Boadicea and Her Daughters

Boadicea and Her Daughters is a bronze sculpture statue gleaming at the western side of Westminster Bridge. The artist behind the statue Thomas Thornycroft with some assistance from his son William Hamo Thornycroft. It was conceived from 1856 to 1853 and erected in June 1902.

It can get very busy around Boudicca and is not always bridled with the best things around it. 

The sculpture features Boudica, Queen of the Iceni tribe of Britons, who led a rebellion in bringing down the Romans. She stands valiantly with arms raised and a spear in the right hand as she commands her horses forth. Her two daughters crouch on either side of her. The chariot that they ride on is of a Roman build as scythes are built into the wheels. No armour to speak of, Boudica dons a gown that drapes across her body while her daughters are clothed from the waist down.

The piece was commissioned in the 1850s when Queen Victoria as well as Prince Albert were impressed by an equestrian statue of Queen Victoria shown at the Great Exhibition in 1851. They became very much involved in the project. Albert’s aim was to have the statue erected at Hyde Park of the central arch of Decimus Burtun’s entrance. Thornycroft reflected Queen Victoria in the design of the statue and Albert allowed two horses to be modelled on as the ones for the statue.

A full size model came about in 1885 before the time of death of Thornycroft but there were no funds left for it to be cast in bronze. It was suggested by his son to erect it on the north side of Parliament Hill and yet again, there were no £6,000 in sight to cast the statue in bronze. Following this, a committee was set up to bring up the funds and ultimately raised the required amount in 1898 to which JW Slinger and Sons cast the statue in bronze for £2,000.

It was mounted on a plinth in June 1902. Inscriptions were added later and another inscription of William Cowper’s poem Boadicea an ode was added to another side. In 1958, the statue was listed as Grade II.

 

Adaptable House (6 Doughty Mews)

The Adaptable House (6 Doughty Mews) is an early 19th century mews house built around the same time Doughty Street was first laid down. The street was a gated residential reserve in between the London boroughs of the City and Westminster. The house was rebuilt in the 20th century possibly as a result of wartime bomb damage.

It was purchased by architects Cany Ash and Robert Sakula of Ash Sakula Architects, transforming the house into more than just a family home. At the time of purchase, it was completely derelict with the ground floor previously used as a printer’s workshop and the upper levels as storerooms. The house was rebuilt with an additional floor, roof garden and a bathroom. Over 30 years of design ideas and changes were made to meet the reflecting uses and demands implementing different strategies such as miniaturisation and spatial illusion.

Ground floor is the garage where it is used concurrently for storage but can be interchanged to become a wider space for recreational activities such as a playroom, party room, small theatre/cinema and events space.


Bathroom

Bathroom

Tree Room



Kitchen

The first floor contains the kitchen, tree room, bathroom and WC. Kitchen features open shelves and a large rack for crockeries above the sink coated in cast iron. Kitchen cupboard are covered in zinc. The tree room is a spare bedroom, which was previously used as an office and playroom. Two doors are used for the room, giving the first floor a circular motion through the kitchen into the tree room and back into the kitchen.

Small Front Bedroom

Large Front Bedroom

 

Fireplace Room

Fireplace Room

Fireplace Room

The second floor was previously the roof to the original two storey house but was extended with an additional floor and roof. The second floor contains the fireplace room, small front bedroom and large bedroom. The fireplace room is currently used as a bedroom and has previously been used as a living room, studio and playroom. The beams in the fireplace room used to hold up the roof doubles up as bookcases. The front small bedroom makes use of the space above the staircase while the large front bedroom used to hold the stairs to the roof bedroom until rearrangements allowed another bedroom.

Roof Bedroom

Roof Garden



Roof Garden

Roof Garden

The roof held the roof garden and the roof bedroom. The roof bedroom can be accessed from the second floor from a steep staircase or a door on the roof. The roof garden can be accessed from a spiral staircase. The roof garden’s table was an old door and the chimney can be used as a barbeque.

From down the road at 29 Doughty Mews comes another Ash Sakula Architects design which was completed in 1996 and won a RIBA award the year after.

South Bank Lion

The South Bank Lion is a cast of a male lion statue that resides on the north side of the Westminster Bridge. It has a history of moves from different spots near to the banks of the Thames. 

The statue stands at 12 feet high, 13 feet long and weighing in at 13 tonnes. It is made with Coade stone, providing resistant to all forms of atmospheric changes including pollution, which gives it a pristine condition despite being over 150 years old. It was put together from separate parts which were brought together in an iron frame.

It was initially placed on top of the James Goding’s Lion Brewery in 1845. Following the demolishment of the site to make way for the Royal Festival Hall as part of the Festival of Britain. It is said that King George VI saved the statue from demolishment. It was moved and mounted on a plinth outside Waterloo Station. 

Following another run of the mill, Waterloo Station was to be extended, providing a move for the South Bank Lion to his new home. The lion was removed and it was found on the foot of the lion that the sculptor was William Frederick Woodington on 24 May 1837. It was painted red as a symbol of the British Rail. By the power of the English Heritage, the statue was granted a Grade II listing.

Its counterpart is at the Twickenham Stadium’s Rowland Hill Gate, which has a gold leaf coating.

#SouthbankLion

Bishopsgate Institute

Bishopsgate Institute boasts a library that is independent, public and free as well as hosts cultural events and courses for adults held at the institute. Opening in 1895, it has since then become a tour de force in opening minds and challenging perceptions. It is not only known for its collections and programmes but it has a rich history to it. The institute was built ‘for the benefit of the public to promote lectures, exhibitions and otherwise the advancement of literature, science and the fine arts’ are met from the initial concepts to this present day.

In 1891, a scheme was green lit for a library to be opened by the Charity Commissioners, using funds from donations covering 500 years to the parish of St Botolph without Bishopsgate. In 1893, the plans for the institute were laid down and the charity set up. Interests piqued as they set up a marquee outside the site in 1893. In 1894, the institute was completed and opened up by Prime Minister, Lord Roseberry. 

Reverend William Rogers headbust statue in the Boardroom

A key figure in the development was Reverend William Rogers, who pushed for educational reform and free libraries. He saw through the whole development and made sure that the goals for the original charitable intentions of the build were met. He believed that intellectual wellbeing succeeded spiritual wellbeing and hung theology and religion. Reverend William Rogers wanted to create a scheme for the poor and to further educate young people to continue on their learning past 11 years of age. For the grand opening of the institute, Reverend Rogers held a ceremony which included a ball, floral displays and a live band. The platform was open for anyone to attend. 

"BI" branding on stairwell

Through a design competition, Charles Harrison Townsend designs was chosen to represent the architecture of the building. The competition was kept anonymous as the choice was done as to not get in a well-known architect. He employed Art Nouveau and from his interests, arts and crafts influences from Romanesque and Byzantine architecture, which is apparent in the building from the arch entrance, mosaic floor, and twin roof turrets. Townsend affections towards the “Tree of Life” themes of fruit and flower motifs are carried throughout the designs. The design flows and is very organic showing off the maturity of the institute. In other aspects of the institute’s design was that they became early adopters of branding at a time when it was ever conceived as you’ll notice the initials “BI” sprawled in some places in the institute and most notably on the stairs from the hallway leading up to the upper levels of the boardroom.

The Great Hall is also referred to as the oyster room having found many pots of oyster shells during refurbishments. During the Elizabethan times, oysters were cheaply obtained and highly available. Townsend design of the hall was to allow natural skylight and floor light to come through. Because many of a lecture was held in the halls with lanterns, Townsend planned and located exits all around the hall for quick evacuations in case a fire broke out. The floor was made with solid oak that was fireproof.

By the early 20th century, interest activities started to spring up with from hobby horse combat to Christmas parties. During the First World War, changes started to come in with introductions to a whole new wave of activities such as social dances, fundraising, treasure hunts, table tennis and badminton. A pipe organ was built in by Townsend for music concerts.

There was once a newsroom and reading room at the institute where there were big stands to hold the enormous newspapers that were printed on large sheets of papers. Because newspapers were so expensive then and the newspaper was free to read in the institute, it became a popular destination to get the latest fix on news so much so that a time was required to be imposed for each person that wanted to read it.

Not only that, the institute became a hub for information in the corridors to the library, which held statistical information regarding gains and losses much like the exchange. It also held job board advertisements.

The library’s lamps were replaced and replicated to the originals and the shelves are all of the originals in the library. The bookcases still retains the step at the bottom and handles to the side so as to reach books on the higher shelves. This proved a problem at an earlier time, when ladies didn’t want peeing toms to be eyeing her up so the reading room was split between males and females. The problem was further addressed when a catalogue of the books and archives were implemented. One noticeable feature of the library is the dome glass roof which is of the Nouveau style. The glass pane was damaged when an IRA bomb exploded at St Mary Axe causing great damage to the vicinity which included St Helen’s Bishopsgate.

The archives holds donated items from charities such as Stonewall and Shelter, which show the sheer volume in the institute’s social and radical collection. The basement to the archives is where some of their collections are held, where books are also binded and restored in a temperature controlled environment.

George Howell’s desk resides in the library/archives, which was restored in 2002. In 1848, George Howell started himself off in Chartism and later, he got involved with the bricklayers strike having become involved in trade unionism in 1861. He also successfully campaigned for urban male household suffrage with the Reform Act which was passed in 1867. He was elected as secretary to the TUC’s Parliamentary Committee in 1871 and then Liberal MP for Bethnal Green from 1885 to 1895. He was the first labour historian. In 1906, His collection of books and pamplets that covered 19th century political and economic issues were acquired by the governers of the Bishopsgate Institute.

Ronald Heaton was chief of Lewisham Library until he moved to Bishopsgate Institute to work as the librarian there. He was heavily involved in running concerts for the institute. He kept on working for the institute and has become a permanent fixture of the institute. A portrait of him can be found in the library.


Courtyard Room

Refurbishments took place in 1994 which saw an 18th century house Brushfield Street added into Bishopsgate Institute. In 1997, light fittings and a colour scheme were both added in the library. From 2009 to 2011, a £7.2 million renewal programme to bring the institute to the highest standards helmed by Charles Sheppard Architects.

Upper Hall

Boardroom

Bishopsgate Institute holds programmes ranging from talks and discussions to social dances and concerts. On Friday lunchtime, they hold music concerts in partnership with the City Music Society. They do a range of courses for adults which centred on language, performing arts and culture. The library there is free and open to all to use, with a massive collection on London and political history including archives of Freedom Press and the Lesbian and Gay Newsmedia Archive (LAGNA).

Gibbon's Rent

Gibbon’s Rent is stretch of walk that runs between Magdalen Street and Bermondsey Street that contains all sorts of pots of plant. It is a project in collaboration between the Architecture Foundation, Team London Bridge and Southwark Council.

Originally, the site of Gibbon's Rent was a street of domestic properties owned by Mr Gibbon. It is most recently recorded down by the council as being "Gibbon's Rent" which was end-product name to transform this rundown street to a cared-for green oasis.

The creation of Gibbon’s Rent is formed by designer Andrew Burns and architect Sarah Eberle and launched as part of the London Festival of Architecture and Cityscapes in 2012.

The space is stunningly beautiful and can be very quiet or very busy as not a lot of people of know about it or a lot of people know about it. It is a space used by office workers during the day, especially if it is a sunny one. I came across it during the weekend and not one soul can be seen creating a scenic and tranquil route.

It is maintained by Team London Bridge and St Mungo’s with the local community as part of the Putting Down Roots initiative. Different areas of the garden works well with some plants more than others with some designated areas designed to get the maximum amount of daylight or a lot more limited amount.

There is also a chance to sponsor a potted plant on Architecture Foundation's website or donations of potted plants are welcome at Gibbon’s Rent.

London School of Hygiene and Tropical Medicine

London School of Hygiene and Tropical Medicine is a world-renown institute for public and global health dealing with dealings in research and education. It has a history of movement around London where it now resides at the Keppel Street Building, where it has gone through various internal renovations and improvements. The building was listed as Grade II which was granted in the 1980s.

The London School of Tropical Medicine was founded by Sir Patrick Manson on the London Docks in 1899, who wanted all the doctors to be trained in tropical diseases. The school and hospital for tropical diseases to Endsleigh Gardens in West London 1920. The Athlone Committee as proposed by the Rockafeller Foundation, came up with the institute of state of medicine that will lead the world to promote public health and tropical medicine.

In 1922, the Rockafeller Foundation funded the school $2m to take up residence in the Keppel Street Building. The building was previously bought out by the National Theatre Committee for £52,000 in 1913 to create a Shakespeare memorial theatre to celebrate the tercentenary of the artist, but did not come to light following the World War in 1914. 

The school came to be known as the London School of Hygiene and Tropical Medicine, as it is now known as today, and was granted the Royal Charter in 1924. The foundation stone was laid down by Neville Chamberlain on 7 July 1926 and the building opened on 18 July 1929, by HRH the Prince of Wales. 

The building is built of a steel frame, which is the first in Europe of this type of building, and a Portland stone encased out from front and around the building in a stripped classical style. Another interesting design feature to the building is that it is built in a shape of a capital “A”.

The entrance to the building has the logo of the school which was formed from a coin found from Sicily featuring Pestilence as well as Apollo (god of music and medicine) and Artemis (goddess of hunting and child birth).

Adjourned to the balcony of the windows contain bronze pieces of animals that carry and relate to diseases such as mosquitos, fleas, serpents, ticks and louses.

On the reams found surrounding the building are names of men with pioneering significance to the field of medicine and Florence Nightingale was considered, but her last name was considered too long, even though one of the men’s name was the same length as hers.

The London School of Hygiene and Tropical Medicine takes on many different researches and responding to combat diseases. Some of the research include Ebola and Malaria. They also cover a range of other topics outside this spectrum which include study of streetlights in relation to crimes and car incidences to human trafficking. The vaults of the school houses the area for insect breeding to carry out further research on diseases.

The John Snow Lecture Theatre can hold up to 300 people and can be split in the middle with a partitioned wall to create two lecture halls holding 145 people on each side. It was named after the epidemiologist Jon Snow (not after the GOT character – ah ha!), who came down to live in Soho, London in the 19th century. His studies were vital in recognising the cholera outbreak in London. As people collected there water from pipelines dotted around, he investigated if this was the cause of the outbreak. He went from door-to-door around Soho asking sick people of their symptoms and where they got their water from. Putting two and two together and found the source of the outbreak was caused by a water pump in Broad Street (near Broadwick Street). He fought until the pump was removed. “The Pump” can be found along the walkway outside the theatre on loan from the John Snow Society.

Two courtyards were designed so that it brought air and light into surrounding rooms. The North Courtyard was opened in February 2004 by Desmond Tutu. The 7-storey building is built into a glass atrium providing office and research space for over 100 staff. The South Courtyard was opened by HRH The Princess Royal in May 2009. The 5-storey building contains space for lectures, teaching, research and a social space for staff and students. The south utilises energy efficient technologies.

Just above the library entrance is a sculpture created by Eric Kennington with initial reactions was that it was far too rude. It features a man, a woman and a baby, all in nude. It has since had some cracks appear but they were painted over. Inside the library, the architects came to a decision that the furniture should be kept to the design of the original. The floor is made of cork with the walls kept to the original oak.