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Architects KHBT and artist Ottmar Hörlwatch created a installation near St Paul’s tube station for the London Festival of Architecture 2019.
A bit of historical background and historic events
A new piece of art is on show in Seven Dials to commemorate the 30th anniversary of the district’s famous sundial pillar. ‘At the Entrance of Seven Obscure Passages’ by Rene Gonzalez is the latest installation for the Seven Dials’ The Artist’s Artist Project and was unveiled in May 2019.
The Artist’s Artist project features the showcased artist nominating another for a new installation. Iona Rowland nominated Gonzalez and two other artists following the display of her Agatha Christie piece earlier this year. A panel of Shaftesbury representatives and Seven Dials stakeholders then select the winning artwork. Following display, the piece will be donated to charity.
Gonzalez’s art not only pays tribute to the sundial, but also the rich history of the area. Politician and project manager Thomas Neale (1641-1699) – who designed the Seven Dials estate – is featured in the image, alongside Queen Beatrix of the Netherlands, who unveiled the reconstruction of the sundial monument for The Seven Dials Trust in 1989.
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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 White 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.
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This gallery contains 4 photos.
Architects KHBT and artist Ottmar Hörlwatch created a installation near St Paul’s tube station 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.
The Tower of London is one of the capital’s most iconic sights. It’s been standing on the fringes of the City, looming over the River Thames, for over 1,000 years. With such an amazing heritage, the layers of history within the Tower walls can be overwhelming for a visitor. I previously visited the Tower of London as a teenager and didn’t really absorb the stories of the complex as I knew I would as an adult. Over the Easter Weekend, I paid a long-awaited return to the Tower on a semi-private tour with Context Travel.
Context Travel is a specialist walking tour company, which offers private, semi-private and custom tours in over 50 cities worldwide. Aiming to put tourist sights ‘in context’, the tours are hosted by experts in their field, giving you an in-depth knowledge while taking you off-the-beaten track to find hidden places and details. Context Travel semi-private tours are in small groups, which immediately appealed to me because I’m not a fan of sharing my travel/tourist experiences (even in my hometown of London!) with a huge group of people.
My three-hour tour started on a sunny Sunday morning so the weather was on our side. Myself and two other participants met our guide Lesley outside Tower Hill station and headed straight to the entrance of the complex. The immediate bonus of visiting on a group tour I noticed was being able to bypass the long queue and we were within the tower walls within no time.
We swiftly passed through the Middle Tower and crossed the now-dry moat before passing under the Byward Tower for our first stop on the tour. Looking at the complex, I would find it hard to identify the ages of the different parts. However, Lesley shared her great knowledge of each buildings’ history, which King (or Queen) was responsible for its building and how their use had evolved over time.
Before delving deeper into the various sections, Lesley suggested we head straight to the Jewel House to visit the world-famous Crown Jewels. As guides aren’t allowed to accompany tour groups inside during busy periods, Lesley gave us easy-to-remember pointers on what to focus on inside. Covering 800 years of the British monarchy, the Jewel House contains some truly amazing sights and spectacular examples of wealth. I recognised many crowns and other regalia and vestments I had seen worn by Queen Elizabeth II over the decades. It was great to see them in the flesh so to speak – albeit surrounded by heavy security.
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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.
When it comes to checking out street art in Shoreditch, you’ll be spoiled for choice. However, one of the district’s most striking murals has a special historic significance. One particular building on New Inn Broadway features a mural depicting Romeo and Juliet… on the very spot where the play was first performed.
Long before The Globe was built on Bankside, William Shakespeare (1564-1616) used to tread the boards in the East End. In 1572, the Mayor of London cracked down on plays being performed within the City of London in an attempt to prevent the spread of the Plague. As a result, theatre companies started performing just outside the jurisdictions of the City. The Theatre was built in 1576 on the site of the Holywell Priory, which has been demolished following the dissolution of the monasteries a few decades earlier. It was started by actor and theatre manager James Burbage (1530/5-1597) and his brother-in-law John Brayne (1541-1586). At the time, Shoreditch was notoriously rough and was surrounded by brothels, gambling dens and rowdy taverns. The Theatre was built in a polygonal shape, included three galleries and a yard and was said to have cost £700 to build.
The Theatre owner Burbage was a member of the Lord Chamberlain’s Men theatre company, with a certain actor and playwright from Stratford-upon-Avon as one of his colleagues. The LCM was formed in 1594, when Shakespeare had already been making waves in the theatre scene for at least two years. The troupe started performing Shakespeare’s plays exclusively. Shakespeare’s tragic love story Romeo and Juliet was performed for the first time at The Theatre, estimated to have been written around 1591-1595.
After 22 years of entertaining Londoners, The Theatre came to an end following a dispute between the late Burbage’s son Richard (1567-1619) and the site’s landowner Giles Allen. In a desperate bid to protect their playhouse, Richard and his brother Cuthbert enlisted the help of some associates to dismantle The Theatre in December 1598. The timbers were believed to have been hidden nearby in Bridewell, before being taken over London Bridge to Bankside when the weather improved. Timbers from The Theatre were used to build The Globe in 1599.
For centuries, the site of The Theatre was lost until it was rediscovered by Museum of London archaeologists in 2008. They found remains of brick and stone polygonal footings of the gallery, along with seeds and fruit pips and broken beer vessels from the Elizabethan period. Just north of the Romeo and Juliet mural we see today, a building is being erected to house offices and a permanent exhibition about The Theatre.
Today, a Romeo and Juliet mural adorns a modern three-storey office building on the site of The Theatre. The top of the piece features the heroine Juliet in a blue gown, looking down from her balcony for her Romeo, who gazes up adoringly at her from two storeys down. One of Juliet’s passages from Act 2, Scene 2 of the play is featured: ‘My bounty is as boundless as the sea’; ‘My love as deep the more I give to thee’; and ‘The more I have for both are infinite’. Fans of the play will recognise it from Romeo and Juliet’s post-Capulet ball discussion when they make plans to marry after meeting that evening. The mural was commissioned through the Global Street Art Agency in June 2018.
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Find out about Middle Temple Hall, location of the first performance of Twelfth Night.
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.
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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