The National Windrush Monument (right) was unveiled at Waterloo Station on Windrush Day (23rd June). The bronze sculpture – the work of US-based Jamaican artist Basil Watson – memorialises the British West Indian immigrants who came to the UK on board HMT Empire Windrush in 1948 and later ships and who subsequently became known as the Windrush generation. Funded by a £1 million government grant, it depicts a man, woman and child who, dressed in their “Sunday best”, are climbing a pile of suitcases which represent all the possessions they brought with them. The memorial, which is located inside the station through which thousands of the Windrush Generation passed on their way to their new lives in the UK, was unveiled by the Duke and Duchess of Cambridge. Floella Benjamin, chair of the Windrush Commemoration Committee, reportedly said the monument will “act as a symbolic link to our past and a permanent reminder of our shared history and heritage for generations to come“. Meanwhile, a public bronze sculpture was unveiled outside Hackney Town Hall on the same day which also commemorates the Windrush generation. Warm Shores, the work of London artist Thomas J Price, depicts larger than life-sized a man and woman and was based on 3D scans of real-life residents.
• The largest collection of Spitfires gathered under one roof can be seen at the Imperial War Museum Duxford’s AirSpace hall. Twelve of the iconic planes have been gathered at the airfield, often referred to as the “home of the Spitfire”. Spitfire: Evolution of an Icon, which is being accompanied by a programme of tours, talks, events and family activities, shows how the plane evolved throughout World War II in order to keep pace with German aircraft development. As well as the IWM’s iconic Mk Ia Spitfire, the display also features Mk V, Mk IX and Mk XIV models. The Spitfires be seen until 20th February. Admission charge applies. For more including details of events, head to www.iwm.org.uk/events/spitfire-evolution-of-an-icon.
• A new exhibition focused on photographs of iconic 70s and early 80s band The Jam opens at the City of London Corporation’s Barbican Music Library tomorrow. True is the Dream features the photography of Derek D’Souza who has captured the band and frontman Paul Weller, who went on to found The Style Council, on film over several decades. D’Souza’s work include a career-defining shoot of the band at Chiswick House. The display is free to see until 16th May. For more, see www.barbican.org.uk/whats-on/2022/event/true-is-the-dream.
• The Waterloo & City line has reopened following a brief closure over Christmas. The London Underground line, which connects Waterloo to Bank, was temporarily closed by Transport for London in late December following increasing COVID cases in the capital and the impact on staff absence. Meanwhile, the Bank branch of the Northern line (between Moorgate and Kennington) for 17 weeks from 15th January to allow for upgrade works.
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A sculpture created for the 1951 Festival of Britain has returned to Waterloo Station where it was first displayed almost 70 years ago. The work of Hungarian-born artist Peter Laszlo Peri, The Sunbathers features two figures – made from ‘Pericrete’, a special kind of concrete created by the artist as a cheaper alternative to casting in bronze – and was mounted on the wall close to the station’s entrance. It was presumed lost until it was rediscovered in 2016 at the Clarendon Hotel in Blackheath and, following restoration, was put on show in 2017 in the Southbank Centre’s Royal Festival Hall. Now, thanks to the efforts of Historic England and Network Rail, the sculptures have returned to the station, close to its original site, and will stay there for five years. PICTURES: Courtesy of Network Rail
Looking for something to brighten up those grey wintry days? The VAULT Festival returns to Waterloo from today with the launch of eight weeks of shows including everything from theatre and comedy, to cabaret, immersive experiences and late night parties. One of the largest curated arts festivals in the world, it takes place over 18 different spaces located across Waterloo and South Bank with the central hub located underground in The Vaults on Leake Street. This year’s festival, which runs until 22nd March, features more than 600 shows including a diverse range of both experienced and emerging artists and, according to directors and producers Mat Burt and Andy George, “offers a platform for “underrepresented voices and stories to be heard”. The full programme and tickets are available at vaultfestival.com. PICTURES: Images fro VAULT Festival 2019.
• London’s largest arts festival, VAULT, kicks off next Wednesday in Waterloo with more than 400 shows on offer. Taking place across a range of venues including the main festival hub, The Vaults below Waterloo Station, as well as pop-ups in shipping containers, caravans and escape rooms and the festival’s new space for immersive events – Unit 9, highlights of the seventh festival include the Belarus Free Theatre’s production of the immersive Ukrainian folk opera Counting Sheep, the Lucy Jane Atkinson-directed play Vespertilio, and the comedy of Ciarán Dowd – winner of “best newcomer” at the Edinburgh Comedy Awards. There’s also a twilight program – featuring the VAULT Comedy Showcase – from 10pm on Thursdays and Fridays and a series of Lates including Launch Party: Hype Time featuring the eight-piece New Orleans band Brass Funkeys, blues band Slow Mojo and special guest DJs including Hazel Marimba. The festival runs from 23rd January to 17th March, from Wednesdays to Sundays (times vary). For a full programme of events and tickets, head to vaultfestival.com. PICTURE: VAULT Festival’s 2019 “class photo” (courtesy of VAULT)
• The joy found in communities making music together is explored in a new exhibition which opened at the Barbican Music Library in the City of London this week. Making Music Together: A celebration of leisure-time music in the UK shows how 13,000 leisure-time groups gather to play and perform a wide range of music – from jazz and folk to classical and barbershop – in locations ranging from houses and garages to halls, theatres and fields across the country. The exhibition, held in conjunction with Making Music – the UK’s largest organisation for leisure-time music, will feature posters, films and quotes by contributing Making Music member groups as well as specially commissioned portraits of leisure-time musicians. Runs until 23rd March. Free admission. For more, see www.barbican.org.uk/your-visit/general-info/library.
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• The annual festival of illumination known as Lumiere London returns to the capital for a second time from tonight with more than 50 installations lighting up streets, buildings and public spaces. London’s largest night-time festival, installations in this year’s free event – commissioned by the Mayor of London and produced by arts charity Artichoke – are clustered around six areas: King’s Cross, Fitzrovia, the West End, Mayfair, Westminster and Victoria, and South Bank and Waterloo. The installations include Lampounette – located in King’s Cross, it features giant office desk lamps, Entre les rangs – a field of thousands of flower-like reflectors in Lewis Cubitt Park, Nightlife – a luminous secret garden in Leicester Square which plays with the relationship between wild spaces and urban city life and spills out to include illuminated flamingoes flying over Chinatown, and Northern Lights – a recreation of the aurora borealis in Grosvenor Square, Mayfair. The facade of Westminster Abbey is also among the buildings to be lit up with artist Patrice Warrener commissioned to illuminate the Abbey’s West Towers and Great North Door with his work, The Light of the Spirit. There’s a free app to download and a map can be purchased online for download. For more, include a complete programme, head to www.visitlondon.com/lumiere. PICTURE: Westminster Abbey during Lumiere London last year (Paula Funnell/licensed under CC BY-NC-ND 2.0).
• London’s future built form is up for discussion at a new exhibition opening at the Museum of London tomorrow. London Visions: Hypothetical scenarios of a future presents hypothetical concepts created by leading artists, architects and designers using video installations, architectural narratives and video games. Among the key works on display are: Flooded London – a series of images created by Squint/Opera depicting imaginary scenes of London in 2090 when rising seas have flooded the city; In the Robot Skies: A Drone Love Story – the world’s first narrative shot entirely by autonomous drones operating on autopilot, the film – directed by speculative architect Liam Young and written by Tim Maughan – looks at the possible future use of drones within London council estates; and, Endless Vertical City – a competition-winning design by SURE Architecture which envisions a skyscraper that could house the whole of London. The free display is on show until 15th April as part of City Now City Future, the year-long season of events exploring urban evolution in London and around the world. For more, see www.museumoflondon.org.uk/citynowcityfuture.
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The National Theatre company had been founded 13 years before (although the concept was first proposed more than 100 years before) and was, until 1976, based at the Old Vic close to Waterloo Station.
The new (now Grade II*-listed) premises (which was originally also to house an opera house, although this plan was later dropped) was designed by architects Sir Denys Lasdun and Peter Softly and the structural engineers Flint & Neill. To this day the brutalist design provokes some strong opinions (Prince Charles once described it as “a way of building a nuclear power station in the middle of London without anyone objecting”).
It contains three auditoriums: the Olivier (named for acting great Sir Laurence Olivier), the Lyttelton (named for Oliver Lyttelton, Lord Chandos, first chairman of the National Theatre) and the Dorfman (known as the Cottesloe until 2014, it was originally named for Lord Cottesloe, chairman of the South Bank board which oversaw the building of the theatre, before being renamed after businessman and philanthropist Lloyd Dorfman) and were opened progressively between 1976 and 1977.
While the first performances began to be held in the Lyttelton theatre from March, the complex was only officially opened by the Queen on 25th October with parts of the building still unfinished. Sir Laurence Olivier gives a speech of welcome in the auditorium which bears his name – it is his only appearance on the complex’s stages.
In 1988, the complex was granted the title Royal by the Queen – hence it’s officially the Royal National Theatre – in honour of the company’s 25th birthday.
More than 1,000 people now work on the five acre site which as well as the theatres, features rehearsal rooms, workshops where sets and scenes are created and painted and costumes and props are made.
Since it was founded, the National Theatre has presented more than 800 productions to an audience numbering well into the millions.
For more, see www.nationaltheatre.org.uk.
Given the recent commemorations surrounding the bicentenary of the Battle of Waterloo (including a re-enactment of the arrival of news of Wellington’s victory in London where it was delivered to the Prince Regent), we thought it only fitting to take a look at the use of the name in London.
The name Waterloo, which now refers to a district in Lambeth centred on Waterloo Station, was first used to designate the bridge which crosses the Thames here.
Opened in 1817 as a toll bridge, the John Rennie-designed structure was known as Strand Bridge during its construction but renamed Waterloo at its opening two years after the battle. (Rennie’s bridge was later demolished and rebuilt in the 20th century – the current bridge is pictured above).
The name was also used to designate Waterloo Road and in the early 1820s was given to the church St John’s Waterloo (now St John’s and St Andrew’s at Waterloo) located on the road.
In 1848, Waterloo Station opened and it was after this that the surrounding district, known in past ages for its swampiness (hence streets like Lower Marsh), generally became known as Waterloo.
On 3rd July, Waterloo will host the Waterloo Carnival with a picnic on Waterloo Millennium Green and a procession (for more on that, see www.waterlooquarter.org/news/come-and-support-this-years-waterloo-carnival) while the month-long Waterloo Food Festival kicks on on 1st July. For more on events in Waterloo commemorating bicentenary, see www.wearewaterloo.co.uk/waterloo200/.
Unveiled earlier this month at Waterloo Station to mark the bicentenary of the Battle of Waterloo, the memorial features a supersized solid bronze replica of the obverse side of the Waterloo Campaign medal depicting Nike, the Greek goddess of victory.
The memorial, which was installed on a balcony above the main concourse by The London Mint Office on behalf of Waterloo200 – the organisation overseeing bicentenary commemorations, is dedicated to the 4,700 members of the allied armies who were killed in the battle on 18th June, 1815 (which also left 14,600 wounded and 4,700 missing).
The upsized medal, which has a diameter of 65 centimetres, is a replica of one which was the first to be commissioned for every soldier who fought in the battle, regardless of their rank.
Designed by London-based artist Jason Brooks, the memorial also features a famous quote from the Duke of Wellington on granite: “My heart is broken by the terrible loss I have sustained in my old friends and companions and my poor soldiers. Believe me, nothing except a battle lost can be half so melancholy as a battle won.”
It was unveiled on 10th June by the 9th Duke of Wellington (pictured with the memorial) in a ceremony attended by some of the descendants of those who fought and died in the battle.
Waterloo Station was itself, of course, named in commemoration of the battle (well, indirectly – it, like the surrounding district itself, took its name from nearby Waterloo Bridge which was in fact named after the battle).