
The London Eye changed the capital forever – and is a far cry from today's Broken Britain
If there's anyone who can allow themselves a wistful gaze up at the London Eye this weekend as it celebrates its 25th anniversary, it's the iconic wheel's co-architect Julia Barfield. 'I've been going back and looking at it for the first time in ages,' she says. 'It's incredibly moving to see so many enjoying the structure – offering people the chance to see London from a new perspective, and to raise spirits.'
The London Eye was initially envisaged by Barfield and her late husband David Marks, of Marks Barfield Architects, as a temporary landmark to celebrate the millennium (in fact, it was originally called The Millennium Wheel). So the passing of a quarter of a century feels particularly resonant. A reminder, too, of a happier, more confident and prosperous Britain. It's barely believable that this temporary wheel has so quickly become as much of a fixture of the capital's 'brand' as Big Ben, St Paul's Cathedral, London Bridge or Buckingham Palace.
It's also a far cry from today's Broken Britain, where projects spend years in the weeds, over budget and incomplete.
Imagine those spectacular New Year's Eve celebrations without fireworks spraying out from a brightly lit London Eye. It's been a cipher for London's vibrancy in film franchises such as Harry Potter, and it now welcomes approximately three million visitors a year.
Delivering an Eiffel Tower for London
Another architect, Sir Richard Rogers, best described its impact when he said: 'The Eye has done for London what the Eiffel Tower did for Paris, which is to give it a symbol and to let people climb above the city and look back down on it. Not just specialists or rich people, but everybody. That's the beauty of it: it is public and accessible, and it is in a great position at the heart of London.'
It's fair to say, then, that the London Eye has become genuinely iconic in an incredibly short space of time. Though there were a few misgivings in the planning stage, you'd now do well to find anyone who thinks the wheel is a blot on the landscape.
And even though it's been through a number of sponsorship name changes (does anyone actually call it the lastminute.com London Eye?) and is now owned by a privately-owned global entertainment consortium charging £30 for a 30 minute ride – it still feels like it represents the capital rather than being a tourist honeypot. Whisper it, but back when The Millennium Wheel opened 25 years ago, it was just £7.45 for the same ride.
Back then, architect Sir Jeremy Dixon said the wheel was 'huge in scale but light in feeling' and it's instructive how many people step back onto the South Bank after their ride in one of the constantly moving 32 pods and comment on the rare stillness they've just experienced in the midst of this bustling capital as new vistas and views reveal themselves.
'The world has embraced the Eye'
As Robin Goodchild, the senior general manager of the London Eye, says: 'Londoners and the world have embraced the London Eye as more than its parts, establishing it to become a symbol of London, a journey across the London skyline.'
Perhaps that sense of an epic journey is why the 443ft Millennium Wheel was swiftly replicated all over the world. Since 2000, there's been a literal race to the top, with cities planning ever-higher, copycat observation wheels.
In 2006, The Star of Nanchang in China (525 ft) held top spot. Within two years, it had been swiftly surpassed by the Singapore Flyer (541ft) and, by 2014, The High Roller in Las Vegas (550ft). It won't surprise anyone that the current record holder is nearly twice the height of the London Eye and in the United Arab Emirates; the Ain Dubai topped out at 820ft when it opened in 2021.
In the UK, too, other cities have dabbled in observation wheels, albeit with much less success. The Wheel Of Manchester popped up in 2004 but didn't last. It was telling that late Manchester icon Tony Wilson said: 'It's a poor imitation of something London's done a lot better.'
A testament to 'entrepreneurial spirit'
The notion of London 'doing stuff better' does feel instructive. Despite the Millennium Wheel being far more complicated than a traditional ferris wheel, it took just over a year from the final designs being approved in 1998 for the parts to be machined, shipped down the Thames, constructed in pieces on site and lifted into place.
Yes, there were issues in its original gestation – the original idea was floated in a 1993 competition for a millennium landmark that, somewhat amusingly, had no winners. Marks Barfield Architects, undeterred, set up their own Millennium Wheel Company to try and build it themselves on the South Bank, where the Festival of Britain had been in 1951. Of course, they didn't own the land and didn't have planning consent. Or indeed the money to build it.
But after their planning application was revealed by supportive media, British Airways got on board as financial backers, and consent was given in 1996. A lesson, then, in what can be achieved in this country with foresight, imagination and enthusiasm.
'We had an entrepreneurial spirit,' says Julia. 'And it just shows, if you have a dream you've got to just go ahead and do it – don't wait to be asked. I only wish David were here to be part of it now.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


NBC News
12 hours ago
- NBC News
Trump-Musk feud blows up online and an iconic 'Back to the Future' prop is missing: The news quiz
A 'Harry Potter' actor is back in robes, a travel ban is announced, and a 'Real Housewives' husband is sentenced to prison. Test your knowledge of the week in news, and take last week's quiz here.


New Statesman
15 hours ago
- New Statesman
Ana de Armas's licence to kill
Photo courtesy of Lionsgate The first John Wick film was an unexpected success in 2014, and saw Keanu Reeves playing a retired hitman who goes on the rampage after a group of low-IQ thugs break into his house and shoot his puppy. It was followed by three more films (each with a chunkier budget than the last) – and now we have Ballerina, a spin-off set sometime between Wicks 3 and 4, with Ana de Armas in the lead. The danger with getting a woman to front the film was that it might end up like Madame Web, the Dakota Johnson flop that even she described as 'made by committee'. But happily, Ballerina is superb – a tight two hours of deeply stressful action, with a bodycount that must be in the triple digits before the first half hour is up. De Armas plays Eve, a beautiful and monosyllabic hitwoman with – you guessed it – a dark and tragic past. As a ballet-obsessed young girl, she watched her father being killed by members of a mysterious cult, after which she was taken in by a criminal gang led by Anjelica Huston. Under her care – at a sort of Hogwarts for crims – Eve perfects her pointe technique and becomes really good at shooting and martial arts, learning to 'fight like a girl' (by kicking male opponents in the balls, essentially). The first four Wick films are lavishly gory revenge thrillers, and that's the energy propelling this one forward too. When Eve graduates from her criminal institute, she takes advantage of her newfound freedom to begin hunting down her father's killers. Her quest takes her first to handsome Prague, and later, magnificently, to a quaint alpine town, where the pristine snow is destined to become drenched in the blood of her enemies. As in the other Wick films, there is minimal talking, and when it does happen, it's biblically weighty. 'One bullet well placed can be a magical thing,' intones a character at one point. 'I know you. I know your pain,' says another. This stuff is easy to mock – but here it mostly works, because the main actors deliver the few lines they're allotted with gravitas and charisma. Huston is especially relishable as a laconic crime momma; and Ian McShane brings welcome fatherly warmth as Eve's morally compromised protector. As in the four main Wick films, the palette is insistently moody. This is a world in which the sun seems never to shine; in which rain doesn't drizzle but thunders down, drenching characters to the bone. You couldn't imagine Eve doing anything so banal as scrolling on her phone or cleaning her fridge, and when Wick himself turns up (dressed in bat-black, as per), he picks off his enemies with almost eerie ease. It's all obviously ridiculous – but there's an integrity to it, a commitment to the vision, that commands respect. Quite a lot of films in Ballerina's mould are hard to follow. Especially this deep into a franchise, plots tie themselves in knots; allegiances and motivations become impossible to track. Not so here: it's always clear what Eve is doing and why, and no prior knowledge of Wick lore is necessary. The main event – the killing – is also gratifyingly legible. You barely need to watch the screen: everything is conscientiously signposted in the soundtrack, which is a grisly symphony of crunching, snapping and grunting. At points, the violence is so visceral it's hard to take. Among Eve's tools for visiting hell on her enemies are a TV remote, an ice skate and a big door. She also makes enthusiastic use of the usual panoply of guns, flamethrowers, swords, hammers and grenades. The relentlessness of the killing can become wearing; you want her to relax for a bit, get a massage, grab some sushi with a friend. You also begin to wonder about the goons she's bumping off: don't they have families; are their lives not cherishable too? But of course, these are not questions that the Wick franchise exists to answer. Watching one of these films is a bit like going on the baddest ride at a theme park: stressful and horrible and nerve-racking and sick-inducing, but a thrilling physical experience that serves as a reminder of all that the body is capable of feeling. [See more: Cinema's apex predator] Subscribe to The New Statesman today from only £8.99 per month Subscribe Related


Daily Mirror
19 hours ago
- Daily Mirror
'Epic Universe says it's 'world's most advanced park' - I tested out the claim
Being catapulted 133ft into the air straight after a massive pizza lunch was, in hindsight, a bold choice. Especially in Florida's 35C heat. I'd been launched sky-high at Universal's brand-new Epic Universe, getting an early look at Orlando's most-hyped theme park before it opened to the public. And where better to start than strapping into one of its headline attractions, cosmic-themed dual-racing coaster Stardust Racers? I'm a theme park super-fan. I'll queue for hours for terrifying rides, scream myself hoarse and sprint straight back to the start. But nothing prepared me for this. During the roughly 90-second ride, I was screaming, crying and briefly convinced I'd broken through the stratosphere. This Epic coaster doesn't warm you up gently. It hurtles you into the cosmos at 62mph with a savage force that threatens to rearrange your insides. At one point, as we spiralled through an inverted crisscross at full speed, I was fairly sure I could even see my soul leaving my body. It was a thrilling start to my time at Epic Universe, Universal's long-awaited new Orlando theme park, with an estimated construction price tag of £5.7billion. Announced in 2019, this 110-acre park is the biggest Universal has ever built and is, as its chief Mark Woodbury puts it, 'the most technologically advanced park in the world'. It's also the first major theme park to land in Orlando in 25 years – and with icons to rival Disney including Harry Potter and How to Train Your Dragon, it's coming for the House of Mouse. Ambitious, immersive and bursting with brand-new rides and cutting-edge tech, Epic is Universal's boldest bid yet for the Florida theme-park crown. Through a set of dazzling and unique portals, visitors can 'travel' to five distinctly themed worlds: Celestial Park, Dark Universe, How to Train Your Dragon: Isle of Berk, Super Nintendo World, and The Wizarding World of Harry Potter – Ministry of Magic, all stitched together with big-budget flair. Here's what to expect… Guests enter Epic Universe through Celestial Park via the grand entrance gates or directly from the Helios Grand Hotel. Unlike the lands beyond, this original world isn't tied to any movie, show or game. It's the centre of Epic with dancing fountains, art-nouveau architecture and tree-lined walkways that evoke the park's interstellar theme. As night falls, colourful lights flicker in sync with an extravagant fountain show, casting a soft glow over the park's cosmic heart. Beaming 'Celestians' (team members) greeted me in splendid cosmic regalia, chirping: 'Welcome, travellers!' I almost asked whether I needed a passport. The highlight is undoubtedly the Stardust Racers, featuring two independent launches, allowing riders to choose between the thrilling yellow 'Photon' and green 'Pulsar' tracks. This is a non-negotiable attraction that'll shake up even hardcore thrill-seekers. Want a slower pace? Hop aboard the wonderfully over-the-top Constellation Carousel, where you can spin gently through the stars on a celestial lion, dragon or peacock. For lunch, try the Space Cowboy pizza, a bold combo of BBQ sauce, rotisserie chicken, olives and crisps, served in the Victorian theatre turned pizzeria, Pizza Moon. Top tip: Stick around until dusk when Apollo hands over the sun to Luna in a dazzling light ceremony. This popular film franchise tells the story of hapless Viking boy Hiccup who defies centuries of tradition by befriending adorable 'night fury' dragon Toothless. Hiccup's craggy, chaotic home Isle of Berk is reimagined in gawp-inducing detail as raucous Vikings and feisty dragons co-exist. Thanks to jaw-dropping animatronics, the dragons are so realistic you half expect them to flap off into the skies. The tech flex is most obvious in the 'Meet Hiccup and Toothless' experience where you can pat a startlingly lifelike Night Fury and snap pics. Hiccup's Wing Gliders is the coaster to queue for to get a dragon's eye view of Berk at speeds up to 45mph and heights of 50ft. Then bag a seat at The Untrainable Dragon for a Broadway-level production featuring all your film faves. Top tip: Grab the carbtastic Dragon Fire Chicken Spire Mac & Cheese Cone from Hooligan's Grog & Gruel. Stuffed with creamy mac, spicy pulled chicken, hot honey, peppers, chimichurri and crispy onions, it's the perfect portable lunch. Universal has finally found a good use for its abandoned Dark Universe. Remember the Tom Cruise Mummy reboot in 2017? That was supposed to kick off a cinematic monsterverse with classic characters including Dracula, Frankenstein and the Wolf Man. The Mummy tanked and the project was scrapped. However, you can now see what this franchise could have been in the gothic village of Darkmoor, where monsters and ghouls roam among rides and spooky restaurants. At the heart of Darkmoor, Monsters Unchained: The Frankenstein Experiment encapsulates Universal's classic characters in a menacing, sophisticated thrill ride. Ushered into eerie Frankenstein Manor, you meet Dr Victoria Frankenstein and an unnervingly lifelike 9ft-tall Frankenstein's monster. On this immersive ride, our heroine Vic tries to control the wayward monsters. Cue a chaotic escape through werewolves, mummies and clawing shadows. My rational brain knew it was fake; my racing heart rate and clammy shirt disagreed. Coaster-wise, Curse of the Werewolf is a family-friendly offering at 37mph, but the spinning cars mean every escape through the haunted forest is a truly chaotic surprise. Top tip: Refresh with a lurid green Monocane Mocktail at the Burning Blade Tavern (look for a windmill on fire, yes really). Absorb '90s nostalgia as you enter the colourful, kinetic Mushroom World through a giant green Warp Pipe/escalator. It's loud, bright and utterly bonkers. Take a spin on Mario Kart: Bowser's Challenge, based on the hugely popular Mario Kart franchise – a must for console connoisseurs. Don VR goggles and help the gang to defeat Team Bowser, dodging obstacles and hurling shells as you collect digital coins alongside Mario, Luigi and Princess Peach. Mine-Cart Madness is Donkey Kong Country reimagined via a clattering high-speed coaster that's one missing bolt away from disaster. Ride through lush jungle aboard mine carts as you help Donkey Kong and Diddy Kong protect the Golden Banana from the thieving Tiki Tak Tribe. Be warned, thanks to a track-jumping illusion, it feels like you're constantly about to derail. Top tip: Buy a Universal app linked to a Nintendo-themed Power-Up Band to collect digital coins and keys and interact with the environment. As a huge Boy Wizard fan, this was the moment I'd been waiting for. You're transported into 1920s' wizarding Paris from the Fantastic Beasts films and the British Ministry of Magic from the Harry Potter films. The scale and detail are astonishing as you wander Parisian streets with spellbinding shops, restaurants and a game-changing ride. And if you have an interactive wand, there are 12 spell-casting locations where you can conjure water and fire or interact with enchanted objects. It's home to Universal's most technologically advanced attraction yet, the showpiece Harry Potter and the Battle at the Ministry. Take the Metro-Floo and join Harry, Ron and Hermione in a bid to bring odious bureacrat Dolores Umbridge to justice. No expense has been spared on this extraordinary ride where you fly, drop and spin through various scenes, pursuing Umbridge as she attempts to evade capture. You're swiftly conscripted into helping the Hogwarts gang stop her while being flung through eye-popping digital magic, smoke, animatronic wand-waving and death eaters. If you only do one thing here, this is the ride to queue for. Top tip: Mega fans should purchase a Second Generation Interactive Wand. Epic is Universal's boldest, most imaginative, and most high-tech experience yet and heralds a new era of theme parks in Orlando.