The Orange Order is a conservative unionist organisation, with links to Ulster loyalism. It campaigned against Scottish independence in 2014. The Order sees itself as defending Protestant civil and religious liberties, whilst critics accuse the Order of being sectarian, triumphalist, and supremacist. As a strict Protestant society, it does not accept non-Protestants as members unless they convert and adhere to the principles of Orangeism, nor does it accept Protestants married to Catholics. Although many Orange marches are without incident, marches through mainly Catholic and Irish nationalist neighbourhoods are controversial and have often led to violence.
On the morning of March 28th 2015 I had taken the train to Scarborough, to spend a few days by the sea. As we passed throughHuddersfield and on into deepest Yorkshire, the carriage began to fill up at each stop with men, mainly men.
Men in dark overcoats, men with cropped hair, men sharing an unfamiliar familiarity. Intrigued, I enquired of my cultish companions the what, where, when and why of their collective purpose.
It transpired that they were all adherents of the Orange Order, Scarborough bound to participate in the annual Orange March.
On arrival we parted, but we were to meet up later in the day – I walked down to the foreshore and waited.
This is what I saw.
This year the march was cancelled.
You wouldn’t want anyone to catch anything, would you now?
Well of course we’ve all been here before, haven’t we?
Well I have – I even wrote all about it right here.
The tower was designed by the architects of the Ministry of Public Building and Works: the chief architects were Eric Bedford and G. R. Yeats. Typical for its time, the building is concrete clad in glass. The narrow cylindrical shape was chosen because of the requirements of the communications aerials: the building will shift no more than 25 centimetres in wind speeds of up to 95 mph. Initially, the first 16 floors were for technical equipment and power. Above that was a 35-metre section for the microwave aerials, and above that were six floors of suites, kitchens, technical equipment and finally a cantilevered steel lattice tower. To prevent heat build-up, the glass cladding was of a special tint. The construction cost was £2.5 million.
The tower was topped out on 15 July 1964, and officially opened by the then Prime Minister Harold Wilson on 8 October 1965. The main contractor was Peter Lind & Co Ltd.
Built 1961-1963 – architects Ivan Johnston & Partners of Liverpool.
The proposed modernistic architecture of the building, caused some qualms among members of Stockport’s Planning and Development Committee, which was still discussing the plans early in 1962, but in the end it was built much as the architect had intended.
A 70ft. spire on Bramhall-lane Davenport, will be a new landmark in Stockport next year when the no-labour-cost £41,000 chapel of the Mormons – The Church of Latter-Day Saints, from America – is expected to be complete. The Stockport branch of 150 members will fund over £8000 of the cost and will provide food, shelter and pocket money for volunteer builders from all over the country.
The current five storey Cardiff Central police station was designed by Cardiff’s city architect John Dryburgh and built on the southern corner of Cathays Park between 1966 and 1968. It is described as: The most successful post-war building in Cathays Park and the only post-war building in the area: To be both modern and majestic
The detention facilities at the station were inadequate with only four cells. These were replaced by sixty cells at the new Cardiff Bay police station, which opened in 2009.
This year’s Mayday protests in Cardiff took place outside Cardiff Central Police Station to show the opposition to the increasing criminalisation of public protest.
No Borders South Wales activists were in attendance to show solidarity with fellow protesters and register our opposition to repressive police tactics at all forms of public demonstrations.
The protest was good natured and lively, with lots of music and singing.
On arriving at the Leeds City Station pass through the ticket barriers and turn to your left.
Once a convenient car park.
You are now inside the 1938 concourse interior designed by WH Hamlyn, restored in 1999 by Carey Jones Architects.
Atop the station John Poulson’s 1967 City House – now re-clad in the modern manner and badged as Bruntwood owned Platform One.
A reinvention of a Leeds landmark, offering office space for tech and digital businesses of all sizes right at the heart of the city.
The main body of the station was rebuilt 2001-03 by McKellar Architecture to a scheme by ESG Design Architects.
Exiting by the main exit, there is a gentle brick and concrete curve – leading to the side of the Queens Hotel also the work of WH Hamlyn 1938.
A monumental classical facade with discrete Deco detailing.
Nine Bond Court an almost anonymous tower block, leads us into Bond Court, where we find the HSBC by Whitney Son & Austen Hall 1966-69.
Onwards now to 7 Park Row reworked by Box Architects this former Lloyd’s Bank HQ by Abbey Hanson Rowe 1972-77
Park Row is the City’s most sought after business location, benefiting from being perfectly placed centrally between Leeds’ Central Business District and Retail Core. You and your staff will have all that you need to enjoy a work-life balance.
Next door the National Westminster Bank
Replacing George Gilbert Scott’s renowned Beckett’s Bank of 1863-67 demolished in 1965.
Intrigued by the transition of grid and material finish along Park Row.
Up the rise of the Row toward the Henry Moore Institute and City Art Gallery with their modern extensions.
1993 Jeremy Dixon and Edward Jones with BDP
1980-82 John Thorp and Neville Conder complete with Moore’s Reclining Woman Elbow of 1980.
Honourable mention to The Light conversion DLG Architects 2002.
Awaiting yet another reimagining – Ian Purser, architect director at BDP said:
This scheme will create a new destination in an area of regeneration, effectively opening up a ‘new front’ to the Merrion Centre while utilising the existing structure and incorporating contemporary food and beverage facilities.
Just along the way Gerry Anderson meets Morrison’s.
Merrion House to the rear.
BDP’s remodelling and extension of Merrion House office block is an exemplar of sustainable refurbishment. Originally completed in 1974 the building was designed to accommodate Leeds City Council’s office based staff.
A “changing the workplace” initiative has been instigated by the council, adapting to changing working patterns. Flexible office environments, created in both the new and refurbished elements of the building, fully support this.
For me one of the City’s finest post-war buildings the Leeds City College – Technology Campus
The college was originally built as the Branch College of Engineering and Science during the late 1950s and 60s.
It was renamed Kitson College in 1967, and later Leeds College of Technology. In 2009 the college merged with Thomas Danby College and Park Lane College to form Leeds City College, becoming the third largest further education college in the UK.
The meeting also heard how the site was also used by rock band Pink Floyd to record their 1967 hit See Emily Play.
Early plans to knock down one of Leeds city centre’s most recognisable buildings were supported by an influential panel of Leeds councillors today.
Developers’ blueprints to replace the former Leeds College of Technology building in Woodhouse Lane with 20-storeys of student accommodation went before a meeting of Leeds City Council’s city plans panel last week.
Commissioned by Leeds City Council as part of the Arena project the Leeds Song Tunnel is the creation of designer Adrian Riley, an alumnus of Leeds College of Art.
Take a peek at the world going on almost underground.
The up to the LeedsArtsUniversity – designed by local practice DLA, the scheme was built by ISG.
Adorned by mosaics re-sited from the Merrion Centre
The magnificent Merrion Centre mosaics created by Eric Taylor 1909-99, artist and former Principal of Leeds College of Art 1956-70, have been installed at Leeds College of Art’s Blenheim Walk building.
More public art in store at the former Polytechnic now University Engineering Buildings – Yorke, Rosenberg & Mardall 1955-69.
Curving above the entrance of the Mechanical Engineering building is this glass fibre sculpture. Cast from a clay mould it retains a malleable texture. This is the work of architecture Allan Johnson former student of Leeds College of Art.
Around the corner this delightful sculptural window screen.
Let’s wend our way homewards via Hubert Dalwood’s 1961 Untitled Bas-Relief now see this on the theatre Stage@Leeds, it was originally up at the University’s Bodington Hall of residence.
Seconds from this theatre Barbara Hepworth’s 1965 Dual Form.
Finally casting our eyes skyward toward William Chattaway’s 1958 Spirit of Enterprise/Hermes.
Originally on the wall of the Midland Bank building in London before the building was was sold in the early eighties. It was saved from potentially being sold for scrap and the four and a half ton sculpture has been flying high on campus since 1983.