Eastford Square Collyhurst – Nobody Home

Stasis is the order of the day – the last stand for this forlorn stand of shops.

Once the realm of cobbles, railings, high rise arrivals and urban cowboys – an area overwhelmed by the weight of its past and the insubstantial promise of a sustainable future.

Where once productive and fulfilling lives were lived, buddleia now blooms, whilst thin grass entwines around forlorn fencing and betwixt ever widening cracks in the uneven paving.

Development in South Collyhurst will take the form of residential-led, family-focused neighbourhoods. We’ll be providing a variety of housing types and tenures to encourage diversity, along with a mix of social and community infrastructure that supports a family lifestyle in close proximity to the city centre.

Northern Gateway

There are two ideas of government. There are those who believe that if you just legislate to make the well-to-do prosperous, that their prosperity will leak through on those below. The Democratic idea has been that if you legislate to make the masses prosperous their prosperity will find its way up and through every class that rests upon it.

William Jennings Bryan 1896

Indeed, You have turned the city into a heap of rubble, a fortified town into ruins; the fortress of strangers is a city no more; it will never be rebuilt.

Isiah 25:2

And they that shall be of thee shall build the old waste places: thou shalt raise up the foundations of many generations; and thou shalt be called, the repairer of the breach, the restorer of paths to dwell in.

Isiah 58:12

The putative William Mitchell cast concrete block stares stolidly at its surroundings, overseeing a slow and painful decline.

All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.

Manifesto of the Communist Party

There’s no business like no business – it’s no better out the back.

This is an unprecedented opportunity to deliver a significant residential-led development connecting the north to the centre of Manchester. Working with our partners we’re re-imagining the essential neighbourhoods of our city.

St Anthony and Our Lady of Mercy – Hull

667 Beverley Rd Hull HU6 7JL

Set back from Beverley Road – we just about found this delightful Modernist gem. Tucked in amongst student accommodation and approximate to the Endsleigh College.

It was well worth the circuitous bust journey from the Interchange to St Anthony and Our Lady of Mercy

The church built in 1965 is fan-shaped in plan. Concrete portal frame with yellow brick infill. Shallow-pitched sheet metal clad roof. The main rear wall is flat and blind, with a parapet, and extends across the building at full height. From this wall the main body of the church radiates, three facetted bays to either side, with a saw tooth eaves line, then a projecting square block which houses the narthex and west gallery. The saw tooth eaves continue just above the entrance block to complete the fan shape. Attached to the other side of the main wall are the low, square projections of the side chapels and sacristies and a concrete framed bell tower with shallow pitched roof. The entrance block is clad is artificial stone, has a wide, glazed screen with central doors and a thin flat canopy. 

We had arrived some twenty five strong as part of Manchester Modernist’s Hull Mooch – we were very warmly welcomed and left more than satisfied by the riches both within and without.

My thanks to Deacon Rev. Robert Shakesby

Above this an inset panel of decorative mosaic by Ludwig Oppenheimer Ltd of Manchester -the firm ceased trading in 1965. The facetted elevations have large glazed areas set in a bold concrete grid of mullions and transoms, tripartite in the centre with a border of smaller divisions. The bell tower is placed in the centre of the east wall and has a port cullis-like bell-opening facing west.

The mosaic is surrounded by decorative abstract panels in light relief

Let’s take a look inside.

The interior is a light and spacious essentially single cell, with the shallow canted projection of the sanctuary – top lit by a row of seven small circular skylights, the low side chapels and the organ gallery. The concrete portal frame provides a dramatic grid radiating from the centre of the east wall. Sanctuary fittings in contrasting marbles, by Toffolo & Son of Hull, designed as a piece. Similar marble altar in the northeast side chapel. The chapels have subtle shallow-pitched arches. West gallery also with circular skylights. Organ pipes at either end arranged within a striking double-curve enclosure, like a grand piano in plan. Open-backed pews and original light fittings. Stained glass by Leo Earley of Earley & Co. of Dublin. Stations of the Cross, wooden relief panels set within integral frames, somewhat stark.

Thanks to Taking Stock for the facts.

New Face In Hull

And lo it came to pass – I came to Hull.

Again.

Guiding a group of willing Modernists on a walk.

We were there at the behest of Esther and Leigh, gathering to say farewell to Alan Boyson’s Three Ships, as it transpired we were there to celebrate its reprieve, following their campaign for listing.

Over a million tesserae glowed in the low winter sun – so did we.

As Helen Angell read her poem – Christopher Marsden and Esther Johnson recording the performance for posterity.

The Three Ships are attached to a former Cooperative Store – complete with a formerly working Cooperative Store clock – where we meet at four minutes to six – forever.

We had previously encountered Hammonds of Hull/House of Fraser – soon to be a food court, artisan everything outlet.

And this Festival of Britain style functionalist council building.

Onward to the Queens Gardens the almost filled in former Queens Dock – forever fourteen feet below sea level.

We encounter Ton Liu’s Solar Gate – a sundial that uses solar alignment to mark significant times and dates in Hull. The super-light innovative two-shell structure is place-specific, responding to pivotal historic events and to the cultural context of its location in Hull’s Queens Gardens adjacent to the ancient site of Beverley Gate.

Carved stone panels Kenneth Carter 1960 – Ken’s art career began as an inspiring teacher, first at his alma mater, Hull College of Art, and later as principal lecturer at Exeter College of Art.

A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to: 

The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.

Top of the shop William Mitchells relief – time to pause and reflect.

Paying homage to Frederick Gibberd author of the College and Queens Gardens scheme.

En passant catching a glimpse of this splendid non-functioning water feature.

Off on the bus to St Anthony and Our Lady of Mercy just off Beverley Road.

More of which here.

A swift walk around the corner for a swift walk around the University of Hull campus, first encountering the Gulbenkian Building.

And a brief encounter with the Brynmor Jones Philip Larkin Library.

Thanks again to Esther for pointing out this delightful owl – the work of Willi Soukop

My life was never planned, it just happened.

Hull Walk

Waving Mister Larkin farewell we leave the station and head for the former Cooperative Store and latterly British Home Stores to view the magnificent Three Ships mural.

Commissioned by the Co-operative Society and designed by Wolverhampton artist Alan Boyson, this large and iconic Italian glass mosaic mural immortalises the Hull fishing fleet. The face of the mural – which is fixed to a 66 foot by 64 foot concrete screen – is composed of 4224 foot square slabs, each made up of 225 tiny glass cubes. The mural was built to Boyson’s design, by Richards Tiles Ltd

Included in the mural is the Latin text “res per industriam prosperae” – the success of industry, it also includes “HULL” in the ships’ masts.

In May 2007 the mural was locally listed by Hull City Council, who described it was a “superb example of modern public art”. The council subsequently pledged to retain the mural when the site is developed. In November 2016, a proposal by Hull Civic Society to give the mural statutory protection at a national level was rejected. The society announced its intention to appeal the decision. 

The mural was placed on the National Heritage List for England on 21 November 2019 – following a long and arduous campaign by devoted local group Ships in the Sky, along with national and international Modernists.

An additional mural by Boyson, inside the store on the fourth floor, was rediscovered during refurbishment in 2011. Depicting a shoal of fish, it is over 22 feet long and is made from ceramic tiles, marble and stone. Located outside the former Skyline Ballroom – later Romeo and Juliet’s, a nightclub, it had been hidden behind a false wall. The building’s then owners, Manor Property Group, announced plans to feature it in their designs for the building’s decor. It was made as part of the same commission as the exterior mural.

Onwards now to Queen’s Gardens – a sequence of gardens in the centre of the city. They are set out within a 9.75 acre area that until 1930 was filled with the waters of Queen’s Dock. As the dock was not fully filled in, the gardens are largely below the level of the surrounding streets.

Badly bombed by the Nazis in 1941 and rebuilding was slow and inconsistent, based on a reconstruction plan by Edwin Lutyens and Patrick Aber­crombie which was never fully realised. 

The plan envisioned a new civic heart for the city concentrated around Queen’s Gardens. Frederick Gibberd was employed to oversee its post-war remodelling, setting it below the surrounding road to emulate the appearance of the former docks and introducing public art to animate the space. 

They are enclosed on one side by Frederick Gibberd’s Hull College.

Which incorporates this outstanding William Mitchell Relief.

A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to:

The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.

Paul Gibson

The former Police Station by Lazenby & Priestman was graced by carved stone reliefs by Kenneth Carter.

Plans are in place to convert the building into apartments.

Now let’s jump a bus for St Anthony and Our lady of Mercy RC

667 Beverley Rd HU6 7JL

The church built in 1965 is fan-shaped in plan. Concrete portal frame with yellow brick infill. Shallow-pitched sheet metal clad roof. The main rear wall is flat and blind, with a parapet, and extends across the building at full height. From this wall the main body of the church radiates, three facetted bays to either side, with a saw tooth eaves line, then a projecting square block which houses the narthex and west gallery. The saw tooth eaves continue just above the entrance block to complete the fan shape. Attached to the other side of the main wall are the low, square projections of the side chapels and sacristies and a concrete framed bell tower with shallow pitched roof. The entrance block is clad is artificial stone, has a wide, glazed screen with central doors and a thin flat canopy.

Above this an inset panel of decorative mosaic by Ludwig Oppenheimer Ltd of Manchester -the firm ceased trading in 1965. The facetted elevations have large glazed areas set in a bold concrete grid of mullions and transoms, tripartite in the centre with a border of smaller divisions. The bell tower is placed in the centre of the east wall and has a port cullis-like bell-opening facing west.

The interior is a light and spacious essentially single cell, with the shallow canted projection of the sanctuary – top lit by a row of seven small circular skylights, the low side chapels and the organ gallery. The concrete portal frame provides a dramatic grid radiating from the centre of the east wall. Sanctuary fittings in contrasting marbles, by Toffolo & Son of Hull, designed as a piece. Similar marble altar in the northeast side chapel. The chapels have subtle shallow-pitched arches. West gallery also with circular skylights. Organ pipes at either end arranged within a striking double-curve enclosure, like a grand piano in plan. Open-backed pews and original light fittings. Stained glass by Leo Earley of Earley & Co. of Dublin. Stations of the Cross, wooden relief panels set within integral frames, somewhat stark.

Taking Stock

Onward now to Hull University campus in search of the Gulbenkian Building – Cottingham Road HU6 7RX

Drama teaching centre incorporating a fully adaptable theatre. 1967-9 by Peter Moro for the University of Hull’s Department of Drama. Michael Heard partner in charge, Clarke Nicholls & Marcel structural engineers, Theatre Projects Limited lighting and sound consultants. Concrete beam construction with red brick panels restricted to the ground and first floors, board marked concrete, copper-clad roof.

Date first listed – September 15th 2015

Next to Middleton Hall, an important post-war listed building at the University of Hull, is a recent case revealing critical gaps in our historic protection system. It is set for a raft of damaging alterations and extensions, but if listing had been dealt with earlier, we could have had a very different outcome.

Middleton Hall and non-denominational Chapel, and Faculty of Arts building Larkin Building. Designed in 1962 by Sir Leslie Martin, built in 1965-7 for the University of Hull. Concrete and load-bearing brick construction, externally pale red brick cladding and lead roofs. The pipe organ is excluded from the listing.

Historic England

The Parkway Pub – Park Hill Sheffield

I’ve been here before, virtually – in my online guide to Park Hill Pubs.

I’ve been here before, actually – on my visits to Park Hill Estate

But hark, what news of the Parkway pub?

Your bold mosaic whilst once exposed, was sadly disabused, then unthinkingly covered.

Has subsequently been uncovered, steam cleaned and proudly on view, as a central part of the most recent of the estate’s phases of redevelopment.

The block is to become student housing, the distinctive tan, turquoise blue and bold red colours of the mosaic, integrated into the banding of the newly refurbished building.

My face was a picture of delight, viewing the multicoloured tesserae – as we were privileged to be guided around the site by Kier Construction, Matthew Borland from Whittam Cox Architects, who are working with Alumno on Béton House and Urban Splash – my thanks to all and particularly PR Surriya Falconer.

So here it is living and breathing the South Yorkshire air once more.

Alas the Parkway is a pub no more – simply an empty shell.

But hush – can you not catch the chink of pint pots and gales of merry laughter, carried gently on the passing breeze?

Ellen Wilkinson Humanities Building – The University of Manchester

I don’t usually walk this way – so I walked this way.

I discovered the rear of building, a building formerly only known from the others side, when seen from Oxford Road.

Whilst making my way from The Gamecock to elsewhere, I serendipitously discovered the other other side.

The Humanities Building now named the Ellen Wilkinson Building.

This Building Design Partnership scheme pre-dates Wilson Womersley’s appointment as master planners for the Education Precinct but exists harmoniously with the later series of buildings. This is most likely due to the method of development before any ‘grand concept’. The incremental expansion of the University, following WWII, was largely dictated by the progress of compulsory purchase orders; this group was no exception. At the planning stages, the lack of a masterplan led to organising the wings of the buildings in an open, orthogonal arrangement. This would allow expansion in a number of directions, according to the next available site in ‘the dynamic situation’. The result was the creation of a small courtyard flanked by two five-storey blocks and a two-storey structure. All three buildings use the same pink-grey concrete. The plastic qualities of concrete were explored in both cladding and structural panels and the textural qualities exposed in the bush hammered columns, to reveal the Derbyshire gravel aggregate. The sculpted and moulded panels on the two-storey block and on the gable ends of the larger blocks were designed in collaboration with William Mitchell. The only other materials in the external envelope were the windows of variously clear and tinted glass. The window modules were set out against a basic geometry in three standard patterns and applied across the façade. This resulted in a clever interplay of vertical and horizontal expression. 

Mainstream Modern

Ellen Wilkinson was born into a poor though ambitious Manchester family and she embraced socialism at an early age. After graduating from the University of Manchester, she worked for a women’s suffrage organisation and later as a trade union officer. Inspired by the Russian Revolution of 1917, Wilkinson joined the British Communist Party, and preached revolutionary socialism while seeking constitutional routes to political power through the Labour Party. She was elected Labour MP for Middlesbrough East in 1924, and supported the 1926 General Strike. In the 1929–31 Labour government, she served as Parliamentary Private Secretary to the junior Health Minister. She made a connection with a young female member and activist Jennie Lee. Following her defeat at Middlesbrough in 1931, Wilkinson became a prolific journalist and writer, before returning to parliament as Jarrow’s MP in 1935. She was a strong advocate for the Republican government in the Spanish Civil War, and made several visits to the battle zones.

During the Second World War, Wilkinson served in Churchill’s wartime coalition as a junior minister, mainly at the Ministry of Home Security where she worked under Herbert Morrison. She supported Morrison’s attempts to replace Clement Attlee as the Labour Party’s leader; nevertheless, when he formed his postwar government, Attlee appointed Wilkinson as Minister of Education. By this time, her health was poor, a legacy of years of overwork. She saw her main task in office as the implementation of the wartime coalition’s 1944 Education Act, rather than the more radical introduction of comprehensive schools favoured by many in the Labour Party. Much of her energy was applied to organising the raising of the school-leaving age from 14 to 15. During the exceptionally cold weather of early 1947, she succumbed to a bronchial disease, and died after an overdose of medication, which the coroner at her inquest declared was accidental.

Wikipedia

So here we are now – a significant building, named for a significant figure.

I wandered around, pale painted rectangular reliefs abutting darker rectangular reliefs. Strict window grids at a variety of heights. Warmer rounder rounded reliefs to the east, contrasting with their orthogonal cousins. A surprising courtyard contains a diminutive but charming concrete sculpture and an almost hidden exterior spiral stairway.

Sometimes it pays to get almost lost.

Holy Cross Church – Gleadless Valley Sheffield

Spotswood Mount, Sheffield S14 1LG

Constructed between 1964 and 1965 and designed by the architects Braddock & Martin-Smith.

Completed in 1936 John Keble Church in Edgware was also designed by DF Martin Smith 1900-84.

Martin Smith later went into partnership with Henry Braddock and together designed St. Mary’s church in Crawley. 

Holy Cross is positioned in a spectacular position among the houses on the Rollestone hillside.

Holy Cross is a church for people of all ages and stages of life.

Apart from the warm welcome at Holy Cross, you will always find something that is relevant to your age and stage in life – however old you are and whatever walk of life you come from.

Built to serve the Gleadless Valley Estate perched high above the Sheffield city centre.

It has a canted front which is triangular in shape which has a large white cross at its apex.

The interior features full height stained glass windows of the Virgin Mary and St John by John Baker Ltd.

Born in 1916, John aka Jack studied at the Central School in London and worked under James Hogan at the Whitefriars stained-glass studios before joining Samuel Caldwell junior at Canterbury Cathedral in 1948 to help reinstate the medieval glass removed for safekeeping during the Second World War.

He subsequently authored English Stained Glass; the revised edition of this work, English Stained glass of the Medieval Period , which was to become one of the most popular soft back books on English medieval glass ever published.

Apart from his conservation skills, John was also an inspired teacher at Kingston College of Art. He produced windows for a number of churches, including eleven windows for the church of the Holy Name, Bow Common Lane, Mile End; two windows and a brick sculpture for the church of Little St Peter, Cricklewood; eighteen windows for St Anne’s church, East Wittering, Sussex; two large abstract windows for Broomfield Chapel, Abbots Langley; ten large concrete and glass windows for the new parish church, Gleadless Valley, Sheffield; and twenty-two glass windows for the Convent Chapel, St Michaels, Finchley. He also created a huge Jesse window for the church at Farnham Royal. The church was demolished in 2004, but the glass is now in storage, and some of the panes will be installed in the welcome are of the new church.

His favourite works were the windows he produced for Auckland Cathedral, New Zealand – as seen above.

John Baker, born Birmingham, 11 March 1916, died Hastings, 20 December 2007.

Vidimus

The concrete altar is set on a raised paved podium, complemented by a silver cross and distinctive Arts and Crafts style oak chairs.

The original seating seems to be no longer in use, replaced by a newer more comfortable alternative.

There is a large carved stone font.

The main body of the steeply pitched roof space is illuminated by slotted windows.

Many thanks to the key holders and parishioners at Holy Cross, our Sheffield guide Mick Nott and Claire Thornley at Eleven Design – for making our visit possible.

Thanks also to all those who turned up on Saturday to walk a very, very wet Gleadless Valley.