Surma Centre Portraits
Photographer Patricia Niven and Novelist Sarah Winman made this series of portraits and interviews at the Surma Centre at Toynbee Hall.
“After the Second World War, Britain required labour to assist in post-war reconstruction. Commonwealth countries were targeted and, in what was then East Pakistan (it became Bangladesh after the 1971 Liberation War), vouchers appeared on Post Office counters, urging people to come and work in the United Kingdom, no visa required. The majority of men who came in the fifties and sixties came from a rural background where education was scarce and illiteracy was common. But this generation were hard workers, used to working with their hands, men who could commit to long hours, who had an eagerness to work and a young man’s inquisitiveness to see the world: the perfect workforce to help rebuild this nation. And they did rebuild it, and were soon found working in factories and ship yards, building roads and houses, crossing seas in the merchant navy. These pioneers were the men we met at the Surma Centre.” – Sarah Winman
Shah Mohammed Ali
I came to this country in November 1961 because my uncle was already living here and inspired me to come. In East Pakistan, I had been working in a shop. I felt life was good. My earliest memory of London was Buckingham Palace. I missed my friends and family but I really missed the weather back home. I became a factory worker, and worked all over the country: a cotton factory in Oldham, a foundry in Sheffield, an aluminium factory in London and Ford motor factory in Dagenham. Ford gave me a good, comfortable life. We had friends all over the country and they would tell us if there was more money being offered at a different factory and then we’d move. I thought I would stay in Britain for four years and then go back home. My heart is in Bangladesh. The roses smell sweeter.
Eyor Miah
I came to this country in September 1965. I had been a student in East Pakistan. Life was hard, my father was a sailor. I read in a Bengali newspaper stories of people travelling and earning money, and I thought that I, too, would like to do that. I wrote to somebody I knew here to help me. It was a slow process, all done by mail, because of course, there was no internet. It took me two years to gain my papers. I didn’t mind because I was very determined to achieve.
When I first arrived, I became a machinist in the tailoring industry and I earned £1 and ten shillings a week. My weekly outlay was £1 and the rest I saved. Brick Lane was very rundown then. The Jewish population were very welcoming, probably because they were eager for workers! We would queue up outside the mosque and they would come and pick the ones they wanted. In 1969 I bought a house for £55. Of course, I missed my mother who stayed in Bangladesh, and before 1971 I actually thought I would return to live. After that date though, I felt Britain was my home and life was better here.
After tailoring, I worked in restaurants and then began my own business as a travel agent, set up my own restaurants and grocery shop. I have four children. Life has been good to me.
Rokib Ullah
I came to this country in 1959, because workers were being recruited from the Commonwealth to rebuild after the Second World War. Life in East Pakistan then was good. I was very young and working as a farmer. My fellow countrymen told me about the work in the UK and I came here by air. When I arrived, the airport was so small, not like it is today. And the weather was awful, so bad, not like home, I found that difficult, together with missing my neighbours and friends. I worked in a tyre factory, and then in garment and leather factories. I planned to stay here and earn enough money, and then return to Bangladesh. I am a pensioner now and frequently go back to Bangladesh. It is in my heart. One day I plan to go there forever.
Syed Abdul Kadir
I first came to this country in 1953. I was in the navy in Karachi and I was selected by the Pakistan Government to be in the Guard of Honour in London at the Queen’s Coronation. I remember this day very clearly. It was June and the weather was cold. When Queen Elizabeth was crowned the noise was tremendous. There were shouts of “God Save the Queen!” and gun salutes were fired. We marched to Buckingham Palace where more crowds were waiting. The Queen and her family came out on the balcony and the RAF flew past the Mall, and the skies above Victoria Embankment were lit up by fireworks. I feel very lucky to have been part of this, and I still have my Coronation ceremony medal.
Since my first visit, I developed a fondness for the British culture, its people and the Royal Family. I have always believed this country looks after its poor.
I owe the Pakistan Navy for much of my experiences in life and was lucky to travel and to see the world. I actively participated in the 1965 India-Pakistan war and the 1971 Pakistan war and have medals for both.
My family are settled here and my life revolves around grandchildren. I have been coming to Surma since 2004. When someone sees me, they call me “Captain!” We are like a family here.
Shunu Miah
I came to this country in November 1961. Back home, I helped my father farm. It was a good life, still East Pakistan, the population was low, not much poverty, food for everyone: it was a land of plenty. It wasn’t a bad life, I was young and was just looking for more. My uncle had been in the UK since 1931, my father since 1946, both encouraged me to come.
Cinema here was my greatest memory. Back home, cinema was rare. Every Saturday and Sunday there was a cinema above Cafe Naz on Brick Lane, or I’d go to the cinema in Commercial Rd, or up to the West End. It was so exciting, the buildings, the underground, the lights! People were friendly and welcoming then. I saw Indian films, but also Samson and Delilah and the Ten Commandments with Charlton Heston.
I have worked at the Savoy Hotel as a kitchen porter and also in cotton factories in Bradford. What did I miss? Family and friends, of course, but also the weather. The smell of flowers, too, they are much stronger back home. I thought I would stay here and work for three or four years, go home and buy land, build a house and live happily ever after. I have helped to build homes for my family in Bangladesh. I have never been able to own a home here.
Abul Azad, Co-ordinator at the Surma Centre.
“These men are very loyal to a country that has given them a home,” said Abul Azad, the charismatic project co-ordinator at Surma Centre in Whitechapel. “When they first arrived, living conditions were bad, sometimes up to ten people lived in a room. Facilities were unhealthy, toilets outside, and nothing to protect them from an unfamiliar cold that many still talk about. Most intended to earn money to send back to families, and then return after a few years – a dream realised by few, especially after the settlement of families. Instead they were open to exploitation, often working over sixty hours a week, the consequence of which is clearly visible today in low state pensions, due to companies not paying the correct National Insurance contributions. And most Bangladeshi people don’t have private pensions. Culturally, pensions are not of this generation. Their families are their pension – always imagined they would be looked after. But times are changing for everyone.”
Surma runs a regular coffee morning, providing support for elderly Bangladeshi people. The language barrier is still the greatest hindrance to this older generation and Surma provides a specialist team ready to assist their needs – both financially and socially – and to provide free legal advice. It is also quite simply a haven for people to get out of the house and to be amongst their peers, to read newspapers, to have discussions, to talk about what is happening here and in Bangladesh.
There is something profound that holds this group together, a deep unspoken, clothed in dignity. Maybe it is the history of a shared journey, where the desire for a better life meant hours of physical hardship and unceasing toil and lonely years of not being able to communicate. Maybe it is quite simply the longing for home, remaining just that: an unrealised dream. Whatever it is – “This is a very beautiful group.” said Abul Azad.
Photographs copyright © Patricia Niven
You may also like to take look at these other portraits by Patricia Niven and Sarah Winman
So Long, Nelson St Synagogue
After more than a century of operation, Nelson St Synagogue is to be auctioned off on 12th February. Since part of the roof collapsed at the time of the pandemic in 2020 it has been disused. Click here for details of the auction
Below you can read my account of a visit there in 2012.
Leon Silver
When Leon Silver opened the golden shutter of the ark at the East London Central Synagogue in Nelson St for me, a stash of Torah scrolls were revealed shrouded in ancient velvet with embroidered texts in silver thread gleaming through the gloom, caught by last rays of afternoon sunlight.
Leon told me that no-one any longer knows the origin of all these scrolls, which were acquired as synagogues closed or amalgamated with the departure of Jewish people from the East End since World War II. Many scrolls were brought over in the nineteenth century from all across Eastern Europe, and some are of the eighteenth century or earlier, originating from communities that no longer exist and places that vanished from the map generations ago.
Yet the scrolls were safe in Nelson St under the remarkable stewardship of Leon Silver, President, Senior Warden & Treasurer, who had selflessly devoted himself to keeping this beautiful synagogue open for the small yet devoted congregation – mostly in their eighties and nineties – for whom it fulfilled a vital function. An earlier world still glimmered there in this beautiful synagogue that may not have seen a coat of new paint in a while, but was well tended by Leon and kept perfectly clean with freshly hoovered carpet and polished wood by a diligent cleaner of ninety years old.
As the sunlight faded, Leon and I sat at the long table at the back of the lofty synagogue where refreshments were enjoyed after the service, and Leon’s cool grey eyes sparkled as he spoke of this synagogue that meant so much to him, and of its place in the lives of his congregation.
“I grew up in the East End, in Albert Gardens, half a mile from here. I first came to the synagogue as a little boy of four years old and I’ve been coming here all my life. Three generations of my family have been involved here, my maternal grandfather was the vice-president and my late uncle’s mother’s brother was the last president, he was still taking sacrament at ninety-five. My father used to come here to every service in the days when it was twice daily. And when I was twenty-nine, I came here to recite the mourner’s prayer after my father died. I remember when it was so crowded on the Sabbath, we had to put benches in front of the bimmah to accommodate everyone, now it is a much smaller congregation but we always get the ten you need to hold a service.
I’m a professional actor, so it gives me plenty of free time. I was asked to be the Honorary Treasurer and told that it entailed no responsibility – which was entirely untrue – and I’ve done it ever since. As people have died or moved away, I have taken on more responsibility. It means a lot to me. There was talk of closing us down or moving to smaller premises, but I’ve fought battles and we are still here. I spend quite a lot of hours at the end of the week. We have refreshments after the service, cake, crisps and whisky. I do the shopping and put out the drinks. The majority here are quite elderly and they are very friendly, everyone gets on well, especially when they have had a few drinks. In the main, they are East Enders. We don’t ask how they come because strictly speaking you shouldn’t ride the bus on the Sabbath. Now, even if young Jewish people wanted to come to return to the East End there are no facilities for them. No kosher butcher or baker, just the kosher counter at Sainsburys.
My father’s family came here at the end of the nineteenth century, and my maternal grandfather Lewis (who I’m named after) came at the outbreak of the First World War. As a resident alien, he had to report to Leman St Police Station every day. He came from part of the Austro-Hungarian Empire and he came on an Austrian passport, but when my mother came in 1920, she came on a Polish passport. Then in 1940, my grandfather and his brothers were arrested and my grandmother was put in Holloway Prison, before they were all interned on the Isle of Man. Then my uncle joined the British army and was told on his way to the camp that his parents had been released. My grandparents’ families on both sides died in the Holocaust. My mother once tried to write a list of all the names but she gave up after fifty because it was too upsetting. And this story is true for most of the congregation at the synagogue. One man of ninety from Alsace, he won’t talk about it. A lot of them won’t talk about it. These people carry a lot of history and that’s why it’s important for them to come together.
When Jewish people first came here, they took comfort from being with their compatriots who spoke the same style of Yiddish, the same style of pronunciation, the same style of worship. It was their security in a strange new world, a self-help society to help with unemployment and funeral expenses.”
Thanks to Leon, the shul to existed as a sacred meeting place for these first generation immigrants – then in their senior years – who shared a common need to be among others with comparable experiences. Polite and softly spoken yet resolute in his purpose, Leon Silver was custodian of a synagogue that was a secure home for ancient scrolls and a safe harbour for those whose lives were shaped by their shared histories.
Photographs 2 & 3 © Mike Tsang
Stephen Watts, Poet
“I remember coming out of the tube in Whitechapel in 1974 and being overwhelmed,” recalled Stephen Watts affectionately, his deep brown eyes glowing with inner fire to describe the spiritual epiphany of his arrival in the East End, when coming to London after three years on North Uist in the Outer Hebrides. Today Stephen lives in Shadwell and has a tiny writing office in the Toynbee Hall in Commercial St where I paid him a call upon him.
“Migration is in my awareness and in my blood,” he admitted, referring to his family who were mountain people dwelling in the Swiss Alps on the Italian border – living twelve hundred feet above sea level – and his grandfather who came to London before the First World War, worked in a cafe in Soho and then bought his own cafe. “I realised this was an area of migration since the seventeenth century when the farm workers of Cambridgeshire, Kent and Suffolk began to arrive here, and I immediately felt an affinity for the place,” Stephen continued, casting his thoughts back far beyond his own arrival in Whitechapel, yet wary to qualify the vision too, lest I should think it self-dramatising.
“It is very easy to be romantic about it, but I think migration has been the objective reality for many people in the twentieth and twenty-first century. So it seemed to be something very natural, when I came to live in Whitechapel.” he revealed with an amiable smile. Yet although he allowed himself a moment to savour this thought, Stephen possesses a restless energy and a mind in constant motion, suggesting that he might be gone at any moment, and entirely precluding any sense of being at home and here to stay. Even if he has lived in his council house in Shadwell for forty years, I would not be surprised if the wind blew Stephen away.
A tall skinny man with his loose clothes hanging off him and his long white locks drifting around, Stephen does present a superficial air of insubstantiality, even other-wordliness. Yet when you are in conversation with Stephen you quickly encounter the substance of his quicksilver mind, moving swiftly and using words with delicate precision, making unexpected connections. “In the Outer Hebrides the unemployment rate was twenty-five per cent and it was the same in Tower Hamlets when I arrived,” he said, informing me of the parallels with precise logic, “also Tower Hamlets had large areas of empty water then, just like the North Uist.” drawing comparison between the abandoned dockland and the Hebridean sea lochs, in regions of Britain that could not be more different in ever other respect.
We took the advantage of the frosty sunlight to make a half hour’s circuit of the streets attending Brick Lane and these familiar paths took on another quality in Stephen’s company, because while I tend to be always going somewhere, Stephen has the sense to halt and look around – indicative of certain open-ness of temperament that has led him befriend all kinds of people in pubs and on the street in Whitechapel over the years. I took this moment to ask Stephen if he chose to be a poet. “I made a choice when I quit university after a year and went to live in North Uist,” he said as we resumed our pace, “and then I made a choice to be a poet. But as a choice it was unavoidable, because I realised that it was so much part of me that not to have done it would be a denial of my humanity.”
Returning to the Toynbee Hall, Stephen allowed me the privilege of a peek into his tiny room on an upper floor, not much larger than a broom cupboard. The walls were lined with thin poetry books in magnificent order, arrayed in wine boxes stacked floor to ceiling and standing proud of the walls to create bays, leaving space only for one as slim as Stephen to squeeze through. It was a sacred space, the lair of the mountain man or a hermit’s retreat. It felt organic, like a cave, or maybe – it occurred to me – a shepherd’s hut carved out of the rock. And there, up above Stephen’s head was an old black and white photo of shepherds on a mountain road, taken in the Swiss Alps whence Stephen’s family originate and where even now he still returns to visit his relatives.
Stephen’s room is a haven of peace in the midst of Whitechapel, yet he delights to complement his life in here by working alongside Bengali and Somali poets in all kinds of projects in schools around Tower Hamlets, and pursues translation alongside his own poetry too, as means to “invite difference” into his work. Possessing a natural warmth of personality and brightness of temperament which make you want to listen and hang off his words, Stephen has a genuine self-effacing charm. “I don’t believe in being a professional poet in the sense of promoting myself, being a poet is about becoming embedded in humanity,” he proposed modestly, presuming to speak for no-one than himself, “And that’s why I lived in the East End and that’s why I still find it inspiring – because of the tremendous range of human presence in Whitechapel.”
BRICK LANE
(after the death of Altab Ali, and for Bill Fishman)
Whoever has walked slowly down Brick Lane in the darkening air and a stiff little rain,
past the curry house with lascivious frescoes,
past the casual Sylheti sweet-shops and cafés
and the Huguenot silk attics of Fournier Street,
and the mosque that before was a synagogue and before that a chapel,
whoever has walked down that darkening tunnel of rich history
from Bethnal Green to Osborne Street at Aldgate,
past the sweat-shops at night and imams with hennaed hair,
and recalls the beigel-sellers on the pavements, windows candled to Friday night,
would know this street is a seamless cloth, this city, these people,
and would not suffocate ever from formlessness or abrupted memory,
would know rich history is the present before us,
laid out like a cloth – a cloth for the wearing – with bits of mirror and coloured stuff,
and can walk slowly down Brick Lane from end to seamless end,
looped in the air and the light of it, in the human lattice of it,
the blood and exhausted flesh of it, and the words grown bright with the body’s belief,
and life to be fought for and never to be taken away.
Song for Mickie the Brickie
Mickie I met down Watney Street and he whistled me across.
“How are you” he said
—and of course really meant “have you a little to spare for some drink”—
but could not bear to ask.
We walked through the decayed market,
a yellow-black sun gazed down over Sainsbury’s as I went to look for change.
Ten pound was hardly enough to get him through the dregs of that bitter day.
We stood on the corner where for centuries people have stood.
Many worlds passed us by.
When he had been in hospital he’d taken his pills and been looked after and had not got worse.
Now he’s barely getting by.
He walks out of the rooming house in Bethnal Green when it gets too loud inside.
His scalp’s flaking and he needs a reliable level and a small brickie’s trowel.
That woman’s son’s inside for good.
That one’s man is a chronic alcoholic.
This one’s on her own and better for it.
But how can you know anyone’s story when every day you walk by without stopping.
Charlie Malone was a good friend. So was John Long.
Now they’re resting in Tadman’s Parlour
—and first thing in the morning Mickie’ll go and say to them words that cannot be answered.
Those are the best words, but they’re hardest to bear.
To me he says : “Always—always—stop me—always—come across.”
And what is the point of centuries of conversation if no-one’s ever there to hear.
FRAGMENT
… And so I long for snow to
sweep across the low heights of London
from the lonely railyards and trackhuts
– London a lichen mapped on mild clays
and its rough circle without purpose –
because I remember the gap for clarity
that comes before snow in the north and
I remember the lucid air’s changing sky
and I remember the grey-black wall with
every colour imminent in a coming white
the moon rising only to be displaced and
the measured volatile calmness of after
and I remember the blue snow hummocks
the mountains of miles off in snow-light
frozen lakes – a frozen moss to stand on
where once a swarmed drifting stopped.
And I think – we need such a change,
my city and I, that may be conjured in
us that dream birth of compassion with
reason & energy merged in slow dance.
Photographs copyright © Lucinda Douglas-Menzies
Colin O’Brien’s Clerkenwell Car Crashes
I am giving an illustrated lecture about Colin O’Brien, the Clerkenwell Photographer, on Tuesday 10th February at 6:30pm at Islington Museum, 245 St John St, EC1V 4NB. Entry is free and no booking is required, just come along.
Accident, daytime 1957
When Colin O’Brien (1940-2016) was growing up in Victoria Dwellings on the corner of Clerkenwell Rd and Faringdon Rd, there was a very unfortunate recurring problem which caused all the traffic lights at the junction to turn green at once. In the living room of the top floor flat where Colin lived with his parents, an ominous “crunch” would regularly be heard, occasioning the young photographer to lean out of the window with his box brownie camera and take the spectacular car crash photographs that you see here. Unaware of Weegee’s car crash photography in New York and predating Warhol’s fascination with the car crash as a photographic motif, Colin O’Brien’s car crash pictures are masterpieces in their own right.
Yet, even though they possess an extraordinary classically composed beauty, these photographs do not glamorise the tragedy of these violent random events – seen, as if from God’s eye view, they expose the hopeless pathos of the situation. And, half a century later, whilst we all agree that these accidents were profoundly unfortunate for those involved, I hope it is not in poor taste to say that, in terms of photography they represent a fortuitous collision of subject matter and nascent photographic talent. I say this because I believe that the first duty of any artist is to witness what is in front of you, and this remarkable collection of pictures which Colin took from his window – dating from the late forties when he got his first camera at the age of eight until the early sixties when the family moved out – is precisely that.
I accompanied Colin when he returned to the junction of the Clerkenwell Rd and Faringdon Rd in the hope of visiting the modern buildings upon the site of the former Victoria Dwellings. To our good fortune, once we explained the story, Tomasz, the superintendent of Herbal Hill Buildings, welcomed Colin as if he were one of current residents who had simply been away for the weekend. Magnanimously, he handed over the keys of the top flat on the corner – which, by a stroke of luck, was vacant – so that Colin might take pictures from the same vantage point as his original photographs.
We found a split-level, four bedroom penthouse apartment with breathtaking views towards the City, complete with statues, chandeliers and gold light switches. It was very different to the poor, three room flat Colin lived in with his parents where his mother hung a curtain over the gas meter. Yet here in this luxury dwelling, the melancholy of the empty rooms was inescapable, lined with tired beige carpet and haunted with ghost outlines of furniture that had been taken away. However, we had not come to view the property but to look out of the window and after Colin had opened three different ones, he settled upon the perspective that most closely correlated to his parents’ living room and leaned out.
“The Guinness ad is no longer there,” he commented – almost surprised – as if, somehow, he expected the reality of the nineteen fifties might somehow be restored. Apart from the blocks on the horizon, little had changed, though. The building on the opposite corner was the same then, the tube embankment and bridge were unaltered, the Booth’s Distillery building in Turnmills St still stood, as does the Clerkenwell Court House where Dickens once served as cub reporter. I left Colin to his photography as he became drawn into his lens, looking back into the midst of the last century and upon the urban landscape that contained the emotional history of his youth.
“It was the most exciting day of my life, when we left,” admitted Colin, with a fond grin of reminiscence, “Canvassers from the Labour Party used to come round asking for our votes and my father would ask them to build us better homes, and eventually they did. They built Michael Cliffe House, a tower block in Clerkenwell, and offered us the choice of any flat. My parents wanted one in the middle but I said, ‘No, let’s get the top flat!’ and I have it to this day. I took a photo of lightning over St Paul’s from there, and then I ran down to Fleet St and sold it to the Evening Standard.”
Colin O’Brien’s car crash photographs fascinate me with their intense, macabre beauty. As bystanders, unless we have specialist training, car crashes only serve to emphasise the pain of our helplessness at the destructive intervention of larger forces, and there is something especially plangent about these forgotten car crashes of yesteryear. In a single violent event, each one dramatises the sense of loss that time itself engenders, as over the years our tenderest beloved are taken from us. And they charge the photographic space, so that even those images without crashes acquire an additional emotionalism, the poignancy of transience and the imminence of potential disaster. I can think of no more touching image of loneliness that the anonymous figure in Colin O’Brien’s photograph, crossing the Clerkenwell Rd in the snow on New Year’s Eve, 1961.
After he had seen the interior of Herbal Hill Buildings, Colin confided to me he would rather live in Victoria Dwellings that stood there before, and yet, as he returned the keys to Tomasz, the superintendent, he could not resist asking if he might return and take more pictures in different conditions, at a different time of day or when it was raining. And Tomasz graciously assented as long as the apartment remained vacant.
I understood that Colin needed the opportunity to come back again, once that the door to the past had been re-opened, and, I have to confess to you that, in spite of myself, I could not resist thinking, “Maybe there’ll be a car crash next time?” Yet Colin never did go back and now he is gone from this world too.
Accident in the rain.
Accident in the rain, 2.
Accident at night, 1959.
Snow on New Year’s Eve, 1961.
Trolley buses, nineteen fifties.
Clerkenwell Italian parade, nineteen fifties.
Firemen at Victoria Dwellings, nineteen fifties.
Have a Guinness when you’re tired.
Colin’s photograph of the junction of the Clerkenwell Rd and Faringdon Rd, taken from Herbal Hill Buildings on the site of the former Victoria Dwellings.
When Colin O’Brien saw his childhood view for the first time in fifty years.
Photographs copyright © Estate of Colin O’Brien
Stephen Gill’s Trolley Portraits
When photographer Stephen Gill slipped a disc carrying heavy photographic equipment a few years ago, he had no idea what the outcome would be. The physiotherapist advised him to buy a trolley for all his kit, and the world became different for Stephen – not only was his injured back able to recover but he found himself part of a select group of society, those who wheel trolleys around. And for someone with a creative imagination, like Stephen, this shift in perspective became the inspiration for a whole new vein of work, manifest in the fine East End Trolley Portraits you see here today.
Included now within the camaraderie of those who wheel trolleys – mostly women – Stephen learnt the significance of these humble devices as instruments of mobility, offering dominion of the pavement to their owners and permitting an independence which might otherwise be denied. More than this, Stephen found that the trolley as we know it was invented here in the East End, at Sholley Trolleys – a family business which started in the Roman Rd and is now based outside Clacton, they have been manufacturing trolleys for over thirty years.
In particular, the rich palette of Stephen Gill’s dignified portraits appeals to me, veritable symphonies of deep red and blue. Commonly, people choose their preferred colour of trolley and then co-ordinate or contrast their outfits to striking effect. All these individuals seem especially at home in their environment and, in many cases – such as the trolley lady outside Trinity Green in Whitechapel, pictured above – the colours of their clothing and their trolleys harmonise so beautifully with their surroundings, it is as if they are themselves extensions of the urban landscape.
Observe the hauteur of these noble women, how they grasp the handles of their trolleys with such a firm grip, indicating the strength of their connection to the world. Like eighteenth century aristocrats painted by Gainsborough, these women claim their right to existence and take possession of the place they inhabit with unquestionable authority. Monumental in stature, sentinels wheeling their trolleys through our streets, they are the spiritual guardians of the territory.
Photographs copyright © Stephen Gill
Vanishing London
Four Swans, Bishopsgate, photographed by William Strudwick & demolished 1873
In 1906, F G Hilton Price, Vice President of the London Topographical Society opened his speech to the members at the annual meeting with these words – ‘We are all familiar with the hackneyed expression ‘Vanishing London’ but it is nevertheless an appropriate one for – as a matter of fact – there is very little remaining in the City which might be called old London … During the last sixty years or more there have been enormous changes, the topography has been altered to a considerable extent, and London has been practically rebuilt.’
These photographs are selected from volumes of the Society’s ‘London Topographic Record,’ published between 1900 and 1939, which adopted the melancholy duty of recording notable old buildings as they were demolished in the capital. Yet even this lamentable catalogue of loss exists in blithe innocence of the London Blitz that was to come.
Bell Yard, Fleet St, photographed by William Strudwick
Pope’s House, Plough Court, Lombard St, photographed by William Strudwick
Lambeth High St photographed by William Strudwick
Peter’s Lane, Smithfield, photographed by William Strudwick
Millbank Suspension Bridge & Wharves, August 1906, photographed by Walter L Spiers
54 & 55 Lincoln’s Inn Fields and the archway leading into Sardinia St, demolished 1912, photographed by Walter L Spiers
Sardinian Chapel, Lincoln’s Inn Fields, August 1906, demolished 1908, photographed by Walter L Spiers
Archway leading into Great Scotland Yard and 1 Whitehall, September 1903, photographed by Walter L Spiers
New Inn, Strand, June 1889, photographed by Ernest G Spiers
Nevill’s Court’s, Fetter Lane, March 1910, demolished 1911, photographed by Walter L Spiers
14 & 15 Nevill’s Court, Fetter Lane, demolished 1911
The Old Dick Whittington, Cloth Fair, April 1898, photographed by Walter L Spiers
Bartholomew Close, August 1904, photographed by Walter L Spiers
Williamson’s Hotel, New Court, City of London
Raquet Court, Fleet St
Collingwood St, Blackfriars Rd
Old Houses, North side of the Strand
Courtyard of 32 Botolph Lane, April 1905, demolished 1906, photographed by Walter L Spiers
32 Botolph Lane, April 1905, demolished 1906, photographed by Walter L Spiers
Bird in Hand, Long Acre
Houses in Millbank St, September 1903, photographed by Walter L Spiers
Door to Cardinal Wolsey’s Wine Cellar, Board of Trade Offices, 7 Whitehall Gardens
Old Smithy, Bell St, Edgware Rd, demolished by Baker St & Edgware Railway
Architectural Museum, Cannon Row, Westminster
Images courtesy Bishopsgate Insitute
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An Alternative Scheme For Liverpool St Station
Henrietta Billings, Director of SAVE Britain’s Heritage asks if the demolition and tower scheme is the only way to pay for station improvements at Liverpool St, as Network Rail claim. She introduces John McAslan’s alternative scheme, offering a sympathetic solution that delivers Network Rail’s ambitions without ruining the station or subjecting passengers to years of disruption.
The improved concourse in John McAslan’s scheme (courtesy of JMP)
If you are one of the thousands who pass through Liverpool St Station regularly, you will be familiar with its magnificent features: the light-filled, triple-height concourse, the beautiful Victorian train sheds, and its illustrious adjacent neighbour, the grade II* former Great Eastern Hotel. With 270,000 people using the station every weekday, it is now the busiest terminus in the country. Everyone recognises it needs upgrades, like new escalators, lifts and more accessible toilets. The question is how can they be achieved without ripping out the guts of this well-loved landmark that is – at least theoretically – protected through its grade II listing and Conservation Area status?
Thanks to a number of highly controversial planning applications, Liverpool St Station is at the centre of a raging debate over how we fund essential upgrades to public buildings. Plans by Network Rail to build a nineteen-storey office block through the station are due to be considered by the Corporation of London on 10th February – with a recommendation for approval. Yet the plans have been met with significant opposition from commuters, residents and conservation groups since they were submitted in April last year (2,400 letters of objection, and counting).
The plans would see the beautiful concourse completely demolished. A new tower would loom over the remains of the original station and the historic hotel, and block out light from the rebuilt concourse. 50 Liverpool St, the Gothic revival masterpiece painstakingly built as part of the eighties conservation project, would be demolished, and the works would cause years of significant disruption to passengers. On heritage grounds alone, the City should refuse the plans because they contravene the City’s polices on heritage protection in relation to listed buildings and conservation areas. Additionally, the report we commissioned from sustainability expert Simon Sturgis shows the environmental credentials of the glass and steel tower fall short of the Corporation’s own sustainability ambitions.
Indeed, Network Rail’s £1.2bn proposal is “not technically viable” according to their own advisors and so far they have refused to release the actual costs of the station improvements. Given that the whole project was predicated on the need for the office block to fund the essential upgrades, releasing costs is essential both as a matter of transparency, and to assess the acceptability of what is on the table.
The proposal, designed by Acme Architects, follows an equally controversial application in 2023 by Herzog & de Meuron architects, which was shelved after also receiving thousands of objections including a strong rebuttal from Historic England. They objected “in the strongest terms” to what they argued were “fundamentally misguided” plans and called for a “comprehensive redesign” to avoid the harm caused by the scheme. Confusingly. this previous scheme has not been officially withdrawn, and remains in limbo as a “live” planning submission. In the words of Building Design senior writer Tom Lowe, it has been arguably the most chaotic development process of any major project over the past decade.
Against the backdrop of these competing contentious proposals, a new approach has emerged from a different team of architects and engineers. John McAslan + Partners, the architects behind the celebrated transformation of King’s Cross Station, have unveiled a fresh vision which shows that the station enhancements and accessibility upgrades could be achieved at half the cost, with a sympathetic, lighter-touch design.
When John McAslan + Partners approached SAVE six months ago with their scheme we immediately jumped at the opportunity to show there is an alternative way of providing the much-needed improvements to the station. We believe this proposal is an elegant design solution in the spirit of traditional railway architecture without the passenger disruption, demolition or over-scaled development currently on offer. It is an important contribution to a critical debate about how we develop our public buildings balancing heritage and commercial interests.
Working with architects on alternative schemes is a key campaign tactic that we use at SAVE - from Smithfield Market in Farringdon and the Little Houses on the Strand next to Somerset House, to Battersea Power Station and the mighty Wentworth Woodhouse in Rotherham, South Yorkshire. We know from fifty years of experience how powerful they can be in bringing fresh perspectives and impetus to contested development plans or important threatened landmarks.
John McAslan’s concept has been welcomed by Sir Tim Smit, founder of the pioneering Eden Project, and by heritage and sustainability experts alike as a helpful contribution to a debate that has so far been dominated by one idea: large-scale demolition and a nineteen-storey tower. We regard the McAslan approach as a compelling and viable alternative which is why we are calling on Network Rail and the City of London to pause the current scheme and give full consideration to this approach.
There is still time for Network Rail to get back on the right track. They should pause the Network Rail/Acme scheme for two reasons.
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Costings of the required station upgrades have not been provided – so it is not possible to assess the full public benefit or justification for such massive and destructive over-station development in relation to the listed building and the conservation area.
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The Corporation of London and Network Rail need more time to consider fully the heritage, financial and operational opportunities provided by the McAslan approach. The councillors on the planning committee can make this happen by voting to defer the planning application until they have had the chance to review this new information.
The committee date is approaching fast. Please add your voice by submitting your views on the Network Rail/Acme scheme and the alternative vision before 10th February.
CLICK HERE TO LEARN HOW TO OBJECT
Instead of a nineteen-storey tower over the concourse, John McAslan + Partners propose a new steel office building cantilevered over the train sheds. The development could be delivered through access from the west without any interference to trains and is fully reversible. (courtesy of JMP)
The Liverpool St entrance is unaltered in John McAslan’s scheme, with the new cantilevered offices just visible (courtesy of JMP)
Looking from the concourse towards the historic train sheds (courtesy of JMP)
The Herzog & de Meuron scheme (courtesy of Herzog & de Meuron)
The Acme scheme (courtesy of Acme)
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