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The outbreak of war in the Middle East has already affected energy prices, amid concerns that inflation may rise in the coming months. Despite this difficult market environment, most London-based small businesses remain committed to short-term growth plans.
Originally known as Sneads Court on John Rocque's map of London in 1746, the area was wider and more of a courtyard than an alley. Over time, it was renamed Hertford Place and later Yarmouth Mews as the neighborhood evolved into larger hotels and grand houses.
It's not a house of outstanding art, being a self-taught carver whose skills evidently advanced over the years, as you can see the evolution from fairly rough carving on the stairs to the very skilled work in the living room. He also created the paintings on the walls - talented chap - but never finished the carving in the living room, as his time finally ran out.
Small businesses operating in niche sectors often face a paradox: projects become increasingly complex and large-scale, while the company's structure and resources remain at the level of a small, independent workshop. This is especially evident in architectural offices, design studios, creative agencies, and workshops working with unique physical objects. A church woodcarving workshop performing a full cycle of work on the creation of iconostases and interior ensembles for churches serves as a representative case.
In the last 12 months, the business delivered site EBITDA of £23m and EBITDA after central costs of £17m, cementing its position as the capital's leading independent pub operator. This is an increase of £5m versus reported EBITDA of £12.3m for the financial year ended 27 April 2025 - an uplift of almost 50%. The Group, which operates 66 high-quality sites across London, delivered its strongest-ever Christmas 2025 trading performance, capping an exceptional 2025.
Bringing such a culturally and historically significant building back into public use has been a huge privilege for everyone involved. This restoration has taken years of considered collaboration and care, guided by a shared commitment to do justice to the Town Hall's heritage while giving it a new lease of life and protecting it for future generations to enjoy.
If you're an art deco architecture geek, you'll no doubt know all about Ibex House. The shimmering pale office building, which you'll find on the east side of the Minories in the City, is renowned for its long streamline moderne curves and mesmerising black-framed windows. The vast H-shaped structure is Grade II-listed and one of London's most remarkable surviving art deco buildings.
The recent announcement of a 0% tax rate for bingo in the UK marks a significant shift in the entertainment sector's fiscal landscape. This change could potentially reverse the decline of bingo halls, especially in urban areas like London. By eliminating the tax, policymakers aim to rejuvenate a traditional pastime that has been struggling against modern entertainment trends. The UK's entertainment sector is a vibrant tapestry of cultural and social activities, contributing significantly to the economy.
Last month I sat with the operations manager of a 40-person London firm and watched her spend an entire morning copying order data from one spreadsheet into another. She'd done this every Friday for two years. Nobody had questioned it because that's just how we do things. UK workers waste 11.3 billion hours a year on administrative tasks like emailing, scheduling, and data entry, according to research from Dropbox.
At Troubadour, we are driven by a belief in creating extraordinary spaces that inspire artists, audiences, and the stories they come together to share. The 3,000 seat venue is to be built in Greenwich Securing planning permission for the new Troubadour Greenwich Peninsula Theatre marks a major milestone for us, and an exciting new chapter in our commitment to bold, large-scale live performance.
Whitehall's Banqueting House, one of the few survivors of the vast Palace of Whitehall, is due to reopen this summer, but is having a few preview days before fully reopening. Inside the highlight is the painted ceiling by Sir Peter Paul Rubens, commissioned by King Charles I and installed in 1636. That painted ceiling would also have been one of the last things the King saw when he was led out onto the scaffolding to be executed.
The row of shops (and pub) here used to be known as Butchers' Row as it was lined with, well, butchers of course - and they would hang their meat outside their stores on rows of metal hooks. Most of the buildings have since been redeveloped, but the gap between shops on Aldgate High Street has been there since shortly after WWII. The gap wasn't due to bomb damage, but for some reason, one building was cleared, and later its neighbour as well.
The alley likely came into existence when the first Leadenhall Market, as a market for herbs, opened, with a long passage leading from the market to Gracechurch Street. The alley used to be longer and straighter, but the eastern half was cut off when a building was constructed on the site. That building was demolished in 2000, and archaeologists researched it for Roman remains in 2002.
For most of its life, the alley's main feature was the church of St Martin Orgar, possibly named after Ordgarus, a Dane who donated the church to the canons of St Paul's. Sadly, most of the church was destroyed during the Great Fire of London. The badly damaged remains were restored and used by French Protestants right up to 1820.
The most arresting is a dramatic circular void carved into the ceiling, a spatial echo of St Paul's dome, translated from the sacred to the everyday. Below it, a monolithic espresso counter holds the room together, its weight and material language borrowed from Tate Modern's industrial character and the infrastructural logic of the riverbanks themselves.
