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This year’s cylindrical structure will host live performances throughout the summer.
How high, why and by who?
Anyone who crosses the River Thames at Blackfriars Bridge can’t help but notice the imposing, curved façade of Unilever House. The grand structure has been looming over the Victoria Embankment for the past 90 years and is home to one of the biggest FMCG companies in the world.
Unilever House stands on the site of Bridewell Palace, which was originally built for King Henry VIII (1491-1547) in the early 16th century. Erected on the banks of the River Fleet, the Bridewell was used as a royal residence, orphanage, prison and poorhouse during its three centuries of its existence. After the Bridewell buildings were demolished in the 1860s, part of the site was acquired by Belgium hoteliers, the de Keysers. The family’s first hotel, the Royal Hotel, originally stood at No.s 6, 8, 9 and 10 Chatham Place (a row of houses in New Bridge Street), and was founded by patriarch Joost Constant Fidel Armand de Keyser (b.1801) in 1845. His son Sir Polydore de Keyser (1832-1898) took over management of the hotel around 1856 and acquired part of the Bridewell site for a new hotel in the 1870s. Then named De Keyser’s Royal Hotel, the new building featured 300-400 bedrooms and was designed by architect Edward Augustus Gruning (1837-1908), who also designed the German Gymnasium in King’s Cross. When the new, five-storey hotel opened in September 1874, it catered to a first-class, mainly continental clientele. By 1882, a second wing of the hotel had opened, making the hotel the largest in London.
The hotel was acquired by the Crown during World War I in 1916, renamed Adastral House and became the London HQ of the Royal Flying Corps until they moved further down the Embankment to the Hotel Cecil in 1918. The owners of the hotel sought compensation for loss of income during the forces’ occupation, with the government claiming it had prerogative power to take possession of buildings without compensating the owner. In 1919, the Court of Appeal ruled in favour of the hotel and granted the owners compensation. The battle has become an important case in constitutional law, which is still used today. Read the rest of this entry
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This year’s cylindrical structure will host live performances throughout the summer.
Today, the City of Westminster is associated with royal residences, with Buckingham and St James’s Palaces and Clarence House located in the borough. Although it’s been some time since British monarchs resided in the City of London, there are still reminders of former royal abodes to be found within the Square Mile. While the Tower of London is an obvious historic relic of the royal City, there is also another less noticeable remainder just over a mile away.
Situated on the busy A201 road, leading north from Blackfriars Bridge, is Bridewell Court. It consists of a 19th century gatehouse, which forms an entrance to an office building, currently home to a law firm. If you look above the archway, you’ll spot a clue to the site’s fascinating history: a relief portrait of King Edward VI (1537-1553).
Bridewell Palace was built in the 16th century on the site of St Bride’s Inn, on the banks of the River Fleet. It was a huge site, spanning south from the existing gatehouse towards where the Unilever building on the Embankment stands today. The structure was the main London residence for King Henry VIII (1491-1547) during the early part of his reign in 1515-1523 after acquiring the site from Cardinal Wolsey (1473-1530). The palace complex comprised of three-storey royal lodgings surrounding two courtyards. A bridge led from the palace over the Fleet to the Dominican priory of Blackfriars. Henry and his first wife Catherine of Aragon (1485-1536) lodged at Bridewell while the validity of their marriage was being debated at Blackfriars when the King was hoping to re-marry Anne Boleyn. By the 1530s, it was leased to the French Ambassador. Following Henry VIII’s death, the property passed onto the ownership of his son, Edward VI.
During his short reign, Edward VI gave Bridewell to the City authorities in 1553 to be used as a women’s prison, workhouse and orphanage for homeless children. Many of the female prisoners sent to Bridewell were prostitutes. By 1556, the complex also included a hospital. In 1557, Bridewell was paired with Bethlehem Hospital (aka ‘Bedlam’) in Bishopsgate for administrative purposes. However, as with most buildings in the area, the Bridewell complex was destroyed during the Great Fire of London in 1666, but was rebuilt soon after. Read the rest of this entry
Fleet Street is one of London’s most famous streets – after all it has coveted spot on Monopoly board! However, it is also home to some of the capital’s most varied architecture; from the Neo-Gothic splendour of St Dunstan-in-the-West to the Art Deco temple of Peterborough Court. One of these interesting buildings is the Middle Temple Gatehouse, a grand 17th century entrance to the district of Middle Temple. Located across the road from the Royal Courts of Justice, it stands at the western end of Fleet Street.
Today, the Middle Temple is home to one of London’s legal districts. The name Temple comes from the Medieval group, the Knights Templar, who based their headquarters in the area from the 1160s until they were dissolved in 1312. Temple became synonymous with legal industry later in the 14th century, establishing accommodation and offices for lawyers and students.
The current building you see today is the second gatehouse on the site. The original was erected in the early 16th century by English official and soldier, Sir Amias Paulet (d.1538), who served as treasurer for Middle Temple. Although it’s not clear if it was damaged during the Middle Temple fire of 1678, it was certainly in bad condition by this stage and needed to be replaced.
When it comes to the architect of the current building, there has been much debate about who was responsible. Historic England, British Listed Buildings and architectural historian Nikolaus Pevsner (1902-1983) all state it was designed by Roger North (1653-1734). However, the Royal Institute of British Architects (RIBA) and Museum of London have cited the gatehouse as the work of Sir Christopher Wren. North was a lawyer who trained at Middle Temple and an amateur architect, as well as a friend of Wren. While it’s unlikely we’ll never know for sure, who knows… perhaps both men dreamt up the design over an ale or two in the pub?
The current red brick and Portland stone structure was built in 1684 and Grade I listed in 1950. The ground floor features a central carriageway sandwiched between two arched footways, all featuring black gates. Above the carriageway is the Agnus Dei symbol of the ‘lamb of God’, holding a flag of St George. The symbol can be spotted throughout the district and is part of the Middle Temple’s arms. As a gatehouse to London’s prestigious legal district, it is given an air of superiority with the classical details of four Ionic pilasters, with the top storey crowned by an entablature and pediment. The first floor features two full-length windows which open out to iron balconies, situated underneath a narrow stone band depicting the Latin phrase: ‘SVRREXIT . IMPENS . SOC . M . TEMPLI . MDCLXXXIV.’
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The full programme of events and buildings for this year’s Open House Festival 2021 is now live. Previously known as Open House London, what was a weekend is now a nine day festival. For the uninitiated, Open House gives the public the opportunity to step inside some of the capital’s most interesting buildings, from heritage landmarks to modern creations. You’ll be able to see historical features, and dramatic design up close by looking in buildings that are usually off-limits the public. Among the variety opening their doors will be government departments to offices to private homes. As well opportunities to enjoy guided and self-guided tours, there are also walking tours, workshops and children’s activities.
Due to the ongoing pandemic, many participating buildings will be following a booking system and enforcing limited visitor numbers. Last year, many buildings were offering online tours, but fortunately a good chunk of those will be re-opening in 2021 for in-person visits. In previous years, some popular spots have seen long queues to gain access, so it’s worth planning in advance and checking which buildings are offering walk-ins.
On 11 September, the festival will host Open City Families at Canary Wharf, featuring a host of architecture and design-inspired activities and events for children.
As a seasoned Open House London visitor and an Open City supporter, here are some of Metro Girl’s recommendations for 2021:
Brixton Windmill, Windmill Gardens, Blenheim Gardens, Brixton, SW2 5DA. Nearest stations: Brixton or Streatham Hill. Built in the early 18th century, it’s the only surviving windmill in inner London. Open Sat 11 and Sun 12, guided tours at 1pm-5pm.
Caroline Gardens Chapel, Asylum Road, Peckham, SE15 2SG. Nearest station: Queen’s Road Peckham. Ageing Georgian chapel now used as an arts centre and events space. Open Sun 5 10am-5pm.
Charlton House, Charlton Road, SE7 8RE. Nearest station: Charlton. London’s only surviving Jacobean mansion, originally built for the tutor of Prince Henry, son of King James I. Open Sun 5, guided tours at 2pm, 3pm and 4pm.
City Hall, The Queen’s Walk, SE1 2AA. Nearest station: London Bridge or Tower Hill. Step inside the London government building overlooking the River Thames. Open Sat 4, walking tours between 10am-4pm.
Dorich House Museum, 67 Kingston Vale, SW15 3RN. Nearest station: Norbiton, Putney or Kingston. Striking 1930s artists’ house, formerly owned by sculptor Dora Gordine and her husband, the Hon. Richard Hare. Open Sat 4 and Sat 11, self-guided visits between 9.30am-5pm. Read the rest of this entry
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The postponed Serpentine Pavilion by Counterspace has been unveiled in Kensington Gardens.
Situated in the heart of the West End, Leicester Square is known for its cinemas, casinos, chain pubs/restaurants and cheesy nightclubs. As a lifelong Londoner, I’ve always gone out of my way to avoid it if I’m honest. However, I can appreciate it’s a destination for film fans, thanks to the premieres and awards ceremonies which take place there. Of course, it wasn’t always cinemas which drew people to Leicester Square, as the area has long been a destination for Londoners and tourists seeking nocturnal entertainment. One of the lost Victorian venues which lured in the crowds was the Alhambra, previously on the site of the current Odeon Luxe cinema.
Leicester Square was established in the 17th century, taking its name from Leicester House, the grand home built by politician Robert Sidney, 2nd Earl of Leicester (1595–1677). It was largely residential in the early centuries, but started to evolve into a hub for tourism and entertainment by the 19th century. Before the Alhambra was built at 24-27 Leicester Square, it was occupied by four houses, dating back to the 1670s. These buildings were homes to Lords, Ladies, Barons and Earls over the years, although No.27 was converted into a bagnio (bath house) in the 1720s.
In Victorian London, Leicester Square boasted a host of attractions to amaze and entertain. Among the delights on offer were Wyld’s Great Globe, the Savile House museum, and the Empire Theatre of Varieties (the predecessor to the Empire cinema). The first Alhambra was first built in 1854 as an attraction named the Royal Panopticon of Science Arts. Designed by Thomas Hayter Lewis (1818-1898), it opened in March 1854 and hosted art exhibitions and scientific demonstrations (see a 1854 sketch of the interior). The façade was a bold Moorish style, feature two minaret-esque towers and a dome. Although initially a hit with a reported 1,000 visitors daily, it soon fell out of favour and prompted the owners to sell up for just £9,000 in 1857. The new proprietor, E.T. Smith was an experienced theatre owner and envisioned the building as an entertainment venue. He had a circus ring constructed in time for its re-opening as the Alhambra Circus in April 1858. Smith managed to secure a license for music and dance performances later that year and went on to host ballet and variety shows. After a few years, he sold the building to William Wilde Jnr, who used it for music hall and circus productions. The famous French acrobat Charles Blondin (1824-1897) performed in front of the future King Edward VII (1841-1910) at the Alhambra soon after his successful Niagara Falls tightrope. In May 1861, the venue hosted another legendary French acrobat, Jules Léotard (1838-1870), who wowed with his flying trapeze act over the heads of the audience below. As he proved a huge draw, Léotard was paid £180 a week – an impressive salary at the time. Read the rest of this entry
Many of the surrounding streets of Fleet Street have the industries of law and the press to thank for their many architectural designs. Although the newspapers and publishing houses have moved on, their legacy in the area lives on through their former offices. One of these buildings, the former Argus Printing Company, now survives as a great example of Victorian commercial architecture and is now luxury apartments. Located on the corner of Temple Avenue and Tudor Street in the district of Whitefriars, is a building now known as Victoria House.
The name Whitefriars comes from the former friary, which stood in the area from the 13th to 16th century. Following the dissolution of the friary, the area swiftly went from religious to run-down. At the time, it was located outside the jurisdiction of the City of London so became a magnet for the badly-behaved. The area was known as ‘Alsatia’ and was renowned for its criminal population. However, the Great Fire of London of 1666 provided an opportunity for officials to clean up the area as it was rebuilt.
By the 17th century, Whitefriars became a hub for trade with its many warehouses and wharves. Horwood’s Map of 1799 shows Grand Junction Wharf, Weft & Coves Wharf and White Friars Dock around the site of current Victoria House. Although today, Tudor Street is just over 300 metres long, on Horwood’s Map the name only leant itself to a short stretch of the eastern end. Meanwhile, the western end leading into Inner Temple was called Temple Street until it was renamed as an extension of Tudor Street in the 19th century when the area was altered by construction of the nearby Victoria Embankment in the 1860s. It was during the 19th century that the area of Fleet Street and the surrounding streets – including those in Whitefriars – became a hub for London’s booming newspaper industry. The Victorian era saw the establishment of buildings for both the editorial and production of newspapers and magazines.
One of the Victorian buildings established for this burgeoning industry was Victoria House, home to the Argus Printing Company. Journalist and politician Harry Marks (1855-1916) established the Argus Printing Company (APC) in 1887 to print his Financial News daily newspaper, which had been founded three years earlier. At its launch, the original Argus printing plant on Bouverie Street wasn’t very large, featuring one machine and rotary press which could produce 12,000 eight-page papers hourly. By 1887, the success of the Financial News meant the APC could buy a larger machine by Hippolyte Auguste Marinoni (1823-1904), which doubled the hourly output. Within a few years, the Bouverie premises were too cramped for the volume of production required so a new site closer to the Thames was acquired in 1891. Read the rest of this entry
Many UK Government buildings in Westminster date back to the Victorian era. It was an age when no expense was spared when it came to decorating buildings’ exteriors and interiors, when structures were created to ‘make a statement’ about the people within them. Although the Palace of Westminster gets most of the attention from Londoners and visitors to the capital alike, there is also another remarkable piece of architecture housing a government department. At the time it was built, Britain was at the height of colonial power, so had an extensive budget with which to impressive foreign visitors.
When it came to settling on the final design for what we know today as the Foreign, Commonwealth & Development Office Building, it was an arduous process to get there. As was (and still is) common at the time, a competition was launched in 1856 to choose the design for the Foreign Office and neighbouring War Office. English architect George Gilbert Scott (1811-1878) ended up in third place in the competition with his original Gothic revival design (see the designs in the RIBA archives), which also incorporated the War Office. However, it was Scott’s former pupil Henry Edward Coe (1826-1885) and his then-partner HH Hofland’s French Visconti-type design which was chosen for the Foreign Office. However, Coe and Hofland’s plans were ditched the following year when Prime Minister Henry John Temple, Lord Palmerston (1784-1865), brought in the government’s favoured architect Sir James Pennethorne (1801-1871), who had originally designed plans for the Foreign Office a few years previously, but had not entered the competition. Lord Palmerston’s decision to dismiss the competition results outraged the architecture industry, with Scott leading the protest against it. In 1858, Lord Palmerston lost power and Scott was given the commission. It was around this time, the plans for the War Office were ditched in favour of the India Office, established in 1858 to take over the governing of India from the East India Company.
In June 1859, Lord Palmerston was re-elected and kicked up a fuss over Scott’s neo-Gothic design, demanding he redesign something neo-Classical, which the architect described as “a style contrary to my life’s labours”. Scott feared ditching his signature style would leave his reputation as one of the key Gothic Revival architects “irreparably injured”. However, Scott decided turning down the opportunity would be unwise, bought some books on Italian architecture and headed to Paris to study classical buildings, such as the Louvre. The India Office insisted he collaborate with their Surveyor Matthew Digby Wyatt (1820-1877), who designed the interior of their office, leaving Scott to focus on the classical exterior of both offices. The plans were finally approved by the Government in 1861, with construction completed in 1868. The Foreign Office was located on the north-west corner of the building with the India office on the south-west corner, while the Colonial Office and Home Office were added on the eastern side in 1875. Fortunately, Scott’s fears about his reputation were unfounded, with support from his peers and the public. “Even Mr (John) Ruskin said I had done right,” wrote Scott in his Personal & Professional Recollections in 1879. As for Scott’s original Gothic vision of the Foreign Office, it was used as the basis for the Midland Hotel at St Pancras.
On completion, it was the first purpose-built Foreign Office, which by that point had been in existence for nearly 80 years. The white, Portland stone façade features many classical elements, including balustrades, columns and pediments. Dotted around are sculptures of former monarchs and politicians as well as allegorical figures of Law, Commerce and Art by English sculptors Henry Hugh Armstead (1828-1905) and John Birnie Philip (1824-1875). Most enter the complex through the grand arched entrance on King Charles street leading to a large outdoor courtyard. Read the rest of this entry
Great Marlborough Street in Soho features an amalgamation of architecture styles. From the mock Tudor timbers of Liberty to the dazzling Art Deco detailing of Palladium House, there’s quite an array of designs. One imposing building is the Courthouse Hotel – its name giving a clear reference to the building’s former life.
Originally without the ‘Great’, Marlborough Street was built in the early 18th century, the road being named to commemorate John Churchill, 1st Duke of Marlborough (1650-1722), following his 1704 victory at the Battle of Blenheim. The site of courthouse was originally three houses (19-21), where various affluent families lived over the decades. In 1793, No.21 became one of seven police offices across the capital, established by Middlesex Justices Act of 1792 following the success of the Bow Street court and its ‘runners’ – the precursor of the Metropolitan police. Each location was staffed by three magistrates and up to six officers. Crime had risen steadily in the capital as its population boomed, so the offices could house suspects following arrest and host criminal trials. Other offices were opened in Clerkenwell, Shadwell, Shoreditch, Southwark, Whitechapel, St James and St Margaret Westminster. The police office was expanded to incorporate the rear grounds of No.20 in 1856, although tenants continued to live in the building until 1892.
Police courts were utilised for a wide range of ‘criminal’ activities, including assault, theft, animal cruelty, desertion, solicitation, gambling, matrimonial disputes, small debts, drunk and disorderly conduct, and ‘loitering with intent’. More serious cases to be heard in front of a jury would be heard in the Old Bailey or a Crown Court, although sometimes the preliminary hearings would take place in the magistrates’ courts.
During the 19th century, many famous names passed through the doors of Marlborough Street Magistrates’ Court – on both sides of the law. In 1835, a young Charles Dickens (1812-1870) used to cover cases while reporting for the Morning Chronicle. A decade later, Charles-Louis Napoléon Bonaparte (1808-1873), the future Napoleon III, was a witness in a fraud case while exiled in London. The beginning of Oscar Wilde‘s (1854-1900) case against John Douglas, 9th Marquess of Queensberry (1844-1900) for libel began at the courthouse in 1895, before moving to the Old Bailey. The author and poet launched a private prosecution of Douglas (father of his then-lover Lord Alfred Douglas) after the Scottish nobleman described him as a “sodomite” on a calling card. The case was dropped, but Wilde was famously charged and convicted of gross indecency soon after and sentenced to two years in prison.
As the 20th century dawned, it was time for the court to be updated. Architect John Dixon Butler (1861–1920) was responsible as the Metropolitan Police’s architect and surveyor. Butler, who succeeded his architect father John Butler in the role, began his tenure with Richard Norman Shaw (1831-1912), assisting on the building of New Scotland Yard. During his career, he designed over 200 courts and police stations, including Charing Cross, Wapping, Hackney, Highbury Vale, Hampstead, Muswell Hill, and Tottenham.
Butler’s new design for Marlborough Street Magistrates’ Court was a three-storey building made of Portland stone in a restrained free Classical style. Details such as Ionic pilasters, arched windows, and a grand central pedestal topped by the Royal Arms all lend to the building’s imposing style as a location for law and order. Butler’s new design did manage to incorporate some of the original Georgian building, including three late 18th century chimney pieces, two of which are white marble and still exist today. The courthouse was built by Messrs. Patman and Fotheringham and was completed in 1913. Read the rest of this entry