Nestled in the heart of London, St Mary-le-Strand is one of those architectural jewels that often goes unnoticed—yet it stands as a testament both to English Baroque brilliance and to modern urban design thinking. For centuries, this church was literally ‘stranded’ amid the chaos of London traffic on the Strand. Today, however, it is the centrepiece of a transformed urban space, a tranquil pedestrian haven, a mini-piazza in the heart of London.
The story begins with James Gibbs, a Scottish architect whose career bridged the classical traditions of Rome and the Baroque innovations of London. A Catholic in a Protestant-dominated society, Gibbs studied in Rome under the famous architect Carlo Fontana, immersing himself in the grandeur of Italian Baroque.
When he returned to Britain, Gibbs applied his knowledge to create what has been described as English Italianate Baroque. St Mary-le-Strand is a perfect example: its sides cleverly evokes the elegant facade of a Renaissance palace in Rome, while the spire above the portico unmistakably marks it as a church.

The combination of a classical portico with a steeple above is a hallmark of Gibbs’ style, also seen in St Martin-in-the-Fields, his other great London church. This architectural innovation would later inspire Protestant churches across Britain and even America.
Beyond ecclesiastical work, Gibbs made lasting contributions to civic and academic architecture. In Cambridge, he designed the Gibbs Building (Fellows’ Building) at King’s College and the University Senate House, blending classical principles with a distinctly British sensibility. This is particularly meaningful to me as King’s College, Cambridge, was my own university college when I was a student there in the late 1960a. Gibbs’ stately homes and private houses—though many no longer survive—demonstrate the breadth of his talent. Gibbs also published a highly influential treatise on architecture, helping disseminate his style far beyond the buildings he created.
For centuries, St Mary-le-Strand’s setting reflected the realities of urban London with the surrounding streets dominated by cars, buses, and heavy traffic, leaving little room for anyone to pause and appreciate Gibbs’ work. Yet even in this chaotic environment, the church maintained a quiet dignity—a lone beacon of Baroque elegance in the heart of the city.
The last decade has seen one of London’s most successful urban redevelopment projects: the pedestrianisation of a part of the Strand reclaiming the area from traffic and restoring it as a public space.
The scheme included:
Diverting all traffic through Aldwych, now reconfigured as a two-way street.
Creating pedestrian-friendly public spaces around St Mary-le-Strand, with seating, greenery, and areas for cultural activities.
Reconnecting historic buildings, notably St Mary-le-Strand and Somerset House, creating a harmonious relationship between architecture and urban space.
The scheme was completed in December 2022 and today the area functions almost like an Italian piazza: open, sunlit, and inviting. On one side, there’s the Baroque elegance of St Mary-le-Strand. On the other, Somerset House, designed by Sir William Chambers, monumental and classically ordered, providing a counterpoint that enhances the sense of space.

Walking down from Fleet Street and emerging from the mayhem of Trafalgar Square, we found ourselves in a peaceful oasis. The weather was typical London: a rather dowdy, cloudy afternoon, the light muted and soft. Yet this only added to the charm of the space.
We settled into one of the quirky chairs placed around the piazza, enjoying the calm. The urban business seemed to melt away. For a while, there was no traffic noise dominating our sense; the sunlight that broke through the clouds glinted off the portico of St Mary-le-Strand.
Even the rather brutalist frontage of King’s College University of London nearby caught our attention, its stark geometry softened by a sequence of posters celebrating people who contributed to its academic excellence, including figures like Rosalind Franklin, whose scientific legacy looms large. A small typographer’s shop tucked into the corner delighted Alexandra in particular: her cousin, who sadly recently passed away, had been a typographer, and she was fascinated by this little link to family history.

In those moments, the Strand’s pedestrianised space revealed itself as a true urban haven. We relaxed, resting ourselves, breathing in the history and the beauty, and feeling completely present in the scene. It was a reminder that even in the heart of one of the busiest cities in the world, moments of serenity and reflection are possible.