Edinburgh's 17th century Tron Kirk

Tron Kirk/Church was commissioned in Edinburgh by King Charles I from Scot­t­ish architect John Myle, as part of the plan to upgrade Edinburgh to city status. And it seems that the timing was critical. King Charles was try­ing to impose an Episcopal structure onto the reluctant Scottish Church. This was just after the bishopric designation of Edinburgh’s High Kirk St Giles in the royal charter of 1633.

Looking along the Royal Mile to Tron Kirk.

Furthermore the location was also significant. The North-West parish congreg­at­ion had been displaced by St Giles’ changing status, and they required a new home. So the new church was built on the Edinburgh's gorgeous Royal Mile.

As the building went up in the 1630s and 1640s, the architectural taste was mixed, reflecting both the cultural tastes and the politics of that period. The side of the Kirk facing Hunter Square looks like a Dutch church or town hall of the same era. Other parts of the building look Palladian, with strong Gothic elements.

Scottish Historic Buildings Trust

 

Change over the centuries was inevitable. For example, the Great Fire of Edinburgh in Nov 1824 ravaged Scotland’s capital. Ten lives were lost and hundreds of families made homeless due to the inferno. £200,000+ worth of damage was inflicted on the south side of Edinburgh’s Royal Mile which included the toppling of the Tron Kirk’s famous Dutch-influenced steeple. The current Tron Kirk steeple, which was a totally new design, was not created until 1828.

The church has been largely closed to the public since soon after WW2 and it was very fortunate to escape destruction. Plans to remove the church were regularly floated in order to improve traffic flow around the busy junction of the Bridges and the Royal Mile. Luckily for Tron Kirk, it became a key part of a large plan to restore the historic heart of the city. The goal was to bring unused heritage buildings back to life as cultural and arts venues.

A restoration programme commenced in 1974 and even then there was a surprise: work on the floor and foundations of the church uncovered the remnants of 16th century shops and dwellings on historic Marlin’s Close. Naturally the site soon became interesting to historians and archaeologists. The excavated remains of the medieval Marlin’s Close have now been glassed over, creating a unique and fascinating window into Edinburgh’s past.

The Kirk’s connections with Hogmanay were interesting. While the winter solstice was celebrated among the Norse in ancient times, the link to the Vikings’ celebration of Yule (then the Twelve Days of Christmas) might also have played a role. Perhaps these pagan winter festivities were not always popular with the stout Scottish clerics of the Protestant Reformation, but this changed. By the late C17th, various areas of Scotland were developing their own Hogmanay rituals including, or perhaps especially Edinburgh.   

                

Edinburgh Hogmanay, New Year's Eve

DanFlyingSolo

As a result, Edinburgh Hogmanay celebrations these days are probably some of the best attended in the world. And in Dec 2012 the Tron Kirk was open, for three hectic days and nights, to people welcoming in the New Year. The title, A Festival of the Extraordinary: The Drambuie Surreal Sessions, might suggest that some alcohol was involved. However the goal was always to help secure the future of the Tron Kirk as a central arts and culture venue in Edinburgh.

Today Tron Kirk Market is run by the Scottish Design Exchange, the company who support local artists and designers. The market provides space for 21 local artists and designers, selling a range of handmade products eg pottery, jewellery, woodwork, original art and prints

Tron Kirk Market

The original stained glass windows are still protected.

The Conservation organisation, Edinburgh World Heritage, submit­ted the plans to the Edinburgh City Council to open a visitor centre in the church. Now approved, this visitor centre will explain the history of the capital's Old and New Towns from inside the 17th century site. Perfect.

Old Parliament House Canberra & museum

Duke and Duchess of York 

opened Parliament House May 1927.    

                                   

The need for a national capital city arose when the colonies united to form the Comm­onwealth of Australia in 1901. The constitution provided that a new national capital should be built half way between Melbourne and Sydney, to avoid jealousy and conflict. The new Australian capital city of Can­berra was fixed in 1908 and the area was formally ceded to the Federal Government in 1911. However the Parliament couldn’t relocate from its interim location, Melbourne, to Can­berra until the new building was ready.

Parliament House was designed by Scottish John Smith Murdoch (1862–1945), the first Common­wealth Government archit­ect in Australia, and a team of assist­ants from the Dept of Works & Railways. The building wasn't int­ended to be permanent or elaborate; rather a provisional building to serve Parliament for 50 years max. It would be a classical building like the Parthenon, but with­out all the ornate details. And it was to look out over Lake Burley Griffin.

Murdoch’s provisional parliament building was to be modest & funct­ional. It was designed on a basic square, which provided the building with regular pro­p­or­t­ions. It was a 3 storey brick building with the principal floor on the middle level. The funct­ional aspect was reflected in all the des­ign, extending to the interior fit­t­ings & furnishings. The faç­ade originally included a grid of recessed openings and balcon­ies, with four bays having arched bronze windows and stepped parapets. The building’s front façade had strong horizontal lines, display­ing only 2 storeys, with higher massed elements behind the faç­ade, indicating the loc­ation of the debating chambers. The lower mass in the centre was where King’s Hall was. As a result, with its now enclosed verandas and colonnades, and strong horiz­ontal lines, the building was not as some people expected a proper Par­liament House to be.

Old Parliament House, front entrance

It didn't include cl­assical arch­itectural elements like columns or pedim­ents, but did have the necessary sym­metry. In the end, he had designed what is now considered a significant, nation­ally-listed heritage building with fine classical simplicity, order & proportion. And the design ex­tended from the building to include its gard­ens, dé­cor and furn­ishings.

Murdoch designed both the exterior of the building AND the int­er­iors. He had to integrate all the spaces required of a parliament including: chambers, King’s Hall, party rooms, library, offices, members’ dining rooms and kit­chens. And he designed a distinctive set of furniture that shared the architecture’s design language.

Everything was pre-planned. Old Parliament House was designed in the Strip­ped Classical Style, commonly used for most Aust­ralian government build­ings built in Can­b­erra in the 1920s-30s. It was also recognisable in Murd­och’s other Can­ber­ra buildings eg Hyatt Hotel Canberra and Hotel Kurrajong.

Parliament House and Old Parliament House are the most significant features in the area covered by the National Triangle. Other build­ings key to the design and symmetry of the Triangle are the High Court and the National Gallery near Lake Burley Griffin, and the National Libr­ary.

Note that some of the integrity of Canberran architecture came after John Murdoch persuaded archit­ect Walter Burley Griffin to come to Australia from the USA. He was very busy.

Old Parliament House was the seat of the Parliament of Australia from 1927-88. In the 63 years that the building served, there were changes in the size and nature of the Federal Parliam­ent. During those years, the House of Representatives grew from 76 to 148 members and the Senate from 36 to 76 members. In 1927, only the Speaker of the House, President of the Senate, Prime Minister, Lead­er of the Government in the Senate and ministers had their own offices. But in the next 60 years, great changes took place in Australian social and political life, and democracy matured.

In 1927 the bush landscape in Canberra stood in stark contrast to the estab­lish­ed lush gardens of Parliament House in Melbourne. So throughout the 1930s, gardens were established to the east and west of Old Parliament House, patterned rose and annuals display beds, set in lawns and trees. Located on either side of Old Parliament House today are the rebuilt House of Representatives Garden and the Senate Garden so that when Parliament moved, the old gardens could be opened to the public.

By the 1980s, the building had exceeded its capacity with 3,000 people crowded into a building intended for a few hun­dred. Members and senators had tiny, overcrowded offices. In June 1988, mem­bers sat for the last time after 61 years in the old building, as Parl­iament trans­ferred to the completed New Par­l­iament House on Capital Hill.

Senate chamber

House of Reps chamber

Was King's Hall,

now Museum of Australian Democracy

So the sig­nif­icance of Old Parliament House today lies in its hist­or­ical value. In May 2008 King’s Hall became the Mus­eum of Austral­ian Democracy. It tells the herit­age of the build­ing and the story of Australia’s democracy. During its life as a work­ing parliament, the building was the setting for many of Aus­tral­ia’s major polit­ical events. Debates that influenced the future of the nation took place here, key decisions were taken, pol­itical careers were made and ended.

The Museum of Australian Democracy displays Aust­ralia’s pol­itical heritage. Old Parl­iament House is open daily, for either a guided tour or a self-tour where we can visit nearly all areas of the Old Parliament. See, for example, Kings Hall, House of Representatives Chamber, Prime Ministers Office, Cabinet Room and Senate Chamber.

In 1998 Old Parliament House became home to The National Port­rait Gallery which holds a range of changing exhibitions. And it serves as a venue for lectures and con­certs.

Image credits: Mildenhall images of Old Parliament House

UK's C19th model village: Saltaire

Titus Salt (1803-76) was born near Leeds, educated in Wakefield and served an apprenticeship with a wool-stapler in Wakefield. He moved to Bradford in 1821 with his parents & siblings at 18. In his years in Bradford he worked with William Rouse & Son, learning textile manufacture.

Titus’s father, Daniel, founded a Bradford business as a wool-stapler. In 1824, Titus joined his dad’s business, Daniel Salt and Son, expanding with a spinning business in Thornton Rd in 1834. By then Bradford was a magnet for people seeking work or a business; the city experienced a 78% population growth in 30 years due to the raw-wool-cloth industry. Alas Bradford mills flooded untreated industrial waste. 

Mill, Tripadvisor

In 1835 Titus Salt established his own business. He’d already used Eastern European wool and had secretly experimented with alpaca wool. By 1837 he found that by using alpaca as the weft, and cotton as the warp, he could produce fairly priced, durable lustrous cloth. He was the first maker of the new cloth & greatly expanded his Bradford business.

But to escape the polluted, crowded Bradford slums for greener pastures, he decided to relocate his business and his employees. Local architects Henry Lockwood & Richard Mawson planned a new community where Salt’s work force would be healthier, happier and productive. Work began in 1851 and continued for decades. Salt planned for a wide range of public buildings and amenities, so work soon started on Saltaire’s industrial community. In Aug 1854 Lockwood & Mawson hired contractors in the local press to erect a large dining hall opposite the mill with offices & kitchen. The Dining Hall fed the mill’s workforce, who lived outside.

The vast efficient textile factory was the first building done. Moved by Bradford workers’ poor lives and his religion, Salt created an industrial town in rural surroundings, named from Salt and from the River Aire in the village.

Titus purchased land near Shipley and the Mill opened with fanfare Sept 1853, Salt’s 50th birthday. The mill took in raw materials, to scour, wash, comb, draw, spin and weave, design and finish them into high quality cloth. Its 3,000 workers could produce 30,000 yards of cloth daily.

Workers' cottages, Wiki

 
Then they designed the entire village in a classical style a la Italian Renaissance. The Salts Mill and the decent houses were built from 1851-71 to allow workers to live decently, locating a large textile mill near Leeds-Liverpool Canal & railway; thus his raw materials and finished goods could be easily moved. Salt planned his workers’ village with public buildings that looked impressive and well designed for purpose. Lockwood & Mawson planned a new community where Salt’s workforce would be healthier, happier & productive. Work began 1851, until 1876. A vast and modern textile factory, the Mill, was ready first - Lockwood & Mawson designed it all. The finest work was Congregational Church, set in a spacious landscaped garden. The new church was opened in Ap 1859, a precious Victorian gem. It boasts important architectural and historical features; now the United Reformed Church is set in landscaped gardens.

Congregational Church, and later United Reformed Church 

Real Yorkshire Blog

In 1886 Titus Salt Jr proposed an Arts Exhibition that could raise funds for a new building for Art-Science education & to honour dad. The Exhibition Building was completed in 1887. It housed 14 large class rooms, central hall and gallery:  Institute of Technology and now a site for Shipley College.

The Mausoleum built onto the church has Titus' remains. Although a committed Congregationalist, Titus was not restrictive about religious worship in his town. He didn't compel his workforce to attend a church. In Oct 1866, laying a stone for a new Wesleyan Chapel was celebrated. 

Factory School, opened 1868

now Shipley College Salts Building, x.com

The lofty hall gave space for the Factory School, church services, Sunday school, reading room & library. There was space for 500+ to attend social events, concerts, lectures on current issues & celebrations. The Factory Schools opened in 1868 on Victoria Rd, for 750 people. The classrooms had central heating, gas lighting and fitted cupboards.

Playgrounds behind the schools included covered areas for bad weather. Titus and his son Titus Jr were modern thinkers in establishing quality education, but the new school’s capacity was soon insufficient to meet children's needs. Space was made available for art and science education in the Saltaire Club and Institute opposite the schools.

Victoria Hall, Alarmy

Salt Schools on Victoria Rd, Institute and Victoria Hall were built by John Barry, opening 1871. The facilities were huge, containing a lecture hall seating 800, classrooms, 2 art rooms, chess rooms, laboratory, gym, library of 8,500 books, reading room and concert venue; their task was to provide a social club and an educational institute to supply the advantages of a public house without its evils. Its ornamental belltower is seen throughout the village. Titus was keen to see adults self-improving. Building the Factory Schools was followed by a grand project opposite the new school.

Salt Hospital, with hospital marker under top window

later converted to flats

2 storeyed Salt Hospital in Victoria Rd had an Infirmary and Dispensary, 6 beds and a surgery. As demand for its services grew, it began to provide treatment for the local community plus for mill workers, closing in 1979 to become flats.

The residential area covered 25+ acres, eventually consisting of 21 streets, 2 roads, 2 terraces & 4 places. 850 quality houses of varying sizes (2-7 bedrooms) were built in William Henry St, house occupancy dependant on ability to pay the graded rents. The houses ranged widely, all superior to working-class houses in nearby Bradford & Shipley. They had a proper drainage system; water & gas were supplied to each house, and each had a back yard and a private toilet. The streets were open-ended to let in sun and air. The shops included grocers, chemist, post office, butchers, hardware shops and retail facilities. Once complete, the village comprised 800+ high quality homes, two churches, school, park, adult education institute, hospital, baths, washhouse and 45 almshouses for the aged or infirmed, fronted by a peaceful trees and plants. Almhouse residents were selected by Salt in his lifetime and later by a board of trustees: these tenants lived rent free and received a weekly pension. 

Salt later improved conditions eg impressive Victoria Rd School site 1869. Rich outer architecture honoured educ-ation and the classes suited the 750 pupils. This big building was soon outgrown by Saltaire’s booming population. The Salt family lobbied for a new school and by 1878 it had been built. Not as charming, but big enough to cope with demand. This school is now part of Shipley College, Victoria Rd. Its Italianate richly carved architecture has columned loggias, round-topped windows, overhanging eaves, turret & school bell. The centre displays Salt’s coat of arms in a roundel surrounded by laurel leaves, scrolls and relief carvings. The school was for workers’ children, parks, boats and games. Leisure activities included a boys’ drum-&-fife band and brass band for village men. Titus Jr & wife strongly wanted education for the under-5s, leading to a separate pre-school.

With quality housing, employment, recreation, educational facilities and social services, the model town became an example of progressive C19th urban planning. The building was nearly done in 1871 when the census showed Saltaire had 755 houses and 45 alms houses, for 4,389 people.

Titus died in 1876 and was interred in the mausoleum beside the Congregational church. When his son Titus Salt Jr died in 1887, Saltaire was taken over by a partnership including Sir James Roberts from Haworth. Roberts had worked in wool mills since he was 11, had sizable business interests in Russia. Roberts came to own Saltaire, but chose to invest his money heavily in Russia, losing much money in the Russian Revolution. He endowed a chair of Russian at Leeds Uni and bought the Brontës' Haworth Parsonage for the nation. Roberts died in 1935 and was buried at Fairlight Sussex.

Saltaire Park, later Roberts Park

National Lottery Heritage Fund

Saltaire Park across the River Aire opened in C19th, designed and laid out by William Gay. The name changed in 1920 to Roberts Park when the second owner, Sir James Roberts, gifted the park to the local Council to honour his late son. The park, a key element of the model village, offered many leisure activities for the worker eg archery, croquet, cricket and pavilions. The northern portion has windy paths, landscaped gardens, pavilions, East Park lodge, promenade with shelters and Salt’s statue. And the original bandstand.

Saltaire retained ownership of the Mill until it was sold to Bradford Property Trust, 1933. The new owners arranged with Shipley Urban District Council for improvements eg new gas services, mains electricity, sewerage & sanitary services. It included a scheme to eliminate the waste-water toilets and the old type of coal store, and to erect new facilities, requiring the removal of 43 houses to open the village. In 2014 planning officers replaced front doors for historic ones.

Saltaire was selected for the World Heritage List in Dec 2001 and Europe’s Route of Industrial Heritage website as a fine example of a C19th model town demonstrating the social and economic impact of the textile industry. And it was recognised for its global influence on town planning. The model village’s buildings are individually listed with UNESCO, the highest honour going to Congregational church. UNESCO protects natural and cultural sites of global importance.

Salts Mill closed Feb 1986; Jonathan Silver bought it in 1987 to convert into a multi-functional site with an art gallery, cafes & technology company HQs. The art gallery had large rooms for Bradford-born artist David Hockney: paintings, drawings, photos, stagesets. Then book shops, art supplies, jewellery, sportswear, antiques, bicycles and housewares.

The Saltaire Collection in Shipley College has special books, documents, photos & historical objects. Note the research into residents/workers, the Salt & James Roberts families who built and sustained Salts Mill; photos & documents related to working in the mill and living in the village; legal and business documents; personal memoirs; maps; and crockery for Royal visits. The History Club has great lectures.

Saltaire, on the map of England

Credit: Salt & Light

In 2003 Saltaire Festival celebrated the city’s 150th anniversary, now held in Sept; Saltaire Arts Trail is a visual arts festival held in May. Credit to City of Bradford.

a dream city for tourists: Palermo

 

A 2023 survey by Travel + Leisure invited readers to vote on the world’s most beautiful cities. Clearly the answer differed for everyone, but see their non-exhaustive list of the world’s 25 most beautiful cities. I chose Palermo.

transport from Southern Italy to Sicily

On Sicily's Nth coast the sunny city is a dream for archit­ect­ure fans, right on the Mediterranean's cross roads. Palermo shows a striking mix of architectural styles, after centuries of conquest & differing cultural influences, a rich history of local civilisations. It changed from a Carthaginian stronghold to a Roman province, reaching its cultural peak in Arab rule (831–1072) and then Christian Norman conquerors, creating the unique Arab-Norman architectural style seen now.

Palermo has many fine museums, Sicily's Regional Gallery being housed in a stunning C15th Gothic-Catalan palace and containing iconic works of medieval and Renaissance art. Separately Palermo noted that a Goddess Artemis fragment be­l­ong­­ing to the Parthenon’s east­ern frieze on loan from Sic­ily’s Archaeol­og­ical Museum will remain in Ath­ens. And the Vatican will return Marble fragments from the Vatican Museums, with papal donations

Royal Norman Palace of the Kings of Sicily created in C12th, had the beautiful Palatine Chapel in its 2nd floor. Inside the chapel is decorated with beautiful golden mosaics, and the ceiling is very different from any other Christian church. Carved wood in an Islamic style. Tickets to the Norman Palace include entry to Palatine Chapel, Royal Apartments, Royal Gardens and special exhibitions. 

Palermo Cathedral, built 1185, was built on a Byzantine Church. See the architectural styles that reflect the long history of additions & renovations to the cathedral. In a chapel, right of the altar, lies St Rosalie, patron saint of Palermo. And see the tomb of Blessed Father Puglisi, Mafia-killed. Entry to the cathedral is free except for a visit to the rooftop for great views over the city and to the royal tombs.

The Arab-Norman architectural style features unique blends of Islamic domes & Byzantine mosaics. Palace of the Normans is a striking gold-stone example of the Arab-Norman style and home to Sicily's regional parliament,  a C9th palace representing one of Europe's most ancient royal residences. And the Palatine Chapel, completed in 1142 is one of Europe's great artistic treasures with stunning Byzantine mosaics covering the walls and ceiling.

Built from 1875-97, Teatro Massimo is the largest Opera House in Italy and 3rd largest and most celebrated after Paris & Vienna Operas. Tea­t­ro Mass­imo’s copper dome is c250’ over the piazza bel­ow. From the roof­top, see the city’s terracotta skyline in the early evening.

Quattro Canti Square/Piazza Vigliena is the centre of Palermo’s historic quarter, lined with 4 Baroque buildings. Tourists can see beautiful opera performances in the square, a famous Baroque intersection that beautifully divides the historic city into 4 distinct quarters. It is an architectural marvel of squares, with baroque beauty & intricate details. Each corner is a masterpiece, with the baroque statues representing the Four Seasons. 

C16th nude sculptures at the Piazza Pretoria

 

Near Quattro Canti is Praetorian Fountain, built in Florence in C16th. When the owner lost money, he sold the fountain to the City. The fountain was broken into hundreds of pieces and shipped to Palermo to be reassembled. Because of the totally nude statues, and a convent looking out onto the fountain, it was called the Square of Shame. 

teatro massimo

Norman Palace

Palatine Chapel

Porta Nuova/New Gate next to the Norman palace was built when Holy Roman Emperor Charles V came to the Kingdom of Sicily in 1536 and crossed the arched entrance to Palermo. To honour the event, New Gate was completed in 1584, later destroyed by fire and then rebuilt more elaborately by the City Senate as the triumphal arched gateway leading to the oldest street, Cassaro.

Porta Nuova 

Like Rome's Church of the Capuchin Monks, where there are bodies & bones arranged into art, the Capuchin Catacombs in Palermo opened 1599, to avoid throwing all the dead brothers into a mass grave. Originally only Capuchin friars were entombed in the catacombs, but in C17th & 18ths, it was a way for people to show their wealth and power. There are 2000+ mummified bodies in the catacombs now, dating to C16th-early C20th. Men were embalmed and put on display in their clothes, remarkably well preserved, as are their intact hair and skin. There's NO photography in this eerie historical site. 

Capuchin catacombs

The World of Sicily

Ballaro Market is the one of the oldest street-markets in Italy & Palermo’s largest. Fish, meat, fruit & vegetables are available, complete with plenty of street food stalls. Loud and crowded, the stall holders can be very vocal advertising their produce and the atmosphere in the passionate street-life surrounds its historical outdoor markets like Arabic souks. il Capo Market is smaller and quieter than Ballaro, primarily a fish market and also has plenty of street foodstalls. The best time to visit is in the morning since many stalls close after lunch. la Vucciria Market Square in Sicilian means chaos, an apt description for this small square with its fish restaurants and food trucks. 

Gorgeous coffee shops in the small lanes

A train runs from Naples to Sicily then drives onto the ferry, by day or on overnight sleepers. Or fly to Falcone-Borsellino Airport from several European cities or get a connecting flight via Rome. If driving to Sicily by car, vehicle ferries travel from different mainland ports to Messina, Sicily’s primary transit hub.

Summer is peak season but winter is the best time to visit when the mild weather is great for walking around the city. All the attractions are open, and there are smaller crowds! The only issue might be the fewer daylight hours in winter. Near the Norman Palace, relax in the Gardens of the Villa Bonnano with palms and citrus trees, offering relief from the city’s action. And Mondello Beach is just a short distance from the city centre, an iconic coastline with pure water and stunning Mediterranean views. Although Palermo was designated as a UNESCO World Heritage Site in 2015, and since I've only spent one day there, I gratefully thank Nigel and Sue Adventures.

Grand railway stations ARE destinations

Train travel’s rapid development from the early C19th-early C20th changed the world, including through the construction of many railway stations with their stunning architecture, interior design and art. Read Maunder for St Pancras London gothic revival masterpiece; busy Grand Central New York; Helsinki Central Station Norway and the imposing Antwerpen-Centraal Station Belgium. I focused on the Paris treasure. 

Gare de Lyon front entrance

and clock tower

Inside the station's Hall 1

Wiki

Hall 2 

ShowMeTheJourney

Gare de Lyon is one of Paris’ biggest railway stations, with Gare du Nord & Gare Saint Lazare. The station was named after the French city of Lyon, an important stop for many trains departing from Gare de Lyon. And this railway station was also a departure station for many high speed trains going to Southern France, Italy, Switzerland and Spain. Built in 1849, the first station was a relatively simple building designed by François-Alexis Cendrier, important mainline railway termini in Paris. The Second Station handled increased traffic and managed by Compagnie des chemins de fer de Paris à Lyon et à la Méditerranée.

Sadly Gare de Lyon was completely burnt in the Paris Commune 1871. The first station was completely rebuilt in 1899 in time for the World Exposition of 1900, with 13 platforms. The station was built in the highly decorative Belle Epoque style, with sculptural reliefs & iron lacework. Toulon architect Marius Toudoire redesigned this landmark building, designed to showcase the power of rail travel. He used a French Belle Epoque style with allegorical carvings decorating the façade and a 67 ms tower-clock. The clock was a classic example of the architecture then, by architect Charles Garnier that offered a panoramic view of the capital. The new 13-track Gare de Lyon was ready on time, launched in 1901 by Pres Émile Loubet of the Third Republic.

Le Train Bleu restaurant

including Big Ben Bar

ornate decorations, chandeliers and frescoes

The Petite Cook 

First called Buffet de la Gare de Lyon, Le Train Bleu was reinaugurated in 1901 and decorated with Belle Époque frescoes and gilded details, honouring the famous Venice Simplon Orient Express train. It was a place with the most representative restaurant in the City of Lights, a palatial restaurant had several dining rooms, each decorated by the art representing different cities & regions in France, made by famous artists. Drink coffee & see opulent chandeliers, gilded plaster mouldings, polished brass & 40+ travel themed art on walls & ceilings. The buffet restaurant also had gilded ceilings, chandeliers & wall murals of railways

The station is divided into three main halls. Hall 1 is the station's historic hall, dominated by the iconic restaurant Le Train Bleu, a true Parisian institution that is worth a visit in itself. Its large forecourt is pleasant in the summer with outdoor terraces & shops. Hall 2, modern and bright, welcomes passengers for the TGV highspeed trains and offers a wide range of dining options. Hall 3 underground provides access to OuiGo trains and fast food options. These 3 halls are connected by two shopping arcades.

The station underwent huge renovation in the 1980s to contain high speed TGV trains, while preserving its historical façade. This restaurant was renamed Le Train Bleu in honour of a luxury French night express train which operated from 1886-2003 connecting Calais and the French Riviera. In 1980 the creation of 11 new images and the renovation of the old ones were done by Jean-Paul Letellier. The Train Blue was listed as a French Historical Monument in 1972. In Dec 1984 the facade, roof of the main building and large frescoed hall were listed as French Historical Monuments.

shopping arcade

Wiki Commons

So Gare de Lyon was an architectural gem that stood as a witness to Parisian elegance, not just a transportation hub but a cultural landmark. A 100m long mural in Marseille artist Jean-Baptiste Olive’s ticket-office shows the main destinations from this Paris terminus.

Linking domestic & international destinations, it hosts TGV & Intercity Express trains. Its historical significance, coupled with the bustling atmosphere of the neighbouring suburb, makes it a quintessential Parisian experience for both travellers and locals. Whether boarding a train or simply admiring the station, Gare de Lyon offers a captivating blend of history, architecture and urban life. The station's interior exudes an old-world charm with its ornate details, glimpsing into the city's rich history. Gare de Lyon boasts fine dining options, making it perfect to dine before alighting.

Summary In the 12th arrondissement, Gare de Lyon welcomes millions of visitors each year with trains serving E and S.E France. But stations are not merely points of departure and arrival; they are doors to history, culture and special architecture over time. Instead of just waiting for a train, appreciate the architectural and historic gems that remain, proof of enduring train travel romance. Then climb aboard, and admire the luxury inside the train.

The train journey from Paris features fine dining from a Michelin-starred chef.

Read Grand Railway Stations That Are Themselves Destinations, by Patricia Maunder. 

Heritage architecture: Robin Boyd Aus

Kitchen with built-in cupboards and timber benchtops 

architectureau

Joseph Eichler’s (1900-74) name became synonymous with the single-family, modern homes that helped define suburban Los Angeles and San Fran­cisco from 1949 on. Hiring progressive archit­ects, his designs fo­cused both on modern Californian taste and on pleasant Calif­ornian climates. So his designs grab­bed attent­ion: 

streamlined kitchen built-ins, 

multi-purpose room adjoining the kitchen, 

radiant-heated floors, 

wood panelling, 

gabled ceilings, 

floor-to-ceiling glass walls and 

classic atrium that melded indoor-outdoor living.  The post-&-beam construction, and open floor plans were de­signed around the cen­tral atrium. The California Modern style was indebted to Frank Lloyd Wright & Mies van der Rohe.

After Eichler in the USA, Robin Boyd (1919-71) started to de­sign his version of Californian Modern in Australia, mainly from the early 1950s on. One home over 2 lots in Tannock St in Bal­wyn, in Mel­b­ourne’s leafy east, was an early example of Boyd's influent­ial work: 1949. The house was originally de­signed for pharmacist Don Wood and was called Wood House. The home is one of the few sur­viving examples of Boyd’s early work as a sole practit­ioner, prior to his famous partner­ship with Roy Grounds and Frederick Romberg .

 As published in Australian Home Beautiful in Oct 1950, Boyd’s Wood House became famous for its split level planning and its small foot­print that maximised the space and out­look. The Wood family com­missioned Boyd to sympathetically ex­tend the house in 1959 with two more bed­rooms, a re­creation room and a flat-roofed garage. The second sympathetic extension occurred in 1971 when Boyd added across the street frontage.

Some years ago, this innovative Melbourne house by Boyd was at risk of demol­it­ion, after the property was listed for sale and described as an opp­ortunity to buy vacant land by the estate agent. Note that no images, no architectural details and no historic information about the house were included in the listing.

A detailed report was written by Research by Built Heritage in 2015 for Boroondara City councillors. This heritage study noted the house was an early, innovative & in­t­act example of Boyd’s work from the austere early post-war period. They urged that Wood House was an architecturally significant heritage site that needed protection. Yet an ap­plic­ation to subdivide the land was soon made, on hold because there was no demolition app­lic­ation.

So why did the councillors reject the advice to protect the home? They rejected the Heritage Study’s recommendations re protecting prop­erties, citing "the financial impact of the proposed herit­age cont­rols". So although the house was one of the first projects Boyd undertook after opening his own solo practice, and was among relatively few surv­iving examples from his special work, the Council would not give Wood House heritage protection.

TV room with a glass wall and glass doors to the patio

The Age

In Aug 2020 an online pet­it­ion called for the home to be pro­tect­ed, started by senior lecturer at Monash Architecture Dr Jacqui Alexander. It said: it was one of three outstanding early and sub­st­antially intact houses by Robin Boyd in the study area which coll­ectively provided rare and valuable evid­ence of the in­novation and bold design approach­es of a young architect starting an illus­trious career. Archit­ect­ur­ally the house was a signif­icant achieve­ment in modern home-building at a time when materials and labour were still due to war-time restrict­ions. The house showed many ideas eg open-planning, split-levels and window walls that were very inn­ov­ative in 1949. Later adopted by others, these elements recurred throughout Boyd's own career.

Dr Al­exander called on Boor­an­dara Council to heritage protect the home and prevent it from demolition. “It is a tragedy that this important exam­ple of post-war Australian modernism looks likely to succumb to the same fate as many other significant homes in Bor­oon­dara. From the social and cultural perspective, it documents the kind of upward mobility of families in the post-war period".

The petition encouraged the Council to officially recog­nise this home and prot­ect it from potential demolition, hoping to raise awareness of this house’s existence, att­racting a buyer who saw its architectural value. She described the house as ‘an important ex­am­ple of mid-century modernism in Melbourne, and in spite of material shortages at the time it was built, the de­s­ign was innovative and ambitious.’ The house incorporated fine ideas that revolutionised Aust­ral­ian domestic design, promoting a new, optim­is­tic image of the suburbs of Melb­ourne. It offered the prom­ise of affordable and dignified design for working Australian families.

Looking into the open-planned family room from the tv room

Wood House by Robin Boyd, 1949

architectureau

Protected homes in Boroondara had been demolished under a controv­ersial 2018 state planning amendment that allowed property owners with an existing council building permit to demolish buildings, de­spite interim heritage orders. Happily the govern­ment has since reversed the amendment; hopefully the new heritage will stop hist­orically significant properties being demolished. Bor­oondara coun­cillors un­anim­ously agreed to write to Planning Min­ist­er Richard Wynne to ask that inter­im and permanent protect­ions be extended to the home. I think Joseph Eichler would have been proud.

Ferrara - what a cultured city

The first official document on Ferrara in Nth Italy was published by Lombard King Astolfo in 753 AD. Late in their era, Ferrara was ruled by the Church in 774 & became a fief of the Canossa family; under the Grand Countess Matilda of Canossa it reached its peak. The city was successively occupied by Tedaldo di Canossa (988), Countess Matilda of Tuscany (1101) and Frederick I Barbarossa (1158), while its internal C12th history was that of the conflict between rival families. The Cathedral of San Giorgio was consecrated in 1185, after the independent commune emerged.

 

Cathedral

The Este family didn’t assume absolute power until 1242 when the city was becoming a growing medieval centre with its own laws and its own mint. It was only under the Estes was it to become an internationally known capital with great value for arts, economics, ideology & religion. The court flourished and for 2 centuries equalled Florence and Venice, or great European courts in France or Spain.

Estense Castle

Estense Castle & moat, built 1385 by the Estes, remained their bastion until 1598. Urban planning schemes were created in 14th-C16th, making Ferrara the first Renaissance city to be developed using a complex urban plan. Thus the network of streets and walls were linked with palaces, churches and gardens, a scheme that gave precedence to a united urban layout. Ferrara, an archbishopric, gained other impressive churches: San Francesco, Corpus Domini, Santa Maria in Vado and San Cristoforo

City walls

In Ferrara

The last Duke had no legitimate descendants, so the dynasty became extinct in 1597 and the Church took over. Ferrara became the seat of a powerful princip-ality and cultural centre but declined both commercially and politically under the Papacy. Revolutionary uprisings came much later.

Palazzo del Comune/Town Hall 1245 and Palazzo della Ragione/Court 1325 are medieval structures, safe once medieval walls could hold growth. Plans were extensively restored, and the uni founded in 1391 is now housed in a later building whose library holds valuable manuscripts, including works by the poets L Ariosto & T Tasso.

From 1400-1600 Ferrara was home to prominent people in literature and the arts. Its historic centre is the perfect example of the ideal city from a humanist view. Each step offers the magic air of a glorious, preserved past: the Este dynasty for 3 centuries, transformed a rural centre into a masterpiece. This town was hospitable, environmentally aware and sustainable present. Artists Michelangelo, Piero della Francesca, Mantegna attended the Este Court and worked there. With great support from artists, the Estes created the first studiolo, their art collection becoming a model for both the Medici family and Papacy. 

The major treasure is the series of palaces of the later 15th-C16th. These palazzi include Diamanti, housing a municipal art gallery; Schifanoia Civic Museum; and Ludovico il Moro National Archaeological Museum with objects from an ancient Etruscan port. Piero della Francesca, Jacopo Bellini and Andrea Mantegna decorated the palaces of the House of Este. Neighbourhoods were built from 1492 by Biagio Rossetti. This project’s completion marked modern town-planning and influenced its development.

 Archaeological Museum

 Trip Advisor

National Museum of Ferrara School, 

amazing art donated by the Estes

Trip Advisor

Emilia-Romagna comprises Ferrara’s urban centre and agricultural lands into the large, ancient Po River Valley. The city extended to defensive walls that had enclosed the historic urban centre of C12th Ferrara. From 14th-C16th, the ruling Estes did extensive land recovery & building projects. Distinctive Renaissance changes made included: drainage of huge swamplands, establishment of estates, creation of new waterways and streets a la the urban development plans and building noble residences. Ducal residences were the political sign of glory, designed to widely mirror the image of the Court. In the key Renaissance years, the Este’s brilliant court drew star artists, poets and scholars of humanism.

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narrow cobbled streets and artisan workshops

Winalist

In time the encircling medieval walls were extended to accommodate urban growth, and today the walls still encircle the city. The Municipality has identified the whole of the historic city inside the walls as an area of cultural interest and protection that’s been there since 1975.

The creation of coordinated management between urban & rural spaces led to effective control of the area and infrastructure development, more awareness of heritage values and the definition of policies for the adaptive re-use of historic properties that were damaged. Note the cooperation of public institutions at different levels of government: national, regional, provincial and municipal. It’s protected under national cultural heritage legislation: Legislative Decree.

One end of Piazza Trento e Trieste

Wiki

The Medieval built piazza is the perfect spot for sunset cocktails. With grand historic buildings behind, an impressive cathedral and one of Italy’s oldest universities, it’s long been the central city’s heart. Linked by rail with Bologna, Padua, Venice, Ravenna and Comacchio, Ferrara is the centre of a flourishing agricultural area.

Ferrara was involved in WWI with many workers, motivated by the promise of new arable land at the end of the conflict. Massive losses prevented this and the betrayal led to a wide adherence to Fascism. After WW2 there was a great expansion of industrial activity and the creation of a large industrial zone. The city’s principal products are chemicals, sugar, alcohol, shoes and hemp.

Ferrara’s cultural treasures were designated a UNESCO World Heritage site in 1995 and expanded in 1999 beyond the walls. There was damage from the 2012 earth quakes to the city walls, Estense Castle, medieval cathedral and other historic buildings. 

Ferrara is a vibrant city (pop:131,200) rich in art exhibitions & a top concert season. Thanks to World Heritage Convention

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history of British public telephone boxes

Before 1876, communication over distance was often by telegraphy. The General Post Office/GPO, governmental till 1969, had the monopoly on UK’s telegraphic communication. The telephone was a marvellous technical innovation but very costly; use was limited to wealthy homeowners and businesses. And there wasn’t a single unified system; it was owned and operated by private companies operating local exchanges to which homes and businesses subscribed. In 1884 the GPO relaxed the rules that limited exchanges, meaning that the first public telephone network began with only 13,000 phones nationwide.

As technology improved, more services emerged. The GPO started with Jubilee Concession, installing a kiosk in all c8,000 towns with a Post Office. Acts of Parliament unified National Telephone Company/NTC and GPO services.

A UK telephone network division came pre-WW1 when NTC assets were acquired by the GPO, effectively nationalising the telephone network. With the combined staff and assets of two separate organisations, the GPO looked at equipment regulation, but WW1 put kiosk development on hold.

London’s First Telephone Box K1, 1921 
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In 1921 Britain's standard kiosk K1 was introduced by Post Office. Its design was conservative so many of the phone box designs were protected by trademark registrations, held by British Telecommunications. K1, made of concrete, was not initially well-received. 14 K1 boxes remain, 7 registered by Historic England.

In 1923, two independent schemes were established to test design alternatives to K1. The Metropolitan Boroughs Standing Committee ran a competition to design a new national kiosk. And Birmingham Civic Society produced independent proposals for a new national kiosk, which they submitted to the GPO. This caused the newly established Parliamentary Royal Fine Art Commission (1924) to examine questions of public service and art value. The red telephone box emerged from a design competition.

 

K6

The public telephone box was designed by noted architect Sir Giles Gilbert Scott was in cast iron. Their distinctive red colour made them easily recognisable. From 1926, the kiosks displayed a prominent crown symbolising the government.

8 kiosk types were introduced by the GPO between 1926-83. The K6 was designed by Scott to mark the Silver Jubilee of King George V coronation in 1935. c60,000 examples were installed across Britain, explaining why the K6 became THE red Telephone Box. 11,000+ K6s remain. More stream-lined than the K2, the K6 was deployed widely by 1940, despite initial resistance to its red colour.

Scott’s design was like the K2, but smaller and cheaper to produce. The K6 was made of cast-iron sections, bolted together, standing on a concrete base. Its general design was a 4-sided rectangular box with a domed roof. The door was of teak, with a metal cup handle. Set into the slot was an illuminated telephone sign, with serif capital lettering on opaque glass. The pediments had a moulded Royal crown. 

Motoring organisations, Automobile Association/AA and Royal Automobile Club/RAC, enjoyed the benefits of a telephone network for members in a network of sentry boxes. Because cars were expensive and were prone to breakdowns, the motoring clubs employed patrolmen men to shelter in the boxes and to provide motorists with roadside aid. The Police Service also grew a network of kiosks, allowing officers to keep contact with their station. Metropolitan Police Service introduced Police boxes in 1929.

Scott’s winning design, chosen by the Royal Fine Art Commission, featured a classical style with a dome like John Soane’s. Scott was Director of the Sir John Soane Museum at the same time he was working on the telephone box design. The kiosk was ideally to be constructed from cast-iron with a per-unit price c£40. Three kiosks were installed behind London’s National Gallery in 1925.

Without a cost-effective kiosk used nationwide, GPO reverted to K1 with larger windows and revised signage. This was an interim solution, and by 1928 the GPO commissioned Scott to produce a cheaper kiosk made of pre-cast concrete. The GPO was not content with the K2 they had been working on, so they planned a new kiosk which could incorporate a stamp machine and post box; a mini-Post Office. 

Telephone and post office facilities

Atlas Obscura

In 1929 Scott introduced K3, a similar design to the K2 but made from reinforced concrete for nation-wide use. The K3 was cheaper than the K2 but still more expensive than the K1. See a rare surviving K3 kiosk at the London Zoo.

The K4 was an enlarged version of K2, designed by GPO’s Engineering Dept. In 1927 the K4 model included a post box and stamp vending machines. But only 50 K4 kiosks were produced. The GPO planned for a low cost kiosk. Introduced in 1934, K5 was a metal-faced plywood work, designed to be portable and used at exhibitions, but never completed.

In 1937 the Tercentenary Concession celebrated GPO's 300th anniversary and 1,000 more kiosks were installed for local authorities paying low subscriptions. In 1939 a tougher version was introduced. In 1949 Royal Fine Arts Commission got re-involved, allowing rural examples in different colours. Post-war c60,000 examples lived, and of the 8 kiosk types introduced by the GPO, the K6 heritage legacy remains best.

Post-war, the 1951 Festival of Britain was held on London’s South Bank. The Festival was a tonic to Britain then, showing the recovery from austerity. It demonstrated skills in the arts, architecture, industrial design, science and technology. And a crown motif with Queen Elizabeth II.

Lending library in unused kiosk

In 1959 the GPO invited submissions for a new kiosk from leading architects. After considering 6 experimental designs, K7 kiosks were designed by Neville Conder and installed in 1962. Ahead of its time, the K7’s use of aluminium was only adopted much later. So the GPO opted for a design by Bruce Martin; he proposed aluminium, not the trusted cast-iron. K8 kiosk arrived July 1968. 1969 predicted the end of GPOs kiosks. Since its inception, the GPO was nationalised, but as a Government Dept. By 1981 the Post Office was split into two businesses, privatising telecommunications Ap 1984.

In a year British Telecom announced a £160 mill modernisation scheme: installing modern kiosks in the public network. But historical groups & progressive London boroughs highlighted the kiosks’ plight. Statutory protection was given to 2,000 key kiosks by English Heritage.

AA and RAC kiosks also worsened. Reliable vehicles allowed patrolmen to travel in their own vans and telephone equipment could be housed in smaller pedestals. And the Police kept in touch via personal radios. As British Telecom was left with unprofitable kiosks to maintain, the company created an Adopt a Kiosk Scheme, demonstrated the strength of local communities in preserving and maintaining their heritage. Local authorities adopted unused kiosks for £1, with the community accepting responsibility for maintenance. Organisations took these boxes for other uses eg some counties’ K6s became a community libraries after their mobile library services discontinued. Or a defibrillator.

Defibrillator in unused kiosk

The iconic design of the red telephone box found a place in parts of the world, eg U.S, Australia, New Zealand, where they have been preserved in historic sites. But the red telephone box is a beloved symbol of British heritage and their cultural significance endures. The red telephone box is an artwork, history and national identity, one of UK's favourite design icons in 2006!

Thank you to The Historic England Blog which you may enjoy reading.