion took place in the 1990s to early 2000s, and in 2001, Nelson Mandela opened the northern cloister that includes a library, refectory, coffee shop, gift shop, conference centre, museum, education centre, and visitor centre.
Both Mandela and Desmond Tutu have monuments in Southwark Cathedral today.
Moving further into the 21st Century, Southwark remains a working church and a daily place of worship for Londoners.
In addition to a host of Sunday services, the cathedral hosts services for special groups throughout the week, so be sure to check the website for the best times to visit as a tourist or a worshipper.
Unquestionably one of the dominating features of the London skyline, the Palace of Westminster has always been an important centre of government.
Going back to the middle ages, the land on which the current palace sits was called Thorney Island, and its location in what we know as Westminster gave it strategic value in virtually the middle of the area and along the banks of the Thames.
Canute the Great made Thorney Island his base of operations when he ruled in the 11th Century and was followed by Edward the Confessor, who built a palace there at the same time he was constructing Westminster Abbey.
When William I conquered London, he made little use of Edward’s palace, preferring instead to construct the Tower of London.
The original hall for the Palace of Westminster was built by his son, William II.
Construction began in 1097 and finished in 1099.
At its construction, the hall was the largest in Europe and it remains so to this day with a total floor area of 1,547 square metres.
Its size made it a major location for feasts and receiving important guests, which became increasingly important as more government offices started relocating to Westminster.
With the palace serving as a royal residence, it quickly became the centre for English government, a fact that was even further cemented when the first parliament, the Model Parliament, met at the palace in 1295.[caption id="attachment_7424" align="aligncenter" width="537"] The Burning of the Houses of Parliament by Turner[/caption]However, the Palace of Westminster’s status as a residence would not last forever.
In 1512, the residential (or “privy”) section of the palace caught fire, which was the perfect excuse for King Henry VIII to leave the palace and take up residence elsewhere.
With the abandonment by the monarchy, Parliament and other government agencies took increasing control of the grounds.
Parliament began meeting there regularly starting in 1707, though the fire of 1512 wouldn’t be the last that the Palace of Westminster would suffer.
The Great Fire of 1834 managed to destroy a majority of buildings at the palace and surrounding homes.
The only parts of the Old Palace that survived were the hall, the Undercroft Chapel, the cloisters, the Chapter House of St.
Stephen’s, and the Jewel Tower.
The following year, a Royal Commission began the process of rebuilding the palace.
There was a bit of a disagreement as to what style the new palace should take.
Neo-classical was the popular style of the time, but it was heavily associated with the American White House and thus the revolution, so the government opted for a Gothic style instead that it felt was more conservative.
There was a public competition to determine the ultimate design on the Gothic guidelines in 1836.
Of the 97 entries that the government received, the winner was Charles Barry.
Barry’s Gothic design won, in part, because it proposed a building that would be in keeping with the surviving palace buildings.
Construction began in 1840 and was estimated six years and £724,986, though it took thirty years and cost £2 million.
Despite all the construction that was still ongoing, the House of Lords first took their seats in the new palace in 1847 and the House of Commons followed them in 1852.
A few years later in 1859, Big Ben would be installed in Victoria Tower, providing London with one of its biggest landmarks and most recognisable sites.[caption id="attachment_7423" align="aligncenter" width="600"] House of Commons[/caption]Despite its design that harkened back to the past, the Palace of Westminster was at the forefront of technology.
Electric lighting was first installed in the House of Lords in 1883 and nearly thirty years later in the House of Commons.
Moving further into the 20th Century, while the palace was fortunate to avoid destruction during WWI, the London Blitz was not as kind.
Parliament had, in fact, moved mostly into Westminster Abbey from 1940-1941 out of concern for the bombs.
This fear was proven valid when German bombs destroyed the House of Commons chambers over 10-11 May 1941.
However, resilient as ever, the chambers were rebuilt and construction at the Palace of Westminster has been mostly confined to restoration efforts in the decades since.
Even more renovations will be needed in the future and a recent report suggested that for Parliament to remain in the palace during renovations would cost £7.1 billion, while a cheaper option would involve the MPs and the Lords to relocate for a period of six years.
It remains to be seen which option they will choose.
Named for Prince Albert, a lover of the arts and sciences, the Royal Albert Hall is one of the premiere concert venues in the United Kingdom.
Long before it achieved this honoured status, the property on which the RAH would sit was the Gore Estate in South Kensington.
Following the Great Exhibition which was organised by Prince Albert and Henry Cole, Albert wanted to keep the themes of the Exhibition going and establish permanent venues for cultural, artistic, and scientific exhibitions in London.
The area south of Hyde Park where such places as the RAH, the Victoria and Albert Museum, the Science Museum, and the Natural History Museum would become known as Albertopolis in his honour.
On Albert’s advice, the Exhibition’s Royal Commission purchased Gore Estate with profits from the Exhibition and began to develop the land.
However, the process was very slow and the man who inspired it died in 1861.
Following Albert’s death, Queen Victoria would wear black and keep to herself for the rest of her life, so when she came out to lay the foundation stone for the RAH in 1867, it was one of her rare public appearances.
She placed an inscription and coins onto a glass bottle that went under the foundation stone and proclaimed that “It is my wish that this hall should bear his name to whom it will have owed its existence and be called The Royal Albert Hall of Arts and Sciences.”Captain Francis Fowke and Major-General Henry Y.
D.
Scott of the Royal Engineers were the primary architects on the RAH and were heavily influenced by ancient amphitheaters.
The building was constructed by Lucas Brothers Builders and owes its distinctive colour to the Fareham Red bricks and terra cotta block decoration, which was made by Gibbs and Canning Limited.
The dome followed the style of the Victorian period and was made of wrought iron and glaze by Ordish & Gover, who had constructed the roofs for St.
Pancras and Charing Cross stations.
The mosaic frieze near the top was designed several sculptors to represent the scientific and artistic contributions of many nations.
The tiles were manufactured by Minton, Hollins & Co. and arranged by the women’s mosaic class from the South Kensington Museum, which is now the Victoria and Albert Museum.[caption id="attachment_7414" align="aligncenter" width="600"] Interior Today[/caption]The interior was initially lit by gas and the system that powered them could light them all in less than ten seconds.
The organ, designed by Henry Willis, provided both a striking feature and impressive tones.
The Royal Albert was completed by Christmas, 1870 and held its Opening Ceremony on 29 March 1871.
It was at this time that some of the hall’s acoustic problems became immediately apparent.
Prince Edward gave a speech to commemorate the event as Queen Victoria was too moved to speak, though later commented that the hall reminded her of the British constitution.
The hall was immediately put to use as a venue for the arts and sciences.
It became the founding site for the Royal Choral Society, hosted the London International Exhibition of Fine Arts and Industry, and served as the site of the state reception for the Shah of Persia in 1873.
Beginning in 1889, Sunday Concerts became regular events and remained so for the next six decades.
In 1890, Sir Henry Morton Stanley gave a speech at the Royal Geographical Society’s meeting in the hall, where he spoke no his adventures in Africa and finding Dr.
Livingtstone.
The next year, the RAH hosted what is considered to be the first Science-Fiction Convention (though it’s unknown if anyone cosplayed).
Moving into the 20th Century, the hall saw a variety of uses for concerts, political party conventions, suffragette meetings, and other important cultural events.
During World War I, it was the sight of fundraising concerts.
In 1936, there was a large rally to celebrate the centennial of Joseph Chamberlain’s birth and the British Empire.
During World War II, the RAH suffered damage during the London Blitz, but was fortunate enough to remain standing and mostly intact.
In the ensuing decades, the Royal Albert Hall has continued to remain one of Britain’s top spots for concerts and events, from the Proms to the 25th anniversary performance of Phantom of the Opera.
Straddling the banks of the Thames, Tower Bridge is one of London’s most recognisable landmarks, standing out easily over the skyline and the city’s gleaming spires.
During the Victorian period, Britain and its capital city enjoyed a major expansion of industry and trade.
This mean increased traffic into and out of the city, such that it necessitated the building of a new bridge downstream of London Bridge.
In 1876, the City of London Corporation commissioned a public competition to design a new bridge.
Over 50 designs were submitted for the competition.
The bridge’s location connecting Iron Gate on the north bank and Horsleydown Lane on the south bank (now known as Tower Bridge Approach and Tower Bridge Road, respectively), necessitated a bridge that ships could pass under to get to the docks.
While Sir Joesph Bazalgette, who had successfully designed the Putney Bridge, Hammersmith Bridge, and Battersea Bridge for the city, the corporation didn’t pick any of his designs.
Instead, the competition was won by Sir Horace Jones when his design was chosen in 1884.
There was some controversy to the choice as Jones was both the City Architect and one of the competition judges.
To handle the need for ships to pass along the Thames, Jones’ engineer, Sir John Wolfe Barry, designed a double-leaf bascule bridge with towers on either side.
The towers were built on piers with suspension cables connecting the two side spans.
Construction began in 1886 and had five major contractors, including: Sir John Jackson, Baron William Armstrong, William Webster, Sir H.
H.
Bartlett, and Sir William Arrol & Co., with E.
W.
Crutwell as the resident engineer.
All in all, the bridge construction employed 432 workers and took eight years to complete.
It opened in 1894 by HRH Albert, the Prince of Wales (later King Edward VII) who was joined by other members of the Royal Family.Two pedestrian walkways spanning the upper levels of the bridge were also part of its construction, but they began to fall into disreputable use as a haven for pickpockets and prostitutes.
They were eventually shut down in 1910 and not reopened for another seventy-two years, though admission now comes at a price.
The walkway area is now available for hire as well.
During World War II, a third engine was installed for the bridge mechanism in case the other two were damaged by German bombs.
The original operating system wouldn’t be replaced until 1976, when an electro-hydraulic drive system was installed.
There are plenty of interesting stories surrounding the bridge during its history.
Sir Francis McClean, one of Britain’s earliest aviators, performed a feat of daring do when he flew between the water and the upper walkways in 1912.
This wasn’t the most daring part of his stunts, as he also flew under London, Blackfriars, and Waterloo bridges in his hydroaeroplane.
Flight Lieutenant Alan Pollock did the same in 1968, when, upset at the lack of recognition for the RAF’s 50th Anniversary, decided to do low-level flights over the bridge and the Houses of Parliament, opting at the last minute to fly under the top span of the bridge.
In 1952, a double-decker bus found itself in a difficult position when the bridge started rising while the bus was still going over it.
The number 78 bus, driven by Albert Gunton, had to suddenly accelerate to jump the three-foot gap.
Mr.
Gunton was awarded £10 for his bravery and quick-thinking.
What’s more, the present red, white, and blue colours of the Union Jack weren’t always present.
They were painted on in 1977 for Queen Elizabeth II’s Silver Jubilee, whereas beforehand, the color was chocolate brown.
Presently, over 40,000 people make use of the bridge on a daily basis whether by car or on foot.
Ships, of course, still pass under it, but must give the bridge 24 hours’ notice and the bascules rise more than 1,000 times a year.
Your trip to London isn’t complete without a trip across the bridge, so be sure to drink in the history as you ride or walk over it.
The towering church that sits on top of Ludgate Hill in the City of London is not the first place of worship to be located there.
It’s actually the fifth.
The first church located here was a wooden building built by King Ethelbert and consecrated by Mellitus, the Bishop of the East Saxons, in 604 A.
D.
Less than a century later, it burnt down in 675 under unknown circumstances, only to be rebuilt.
The building would last until the 10th Century, when it was burnt down by Vikings.
Perhaps learning that wooden churches burn rather easily, the third St.
Paul’s was constructed out of stone in 962.
It would last little more than a century until another fire destroyed it, as well as much of the city, in 1087.
The Normans set about constructing the fourth cathedral, which would become known as Old St.
Paul’s.
Yet another fire managed to disrupt the construction in 1136, and as a result, it was not finished and consecrated until 1240.
What’s more, the architectural style changed from Romanesque to Gothic, a feature reflected in Old St.
Paul’s pointed arches, the larger windows, and the ribbed vault.[caption id="attachment_7384" align="aligncenter" width="600"] Old St Paul's[/caption]Old St.
Paul’s became a major centre of London life, perhaps sometimes to the chagrin of church officials charged with its upkeep.
Trade and sports took place under its roof, and people would often use the north and south transepts as a thoroughfare.
St.
Paul’s Cross, a major feature of Old St.
Paul’s, was an uncovered pulpit located on the grounds from which proclamations would be made and people would give speeches about religion or politics.
However, it became seldom used by the 1630s, but remained on the grounds until 1642.
Under the Tudor Era, things became more unsettled as King Henry VIII broke from the Catholic Church to create the Anglican Church, initiating the dissolution of the monasteries and destroying many of Old St.
Paul’s shrines and iconography.
This marked the beginning of a particularly bad time for St.
Paul’s, as lightning struck the cathedral spire in 1561, starting a fire that destroyed much of the spire and the roofs.
While they were rebuilt, the rest of the cathedral started falling into disrepair, which was less of a concern to Oliver Cromwell’s government.
It wasn’t until the Restoration in 1660 when King Charles II instructed for repairs to begin on St.
Paul’s that anything was done, but unfortunately, it wouldn’t be too long until catastrophe struck.
On 2 September 1666, an oven fire that wasn’t completely put out managed to reignite in Thomas Farriner’s bakery on Pudding Lane.
It quickly spread to neighboring houses and would carry on for four days until it had destroyed much of the City of London, including 13,200 homes, 87 parish churches, and Old St.
Paul’s Cathedral.
In a twist of cruel irony, the plans for the restoration of the cathedral had only been agreed to a week before the fire and the wooden scaffolding that had been erected helped to usher its demise.
It wouldn’t be too long after the fire had been put out that Sir Christopher Wren’s proposal for rebuilding much of the city, including St.
Paul’s, was accepted.
Already one of Britain’s best architects, many of his proposals for the new church, such as the dome on top, had been included for the pre-fire renovation plans.
Construction began in 1675, the same year as Wren’s son, Christopher, was born.
Even during construction, the new cathedral saw use, with the consecration taking place on 2 December 1697 and the first service there being a thanksgiving for peace between England and France.
The new cathedral was completed in 1708 when Christopher Wren Jr. laid the last stone on the dome’s lantern in the presence of his father.
After this, the cathedral’s history was a pretty quiet one.
King George I visited St.
Paul’s in 1715, but after him, no monarch would visit the cathedral again for another seventy-four years, when his grandson, King George III, held a service in thanks for recovery from his temporary bout of madness.
The cathedral became a burial place for many well-known persons, one of the first being its designer, Christopher Wren.
Others buried there include Admiral Horatio Nelson, the Duke of Wellington, and Alexander Fleming.
The cathedral would receive periodic upgrades and structural renovations through the early 20th Century.
The war was relatively kind to St.
Paul’s Cathedral, and despite three bombs dropping on it during the London Blitz of World War II, the church remained in-tact.
One bomb had managed to destroy the high altar while another left a hole above the crypt.
The third bomb, a time-delayed explosive, managed to be diffused before it went off, saving St.
Paul’s further damage.
It was during the Blitz that one of the most famous images of the war was taken, of a defiant St.
Paul’s Cathedral amidst the smoke of several burning fires caused by incendiary bombs dropped by the Luftwaffe.
Entitled “St.
Paul’s Survives” it was taken from the top of the Daily Mail building and the news article included an account of how the photograph was taken (see the picture at the top of this article).
St.
Paul’s Cathedral has continued to be a historical landmark ever since.
In 1964, Dr.
Martin Luther King, Jr. stopped to give a speech on the west steps while on his way to accept his Nobel Peace Prize.
His widow, Coretta Scott King, would later become the first woman to preach a sermon in the church. 1965 saw the state funeral of Sir Winston Churchill and his funeral would be the last for a former Prime Minister in St.
Paul’s until Margaret Thatcher in 2013.
In 1981, the cathedral was the site for Prince Charles’ wedding to Princess Diana.
Meanwhile, Queen Elizabeth II held thanksgiving services for both her Diamond and Golden Jubilees in St.
Paul’s.
The victims of the terrorist attacks on 11 September 2001 and 7 July 2005 were honoured there as well.
The great history and importance of St.
Paul’s Cathedral ensures that it will continue to be a major historical location for years to come.
Editor's Note: This is the start of a new ongoing series at Londontopia about London's most iconic buildings.
We'll explore their fascinating histories.Most people who don’t live in Britain or even London might hear the word Paddington and think of a bear that loves marmalade.
Officially named London Paddington, this railway station on Praed Street began its life in 1834 when a temporary station was constructed as the London terminus for the Great Western Railway.
It was located on the west side of Bishop’s Bridge Road and served the line while the station proper was being built.
Once the current station was constructed, the temporary station became a storage depot.
The station as we know it today was designed by none other than Isambard Kingdom Brunel.
Brunel was one of the preeminent architects of 19th Century Britain.
In fact, some of the major railways, tunnels, and bridges in the UK were designed by Brunel, including the Thames Tunnel, the Clifton Bridge, and, of course, the Great Western Railway.
The railway was founded in 1833 and ran from London to Bristol (and eventually Exeter).
Brunel’s idea was that someone could board the railway in London and travel to New York, after boarding the Great Western steamship in West Wales.https://www.youtube.com/watch?v=agv0rvXQYroPaddington Station was begun in 1850 and opened on 29 May 1854.
Brunel was praised for his design and a statue of him was placed on the concourse (thought it was eventually moved to platform 1).
The station features a 699-foot long glazed roof with wrought-iron arches in three spans which are supported by two transepts connecting them.
It was originally believed that they were added to accommodate traversers to carry coaches between the tracks of the station, though no one has found any evidence to support that notion.
Under the three spans are the stations original lines, with platforms numbered 1-8.
The station added another eight lines, beginning with platforms 9-12, in 1916.
Platforms 6 and 7 are dedicated to the Heathrow Express, which runs from Paddington Station to the airport.
Befitting the time in which they were built, span 4 has a more Edwardian architecture that has necessitated refurbishment in recent years.
Platforms 13 and 14 are part of the old Metropolitan Railway station on Old Bishop Road and can only be used by local lines.
Meanwhile, platforms 15 and 16 are dedicated to the London Underground and specifically the Hammersmith & City line.
In 1922, Viscount Churchill (not Winston Churchill, but Victor Spencer), who was then the chairman of the Great Western Railway, dedicated a statue depicting a WWI soldier reading a letter on Armistice Day.
The statue was meant to honour the GWR employees who lost their lives.
Another of the station’s famous statues would be inspired about thirty years later and would become one of the station’s biggest tourist draws.
In 1956, Michael Bond, then a cameraman for the BBC, wrote the first of the Paddington Bear stories.https://www.youtube.com/watch?v=sCgnuhb45ikBond was inspired to write the story after purchasing a lonely stuffed bear for his wife from the nearby Selfridges on his way home from work through Paddington Station.
Bond was also inspired by memories of children being sent away from London during the Blitz, as the evacuees passed through his hometown of reading with little more than a suitcase and their names on tag attached to their coats, which is how Paddington is first described in A Bear Named Paddington.
In 2000, a statue of Paddington Bear, designed by Marcus Cornish, was installed on the concourse, depicting Paddington with his trademark hat and his tag sitting on a suitcase.
One of the station’s biggest and most grim mysteries happened in 1961, when the body of a small child was found in a suitcase with paper stuffed in his mouth.
No culprit was ever apprehended.
Beginning in the 1990s and continuing into the 21st Century, plenty of renovations were made to the station, including the fourth span, which was altered slightly to maintain the character of the original architecture while permitting more daylight to enter the station.
Today, the station continues to serve thousands every day and millions each year.