A free public sculpture space showcasing the work of female artists is being forced to leave its central London site, raising fears that the five-year-old project won't return once displaced. The Artist's Garden, which sits on the roof of Temple Station and welcomes over 100,000 visitors annually, has been told by Places for London — Transport for London's commercial property arm — to vacate by 1 October for potential safety repairs.
A Space for Women's Voices
Alice Walters, deputy director at theCOLAB, which runs The Artist's Garden, said the organisation was worried the project would be "gone for good" after it moved out. "We welcome over 100,000 visitors here each year completely for free," Walters said. "We were told that Places for London would like us to vacate the site entirely by 1 October. They've cited the need to carry out essential safety repairs, but once a project like this is gone, it's gone for good and it's not coming back."
The sculpture garden has existed for five years on the roof terrace, allowing visitors to sit with, touch and interact with art in a city where free cultural spaces are increasingly rare. Westminster City Council, which manages the terrace space, said it was supportive of The Artist's Garden and would work with all parties involved to find a solution.
Cultural Access Under Pressure
Lakwena Maciver, who exhibited an installation at The Artist's Garden when it opened in 2021, emphasised the importance of open-access cultural spaces. "I was the first ever artist to exhibit here and it was a takeover of the whole roof terrace with a tiled mosaic. For me it was about a return to public space post-lockdown," Maciver said. "It's just really important to have places that are open access that anyone can come to that you don't have to pay for or book — it's really important that we keep these types of spaces."
Visitors to the sculpture garden told BBC London it was a "gorgeous" place to visit in the capital. One woman said: "It's wonderful to have it in the heart of the city, surrounded by buildings and the river. Just to have this immersive art space, it's great." Another added: "It's a nice, peaceful place to come, just in the middle of the city. It's just beautiful and there's loads of seating. It's just gorgeous."
Representation Matters
Lisa Vandy, who has exhibited two sculptures in the garden, said the site promoted visibility for underrepresented artists. "I don't remember in my childhood ever seeing someone like me or their work, so it's [about] visibility, it's cultural importance, it's educational importance. This really has to stay here," Vandy said.
A spokesperson for Places for London said they recognised how the "much-loved" garden had contributed to "artists, young people and the local community". They said: "However, the terrace and station roof may now require essential repair and safety works, and the space needs to be cleared for the assessment of the extent of the works required." Places for London said any future proposals for the terrace would protect public access and support the area's cultural character. The company also said the space was legally protected and would always remain publicly accessible, and that while it was developing future plans for the terrace at Temple, it was working with the council and stakeholders to explore alternative nearby locations for The Artist's Garden.
Why This Matters:
The potential closure of The Artist's Garden highlights the fragility of free cultural spaces in cities where commercial pressures and maintenance costs often take precedence over public access to the arts. For female artists, who remain underrepresented in major galleries and public commissions, spaces like this provide rare visibility and opportunities to connect directly with audiences. The garden's 100,000 annual visitors demonstrate real demand for accessible, non-commercial cultural experiences — particularly in a city where museum entry fees and ticketed exhibitions can exclude lower-income residents. While Places for London has promised the space will remain publicly accessible and that alternative locations are being explored, the experience of similar projects suggests that once displaced, community-led cultural initiatives rarely return with the same reach or impact. The outcome will test whether London's cultural infrastructure can balance necessary maintenance with the protection of spaces that serve educational, social and democratic functions beyond commercial value.