In a backstreet in Camden is a magnificent Art Deco building.
7 Herbrand Street WC1N 1EX, sketched 30 August 2025 in Sketchbook 16
This was built of re-inforced concrete in 1931, to the designs of architects Wallis, Gilbert and Partners. The style is called “Streamline Moderne” and includes fun details.
7 Herbrand Street, details
It was originally used as the headquarters of Daimler Hire Cars. It includes a spiral ramp, off to the right of my picture. This was where the cars entered and drove up to the garage.
General view of 7 Herbrand Street showing the former garage entrance (centre right). The spiral ramp was in the curved part of the building to the right.
As I was sketching, a passer-by approached me to tell me the history of the building. She worked for Daimler Hire, in the offices on the upper floors. Her husband was a driver, she told me. Later the building was used as the headquarters of the London Taxi Company, and by Hertz car rentals. The basement was occupied by Frames Rickard Coaches.
The building was listed Grade II in 1982, number 1378855. The listing calls it “Frames Coach Station and London Borough of Camden Car Park”. It is now occupied by a fintech company called “Thought Machine” who provide banking software. The spiral ramp has been removed.
This building with its curves was tricky to draw and took me a long time. The person who had approached me to describe the history returned back up the street. She held out a hand containing fresh hazel nuts she had collected from the pavement. “I don’t think Camden Council realise they have planted hazelnut trees” she said.
Once the pen drawing was finished, I ate a sandwich from nearby Fortitude Bakery, and walked home to finish the drawing at my desk.
Sketchbook 16
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This imposing building presides over an entire block, in the back-streets of Camden. I’ve admired its austerity and unadorned walls, amongst the much more elaborate buildings around. This is an electricity substation, very functional. I’d noticed it while sketching The Coach, a nearby pub.
Back Hill substation, EC1R 5ET, sketched 27 August 2025 in Sketchbook 16
There were many more pipes and connectors than I could fit into the drawing. They all looked important. This is a serious building. The sign on the wall says “Danger of Death”. But the pipework has a certain lighthearted steampunk appeal. The arrangement has lamps, ladders and valves in odd places, and inexplicable vents, as though it might huff and exude puffs of steam. But when I saw it, the whole structure was silent and still.
“silent and still”
The building is from the 1950s.
This complex dates mostly from 1956–7, when the London Electricity Board extended an earlier yard established in the late 1920s by its predecessor, the London County Council’s County of London Electric Supply Co. The 1950s buildings, designed by the LEB’s Architect’s Section, are of reinforced-concrete and steel frame construction with elevations of buff-coloured brick and glass block. They match the original building in the southeastern corner of the site ….
‘West of Farringdon Road’, in Survey of London: Volume 47, Northern Clerkenwell and Pentonville, ed. Philip Temple (London, 2008), British History Online https://www.british-history.ac.uk/survey-london/vol47/pp22-51 [accessed 11 September 2025].
The planning notice on the gate: click to enlarge
It is very much in active use and currently being enhanced. Planning notices fastened to the main gates informed me that: “The customer at 21 Moorefield’s [sic], London EC2… requested a 10MVA supply from the City of London 33kV network providing enhanced level of security of supply.” They don’t want any fluctuation in the power supply, then, and no power cuts.
At the moment: “Back Hill 33KV substation does not currently have adequate capacity headroom to fully meet the customer’s requirements…” and “The substation capacity is currently limited by the transformers, incoming 132kV circuits and 132KV switchgear..”
So they have to replace the transformers, cabling and switchgear, to “allow the 21 Moorefield’s customer connection,” the notice says.
21 Moorfields is the building above Moorgate Elizabeth line station, just to the East of the Barbican.
21 Moorfields, from the Barbican Highwalk under Willoughby House.
“Electrical Contracting News” provides a more general description:
Almost 10,000 customers from Farringdon, Clerkenwell and key buildings in City of London are to benefit from a multi-million pound investment to upgrade the electricity network.
Work is currently underway to install the first of three new transformers – a device which steps down the power voltage so electricity can be safely delivered to local properties. The transformer, along with new switchgear equipment, will be installed at UK Power Networks’ substation to meet greater energy demand in the area. The £24 million project started in October 2021 and is due to finish in early 2026. As part of the scheme, the firm has consulted local councils and other interested parties to ensure that people experience as little disruption as possible while the work takes place. Euan MacRae, Project Manager at UK Power Networks, says: “This substation upgrade is part of our ongoing investment in the network to maintain safe and reliable power supplies and future-proof the network. The City of London is home to some of the capital’s most iconic buildings, so in collaboration with our alliance partner The Clancy Group this project is committed to carrying out a staged replacement of the major electricity assets at Back Hill Substation, some of which date back to 1956 and have been well maintained over the years. “We are excited to be installing innovative equipment which will allow the substation to provide double the previous level of power and will improve the resilience of power supplies across the network in London.”
I was pleased with my sketch of the substation, and I enjoyed trying to follow the lines of the pipes.
I find it fascinating to realise that there is enormous work going on to keep the electricity flowing, with very little fanfare. There are these silent buildings sitting amongst the offices and flats, doing their job.
Here is a sketch map to show where the substation is:
The location of Back Hill Substation.Back Hill substation, page spread, Sketchbook 16
I’ve sketched the nearby pubs, the Gunmaker’s Arms here, and The Coach here.
Kenwood House is a mansion at the top of Hampstead Heath, to the North of London. It is managed by English Heritage. At the moment there is an exhibition “Heiress: Sargent’s American Portraits”. Fantastic oil paintings, each woman with a history, echoes of the time of Henry James. Even more than the oil paintings, I enjoyed the charcoal portraits. See the character of the sitter! See the skill of the artist! Recommended: it’s on until 5th October 2025.
After that, we walked out into the late afternoon sun. Kenwood is a large building. It was too much to take on the house as a sketch project at that time of day. So I sketched a small building I’d spotted on the way in. This is “Kenwood Dairy”. I sketched just a part of it.
Kenwood Dairy, south pavilion, sketched 18 August 2025 in Sketchbook 16, approx size 9″ x 9″.
You can see the whole dairy in this oil painting of 1797 by Julius Caesar Ibbetson:1
The pavilion I sketched is the one on the left. There were sadly no cattle, long-horned or otherwise, for me to put in my sketch.
The dairy was built in 1795, just a two years before Ibbotson’s oil painting. It was a working dairy, built to the designs of George Saunders, for Louisa, the wife of David Murray, 2nd Earl of Mansfield. It was fashionable for 18th century upper-class ladies to run dairies.
a dairymaid.. lived in the cottage and produced the fresh butter, cream, puddings and ice-cream enjoyed by the family and their guests.
English Heritage noticeboard near the dairy
These buildings are now used as a base for volunteers at Kenwood and Hampstead Heath.
Here is work in progress on the drawing:
It was quite tricky to follow the line of that roof. I managed to get the ink lines done, then it was time to go home. I added the colour later at my desk.
Kenwood dairy, finished drawing in Sketchbook 16
While I was drawing the dairy, John was drawing me, from a nearby bench.
“This tranquil little pub now faces the back of the Royal Courts of Justice, the esteemed Gothic Revival building opened by Queen Victoria in 1882. Within The Seven Stars’ ancient charm of three narrow rooms that make up its public area, drinking in Queer Street (as Carey Street has often been called because of the bankruptcy courts) is contrarily pleasant. One can linger over gastronomic pub food and real ales behind Irish linen lace curtains that are being twitched by litigants, barristers, reporters, LSE students, church musicians, and West End show brass sections. Then, one might navigate to the lavatories up the comically narrow Elizabethan stairs. There are antique Cabinets of Curiosity in the pub’s front windows, and alongside Spy prints of former judges, there are posters of “Brothers in Law,” “A Pair of Briefs,” and other bygone British legal films.”
The licensee is the marvellously named Roxy Beaujolais.
Again quoting from the pub website:
In February 2006, FancyAPint listed The Seven Stars as one of “London’s Top Ten Pubs.” A 2006 review in On Trade, a pub industry organ, told it like this:
“We are here to be adored, not ignored,” says Roxy imperiously. “We sell fabulous beer with proper, homecooked food; and I expect my customers to appreciate both of those things.” In the current climate of customer satisfaction at all costs, her words may sound nigh on heretical. But this is a woman utterly qualified to call her own shots, and anyway – her combination of buxom presence, top class conversation, beautifully cared for ale, and sumptuous food is such a winning one that few would feel inclined to argue.
Sketching the pub, I enjoyed the landscape of chimneys. The art of the chimney-maker is not enough noticed. They are unsung sculptors. All those legal offices and chambers behind the Seven Stars must have plenty of fireplaces. Hence the chimneys, here present in great numbers and in extraordinary variety.
Chimneys seen from Carey Street.
This sketch took about an hour and a half on location, and I finished the colour at my desk.
This is an interesting terrace, just to the East of Vauxhall Pleasure Gardens.
121 and 123 Tyers Street, SE11 5HS, sketched 17 April 2025 in Sketchbook 15
The terrace house on the left has a terracotta plaque let into the brickwork:
A HOUSE FOR NICARAGUA Built 1984-91 to celebrate the Nicaraguan Revolution Sold to support community projects in Nicaragua
The website “Radical Lambeth” has an article which tells more. The house was restored as a community endeavour, led by a visionary, Ron Tod (sometimes spelled Todd):
“He had some money from a house he had built out of an old airfield shed in Essex, and he thought some of the people he was living with might help with the work. About 200 people – men and women in their twenties and thirties did…”
“Almost all the materials for 121 Tyers Street came from skips, building sites or dumps. The floors are parquet, retrieved in one great haul from a skip….”
Even from the outside, the house is feels beautiful. The windows are all different, and there is intriguing detail, such as the terracotta frieze above the window shown in my picture. This is a house built to a loose design rather than a rigid plan. Much was created by the people there, as they went along, using materials to hand. Sketching it, I was reminded of the work of the 1970s radical architect Christopher Alexander, “A Pattern Language”.
The house in the centre of my picture is 123 Tyers Street. This is much plainer. But it also is intriguing. The lower windows are not directly below the upper windows, but shifted right.
I sketched sitting on the wall opposite.
Sketchbook spread, Sketchbook 15
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Here is the magnificent London Water and Steam Museum.
London Water and Steam Museum, sketched 15th March 2025, 4pm in sketchbook 15.
It’s definitely worth a visit if like me you are fascinated by steam engines. But there’s more. This museum is a whole education in the London drinking water and sewerage system: past and present.
The building I’ve sketched houses the “100 inch pumping engine” and the “90 inch pumping engine”. These are steam pumps over a hundred years old. The inches refer to the diameter of the pump cylinder. Their job was to pump drinking water from the Thames to premises in London. The 90 inch engine started working in 1846 and the 100 inch started in 1871. They both retired in 1943, by which time the 90 inch had been going 97 years. The 100 inch gave a demonstration in 1958, which was the last time it pumped water. The 90 inch was restored to working order by enthusiasts in 1973, and now gives demonstrations in the museum. The 100 inch has yet to be restored.
A glimpse of part of the 100 inch engine
The tower in my sketch is not a chimney. It is a “standpipe tower”. It holds big vertical pipes and a reservoir to store water and regulate the pressure. The strokes from the steam engines created powerful surges of water. You don’t want those powerful surges going directly into the mains water supply, and as they might damage the pipes and surprise consumers. So the steam engines pumped the water up this tower instead. From there, the water flowed out to consumers smoothly.
Providing running water was a whole big problem in the Victorian era. The machines were gigantic so that they could generate sufficient water pressure to get the water up to the second floor of the new Victorian houses which had bathrooms upstairs. That’s not something we normally think about: but I can see it’s an issue.
a glimpse of the 90 inch engine
Then there was the whole big issue of the purity of the water, and whether it was actually drinkable. There were a number of private water companies at the time, in competition with each other, and vying for business, making claims for their water quality, and returning dividends to their shareholders. This was the late 19th century – 100 or so years ago.
A display panel soberly tells us:
“Despite making huge profits the water companies had not lived up to their promises. The quality of the water was still variable and the amount being pumped sometimes left homes and businesses without water. The companies’ focus on profits rather than service was a major worry and so the government decided to get involved. In 1904 the government created the Metropolitan Water Board and bought the eight water companies to create a single network covering the whole of London. …
Display panel: “The companies’ focus on profits rather than service was a major worry and so the government decided to get involved.…”
As well as history, I learned about today’s drinking water.
For example: did you know that 10% of London’s drinking water is de-salinated water from the Thames estuary? The “revolutionary new de-salination plant” opened in 2010:
I watched a gripping – and somewhat alarming – video of heroic engineers cautiously making their way down soaking brick-lined pipes in the sewers below London streets. They were down there to inspect and clear blockages. I also saw the “rat” robots that can be sent down the smaller sewers – it’s a tough environment for technology.
As well as all this gripping factual information, there’s much of strange beauty in the machinery. I particularly enjoyed the devices and dials.
Definitely recommended. It’s on the underground. No café: take a picnic to eat at their indoor tables.
It closes at 4pm – I managed to do the sketch from the garden, just before they closed the gates.
Sculptural debris in yardThe steam train in the grounds: returning to the shed at the end of the day.
I added the colour later.
Sketchbook 15Part of the 90 inch pump: analogue film photo, Olympus XA2 using Kentmere Pan 400 b/w film. 15th March 2025
Information in this post is from placards in the museum or from their website. Inspired by my visit to the museum, I read this excellent book about London’s water supply:
“The Mercenary River” by Nick Higham
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See this interesting building! It’s just a few hundred yards from Brick Lane in East London.
1 Wood Close E2, sketched around midday, 9th March 2025 in sketchbook 15
I’d walked past it a few days previously, when I had been taking a circuitous route through East London on the way back from Hackney Wick. It’s an unusual building for the neighbourhood, most of which is terraces or blocks of post-war flats. This building stood out, on its own, at a street corner. What is it doing there?
Sketch map showing the location of Wood Close: just to the east of Brick Lane.
I went back a few days later for a closer look. On the white band at the front of the building I could decipher some words: “ERECTED 1826 [something] FIELD AND THOMAS [something] CHURCH WARDENS”
London Picture Archive has a photo of this building from 1946. The words on the front were a little clearer in 1946, so I can read that Thomas’ second name was MARSDEN. The London Picture Archive caption says that “the building began as a watchman’s house in 1754. The watchman was to guard against body snatchers who provided corpses for dissection to local hospitals. ” So that’s what it was doing: it was guarding the graveyard.
The London Picture Archive caption goes on to say that “In 1826 the building was enlarged so that a fire engine could be housed there.” That’s the building we see now, labelled 1826. It doesn’t look big enough for a fire engine.
19462025
In the London Picture Archive photo from 1946, the street name affixed to the building says “Wood’s Close” which would indicate it was named after someone called Wood. Today the street name on the building is “Wood Close”
This link shows a 1872 map. Here’s an extract. Click the map to go to the National Library of Scotland map which is very detailed. The street is called “Wood Close” on this map. You can see the “Grave Yard (disused)”. The Watch House, circled in red below, is in the corner of the graveyard, which makes sense.
Area around Wood Close: 1872. Reproduced with the permission of the National Library of Scotland CC-BY(NLS)
As you see in my sketch, there are now a prodigious number of bollards in front of the house. I counted ten of them, standing like an amused crowd next to the “7′-0” sign . While I was standing there sketching, I saw why. The idea is to restrict the width of St Matthew’s Row so that vehicles have to slow down or stop, and cars can’t sneak round the edges. I watched agog as huge limousines edged between the bollards.
A large car navigates the bollards. St Matthew’s Church is in the background. A van only just fits through.
This Watch House, and the nearby Parish Hall are owned by St Matthews Church:
The Church also own the Watch House on Wood Close, which is currently let out to private tenants, and the Parish Hall on Hereford Street, currently let out to State51.
This ornate building stands out amongst the plain and functional housing along Lambeth Walk. I walked past it on my way to the Vauxhall Tea House.
Pelham Mission Hall, Lambeth Walk, Lambeth SE11. in Sketchbook 15, 26 Feb 2025
Canopy
Rain threatened, but I started the sketch anyway. I was sheltering underneath a sort of canopy on the opposite side of the road. This canopy had the significant disadvantage that it was perforated with a pattern of decorative holes.
I sketch using a pen which has waterproof ink. The ink is waterproof once ithas dried. But if I try sketching when the paper is wet, the ink runs. I continued until the pen protested that it couldn’t make marks under these conditions.
The paper I use is Arches Aquarelle. It is “heavily sized”, which means it throws off the water, at least at first. But after sustained drizzle, it starts to become absorbent.
All these things started to happen. The paper became spongy. The pen spluttered. Rain sneaked through the perforated canopy and dripped down the inside of my coat. Water slid off the leaves into my bag. I tried to wrap the sketchbook up and I crammed it into my backpack. I have a waterproof backpack. It was already wet on the outside. Now it was becoming wet on the inside. I stood in the rain and considered. I breathed using a yoga technique. Yoga breathing techniques are quite effective in the rain. There was a rhythm to the drips.
Then the rhythm slowed. Perhaps I could just do a bit more drawing? Slowly, I extracted and unwrapped my book. I flicked the pen to get the ink to flow again. I made each pen stroke count.
The rain eased enough.
This was as far as I got.
Then I went to the Vauxhall Tea House to warm up.
I finished the drawing of Pelham Mission Hall later at my desk.
1.ink2. Early wash3. More washes4. Final detail
Here are the colours I used:
Pelham Mission Hall was completed in 1910. The text on the big stone slab under the window tells me this.
Foundation stone: This stone was laid by Randall Thomas, Archbishop of Canterbury, on July 18th 1910. G.H.S. Walpole D. D. Rector. “To make ready a people for the Lord” Luke 1.17 Waring and Nicholson architects. William Smith and Son Builders.
Buildings often have a foundation stone. Usually they just say who, and when. This one also says why. Its mission, as stated on the stone, was “To make ready a people for the Lord”. This is a line from a verse in St Luke’s gospel in the Christian Bible. The context is this:
And he shall go before him in the spirit and power of Elias, to turn the hearts of the fathers to the children, and the disobedient to the wisdom of the just; to make ready a people prepared for the Lord.
This building was created as an urban missionary post. There was a street market along Lambeth Walk at the time, and up to the 1960s. 2 I imagine the missionaries preaching from their outdoor pulpit to the street traders and their customers. It must have been hard for the preacher to make themselves heard.
View of the Pelham Mission Hall showing the covered outdoor pulpit. Photo (c) JaneSketching, February 2025Picture taken in Lambeth Walk in the 1938, entitled ‘A Crowd Looks on as Miss Dipper Does the Lambeth Walk with Billy Pease the Peanut and Toffee King’. 3
The Hall is named for Francis G. Pelham 1844-1905, 5th Earl of Chichester, educated Eton and Cambridge, who was rector of Lambeth 1884-1894. 4
The building is now the “Henry Moore Sculpture Studio at Pelham Hall” part of Morley College. The sculptor Henry Moore donated a small sculpture to Morley College in 1977, which was sold at auction and helped to raise money for the lease of Pelham Hall. In return, the College named the sculpture studio after him, as written on the front of the building5.
Pelham Mission Hall, now The Henry Moore Sculpture Studio. The outdoor pulpit is on the left.
A ventilation pipe from the sculpture studio now exhausts through the outdoor pulpit.
While I was in the Vauxhall Tea House, the sun came out. It was calm in there. A few moments of paradise.
I find the King James’ version here a little ambiguous here in the pronouns. Who is the “he”, who is the “him”? A modern translation: ‘John will prepare the people for the Lord to come to them. The Holy Spirit will lead John as he led Elijah. John will do powerful things as Elijah did. He will help fathers to love their children. He will teach people who do not obey God. Then they will know what things are right. And they will do them. Then they will be ready when the Lord comes.’. Translation: “The Easy Bible”. Thank you to http://www.biblegateway.com for sorting that out. ↩︎
On a freezing day in March, I sketched Holland House.
Holland House from the North, in Sketchbook 15.
The view from the bench wasn’t quite right, so I moved to the grass. The shadows crept after me across the lawn.
The house was built in 1605-7. It originally had two turrets and was much larger than it is now.
It was damaged by aerial bombardment in 194o.
During the night of 27 September, Holland House was hit by twenty-two incendiary bombs during a ten-hour raid. The house was largely destroyed, with only the east wing, and, miraculously, almost all of the library remaining undamaged.
My sketch shows the surviving East wing with its turret. In the 1950s the damaged part was demolished, and the remainder converted to a youth hostel and open-air theatre.
On the way back to the tube station I paused at a still pond.
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There is a splendid tower south of St Thomas’ Hospital on the South bank of the River Thames. Here it is, sketched from the Lambeth Palace Road.
St Thomas’ hospital medical school, from the Lambeth Palace Road SE1, sketched 23rd February 2025 in sketchbook 15
This tower, and the buildings below it, are right next to the Thames, opposite the Houses of Parliament. It is a splendid position.
Position of St Thomas’ medical school (circled): opposite the Palace of Westminster. Map (c) Openstreetmap contributors. Click to enlarge.
Given this prominent central location, I was astonished to discover that these buildings are derelict.
If you look through the railings which are in my drawing, this is what you see:
Block 9, St Thomas’ Hospital, 23 Feb 2025, photo (c) JaneSketching.
Inside the old medical school: photo from Dibsphotography.com . Click the image to go to their site: many more photos are there.
Urban explorers have posted pictures of the sadly decayed interior. For example on this link and this link and this link. Some have ascended the tower and posted pictures taken from up there. Their photographs show an abandoned lecture theatre, peeling plaster, elegant fireplaces covered in dust and mould, laboratory samples lying about gathering dust, molecule trees in a tangled heap, test tubes and old notes.
As well as the grand buildings, there are low-level houses within the site.
Looking South, below the tower. Picture from Mosaic Engineers report, see note 1
So what’s going on?
This part of St Thomas’ hospital was a medical school and library since the hospital was built here in around 1870. This part of the site was abandoned 20 years ago, as medical schools moved and merged. Then, it seems, nothing happened for 10 years, as the lecture theatres, laboratories and corridors gradually decayed.
In 2015, there was a plan. The website for MICA architects shows a proposal for a new medical school on this site. This proposal is dated “2015-ongoing”. Click the image below to see their drawings of radical new buildings, and future medical students engaged in lectures and conversations, with spectacular views of the Houses of Parliament through the huge windows.
Lambeth Council granted planning permission in 2016, reference 16/02387/FUL. That was nearly ten years ago. Still the site remains derelict.
However, now it seems that progress is happening. On the Lambeth Council planning site, there is an impressive in-depth survey of the site by Mosaic Civil engineers, dated July 2024. They look at the Geology, Soil Chemistry, Hydrogeology, Hydrology, Flood Risk, Unexploded Ordnance, Ground Stability, and Invasive Weed, to name but a few. Hydrogeology seems to be answering the question: are there any aquifers or wells here? (answer: no). Hydrology is answering the question: how does the water flow around here, and will any sewage or nasty chemicals wash into the site? (answer: well, there is a Thames Water “storm sewage overflow” pipe into the Thames just upstream from here….). This report also contains photos, and a useful history of the site (Note 1).
St. Thomas´ Hospital was constructed in its current location in 1871 following the construction of the Albert Embankment (which required reclamation of land from the River Thames)and the demolition of old boatbuilding and barge house sites which dated back to the 1680s.” (page 6, history of the site)
Mosaic engineers report page 6, history of the site
The volume “London – South” of the Pevsner architectural guides, says that St Thomas’ was..
…built on the current site by Henry Currey 1868-71, one of the first civic hospitals in London to adopt the principle of “Nightingale” wards to allow maximum ventilation and dispersal of foul air.
Florence Nightingale (1820–1910) was a pioneering nurse and reformer of the profession. She had a profound impact on the architecture of hospitals.
“The first principle of hospital construction is to divide the sick among separate pavilions,” she wrote in her 1863 ‘Notes on Hospitals’. Pavilions were large, rectangular, open-plan wards that made it easier for nurses to supervise all patients. These wards became known as Nightingale Wards.”
The London Museum website presents a picture of St Thomas’ hospital as an example of this architecture. There were seven such pavilions. As you see in the pictures below, the hospital rivalled the Houses of Parliament in its size and pinnacled magnificence.
“St Thomas’ hospital opened by the Queen last Wednesday”. This picture is from the London Museum website. The Tower I sketched is on the left.
Here is a historic photo from the other side of the river. Westminster Bridge spans the river. The tower I sketched is on the right.
The hospital looks different today. The North pavilion was destroyed by enemy action in the 1939-45 conflict, and other parts of the building were damaged beyond repair. The only part remaining was the Tower to the south, and 3 of the southernmost pavilions. A large block was built in 1975 to replace the north pavilion. The website “Ebb and Flow” has some excellent pictures from 2023, showing the 1975 building in detail, and paying tribute to the dedicated people who work in this building.
View of St Thomas’ Hospital from the North Bank. March 2025. Photo (c) JaneSketching
Below is a photo from August last year. The 1975 buildings are on the left, the original buildings, still derelict, are on the right. In front is the National Covid Memorial Wall.
View of St Thomas’ from the Thames path, August 2024. (Photo (c) JaneSketching. )
Evelina building on the right, close to the old buildingMix of old and new buildings at St Thomas’A&E deptEvelina hospital on the left.St Thomas’ hospital, views of old and new buildings, from Lambeth Palace Road.
Now we can expect the renovation of the southern part of the hospital.
I have run and walked past this building for twenty years. I’m so glad that doing the sketch has prompted me to discover what’s going on behind the high walls. Here are some snapshots from the embankment. The hospital is on the right, behind the wall.
Early morning, 17th March 2025Early morning 12 January 2006. Mobile phones weren’t so great at taking photos then.
I thank the ambulance staff, administrators and medical professionals of St Thomas’ hospital who were there when needed after a terrifying incident. We all have such incidents in our lives. The hospital is more than a building. It is a place of caring, a community and a store of knowledge, from Nightingale to now.Thank you NHS.
Note 1: The report from Mosaic civil engineers is called “Mosaic Civil and Structural engineers report FINAL REPORT PHASE 1 PRELIMINARY CONTAMINATION RISK ASSESSMENT REPORT 01/07/2024″
It is on this link, as part of the ongoing planning proposal.
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Jane Sketching 