Happy splashing

Brighton’s popular Kings Road paddling pool is set to reopen today, 1 July, following weeks of essential repairs that saw the site drained, resurfaced and chemically balanced to ensure safety for thousands of expected summer visitors. According Brighton and Hove Council, the pool, nearby the West Pier, had been closed for work repair on its rubber-crumb flooring and to coordinate with the ongoing maintenance of the nearby A259 arches.

Councillor Alan Robins said the council understood how much families value this facility, calling it ‘a fantastic resource’ that provides ‘somewhere free where families can spend the day, make lifelong memories and, hopefully, enjoy the good weather this summer’. Councillor Trevor Muten added that the city had worked closely with Freedom Leisure, the operator responsible for the pool, to get the site ready in time for the school holidays. Longer term, the council plans to consult local residents on the paddling pool’s future once the arches project is complete.

There has been a seafront paddling pool more or less at this spot for generations. A larger, rectangular paddling pool was built here in the 1950s, just west of the West Pier’s landward remains, roughly opposite Regency Square - this photograph of it was published in The Argus some five years ago without any source or accreditation). When it was demolished either in the late 1970s or early 1980s, the site was repurposed first as tarmac and later partially used for skateboarding. In the early 2000s, as part of wider seafront improvements tied to the new seafront cycle lanes and landscaping, the new circular Kings Road paddling pool was constructed on approximately the same footprint, just slightly adjusted to fit the redesigned seafront layout.

The old paddling pool is fondly remembered, as recorded on the My Brighton and Hove website. Residents have shared stories of learning to swim there as toddlers, recalling sun-warmed concrete, splashes under clear skies, and the happy crush of families seeking relief from the heat. Here is Chris, for example, remembering the late 1960s: ‘’I used to go to the paddling pool with my mum and dad in the mid- to late 60s, before I was ready to “progress” to the sea or the King Alfred. I have vivid memories of the place to this day. I used to put my hands on the bottom and lay forward to “walk” along on my hands, pretending to swim. I also recall the paving around the pool where we’d lay out our towels/blankets and have the drinks and sandwiches we’d brought. Most of all, I remember the water as being wonderfully blue and clean – though with all those toddlers, I imagine it wasn’t quite that pure!’

The modern pool was briefly closed in 2023 after a dead seagull was found floating in the water, prompting a deep clean. Just last year, a spell of very hot weather caused minor surface damage that forced another temporary shutdown. Sporadic vandalism has also led to closures in the past, with glass or debris sometimes thrown into the pool. But now it’s open again, so happy splashing!

Mid-air fighter pilot thrills!

Ever experienced mid-air fighter pilot thrills? Ever been on the Palace Pier’s Air Race ride? This attraction has become a staple of the pier’s amusement offerings since its installation around 2016. Manufactured by Italian ride designers Zamperla, the award-winning Air Race is known for its compact design and intense looping motion, simulating the feeling of a high-speed aerobatic display.

The ride consists of plane-shaped pods mounted on rotating arms. As the central hub spins, the arms swing outward, causing the pods to loop vertically and invert. The result is a disorienting two-minute experience delivering forces said to be up to 3G. Riders are secured in over-the-shoulder restraints, and the ride is accompanied by engine sound effects and commentary mimicking an air show.

Brighton’s Air Race replaced or supplemented older children’s rides as part of the Brighton Pier Group’s post-2010 modernisation strategy. It operates as part of the pier’s token- or wristband-based amusement park at the far end of the structure. Its height and movement make it visible from the promenade, contributing to the pier’s profile as a destination for thrill-seekers as well as traditional day-trippers.

The ride has been in the news. On 8 April 2019, a component came loose during operation and struck a teenage boy in the leg, causing minor injury. Emergency services responded, and the Health and Safety Executive launched an investigation. The ride was temporarily closed and inspected by the manufacturer. The incident, reported by multiple national outlets including BBC News and ITV News, was one of the few recent mechanical accidents on Brighton Palace Pier. No serious injuries were recorded.

The Air Race is not unique to Brighton. The same Zamperla ride model is installed in several locations around the world. Notable examples include Luna Park in Coney Island, New York (opened 2010), and Drayton Manor in Staffordshire (opened 2014). Other installations exist in Australia, Canada and at travelling fairs in Germany. According to Zamperla’s website, the Air Race won a Menalac Best New Products award in the FECS category (European fairs and traveling attractions) within the 2011-2020 timeframe.

Four times time

Ninety-five years ago toady, on 27 June 1930, Brighton’s Mayor Horace Aldrich formally opened the clock tower at the entrance to the Palace Pier. Commissioned by the Brighton Marine Palace and Pier Company and built by W. G. Beaumont & Company, the new clock tower was designed to create a grander gateway for visitors, replacing the original ironwork arches as part of a widened promenade. Its four faces have since become an iconic feature at the pier’s entrance, though the clock faces don’t always tell the same time!

Local lore holds that the clock’s internal mechanism and faces were salvaged from the Brighton Aquarium, during its 1929 demolition, and repurposed into the new pier entrance (see My Brighton and Hove). While this is a persistent and colourful legend - referenced in community histories and online forums - there seems to be no definitive documentation to confirm it. 

The clock has not always run smoothly. During the Second World War, the mechanism and faces were removed for safekeeping, protecting them from potential bomb damage or sabotage. When the pier reopened in June 1946, the clock was reinstalled and the tower rebuilt. Over the decades, the coastal environment - with its salt, wind and storms - has taken its toll, leading to periodic wear and tear and necessitating regular maintenance.

One of the most notable recent challenges occurred during a particularly wet winter in the late 2000s. The tower’s waterproofing failed, causing wooden structural supports to decay. This led to the clock’s shafts binding and the mechanism losing time. The problem was resolved by engineers from Hastings, who restored the clock and repaired the structure. Nevertheless, in the last few years, when on the beach, I’ve learned to check more than one face if I need to know the time.

Celebrating Eugenius Birch

Eugenius Birch - born this day in 1818 - was the preeminent engineer of the Victorian seaside, the man who shaped the silhouette of England’s pleasure piers - and few places reflect his legacy more vividly than Brighton. Though best remembered for designing the West Pier, his original involvement with the Palace Pier also left a mark on the seafront that endures to this day. It is worth noting that Brighton is the only location where TWO Eugenius Birch built/inspired piers can be captured in a single ground-level photograph.

Brighton in the mid-19th century was already a flourishing resort town, a fashionable destination for sea air and spectacle. But its early piers were practical structures - wooden jetties for landing boats, not leisure. The transformation of the pier into a promenade of popular entertainment was largely Birch’s doing.

The West Pier, opened in October 1866, was his masterpiece. Commissioned by the West Pier Company and built at a cost of over £27,000, it was the first pier in Britain designed specifically for pleasure rather than docking. Birch employed his trademark screw-pile technique - iron piles twisted deep into the seabed - which made the structure both elegant and resilient. The West Pier featured cast-iron columns, graceful arches, gas lighting, and a central pavilion where orchestras performed to strolling visitors. It soon became a jewel of the Brighton shoreline, admired for its engineering and its social atmosphere.

The success of the West Pier inspired calls for a second pier, further east, to replace the ageing and storm-battered Chain Pier. In 1881, the newly formed Brighton Marine Palace and Pier Company invited Birch to draw up plans for a grander structure: what would eventually become the Palace Pier. His design envisioned a wide, iron-framed promenade extending over 1,000 feet into the Channel, crowned with entertainment pavilions and theatre space - a palace of amusement on the sea.

Construction began in November 1881, but progress was plagued by bad weather and delays. Birch, now in his sixties and nearing the end of his life, did not live to see it through. He died in January 1884, and the project stalled for several years after. When work resumed in earnest, the Palace Pier’s design was significantly revised under new engineers, though it retained Birch’s iron-pile foundations and the core idea of a leisure pier rather than a landing stage.

The Palace Pier was finally opened in May 1899, fifteen years after Birch’s death. Though much of the decorative design and superstructure was reimagined, the engineering principles remained his. Its immense popularity through the 20th century - with its theatres, arcades, and fairground rides - owed much to the model first tested on the West Pier. Today, the West Pier, now skeletal after fires and storms, stands as a haunting but beautiful ruin, a tribute to Birch’s original vision; and The Palace Pier  continues to thrive as one of Britain’s most visited free attractions.

Happy Birthday Eugenius Birch. Further information is readily available online, for example at Wikipedia, the National Piers Society and The Victorian Web. The modern photograph above was taken in 2020. The two Victorian-era photographs of the piers were published in my book Brighton & Hove Then & Now (The History Press, 2013) but originally sourced from the James Gray Collection with thanks to the Regency Society.

The seafront, the seafront

Found yesterday on the seafront: the seafront! This Brighton Fibre van livery - by Chloe Studios - is surely the funnest in the city, and an eye-catching advertisement for a company that says it is ‘Doing Things Differently’. Broadband shouldn’t be complicated, it states: ‘We got rid of everything that nobody needed - no call centres, no datacentres, no contracts. Just fast, fair, and sustainable fibre.’

Brighton Fibre can be considered as a grassroots success story. During the first Covid lockdown, Mark Mason, a local AV/IT professional - began sharing a leased-line connection and a rooftop radio link with neighbours struggling to work from home. He teamed up with Leo Brown, a lifelong telecoms enthusiast who had built networks as a child. Together, they launched the company as a stealth‑mode ISP: a self-funded, locally grown initiative focused on sustainability, technical ingenuity, and community-first broadband.

From the outset, Brighton Fibre distinguished itself by building its own full-fibre network using existing infrastructure - repurposing old ducts, telegraph poles and even 1930s Rediffusion radio-relay channels. The network was designed to be energy efficient and environmentally conscious: nodes are powered by renewable energy and run on single-board computers like Raspberry Pis, consuming less power than boiling a kettle. The company explains that it rejected venture capital, choosing instead to build strategic, community-led partnerships and reinvest revenue back into network development and service quality.

Their rollout began in underserved neighbourhoods such as North Laine, Gardner Street, Moulsecoomb and Bevendean, and from just a few experimental connections, the network expanded rapidly and by early 2024 was servicing over 30,000 premises. Their main network hub sits in the Brighton Digital Exchange at New England House, a cooperative, carrier-neutral data centre established in 2015. While some connections still rely on Openreach duct access, the long-term plan is to shift all links to Brighton Fibre’s own infrastructure.

The brilliant livery on Brighton Fibre’s vans was designed by local illustrator Chloe Batchelor of Chloe Studios. The final wrap was printed and applied by Brighton-based signwriter Mister Phil.

By way of a summary, I asked ChatGPT what makes Brighton Fibre different. ‘It’s more than just technology. It’s the combination of self-built, eco-conscious infrastructure; a deep-rooted local ethos; and an engineering-led culture that prioritises quality over scale. In a world of national monopolies and corporate ISPs, Brighton Fibre is quietly proving that an independent network - powered by recycled cables, renewable energy and community trust - can thrive on the edge of the sea.’

Marrocco’s and the dawn of TripAdvisor

Fifteen years ago, in June 2010, a TripAdvisor user named Candyjo quietly posted what remains one of the earliest - and most charming - online restaurant reviews in the UK. Her destination was Marrocco’s, the family-run Italian institution on Hove’s seafront. At the time, hers was the only review for the year - only the second in total. Today, there are nearly a thousand.

Founded in 1969 by the Marrocco family, the Brighton Beach business began as a gelateria serving homemade Italian ice cream prepared fresh each morning. Over the decades it evolved into a full restaurant, offering fresh seafood, pasta and grills in a close-knit, cheerful setting. The heart of the operation remains the same: a warm welcome, an open kitchen, and food made with care.

TripAdvisor, meanwhile, was just beginning to take root in the UK dining scene. Although the platform launched in the US in 2000, its early growth in Britain was slower. In 2010, most independent restaurants still relied on word-of-mouth, and online reviews were more novelty than norm. This is what makes Candyjo’s post feel like a time capsule. 

She wrote in June 2010: ‘If you go here (please don’t - I like to be able to get a table) you need to accept that it’s a small, family-run place where they cook the food in an open kitchen that might be right by your elbow, and if they’re too busy then you’ll have to wait, and if you take longer than usual over your starter that might mess up the timing a bit but that what you get is authentic, fresh and delicious.

I had the crab linguine - a whole spider crab so not a huge amount of meat, and very messy of course what with pincers and extractors etc - it was already chopped up a bit, the pasta spilled from the shell like a piece of art - it was beautiful. Am I being too effusive? Probably. It’s just so rare to get food this good, that looks this good and that I can afford (£11.95). The pasta sauce included fresh cherry tomatoes to die for, a hint of heat (chilli), perfect.

My companion had a whole, huge sea bass, grilled perfectly. Same price; it came with chips. The tables are closely packed and if it’s busy it’s noisy. There are children, who might possibly run around were there room to but there isn’t. There are grandparents, business people, couples, friends; often they seem to be Italian which seems a good thing. The staff are friendly and knowledgeable.

Perhaps you should go with the idea that it’s a café that serves fab food (and with ‘greasy spoon’ cafes charging perhaps £7 or £8 for a plate of breakfast, this is a bargain in comparison). Get a bottle of wine, linger. Then walk along the seafront towards the dreamy sunset and remember that city living can have its advantages.

I don’t especially like the ice cream (not sweet enough for me) but I don’t go there for that. Though I did share an ice cream ‘cocktail’ thing (banana split?) once and it was good.’

Fifteen years later, the heart of that review still beats. The prices may have changed, but the atmosphere, the setting and the charm of Marrocco’s continue to draw locals and visitors alike. Candyjo’s post wasn’t just an early review - it was a small piece of Brighton food history, lovingly written, and now part of the restaurant’s long and ongoing story.

Monster moaning

Oh, sure - laugh it up. Take your selfies, poke my chest, comment on my ‘classic look’. I’ve stood here on this splintered pier through wind, rain, stag dos, hen parties, and the occasional rogue seagull attack, and not once has anyone thought to ask how I feel. I’m Frankenstein’s MONSTER, damn it. Not a prop. Not a photo op. A BEING stitched from human remains and existential dread - and yet somehow, I’ve become a mascot for your wretched seaside giddiness.

Every day, thousands of you shuffle past, sticky with candy floss, reeking of sunblock and regret, funnelling into the haunted house behind me like sheep queueing for a predictable fright. ‘Ooh, spooky!’ you say. Is it? Is it really? I’ve seen scarier things in your pop culture. You’ve got real monsters now - algorithmic surveillance, climate collapse, influencers. But no, you want a 1950s rubber mask and a few jump-scares. That’s enough horror for your Instagram.

And don’t get me started on the paint. Who keeps giving me these slapdash touch-ups? I look like someone tried to fix a Renaissance fresco with emulsion and a plastic spoon. My hands are scuffed, my bolts are rusted, and my suit - my suit - was once the pinnacle of stitched-together sophistication. Now I look like a bouncer at a discount Halloween disco.

I hear your conversations. I do. ‘Look, it’s Frankenstein!’ No. Wrong. Frankenstein was the doctor. I am the nameless creation, the wretched patchwork soul who wandered the Alps questioning the morality of man. But go ahead - reduce me to a misunderstood Halloween cliché, why don’t you?

And what is this cursed playlist on the pier? I’ve listened to ‘Agadoo’ more times than I’ve contemplated mortality. Which is saying something. You think eternal life is glamorous? Try standing motionless next to a coin-operated skeleton that laughs every time a child screams. I once pondered the ethics of divine creation. Now I know the true abyss: karaoke night on a bank holiday Monday.

Do I get a break? A moment of stillness? No. Just endless photos, drunks trying to grope me for laughs, and the seagulls - God, the seagulls. I was struck by lightning to be brought to life, and now I live in constant fear of bird droppings and chip theft.

So yes, I’m angry. I deserve better. I deserve a gallery, a plinth, a plaque explaining my tragic origins. Not this rotting boardwalk of flashing lights and bubblegum detritus. Well, fine. Take your photo, but just so you know, my true creator, Mary Shelley, is turning, eternally, agonisingly in her grave.

New temp beach huts for renting

Eleven new beach huts will be available for hiring in Hove, near the Peace Statue, from Monday. The huts are under construction for Kairos - a boutique events agency - and will be rented out online through the summer until September. Their installation has been authorised by Brighton & Hove Council with an events licence, but Kairos has also put in a three year planning application so as to be able to continue the project for two more summers after this one.  

In the council planning documents, Kairos explains that a total of eleven beach huts will be installed along the concrete promenade adjacent to Hove Lawns - in ‘a currently underutilised section of the seafront’. They will be designed to complement the existing architectural character of the seafront, and will not impact any heritage or listed buildings. Moreover, they will follow the established design and colour schemes of the current beach huts. ‘These additions aim to enhance the vibrancy of Hove seafront by increasing footfall and providing new opportunities for both local residents and businesses to enjoy and engage with the beach hut experience.’

Kairos envisages close collaboration with the nearby cafe (see also The Meeting Place progress). For example, it says, ‘guests will have the convenience of ordering coffee and other beverages directly to their huts via a dedicated mobile app, creating a seamless and enjoyable seafront experience that supports local business and promotes visitor engagement.’ Furthermore, ‘collaboration with Brighton & Hove Albion Football Club will aim to deliver a range of seasonal activities aimed at engaging the local community. This partnership will include structured coaching sessions, skills workshops, and inclusive sporting events designed to promote physical activity, teamwork, and community involvement.’

Under the events licence, the beach huts are intended to remain in place for an initial period of five months, but the new planning permission application is for a duration of 36 months ‘to allow flexibility in extending the initiative’ - i.e. installing the huts for five months in each of the next two years. To date, the planning application has attracted one online comment, from a ‘neighbour’. He/she states: ‘The views from Grade I listed buildings in Brunswick Square and Terrace are affected. Furthermore, the height of the huts seem not to be as per existing beach huts with these new huts appearing to be considerably taller than all other beach huts and the specifications for those huts clearly defined and contrary to this application.’ 

Upside Down Houses on a roll

The Upside Down House on Brighton Beach stands out as a unique tourist attraction, thoughtfully designed and built as a temporary experience for visitors. This quirky structure was the brainchild of Tom Dirse, CEO of Upside Down House UK Ltd, who first introduced the concept in Bournemouth in 2018. Since then, the idea has expanded to six locations in the UK (with four more managed by a partner company). Indeed, the concept seems to be on a roll worldwide with topsy-turvy houses opening from the US to Thailand, Estonia to South Africa.

Brighton’s Upside Down House opened its doors in May 2019, perfectly positioned on the seafront between the i360 and the bandstand. Its vibrant turquoise exterior complements the iconic colours of the city’s coastline, making it a striking feature along the promenade. Inside, it features a variety of themed rooms - including a kitchen, dining room, bathroom, bedroom, music room, and vault room - all with furniture and décor attached to the ‘ceiling’ for surreal photographic opportunities. The interior design is said to draw on Brighton’s diverse cultural, music, and arts scene, with elements such as a bespoke gaming area, a jukebox, a vintage bicycle, and a replica Mona Lisa.

The attraction appears to be part of a global trend of topsy-turvy constructions, with similar installations found across Europe, North America, Asia, and beyond, often as standalone tourist sites or within amusement parks and museums. Apart from at least ten in the UK there are certainly 20 more well-known ones worldwide (though the actual number is likely to be higher).

My own (un-modified) upside down photograph of Brighton’s Upside Down House inspired me to collage together a few photos found online of other similar attractions. I’ve modified those pictures by rotating them through 180 degrees, and then slightly cropping/straightening the results. Locations:  Orlando, USA (top right), Broederstroom, South Africa (bottom right), Szymbark, Poland (top left), Tartu, Estonia (bottom left). Incidentally, the original Upside Down House concept is credited to the one at Szymbark which opened in 2007 as a tourist attraction and a social commentary on the communist era.

The Kemp Town Lift

The Kemp Town (or Madeira) Lift was opened 135 years ago this very day. Located on Brighton’s East Cliff, it was built to connect Marine Parade above with Madeira Drive below, offering practical access to the seafront at a time when Brighton was rapidly expanding as a Victorian resort.

The lift was part of a larger project initiated under the Brighton Improvement Act of 1884. Alongside the lift, work began on the Madeira Terrace and Shelter Hall - structures designed to enhance the eastern stretch of the promenade. Construction of the lift began in the late 1880s and was completed in time for its opening on 24 May 1890. It is made up of a three-stage tower with a pagoda-style roof and originally featured a square-faced clock, now missing. Its roof is topped by a dolphin weather vane, and the structure is notable for its ornamental cast-iron framework

The full length of Madeira Terrace, which the lift forms a central part of, was completed in 1897. The East Cliff had already undergone major changes by this time. A sea wall, constructed in 1870 using stone from the demolished first Blackfriars Bridge in London, provided a foundation for further development. The Kemp Town estate, built between 1823 and 1855, had established the area as a fashionable part of Brighton. The lift was designed to complement this setting, with an ornamental roof, cast-iron framework, and panoramic views of the coast.

In 1971, Madeira Terrace and the lift were granted Grade II* listed status by English Heritage, recognising their architectural and historical value. Bizarrely, perhaps, access to the beach level of the lift is via Concorde, a music venue. According to Atlas Obscura, there is ‘chest-thumping music from about ten in the morning onwards’, and the interior of the club is painted black and purple ‘suitably oppressive and doom-laden, even in bright sunshine and despite its sixteen-foot ceilings’. Historically (at times prior to Concorde), the beach level building served as a waiting room and as a cafe.

The lift structure - like the rest of the terraces - has suffered from long periods of neglect. The lift was closed in 2007 due to safety concerns. It reopened briefly in 2009 after structural repairs, but further deterioration led to more closures. In 2012, Madeira Walk and the upper deck were also shut. Limited restoration in 2013 allowed a temporary reopening, but by 2023, the lift had once again been closed indefinitely due to shaft damage.

Over the years, attempts have been made to maintain and manage the lift, including a period of operation by Concorde. However, ongoing maintenance has remained a challenge. In 2019, over ten tonnes of lead and copper were stolen from the lift and surrounding shelters, worsening its condition. As of March 2025, Brighton & Hove City Council has launched a new restoration project for the eastern seafront - see Madeira Terrace restoration - hurrah! and Progress on the Madeira arches.

The Golden Gallopers

We are lucky to have the GGs on Brighton Beach, better known as the ‘Golden Gallopers’, a fairground ride that surely captures the spirit of traditional seaside entertainment. 

This carousel was built in 1888 by Frederick Savage, a pioneering 19th-century English engineer and inventor who transformed the world of fairground machinery. Savage, based in King’s Lynn, Norfolk, developed steam-powered systems for carousels, including the ‘galloping horse’ mechanism that gave ride-on horses their signature rise-and-fall motion. His roundabouts were exported around the world and laid the foundation for what became known as the golden age of mechanical fairgrounds.

The Brighton carousel originally toured the North of England before being exported to the USA by an American collector. After some years abroad, it returned to the UK and eventually found a permanent home on Brighton beach. Over the course of its history, the ride has undergone a number of restorations, including a key rebuild by Savage’s company to convert it from a ‘dobby set’ (with stationary horses) to a full galloper ride using overhead cranks and a rotating platform. The original steam engine was removed in 1949, and the carousel has since run on electric power.

The carousel has been operated on Brighton beach since 1997 by Owen Smith - Smith’s name is proudly painted on the ride’s canopy, and he continues to manage its seasonal appearance and upkeep. The carousel typically operates from Easter to September and is dismantled each winter for protection. A notable feature of the ride’s operation is its annual rebuilding each March, when it is reassembled on the beach. This process has been documented in a sequence of photos by Tony Mould, who also recorded the names of all the carved horses, each one individually painted and named - see My Brighton and Hove. (However, these photographs are my own.)

Today, the Golden Gallopers carousel remains a much-loved landmark on Brighton’s seafront. It stands, one might say, as a living tribute to Frederick Savage’s mechanical ingenuity and to the commitment of its current operator, who ensures the carousel continues to delight new generations of visitors with the colour, motion, and music of a bygone era.

Rampion’s giant turbines

This month marks ten years since a major turning point in the UK’s green energy journey - and in the future of views out to sea from Brighton Beach. In May 2015, confirmation of a £1.3 billion investment unlocked the start of construction on what would become the Rampion Offshore Wind Farm - a pioneering renewable energy project off the Sussex coast. A decade later, Rampion has not only reshaped the region’s horizon but also played a key role in reshaping Britain’s energy future.

Back in 2015, the announcement by E.ON, with backing from the UK Green Investment Bank and Enbridge, signalled more than just a financial commitment. It was a bold vote of confidence in the potential of offshore wind, then still an emerging sector. Construction began in 2016; by spring 2018, the turbines were fully operational, delivering power to the National Grid.

Situated 13km off the Sussex coast, Rampion was the first offshore wind farm in the south of England. With 116 turbines generating up to 400 megawatts - enough to power around 350,000 homes - it demonstrated the viability of large-scale wind energy in the region. Its name, chosen by public vote, nods to the round-headed rampion, the county flower of Sussex.

Today, Rampion stands as a landmark project - visible most especially from Brighton Beach - and a vital contributor to the UK’s renewable energy mix. Looking ahead, the proposed Rampion 2 expansion aims to nearly triple the wind farm’s generating capacity. With an estimated cost of £2 billion, the project received government approval in April 2025 and is expected to begin construction in late 2026 or early 2027, aiming to be fully operational before 2030. The extension will add 90 turbines, each up to 325 meters tall - surpassing the height of the Eiffel Tower - and will provide clean electricity to over one million homes. (The photo below is from the Rampion website.)

The visual impact of Rampion has been a topic of discussion - see The Guardian. While some residents and visitors appreciate the turbines as symbols of progress and find them majestic, others express concerns about their prominence on the seascape. The developers have engaged in public consultations to address these concerns, including reducing the number of turbines and adjusting their placement to minimise visual intrusion. Meanwhile anyone wishing to get up close and personal to the turbine giants can take a tour with Brighton Diver - costing just £45 for a two-three hour boat ride.

Hove Beach Park opens

It’s big news for Brighton Beach that Hove Beach Park has been officially opened - by the mayor Mohammed Asaduzzaman and council leader Bella Sankey. Stretching from the King Alfred Leisure Centre to Hove Lagoon, the new park - the first in the city for 100 years, claims Sankey - has been built across Hove’s Western Lawns, an area which for a century has been little more than a series of lawned rectangles. 

The first section of the £13.7m park - opened last September and included a skatepark, pump track and roller area. Since then the council has added padel and tennis courts, gardens and new pathways, and an outdoor sports hub, café and public toilets - see Not the Mary Clarke Park. The existing croquet and bowls lawns have also reopened - a sand sports area is expected to follow by August.

In a press release, the Council quoted Sankey as stating: ‘This project has been evolving since 2018 through the work of local community organisations, particularly West Hove Seafront Action Group and West Hove Forum. Working in partnership, we identified underused facilities and green spaces on the seafront and developed a plan to reinvigorate this key area of the city. The result is a linear park with attractive spaces, better biodiversity and a range of recreational activities for residents and visitors of all ages to enjoy.’

Brighton and Hove News reported on the opening ceremony last Friday, as did BBC Sussex. In celebration of the opening, several events were organised over the weekend: padel games with coaches on hand, an introductory bowls session, a jam session in the skatepark and pump track area, and a croquet drop-in session.

Progress on the Madeira arches

With all 28 arches, more or less, dismantled, the Madeira Terraces restoration project (phase 1) remains on schedule to finish sometime in the middle of next year. However, Mike, a representative of the construction company J T Mackley & Co, speaking to a small public meeting in the Sea Lanes Club House this afternoon, insisted this timescale was only a target, and that if any of the integral pieces, once dismantled, are found to need replacing - as opposed to strengthening or repairing - this could delay the project significantly.

This project has been a long time in the coming (see Madeira Terrace restoration - hurrah!) but now that it is under way, progress is visible and tangible. It’s almost shocking to see the concrete sea wall - actually built decades before the cast iron terraces were ever planned - with all the turquoise painted cast iron terracing removed. Mike explained that everything has gone reasonably well so far, some aspects easier than expected, others more complex. The final arch (of the 28 being restored in this phase) he said, should be down next week. He also gave some insights into the complex restoration process.

Every piece is being tagged, he said according to a system agreed with English Heritage, before cleaning and stress testing etc. - to ensure the pieces fit back together in the right position. The company does have access to plans drawn for the original construction (in late Victorian times!), but Mike said rather wryly, those plans were never adjusted according to what the builders actually built - making them an unreliable guide.

To date, the major pieces cleaned and tested have proved robust enough to re-use; however, Mike warned, if any, still to be tested, show defects that cannot be repaired, then they will need to be replaced. This is a job that would be carried out by one of Mackley’s partner in this project, a foundry works in Derby (very few places could handle this work, Mike explained) - and could delay completion by months. Among other aspects of the project, Mike talked a little about the rebuilding of the Maderia Lift which, he said was in the design stage and was ‘going quite well’.

The St Aubyns’ performers

Today marks the birthday of the highly successful music hall artist, Vesta Tilley, born on 13 May 1864. In the very last years of her long life, she had a flat in St Aubyns Mansions, King’s Esplanade, a grand late Victorian block that, unusually for most of the seafront, sits on the beach side of the coast road - with uninterrupted views of the pebbles and the sea. Half a century earlier - when the block was still new - another stage performer, Clara Butt, a contralto singer, also resided there for a while.

Matilda Alice Powles was born in Worcester, began performing at the age of three, and adopted the stage name Vesta Tilley by age 11. She was best known for her work as a male impersonator, gaining national fame for her convincing portrayals of men, particularly dandies, soldiers, and comic characters. She became one of the highest-paid and most influential entertainers of her time, peaking during the late Victorian and Edwardian eras. She was especially popular during WWI, when she performed patriotic songs and encouraged enlistment. After retiring in 1920 she published her autobiography Recollections of Vesta Tilley in 1934. She married Walter de Frece, a theatre impresario who later a Member of Parliament and knight, making her Lady de Frece. She lived in St Aubyns in her eighties, and died in London in 1952.

Some 50 years earlier, Clara Butt, born nearby in Southwick in 1872, lived in St Aubyns, then a new block of flats. She had trained as a singer at the Royal College of Music and had studied in Paris and Berlin. She became increasingly well known in the 1890s, particularly for her concert performances and oratorio work in pieces by Edward Elgar (who composed songs specifically for her, including Sea Pictures). She married the baritone Robert Kennerley Rumford in 1900, moving into St Aubyn’s for a few years before relocating to London. Butt toured internationally and - similar to Tilley in fact - was known for her patriotic (and charity) performances, especially during WWI. She was appointed Dame Commander of the Order of the British Empire (DBE) in 1920 for her contributions to music and war efforts.

Dating from 1900, St Aubyns Mansions - painted yellow and white - was stuccoed after WWI. During WWII, it became part of HMS King Alfred (the name for the King Alfred leisure centre after being requisitioned by the Navy), but remained semi-derelict for several years after. Blue plaques for both Tilley and Butt were unveiled on the building by Brighton Council in 2011, though they were paid for by the residents and funds from the Brighton and Hove Commemorative Plaques Panel - see the BBC report. See also My Brighton and Hove.

Cynicism over bike rack move

Earlier this week, Brighton & Hove News ran a relatively small item about Sea Lanes on Madeira Drive wanting to move an existing bike rack facility away from the pavement and onto the beach pebbles. The move is required, Sea Lanes, says because the facility’s current location immediately adjacent to the road enables thieves to quickly cut through locks and load bikes into waiting vehicles. In the new position, the bike racks would be overlooked by the reception staff.

In addition, though, Sea Lanes has requested permission to replace the pavement-side racks with a small swim retail unit. In response to this idea, several members of the public have left comments on the Brighton & Hove News website. One, for example, has suggested that the ‘small retail unit’ is the MAIN reason for the planning request. Another didn’t mince his words: ‘This reason to move the bike racks is total rubbish and ONLY about using the site for a shop.’

The planning application documents can be found online on the Council website. The proposal states: ‘Sea Lanes has now been operational for over 1.5 years and has proved very successful and is well used by both locals and visitors to the city. A large number of users, particularly swimmers, travel to Sea Lanes by bike. A user survey indicated that 38% of swimmers travel by bike. The existing bike shelter is well used; however there have been a number of issues with bike thefts from the shelter. Its location immediately adjacent to the road enables thieves to quickly cut through locks and load bikes into waiting vehicles. It is therefore proposed to move the existing bike parking shelter to the south side of the Volks railway.’

The planning document goes on to list the following benefits of the new position for the racks:

‘- It is considered more secure as it will be overlooked by the swimming pool reception and when the sauna is in operation users of the sauna.

- It is less visible for any opportunist thieves.

- Any thieves will have to move bikes from across the railway tracks to any waiting vehicle in the road. 

- It is a better location for pool users, who are the main users of the bike shelter. 

- Having a shelter in this location will be necessary when the temporary planning permission for all structures on the north side of the railway expires.’

As for the new ‘swim retail unit’, this will offer swim-related products/equipment to pool users and sea swimmers. Moreover, Sea Lanes suggests ‘a swim retail offer is fundamental to [its] vision for a National open Water Swimming Centre’.

According to Brighton & Hove News, ‘brazen bike theft is common along Madeira Drive’. In September 2023, it says, a thief broke a bike lock and rode an expensive ebike away even though he was openly being filmed by a member of the public. A subsequent appeal failed to track him down. Then, in 2024, a serial bike thief was jailed for a year after being caught on CCTV cutting locks of bikes, including one he stole from Sea Lanes.

Nevertheless, some of those who left comments on the news article were heavily cynical of the planning application. 

J T offered this: ‘I’m pretty sure “give us a shop or your bikes will get stolen” is like some kind of blackmail but here we are.’

Hove Actually was more direct: ‘Bike thieves are notoriously men/boys who WALK up and have the lock off in seconds who then cycle away. This reason to move the bike racks is total rubbish and ONLY about using the site for a shop.’

And Dion Nutley’s comment took aim at ‘bike snobs’ in general: ‘If your bike’s re-sale value is over £100, it will get stolen no matter where you leave it locked up in Brighton. Only a complete and utter cretin will leave an expensive bike locked to a bike rack.. but that’s what the “bike snobs” do… “look at me on my expensive bike and look at you on your lump of crap”… then next week they are whining that it’s stolen while you’re still mobile on your unstolen “lump of crap”.

Fish and chips or moules marinières

‘We promise you won’t find a better view on the South Coast.’ So boasts the Palm Court restaurant, on Brighton’s Palace Pier, which also calls itself ‘The home of the Big Fish’. Have you eaten there? Famously top notch fish and chips are available (the fish is hand cut), as are moules marinières.

It seems unclear exactly when the Palm Court opened for business. However, it stands where once stood the famous Concert Hall, and so, presumably, it was installed as part of the late-1980s transformation (following the dismantling of the theatre). 

Subsequently, in 2018, the Palm Court underwent a significant refurbishment. Out went the darker, old-world styling; in came sea-glass tones, elegant booths, a sleek central island bar, and vast windows offering diners an unbroken view of the channel. Part of the seating area, apparently, was fashioned from a preserved bandstand, giving patrons the feeling of dining inside a Victorian music box (with the sound of gulls for accompaniment). The redesign also incorporated a copper installation inspired by starling murmurations.

Over the years, celebrity endorsements have kept the restaurant in the public eye. According to the pier’s website, Heston Blumenthal (famous chef) declared that Brighton Pier is the ‘Spiritual home of fish and chips’ whilst on a trip to film a one-off special documentary called Heston’s Fishy Feasts. 

The local newspaper, the Argus, reported in 2019 that Brighton crime writer Peter James chose the Palm Court to launch his novel Dead At First Sight. At the same time he announced that his detective Roy Grace would be featuring in a new series of TV dramas. Guests at the event included fellow crime writer Martina Cole, Brighton and Hove Mayor Dee Simson and Sussex Police and Crime Commissioner Katy Bourne! And then, in March 2022, the Argus told us ‘the one and only’ pop star Chesney Hawkes and son Casey had ‘stopped off’ at the Palm Court for, what else, fish and chips.

While disputing the idea that I couldn’t find a better view on the South Coast, I’ll allow the restaurant a few final words of self-promotion: ‘Expertly blending seaside tradition with contemporary style, Palm Court serves up British classics, seafood favourites, super fresh salads and vegan specials, focussing on the tastiest ingredients and exceptional customer service. Famous for our fish & chips, each fillet we serve is hand-cut in house, coated in our delicious batter and cooked to crispy perfection, whilst our equally popular Moules Marinières deliver full-on flavour of the sea, French-style.’

Poor Palace Pier!

Poor Palace Pier! It hit the news headlines yesterday for all the wrong reasons, as they say, financial mostly. Brighton Pier Group PLC, which owns the pier, announced that it would delist from the London’s AIM market and return to life as a private company. If a shareholder meeting on 22 April agrees with this plan, the delisting will take place on 2 May. The group cited ‘persistent challenging trading conditions, impacted by, inter alia, Covid-19, repeat bad weather during peak summer trading periods, recent significant Budget increases in National Insurance from 6 April 2025, pressures on consumer discretionary spending and a change in consumer behaviours’. It’s worth noting that after introducing an entrance fee of £1 for non-residents last year, the fee has recently doubled to £2. 

The Brighton Pier Group PLC owns and trades Brighton Palace Pier, as well as five premium bars nationwide, eight indoor mini-golf sites and the Lightwater Valley Family Adventure Park in North Yorkshire. The group operates as four separate divisions - one of which runs Brighton Palace Pier - under the leadership of Anne Ackord, Chief Executive Officer. Chairman Luke Johnson, former Pizza Express and Patisserie Valerie boss, who owns 27% of the company’s shares (according to its website), was quoted as saying the company had faced ‘persistent challenging trading conditions’ since the coronavirus pandemic, forcing it to cut costs and sell off underperforming assets. Having risen to over £100 in April 1922, the share price has generally fallen steadily since then, slumping yesterday, and now hovering in the region of £10.

‘Brighton Palace Pier,’ the group website explains, ‘welcomes over four million visitors per year and offers a wide range of attractions including two arcades (with over 300 machines) and nineteen funfair rides, together with a variety of on-site hospitality and catering facilities. The attractions, product offering and layout of the Pier are focused on creating a family-friendly atmosphere that aims to draw a wide demographic of visitors. Revenue is generated from the pay-as-you-go purchase of products from the fairground rides, arcades, hospitality facilities and retail catering kiosks.’

In explaining its decision, the company also cited ‘the considerable cost and management time and the legal and regulatory burden associated with maintaining the Company’s admission to trading on AIM’ which, in the Board’s opinion, are ‘disproportionate to the benefits’. It believes that the lower costs associated with unquoted company status, ‘will materially reduce the Company’s recurring administrative and adviser costs by between £250,000 and £300,000 per annum’ significantly reducing its in overhead cost burden.

Last month, the BBC quoted Ackord as saying that Brighton and Hove faces a ‘very difficult future’ if more is not done to attract visitors. There is a general ‘lack of recognition’ in the city, she said, over the importance of tourism and that ‘incisive action’ is required. She added that a ‘coordinated approach, attention to detail and the belief in working towards the same goal’ were missing. Finally, she warned: ‘The pier is 126-years-old this year and I’d like to think she’ll still be here in 126 years time, but it annually costs millions to keep her standing.’

The windy stairs

The Brighton Zip, a lively addition to the city’s iconic seafront, has become a staple of the city’s tourist attractions since its inception in 2017. One visitor recently noted, ‘the windy stairs adds to the tension before whizzing off on the line above the beach’. Located on Madeira Drive, this 300-meter-long zipline is the longest on the south coast and offers elevated views of Brighton’s landmarks, including the Palace Pier and, according to the operators, Seven Sisters cliffs. Originally, the attraction was conceived as a replacement for the Brighton Wheel, which ceased operations in 2016 following Brighton & Hove City Council’s investment in the i360. The site was revitalised by Madeira Leisure Limited, led by Jeffrey Sanders, he who had shrugged off a troubled past (see the Brighton Argus) but who had successfully managed the Brighton Wheel - see also King of the Slot Machines.

The planning process for the Brighton Zip was not without its hurdles. Situated in the East Cliff Conservation Area, planners had to ensure that the zipline’s design would not compromise the area’s wide-open views or harm nearby listed buildings. Concerns about noise, disturbance, and accessibility were addressed through design changes, including reducing the visual impact of the zip tower and ensuring inclusivity for disabled users. Additionally, operational management plans were introduced to mitigate issues like anti-social behaviour and noise, particularly around alcohol sales at its café.

Since opening, the Brighton Zip says it has attracted 25,000 plus riders annually. Over time, it has sought more flexible licensing conditions. This has been a struggle, see this licensing report from 2021, but, nevertheless, it has managed to open a rooftop bar and kitchen. 

The venue says it has embraced a modernised branding strategy aimed at local residents rather than traditional seaside visitors. Despite challenges like staffing shortages during the pandemic and seasonal fluctuations in profitability, the attraction remains committed to year-round operation to provide stable employment for its staff. Brighton Zip boasts dual parallel zip wires, a landing platform that resembles an upturned boat hull, and a 24-meter vertical ‘Drop Zone’. 

Quite a few customers have left reviews on TripAdvisor. Generally they are positive for the zipline experience, but the food and drink reviews are more mixed. Denise Ashford says, ‘the views are great and reasonably priced! One more thing off my bucket list at the age of 73!!'; Rhiaann07 says, ‘What a fun experience - this was one of my dares on my hen and im so glad I didn’t chicken out’; and Paulo T says ‘The windy stairs adds to the tension before whizzing off on the line above the beach. The staff were all really friendly and for a starter zipper like myself this zip line is perfect.’

Return of the Laundry Arch

In the first phase of renovation work on Madeira Terrace (see Madeira Terrace restoration - hurrah!), several arches have now been entirely dismantled, leaving the huge sea wall bare and revealing a building within, a building that, frankly, looks like it’s had some history! A photograph by Allan King on the Brighton Past Facebook group has prompted members to offer snippets of local history and some memories of the place. 

Derek John Wright, for example, says ‘It’s the Laundry Arch. Used by a hotel, located at the end of the tunnel, to dry laundry.’ Neil Pike mentions the Bristol Pub hotel, and Julian Widest suggests it was Chaplin’s hotel. Ovular Sphere has more direct knowledge of the property, ‘Was the studio where my bands The Flesh Happening and Pink Narcissus used to rehearse and record. I also recorded some vocals for my album Fag Machine here. I believe it used to be a toilet.’ Richard Talbot says: ‘That’s Studio 284. The heart of Brighton punk. Occasional venue and rehearsal and recording space. Lovely people ran that.’ Paul Daltrey says, ‘Also used as a gun range at one point.’

Studio 284, in fact, was originally established in 1997 as a recording and rehearsal studio. It occupied a former public toilet block under the terraces (see Brighton and Hove News) and was run by Austen Grayton. A popular venue, it specialised in punk and metal music. In August 2015, however, it was forced to close due to the major structural concerns with the Madeira Terraces. Following the closure, the outfit relocated to Kemp Town and rebranded as BlackRock Subway Studio. It has continued to maintain a focus on providing services for various music genres, including punk, metal, acoustic, reggae, ska, folk, and hip hop.

Meanwhile, the planning application for the renovation work specifically mentions ‘Alterations and repairs to Laundry Arch to enable future operational use with replacement windows and door and a new balustrade.’