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Fathi Hassan + The Sunderland Collection Art Programme + Paul Mellon Centre Fitzrovia London

Collections May Vary

Place des Vosges in Paris was the pioneering project kickstarting the whole palace fronted square rage. Bedford Square in London would follow almost two centuries later. Taking form between 1775 and 1782, it was probably masterplanned by Thomas Leverton and definitely built by William Scott and Robert Grews. Each three storey (plus basement and attic) residential urban block facing the garden square was architecturally treated as a single unit: a people’s palace. The central portion on all sides is stuccoed, pilastered and pedimented. Three bays (one house) on the northeast facing terrace. Six bays (two houses) on the northwest facing terrace. Six bays (two houses) on the southeast facing terrace. Five bays (one house) on the southwest facing terrace. The other houses are faced with brown brick enlivened by Coade stone detailing and first floor wrought iron balconies.

Bedford Square London

Businessperson Eleanor Coade developed the eponymous material which is a highly durable unglazed ceramic. Developed in the 18th century, this weatherproof artificial stone became an instant hit for neoclassical sculpture and ornamentation. The original formula was lost for almost three centuries upon Eleanor’s demise until 1990s laboratory analysis of surviving fragments revealed its constituents. So here goes: a ceramic mixture of 60 to 70 percent Dorset and Devon ball clay, 10 percent crushed fired clay, 10 percent crushed soda lime glass, and five to 10 percent of crushed flint and fine quartz sand. The fortified clay was moulded and fired at 1,000 degrees centigrade for four days.

The 53 Georgian houses (numbered consecutively one to 54 with no number 13) are all but one arranged symmetrically. That pesky three bay central house with its off centre doorcase on the northeast facing terrace! There’s also the glaring neoclassical solecism of a centrally placed pilaster. Those two pesky three bay central houses on the southeast facing terrace! Later cosmetic changes add individual character to the general uniformity of the palace fronts. If windows are the eyes of a building, Victorian blind boxes are the eyebrows. To carry on the anthropomorphic metaphor, wrought iron trellis columns and cornicing wrapping round three first floor windows are the glasses.

On the southeast facing side, 16 Bedford Square has been the home of the Paul Mellon Centre for Studies in British Art, part of Yale University, since 1996. It would expand into number 15 in 2015. Founded in 1970 with an endowment from the American bank heir, philanthropist and racehorse breeder Paul Mellon, the Centre has a library of 26,000 art and architecture publications. It also has 25 archives of eminent art historians such as Brinsley Ford, Oliver Millar and Brian Sewell – the latter’s regular column was the real reason for reading the London Evening Standard.

Bedford Square London

Fathi Hassan @ Paul Mellon Centre London

Bedford Square London

Paul Mellon Centre London

Paul Mellon Centre London

Fathi Hassan @ Paul Mellon Centre London

Number 16 was once the home of James Wildman (1747 to 1816), lawyer to sugar plantations owner William Beckford. James’ brother Thomas was William’s agent. The two brothers leveraged this relationship to amass vast fortunes derived from Caribbean slavery. It is apropos that the Paul Mellon Centre’s in situ collaboration with The Sunderland Collection has a theme of counter colonialism. A hang of Nubian artist Fathi Hassan’s work around the elegant interior spaces of the Centre is arranged by Beth Greenacre, Curator of The Sunderland Collection Art Programme.

The Sunderland Collection (stored in London and Switzerland) includes globes, atlases, maps and geographical books from the 13th to 19th centuries. Its Art Programme, established in 2024, connects cultural heritage with contemporary artistic practice from around the world. Artists are invited to respond to pieces from the Collection in their preferred medium. Fathi explores the layered stories of the cartographic objects, reflecting on displacement and global interconnectedness. The resulting works are richly textured mixed media compositions in combinations of pencil, gouache, print and photography. His work implores the viewer to question is a map more than an embodiment of travelled land and actually a symbol of imposed power?

Fathi Hassan @ Paul Mellon Centre London

Trailblazers is a set of nine images hung in the entrance hall of the Centre. It features distinguished people such as Muhammed al Idrisi and Virginia Wolf. The contours of cartographic landmasses and borders dissolve into portraits overlaid with abstract calligraphy and arabesque designs. Fathi’s assemblages create new composite worlds suggesting alternative viewpoints. There’s at once a sense of being nowhere and everywhere, of being nobody and somebody. The artist says, “Nomadism comes from oblivion. That void, which in my life was due to my ancestors’ displacement, has always accompanied my thoughts.” And clearly, his art too.

Beth explains, “This collaboration is driven by a shared belief in the power of artist led research to connect historical objects with contemporary practice. Presenting Fathi’s work across the Centre reflects current thinking around Ongoing Colonial Worlds and uses art to examine the conditions of occupation and unrest, as well as displacement, colonialism, memory and identity.” Back in 1988, Edinburgh based Fathi was one of the first artists of African heritage included in the Venice Biennale.

Fathi Hassan

Sarah Victoria Turner, Director of the Paul Mellon Centre, says, “This exciting collaboration between the Paul Mellon Centre and The Sunderland Collection is built around our shared commitment to using our collections and spaces as platforms for discovery and making new connections. We are delighted to display Fathi Hassan’s work at the Centre and witness the ways in which it uses cartography to make bridges between the historic and contemporary and helps us reflect on questions of mapping, nation and identity.” Bedford Square in all its neoclassical beauty has evolved from being the home of the mercantile and professional classes (some with links to slave colonies) to being the address of leading artistic and academic institutions from the Architectural Association to Yale University Press to the Paul Mellon Centre.

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Isokon Building + Ottolenghi Deli + Restaurant Hampstead London

The Morning Stars Sang Together

The Story of Hampstead, A One Penny anonymous booklet by The Priory Press, 1909, sets out how Hampstead has never lost its village roots: “Throughout the 17th and 18th centuries Hampstead is indifferently styled a town and a village. It was in reality both: a village in its surroundings, a town in respect of its urban population. Hampstead grew because of the growth of London: for two centuries, down to the time of Henry VIII, the population of London and Hampstead had remained nearly stationary.”

Contemporary Hampstead still shines through: “At the end of the 18th century a change came over Hampstead, and it became the residence of literary men, artists, philanthropists and others whose names are still remembered. Hampstead was still a small town of about 4,000 souls in the early years of the 19th century, although increasing rapidly at the rate of over 100 a year. It extended along the High Street in a broken line of old fashioned red tiled houses. Many of the houses had large gardens behind them. There were public houses with their painted signposts standing in the open ground before them, and low ceilinged shops crammed with goods. Outside the gardens and orchards of the town were solitary red bricked mansions surrounded by umbrageous trees, and shady lanes winding through lofty, moss stained walls.”

The booklet ends on a mixed note, “But if Hampstead, with its population of over 80,000, has lost its individuality, its beautiful Heath still remains, with something of its healthful air and its former beauty.” Four decades after The Priory Press’s publication, The Story of Hampstead by John Preston paints a rosier picture: “If you go to Clapham or Streatham you will feel the past only when you see an old house or two, which seem ill at ease, and waiting to be swept off their feet by the tide of modern works and doubtful improvements. But walk in Hampstead where you will, and realise that the world of long ago will never die. You will see houses, grand and imposing, where bewigged Georgian aristocrats lived and diced and gambled, and you will see little cottages set amid bright gardens, where you could gather as goodly a posy as in any cottage garden in England.”

Hampstead Heath LondonJohn explains the growth and increasing popularity of Hampstead, “At the beginning of the 19th century an exodus from the City of London had started. City merchants, bankers, and many of the middle classes who had been previously content to live in town, found places like Hampstead residentially desirable. Later on in the century, with the enormous growth of transport facilities, the ‘dormitory’ plan came into being in good earnest. Plots of land, previously parts of estates, began to be sold for building development.”

Hampstead LondonHampstead Villas LondonHampstead LondonLittle Green Street HampsteadHampstead LondonIsokon Building HampsteadHe writes, “When Hampstead became a borough – no longer a Middlesex parish, but a part of the metropolis – it neither ceased, in effect, to be a separate township or lost its individuality. The municipality and the people, conscious of the beauty and antiquity of their home, resisted almost all assaults of the battering army of jerry builders and ‘improvers’ which have, often with dire results, attacked and conquered the citadels of the beautiful townlets around large cities.” His stance that the area hasn’t lost its individuality rings truer than The Priory Press’s pessimism.

There’s a conspicuously Modernist building in Hampstead that has certainly never had bewigged occupants. Walk down Rosslyn Hill, past Ottolenghi Restaurant (more anon), keep walking, walk a little bit further, turn left through a 1990s development, descend steps in a pocket of urban woodland, and there is the Grade I Listed Isokon Building in all its white cubist beauty. Designed by Wells Coates and completed in 1934, this four storey block of apartments was one of the first residential buildings in England to be built of reinforced concrete (covered in white painted render). Illustrious former residents include the crime writer Agatha Christie and Bauhaus émigrés Marcel Breuer, Walter Gropius and László Moholy-Nagy. Cruise ship style decks provide access to the lateral apartments.

Ottolenghi Restaurant Hampstead LondonLunch awaits. Yotam Ottolenghi was born in Jerusalem in 1968. He moved to London to train as a pastry chef. In 2002 Yotam opened his first food destination (deli, bakery and restaurant) with Palestinian British chef Sami Tamimi in Camden. The three year old Ottolenghi Deli and Restaurant Hampstead is his sixth London opening. “Our commitment to the championing of vegetables as well as unusual ingredients has let to what some call the Ottolenghi Effect. This is shorthand for the creation of a meal full of colour, flavour, bounty and joy.”

Take shiso: “It’s one of those herbs that feels completely overlooked in Britain – baffling, because it’s so distinctive and grows happily in our climate. We’ve been growing it at our kitchen garden, using it pickled, in salads or fried in tempura. Herbs make me happy and hungry in equal measure – the crowing jewels and the body of so many of my favourite dishes.” Alfresco lunch is full of colour, flavour, bounty, joy – and herbs.” Chargrilled broccoli with chilli and garlic as well as roasted aubergine with feta cream, za’atar tomatoes and carob molasses are the perfect side dishes to chargrilled Loch Duart salmon with puttanesca. Cool food on a hot day.

High above a shop on Highgate Road, walking far south from Hampstead, The Paisley Daze are belting out their singles Tell ‘Em Where To Go, Temptation, Til’ Tomorrow, The Town … British Punjabi brothers Kish and Peps Daze know how to pull together an impromptu party. They call their sound Third Culture Funk or New Age Rock ‘n’ Roll. Kish says, “Everything we make we do ourselves. From writing the music to producing the music to putting on our own shows with our collective Hong Kong Rock ‘n’ Roll.” Cool music on a hot night. The stars are out across north London.The Paisley Daze

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Oxo Tower Brasserie + Bar Southbank London

SupperClubbing

Palestinian American Muna Mustafa is the co founder of SupperClub Middle East (along with Mehreen Omar). She now lives in Abu Dhabi. Business is in her blood: “I always learned good lessons from Mom. She’s an excellent businesswoman and invested in her business early on and ran it successfully for 25 years. She continued to invest in property and now owns real estate in many countries.” It’s not all about money though. “The most valuable things in life were given to us free at birth: our body, mind and soul. Everything material, including money, can easily be replaced multiple times. You can lose and remake a fortune, but the things we got at birth can never be replaced and are actually what really matters.”

The fine living platform has an ever growing international reach. Expanding its portfolio of discounted luxury experiences with new collaborations in Africa, Europe and South Asia, the world is SupperClub’s oyster. As a Pakistani now living in Abu Dhabi, Mehreen says, “Bringing SupperClub to Pakistan last June felt like a full circle moment for me! It’s a country with a deep love for food, culture and connection. We are thrilled to have introduced something we built to the people who understand the joy of dining best. SupperClub gives locals and expats in Pakistan exclusive offers to their favourite restaurants in a way that feels elevated, effortless and just a little more special.”

Which brings us rather nicely to lunch at Oxo Tower Brasserie and Bar on London’s Southbank. We’re physically elevated (eighth floor dining) and with SupperClub’s ever smooth Concierge Service, it’s an effortless occasion. We’ve been frequenting Oxo Tower for more than two decades but today is just that little more special as we’re soaking up the rays on the sun drenched terrace. It’s the first day of the second heatwave of 2026. St Paul’s Cathedral shines brightly across the River Thames. Following a Leaders of London networking brunch, handily also on the eighth floor of Oxo Tower, lunch is a relaxed affair.

Oxo Tower Brasserie LondonBargehouse Oxo Tower Brasserie LondonBargehouse Oxo Tower Brasserie LondonOxo Tower Brasserie LondonOxo Tower Brasserie London

“The top floor restaurant, brasserie and bar are all owned by Harvey Nichols,” explains the manager. “They opened in September 1996. Fridays are like a ghost town in London. Mondays are getting busier but most of our business is now Tuesday to Thursday.” We’re happy to be ghosts if it means enjoying a more chilled ambience. A corollary of changing urban lifestyles. We’re all on for small plates not for sharing. A hand dived Orkney scallop chinooked in from the islands off the Scottish coast is accompanied by lemon butter. Crisp courgette flowers come with Rachel cheese and truffle honey. Chalk streamed trout is decorated with fennel and pickled lime. Traditional millionaire’s shortbread comes with childhood favourite popping candy. Looks good, tastes good, feels good.

Body, mind and soul are well catered for on the eighth floor. Oxo Tower is currently the ultimate mixed use building. The ground floor and galleried first floor are filled with cafés, shops and art galleries. An event space and studios occupy the second floor. There are 78 apartments on the third to seventh floors. The wonderfully not over restored Bargehouse to the rear has four levels of flexible exhibition space. The history of Oxo Tower is equally mixed use: constructed in the late 19th century as a power station, it was taken over as a cold store in the 1920s by the Liebig Extract of Meat Company who manufactured Oxo beef stock cubes.

The building was redesigned by Liebig’s architect Albert Moore in a modish Art Deco style. Skyline advertising was banned along Southbank so Albert came up with an innovative solution. He designed a tower rising over the centre of the rebuilt power station with three vertically aligned windows on each side in the shapes of a circle, a cross and a circle. Sometimes the best design solutions come from leapfrogging over regulations. Oxo Tower was restored and converted to multiple purpose occupation in the 1990s as part of a 5.3 hectare site redeveloped by the non profit Coin Street Community Builders. The architects were Lifschutz Davidson.

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Pedro Ispizua + Matio Ciudad Jardín Bilbao

Click Goes the Camera and On Goes Life

Back in 1892 in the genesis of town planning as a profession, the British theorist Ebenezer Howard published his highly influential tome Tomorrow: A Peaceful Path to Real Reform. Six years later, it was reissued with the catchier title Garden Cities of Tomorrow. His idealised garden city would house 32,000 people on 3,600 hectares based on a concentric pattern incorporating open spaces and public parks. A couple of decades after Ebenezer’s bestseller had hit the shelves, Letchworth and Welwyn, both on the outskirts of London, would become Britain’s first and last garden cities.

BilbaoThe idea took root across Europe. Bilbao is blessed with surrounding mountain ranges from Artxanda to the northeast to Pagasarri to the south. A beautiful sense of containment is the result. On the lower slopes of Artxanda opposite the Guggenheim Museum, above the far bank of the River Nervión, is the Basque interpretation of a garden city. Mainly white villas with black timbered details, clearly channelling a vernacular of old, are set in the generous verdant plots of Matio Ciudad Jardín.

Matio Ciudad Jardin BilbaoMatio Ciudad Jardin BilbaoMatio Ciudad Jardin BilbaoMatio Ciudad Jardin BilbaoCommercial and community buildings overlook Celso Negeuruela Plaza in the heart of Matio Ciudad Jardín. It’s all so low rise and low density compared to the mansion blocks of the tight urban grid that is central Bilbao. A hillside funicular and glass lifts descending from the Maurice Ravel Etorb dual carriageway connect Matio Ciudad Jardín to the city centre.

In 1922 Basque architect Pedro Ispizua won a municipal competition to design a residential led mixed use scheme for the stated funded Cooperative of Employees and Journalists. His 56 pairs of semi detached houses line roads striping and curling up the gradient. Regionalist architecture blends Basque farmhouse style with modern living requirements. Red pantile roofs contrast with the monochromatic elevations.

Later insertions include a pale grey rendered house with a corner circular conical roofed tower opening onto a large terrace made for parties and propped up by impossibly high retaining walls. Matio Ciudad Jardín, like other garden cities of Europe, is now a sought after address. The semi rural ambiance, the retro architecture and panorama across Bilbao to Pagasarri are an estate agent’s dream.

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Ascensor de Begoña + Old Town + St Joseph’s Catholic Church Bilbao

To Love You More

Old Town BilbaoThis century the largest city in Basque Country is inextricably linked to one piece of adventurous built form. Guggenheim Museum Bilbao is something of a showstopper. Yet follow the curve of the River Nervión eastwards and high above Old Town rises another piece of adventurous built form erected just over half a century before the museum took shape and shifted the dial of cultural tourism forever.

The Ascensor de Begoña elevates the humble lift both physically and architecturally. Architect Rafael Fontán’s Brutalist reinforced concrete was built for moving people, not moving (stationary) art. In such a hilly city, it linked the 18th century El Arenal parkland with the medieval Old Town. A 45 metre high (the equivalent of about 13 storeys) elevated passageway connected the hillside to a square hollow vertical column containing a lift. Unfortunately, Ascensor de Begoña has been closed since 2014 over a maintenance dispute.

Bilbao’s medieval Old Town is literally overshadowed by Ascensor de Begoña and metaphorically overshadowed by the Guggenheim Museum. Nonetheless it is well worth exploring. The historic core of the city, like its Basque neighbour San Sebastián, is a neoclassical plaza. It looks older, but Plaza Nueva was officially opened in 1851. A long build gestation – which could explain its earlier appearance – was inevitable with three architects on board: Silvestre Pérez, Antonio Echevarría and Avelino Goikoetxea. Pintxo bars are aplenty on Plaza Nueva under the arched Doric arcade. The very dog friendly Tostao café and bakery (with its resident canine) faces onto ZIngira Kalea next to the river.

Old Town BilbaoTostao Cafe Old Town BilbaoOld Town BilbaoOld Town BilbaoOld Town BilbaoOld Town BilbaoOld Town BilbaoBilbao

St Nicolás’ Catholic Church is a fine example of baroque Basque architecture. It was designed by Ignacio Ibero and completed in 1756. The monumental exterior is constructed of local Ganguren stone. Twin belltowers flank a central belfry on the façade; the St Nicolás Plaza facing elevation has a double height arched arcade. A vast octagonal tower enclosing an interior dome is slightly set back from the building line. To the north of St Nicolás’, the river facing City Hall was built to the design of municipal architect Joaquin Rucoba in 1892. Second Empire was the style of choice: France is after all a mere 120 kilometres from Bilbao.

The turn of last century apartment blocks of Old Town have beautifully detailed winter gardens. Projecting balconies encased by glass and timber panels provide residents with all year round usability, noise insulation and nosying opportunities on neighbours. Who needs Gogglebox? Winter gardens are all the rage with London planning authorities. Nothing new under the sun.

On the far side of River Nervión set in the turn of the 20th century grid of development is. Architect José María Basterra’s Gothic design was completed in two parts: the spire was erected 14 years after the church was inaugurated in 1918. The gleaming white stone exterior of St Joseph’s (the ubiquitous Bilbao red pantile roofs hidden behind parapets) looks new under the sun.

While the city sleeps, we explore its streets like curious cats. The reflection of golden illumination from street lamps relieves the velvety darkness of the River Nervión. We prowl riverside along Paseo de Uribitart. Ascending Villarías Kalea, shop windows display goods but nobody’s browsing. On the far side of the river, in the Old Town, the scent of baking bread escapes from bakeries. The bells of St Nicolás’ aren’t a’pealing. We slink past the Dog’s Fountain on Txakur Kalea. A lone jogger runs by. Dawn’s about to crack this nocturne in black and gold.Old Town Bilbao

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Frank Gehry + Guggenheim Museum Bilbao

A Word Based Universe

No time for a deep dive? Guggenheim Bilbao. On budget. On time. Unlike the Scottish Parliament Building. The container outshines the contents. Still successful. Only into its second year of publication, an article in the September / October 1997 edition of the glorious Wallpaper* magazine under the mastery of Tyler Brûlé is worth quoting. Almost in its entirety. Andrew Tuck’s 48 Hours in Bilbao sums up the excitement of that era, “A decade ago Bilbao seemed to be heading for a slow but sure death. After centuries at the heart of Spain’s shipbuilding and steel industries, it found that it could no longer compete with rivals in the Fat East, and neither could it attract the young pioneers of new technologies to the city. Bilbao simply lacked the lifestyle and culture that would make anyone want to move there.”

“The city’s leaders started looking for ways of reinvigorating Bilbao, just as the board of New York’s Guggenheim Museum was planning satellite museums around the world (the Guggenheim was facing Bilbao’s crisis in reverse: it had too much art and no chance of expanding at either its main Manhattan home or tiny Venice outpost). In 1991, after a year of courting, a union was announced that would bring together Basque taxpayers and the Solomon Guggenheim Foundation to build a vast $100 million contemporary art museum on the banks of the Nervión River in the heart of the city’s declining docks.”

Bilbao“The next move was to sign up an architect and after a restricted competition Frank Gehry won the day. Famed for his numerous international projects, Gehry has developed a complex style of non linear architecture in which flowing shapes fit together to create buildings that, while extraordinarily dramatic, blend perfectly into any cityspace. His fluid style was also perfect for dealing with a triangular site that is dissected by one of Bilbao’s busiest traffic bridges, the Puente de la Salve.”

“Now, just six years later, Gehry’s greatest building, and one of the wonders of modern architecture, is preparing to open its doors on 18 October, with a display of 20th century art from Cubism to multimedia installations, as well as the work of Basque artists. What’s more, the museum will be opening on budget and on time. The Guggenheim in Bilbao contains 18 galleries that vary from small classic and intimate spaces to the main gallery that, at 130 metres long and 30 metres wide, is bigger than a football pitch, and with doors that are large enough to let lorries through to deliver vast sculptures (such as the 170 tonnes of metal contained in Richard Serra’s work that is already in position). The central atrium is 55 metres tall and is ringed by walkways designed by Gehry to pay homage to Frank Lloyd Wright’s 1959 Guggenheim in New York.”

“But it’s the outside of the building that has won over the people of Bilbao: the exteriors of the galleries which house the photography and two dimensional painting collection are covered in limestone, but the spaces that will display more radical work and installations are covered in interlocking plates of titanium which recall the city’s shipbuilding traditions. It’s a metal that never blinds you on a sunny day and even at night reflects a soothing glow.”

BilbaoGuggenheim Museum Bilbao“Confident that culture and architecture can jumpstart Bilbao, the city has found funding to pay for a metro system designed by Sir Norman Foster, a footbridge across across the Nervión and a revamped airport both by Santiago Calatrava. The city is rerouting roads, building new apartments, parks, offices and a concert hall and cleaning up the polluted river. When the work is done, Bilbao hopes to become Europe’s new cultural capital. Mixed in with the new is style and luxury from the old days. Then there’s the chance to eat Basque food and tap into the region’s Celtic soul. In short, it’s time you dropped by.”

It’s time to unpack, rewind but nor relax – there’s too much to discuss. Back to the present. Frank Gehry died last year aged 96. He never retired. Born Frank Goldberg, he had a working class Jewish upbringing in Toronto. The architect changed his surname in the 1950s to protect his children from antisemitism. A sign of things to come – trailblazing deconstructivism – was the transformation of his bungalow in Santa Monica by adding layers of corrugated metal, plywood and chain link fencing. It didn’t do down well with the neighbours. But it was Frank’s harnessing of computer technology intended for the design of aircraft to buildings that set him apart from his contemporaries, eroding the line between architecture and sculpture.

Guggenheim Museum Bilbao“I want buildings that have passion in them,” he said in 1997, “that make people feel something – even if they get mad at them.” It was a good year to make that comment: the newly completed Guggenheim is filled to the skylights with passion. Later, he would apply a rationalised form of his trademark sinuous style to residential and commercial buildings. The following year came the RheinHafen Arts and Media Centre on Düsseldorf’s Am Handels and in 2022 the apartment block Prospect Place at Battersea Power Station, London. Despite their idiosyncratic volumes, both these developments use standardised windows unlike Enric Miralles Benedetta Tagliabue’s Scottish Parliament Building.

It’s easy, very easy, to get distracted by the billowing waves of cool silvery titanium – a sea of giant anchovies – but look closer and the Guggenheim Museum is materially anchored to the earth by warm yellowy Spanish limestone. Two components are picked out in colour: the hot blue administration block and the burnt red bridge. Across the river is the comforting proximity of vast villas, three dimensional reminders that Bilbao was once Spain’s richest city.

The complexity of the exterior is only matched by the intricacy of the interior. Three floors of enfilade free galleries offer three experiences: regular shaped rooms; irregular shaped rooms; and open spaces around the central limestone panelled and white painted plaster atrium. Big architecture needs big art. Andy Warhol’s 150 Multicoloured Marilyns, 1979, is the right scale for the permanent collection. The Pop Art mantra that image matters more than experience may seem a little dated now but then this is a (late) 20th century container of (mainly) 20th century contents. Jenny Holzer’s Installation of Bilbao, 1997, off the atrium is also suitably large. This site specific LED artwork consisting of nine signboards filled with scrolling texts rising up their 12 metre height is colourful, insightful and interactive.

Guggenheim Museum BilbaoDeep dive on one of the biggest architectural splashes of 20th century architecture and design over.

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Guggenheim Museum Bilbao + Making Africa A Continent of Contemporary Design + Ruth Asawa Retrospective

Jumping off Stage Into An Embrace

“After studying art and then studying architecture, I never needed the clarity of being either a professional architect or being an artist, and found sound kind of middle ground that was contaminated from all sides.” Elizabeth Diller, 2020.

This isn’t our first rodeo. It’s our second to the museum with a city attached. Back in time to October 2015. The moated mountain that is the Guggenheim. Looking (hyphen optional) shipshape. It’s approached by foot along the Abandoibarra riverside walk under Louise Bourgeois’ 1999 arachnid sculpture Maman which resembles for all the world – Philippe Starck on steroids – a giant Juicy Salif Lemon Squeezer. Art or design?

While the Frank Gehry designed museum’s regenerating “effect”, a left bank titanium building as quarter, inspired a rash of grimly unsuccessful turn of the century cultural projects (nobody mention Sheffield’s National Centre for Popular Music, imitators failed to register the added ingredients of Bilbao’s mix. Not one but a multiplicity of super architect projects including Arata Isozaki’s two fingered 23 storey cloud bothering salute as well as even recognisable names such as Santiago Calatrava, Norman Foster and Zaha Hadid. A delightful 15th century historic quarter. Dramatic scenery. Great cuisine. Good looking locals. Together these ingredients all made a recipe for success. As Victor Hugo once quipped, “Everyone who has visited the Basque Country longs to return; it is a blessed land.”

Making Africa A Continent of Contemporary Design is the latest exhibition at the Guggenheim Museum Bilbao. The museum is closed to the public: we’re the first visitors. It’s curated by Petra Joos at the Guggenheim and Amelie Klein of Vitra Design Museum, Basel. The exhibition seeks to illustrate how design is steering change in Africa and presents the protagonists of this new epoch. Its context is globalisation through technology. “A part of this development is a new and open understanding of what design is,” explains Mateo Kries, Director of Vitra Design Museum. “It’s no longer limited to the creation of furniture, products, typography or fashion, but is very closely interwoven with the fields of photography, art, architecture and even urbanism.” He believes while this change is happening around the world today, it most clearly manifests itself in Africa.

Mateo’s counterpart Juan Ignacio Vidarte at the Guggenheim concurs, “It is in the intersection of innumerable creative fields that design holds a position as the focal point for multidisciplinary work. Making Africa successfully portrays the image of a continent that is beginning to move at this very moment.” C Stunners, 2012, eyewear sculptures by the Kenyan artist Cyrus Kabiru in the show’s Prologue section, are a metaphor for what’s to come. Who’s examining who? “We’re mutually examining ourselves,” Amelie contends. “The exhibition isn’t a totalising vision. Rather, a supplementary vision. Not an exhaustive dialogue – a starting point for our thoughts. One possible way, another way, of looking at the continent.” The exhibition cleverly conveys the diversity and complexity of Africa. After all, this is a landmass of one billion people.

Western misconceptions are diminished. Laughter replaces tears. “Something I got obsessed with is people dancing to Pharrell Williams’ video Happy!” smiles Amelie. “I really watched those videos, I dunno, for nights and nights in a row! There are dozens from Africa. Yet in our Westernised minds the continent is always struggling.” She selected the work of young South African photographer Jody Brand which depicts not only African street style but also party life and in doing so reflects a changing society. Jody’s images show there’s much more than struggle to Africa.

Guggenheim Museum BilbaoGuggenheim Museum BilbaoGuggenheim Museum BilbaoLike Mateo, Amelie believes “the continent is at the forefront of global technological change”. She continues, “Modernism was the result of change in Europe 100 years ago. What will we see coming out of this change?” The politics of representation are never far away. Who’s allowed to speak about Africa? The curators engaged in an intense three year preparation to quality. Their exhibition includes 75 recorded interviews with artists and designers. “In reality of course,” concedes Amelie, “there are millions and billions of different Africas. How can we speak about one Africa? From Cairo to Cape Town, there’s a lot in that!”

Making Africa attempts to answer many questions but the curators want visitors to go away asking new questions. And preferably seeing Africa in a new way or ways. “You will see art in this design show,” warns Amelie, “but I’ve used every single piece to make comment on design. That’s the thread that keeps everything together. I can make an argument for every single object on a key design issue.” One such issue is social and political commentary. Leanie van der Vyver’s Scary Beautiful, 2021, is a design statement – or is it art? – on cruelty in women’s fashion. Think historical ribcage crushing corsets or neck elongating braces. Leanie worked with shoe designer René van der Berg to create a pair of almost impossibly tall reversed high heels. Despite limiting the wearer’s mobility and controlling her silhouette to the extreme, the shoes are actually wearable. Segueing fashion to design and politics, Leanie asks the viewer to look anew at (not so) everyday apparel and what it represents.

The 120 contributing young thinkers and makers are a savvy and politically astute lot. They are a critical generation not afraid to speak out and are, perhaps, freer of the burden of colonialism. Making Africa doesn’t shy away from the darker side of the continent. South African artist Lucinda Mudge isn’t one to pull punches. Her hard hitting vases display home truths. “I use headlines from local crime story reports,” she says. I Will Kill You And Then I Will Eat You is emblazoned on the side of one of her vases. The other side, slogan free, is beautifully decorated in gold. Violence and beauty. One artist, duality of voice. Nothing is simply black or white. It’s a comment on not looking, on looking the other way. There’s more than one way to view a situation a design, an artwork. And a continent.

Parisian songstress Taali M bursts into song at the preview: “I’m gonna stand on the shoulders of giants…” Amelie informs us, “We have to rethink what design is. Is it art? Is it design? I don’t care! Design and art should be making bold statements about the future. Where do I come from? Where am I going? Who am I? If artists don’t make bold statements, if not them, who? Otherwise we will be stuck where we are. Period. Taali M sings: “Stand tall and rise above it all.”

Amelie keeps going, “Design is more than chairs It’s analogue and dialogue. We must speak about communications, systems, complexity – design is more than just objects. Critical design enhances change as it could or should be in the 21st century.” We agree modernism has gone. What awaits? Existential concerns aside, it’s 25 degrees outside. Hot, distractingly so, even for northern Spain, in late autumn. Where will we go? “Stand tall so tall I’ll be tall,” ends the statuesque Taali M to applause.

The Basque Country is famous for its nationalistic stance, but hosting Making Africa A Continent of Contemporary Design demonstrates its global outlook. The exhibition explores what’s beyond modernism while liberating visitors from Western myopia. Africa. The continent with a vision attached. And we’re back. Late spring 2026. Ruth Asawa Retrospective is the headlining exhibition curated by Thomas Weisel, Chief Curator of San Francisco Museum of Modern Art, in collaboration with Geaninne Gutiérrez-Guimarães, Curator of the Guggenheim Museum Bilbao. Works include looped wire sculptures, paper folds and sketches by the American artist renowned for making ordinary things special.

The Guggenheim Museum is aging well in physicality and popularity. On a Tuesday morning the public is queuing up the steps for the 10am opening. Victor Hugo was right about the allure of the Basque Country. And that was before Arata, Louise, Norman, Santiago, Zaha and most of all Frank left their mark on the cityscape.

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The Rooftop + The Artist Grand Hotel of Art Bilbao

Gabions Galore

Bookending (a favourite verb) the day with the upper echelons of international society (“global elite” is now too tarred a term) on The Rooftop of The Artist Grand Hotel of Art is one way to upgrade an otherwise meagre existence. It’s impossible to escape art in Bilbao so one might as well sit in it and on it. Or possibly even be it. Plus The Rooftop has the best view of the glittering titanium carapace (a favourite noun) of the Guggenheim Museum. Artist Javier Mariscal is the force behind the concept, the name behind it all. His 26 metre high sculpture Fossil Cypress, a gabion needle of 86,432 river stones, pierces the void of the full height atrium. A stepped flow of water at the base of the sculpture is a reminder of the origin of the found objects.

Sunrise: Desayuno Breakfast is all about topping up on conalbumin. Sunset: Huevos Fritos con Caviar keeps it local. El Bulli trained Executive Chef Abel Corral creates art on a plate (a cliché that rings true in this instance). The Rooftop reinforces the art of living as an achievable reality. Vacation as installation.

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Donostia San Sebastián + Maitasuna

Hot Girls’ Spring

Eneko Goia Laso is a Spanish politician of the Basque Nationalist Party. He was elected to the City Council of San Sebastián in 2011 as the party’s leader, and was Mayor from 2015 to 2025. He says, “Donostia San Sebastián is renowned worldwide for its very special charm. It’s a different type of city: strikingly beautiful, packed with contrasts, traditional yet firmly embracing the future, while always maintaining that cosmopolitan ambiance that has characterised it through the annals of history.”

He finishes, “Due to its proximity to France and to having been the European nobility’s preferred holiday destination down the years, the Capital of Gipuzkoa certainly exudes an international air. It’s a city where visitors feel privileged to have had the smarts to pick this magical place as their holiday destination. At the seaside yet close to the mountains, it combines world class culture, exceptional cuisine and breathtaking architecture to offer a truly unique experience for all!”

The city hasn’t looked back since Queen Regent Maria Cristina selected it as her summer holiday destination following the death of her husband King Alfonso XII in 1885. She transferred the whole court temporarily each year to Miramar Palace which is perched on the Pico del Loro overlooking La Concha Bay, set in a landscape designed by Pierre Ducasse. Two years later a casino was built for the royal holidaymakers. Parks, courses for horses (Zubieta) and cars (Lasarte) and a golf course would follow. It’s where all the big hitters are headed this spring.

Higher again than Miramar Palace is Satrústegui Palace. The former is (brick and timber) Queen Anne meets Tudor; the latter, (stone) castellated Adam. Their share of Albion essence is not coincidental: English architect Ralph Selden Wornum contemporaneously designed both palaces. Satrústegui Palace was the summer residence of diplomat Joaquín Marcos de Satrústegui. Plans are afoot to convert it into a boutique hotel.

A sign in the garden of Miramar Palace helpfully sets out: “After the death of King Alfonso XIII in Rome in 1941, the estate was conjointly inherited by his four living children, Jaime, Beatriz, Cristina and Juan, all of whom lived in exile. In 1958 the property was split: the palace and gardens were passed to Prince Juan, Count of Barcelona. The other three siblings inherited the rest of the estate and sold this land to developers.” Skipping a few sentences, it transpires that after a conservation campaign, the City Council purchased the house and garden in 1972.

Iñaki Egaña writes in A Brief History of the Basque Country, 2016, “The Basque language, Euskara in Basque and Euskera in Spanish, is spoken by the people who have always inhabited the shores of the Cantabrian Sea and both sides of the Pyrenees. The expression Pays Basque has been used in France since at least 1710 to refer to the Basque Country, and the German traveller and statesman Wilhelm von Humboldt contributed greatly to the spread of the name.” The Basque language is unique; nobody knows where it originated. The 20th century dictator Francisco Franco banned Basque.

There are seven Basque provinces: Biscay Bizkaia (the Capital being Bilbao), Guipúzcoa Gipuzkoa (Donostia San Sebastián) and Labourd Lapurdi (Bayonne) all share Atlantic coastline. Álava Araba (Vitoria-Gasteiz), Navarre Nafarroa (Pamplona- Iruñea), Lower Navarre Behe Nafarroa (populated with villages) and Soule Zuberoa (Mauléon-Licharre) are all inland. The French Northern Basque Country includes Labourd Lapurdi, Lower Navarre Behe Nafarroa and Soule Zuberoa. The Spanish Southern Basque Country includes Álava Araba, Biscay Bizkaia, Guipúzcoa Gipuzkoa and Navarre Nafarroa. Easy. The million inhabitants of Greater Bilbao make up one third of the Basque Country population. San Sebastián’s headcount is nearly 200,000.

The knowledgeable Mila Caro of Devour Tours leads visitors around Old Town on a pints and pintxos evening. “In pintxo bars we stand to eat and drink: there are no tables, no reservations. The drain below the counter is for mussel shells. Bar owners like to see dozens of discarded shells at the end of a night. It’s a sign business is good! Basque cider was considered nutritious. It’s sour and dry and was good for sailors’ scurvy. San Sebastián cheesecake is creamy with no crust. It’s not sweet like American cheesecake. That bar 1813 is named after the year when the British army burnt the city after defeating the French troops who had occupied here for several years. This street is named 31 de Agosto after the exact date of the fire: it was the only street to survive the fire.”

“We’re now in Plaza de la Constitución which is the very heart of the Old Town. If you look up you can see numbers over the doors that open off the long rows of balconies on the upper floors. The flats were originally owned by the City Council and were leased out to members of the public for watching big events held on the plaza. The tenants had to agree to their sitting rooms being leased out every so often!”

“The foodie revolution of San Sebastián came about with the Gang of 12, a group of Basque chefs led by Juan Mari Arzak and Pedro Subijana in the 1970s. There are now three Basque restaurants with three Michelin stars and a total of 19 stars in the city. My brother’s restaurant Zelai Txiki received a Green Michelin star in 2023.”

“The Gilda is the original Basque pintxo and was created in the 1940s in Bar Casa Vallés. A regular customer named Joaquín Aramburu had the habit of threading the bar’s loose olives, anchovies and pickled peppers onto a single toothpick. At the same time the film Gilda starring Rita Hayworth was released. The film was considered hot and spicy! So is the appetiser and the name stuck. A Gilda these days usually is made up of Manzanilla olives, Cantabrian anchovies, Guindilla peppers and Extra Virgin olive oil. Sometimes sweet blueberry jam is put on top of the salty anchovies. Another local delicacy is black ink squid croquettes. Rioja became very popular in the 19th century. That wine region is a one hour 20 minutes drive from San Sebastián.”

Canapés or rather pintxos for breakfast (Aitana), sunset cocktails (Hotel Londres), a private afternoon boat ride (Ciudad Catamaran), an 800 year old church filled with ecclesiastical artefacts and contemporary art and the world’s largest miniature nativity scene (St Mary’s), two golden strands (Las Concha and Ondarreta), an island lighthouse (Santa Clara), a mountain top statue of Christ (Sacred Heart): Donostia San Sebastián is a city of culture. And partying. It’s almost midnight. The local football team Real Sociedad is playing Atlético Madrid in the final of the Copa del Ray, the Royal Spanish Football Federation’s annual knockout competition.

Blue and white flags are draped from every other balcony. The football colours are everywhere and on everyone. The match is beamed on mega screens throughout the city. It’s almost midnight. It’s a two-two draw. The tension is palpable. Penalties. Three-three. Seconds later the roar of nearly 200,000 fans ricochets across the squares and rockets down the streets, reverberating over the bay. Fireworks explode across the sky. The night is about to really begin.

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Hôtel du Palais + La Rotunde Restaurant Biarritz

If You Know You Know

It’s the best address in town: One Avenue de l’Impératrice. Well, if it was good enough for Romy Schneider (performing in Tournage de La Banquiere 1980); Ernest Hemingway (Il passe l’ete 1959 a sillonner l’Espagne a bord de sa vielle Lancia suivant l’itineraire tauromachique du Mano à Mano de Luis Miguel Dominguin et d’Antonio Ordonex, preparant ainsi un livre sur la rivalite des deux plus grands Matadors de l’epoque. Sur la route, venant du Havre, Hemingway et sa femme Mary s’arreterent a Biarritz a L’Hôtel du Palais), Wallis Duchess of Windsor and Edward Duke of Windsor (inauguration of Biarritz Polo Grounds 1951) …

Dame Rosalind Savill, the relaunching Director of The Wallace Collection London, once quipped, “I hate the term ‘hidden gem’!” Hôtel du Palais, by anyone’s standards, isn’t a hidden gem. It’s the crown on the coast. The tiara atop the hill. Hidden gem, low key, undiscovered: none of these descriptions have ever been used for the finest hotel in Basque Country. The names of the salons of Hôtel du Palais recall its royal connections: Alphonse XIII, Edouard VII, Impérial, Mathilde. Second Empire style prevails throughout the hectarage of splendour.

A timber marquetry surfboard in the entrance hall crafted by artist Joël Roux is a reminder Biarritz is the capital of European surf. A hand painted surfboard in La Rotunde restaurant depicting the Emperor and Empress suggests deep down they really wanted to do more than fight wars and build palaces. Of course, they were dreaming of riding the waves fantastic.

The homogeneity of the architecture is deceiving, especially when viewed through a blaze of buddlejas. The current giant number three footprint is the outcome of several distinct building sprees. Architect Hippolyte Durand was appointed in 1854 to design a villa for the Empress Eugénie. Some things don’t change in the development industry: he was sacked the following year and replaced by the 27 year old Louis-Auguste Couvrechef. Three years later, Louis-Auguste died and was succeeded by Gabriel-Auguste Anclete. At least a few architects were kept employed. It’s still the best example of Louis the Hooey on the Bay of Biscay, new extensions included.

The words of Min Hogg, Founding Editor of The World of Interiors, echo across the marble halls, “Beautiful décor will always be one of life’s greatest pleasures.” She invented the phrase “shabby chic”. Hôtel du Palais is incroyablement chic.

Breakfast at the top table – centrally positioned in the vast semicircle that is La Rotunde to watch the crashing splashing arc of Atlantic – makes life worth living. Service à la Russe and buffet cater for the best of both worlds. Local delicacies include Gâteau Basque à la Cerise and Gâteau Basque à la Crème as well as Ossau Iraty and Bleu des Basques cheeses. A rainbow of juices covers apple, kiwi and spinach; apple, lemon and charcoal; lemon, carrot and orange. Eggs are easy like Friday mornings.

Later, Chef Christopher Scheller will share some epicurean seafood tips: “I love caviar particularly from Aquitaine, the world’s only caviar with Protected Geographical Indication status. We enjoy it Russian style in its purest form or served with ultra fresh peas for a subtle interplay between richness and vegetable sweetness.” He continues, “I’d heard of Banka trout by name but I only really discovered it when I arrived in the region. We cook it in various ways: home smoked in our own smokehouse, confit in fennel infused oil or simply seared on the plancha.” And, “We serve oysters from my friend Joël Dupuch. They can be enjoyed plain during our brunches or lightly grilled over charcoal at our garden parties, simply seasoned with a pinch of crushed Sarawak pepper. A real explosion of flavour.”

Much later, Christopher will share some epicurean vegetable tips: “Courgette flowers are true seasonal delights. We treat them like sweets. Raw and garnished with a delicate spider crab meat in the fining dining restaurant or as tempura in summer, to be savoured overlooking the ocean by the Sunset Pool.” He continues, “I discovered Les Cressonnières d’Aquitaine during my local research. I like to use their watercress in a fine hot cream to accompany scallops or serve it raw in a salad to add a touch of freshness to devilled eggs.” And, “White asparagus is this region’s signature produce. We prepare these Queens of the Sands in every possible way: poached and served with a citrus infused mousseline or pan seared and lightly caramelised with honey.”

Hôtel du Palais Biarritz: fit for an empress. Always.

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Dunes Blanches + Résidence Victoria Surf + Churches + Villas Biarritz

Whatsoever Things

Destination discovered. That elusive locus of sassitude: Biarritz. We’re lounging outside a café enjoying coffee and the view, our Anglo Catholic work ethic dissipating in the heat. At the table next to us is elegance personified: think Sybil Connolly meets Catherine Denueve. She sends her male companion off and he returns with a box of Dunes Blanches, France’s finest pastries. For us. We’re seeing la vie en plage through sepia tinted glasses. All the vintage glamour of a Lana del Ray music video.

Javier Amézaga and Borja Peñeñori Alfonso write in Big Wave Basque Country (2024), “Coves, bays, cliffs, reefs, beaches, estuaries … in just a few kilometres, the Basque Coast offers a wide spectrum of all kinds of sea beds where you can surf when the biggest swells arrive.” Multiple metres of the white stuff roar and rise towards the golden strand of Biarritz. Nowhere in Britain is 120 kilometres from the coast: nowhere in Biarritz is 120 metres from the coast. Circa.

Putting the ritz into downtown Biarritz, one pub has a sign “Nos Champagnes” outside, listing Bollinger, Bruno Paillard, Dom Pérignon, Henri Giraud, Jacquesson, Krug, Veuve Cliquot. Casual. A two metre tall Hermés sign stands on a rooftop. Everything sounds so much classier in French: check out an estate agents called Une Villa et des Vignes. Not so in English: Banana Moon, Fancy and Oh My Cream don’t convey the same class.

A wine bar goes next level retail nomenclature. L’Art Dit Vin La Cave means Art Says Wine while suggesting it really should be Art is Wine. “Dit” sounds like “de”, the word “of”. The French love puns and this is one such jeu de mots. It’s also a play on the name of the well known chain L’Art de Vin. The roof terrace of Roc Seven Hotel, Veuve Cliquot Sun Club, does what it says on the umbrella awning.

Paris has Montparnasse Tower. Biarritz has Résidence Victoria Surf. The French capital’s tallest and most controversial skyscraper is about to get a £520 million makeover. Former Mayor Anne Hidalgo’s dramatic departing gesture was to secure the funding and commission architectural consortium Nouvelle AOM to get cracking on with cloaking the carapace and propping a greenhouse on top of the 59th floor restaurant.As far as we know, no such plans are in place for the Brutalist Résidence Victoria Surf, the largest and most prominently positioned apartment block in this town. The 350 apartments may have wonderful views but the view of Louis Arretche’s 1970s pyramidal architectural feat is not universally appreciated. Its Art Deco and half timbered farmhouse style neighbours are softer on the eye of the populace.A sign outside the red brick Imperial Chapel states: “This chapel was once located in the landscaped park of the Palais de Biarritz, the seaside retreat of the imperial couple. In 1881, during the subdivision of the park, it was fortunately preserved in a verdant setting. Built between 1864 and 1866 according to the wishes of Empress Eugénie, it commemorates French victories in Mexico. Its Romanesque exterior contrasts with a Moorish interior. Dedicated to Our Lady of Guadalupe, and designed in the style of Andalusian churches, an architecture Eugénie greatly admired, the Imperial Chapel is a unique and rare monument, emblematic of the era and the Empress’s personal tastes.” Architect Émile Boeswillwald clearly knew his French and Iberian onions.

Uphill stands the stone Russian Orthodox Church of the Protection of the Mother of God and St Alexander of the Neva. A plaque quotes Leviticus 19:18 “Aime ton prochain comme toi meme”. Designed by St Petersburg architect Nikolaï Nikititch Nikonov in collaboration with French architect Oscar Tisnès, the church was consecrated in 1892. Byzantine Revival at its sleekest. The original congregation was holidaying Russian nobility.

The skyline of Biarritz is pierced with pepper pot turrets. Towering over Veuve Cliquot Sun Club, the 1903 Villa Goéland is a jewel in the necklace of mini châteaux strung along the coast. Architect Gaston Ernest at his polychromatic best. Villa Belza is equally prominent and dates from the 1880s onwards. While the original architect was Alphonse Bertrand, its medievalisation was carried out to the design of Dominique Morin. Locution location. Destination covered.

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Miranda de Ebro Basque Country + Architecture

Aristocrazies

Somewhat overshadowed by her coastal big sisters Bilbao and Donostia San Sebastián, inlander Miranda de Ebro is the least known of the Spanish cities of Basque Country. Although with a population of just under 40,000 – on a par with Drogheda in County Louth or Westport in Connecticut – she is at the lower end of urban scale.

The spirit of the place gradually reveals herself on the approach from the railway station to the River Ebro. There are two churches contrasting with one another close to the river. The Church of St Nicolás de Bari is strikingly contemporary with its bright brownish red brick and clean lines highlighted by stone trimmings: the roundness of a giant rosette and blind arches is a counterpoint to the squareness of the belltower. Circa 2005 perhaps?Only six decades out. The church was inaugurated in 1945 and the belltower was completed a decade later. A Romanesque church on the site was destroyed by fire in 1936. The architects were Ramón Aníbal Álvarez and Pablo Cantó Iniesta who belonged to the Group of Spanish Artists and Technicians for the Progress of Contemporary Architecture.Contemporary indeed: from the rationalised exterior to the transept free basilica plan, the Church of St Nicolás de Bari resonates with harmonious modern sensibility. The architects’ vision was brought to fruition by builders Sixto Erquiaga and the Segura-Jaúregui brothers. A banner hanging on the northeast facing Calle San Augustin façade states “Making a path; creating community”.The river bankside Church of the Holy Spirit is 700 metres to the west of the Church of St Nicolás de Bari as the Middle Spotted Woodpecker flies. This charming Romanesque with a Gothic arched entrance door stone building is the oldest place of worship in the city. Badly damaged in 1936 in the Spanish Civil War, the church was restored 36 years later. A Latin cross floorplan contains a single nave.Nestling amidst the rickety charm of the left bank Old Town is the Church of Santa Maria. It was built of salvaged stone in the 16th century Renaissance style. Even the pepper pot shaped bell tower is faced in stone. The layout is formed of three naves of equal length. The church faces tiny Plaza de Santa Maria and sides onto the four metre wide Calle la Cruz and Calle de las Escuelas.

Apolo Theatre backs onto Plaza de Santa Maria. The mustard coloured rendered building was built to the design of Fermín Álamo in 1921. A vertical extension by architect Miguel Verdú Belmonte, completed in 2015, contrasts with the original neoclassical architecture in colour (white) and style (minimalist). Another recent addition to the cityscape is the M Monument designed by local artist José Luis Dufourg Duaso. The 2010 giant 13th letter of the alphabet stands on the Calle del Ferrocarril roundabout. It’s painted in the city’s coat of arm colours: blue, yellow and red.

Perched on Picota Hill on the left bank above the River Ebro, the crumbling Castle of Miranda de Ebro is strategically located in this border region. It was built in medieval times and damaged in the 19th century Carlist Wars. The origins of the city are even older, likely dating from the Roman era. Miranda de Ebro has edge. Miranda de Ebro has grit. Miranda de Ebro has character. And she has the best oriel turret winter gardens imaginable.

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Rockwell Bistro + Wine Bar Whitehall London

Cruising Through Life

Hilton is wonderful whether en route (Heathrow London) or very much arrived (Waldorf Astoria Beijing) or on television (Kathy Hilton on Housewives of Beverly Hills). So an invitation to lunch at the five star Trafalgar St James Hotel, part of the Hilton Curio Collection, was an easy yes. Even better, the hotel’s Rockwell Bistro and Wine Bar is the chicest place to drink and dine on Trafalgar Square. Plus it’s a croissant’s throw from Buckingham Palace, Downing Street and the River Thames.

This eight storey 1920s corner stone building has historic links to travel. The offices of the Cunard Steamship Company once occupied this site. If the hotel looks a little bit French, that isn’t coincidental. Cunard House was designed by the Anglo French architectural firm Mewès and Davis in its trademark Beaux Arts oeuvre. And if the hotel looks a little bit familiar, that isn’t coincidental. The Ritz London, a flying croissant’s throw from Trafalgar St James, is another Mewès and Davis special.

In 1998 Westminster City Council granted planning permission for demolition of the building and its neighbour, except for façade retention, and change of use to a hotel. In 2025 DLSM reimagined the interiors of the 146 room hotel creating ocean liner luxury. “Today, Cunard is one of the oldest most historic shipping lines still in business,” write Chris Frame and Rachelle Cross in The Cunard Story (2011). “In 1901, Lucania was the first Cunard ship to be fitted with wireless technology.” Arthur Davis and Charles Frederic Mewès had exclusive interior design contracts with Cunard and Hapag. The style du jour? Louis XVI of course.

The 70 cover Rockwell looks over the busy Cockspur Street and the quiet Spring Gardens. The interior design and atmosphere are informal. Small plates are a good way to sample the food: a business people’s tasting menu. It’s only Wednesday, after all. Although Bordeaux Blanc Château Le Tuquet Graves 2023 adheres to the cruising through life theme. Fried cod cheeks, fermented chilli butter sauce, blue cheese, lemon, herb oil; zucchini fritti with grated pecorino; and peanut butter and banana mousse are a timely midweek epicurean highlight.

Rockwell Bistro and Wine Bar is one of several SupperClub Middle East venues in this part of ultra central London. The brainchild of entrepreneurs Mehreen Omar and Muna Mustafa, SupperClub is a platform that offers members access to luxurious experiences and addresses. Discretion, ease and accessibility are its foundations. “SupperClub was launched in November 2020,” says Mehreen. “Our aim was to break the mould and provide members with a single membership with no limitations. It gives access to luxury restaurants, hotels, spas, pools and much more, all at exceptional rates.”

Mehreen believes, “Social attitudes towards such a concept have shifted. We have been able to marry a shared social desire to save money with still enjoying high end restaurants and concepts. SupperClub members book five star experiences on our site. Once the member arrives at the venue, no coupon or voucher is required; the member can simply give their name and they will be expected and welcomed.”

“Another key feature of our platform,” she explains, “is that when a SupperClub member books for guests the discount applies to every person. Imagine a table of 10 with only one person being a SupperClub member yet the discount is given to the entire group. When the bill arrives, the SupperClub discounted price is automatically applied to the bill without a discussion, providing the smooth discreet experience our clients have been craving.” Lunch at Rockwell Bistro and Wine Bar is – as Mehreen foretells – a smooth discreet experience.

 

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Bishop’s Palace Gardens + East Walls Hotel Chichester West Sussex

A Vapour That Appeareth

Black Mulberry Blue Colorado Spruce Cabbage Palm Cedar Deodar Chitalpa Copper Beach Cotoneaster Dawn Redwood Dogwood Eucryphia Evergreen Magnolia Fastigata Beech Fig Tree Flowering Cherry Flowering Crabapple Green Beech Handkerchief Tree Hawthorn Holm Oak Honey Locust Hornbeam Hybrid Elm Hybrid Lime Indian Rain Tree Italian Cypress Irish Yew Japanese Hackberry Japanese Red Cedar Judas Tree Laburnum Liquid Ambar Loquat Magnolia North American Indian Bean Tree Persian Ironwood Purple Maple Purple Sycamore Rowan Quince Red Leaved Prunus Sweet Chestnut Trachycarpus Palm Tibetan Cherry Tulip Tree Tupelo Variegated Sycamore Wellingtonia Redwood Wollemi Pine Yellow Buckeye.

Such is the arboretum that is the Bishop’s Palace Gardens of Chichester.

Day dancing to Constant Craving, Don’t Speak, Gloria, Music Box Dancer … in the voluted and cartouche’d and scrolled pedimented city that has a bar called The Ghost at the Feast and a street named Little London and a hotel called East Walls run by Jorge Kloppenburg and Anywhere Thompson. There’s a lot to unpick and unpack. “When there’s a challenge I say bring it on,” declares Anywhere, “and with faith you can do anything. We’ve expanded our chilli farm in Zimbabwe to 65 hectares. Here in Chichester we shop several times a week in the local farmers’ market. Everything is fresh and in season in our hotel. We only serve strawberries in July and August. We specially source Finger Post white wine and Vista Plata red wine for guests.”

Chichester CathedralChichester CathedralChichester CathedralChichesterChichesterChichesterChichesterChichesterChichesterEast Walls Hotel ChichesterEast Walls Hotel ChichesterAnywhere has three degrees. She seeks to be a role model for young women like her daughters, “I was working 40 to 60 hours a week and studying 40 hours a week. That’s how I achieved those degrees and I was running other things in the background. I want to be a voice and I will speak up no matter what it takes. My voice may not be heard today but it will resonate in time. Your colour does not and should not matter. What matters is in the inside.” She puts her beliefs into practice: the chilli farm provides employment for dozens of families and helps fund schooling.Her foundation degree was in physiology. “We were introduced to a morgue where I had to dissect a body,” Anywhere explains. “It’s about studying how organs, tissues and cells work together to maintain health. Then I did a biomedical science degree for four years. You learn about so much such as oxidative stress and how it is involved in age related conditions. Portsmouth University where I studied was the first in the country to introduce biomedical science. It’s known all over the world and so they invited me to specialise in clinical pathology. I now practise this medical specialty which focuses on diagnosing, treating and preventing diseases through analysing bodily fluids, cells and tissues.”

Nothing is a chimera to Anywhere.

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Muse Restaurant Belgravia London + Six Course Tasting Menu

We Are Amused

SupperClub Middle East is the world’s premium culinary and lifestyle concierge as seen on Travel Markets, UA News 247, Business News, Gulf News etcetera. Established in UAE in 2020, three years later SupperClub expanded into Bahrain, Kuwait, Oman and Saudi Arabia. Egypt, Jordan, Pakistan, South Africa and Turkey all then came on board. In 2026, the company now has a strong presence in Australia, Canada, France, Italy, Malaysia, Singapore, USA and UK. Global expansion continues at pace.

How does it work? Members access the SupperClub app and view offers in their region of choice, place a booking request, the selected venue receives an email, and the members pay at the venue with discount automatically deducted. The WhatsApp concierge is on it like a Bentley bonnet. We’re constantly amazed at the millisecond response rate. It’s such a discreet and seamless service. This is really all about luxury positioning for us higher disposable income individuals. They’ve got it sorted.There are three tiers of membership: Gold, Diamond and Platinum. Booking credit varies while all have unlimited reservations and guests as well as that beloved dedicated WhatsApp concierge. Diamond and Platinum have 12 months access to offers; Gold has six months. Platinum includes a generous restaurant spend. Exclusive offers cover food and beverage; spa and health club access; fitness and wellness packages; and crafted coffee. SupperClub’s growth involves ultra high profile partnerships with Adnoc, Emirates Skywards, HSBC, MasterCard, Samsung and Virgin.

“We’re already in Singapore, we’re already in Thailand, we’re looking at Japan,” co founder Muna Mustafa tells us (her business partner is Mehreen Omar). “The expansion is ongoing! SupperClub is also marketed through the Visa Airport Companion app which just recently launched. So this is really exciting because for the first time with Visa, restaurants are going to get visibility direct to consumers on the app. This ability to communicate directly with guests is another boost of visibility for our restaurants and it’s all about location based marketing.” No codes; real benefits.

As a successful entrepreneur, Muna is willing to share lessons learned. Her key guidelines include leveraging industry insights and market experience. “Our understanding of the hospitality industry, consumers, sector insights and customer pain points was a huge advantage in a crowded marketplace.” She also advocates taking a hands on approach from day one and creating the first proof of concept. “We built a hollow minimum viable product to sell our concept and get business of the ground. Focus on progress not perfection.” Pivoting in response to market dynamics and having a strong hold on performance metrics are two more of Muna’s key guidelines.

Many of the restaurants available through SupperClub are Michelin starred. We discuss the merits of the French grading system with Muna. “I love it!” she confides. “My favourite thing is please tell me in what order I should eat the food so that I don’t have to think of that! It never gets old.” Exactly a century ago the first Michelin Star was awarded (Georges Blanc, Vonnas). But it wasn’t until 1974 that Michelin came to Britain. Meals are judged on five criteria: quality of ingredients; mastery of gastronomic techniques; harmony of flavours; personality and emotion conveyed by the chef in the food; and consistency across both the menu and various visits.

One Michelin star is for a very good restaurant in its own category and worth a stop. Two stars is for excellent cooking and worth a detour. Three stars is for exceptional cuisine and worth a special journey. Musing where to go for Saturday lunch doesn’t take long when we realise Muse is on the SupperClub menu. Tom Aikens’ intimate fine dining experience in an exquisite Belgravia mews was barely open before it snapped up a Michelin star. The Chef has form: at 26 he was the youngest ever British chef to be awarded two Michelin stars (Pied-à-Terre, Fitzrovia).

Interior designer Rebecca Körner’s lively hallmarks – abundance of colour, use of eclecticism and fluidity of shape – are evident in fuchsia walls, contemporary design in a period building, and lagoon shaped mirrors. The same hallmarks could be applied to the most marvellous six course tasting menu – pinkish reddish rhubarb, fusing the best of British and finest of French cuisine ideas, and the curves and curls of Tom’s culinary art. “Ever since childhood I’ve been drawn to the unknown,” says Tom, “the thrill of a surprise, the joy of a guessing game, the kind of moment that leaves you speechless. This menu is shaped by that same spirit. You’ll find hints, clues and personal anecdotes woven throughout, each one echoing a chapter from my life and career.”

Are you ready? Tom gives the lowdown on each course. Forever Picking, “Snacks inspired by the seasons. This stems from my recollections of being in the garden with my mother and picking anything that was edible.” Custard, mullet and Montgomery cheese grand amuse bouches are sprinkled with edible flowers from Nurtured in Norfolk. Making and Breaking, “The comfort and satisfaction I get from bread comes from many memories along the way. To me, it means comfort, satisfaction, sharing, connection, love and of course the joy you receive from the actual making and eating of bread.” Leek, marmite and fermented butters accompany treacle flavoured bread. Just Down the Road: ricotta, blood orange, bitter leaves, “Many miles have been travelled and countless hours have been spent during my ongoing quest to find the very best of British producers to supply Muse with ingredients. We celebrate Old Hall Farm as one of them because it’s just down the road from where I grew up in Norfolk.” Three down three to go.

Never Ending Time: cuttlefish, turnip, shiso, “However simple a dish may look, the time it takes to prepare it can go unnoticed. I would always say savour, don’t devour. Many hours disappear in the preparing, cooking and perfecting of the cuttlefish.” The Love Affair: pigeon, bourguignon, wild garlic, “France is very close to my heart. I have spent years in the middle of France as well as the wine regions of the south and the Capital, slowly but surely developing my love affair with food and France. This continued working alongside a few great French chefs. This is my ode to France.” We swap this for an intriguing pescatarian option. Far Too Tempting: rhubarb, custard, ginger, “A love for sweet and sour stems from some of my favourite childhood treats including old fashioned fruit salad chew sweets, moon dust and sticks of rhubarb picked from my mother’s garden and dipped in sugar. This is nostalgic tastes from the past turned into something deliciously refreshing.” Six of the best. Make that six and a half: chocolate and honeycomb canapés end the lunch with aplomb.

Our inner oenophiles are more than satisfied: as SupperClub guests we’re treated to William Saintot Champagne. The well informed sommelier successfully tempts us with Ktima Gerovassiliou 2024, Greek rather than our usual French Viognier. She explains, “It’s rounder, less aromatic.” Our waitress has done her homework and discusses a mutual interest of architecture and travel. “Malaysia is a must,” she advocates, “you have to visit the scenic Tioman Island and the traditional stone buildings of Sarawak in northwest Borneo.”

Ding-a-ling. Greeted by name at the front door we were whisked up the stairs to sit at the bar opposite five chefs at work. This is intimate dining: six bar stools, two snugs and three two seater tables in a space five metres wide by four metres deep. The downstairs lounge and bar with its impressive lime green Brionvega Radiofonografo (an industrial style music system designed in 1965 by Achille and Pier Giacomo Castiglioni) have the same footprint. The top floor of this cute corner mews house contains the restaurant office. A Bibendum maquette takes pride of place on the first floor bar.

“I am a muse, not a mistress,” sings Marianne Faithfull, no mere bauble, in Sliding Through Life on Charm on her masterpiece album Kissin’ Time (2000). “I wonder why the schools don’t teach anything useful nowadays?” she ponders. “Like how to fall from grace and slide with elegance from a pedestal.” Tom Aikens doesn’t need to worry – he continues to slide through life on charm. And running a very good restaurant in its own category which is worth a stop. In our experienced view, Muse is worth a detour. Or even a special journey.

And now for another Borneo. We are delighted that the British Government’s Office for Place has chosen us as one of the main sources for its publication International Design Codes (2024). This guide for local authorities and property developers uses case studies to provide lessons for new schemes and districts. One of the case studies is square kilometres ahead of the rest: our Amsterdam favourite, Borneo Sporenburg.

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Architecture Country Houses Developers People

Castlecaulfield Castle + St Michael’s Church of Ireland Church + Reverend Charles Wolfe + Castlecaulfield House + Eskragh Lake Castlecaulfield Tyrone

Recalling the Age of Enlightenment

“It was a privilege and a pleasure to perform three of the greatest symphonies ever written. Each has a wonderfully strong individual character, culminating in the miracle which is the last movement of the Jupiter Symphony. As a viola player the part writing is remarkable, as enjoyable to play as Bach or Purcell!” Martin Kelly, Orchestra of the Age of Enlightenment, on Mozart’s World The Last Symphonies performed on 26 February 2026 at the Royal Festival Hall London. Inspired by the revolutionary thinking of the Enlightenment, this period instrument Orchestra was established in 1986.

Lady Diana Mosley, the eldest of the Mitford sisters, once said, ““The Jupiter Symphony of Mozart – it was the first really beautiful sublime music I ever heard and I suppose I must have been about 14. Although we only had a windup gramophone growing up we were able to listen to symphonies and so on – my brother Tom was very musical and I suppose he introduced me to great music.”

Nicholas Till observes in Mozart and the Enlightenment (1992), “The 18th century has often been portrayed as an era of extraordinary tranquillity and grace flanked by two violent and turbulent centuries, an age in which social order and political stability allowed the development of an amiable civilisation that combined moderation and manners with critical enquiry and a rational programme of social reform which was conducted with passion tempered by wit. This vision of culture and progress stretched with an apparent unity of purpose from late 17th century England to late 18th century Germany and was known as the Enlightenment, or, in German, the Aufklärung.”

And so to Castlecaulfield without so much as a subtle segue or tangential transition. Although glimpses of the 18th century concepts of the sublime and the picturesque may be found in this County Tyrone setting. Castlecaulfield is a small Plantation village founded in 1610 by Sir Toby Caulfield, later the 1st Lord Charlemont, who administered the O’Neill lands in Tyrone for James I following the Flight of the Earls in 1607. The stone remains of the Castle in Castlecaulfield standing next to a 20th century housing estate are one of the more extraordinary sights of Ulster.

A mansion with murder holes, the Castle was built between 1611 and 1619 by the Planter with grandeur and security in mind. Professor Alistair Rowan notes in Buildings of North West Ulster (1979), “The ruins are in two parts: the L shaped house of Jacobean character built by Sir Toby and at its northwest end a squat and more substantially built gatehouse that may have been part of the earlier Irish bawn. This is a separate block, 22 feet by 40 feet, with a vaulted entrance passage running the depth of the building with small chambers on either side and a round flanker at the northwest corner.”

Alistair writes about St Michael’s Church, Castlecaulfield, in the Parish of Donoughmore, “Built under the auspices of the Reverend George Walker, later the redoubtable defender of Londonderry, about 1680. Originally a plain hall, now cruciform, with a west tower of three stages with stepped battlements. The church presents today an intriguing mixture of 17th century Gothic and the newfangled Classicism of Lord Charlemont. The south porch, dated 1685, has crude Tuscan columns on high plinths, a salient entablature (that shrinks to just a cornice above the door), and two cherubs holding the Bible open at Psalm 24.”

He records that parts of the building were salvaged from the nearby original Parish Church of Donaghmore, built around 1622 and destroyed 19 years later. Most idiosyncratic is a pair of corbel stop heads of bearded stone gentlemen bearing a cartoon like quality. The bulk of the church – transepts, chancel and robing room – date from 1860. The surrounding graveyard rises from the entrance gates past the church and up to the west boundary overlooking fields.

A blue plaque on the entrance boundary wall states: “Reverend Charles Wolfe, 1791 to 1829, Poet Curate of Donaghmore, 1818 to 1823.” He is best remembered for his eight verse poem The Burial of Sir John Moore After Corunna (1817). The patriotic elegy celebrates the valour of the British Lieutenant General who led the defence of the Port of Corunna against French troops in 1809. Killed by cannon shot, there was no time for a hero’s burial but instead he was laid to rest on foreign soil.

“Not a drum was heard, not a funeral note,” is the opening line. It closes with, “We carved not a line, and we raised not a stone. But left him alone with his glory.” Charles was full of “zeal and “unaffected benevolence” in his clergy role according to contemporary records. Educated at Trinity College Dublin, his promising church career and creative talent were cropped by unlived experience when he died of tuberculosis aged 31. Charles’ emotional depth and focus on individual heroism mark him as a second generation Romantic poet, departing from the Enlightenment emphasis on reason: “No useless coffin enclosed his breast … But he lay like warrior taking a rest.”

A grand house dating from 1673 on a 14 hectare estate can be glimpsed over the high wall of the graveyard of St Michael’s Church. A gated passageway between gravestones leads through to the avenue. The principal front of the two storey Castlecaulfield House is a symmetrical seven bays with a central boxy porch. Curved flanking battlemented single storey walls elongate the façade, joined to a walled garden to the left and an outbuilding to the right. A date stone of 1785 in the stables suggests the house was probably aggrandised at that time. Two pane sash windows are later Victorian insertions. An irregular west elevation back onto fields. A vast first floor water tank precariously balanced on pilotis is attached to the gable wall of the return wing.

A couple of kilometres southeast of Castlecaulfield, the 22 hectare Eskragh Lough may be a natural lake set in the rolling Tyrone countryside but it looks like part of a landscape that Capability Brown could easily have dreamt up in the desire for the picturesque. And that rounds of this enlightening tour of the sublime Castlecaulfield.

Lady Diana Mosley’s sister, the novelist and biographer Nancy Mitford, once predicted her idea of the eternal Age of Enlightenment, “I firmly believe in a future life which I think will be absolutely heavenly in every respect because naturally of course I shall go straight to heaven and I envisage it as a beautiful park full of divinely pretty houses inhabited by one’s friends and I look forward greatly to it and there will be lots of lovely music like Sir Arthur Sullivan’s The Lost Chord absolutely nonstop booming out from morning to night, ah, how lovely it’ll be.” And hopefully Mozart’s Symphony Numbers 39, 40 and 41 booming out as well. Nicholas Till notes that, “Mozart’s religious faith included a fervent belief in an immortal soul and in an afterlife.”

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Architecture Design Developers Luxury Restaurants Town Houses

Sachi Restaurant + Hibiki Winter Rooftop + Pentechnicon Belgravia London

The King and Us

To Motcomb Street, Belgravia, the ultimate 15 second neighbourhood in west London. All worldly needs are catered for along this 150 metre stretch of stuccoland. Le Café Nac for a cappuccino. The Alfred Tennyson for a pint. Osborne Studio Gallery for highbrow art. Blink Brow Bar for high brows. Carolina Bucci for jewels. Stewart Palvin for dresses. Mayhew Newsagents for every magazine on the planet. And a triple whammy of restaurants: Amélie (French), Luum (Mexican) and Sachi (Japanese Pan Asian). Jessica Mitford’s hilarious 1960 autobiography Hons and Rebels is always ripe for quotes, from relevant to tenuous to abstract. “The very rich and fashionable lived in Mayfair, Belgravia, Park Lane.”

A short walk away is embassy filled Belgrave Square: Austria, Brunei, Germany, Portugal and Spain all have ambassadors housed on the west side alone. A not quite as short a walk away is The Plumbers Arms where a certain Lady Lucan ran into in 1974 covered in blood. Her husband has been missing ever since. The absent apostrophe begs the question was the pub named after one or multiple plumbers? A single male mask above the top floor window suggests the former.

The southwestern half of Motcomb Street is dominated by an impressive neo Grecian façade. Doric columns attached to the elevation support a matching cornice surmounted by a blind attic with the word Pantechnicon looming large in upper case letters. Not to be mixed up with pantheon or pentagon, and probably not panopticon, although possibly panacea, Pantechnicon is a portmanteau invented by the property developer Seth Smith. Looking to the Continent, he linked the Greek word ‘pan’ (all) to ‘techne’ (art). “Travel makes time stand still, like a dream which takes one through a long series of adventures while actually only lasting a few moments.”

He built Pantechnicon in 1831 as a mixed use development with an art gallery, carriages salesroom,  furniture shop and storage all under one roof. The interior was destroyed in a fire 43 years later but the front elevation survived. The furniture storage and an accompanying removal company continued to trade for another century. These days, an archway in the eighth bay leads through to a courtyard garden; an arched entrance in the second bay opens into restaurant spaces over six levels developed by Cubitt House in 2015 on a long lease from Grosvenor Estates.

A lift up to the penthouse level opens into Sachi, a restaurant amidst the rooftops of Belgravia. One side opens onto a long terrace accessed through rows of French doors. The other side has windows framing a Gurskyesque mansion block. A glazed roof floods the interior with natural light. Bouncy piped music adds to a party atmosphere. This slice of paradise is decorated in earthy tones. “Paper napkins would, of course, have been unthinkable, and individual napkin rings too disgusting for words.”

Talking of partying … “I love your fashion – I’m really liking it!” greets the sommelier. He explains, “This season we have partnered with The House of Suntory, Japan’s most iconic whisky house. I’ve mixed special cocktails for you inspired by the colour of your shirts. They are made of Suntory Hibiki, a blended whisky; sparkling wine; French liqueur; cranberry to balance the citric acid of the gin; crème de pêche and rose petals garnish.” The House of Suntory cocktail list starts at £19 and ends at £20. “Blowouts at good restaurants.”

A £60 bottle of Famille Perrin Côtes du Rhône Resérve Blanc 2022 keeps the party going strong. Rehydrating Elra sparkling water is £7. Skipping mains, Head Chef Joonsu Park and Executive Chef Kyung-Soo Moon’s starters are the perfect partying accompaniment priced £11 to £18. Rock Shrimp Tempura (yuzu mayo, lime), Squid Karaage (garlic chilli mayo, lime), Sweetcorn Taco (sweetcorn, avocado, yuzu, red onion, coriander) and Yellowtail Crudo (sesame yuzu dressing, enoki mushroom) put the Pan into Pantechnicon. Matcha Tiramisu (vanilla mascarpone cream, matcha, Savoiardi biscuit) is a £10 box even Pandora would enjoy. “Lunches, teas, the newly imported cocktail parties, dinners, dances.”

Sachi is one of the exclusive London venues discounted for SupperClub Middle East members, the world’s leading personalised concierge service. As winter starts to fade, spring is in the air and so is the allure of travel. SupperClub temptations further afield include lunching in Paak Dang on the Ping Rover in Chiang Mai, Thailand. Dining in Marco Polo, downtown Lahore, Pakistan. Sleeping in Dimore di Mare in the northern Italian seaside town of Arenzano. “The future a great canvas on which anything might appear.”

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Architects Architecture Design Developers Hotels Luxury People Restaurants Town Houses

Grand Central Hotel + Grand Central Hotel Belfast

With Th’Angelic Host

How to Get from Belfast to Heaven written by Lisa McGee of Derry Girls fame and directed by Michael Lennox of dynastic renown is a great tourism advert for Ireland and the Six Counties in particular. This Netflix comedic thriller is also worth watching to play spot the filming location. Buildings of South County Down by Philip Smith (2019) contains two: the 1830s St John’s House (a singular shade of grey) in Killough and the nearby 1840s St John’s Point Lighthouse (black and yellow wasp stripes). One of the early scenes is shot in The Seahorse Restaurant of Grand Central Hotel on Bedford Street, south of Belfast City Hall.

The original Grand Central Hotel opened in 1893 on Royal Avenue, north of City Hall. Erected as the 19th century came to a close, it was a five storey plus attics 200 bedroom hotel with a corner copper dome over an octagonal turret. The elaborate Italianate red brick elevations were dressed with stone ornamentation. Sir Charles Lanyon’s son John was the architect. Octogenarians recall it being the venue for important job interviews, special occasion dinners and high society events. The Grand Central was Belfast’s top hotel until it closed in the late 1960s as The Troubles turned the city centre into a no go zone. Castlecourt shopping centre replaced the hotel in the 1980s.

The London equivalents of the original Grand Central are, or in some cases, were: The Grand, Trafalgar Square (1881, Frederick Francis, Henry Francis and James Ebenezer Saunders, interior scooped out to insert offices and façade thinly reinstated in the late 20th century); The Langham, top of Oxford Street (1865, John Giles and James Murray, extended in the late 20th century); The Ritz, Green Park (1906, Charles Mèwes and Arthur Davis, correctly extended 2026); The Savoy, The Strand (1889, Thomas Colcutt, revamped in the 1920s); and The Strand Palace, The Strand (1909, Sir Henry Tanner, rebuilt two decades later, still there today).

In recent years, Hastings Hotels has flown the flag of high end hospitality in Northern Ireland. The collection includes Ballygally Castle (Ballygally, County Antrim), Culloden (Cultra, County Down), Everglades (Derry City, County Londonderry), Stormont (outer Belfast), Europa (inner Belfast) and since 2018, Grand Central (inner Belfast). Europa and Grand Central hold a similar record: the former as the world’s most bombed hotel and the latter as the world’s most bombed office block. Hastings Hotels also has a 50 percent share of The Merrion, one of Dublin’s finest establishments.

Ballygally Castle, Culloden and Stormont all started life as country houses. The Merrion was once a row of townhouses. Europa is the only purpose built hotel in the collection. Grand Central used to be Windsor House. Marcus Patton describes the building in Central Belfast An Historical Gazetteer, 1993, “Tall office block of 24 storeys including two storey black marble podium and attic level, the upper levels being clad in white mosaic panels; with a narrow frontage to Bedford Street but extending back considerably. At 270 feet, this is the tallest building in Northern Ireland. In 1852 a new stone warehouse had been built on this site for Robert and John Workman, linen and muslin manufacturers, by Sir Charles Lanyon. One of the first developments in the street, this was four storeys high with channelled ground and first floors, central first floor balcony, arched tops to third floor windows, outer bays set slightly forward, and chimneys rising above deep eaves.”

Taggarts architects retained Dennis McIntyre and Devon’s 1970s concrete frame and faced the structure with dark cladding giving it a contemporary £53 million facelift. Above the 300 bedrooms (50 percent more guest accommodation than its namesake) is the penthouse level Observatory Bar and Restaurant with its 360 degree panorama of this small city. Cave Hill looms to the north. Harbour and Laganside to the east under the embrace of the Holywood Hills. Twin peaks of St Peter’s Catholic Cathedral to the west. And surprisingly, the view to the south stretches over the city and on to the Mourne Mountains. The view inside is of the beautiful people.

The Protestant United Irishman freedom fighter Wolfe Tone made this entry in his June 1795 diary: “I remember two days we spent on the Cave Hill. On the first Russell, Neilson, Simms, McCracken and one of two more of us on the summit of MacArt’s Fort took a solemn obligation which I think I may say I have on my part endeavoured to fulfil – never to desist in our efforts until we had subverted the authority of England over our country and asserted our independence.” In his 1955 memoir, the great writer Clive Staples Lewis recalled, “County Down in the holidays and Surrey in the term – it was an excellent contrast.” He saw the Holywood Hills as “an irregular polygon” and the Mournes were famously his inspiration for the land of Narnia.

Grand Central Hotel is linked to the past and not just in name. Its seahorse motif symbolises Belfast’s maritime heritage. Curtain fabric pattern is inspired by the flax flower of Ulster’s linen history. The building has not been restored to its former glory – a depressing Civil Service office block. Instead, it has been reimagined as a symbol of the revification of Belfast as a tourist destination. The interior is filled with literary and artistic references. A framed extract from local poet Paul Muldoon’s composition Belfast Hymn (2018) is on a stairwell: “Known too, the best days begin and end at the Grand Central where we counter the cold and damp with oatmeal, ancient grains, entrecôte aux champignons, champ, a flute of gold Champagne.”

Another extract is engraved on the glass wall of the lift: “The flute on which James Galway soared was really made of gold. Some dwell in the House of the Lord and some on the threshold of hotels like the Maritime. Van Morrison and Team summoning from our glow and grime meticulous mayhem.” Paul explains, “I was tempted by the idea of trying to write a new poem about Belfast for several reasons. The first is that, despite my not having lived here since 1986, I still feel very connected to the city. I came here first as a child in the 1950s, usually traveling by train via Portadown … In 1969, I came to Queen’s University as a student, just as things were hotting up on the streets. On July 21, 1972, a date that would become known as Bloody Friday, Smithfield Bus Station was bombed. Smithfield Market was destroyed by incendiary bombs in 1974. By that stage I was at the BBC, where I worked as a radio and television producer between 1973 and 1986. I spent several of those years in an office in Windsor House. Having long been an admirer of the Hastings family and their profound sense of civic responsibility, I am delighted to offer this poem in the spirit of hope and the idea of home they so wonderfully embody.”

A gigantic artwork Still Life Consommé Cup dominates The Seahorse Bar. Born in Lancashire, artist Neil Shawcross spent his working life teaching at Belfast College of Art. His painting – not dissimilar to Chi Peng’s two cups and saucers Scattered Aesthetic and Concrete Depth in the foyer of Waldorf Astoria Beijing – symbolises the return of dining elegance. A mural by Tandem Design hangs over The Seahorse Restaurant. The illustrated mythology represents Sir Arthur Chichester (who established the city in 1611) as a wolf. A seahorse makes an appearance in the mural. Even the staircase has a life size seahorse wrapped round its newel post.

A trawl through the Public Records Office Northern Ireland reveals highly sensitive documents dating from around the War of Independence era. A memo stamped “Secret” dated 2 June 1922 states, “Owing to the recent activities in the city it appears to be very important that the Night Watchmen be armed, and it is therefore hoped that this matter may be treated as urgent … The matter has been discussed with Mr Harrison and Colonel Goodwin, and it is understood that if no regular constables are available, there would be no difficulty in engaging Special Constables for this work. The Minister of Finance has arranged for the building to be closed to the general public from 5.00pm to 8.45am Monday to Friday, and from 1230pm Saturday to 8.54am Monday, and I am directed to request that suitable protection be afforded, and that, if necessary, additional Special Constables be engaged. A plan of the thrid floor of the building is attached. The remaining floors are almost identical.” John Robinson, Establishment Division, Ministry of Finance.

A Minute Sheet dated 2 June 1922 from the Secretary of Ministry of Finance, to the Secretary of Home Affairs is titled Protection of Grand Central Hotel. It records: “I am directed by the Minster of Finance to state that the question of police protection of the Grand Central Hotel has been under consideration, arising out of a request received from the Ministry of Pensions. The building consists of six floors and has two entrances. It is, however, proposed to close all entrances except the main entrance, and convert the rear and side entrances to emergency exits. The protection of this building was recently considered together with all other Government buildings, and doubt was expressed as to whether effective protection could be afforded.”

It wasn’t just members of the public staying eating and sleeping in the hotel. “As you are no doubt aware, a considerable number of people visit the building daily to attend the undermentioned offices: Ministry of Pensions, Ministry of Labour, Ministry of Finance (Works and Valuation), Inland Revenue Inspector of Taxes and Post Offices Engineer, and it is not possible to institute a system of passes or interview forms. The provision in the building of sleeping quarters for men offering themselves for recruits for His Majesty’s Forces is a very undesirable feature, and the military authorities are being asked to accommodate these men elsewhere.”

Protection for Grand Central Hotel was estimated at £6,000 per annum. “It is considered that the building is most liable to attack between 6.30am and 8.45am during the time the cleaning staff is on duty, from 12.00 noon to 2.15pm when the staff is depleted during the luncheon interval, and from 5.00pm to 8.00pm when the building is almost deserted except for casual attenders at the Ministry of Pensions Clinics and Inland Revenue Office. An armed Night Watchman is on duty from 9.00pm to 7.00am and a caretaker sleeps on the premises. The technical staff has arranged for alarm bells to be installed and a wire screen to be affixed insider the main entrance, and they are of opinion that the two Constables patrolling each corridor from 6.30am to 9.00pm would provide suitable protection. The matter is, however, submitted for the consideration of the police authorities for their opinion, which will be accepted.”

On a brighter note, the Public Records Office Northern Ireland holds a very meaty menu for Christmas Luncheon in the Grant Central Hotel on Friday 25 December 1964 (25 shillings a head). Honeydew Melon, Pâté Maison, Soused Herring. Rich Brown Game Soup, Scotch Broth. Salmon Mayonnaise, Fried Fillet of Sole Tartare Sauce. Roast Irish Turkey Gammon Cranberry Sauce, Roast Leg of Pork Apple Sauce, Roast Sirloin of Beef Horseradish Sauce. Roast Irish Chicken Bacon Bread Sauce. Cold Buffet: Irish Ham, Assorted Meats, Roast Turkey, Brussels Sprouts, Green Peas, Seasonal Salad, Creamed Roast Potatoes. Fresh Jellies, Plum Pudding, Sherry Trifle, Fruit Salad, Dairy Cream, Mince Pie. Assorted English Cheeses and Biscuits. Tea or Coffee. It’s enough to turn the most dedicated carnivore vegetarian.

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Architects Architecture Design Developers Luxury People Restaurants Town Houses

The River Café + The River Café Café Hammersmith London

The Intangible Asset

Last summer Sir John Soane’s Museum in Holborn played host to the first retrospective in Britain of the renowned architect Sir Richard Rogers’ work. South of the River Thames, his widow Lady Rogers continues to run London’s most celebrated Italian restaurant. New York born Ruthie opened The River Café with fellow chef Rose Gray in 1987. A decade later it earned a Michelin Star. Not bad for what started out as a work canteen for the architectural practice. Rose died in 2010; Richard, 2021.

The restaurant is on the ground floor of a repurposed storage warehouse called Thames Wharf Studios which is located on one of the many bends in the Thames. Nothing too fancy, nothing too flash. Understated reddish brick architecture backing onto a quiet residential street south of the leafy Frank Banfield Park yet a short walk from the transport hub of Hammersmith.

A reconnaissance is obligatory for lunch so the first visit is to The River Café Café for a £4 morning Americano and £6 pistachio cake. The little sister is on the ground floor of the neighbouring building and shares the same décor: more to come on that. Guests can create their own River Café Café café experience at home: cookbooks and kitchen items are for sale.

Last year Rogers Stirk Harbour and Partners moved to The Leadenhall Building in Bank, better known as The Cheesegrater. That skyscraper was of course designed by Lord Rogers. Thames Wharf Studios are due to be redeveloped but the owners, London and Regional and Marco Goldschmied (a former business partner of Richard Rogers), are keen for the restaurant to stay on site. So for now The River Café is still close, but not too close, to the blue ribbon heart of the city.

The food stands out on distraction free white paper covers laid on linen tablecloths. Skipping antipasti it’s straight to primi for Capesante in Padella: seared Scottish scallops with grilled pepperoncino, Chianti vinegar and smashed Delica pumpkin. Secondi is Sogliola al Forno: whole Dover sole wood roasted with cedro lemon, marjoram and a forest of Violetta artichokes. The Dover sole is filleted of course – lunch shouldn’t be hard work. An Amalfi Coast of freshness, Rimini ripeness, very Vernazza. There’s always the excitement of pudding and dolci doesn’t disappoint. Lemon Peel Tart is a slice of Sorrento on a plate.

The restaurant is a rectangular space. On one of the long sides, the zinc bar fronted open kitchen faces towards the road. On the other long side, French doors open onto a terrace which backs onto a public walkway abutting … the river. The pattern free interior decoration matches the tablecloths and vice versa. Two white walls; two green walls; blue carpet; silver seats; and a pink wood fired oven. Not just any pink – Hot Pink, Zandra Rhodes’ Hair Pink, Rogers Pink.

Lunch at The River Café isn’t cheap. Even with a bottle of entry level wine (Chianti Roufina Vendemmia 2023) it’s just over £200 a head for three courses. Special occasion pricing or at least an expensive toast to a random Saturday afternoon in January. But that’s the price to be seen at London’s buzziest restaurant. Everyone is dressed to thrill – or at least almost everyone. A customer in jeans winding his way through the tight clustering of circular tables looks distinctly underdressed. Even if they are Versace jeans.

Television producer and screenwriter Jemima Khan is sitting at the next table with a male companion. She’s just celebrated her 52nd birthday and is looking youthfully suave in a monochromatic Chanel suit and Gucci shades. Fellow guests appear vaguely familiar in that café society last spotted at Annabel’s nightclub way.

An architecture model at reception is a reminder of the restaurant’s provenance.

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Shangri-La Hotel The Shard London + Sky Lounge Sunday Brunch

The Sky’s Not the Limit

Where to, where to? Andaz Hotel, Doha? Armani Hotel, Dubai? Bab Al Qasr Garden, Abu Dabhi? Il Baretto, Riyadh? Jumeirah Muscat Bay, Oman? Reyna, Paris? Sachi Milano, Milan? Wassim Aal Baher, Anfeh? Paris (and everywhere else) can wait. We’re off to the Shangri-La Hotel in London’s most striking cloudscraper. The Hall of Abstinence in Beijing’s Forbidden City already a fading memory, today is all about the bottomless Veuve Cliquot Champagne Sunday Brunch in the Sky Lounge on level 34. No rest for the wonderful. SupperClub Middle East has 700 plus exclusive worldwide offers and Shangri-La is just one of them in the English Capital.

Britain’s tallest building – all 95 storeys of it – is the ultimate vertical town. It replaced a titchy 24 storey office block on this valuable site next to London Bridge. Owned by the State of Qatar (95 percent) and Sellar Property Group (five percent), The Shard contains shops, offices, restaurants, bars, apartments, a public viewing gallery and of course the 202 guest room Shangri-La Hotel which takes up the middle 18 floors. Italian architect Renzo Piano took inspiration from the spires of London churches and the masts of tall ships in Canaletto paintings of Venice. On 5 July 2012, The Shard was formally inaugurated by His Excellency Sheikh Hamad Bin Jassem Bin Jabor Al Thani, Prime Minister of the State of Qatar. Its name should really be pluralised: the exterior comprises eight shards of glass slicing through the air.

“Standing at almost 310 metres,” says His Excellency Sheikh Abdulla Bin Saoud Al Thani, Governor of Qatar Central Bank, “The Shard is one of the tallest buildings in Europe. For me, however, the height of The Shard is only a secondary feature. What is special is the solid and continuing relationship between two nations, Qatar and Britain, which was an important factor in completing this project.” Just into its second decade, the point of The Shard is already as integral to the London skyline as the dome of St Paul’s Cathedral. Lunching two years ago in Passionné restaurant, Paris, the waiter and waitress (a couple) excitedly told us about their first visit to London. Where did they head for first? The Houses of Parliament? The National Gallery? The Shard.

The double height Sky Lounge lives up to its name. Fully glazed sloping walls face the ever changing elements while framing views of the Capital far below: Blackfriars Bridge to the west; the City of London to the north; Tower Bridge to the east. Even the bathroom has its own panorama with Southwark Cathedral in the foreground. The three course menu is long enough to satisfy the carnivore to vegan spectrum and short enough not to be hard work on the day of rest. Devon Crab Pancake (avocado, lemon aioli, rainbow relish) and Beetroot Tartare (St Ewe’s organic egg yolk, walnuts, beetroot cracker) are wonderfully light, full of taste and textural contrast. A double buffet follows: The Cheesemonger and Sweet Sensation. Belt bursting Continental and British cheeses vie for attention with irresistible cakes and puddings.

This is our third venture up The Shard. The first was a (very memorable) Royal Town Planning Institute party in December 2019 commandeering the Sky Lounge to crown a year of professional accomplishments. The second (somewhat memorable) was the launch of the Essex Mayoralty Race in December 2025 in the private dining room of Mitie on Level 12. The election was postponed the night before but the breakfast went away anyway. Sunday brunch in the Shangri-La Sky Lounge will soon become a new memory of an elevated afternoon. As winter light glistens over the River Thames in the distance, we raise our crystal Champagne flutes to this 21st century Crystal Palace.

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Corinthia Hotel Whitehall London + Crystal Moon Lounge Sparkling Afternoon Tea

Midday Follies

“Love is patient, love is kind.” Corinthians 13:4

The Victorians were radical about town planning. In 1874 the Jacobean Northumberland House just north of the Thames opposite Waterloo in central London was swept away to create Northumberland Avenue. It would be another seven decades before Listing to protect British heritage would come into place. Manolo Guerci records in London’s Golden Mile (2021), “Northumberland House is the westernmost of the Strand palaces, one of the last to be erected and the last to disappear, with a history that spans nearly three centuries.” Tall buildings sprung up along this broad boulevard running from Trafalgar Square to Victoria Embankment. Metropole Hotel would soon become one of the impressive additions to this new townscape.

Francis Fowler (circa 1819 to 1893) and James Ebenezer Saunders (1829 to 1909) are not household names but they were clearly talented architects. Metropole Hotel commissioned by the Gordons Hotels Group was their design. Both men were members of the Metropolitan Board of Works (the forerunner to London County Council) although later removed for corruption. The 600 bedroom Metropole Hotel swung open the doors in 1886 to Savile Row frock coated gentlemen and their Liberty parasol holding ladies. “Meet at the Metropole” became a high societal signifier saying.

The hotel’s proximity to Whitehall Government Offices and the Palace of Westminster meant it was commandeered in both World Wars. In 1936 the building was purchased by the Ministry of Defence and remained in government use until the Crown Estate sold it in 2007. Four years later, the 283 bedroom Corinthia Hotel swung open the doors of the former Metropole building and the adjoining 10 Whitehall Place to Boss suit wearing gentlemen and their Balenciaga bag holding ladies. “Call by the Corinthia” has become a high societal signifier saying.

A storied site history includes Sir Winston Churchill watching the end of World War I street celebrations on 11 November 1918 from the windows of the building. In the 1920s the Metropole was well known for its Midnight Follies cabaret. Spies used one of the rooms and a network of underground tunnels led to government properties nearby. Another room was dedicated to monitoring UFOs. Sir Conan Doyle was a frequent guest: The Sherlock Holmes Pub on Northumberland Street is named after the author’s most famous literary creation. The press conference in James Bond movie Skyfall is set in the hotel.

Corinthia Hotel is an urban château, an impressive wedge of late Victorian architecture terminated by a bowed corner overlooking Whitehall Gardens. A double height oriel bay window projects over the main entrance on Northumberland Avenue. Pairs of Ionic (not Corinthian!) pilasters with swagged capitals frame the fully glazed doors. The basement and double height ground floor of the main block are faced in white stone; the upper five floors are faced in golden stone. The adjoining block is fully faced in white stone. Francis and James Ebenezer didn’t hold back on ornamentation, designing heavily decorated elevational grids of cornices and pilasters and window surrounds. A double row of dormer windows in the steep pitched roofs (some covered by fish scale tiles) is sandwiched between two storey high chimneystacks.

Afternoon tea is one of the truly quintessential British traditions. Top London hotels like to give it a quirky take and Corinthia is no exception. A chilled bottle of Lysegrøn, a Copenhagen Sparkling Tea, is the original accompanying elixir for the dry curious. As the sommelier pops the cork, a fresh citrus and green tea scent is released. The lively taste has notes of lemon grass and orange peel. There are long lasting hints of Darjeeling and green apple.

Hierarchically uniformed staff lead guests up and into the Crystal Moon Lounge named after the 1,001 crystal Baccarat chandelier hanging from a central seven metre diameter glass dome. “There’s just one red diamond orb,” the restaurant manager points out. “That’s appropriate for Valentine’s Day! We are using red striped fine bone china today too.” Ah, Valentine’s Day, the celebration of romance named after the saint whose remains are in Whitefriar Street Carmelite Church, Dublin. Romantic gestures will end with the party favour: a red box of English breakfast tea. “Would you like newspapers?” The Financial Times and Telegraph are delivered to the table. So is The Column, the hotel magazine. One of the waitresses is a fellow Emerald Fennell fan. “Wasn’t Saltburn just the best film? I’m off to see Wuthering Heights on my own later. I can’t wait!”

A glass of hot black Alfonso tea is the liquid amuse bouche. And then a neat row of finger sandwiches arrives (crusts are for starlings). Clarence Court egg mayonnaise with truffle on sourdough bread; Secret Smokehouse smoked salmon, nori and lime on brioche bread; and salted cucumber, chilli and coconut yoghurt on onion bread. Turns out coronation pepper is the new coronation chicken. The sandwich selection is bottomless: this is gonna take time. Cancel the matinée!

A waitress presents a white box of plain and sultana scones with organic strawberry jam and blackcurrant and Star Anise jam with Cornish clotted cream. For a moment, it’s like being teleported to a Week St Mary tearoom. The serving staff are all rather wonderful and good fun. Linen napkins are continually folded and laid; the tablescape constantly updated. “More Milk Oolong?” China is having a fashion moment.

Somebody strikes up chords and chromatics on the grand piano: I Can’t Help Falling In Love with You; I Will Always Love You; You’re Too Good to Be True … An unfallen avalanche of sweets appears. The yellow fruit finds a theme in lemon drizzle cake (an Irish country house favourite) and calamansi cheesecake (Philippine lemon). Apple and Speculoos (Belgian and Dutch crunchy delights) gâteau; pistachio and white chocolate cookies; salted caramel and milk chocolate tart; and vanilla religieuse all take the biscuit. In a good way.

“Afternoon tea is our signature service,” explains the Director of Food and Beverage Daniele Quattromini. “The Crystal Moon Lounge is right here in the middle of the hotel. It’s such a unique space. And we’re fortunate to have a designated time and space for afternoon tea. Our Baccarat crystal champagne flutes match the chandelier above. We have three antique trolleys from the 1920s.” A temporary display of photographic portraits by Lorenzo Agius adds familiar faces to the surroundings.

Corinthia Sparkling Afternoon Tea is one of hundreds of elevated experiences available through SupperClub Dining and Lifestyle Concierge. The Abu Dhabi based company offers members an international luxury range of buffets and brunches, tables and trips, midweek getaways and weekend spas. Just some of the other participating hotel groups include Four Seasons, Mövenpick, Raffles, Rosewood, Sofitel, Waldorf Astoria. SupperClub always lives up to its tagline: “Exclusive benefits, curated offers and frictionless bookings all in one seamless ecosystem.”

In Betjeman Country (1985), Frank Delaney writes about the poet and architecture critic Sir John Betjeman. Frank notes, “Outside in the sunlight, Whitehall shimmers impersonally … ‘Just as an old church is the history of its parish in terms of stone, so is Whitehall the embodiment of England,’ Betjeman wrote carefully. ‘The weakness of this analogy is that whereas most churches are open for the public to inspect, it is well nigh impossible to see inside Whitehall.’” The conversion of this secretive office block back to a hotel, 140 years after it first opened to the public, allows access once more to one of the vast stone buildings of this historic quarter. Corinthia Hotel has added personality, reinstating palatial glamour to Northumberland Avenue. The Financial Times review of the newly released film Wuthering Heights is a reminder love doesn’t always reach perfection. Unlike Sparkling Afternoon Tea in the Crystal Moon Lounge.

Upon leaving, the pianist Kevin Lee plays Moon River, keeping the crepuscular mood lit. He quips, “I’ve done the maths. You’re too young to remember this!” Quite the exit.

“Love never fails.” Corinthians 13:8

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Beijing Daxing International Airport + Zaha Hadid Architects

Radial Romance

Zaha Hadid never did get to see the finished project. She died in 2016, three years before completion. It’s yet another star in her architectural firmament or rather starfish in her architectural ocean. The world’s largest terminal in a single building. All 700,000 square metres. Current Studio Principal of Zaha Hadid Architects Patrik Schumacher was the co designer. The six storey airport – four above ground; two below – is arranged around a “central orientation space dome” to quote Zaha. Five aircraft piers radiate out from this vast atrium. The tip of the sixth arm is filled by the railway station plaza. Max eight minute walks to departure gates. Patrik this time, “Echoing principles in traditional Chinese architecture that organise interconnected spaces around a central courtyard, the terminal’s design guides all passengers seamlessly through the relevant departure, arrival or transfer zones towards the grand courtyard at its centre – a multilayered meeting space at the heart of the terminal.”

Disciplined, rigorous and highly intellectual, the design achieves a large measure of lyrical beauty from its deeply sensuous sinuous architecture meets sculpture form. Daxing is one hour’s drive south of Tiananmen Square, just round the corner in Beijing distance terms. It strategically and symbolically terminates the Central Axis of Beijing. This line leads from the Throne Room of the Forbidden City down the middle of the roughly symmetrical street plan of the city. Illustrated brass plates across the airport floor mark the city as compass: 48 kilometres from Bell Tower; 47.8 kilometres from Drum Tower; 46 kilometres from Pavilion of Myriad Springtimes Jingshan; 44.2 kilometres from Tian’anmen Rostrum; 43.3 kilometres from Qianmen; 41.4 kilometres from The Temple of Heaven; and 40.2 kilometres from Yongdingmen.

Under one of the vast mushrooming ceilings, shopping pods include Bally, Boss, Coach, Michael Kors, Montblanc, Polo Ralph Lauren and Jingdong Convenience Store. On the second floor, East Pacific Passenger Lounge provides a dining area, bar, gym, meeting rooms and bedrooms spread over a large oval floorplate. The great outdoors and indoors collide in themed indoor amenity areas: Chinese Garden, Countryside Garden, Porcelain Garden, Silk Garden and Tea Garden. These oases are sandwiched between the double ended prongs at the five aircraft piers of the symmetrical starfish layout.

There are juxtapositions and there’s the cutting edge Zaha Hadid Architects design (glass and metal) backdrop to the traditional Chinese Garden (timber and stone). Visitors could be forgiven for thinking they have arrived in the Forbidden City without ever having left the airport. A pair of exquisitely painted pavilions filled with polished antiques stand proud on either side of a pond. Rockeries and a gazebo complete the Willow Pattern scene. It’s hard to appreciate the full scope and scale of the airport either upon arrival or from the indoor outdoor experience. The sweep of undulating red roofscape – a contemporary bow to historic Eastern architecture – is best appreciated from the window of a China Southern Airlines plane.

Meanwhile back in London, Serpentine Galleries are collaborating with the Zaha Hadid Foundation this year to commemorate her legacy and mark the 25th annual Serpentine Pavilion – she designed the inaugural temporary structure in 2000. A series of lectures and events will fill architecture and design connoisseurs’ diaries this autumn. Artistic Director of the Serpentine Hans Ulrich Obrist says, “We often quote Zaha Hadid’s belief that there ‘should be no end to experimentation’. Zaha’s spirits remains a vital inspiration for our programme.” Director of the Zaha Hadid Foundation Aric Chen comments, “Through her boundary breaking life and work, Zaha changed the course of architecture. Her early and longstanding collaboration with the Serpentine played no small piece in this. We’re thrilled and honoured to start this collaboration with an institution she was so close to and one that so deeply shares her commitment to innovation and the public.”

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Forbidden City Bejing + Lavender’s Blue

You Look Like a Beautiful Shaolin Kung Fu Monk

To start an article with a diction caution is rare but before imprecision and overuse dulled its impact there was iconic. And if anywhere owns that adjective it’s the Forbidden City, the world’s largest collection of ancient timber buildings. There are no fears of syntax slips with the highly audible and highly knowledgeable Mandy Wong, China’s leading travel expert, who’s about to condense several millennia of history into a four hour exclusive private tour.

But before a shallow dive into history, some governmental context. Purposeful sweeping change is no accident under the leadership of President Xi Jinping. While many factors have fuelled China’s economic success, his long term planning and a governance model combining strategic five year development plans with flexible adjustments remain among the key drivers, allowing policymakers to efficiently respond to emerging challenges. Western leaders take heed. Steady transformation is closely linked to the authoritative philosophy of President Xi’s The Governance of China. First published in 2014, the latest iteration is Volume V which has been translated into 40 languages.

The publication is a major theoretical innovation integrating the basic tenets of Marxism with China’s national and cultural needs. Volume V is a compilation of 91 of President Xi’s spoken and written works from 27 May 2022 to 20 December 2024. The President delivered a parliamentary speech on 16 May 2024 on The Promotion of High Quality and Sustainable Tourism. He opened by noting since the launch of reform and opening up of the country in 1978 and especially following the 18th National Congress of 2012, China’s tourism sector has enjoyed burgeoning development.

“We should pursue innovation while leveraging the traditional role of tourism, improve the quality and efficiency of the industry, and integrate its development with that of other sectors,” he stated. “Efforts should be made to improve and modernise the industry and strengthen the sector so that it can raise the quality of life, boost our economy, develop our spiritual home, better present the national image, and facilitate mutual learning among civilisation.” President Xi urged central departments and provincial authorities to strengthen their commitment and dedication to fostering high quality sustainable tourism through intensive collaboration for tangible results.

On 28 October 2024, the President made a parliamentary speech on how to Build China Into a Cultural Powerhouse. “Cultural heritage is a compelling witness to the splendid Chinese civilisation and also a precious treasure bequeathed to us by our ancestors,” he explained. “We should have a profound respect for history and love for our culture. We will undertake the systematic protection of cultural heritage under unified supervision and prioritise protection, sound utilisation, and minimal interference.”

Nowhere embodies that diktat requiring unification of supervision, prioritisation of protection, sound utilisation and minimal interference in relation to a historic asset than the Forbidden City. In 1994 the Chinese Government gave workers a second day off each week and so the weekend began. There are 1.3 billion or so people in the Middle Kingdom and today, Saturday, it feels like they have all descended on the ancient heart of the Capital. “Aubergine”! Chinese people say “qiézi” when posing for a photograph. It’s easy to end up saying enough aubergines to fill a field such is the exchange of capturing captivating beauty. But with 74 hectares and close to 1,000 rooms, there’s space for everyone.

President Xi gave a speech on 17 July 2023 at the National Conference on Eco Environmental Protection as recorded in The Governance of China Volume V, confirming, “The blue skies initiative is a top priority in the battle against pollution.” Yesterday and today and the day after were and are and will be blue skyed. “I don’t like the greyness of London in winter. Beijing is like Spain in January!” says Mandy. Except for the minus degrees temperature.

“There were 24 generations in total of the Ming and Qing Dynasties!” she declares at the entrance to the Outer Courtyard. “This really is the forbidden place. Only royals and staff were allowed to enter: everyone else was kept out. The moat is frozen now but in summertime you will see people boating on it. In 1367 the first King built a Forbidden City in Nanjing but he was scared of losing Mongolia so started building the Beijing Forbidden City in 1406. It was very fast building. The whole place was completed 14 years later in 1420. The following year Beijing became the Capital of the Ming dynasty. 14 Ming 10 Qing!”

Mandy blazes through the Outer Court into the Inner Court. “The Imperial colours are red and yellow. Red is lucky; yellow is supreme power. Green is earth; blue is heaven. Symmetry is so important in Chinese culture. Man and woman. Light and darkness. Even the stone animals. We always like balance. There are no trees in the Outer and Inner Courts to make them super safe. Kung Fu fighters could jump very high or hide behind trees. There are 18 layers of bricks under the paving so no tunnelling. Look! There are baby dragons on the roof.”

“Look!” demands Mandy again. “There are also pixiu on the roof. The pixiu is a powerful Chinese mythical creature resembling a winged lion. This creature is revered in Feng Shui as a potent guardian of wealth. It has a big open mouth and a big belly but no bottom: it eats a lot but there is nowhere for the food to go. That represents money not being wasted. The dragon is man; the phoenix is woman. There are no phoenixes and there were no women in the Outer Court.”

A sign along a stone terrace states: “Usually filled with water, these bronze and iron vats were used to protect the Imperial Palace from fire. Between Xiaoxue (Light Snow) and Jingzhe (Awakening of Insects) in solar terms, the vats were wrapped in cotton cloth and covered with a lid. When necessary, charcoal would also be burnt underneath to prevent the water from freezing. The earliest vat now preserved in the Forbidden City was cast during the Hongzhi reign (1488 to 1505) in the Ming dynasty (1368 to 1644). Ming vats are simple yet elegant, with plain iron rings on the sides and a wider upper body with a tapered base. Qing dynasty (1644 to 1911) vats feature rings held by side knobs with the faces of beasts, a large belly and a smaller mouth. At present there are over 200 bronze and iron vats in the Palace Museum, including 22 gilt bronze vats flanking the Hall of Supreme Harmony (Taihe dian), the Hall of Preserving Harmony (Baohe dian), the Gate of Heavenly Purity (Qianqing men) and the Palace of Heavenly Purity (Qianqing gong).”

She relates, “The Emperor had one official wife and hundreds of concubines. He would take a private tour around Shanghai and south China looking for beautiful versatile young ladies who were talented at calligraphy and music and bring them to live in the Imperial Palace. The East Palace in the Forbidden City was where the concubines all lived.” Beyond the red roofs the 21st century raises its head on the skyline. Citic Tower designed by New York practice Kohn Pederson Fox and London practice Farrells in collaboration with the Beijing Institute of Architectural Design is just over half a kilometre in height making it the tallest building in the Capital. There’s a historic link: its gently curving shape increasing in area to the base and top is based on a zun, an ancient Chinese wine holder.

A sign inside one of the pavilions states: “Hetian jade is the central pillar of Chinese jade culture. It comes from the vast and geologically complex terrain of Xinjiang, where archaeological evidence shows that jade has been used for over 4,000 years. Its earliest known use was in artefacts such as jade axes unearthed at the ancient Loulan site in Ruoqiang County, marking the initial phase of jade culture in the region. After the mid western Han dynasty, jade from Hetian began flowing into central China. It would dominate jade craftmanship for the next 2,000 years. From the 26th year of the Qianlong Emperor’s reign (1761) onward, Hetian jade began entering the Qing court as yearly tributes in both spring and autumn, and became the main source of jade in the Imperial Palace. The production and use of Hetian jade wares made an unparalleled advance, sparking another development boom in Chinese jade culture. The collection of the Palace Museum bears witness to over 5,000 years of Chinese civilisation and stands as a testament to centuries of cultural exchange and integration. In celebration of the Museum’s centennial, this exhibition selects representative pieces of Imperial Hetian jade wares of the Qing dynasty (1644 to 1911) from the Museum’s collection. Divided into five sections – Origins of Jade, Ritual Jade, Elegance of Jade, Ingeniously Crafted Jade, and Jade Ornaments and Dining Wares – the exhibition aims to illustrate the rich jade culture of the Qing dynasty, while highlighting historical interactions, exchanges and integration among China’s diverse ethnic groups, strengthening awareness of their shared national identity.”

“That red door has 81 knobs on it,” observes Mandy. “Nine knobs across by nine knobs down. Nine is for longevity in Chinese culture. Nine by nine is 81 is eight plus one is nine. We like the number eight: it means food fortune; you’re gonna get a lot of money. The number six means your life will flow easily like water.” Beyond the Outer and Inner Courts lies a tranquil garden. “This is an outdoor museum not a park,” she corrects. “That’s a young boy talking to a bird using bird noises. It’s a Red Flanked Bluetail – that’s a lucky bird. That brings luck! This is a very special occasion. You’re very lucky!”

Chinese cultural official and scholar Xheng Xinmiao served as the Director of the Palace Museum (as the Forbidden City is now formally called) from 2003 to 2012, shaping the preservation and display of the architecture and collection for future generations. In 2005 he said, “The collection of the Palace Museum primarily consisting of artefacts from the Qing Imperial Palace is both a historical testament to the ancient civilisation of China and a shared treasure of humanity. From 1945 to February 2005, a total of 682 donors contributed more than 33,400 items from their personal collections to the Palace Museum. Their generosity reflects their deep love for this land and exemplifies the noble virtue of serving the public. Among these donations are national treasures that have significantly enriched the Palace Museum’s collection, making its range of artefacts more systematic and complete. On the occasion of the Palace Museum’s 80th anniversary, the Jingren (Great Benevolence) Honour Roll of Donors was established in the Palace of Great Benevolence (Jingren gong) to engrave the names of these donors to display their finest contributions, highlighting their deeds and promoting their spirit. May this tradition of generosity endure as a profound blessing for the Chinese nation.”

On 19 January 2026 seven Chinese Government Departments including the Ministry of Culture and Tourism released a national plan to systematically promote the country’s cultural and linguistic heritage, setting clear targets for 2030 and 2035. Local governments, schools and institutions are encouraged to incorporate language and cultural development into regional planning, urban management and campus activities. Universities are urged to offer public cultural courses such as in Chinese calligraphy. The exquisite hand painted signs over the entrances to the buildings in the iconic Forbidden City are the ultimate symbol of China’s cultural and linguistic heritage.

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Waldorf Astoria Hotel Beijing + Zijin Mansion Restaurant Beijing

The Short Now

It’s only 11.30 in the morning and already the restaurant is filling up with the bold and the beautiful, some solo, some plural. We’re in good company. The omnipresent winter sun is flowing into the second floor dining room through louvred windows, simultaneously highlighting and shadowing the beautiful interior like a giant weathervane. In the bowed corners of the quatrefoil shaped space quatrefoil shaped chains hang in front of hand painted silk depicting colourful birds.

In Chinese culture the quatrefoil shape or persimmon stem, symbolises good luck, fortune, prosperity and harmony – like so many things do! Quatrefoils appear again on the deep pile carpet and on the ceiling of the double height foyer directly below. We’re lunching in Zijin Mansion, the Michelin star restaurant in the epic Waldorf Astoria Beijing, beneficiaries of good luck, fortune, prosperity and harmony.

Chef James Wang is celebrating a decade of working up a storm in the hotel. He explains, “Inspired by traditional Cantonese cooking techniques and concepts, Zijin Mansion selects seasonal ingredients and combines them with local dietary culture, presenting traditional and authentic exquisite Cantonese delicacies for diners.” Signature dishes which we will enjoy include Zijin Metropolitan, a rich soup with South African dried abalone and fish maw. It’s the very essence of Hakka flavours.

Feeling dry curious we have a glass of Pinot Noir Sparkling Grape Juice. And then a couple of dozen courses. Yes! Lit to the left: old masters, new mistresses. Appetisers such as Marinated Abalone with Mushroom XO Sauce. Main courses include Panfried Boston Lobster with Basil, Onion and Scallions. Puddings include Double Boiled Coconut Milk with Chocolate Bird’s Nest. We’re eating the menu. All of it. The Chef knows all about delivering refined simplicity while highlighting a respect for the ingredients. Haute cuisine of China on a plate. Or rather a lot of plates, bowls and stands. We’re getting it.

Our bill per head arrives. Amuse bouche 0 RMB. Amuse Bouche 0 RMB. Sparkling Water 136 RMB. Pinot Noir Sparkling Grape Juice 196 RMB Michelin Set Menu 988 RMB. Subtotal 1,320 RMB. Service charge 15 percent. Total 1,518 RMB. That’s roughly £160 per person for a world class leisurely three hour meal so while not exactly bargain basement it does connect to that old Chinese saying, “Cheap things are not good; good things are not cheap.”

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Waldorf Astoria Hotel Beijing + Suite 918

Far Beyond the Banks of the Yellow River and If It Were Not So

Chinese script raises writing to an art form. Chicagoans Adrian Smith and Gordon Gill Architecture’s bronze façade superframe elevates elevation to sculpture. Its eye catching appearance instantly catapulted the Waldorf Astoria to the top of Beijing’s galaxy of five star hotels upon opening in 2014. The architecture never looks better than when all aglow at sunrise and sunset in winter. A shining beacon. Nine bedroom floors have rows of full height rectangular bay windows set into a grid. The bay windows are not uniformly placed but rather are tuned to differing angles and orientations to maximise outlook and natural light penetration. Gordon calls this concept a “compound eye”.

Grey granite as a background material recalls the charcoal bricks of historic hutongs and creates a strong backdrop to the superframe. Standalone corner fins are an elegant solution to housing utilities. The bronze will change colour as it ages – a fitting metaphor for the ever evolving city and its constant flow of frenetic stimuli. The first three levels of the hotel are visually treated as one super plinth: full height louvred glazed panels are uniformly divided by the vertical components of the superframe. This is literally transparent architecture. The Hutong Courtyard behind the 12 storey 170 bedroom main block was designed by Ma Bingjian, the Director of the Beijing Ancient Architecture Design Institute. Inspired by Ming architecture, it provides more luxurious accommodation.

Michael Krauze, Director of Operations at the Waldorf Astoria Beijing, welcomes guests: “We offer a sanctuary just steps from the Forbidden City where Beijing’s superior heritage meets Waldorf’s legendary elegance. Every space is a journey that blends the ancient soul of the Capital with contemporary sophistication. A sincere and elegant service is deeply rooted in the cultural fabric of the city. Our interiors designed by Yabu Pushelburg balance bold contrast with timeless tradition. Every detail reflects exquisite craftmanship creating an atmosphere of refinement. This philosophy extends into every element of our service from checkin to the care of personal concierges, we’re always ensuring every detail is seamlessly arranged.”

Anyhoo, that’s the formalities over. What’s that blast of Channel V music coming from corner Suite 918 on the ninth floor? High above St Joseph’s Church and The Gundam Base on Wangfujing Avenue and Beijing Yintai Jixiang Office Building on Ganju Hutong and Peet’s Coffee in the Macau Centre there’s a non stop party taking place. Lobby, makeup room, drawing room, bedroom, lobby, Aesop goodies filled marble bathroom … it’s like living in a multi compartmented silk and lacquered cabinet. There’s the temptation lurking to never leave best in class Suite 918. By day five bay windows frame the city; by night five bay windows frame the party. The viewer becomes the viewed.

Who needs to venture out to an art gallery when you’re staying in the Waldorf? One of the many strikingly original important artworks hangs in the ground floor Long Gallery – an interior boulevard of desire. A sign next to Abandoning the Precision of Shape by Liu Xiaodong states, “A stunningly evocative oil on canvas painting of the Forbidden City, evoking a timeless dimension where the viewer of the piece is requested to think about the image’s common sentiment in our memory and to question the way we view the outside world.” The artist emerged as a leading figure in 1990s Chinese Neo Realism and has continued to successfully tread the line between figurative and conceptual art ever since.

The Palace Servant by Ling Jian is a powerful showstopper at the end of the Long Gallery. An oil and acrylic painting of an outsized androgynous face has piercing eyes and wedding dress red lips pursed ready to speak and more. In Peacock Alley – a lounge named after the walkway between the original Waldorf and Astoria Hotels – Scattered Aesthetic and Concrete Depth by Chi Peng is a mixed media abstract combining craft and art telling the history of painting on materials other than canvas. An ink on ice paper artwork hangs in the entrance foyer: the two twin teacups and saucers of Shao Fan’s Integrated with the Universe speak of the Taoist concept of being integrated with this world. In a first floor lobby, a cluster of vitrines display Waling Artist in the Wild by Yang Maoyuan. Using classical marble busts as prototypes, he rounds off features and polishes the edges of heads in a conversation about the Chinese philosophy of beauty and harmony.

An absolutely flawless effortless seamless peerless airport to car to suite journey is partly to blame for us not ever wanting to leave. Suave concierges in black and tan uniform rush to open car doors, entrance foyer doors, lift doors, suite doors and later come laden with cake and fruit and bear buddies to welcome in the night. Sunrise, sunset, swiftly fly the hours, seedlings turn overnight to sunflowers, blossoming even as they gaze.

Leave the suite leave the suite leave the suite. Ok, but only for breakfasting downstairs in Brasserie 1893. A Bear Buddy’s Breakfast Menu on our table lists Golden Toast Boats (buttered toast served with maple syrup and berry cream), Crispy Fried Double Layer Milk Roll (served with chocolate sauce, shredded coconut and roasted pistachio) and Dragon Onion Rings. Tempting but nothing beats Tofu Pudding (yellow fungus and egg sauce, spring onion, chilli oil) and Fried Dough Sticks with Soy Milk. That, plus hawthorn strip and snow leopard melon cubes. Red Velvet Croissant (looks like it’s wrapped in streaky bacon outside; burst with cream inside), celery and grapefruit juice, and coffee with sugar crystals of course round off the morning’s sojourn. Sino French cuisine at its finest. This is our winter of content.

Zijin Mansion is the Michelin starred restaurant in our hotel but that’s another story on another storey.

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Architecture Art Design Developers

St Joseph’s Catholic Church + Wangfujing Church Beijing 

A Colossal Hope

“We live in a word based universe. That’s the key of the logos for me. This universe is not simply a product of natural unguided forces. It is a product of a rational Creator,” says mathematician and theologian Professor John Lennox. “As you get nearer the end hope should get brighter.”

Religion is the hurrah of the unoppressed creatures, the heart of a loved world, and the soul of soul felt conditions. It is the opium of the people. And why not? Subversive solace of the higher kind along this fleeting avenue. St Joseph’s Church (also known as the Wangfujing Church) has had an eventful past. In the 12th year of his reign, 1655, the Sun Zhui Emperor of the Qing Dynasty granted two Jesuits missionaries a courtyard. The Italian Father Louis Buglio and the Portuguese Father Gabriel de Magalhauens built a church on the site.

In the 59th year of the reign of the Kang Xi Emperor, 1720, the church and its outbuildings collapsed during an earthquake but they were rebuilt the following year. In the 12th year of the Jia Qing Emperor, 1807, the church library and most of the outbuildings were destroyed in a fire. The Emperor then ordered the church to be demolished and just one outbuilding remained as a prayer house. Bishop Louis Gabriel Delaplace raised overseas funding to erect a new church in 1884. During the Boxer Rebellion, on 13 June 1900 history repeated itself and the church was demolished. So far so not so good.

The Jesuits rebuilt St Joseph’s in 1904 in an uplifting Romanesque Russo French style. It’s constructed of stone as grey as the brick of the adjacent Ganyu Hutong. Why have one belltower when you can have three? A fearfully and wonderfully made domed acoustic trinity. The first half and more of the 20th century continued to be pretty rocky. The church was closed in 1966 during the Cultural Revolution but then in a change of fortune the Beijing Municipal Government under Paramount Leader Deng Xiaoping funded its restoration a decade later. St Joseph’s has been an active church and tourist attraction ever since reopening on Christmas Eve 1980. At Sunday morning Mass, a full congregation heartily sings in Mandarin, facing a white baldacchino (replicated outside) below crystal chandeliers. Words matter. Zànměi zhǔ!

“The anchor point in the end is that the logos became human and we beheld His glory: a human being in which God encoded himself in Christ,” says Professor John Lennox. “The hope for the future depends on the events of the past. There’s a new world coming. And it’s going to happen.”

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Architects Architecture Art Design Developers Hotels Luxury People Restaurants Town Houses

Lavender’s Blue + Beijing

Like You Never Went Away 

You’re everywhere. Empirically attractive, imperially gorgeous. Positively pulsating with pulchritude. And as for this current megalopolis: it’s the acme of urban aspiration and cultural inspiration. Amongst the jade and jardines and jacquard silks; amidst the mist shawled vales and curlicued dragons and parasol clutching mandarins; centrist centring on the premier international consumption hub to the east of the world’s longest central axis, we’re doing our germane best for Sino Anglo Irish relations. Recalling the sinistral Ming and Qing dynasties; admiring the syncretic Xi Jinping era. Our very own white lotus revolutionary revelation has begun. Focusing on the glimmers. Hypnogogic mesmerisation; pedagogic realisation. We’ll always remember you dancing under city lights.

In years to come, looking back over Lavender’s Blue, reflecting on its modest commission to simply brighten the reader’s day, this record of a midwinter’s visit to Beijing – pics and prose capturing the paradigm of a paradisal time – will surely be seen to have delivered that meek mission. Although the ending of Marcel Proust’s 1913 The Way by Swann’s does caution, “The places we have known do not belong solely to the world of space in which we situate them for our greater convenience. They were only a thin slice of contiguous impressions that formed our life at that time; the memory of a certain image is only regret for a certain time; and houses, roads, avenues are as fleeting, alas, as the years.”

Wherever there’s the high life there’s Lavender’s Blue. Especially on days ending with a Y. Perhaps it really is then an infrangible storehouse of exquisite epiphanies with a strong dose of chimerical aestheticism. A finely hewn form of winsome writing and formidable photography. Savour each missive from our Champagne fuelled truffle laden foam light caviar heavy production line of epigrams and epiphanic imagery. Dithyrambic ramblings are us. Think Felicità. Like very fine wine, Lavender’s Blue is an acquired taste. But – health warning – those who remain intellectually alert enough to sup at this fountain will end up addicted. We’re talking opium level.

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Architects Architecture Design Developers Hotels Luxury Restaurants

Michael Manser Associates + Hilton Hotel Heathrow London

So Glad

If Ada Louise Huxtable said you’re good, you’re good. She was the American queen of architectural criticism (died in 2013). The visual counterpart to her literary excellence was Deborah Turbeville the American monarch of the camera (died in 2013). United States creative royalty. “The high priest of High Tech” is how she described Norman Foster (still going strong aged 90) in On Architecture, 2008. The first architecture critic of The New York Times (reigned supreme from 1963 to 1981), Ada was blessed with good looks and a way with words: “The English architect Norman Foster is a master of fine tuned exquisitely honed minimal technology. In his choice of materials and structure he uses, with remarkable eloquence, a fastidious aesthetic that derives from engineering but quietly makes it clear to the viewer (as with the 1991 exhibition rooms of the Royal Academy of Arts in London) that a series of highly intelligent choices has been made.”

Hilton Hotel Heathrow looks like it was designed by Norman Foster. It wasn’t. It’s unknown if Ada critiqued Michael Manser Associates but if she had it may well have been along the lines that they are the high priest acolytes of High Tech. Completed in 1990, the hotel (formerly known as the Sterling) gets a mention in Flying in the Face of Mediocrity, an article scribed by Alan Powers for the 28 February 1991 edition of Country Life. He applauds how the transparency of High Tech architecture recaptures the romance of travel. The hotel gets a mostly positive reception:

“The question of the traveller’s psychology in relation to buildings comes into play with the recently completed Sterling Hotel by Michael Manser Associates, linked to Terminal 4 at Heathrow. The architectural and planning record of Heathrow is not distinguished, and the hotel occupies an awkward pocket of land in the crook of a spur road. Its dazzling whiteness is impressive, and one immediately reads the skewed plan, with a full height atrium between two banks of hotel rooms. The detailing is High Tech rather than the Miesian style associated with this firm. Interesting effects of shadow and light are achieved with the cutaway end façades, but the whiteness is too insistent, and the way the skew is carried through the plan too diagrammatic and unrelieved. The result is that the sitting spaces feel overexposed in a great hotel ‘landschaft’, and one of the major functions of such a building – to calm and reassure the stopover traveller and provide a human scale in relation to journeys of thousands of miles – seems to be lost.”

Over to the architects, “The requirement was for a four star four hundred bedroom hotel on the south side of Heathrow Airport adjacent to Terminal 4. Our client specifically wanted a landmark building on a tight budget. A very clear spatial and organisational brief from the client allowed us to produce an extremely efficient plan where two blocks of bedrooms flanked a large atrium within which were all the public areas. The hotel was designed, built and opened in 27 months, including the planning process. The hotel was the first in the UK planned around a central atrium, was the first to use cement particle board for partitioning and developed an entirely bespoke but economic external cladding system. The huge atrium, with extensive views east and west creates a dramatic effect. The arrival at the hotel certainly sparks a level of theatre and drama not normally seen at airport hotels.”

Moving on, central lounge as airport hangar, a spectacular solid plane to glass expanse ratio, making a virtue out of fire escapes as elegant as Art deco diving pool spiral staircases, the Heathrow Hilton Hotel is a bold statement aging well. That’s the thing about architecture ahead of its time: four decades later it looks contemporary. There’s been a recent atrium refurb by Hirsch Bedner Associates. Associate Director and project lead Matteo Pace states, “All too often airport hotels lack character and imagination, so we were thrilled that Hilton were open to us being creative, allowing us to design a welcoming space that is connected to nature. Located at one of Europe’s busiest airports, the public spaces at the Hilton need to cater to all guests. Be it leisure or corporate visitors, we wanted to create somewhere that they can really enjoy and that enhances their travel experience through inspiring, thoughtful design.” A sculptured chandelier radiating over reception and wooden walls echoing “the undulating British landscapes” are resultant highlights.

What’s it like to stay in these days? Well there’s a catwalk straight from the hotel to Terminal 4 Departures. A Planet Burger (plant based patty, tomato chutney, gem lettuce, smoked Applewood, red onion, pickles, potato bun, plant mayo, fries) in the atrium restaurant is a good distraction from onward destinations. As is the gaggle of gorgeous Emirates airhostesses gathering in reception. The diamond shaped plan means the atrium is sandwiched between two cliffs of sleeping accommodation. A backlit pixelated map of Europe takes the place of meaningless art in each guest room. Crabtree and Evelyn toiletries encircle a Porcelanosa teardrop basin in the en suite bathrooms. A triangular wedge of precious green and blue outdoor space is attached to the rear of the hotel offering fresh produce. Ada Louise Huxtable would approve: to her sustainability was always more than just design.

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Architecture Country Houses Design Developers Hotels

St Ernan’s House + Island Donegal

A Memory of A Memory

A shimmer of morning light rushes across the motionless water and in a flash illuminates the house in a golden glow. The dash and hue of nature dictate the hurried glory of sunrise. Is this Ireland’s most beautifully situated house? Where are the contenders? Little wonder it has sent countless photographers into ecstasy, numerous architectural historians into a frenzy, and even inspired a novel. County Donegal: that’s the location. Donegal Town: that’s the nearest cèilidh. St Ernan’s House on St Ernan’s Island: that’s the never forever home.

First the literary giants who paved the way. Mark Bence-Jones gives it his best shot in A Guide to Irish Country Houses, 1978, “A house on an island in the estuary of the River Eske, built early 19th century by John Hamilton of Brownhall; then passed by John Hamilton’s daughter Annabella, wife of A H Foster. Subsequently owned by Henry Stubbs, who largely rebuilt the house, so that it became late Victorian in character, with gables and ornate bargeboards; but with a pillared porch, which was probably a surviving early 19th century feature. In the present century, it was the seat of the Honourable Matthew Fitzmaurice-Deane-Morgan, afterwards 6th Lord Muskerry.”

And then there’s Professor Alistair Rowan who spoke so eloquently and movingly at the much loved Dorinda Lady Dunleath’s Memorial Service in 2022. He writes in his Guide to Northwest Ulster, 1971, “This was the island retreat of John Hamilton of Brown Hall (1800 to 1884), the author of Sixty Years Experience as an Irish Landlord. Mr Hamilton took a romantic fancy to the island, laid out a pretty garden on it, with a wall round the shore, and built a two storey Regency style cottage there between 1824 and 1826. It is five windows long with a continuous verandah running the length of its front across canted bays at either end. The setting is indeed glorious, but the romantic whim of a young and newly married proprietor proved inconvenient. For most of each day the island was cut off either by the tide or, worse, by impassable shallows of mud. The construction of a causeway, despaired of by professional engineers, was achieved by Hamilton with free labour from the surrounding country.”

The most complete history is The Story of St Ernan’s, an undated booklet compiled by George Seaver and based mainly on John Hamilton’s Memoirs as well as “memories of some old folk communicated verbally to the compiler”. It opens with references to the eponymous saint, an acolyte of the better known St Columbanus. In circa 640, St Columbanus was buried in a monastic settlement to the south of Donegal Town. Red Hugh O’Donnell would build a Franciscan Abbey in the same area in 1474. “It may well have been the Friars there who gave the name of St Ernan to the island,” George reckons.

He writes, “The house owes its existence to a moment of impulse on the part of a wealthy young landowner of ancient Scottish lineage named John Hamilton, proprietor of Brown Hall in the neighbouring parish of Ballintra.” John was born in Dublin in 1800 and orphaned age seven, he and his siblings were brought up by their grandmother Lady Longford of Pakenham Hall in County Westmeath (now known as Tullynally Castle) and their relatives in Dublin. He married Mary Rose of Dublin in 1823 and they took up residence at the family estate of Brown Hall before selling their share to John’s brother. Around that time, John took a novel approach to solving a local argument: “There was a dispute between two of his tenants who had grazing rights for sheep on St Ernan’s Island, and he rode over from Brown Hall to settle it. It was, he wrote, a beautiful day in September; the tide was in, the sun was shining, the view was delightful. ‘I settled the dispute by taking the island for myself.’” Two years later, the happy couple moved into a newly built cottage on the island.

There was a practical issue as Professor Alistair Rowan observed. Accessibility. At low tide one could wade across to the island; at high tide one could row; at half tide, neither. “A rapid current flowed through the channel from south to north,” George records. “John Hamilton resolved to block it up entirely and thus deflect the current from its course to form a new channel through a sandbank that lay between St Ernan’s and Rooney’s Island to the south of it. Employing up to 100 men at a time he started building a dam reinforced with large round stones across the channel from both ends at once.” Equal opportunities were at work although it would be even more surprising if indeed it was free labour as Alistair claims. “One morning, hardly had a strong party of Orangemen from a Yeomanry Corps arrived from a village six miles away, than another party of equal force who were Roman Catholic Ribbonmen appeared from a mountain property even farther distant in an opposite direction.” The combined workforce got to it and completed the causeway over six weeks during a hot and dry summer.

“The completion of the causeway enabled him to transform the house on the island from a cottage to a substantial mansion with stables and coach house, a barn and various sheds, which grew with the years,” George notes. “The immense quantity of stone for their construction came from the Drumkeelin quarries above Mountcharles. These abound in a hard durable sandstone of a tawny mottled blue, laid in horizontal strata of convenient thickness easily sawn into the required size and shape like slabs of cake.” The rubble used to mortar the freestone was a soft limestone found on the shore close to where the gatelodge was later built, mixed with sand and ox blood. Horse drawn carts of building materials trundled across the causeway as the beauty of the house took shape.

He continues, “It is certain that the back door, heavily buttressed and with an early 19th century fanlight above it was the original front door; and the present front door, with two flights of steps below it leading down to an open space for cars, was a much later addition. Indeed, the entire south front of the house including the morning room and large drawing room and bedrooms and attic above them are also comparatively modern. The ‘garden close’ of 1826 became in course of time a high walled space of flowers embowered with various trees and some rare shrubs (from Ardnamona), interwoven with a maze of wood walks which led to a large stone bench at the end of the Island. It is still there and still known as Abraham’s Seat (the Reverend Abraham Hamilton was once John’s guardian uncle) and it commands a view of one of the most significant seascapes in Ireland.”

John Hamilton became a Christian in 1827. “What was traditional religion now became personal, and to the end of his life a vivid and earnest faith showed itself by a self denial, a thoughtfulness for the good of others and a sense of justice, combined with a liberality of mind and a freedom of enquiry not easily confined within the then popular systems or religious beliefs. He was in fact ecumenically minded generations before the idea had occurred to churchmen, because the Christian faith was for him personal discipleship rather than a system of ecclesiastical or doctrinal shibboleths.” John launched a Sunday school and Bible class in a schoolhouse he built on the edge of his estate, attracting 1,200 attendees. John donated to both Church of Ireland and Catholic church building. “In 1829, the year of Catholic Emancipation, he was active in suppressing, more than once at personal risk, demonstrations of belligerent Orangemen.”

John continued to put his faith into practice at the most traumatic time in Ireland’s history. According to George, “His exertions for the welfare of his tenantry during the terrible years of the Potato Famine were such that not one became an inmate of the union workhouse or died of starvation, and the only death that occurred on his property was attributable to other causes. It must have been during these years that as a measure of finding employment he encircled the entire island with a ‘famine wall’ 10 foot high, and extended the same operation to the opposite shore.”

Father John Doherty was the Parish Priest of Donegal Town and, despite his general opposition to the landlord system, told the Derry Journal in October 1880, “In all Ireland there never was, nor is there, a more considerate and humane landlord than the good and kind hearted proprietor of St Ernan’s. I know the pulse of his tenants well, and I know of my own knowledge that they honour him, respect him, and love him for personal kindness and friendliness towards them, and for his sympathy in all their worldly fortunes and mishaps. They regard him more in the light of a friend and benefactor, like his Master ‘going and doing good’, than as a landlord.” John Hamilton would die four years later.

His daughter with her husband Arthur Hamilton Foster inherited St Ernan’s. The property was sold after Arabella’s death in 1905 to Henry Stubbs (suggesting the Victorianisation mentioned by Mark Bence-Jones would have more likely been carried out by the Fosters). It was next bought by the Muskerry family and passed to Alma Elimina Blanche West in 1954. George Seaver notes, “Having a home of her own in Wokingham and a sufficiency of worldly goods, she wanted neither to occupy nor lease it.” Instead, Alma donated St Ernan’s to the Representative Body of the Church of Ireland and until 1983 it was used as a retirement home for clergy families before becoming a hotel.

Gillian Berwick includes St Ernan’s in Splendid Food from Irish Country Houses, 1990, “St Ernan’s House (now Ernan Park) on the 8.5 acre St Ernan’s Island near Donegal Town is close to some of the most beautiful scenery in this scenic county. Its creator sited his house on the low point of the island to protect it from the wild Atlantic winter gales. He built protective walls so that he could cultivate trees, and laid out attractive walks around his little domain. The restored interior of this manor house is strikingly beautiful with antiquity, colour and pattern inspiringly blended. As befits such a house, service is personal and charming. The views along the Atlantic Coast are of miniature white farmhouses and tiny sheep dotting the distant hills like a stage setting. It is an image of Ireland that people dream about. The gracious dining room glows with warmth. The cuisine is well nigh perfect. To stay at Ernan Park is to live a little.”

Hotel recipes in Gillian’s book include Stuffed Aubergine, Baked John Dory with Fennel Sauce and Strawberry Cheesecake with Irish Whiskey. Sounds like the components of a great three course dinner! An accompanying sketch by the Dublin based late architect Jeremy Williams shows the interior of the bay window with its coffered semi dome. The guide states there were 11 bedrooms: bed and breakfast was priced from 28 to 39.50 Irish Punts. Five course dinner, 17.50 Punts. The proprietors were Brian and Carmel O’Dowd and the hotel was open from Easter to the end of October each year. The hotel closed in 2010 and the building and island returned to use as a private residence and demesne.

St Ernan’s Blues is the intriguingly named 2016 novel principally set on the island. It is part of a mystery series by Magherafelt County Derry born London based Paul Charles featuring Inspector Starrett. “A lone building on a small island off Ireland’s Donegal coast, St Ernan’s is politely known as a ‘retirement home’ for priests. The exiled residents are guilty of such serious offences as entrepreneurship, criticising the Church, or getting too friendly with the flock. But things take a turn when Father Matthew McKaye is found dead in the kitchen. Has one of these isolated outcasts committed murder?” Although never used to house errant priests, the clergy connection is historically accurate albeit relating to ‘the other sort’ to use a colloquialism.

“Situated right at the mouth of the River Eske in Donegal Bay, Donegal Town or Fort of the Foreigners, was the town that gave its name to the county,” explains Paul. He describes how tricky it is to find St Ernan’s Island despite its position close to the town, before eulogising on the local natural beauty. “The thing about autumnal mornings in Donegal is that the sun, as it lights up every corner of the rich tapestry of fields; hills; mountains; trees; rugged hedges; blue heavenly skies; faint white clouds and all creatures great and small, does tend to show off our Creator’s magic in all its spiritual glory.” And on wintry mornings as well.

An entry in Ireland’s Blue Book of Charming Country Houses and Restaurants, 1996, states: “Quietly situated on a wooded tidal island, connected to the mainland by a causeway, St Ernan’s offers the perfect respite from the hectic pace of everyday life. There is a unique warmth and sense of serenity at St Ernan’s. It recaptures the charm of the past – quietude in a relaxing friendly atmosphere. The house, built in 1826 by John Hamilton, a nephew of the Duke of Wellington, has 12 bedrooms, each with a private bath or shower, telephone and television. Most have stunning views of the sea and countryside. The dining room is one of country elegance where the cuisine is based on fresh local produce. From this perfectly situated house the countryside may be explored. There are several excellent golf courses nearby. Horse riding, fishing and bicycle hire are also available locally. St Ernan’s offers the perfect escape from the pressures of modern life to the finest traditions of Irish country house hospitality.” As well as recording an additional bedroom, the Blue Book includes increased rates. Bed and breakfast ranged from 55 to 52 Punts. Dinner was 26 Punts.

The house is as deep as it’s wide: the north, east and south fronts are arranged around a west facing courtyard. Until recently it was painted pink, except for the window surround quoins and verandah columns which were picked out in white. An early 20th century photograph shows the ground floor either painted a dark colour or unrendered. The current pale cream colour scheme works well, changing tone as often as the unpredictable Donegal weather. The two storey east front is the most visible elevation from the mainland. A full width slimly columned verandah stretches across the whole of the ground floor and beyond, terminating in angled walls providing further shelter. The three middle bays of both floors have typical Georgian sashes. The outer bays of the ground floor have three sided chamfered projections: the righthand one has typical Georgian sashes; the lefthand one has very narrow sashed openings. This narrowing is the only element of asymmetry on the otherwise perfectly balanced elevation. The outer bays of the first floor have paired sash windows divided by a mullion.

In contrast to the late Georgian or Regency appearance of the east front, the two storey plus attic south front looks more Victorian. Gabled projections with frilly bargeboards stand tall on either side of an asymmetrical two bay setback. The lefthand projection has two paned sash windows; the righthand projection has quoined corners and Georgian sash windows to the first floor and attic above a large Doric pilastered and corniced bowed extension with five two paned windows. A conservatory projects from the central setback under two paired sash windows divided by mullions. The two storey six bay with attic and visible basement north front is plainer and looks the most Georgian due to a proliferation of multipaned sash windows, except for the two storey extension with its larger pane sash windows. It has just one gable to the left of the slate pitched roof. The west front comprises the courtyard with irregular gabled late 19th century extensions.

Rubblestone walls line the 190 metre long causeway linking the island to the small peninsula of Muckros. The 3.4 hectare roughly oval shaped island, now densely wooded, stretches to just over 300 metres at its widest point. At the far end of Muckros, close to the main road between Donegal and Ballyshannon, stands the gatelodge to St Ernan’s House. Kimmitt Dean (mostly) admires it in Gatelodges of Ulster, 1994, “Circa 1845. A pretty little lodge delightfully situated defending the entrance to a ‘furlong of causeway built by his grateful tenantry’ for John Hamilton, to save him from Atlantic tides on his approach to a retreat which he built in 1825. He had become disenchanted with Brown Hall which he had inherited on his father’s death in 1811 [which contradicts George Seaver’s account of John being orphaned age seven]. A one and a half two up two down Picturesque cottage with ornamental serrated bargeboard to gables. One elevation aligned obtusely with the entrance gates, a single storey canted bay window looks on. In uncoursed square masonry now painted over, a flat roofed rear return and entrance hall recently added are hardly compatible.” The gatelodge is closest in style to the south front of the big house. County Donegal: wild. Donegal Town: wild night out. St Ernan’s: wildness tamed.

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Architects Architecture Country Houses Design Developers People Town Houses

Charlton House Charlton London +

Red Not Dead

The mid 20th century County Down housebuilder Joseph Gribben always advocated building in brick, especially the rustic textured variety, and recommended constructing tall chimneys that would allow smoke to blow above the roof ridge. He would appreciate Charlton in south London. High on a hill, the principal buildings circling the summit are all red brick and there are plenty of tall chimneys. Bridget Cherry and Nicholas Pevsner record in their Guide to South London Buildings (1983), “The old centre of the meeting of Charlton Road and Charlton Church Lane is small, and still has some village character, although it is surrounded by later 19th century and 20th century housing on all sides. Apart from the 17th century Church of St Luke, and Charlton House and its outbuildings, no buildings visibly of before the 19th century remain in the village centre although the attractively stuccoed Bugle Horn Inn is of late 17th century origin.”

Ah Charlton House, a miraculous half a millennium survival. It’s even still positioned in a parkland setting. Bridget and Nicholas describe its origins: “Built by Sir Adam Newton, tutor to Henry Prince of Wales, circa 1607 to 1612. Later owners were Sir William Ducie, who made repairs in 1659, Sir William Langhorne, East India merchant, after 1680, and in the 19th century the Maryon-Wilson family, for whom Norman Shaw restored the house and made minor additions in 1877 to 1878. Acquired by the Borough in 1925. Charlton House is the only Jacobean mansion of the first order remaining in the precincts of London. The plan is E shaped with four symmetrical bay windows at the ends of the four wings and two towers in the centres of the two wings, framing the building when seen from the west of east. The building is of three storeys above capacious cellars, built of red brick with pierced open tracery. The towers have ogee roofs. It is of plain and angular, spacious but not at all luxurious, with the exception of the west frontispiece, that is, the door surround and the bay window above which suddenly breaks out into the most exuberant and undisciplined ornament – the work of a mason probably who possessed a copy of Wendel Dietterlin’s Architectura of 1593 and a rare case of close imitation.”

And then the writing duo go inside, “The most remarkable feature of the interior is the position of the Hall, just as revolutionary (though not unique in Jacobean architecture) as Inigo Jones’s at the Queen’s House. it is two storeyed, placed at right angles to the front and back, and runs right across the building. Above it on the second floor in the Saloon reached by an elaborately carved staircase, quadrangular with a square open well and the flights of stairs supported by posts which between ground floor and first floor form palm branches in cases. The sloping pilaster balusters progress through the three orders from ground floor to top landing. The plasterwork is Victorian. The saloon has an original plaster ceiling with pendants and a marble fireplace with restrained architectural ornament to the overmantel above finely carved figures of Venus and Vulcan. This is very much in the manner of Nicholas Stone. In the bay window is circa 17th century heraldic glass with the Ducie arms. on the same floor the north wing is taken up entirely by the long gallery, also with a good plaster ceiling. The original panelling has gone except for pilasters by the windows. In these, more heraldic glass with the Ducie arms. The gallery is reached from the saloon by the white drawing room whose stone fireplace with two tiers of caryatids, three dimensional strapwork, and relief scenes makes the marble one in the saloon appear very classical.”

Finally, back to the great outdoors again, “Of outbuildings the stable to the south are contemporaneous with the house, now arranged on two sides of a quadrangle. Remanagements [sic] under Sir William Langhorne are easily discernible. In front of the entrance on the lawn a solitary gateway, plastered, with Corinthian columns and an 18th century cresting. To the northwest of the house, a handsome summerhouse of circa 1630, brick, square, with Tuscan pilasters, and a concave roof. There is no documentary confirmation of the traditional attribution to Inigo Jones, but the complete absence of Jacobean frills at evidently such an early date makes it quite justifiable. Nicholas Stone would also be a possibility.” The ski slope roofed Grade I summerhouse or lodge, a pepper pot pavilion, is now a public convenience (or rather inconvenience – it’s shut).

Armed with the wealth of knowledge Pevsner Guides are so adept at summarising, a decade ago Aimée Felton, Associate at leading architectural conservation practice Donald Insall Associates, led an Irish Georgian Society tour of Charlton House. Here are the highlights. Over to Aimee, “The lodge is widely attributed to Inigo Jones. Of course it is – he did most of Greenwich! Someone once attributed the lodge to him and it stuck.” She is undertaking a conditions survey as part of a long term masterplan of the house and estate. “A variety of historic fabric is remaining. Some in my opinion was later heavily edited by the various occupants. And heavily rebuilt following bomb damage.” This is most obvious in the north wing where the original imperial red brick and whitish grey stone have been patched up with metric red brick and yellow stone. These mid 20th century repairs included placing the sundial upside down.

“It’s the best Jacobean house in London and is of pivotal importance to its era,” Aimée declares. “It displays a full modern appreciation of flow and sequence of rooms. An H plan was so innovative. There are lots of Jacobean Houses of E plan and E without a tail, but not so many H. Charlton is first in its class: to walk in through the front door and see its garden beyond. The axis though the building is what makes it so special. The Kitchen was always on the north side of Jacobean houses to cool dairy produce and meat, with bedrooms above as heat rises. But this house is laid out to take in the views to the north towards the river and to the west to the King in Greenwich. This is a really bold statement and the only Jacobean house with a north facing gallery.”

The first floor Long Gallery stretches the full length of the north elevation. Like much of the house, the Long Gallery is an architectural puzzle. Aimée highlights, “The floor and ceiling are original but the panelling isn’t. Charlton has some of the best fireplaces of the Jacobean era. The Long Gallery marble and slate one is odd but exquisite.” No architect is recorded. “There is incredibly scarce information both on the Jacobean era and Charlton. You’ll notice I say ‘attributed to’ and ‘we suspect that …’ a lot!” At least there’s a keystone dated 1607 on the main block and one dated 1877 on the wing and the staircase is engraved 1612.

Sir Spencer Maryon-Wilson sold the house to Greenwich Council and auctioned the contents in 1920. The house has been used ever since by various community bodies. A public library is now in the former ground floor Dining Room and Chapel and a café occupies the Hall. Donald Insall Associates are tasked with applying a holistic approach to its fabric and future use or uses. Furnishing rooms in the original period like a National Trust house is not an option. “There simply isn’t enough Jacobean furniture,” she says. “Even the V and A wouldn’t have enough and any pieces it has are so special they’re kept in glass cases.”

There’s plenty of pictorial evidence of how the rooms were furnished in the latter Maryon-Wilson years. Aimée smiles, “If you can’t find a decent photo of a country house look in Country Life because someone is always bragging about their home!” Charlton House is no exception. Monochromatic images of the early 1900s show the interior chockablock with traditional brown furniture and taxidermy and tapestries. This eclecticism is reflected in later plasterwork. She points out the ceiling in the Prince Henry Room which isn’t original. “The cornice is beyond wrong! As offensive as the ceiling is, it’s a nice ceiling, but one that’s just not for this house. Just because it’s not right though doesn’t mean it shouldn’t be preserved to show history. Everyone has their oddities and we just move on.” Much more in keeping with the original architecture is the 1877 extension to the south, now a wedding venue. Unsurprising as Bridget and Nicholas record it was designed by that great historically aware Arts and Crafts architect Norman Shaw. Aimée sums up the extension as, “Jacobean with a Shaw twist.”