New North Road Baptist Church c.1970
Architect Colin Wigmore
The building says what the Baptist Church believes: that the ministry of the Word is central; that the believers’ baptism is a public act of witness. The baptistery is not hidden under moveable floorboards as was a common older practice, but is visible as a permanent reminder to each member of his original commitment. Organ and choir are there, but neither obtrudes; nor do they confuse the clear language of the building itself.
A Ronald Bielby – Churches and Chapels of Kirklees
Kirklees Technical College – now closed formed by an amalgamating the former Infirmary, the older Technical College and later additions.
The Bus Station was opened on Sunday 1 December 1974 and is owned and managed by Metro. It is now the busiest bus station in West Yorkshire. The bus station is situated in Huddersfield town centre, underneath the Multi-storey car park. It is bordered by the Ring Road – Castlegate A62 and can be accessed from High Street, Upperhead Row and Henry Street.
Concrete Curtain Wall
Exsilite panels set in the stone faced columns – a brand name for a synthetic, moulded, artificial marble.
Exsilite is made by fusing grains of silica and pigments to form a slab that simulates onyx marble.
It gives the town of Huddersfield a store that is entirely modern in design and equipped on the most up to date lines – a store of which the townspeople generally, and co-operators in particular, can be proud.
Huddersfield Daily Examiner 1937
As a powerful retailer in the north of England, the Co-op ran its own architectural department, producing good modern design. J.W. Cropper reputedly travelled to Russia in the early 1930s. Other buildings designed by him in association with W.A. Johnson, the Co-op’s chief architect, are in Eastbank Street, Southport 1934, and Sunbridge Road, Bradford -1935, which was recently listed at Grade II.
Queensgate Market – Grade II Listed August 4th 2004
Market Hall. 1968-70 to the designs of the J. Seymour Harris Partnership, with Leonard and Partners as consultant engineers. Reinforced concrete, board-marked internally to columns and partly clad in local Elland Edge stone and ceramic panels, with patent glazing. Rectangular building on a site that slopes steeply downhill from the town centre to the west towards the ring road, Queensgate. The structure comprises 21 ‘mushroom’ columns each supporting an asymmetrical rectangular section – each 56ft long by 31ft wide by 10ft deep – of board-marked hyperbolic paraboloid roof, four rows of four and one of five facing Queensgate, where the market is set over a delivery bay and car park. From north to south the rows alternate in height, and from west to east they step upwards, then down. This means that there are gaps of 4’6″ between each roof section which is filled with patent glazing to form clerestoreys, the glazing suspended from the upper hypar to accommodate any movement which may occur and having aluminium bars. Further patent glazing over natural stone walling and expressed framework to facades on Princess and Peel Streets, whence there are direct entrances into the market hall from Peel Street via steps. Ventilation is by fixed louvres.
Along the north wall of the hall is a relief sculpture entitled ‘Commerce’, in black painted metal with semi-abstract figures representing agriculture, trade and products, by the sculptor Fritz Steller.
The façade of the market hall on Queensgate incorporates five roof sections with patent glazing and is decorated with square ceramic panels by Fritz Steller, entitled ‘Articulation in Movement’, set over natural stone cladding. These continue across the façade of the adjoining shops, to make nine panels in all, with a tenth larger panel added in 1972, pierced by stairs and an entrance to the market hall from Queensgate. They have representations of the mushroom shells of the market hall, turned through 90 degrees, with abstract representations of the goods available within.
The Library & Art Gallery
The library was designed in 1937 by E.H. Ashburner. The entrance is flanked by two stone figures symbolising Art and Literature.
As a design the late neo-Classical elevations appear somewhat stark and unwelcoming. The relationship between glazed area and wall surfaces is poorly proportioned even though the ashlar stonework is of high quality. The ornamental detailing, cornice, and frieze of the central bay fail to relieve this monolithic appearance. Interest is created at the entrance by the sculpted figures by James Woodford R.A., who also designed the panels between ground and first floor windows.
Part of a wider BDP undertaking to reshape and pedestrianise the area and including the development of the inner ring road and Buxton House and the Hammerson Development.
The Development of the Woollen Industry from a Cottage Craft Practised as an Ancillary to Farming – Up to the Beginning of the Industrial Revolution.
Harold Blackburn 1966
Midland Bank – now HSBC
The use of bush-hammered concrete, highly polished Brazilian Old Gold granite facings and tinted glass is given emphasis by the projecting form of the floor beams which also reveal the structural bones of the building.
It was designed by Peter Womersley, who also designed the thoroughly modern private house, Farnley Hey, near Castle Hill, which won the RIBA Bronze Medal in 1958.
The Hammerson Redevelopment Scheme & Buxton House 1968
The architects were Bernard Engle & Partners London and the Consulting Engineers were J. Roger Preston London.
Mosaic – Systematic Sequence in Line and Shade.
Artist – Richard Fletcher. 1969.
This new shop front was installed by Bradford shop fitters Sharp & Law in 1935 – with curved glass to reduce reflections and aid viewing. The interior was based on the potter Susie Cooper‘s London shop.