This gallery contains 6 photos.
Visit the temporary pavilion designed by Japanese architect Junya Ishigami in Kensington Gardens.
How high, why and by who?
This gallery contains 6 photos.
Visit the temporary pavilion designed by Japanese architect Junya Ishigami in Kensington Gardens.
The red post box is an iconic piece of British heritage, having been a familiar piece of the streets for nearly 180 years. Despite the public’s fondness of the post box, it isn’t in such demand as it used to be due to the rapidly changing world. The rise of electronic communication and the introduction of rival delivery companies to Royal Mail means the post box isn’t used so widespread as in previous years. A Royal Mail post box is said stand half a mile from over 98% of the UK population. There are around 155,500 post boxes across the UK, with a substantial portion of these situated in London.
Of the thousands of post boxes in the capital, some of them are listed. In 2002, the Royal Mail entered into agreements with Historic England, Scotland, Wales and Northern Ireland respectively to retain and conserve all existing post boxes.
When it comes to post boxes, there are two main factors which distinguish them from each other – their design and the royal cypher. The roadside post box has existed since the reign of Queen Victoria, with every subsequent monarch’s cypher being immortalised on the front. By looking at the cypher, you can date the age of your nearest post box, although admittedly the ballpark for boxes erected during the reigns of Victoria and our current monarch Elizabeth II are rather large! Of course, the shortest reign in recent memory is that of King Edward VIII. The eldest son of King George V only reigned for 326 days, before he abdicated the throne to marry American divorcee Wallis Simpson. Despite his short time as head of state, there are 171 boxes with his cypher, some of which are in London.
Walking around London today, a red post box is a frequent piece of street furniture. While the majority are round or oval, there are also hexagonal, wall boxes and other unusual sizes. Most free-standing post boxes feature a cap, which protects rainwater from entering the box and wetting the mail.
Prior to postal reform in 1840, mail was an expensive form of communication. The Uniform Penny Post was introduced, meaning the sender pre-paid the postal costs, rather than the recipient. The same year, the Penny Black adhesive stamp was released. It wasn’t until 12 years later, the first roadside Post Office pillar box was erected in St Helier, Jersey as a trial. In 1853, the first roadside pillar box was established in the mainland United Kingdom in Carlisle. In 1856, Richard Redgrave (1804-1888) from the Department of Science and Art came up with an ornate pillar box design to be used in London and other cities. Today, you can see one of Redgrave’s designs – which were bronze – at the Victoria & Albert Museum. From 1857, some post boxes were built into existing walls. Read the rest of this entry
Most Londoners are aware of Blackfriars, as it lends its name to a bridge and busy train and tube station. The name stems from the Dominican Friars – who wore black mantles – who had a priory in the area. Although the Blackfriars priory was closed during the dissolution of the monasteries in 1538, the name remained. However, the names of some of the City of London’s other monasteries and priories weren’t so durable throughout history.
In Medieval London, a number of monastic organisations owned a lot of property in and around the city. After King Henry VIII (1491-1547) ordered the dissolution of the monasteries, a large number in London were closed. Among those shutting their doors were Grey Friars in Newgate Street and Whitefriars at Fleet Street. Grey Friars managed to survive in name after the King gave its 14th century church to the City Corporation and it was renamed Christ Church Greyfriars. After it was destroyed in the Great Fire of London, Sir Christopher Wren (1632-1723) designed its replacement, which hosted worshippers until it was bombed during the Blitz and now its ruins survive as a public garden. (Read Metro Girl’s blog post on Greyfriars to find out more).
White Friars was a Carmelite religious house which sat between Fleet Street and the River Thames, spreading west to Temple and its eastern boundary at Whitefriars Street. The order was originally founded on Mount Carmel in what is now Israel in 1150. After fleeing the Saracens in 1239, the White Friars travelled to England and established a church on Fleet Street in 1253. Their name White Friars comes from, you guessed it, the colour of their mantles. In 1350, it was replaced by a larger church, rebuilt by Hugh Courtenay, Earl of Devon (1303-1377). The White Friars were popular with nobility and Londoners, with many leaving money to the monastery in their wills. The friars’ extensive grounds included cloisters, a cemetery and garden, along with the church.
After nearly three centuries in the capital, the White Friars monastery was closed by Henry VIII in 1538. The king gave the Grey Friars chapter house to his physician, Doctor William Butts (1486-1545) as a residence. The king’s son and successor King Edward VI (1537-1553) ordered the church’s demolition and allowed noblemen’s houses to built on the site. One of the few surviving buildings, the refectory of the convent, became the Whitefriars Theatre. Established in 1608, the Jacobean theatre only lasted for around a decade and was thought to have been abandoned by the art scene by the 1620s. The diarist Samuel Pepys (1633-1703) often frequented the establishment and noted his visits in his famous diary. At the time, the surrounding area was pretty notorious, with refugees, prostitutes and debtors known to hide there from the authorities. This bad reputation lasted well into the 19th century, with Charles Dickens writing about the area in the 1830s.
Now, all that remains of the friary is a 14th century cellar or crypt, believed to be part of the priory mansion. It was discovered in 1895, later being restored in the 1920s when the News of the World were developing their Fleet Street offices. After the NotW moved east to Wapping in the 1980s, a new building was constructed on site. During building in 1991, the ruins were lifted up on a crane and replaced in a slightly different location. Today, the basement of 65 Fleet Street features a large window so the ruins can be viewed from Magpie Alley.
For more London history posts, click here.
This gallery contains 4 photos.
Architects KHBT and artist Ottmar Hörlwatch have created an installation for the London Festival of Architecture 2019.
This gallery contains 5 photos.
A visit to the Colour Palace – a temporary structure for summer 2019 in the grounds of Dulwich Picture Gallery in south London.
Standing in a busy, built-up part of the East End, the district of Stepney couldn’t look less rural. However, there’s one particular complex of buildings that have been standing since the area was surrounded by fields. If you walk down traffic-laden Mile End Road, you may find your eye drawn to the historic Trinity Green Almhouses and Chapel.
Originally named Trinity Hospital or Trinity Almhouses, the complex was built in 1695 by the Corporation of Trinity House (est. 1514) to provide housing for “28 decay’d Masters & Commanders of Ships or ye Widows of such”. Captain Henry Mudd of Ratcliffe (1630-1692) – an elder brother of Trinity House – donated the land to the charity in his will. His grave can be found in St Dunstan’s churchyard less than a mile away. Deputy Master of Trinity House, Captain Robin Sandes (d.1721) also contributed funding the building. As well as accommodation, the retired and incapacitated mariners also received a money allowance and coal. It’s been claimed the almhouses were designed by Sir Christopher Wren (1632-1723) and John Evelyn (1620-1706), although this cannot be verified. Many historians believed it was the work of master carpenter Sir William Ogbourne (1662-1734).
The Trinity Almhouses featured two rows of cottages facing a central garden with a separate chapel in the north. Each red brick house features is spread over one storey and a basement, with wood block and bracketed eaves cornices providing some lovely period detail. The front doors feature a wide hood supported by carved brackets.
At the south end of the two rows of cottages stand ornate gable ends facing Mile End Road. Each gable end is two storeys high and features white, rusticated quoins. The top storey features a brick niche surrounded by an ornate, stone architrave, while the building is crowned with a stone pediment. While the eastern gable end is still in good condition, the western one’s windows have been bricked up. The main attraction of the gable ends are the four model boats perched on the corners. These are actually 1950s fibreglass replicas of the original marble ones, which are being protected by the Museum of London. The models are of 42-gun Stuart warships of the 4th Rate and carved by Robert Jones. Each gable end also features a cartouche depicting the purpose of the almhouses, the contribution of Mudd and his widow and the year it was built.
The centrepiece of the gardens is the Chapel. Built in a Classical Revival style, it stands two storeys high, with rusticated quoins and pediment. The chapel is entered through a white door, at the top of a flight of stone steps curving outwards. Trinity Green is protected from the street by curved brick wall, wrought iron railing and iron gates.
London is full of some pretty spectacular staircases, many hidden from view from the general public. In my opinion, one of the capital’s most lovely ones is located in Heal’s furniture store in Tottenham Court Road.
Heal’s has a long history on Tottenham Court Road, having had a store on the street for over 200 years. Heal’s was originally founded by John Harris Heal (1772-1833), a feather dresser from the west country. He opened his first store in Rathbone Place in 1810, before relocating to 203 Tottenham Court Road in 1818. The store soon won over Londoners with its feather mattresses, which were significantly more comfortable than the typical straw palliasses that many were sleeping on at the time.
When John died in 1833, his widow Fanny (1782-1859) and their son John Harris Heal Jnr (1810-1876) took over the business and renamed it Fanny Heal & Son. In 1840, they moved the premises to the current site at 192 Tottenham Court Road with a new purpose-built store. The new building was designed in a Venetian Palazzo style by architect James Morant Lockyer (1824-1865) and was completed in 1854. Now incorporating No.s 186-198, it became known as one of the largest stores in the capital.
By 1916, Heal’s was under management by John Jnr’s son Sir Ambrose Heal (1872-1959), who had joined the family business in 1893 after completing an apprenticeship as a cabinet maker. He wanted to modernise the business for the 20th century and enlisted his cousin and best friend Cecil Brewer (1871-1918) and business partner Arnold Dunbar Smith (1886-1933) to design a new store. The original building was demolished to make way for the new store, which was was built between 1914-1917. Brewer erected his namesake spiral staircase at the back of the store in 1916, ready to take visitors upstairs to the new Mansard Gallery. The helix of lights tumbling from the ceiling were added after World War II. The concrete and wooden staircase was refurbished in 2013 and a Bocci chandelier was added, completing its picture-perfect look.
If you look closely as you ascend the staircase, you may notice a bronze sculpture of a cat. Known as the store mascot, the cat has been perched on a windowsill of the stairs since they were built. One interesting story involves 101 Dalmatians writer Dodie Smith (1896-1990), who worked at Heal’s toy department for 10 years in the 1920s and had an affair with Ambrose Heal. She confessed in her autobiography to selling the cat, with an unimpressed Ambrose later writing to the customer to cancel the sale with a note reading, “Heal’s mascot. Not for sale.”
Although Heal’s hasn’t been a family business since 1983, it’s still trading in furniture and homewares on Tottenham Court Road over two centuries later. The store was Grade-II listed in 1974 and it’s magnificent staircase is still used by customers to access different departments.
For more London architecture posts, click here.
The newspapers have long moved out of Fleet Street, but their buildings remain. Standing halfway along the iconic street is an art deco temple to journalism. Peterborough Court is the former home of the Daily Telegraph. Although the publication has moved on to Victoria, there are still subtle signs of the building’s former use on the façade.
The Daily Telegraph was founded in 1855 and its first offices were in the Strand, before it moved to 135 Fleet Street in 1862. In 1882, the Prince of Wales (King Edward VII – 1841-1910) opened the Telegraph’s new offices made of Portland stone and Aberdeen granite, designed by architects Arding, Bond and Buzzard. The building remained until the twenties when it was torn down to make way for the current design.
Peterborough Court was built in 1927-1928 to a design by architects Elcock and Sutcliffe, with Thomas Tait (1882-1954) and Sir Owen Williams (1890-1969) as consulting engineers. Tait worked on Adelaide House (the City’s tallest office block in 1925), later phases of the Selfridges department store on Oxford Street and the pylons of Sydney Harbour Bridge. Meanwhile, Williams was the head engineer for the original Wembley Stadium (1923-2003) and architect of The Dorchester. The building was named Peterborough Court after the Bishop of Peterborough, who used to have a house on Fleet Street. The name inspired the ‘Peterborough’ diary column in the newspaper, which remained for decades until it was renamed in 2003.
Likes it predecessor, Peterborough Court is also made of Portland stone. The building’s façade features a combination of art deco and neoclassical details. Large Doric columns give the building a sense of heritage, while its modernist elements represents the present. Standing tall with six storeys and a recessed top storey, Peterborough Court features seven windows across each storey. The centrepiece is the ornate coloured clock on its third floor level, full of Art Deco details such as diamonds, chevrons and sunburst motifs. Read the rest of this entry
Standing on London Wall surrounded by the brutalist concrete of the Barbican estate and 21st century office blocks is a rare piece of Medieval London. Largely hidden in recent decades, the redesign of the highwalk and a new pavement-level garden means Londoners can now see the ruins of St Alphage church.
The original St Alphage (or St Alphege) Church was built slightly north of the current site around the 11th century and adjoined the London Wall. The second church was originally the Priory Church of the St Mary-within-Cripplegate nunnery, which was believed to have been founded before 1000, but had fallen into decay by 1329. While the original church was demolished during the Dissolution of the Monasteries in the 1530s under Henry VIII, the Priory Church survived and took on the name St Alphage. It was repaired in 1624, with its steeple rebuilt in 1649. St Alphage was slightly damaged during the Great Fire of London in 1666 and be 1747, the steeple was in such bad condition, the bells couldn’t be rung so four were sold. In 1774, the church was declared unfit for use and was rebuilt at a cost of £1,350, with the tower retained. The new church opened in July 1777.
By the turn of the 20th century, the tower and porch were in poor condition, with the north entrance rebuilt with a neo-Gothic façade by 1913. It was damaged during World War I and repaired in 1919. However, the same year, the church’s fate was sealed for good. The bells went to St Peter’s Church in Acton, west London, with the nave being demolished in 1923. During World War II, the tower was maintained as a base for prayer, although was gutted by a fire in 1940.
As the City of London Corporation started to redevelop the ravaged City during the 1950s, the church’s porch and upper levels of the tower were moved. What remained (and what you see today) were Grade II listed in January 1950. The current structure features a central tower made of flint and rubble and arches on the north, west and east sides. When the London Wall road and the Barbican Centre were constructed in the 1950s, pedestrian access to the ruined church was cut off, while an ugly concrete highwalk didn’t give much of a view of the remains.
In recent years, the highwalk has been redeveloped and some of the 1960s office blocks demolished to make way for more modern 21st century buildings. The new highwalk, unveiled in 2018, is more delicate and gives a great overview of the ruins. Meanwhile, pedestrians can access the remains of St Alphage at street level via a small garden, featuring greenery and concrete block seating.
For more London history and architecture posts, click here.
Fleet Street is synonymous with Britain’s journalism industry, with most of the country’s newspapers having offices or headquarters in the area in the first half of the 20th century. While most of the papers have moved on to less central areas, such as Canary Wharf, Southwark and Kensington, there still lies some signs of their EC4 past in the heart of the City.
Standing at 186 Fleet Street is an old remainder of Fleet Street‘s tabloid heyday. No.186, along with 184 and 185 belong to DC Thomson – a Scottish publishing house and TV company. The Thomson family originally started out in shipping before branching out in publishing by buying the Dundee Courier and The Daily Argus in 1886. David Coupar Thomson (1861-1954) established DC Thomson in 1905 as the family’s publishing assets expanded.
Although DC Thomson were headquartered in Scotland, they established a London base to cover relevant stories. Prior to the current building, the site featured the street’s last early 17th century timber-framed buildings before they were demolished.
No.186 was built around 1913 by Meakin, Archer and Stoneham. The architecture practice had an office in Nicholas Lane near Monument and also designed The Strand Cinema Theatre in 1910 (it closed in 1953 and although the façade remains at No.428 The Strand, the auditorium has been demolished). The practice changed in 1916 with Edgar Percy Archer and Frederic Martyn Stoneham remaining in partnership together after Meakin left.
The façade of the building features glazed red bricks with stone dressings. Five of DC Thomson’s titles were written across the building in mosaic bands as a form of advertising. Four of the five titles are still in publication, with The People’s Journal having folded in 1986 after a 128 history. The remaining publications are Dundee Courier (founded 1801); Dundee Evening Telegraph (founded 1877); Sunday Post (founded 1914) and People’s Friend (founded 1869).
In 2014, DC Thomson extensively renovated their London and Dundee offices. However, just two years later, DC Thomson took the decision to close their editorial office, which meant the last journalists to work on Fleet Street were leaving. DC Thomson continues to own the building, with advertising staff remaining on site.
As well being the home to the last Fleet Street journalists, 186 Fleet Street is also where fictional murderer Sweeney Todd’s infamous barber shop was located. The Victorian villain was known to dispatch his victims into the cellar from his barber’s chair and slit their throats with his razor. His sidekick Mrs Lovett then baked their remains in meat pies.
For more London history and architecture posts, click here.