This gallery contains 7 photos.
Returning in June 2018, SITC is a year-long public art exhibition.
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
Many of us have heard the urban myth about the ravens at the Tower of London, claiming the Crown and Britain ‘will fall’ if they leave. However, there’s another old legend tying the capital’s success to a piece of stone.
The London Stone has been a part of the city’s history for centuries, yet so many Londoners haven’t even heard of it. Today, the London Stone stands on bustling Cannon Street, protected from the elements in a display in the wall of a modern office building. The block of oolitic limestone measures 53m x 43cm x 30cm, although was originally much bigger. The London Stone was first recorded in 1100, although its origins are believed to date back much earlier. Some historians believe the stone has been in situ since the Romans occupied London, perhaps being related to the local governor’s palace, which stood on the current site of Cannon Street railway station. It’s also been claimed that King Arthur pulled his sword Excalibur from it.
In Medieval London, it stood on the south side of Candelwrichstrete (Candlewright Street), which was widened to create Cannon Street in the 17th century. It was a popular landmark and listed on many maps of the area. A French visitor to London in 1578 described the Stone as having much larger dimensions of 90cm x 60cm x 30cm. London historian John Stow wrote in 1598 of “a great stone called London stone” adding it was “pitched upright… fixed in the ground verie deep, fastned with bars of iron”. The Stone is even mentioned in William Shakespeare‘s Henry IV, Part II in the 1590s. The scene refers to Jack Cade, leader of the Kentish rebellion in 1450, striking the London Stone with his sword and declaring himself Lord Mayor of London.
Although the reason for the Stone’s reduction in size is not known, it’s highly likely it was damaged during the Great Fire of London in 1666. By 1742, the Stone was considered an obstruction to traffic so was moved to the north side of Cannon Street, beside the door to the Church of St Swithun, London Stone. Fifty-six years later, it was moved again when it was built into the south wall of the Church. It was during the 18th century that it was claimed the success of London depended on the stone’s survival. Georgian writers claimed there was an ‘old saying’ referring to the London Stone’s other name as ‘the Stone of Brutus’. It read: “So long as the Stone of Brutus is safe, so long will London flourish.” In the 1820s, it was relocated a third time when it was set on its own plinth in the middle of the church wall. It was later covered by a protective iron grille at the request of the London and Middlesex Archaeological Society in 1869.
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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.
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If you think bingo is just for pensioners, you’re very much mistaken. In recent years, modern approaches to bingo has been gaining popularity with younger generations. In late 2018, London’s first permanent modern bingo hall opened and I went along to check it out last month. Like traditional bingo, it involves dabbing your numbers in the hope of winning a prize when your numbers are called. However, Dabbers Social Bingo involves a lot of saucy innuendo, cocktails galore, fabulous food and a general party atmosphere.
Dabbers Social Bingo is located on Houndsditch, where the City meets the East End. From the street, you enter a medium-sized bar with outdoor terrace (would be great in summer, but definitely not in January thanks!). I liked the fact the cocktail bar gives no hint of the wildness to come downstairs! After a glass of Prosecco to loosen us up, we headed down to the expansive bingo hall in the basement. It was a surprisingly large space with a variety of tables to suit different sizes from couples to larger groups of friends.
After my companion and I grabbed a well-situated table with a view of the stage, we started with simple, but refreshing pink gin cocktails and settled down for some pre-bingo grub. The food menu has been inspired by bingo balls so features many physically round dishes. It consists mostly of sharing plates, sort of tapas style portions in the spirit of the ‘social’ part of the game. They range from £4-£9.50 and have a wide choice, with a decent amount of vegetarian options. I was pleasantly surprised by how good the food was as I had expected it to take a back seat to the bingo, entertainment and cocktails. We really enjoyed the seared prawn tiger skewers, buffalo glazed chicken skewers, mozzarella ball skewers and pizza bread. It’s worth noting they have brunch bingo on Saturdays and family brunch bingo on Sundays.
Once we were fed and watered, it was time for the main event to kick off. Our compere for the evening was the fabulous Boogaloo Stu. After Stu gave us an introduction to the night, it was over to host James Loveridge and the glamorous bingo calling duo. Bingo newbies are given an explanation to the rules and prizes, before the first game kicks off at a steady pace. While there’s some traditional bingo lingo like ‘legs eleven’, be prepared for some very saucy numerical rhyming, which can be hilariously distracting when you’re trying to strike off your numbers. At various points during the game, a special ball being drawn kicks off a mini disco with the crowd encouraged to drop their dabbers and throw some shapes as the DJ cranks up the music. Throughout the game, people who win one or two lines or a full house are invited on stage to compete for a prize. By this stage, the alcoholic lubrication and the building excitement in the room had clearly got some of the winners as they got on stage so their enthusiastic celebrations were pretty jubilant and amusing to the rest of us in the room.
Overall, we had a really fun evening and it was probably the most raucous Wednesday night I’ve seen in years! The food and drink were brilliant and there was a really fun, high-energy atmosphere. Dabbers certainly offers a more entertaining alternative to the usual catch-up in the a pub, with the added bonus of being able to walk away with a prize. I would particularly recommend Dabbers for group nights out, particularly for birthdays and hen nights.
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At this time of year, a rooftop bar isn’t always a natural choice for a night out. However, this season, City of London drinking destination Madison have given their terrace a winter makeover. Their outdoor space has been turned into an enticing, cosy festive hideout, with a special winter drinks menu of hot aperitifs.
Last week, I went along with a friend to check out Madison’s new seasonal menu and to try their winter warmers. Madison is a restaurant and bar spanning the top floor of the One New Change complex and boasts amazing views of neighbouring St Paul’s Cathedral and the capital skyline. I’ve previously visited the bar for summer alfresco drinks and have always enjoyed their cocktails so was looking forward to seeing what they could do with the changing season.
The night of our visit was pretty cold, but fortunately Madison are well prepared with patio heaters and cosy faux fur and tartan blankets to snuggle up under. Their rooftop space features a series of alpine-inspired chalets with twinkling lights, which really gives it a Christmassy atmosphere.
As well as their usual wine and cocktail list, Madison’s bartenders have curated a special Hot Aperitifs menu featuring a selection of six warm cocktails. My friend and I both have a sweet tooth so the Chocolate Delight (Bulleit Whisky, chocolate and salted caramel) seemed like a good place to start. There was just a hint of the whisky’s smokiness, but it was predominantly sweet. The cocktail did remind me of a boozy hot chocolate and was very easy to drink. As a regular gin connoisseur, I also couldn’t resist trying the Aromatic Genever (Gin and green apple), which was pretty strong with a hint of fruitiness. Meanwhile, my friend went for a more traditional Christmas drink – a Vin Brule (Italian Mulled Wine), which she really enjoyed.
Aside from our hot concoctions, we also ordered a sharing platter from the bar menu. We ate a selection of warm snacks, including tallegio and walnut arancini (my personal favourite), buttermilk chicken, sautéed mini chorizo sausage and smoked tomato hummus with seeded crackers. There was a good, tasty variety of food and the selection was a great accompaniment for a cocktail session.
Overall, we had a great evening. The service was friendly and attentive, while the atmosphere was very festive. Despite the cool outside temperature, we felt very cosy during our few hours on the roof thanks to the heaters and blankets. The cocktail menu had something for everyone’s tastes, although I particularly loved the Chocolate Delight, which really lived up to its name. I’ll definitely be returning for some Christmas drinks.
For a guide to what else is on in London in Febuary, click here.
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Think bingo is just a tame evening activity for pensioners? Think again! Unless you’ve been hiding a rock, you may have heard of a resurgence of bingo in recent years. New generations of Londoners, from Generation X-ers to Millennials have been enjoying the more raucous, modern take on bingo at festivals and one-off evenings.
Coming this December on the fringes of the City and the East End is Dabbers Social Bingo. Opening on Houndsditch, this will be the UK’s first, permanent modern bingo venue. Founder Ed Wethered has teamed up with the gang behind Musical Bingo, Gospeloke, and Comedy House Party, with backing from the founder of Picturehouse Cinemas.
Dabbers is reinventing the classic game with interactive game show elements, sought-after prizes and fabulous food and drinks. Expect cocktails instead of tea, comedians stepping into the bingo callers role and incredible experiences as prizes.
As soon as you enter the venue, the lobby will pay tribute to the game’s heritage with memorabilia from the past. Grab a drink from the lively bar while listening to the live DJ. Next, grab your bingo cards and your ‘gaming drink’ ready to take your seat in the bingo arena. You have the choice of social bingo tables if you’re up for meeting some new friends or a more intimate experience in the banquette tables. Alternatively, groups can hire one of the Baller Booths and receive a free bottle of fizz. During the game, expect to be impressed by the custom-made bingo blower machine, glittering lights, pyrotechnics and a sensational sound system.
During the week will be a variety of themed nights to suit different tastes. Vintage Bingo on Tuesday will offer a more literal interpretation of the classic game hosted by veteran bingo callers. Travel junkies should head to Dabbers on Friday for Bingo Voyage, with the main prize offering a weekend away. If you fancy a boogie, head to Disco Bingo on Saturday nights for a real party atmosphere with UV lights, while Family Brunch bingo on Sunday lunchtimes are open to families.
On the drinks menu will be a selection of craft beers, cocktails and a decent wine list. As well as booze and bingo, there will also be the ‘Well Rounded Menu’, offering round food. Including treats such as melon balls wrapped in ham to round Waffles with ample Crumble and Cinnamon Sugar (vegans and vegetarians catered for too).
For a review of Dabbers Social Bingo, click here.
For the latest guide to what’s on in London, click here.
Sculpture In The City is an annual outdoor exhibition of contemporary art around the City of London. It usually begins in June with a majority of the pieces remaining in situ for up to 12 months. However, on 24 September 2018, a new addition to the 2018/2019 exhibition was unveiled.
Bridging Home, London, 2018 is an installation by Korean artist Do Ho Suh. Erected on the footbridge over Wormwood Street, the piece is co-commissioned by Art Night and Sculpture In The City. The structure is a to-scale replica of the traditional Hanok-style Korean house that Suh grew up in, along with a bamboo garden. The installation appears to have dropped out of the sky and crash landed on the bridge. The work is a response to the migrant history of the East End and the City, along with inspiration from Suh’s own heritage.
Check out Metro Girl’s gallery of the 2017/2018 exhibition.
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The City of London is full of old buildings originally designed to be banks. In the 21st century, there are significantly less banks and building societies due to various takeovers and mergers and the growing popularity of online banking. While many brand names have died out, some former Victorian and Edwardian bank buildings still survive today. Back in the 18th and 19th century, the sheer volume of banks meant they had to stand out amongst the competition. As their directors attempted to attract rich customers, their buildings needed to exude luxury and stability so many hired top architects to make sure their HQs and branches really looked the part. With considerably less banking names existing today, their former buildings have been repurposed for new businesses, restaurants and bars, with many keeping their original features.
One such former bank no longer offering financial services is the former Ludgate Hill branch of the City Bank. Now a wine bar, this Victorian building certainly stands out as one of the most attractive buildings on Ludgate Hill. Known by many as the road leading toward St Paul’s Cathedral, Ludgate Hill is one of two London hills where the original Roman settlement of Londinium was founded in the 1st century. Around 200AD, Lud Gate was constructed – one of seven gates into the walled city. The Lud Gate was rebuilt in 1215, with its upper rooms used as a prison by the 14th century. After being rebuilt again in 1586, it lasted nearly two centuries before Ludgate and the remaining city gates were all demolished in 1760. A plaque on St-Martin-within-Ludgate church marks the location of the Ludgate, although a stone remainder of the gate is thought to survive on the eastern corner of Pilgrim Street just 100ft away. Although the gate is long gone, its name lives on in Ludgate Hill.
With the City being the commercial heart of the capital, there were a host of banks to cater for the multiple businesses nearby and the booming population in the 19th century. One such financial institution was City Bank Ltd, which was founded in 1855 by stockbroker and future Lord Mayor of London, Sir Robert Walter Carden (1801-1888). Its stunning palazzo-style headquarters at 5-6 Threadneedle Street were built in 1856 by architect W Moseley and still remain today as the 5-star Threadneedles Hotel. By 1863, the bank had deposits to £3.5million and was acting as a London correspondent for 40 foreign banks, so they could provide finance for international trade. It became a limited company in 1880 and by 1894, it had 14 branches across London, including suburban outposts in Croydon and Bromley. One of its original branch buildings (built 1889) can still be seen today at 138 Shaftesbury Avenue at Cambridge Circus.
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Despite being extensively rebuilt following the Blitz, the City of London has retained many of its old street names. While some are rather humorous (e.g. Cock lane in Smithfield), others aren’t so flattering such as Eastcheap. Today, the word ‘cheap’ is used as an unattractive way to describe something low in price and quality. ‘Cheap’ actually comes from the Saxon word for ‘market’. In the Middle Ages, Eastcheap was the main meat market in the City. However, by the 19th century, the Industrial Revolution had transformed the area with offices and warehousing replacing the butchers’ stalls.
Walking down Eastcheap today, you will see a lot of the Victorian buildings survive and are home to offices, coffee shops and the like. One particular building that stands out from the rest is No. 33-35 Eastcheap, a dramatic Neo-Gothic, double-fronted structure. Prior to No. 33-35’s erection in 1868, the site was home to the famous Boar’s Head Tavern. The pub’s exact origins aren’t known, but it was used as a meeting place by William Shakespeare in several of his historical plays, most notably Henry IV, Part I (abt. 1597). The character Falstaff was a frequent drinker at the Boar’s Head Tavern. The original tavern was destroyed in the Great Fire of London in 1666, and was rebuilt and became a pilgrimage site for Shakespeare fans. It stood on Eastcheap until 1831 when it was demolished to make way for a road widening scheme leading to the new London Bridge. At the time of demolition, the building hasn’t been used as tavern since the late 18th century and had been sub-divided into shops. The Boar’s Head sign was preserved and went on show at The Globe Theatre at Bankside in 2010.
The current building of No. 33-35 was constructed in 1868 to a design by English architect Robert Lewis Roumieu (1814-1877). Born to a Huguenot family, who had arrived in Britain 100 years before his birth, Roumieu was an original and daring architect for the time. Although many of his designs were Neo-Gothic – which was trendy in Victorian times – he did like to push the boundaries. As well as the Eastcheap building, he also designed Milner Square (Islington), the Almeida Theatre, the French Hospital in Hackney, among others. Roumieu was commissioned to design a vinegar warehouse depot for Hill & Evans at a cost of £8,170. Hill & Evans were founded in Worcester in 1830 and were, at one point, the world’s largest vinegar producers. By the early 20th century, they were selling 2 million gallons of malt vinegar a year. The company ceased trading in 1965 after 135 years of business.
No. 33-35 is a Neo-Gothic, five-storey building with a further attic storey in a slated roof. On the ground floor is a huge arched doorway which would have been used for delivery access and Devonshire marble columns. However, the current iron gates only date back to 1987. The top three-storeys feature Gothic arched bays with projected canopies over the windows. Above the second floor, central window is a sculpture of a wild boar peering through long grass – a nod to the site’s former Boar’s Head Tavern. Meanwhile, the second floor canopies to the left and right feature carved heads of Henry IV and Henry V. The building features a lot of decorative elements, including tiling, cast iron cresting, and plaster badges.
When the building was completed in 1868, it certainly caused a stir, with Roumieu being labelled a ‘rogue’ architect for some of his daring styles. The British Almanac of 1869 described it as: “The style is French, but some of the details are Venetian. The general effect is novel and striking, though somewhat bizarre.” Twentieth century critics Gavin Stamp and Colin Amery were more positive, proclaiming Roumieu’s creation as “the City’s masterpiece of polychromatic Gothic self-advertisement”. Meanwhile, architectural critic Ian Nairn (1930-1983) gave it a rather dramatic review: “This is truly demoniac, an Edgar Allan Poe of a building. It is the scream that you wake on at the end of a nightmare.” Despite the critics’ mixed reviews to the building, it was Grade II listed by Historic England in 1971. Today, it is home to offices, while part of the ground floor houses a branch of Black Sheep Coffee.
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This gallery contains 7 photos.
Returning in June 2018, SITC is a year-long public art exhibition.