British Telecom Telephone Exchange Abbey Road Barrow in Furness LA14 5QZ
I took a train in the rain to Barrow in Furness.
I alighted, bathed in bright sunlight.
I espied a telephone Exchange.
The original building was designed by MOPBW senior architect M Williams and job architect P Chilton around 1966-67. Senior architect RN Dixon – of modernist talk fame, and job architect P Joyce were involved with some detailing around 1968, before Dixon designed an extension in 1972.
William Thompson was born at Richmond Yorkshire, the son of John and Catherine Thompson. William came to Burnley in 1908 and gained a place at Burnley Grammar school. Later he learned the trade of cotton weaving at his uncle’s shed. In time he was to become the managing director of this firm. William lived at Oak Bank Todmorden road, where in spite of his great wealth, he led a remarkably simple life. He had neither television nor radio, and his greatest pleasure appeared to be strolling in the nearby Towneley Park. About 1970, ill health forced William to move to his sister’s house at Ingleton Yorkshire. His illness became worse, and he was removed to a nursing home at Silverdale, near Lancaster, where after a prolonged infirmity he died on 18, August 1972. It was William and his sister, Sarah Witham who donated the £333,000 that was eventually used to build the Thompson Recreation Centre. William was never to see the gift he bestowed upon the town, for his death came just a few days before the official opening of the centre. It was his sister, Sarah who performed the opening, and she too was to die a short time afterwards on 8, December 1975. She was the last link in the Thompson family of Burnley.
Many thanks to local historian and author Jack Nadin
The Thompson Recreation Centre was decorated by a large concrete frieze by Scottish artist Charles Anderson.
Town Architects 1975
Formed from precast concrete panels against expanded polystyrene moulds – it stands 150ft long and 9ft high.
It was gifted from funds provided by the estate of local Cotton Manufacturer and major town benefactor, William Thompson. The building was a flagship symbol of progress for Burnley in 1973, it was demolished in 2006.
Fortunately, the frieze was carefully dismantled, stored and reinstated by Andrew Brown.
Mr Brown said:
This frieze has a massive place in our community. It gives me enormous pleasure to give this magnificent artwork a new home. It breathes new life into the legacy of William Thompson who did so much for Burnley.
Charles Anderson designed the sculpture over months at his studio in Paisley said:
I was a young man of 34 when I was approached by Burnley Council to design a frieze for the centre.
It’s one of my proudest pieces of work and definitely one of the most challenging. I was inspired by the sculptures of the Parthenon so perhaps this is Burnley’s own Elgin Marbles. It features the Three Graces from Greek mythology as well as sporting scenes such as wrestling, weightlifting, fencing, archery, football, tennis and cricket.
I walked from the town centre along Princess way in search of the work – it’s at the rear of the site, just turn right before you reach the hotel.
They have campaigned tirelessly to save the building which is under threat, the local authority wishing to demolish the site.
There has long been a split in Shropshire Council between councillors who want to keep Shirehall and this that want to demolish it and move to the town centre. Last December, the council agreed to dispose of the building in the next few years after work on Civic Hub in the town centre is completed. That Civic Hub is still in the ideas stage and there is no clear idea of where the money will come fund it. Unless the council sells the 3.5 hectare Shirehall site for housing boosting its capital reserves which were depleted by the £51m purchase of the shopping centres in Shrewsbury town centre.
The budget plans agreed two weeks ago days propose that Shirehall is sold before April 2025 to make a saving of £325,000 in 2024/25.
The University of Leeds has a long established collection of public art, this has now been formalised into an Art Trail around the campus. Each of the pieces on this largely accessible display, has a QR code with a supporting audio tour, along with an information panel.
Printed guides are also available from the Stanley & Audrey Burton Gallery, or online here.
Burton’s – The Tailor of Taste, have long been benefactors of the collection – here’s a little of the company’s history.
Sir Michael Sadler, University Vice Chancellor 1911-1923, was instrumental in developing an interest in Modernist art, through his own collection.
Sadler felt that a student’s education was greatly enhanced by a cultured and harmonious environment. He set about creating such an environment through the public display of pictures from his collection.
Take some time to wander around and consider the works in context, set against two centuries of architectural style and fashion, along with generous open and green spaces.
You can devise your own route around the trail, this is mine.
#4 Christ Driving The Moneylenders From the Temple – Eric Gill
The trustees operate within these two positions: we absolutely condemn Eric Gill’s abuse of his daughters with no attempt to hide, excuse, normalise or minimise, yet we also have a duty to protect, display and interpret the art work we hold in our collections.
The Market Hall was considered to be a prime example of cutting edge modern architecture when it was officially opened amid a blaze of publicity and civic pageantry on September 16 1965.
It replaced a large Victorian market hall of similar proportions that was in a poor state of repair and was condemned as unhygienic, dingy and “no longer fit for purpose”.
Developed by the Second Covent Garden Property Company, the new Market Hall cost £1 million to build and was designed by a respected architect of his day, David du Rieu Aberdeen. Aberdeen designed major buildings in London and made his name when he won a national competition to design Congress House for the TUC in Bloomsbury. Today Congress House is described as a “modernist masterpiece”.
The Pevsner Architectural Guide pronounced the new Market Hall “a good example of modern architecture”, with “its clean lines and simple forms. But the town’s timber-framed tradition is also evoked. The upper storey is jettied out on a reinforced concrete structure and faced with vertical fins in an echo of close studding,” it stated. “The tall slender red brick clock tower mingles effectively in distant views with the town’s medieval steeples.”
Built and operated by Shrewsbury Empires Ltd, the Granada Theatre opened on 14th November 1934 with Jack Hulbert in The Camels Are Coming.
It closed as a cinema on 31st March 1973 with Charles Bronson in The Valachi Papers and Anatomy of a Pin-Up.
The Granada circuit was famous for its lavishly decorated interiors created by a Russian émigré called Theodore Komisarjevsky, the most famous examples of which are at Woolwich and Tooting – both now operate as bingo halls. The Shrewsbury Granada was by far the best cinema in the area, and in addition to Komisjarevsky, the scheme was designed by Cecil Massey, with some work being carried out by a local architect called Arthur Williams. The architecture of the Shrewsbury hall is often referred to as being a “standard” Granada, and the interior was very similar to the Granadas at Bedford now demolished and Maidstone which wasdestroyed by sub-division. There were less than 20 theatres built for the circuit, of which Shrewsbury was number five, although many existing cinemas were taken over and renamed, making the Granada Theatres an important group, although in numbers they were far behind Odeon and ABC.
On 17th November 1995, the Granada Theatre was designated a Grade II Listed building by English Heritage.
Many thanks to the staff of Buzz Bingo for allowing us access.
Next up is a Marks & Spencers store very much a shop of two halves – marrying post-war Brutalism with interwar Classicism, unified by a glazed ground floor.
Across the way, a 60s corner site development, with a dual-entry Greggs.
Formerly the site of the Post Office – demolished in 1959, and next to the Barclays bank the long gone Crown Hotel.
On the adjacent corner a curvaceous Barclays Bank, built in the post war Ministry of Works manner.
Next door is Crown House – refurbished but with it’s architectural type intact.
One of Marshall Structures’ biggest projects to date was the conversion of Crown House from a tired office block to a complex featuring 14 luxury apartments, providing a much-needed improvement to the site. The work involved in this project included large amounts of steel work and timber design.
The biggest challenge faced during the completion of this project was trying to fit an additional storey without loading quite an old existing structure. To do this, the new storey was designed out of a lightweight timber frame. By doing this, the client’s brief could be met while also ensuring that the existing 1950s building wasn’t overloaded in the process.
The foundation stone for the new building was laid by Sir Offley Wakeman, a former chairman of the county council, on 25 July 1964. It was designed by Ralph Crowe, the County Architect, in the Modernist style, built at a cost of £1.8 million and was completed in April 1966.
Pevsner described the building as – the major monument to post-war modernism in the county.
The Market Hall, which includes the town’s 240ft clock tower, an indoor market and a ground-floor shopping centre, was hailed the most modern building in Shropshire when it opened in September 1965.
Developed by the Second Covent Garden Property Company Ltd to replace an ailing Victorian market hall, it cost £1 million to build and was designed by award-winning architect David du Roi Aberdeen who also famously designed the Trade Union Congress headquarters, Congress House, in London, and the Swiss Centre in Leicester Square.
Today the Market Hall’s 1960’s architecture might not be to everyone’s taste, but its indoor market is thriving with over 70 small businesses ranging from popular contemporary cafes and gift retailers to artisan producers and traditional market stalls selling fresh produce.
Bobbing toward the centre – a striking Lloyds Bank.
A conscious effort to reflect the nearby Tudor architecture of Ireland’s Mansion and Pride Hill. Lloyds Bank is considered a good example of Brutalist architecture, and proof that bold modern buildings can be successfully slotted into traditional historic streets.
Possibly Shrewsbury’s finest post-war building, but of course it has its detractors. It was well received by critics of the period including the assessors for the Civic Trust who bestowed an award in 1968. They noted the quandary that the architects faced of building in such a historic setting and terminating the vista along one of the town centre’s main streets. In their opinion the architects ‘faced the problem squarely and their building, brave in its conception and immaculate in its detail’ and that it was ‘uncompromisingly of today but beautifully sympathetic to the great buildings it rests with’. Pevsner’s original assessment of it being the ‘boldest modern response to the town’s half-timbering’ was not shared by the authors who revised the Shropshire edition and viewed it as an ‘aggressive display of exposed and textured concrete’.
It was also shortlisted for the European Cement Association awards, one of only two British buildings to make the grade. Opting to draw on the Tudor traditions of the town, partner W Marsden, working with project architect W Allan Clark and assistants Malcolm Lovibond and Keith Maplestone, used cantilevered floors, vertical structural and sub-structural members, oriel windows and a black and white tonal palette deploying anodized aluminium window frames against finely ribbed concrete panels. The standing seam zinc roof adopted the town’s norm of pitched roofs without gables in order to blend with the street scene. Concrete Quarterly referred to it as ‘a skilful bridging of the centuries in a way that would not offend a purist’ . The main contractor was Henry Willcock and Company Limited.
This video provides a refreshing and inspiring insight into the steel manufacturing industry and the people who make it happen.
The Iron and Steel Industry in Scunthorpe was established in the mid 19th century, following the discovery and exploitation of middle Lias ironstone east of Scunthorpe.
In 1967 three works became part of the nationalised British Steel Corporation.
Following privatisation in 1988, the company together with the rest of BSC became part of Corus in 1999, in 2007 becoming Tata Steel Europe. In 2016 the long products division of Tata Steel Europe was sold to Greybull Capital with Scunthorpe as the primary steel production site.
I took a brake van trip on the Appleby Frodingham Railway, touring the site’s network of working rail which encircles the works.
Very much in the spirit of Charles Sheeler’s Ford River Rouge Plant photographs, I was enthralled by the mass of massive buildings and their attendant infrastructure.
This is architecture on the grandest scale, the main furnace house being higher than St Pauls Cathedral.
Arriving by train and ascending into the light – here’s the station lights.
The railway station has sharpened up its apron and facade.
We have transformed the station forecourt. It has become a quality gateway which delivers a great first impression for visitors arriving in Doncaster by train. This will help stimulate interest from investors and developers, helping to attract new investment and create jobs for the borough and wider region.
Celebrating engineering, speed and connectivity and stretching forty metres in length the public art at Doncaster Station consists of forty seven monoliths which are a nod to Doncaster’s past, present and future. With a fountain and three impressive water walls, the art takes centre stage in the new public space as you step out of the train station and head into the town centre.
The concept was devised by Doncaster Council and further developed by Chris Brammall.
Typically the high and low streets of Britain’s industrial towns and cities, are an amalgam of architectural style and fashion, spanning at least two or three centuries.
Behind the buff faience frontage is a lovely, small two-room pub with a well preserved interior created under plans of 1934. It was remodelled by the Grimsby brewers Hewitt Brothers Ltd who were Doncaster’s biggest pub owners for many years.
Of course, every town had a Burton’s – the tailor of taste.
This post war infill has that distinctive Festival of Britain feel, original metal window frames, Portland stone and blueish slate like panels.
The revamped Frenchgate Shopping Centre, officially opened on October 4th 1968, has in places an upper tier, resistant to zinc over cladding.
The centre has been the heart of the city for over 40 years and was originally called the Arndale Centre because it was built, owned and managed by the Arndale Group. It was renamed in 1988 after a change of ownership, with the new name reflecting the name of the street which passes to the east of the centre and which is one of Doncaster’s main shopping streets.
The sale of the centre came just a year after Frenchgate had undergone a £200 million facelift to transform it into the country’s first shopping centre with integrated public transport and retail interchange.
We propose this is fundamentally transformed though the addition of apartments that wrap along the back of the first-floor retail with a further 2.5 new storeys placed on top. We also feel additional height -up to seven or eight storeys, is justifiable to the corner of Frenchgate and Trafford Way.
The Lovers were once located in the Arndale, removed to a local garden, unloved – then later reinstated in the Waterdale Centre, where we will embrace them a little later.
Turn right to take in the 1920s mosaic remake remodel of the Grade II listed Blue Building.
The Blue Building which used to be the Doncaster Design Centre and Tourist Information Centre was originally the home of John Whitaker, a wine merchant, and son of James Whitaker who was Mayor of Doncaster in 1758.
In 1925 the complete building was demolished apart from the facade which was retained and given a facing of decorative blue tiles. The intention was to build a shopping arcade from High Street to Printing Office Street. Only part of the arcade, known as the Westminster Arcade was built. It had a number of shops, the largest being that of Woodhouse & Co Furnishers.
Two adjacent 60s extensions – to the right a redundant post office to the left an almost redundant telephone exchange, with the earlier brick built exchange in smack dab the middle.
Turn another corner and it’s all at the Co-op now – the Grade II listed Danum Co-operativeBuilding, department store and offices: 1938-40 designed by T H Johnson & Son for the Doncaster Co-operative Society Ltd.
Over the road a zig-zag Halifax Building Society branch, tightly contorted by its corner footprint.
To the right of the Danum, this former Boyes store, having relocated to the Wilko site, the building is ripe for residential conversion.
To the left the Colonnades Shopping Centre a fierce angular glass and brick bunker of mixed office and retail space – the sole occupant seeming to be Home Bargains.
A £3.3m makeover of the Colonnades shopping mall in Doncaster town centre was completed in 2019.
The scheme of works was co-ordinated by Doncaster Council and funded by the Sheffield City Region Local Growth Fund.
Built in the 1980s, the brick built building received a major overhaul. The investment saw the visual appearance enhanced inside and out. The five floors were transformed into the prime office space needed in the town centre and the enhancements to the retail area were also finished.
The shift in the town’s axis to the Frenchgate and Market areas, seems to have taken the wind out of its sails.
The former flicks now a redundant pale brick behemoth – no more and ABC.
Doncaster’s new £250,000 ABC cinema, part of the Golden Acres development near the town centre, was opened on May 18th 1967.
Closed in January 1981 for conversion into a triple screen it re-opened on 9th April 1981 with seating in the three screens for 477, 201 and 135.
The Cannon Group took control in the mid-1980’s and it was re-named Cannon and it closed on 18th June 1992, screening its opening film Doctor Zhivago.
Cinema Treasures
The Golden Acres development seemed to have morphed into the Waterdale Centre.
It is currently being reshaped to provide a line of desire twixt the Civic and Cultural areas, from the town centre. There are still the remnants of homes, shops and a pub amongst the demolition – almost inevitably there is new paving.
Waterdale is a well-known part of Doncaster’s town centre. During its heyday it was a bustling area with people flocking to shops and the like – it was a place you had to visit while you were in town. However, it had suffered a steady decline which continued when the southern bus station closed – Frenchgate Interchange opening, and Doncaster College moved to the Hub at the Waterfront. With limited public transport entering the area and no student population on its doorstep, less people had reason to pass through.
Demolition of the College.
The Civic and Cultural Quarter is transforming Waterdale reconnecting it to the town centre. The quality and content of the plans is raising the profile of this part of town to new levels. The carefully thought out layout and consistent building design is giving the area a clear identity. It is already becoming a big attraction that draws people in and encourages redevelopment in the neighbouring areas.
The weary walker is diverted toward the Civic Quarter Car Park.
The former Civic Offices are to be demolished.
Demolition of the Central Library is well under way.
Facing the former library we find the CAST Theatre, Civic Buildings and Savoy Cinema, grouped around Sir Nigel Gresley Square.
Within the square is a frieze, salvaged from the former Gaumont Cinema, the work of sculptor Newbury Abbot Trent.
The Gaumont Palace Theatre in Hall Gate at the corner of Thorne Road, Doncaster opened on 3rd September 1934 with Jesse Matthews in Evergreen.
It was designed by architects WE Trent and W Sydney Trent.
In 1949 WH Price the Borough Surveyor produced an outline plan for the area, with a green space at its heart, it was never realised. In 1955 Frederick Gibberd produced his plan to include a ten storey Town Hall, Art School, Technical College and Civic Theatre, revised and reduced in 1963 – eventually his Police Station and Law Courts were completed in 1969.
The former NHS Clinic at the ‘T Junction’ is transformed into a day care service.
The building was designed in the office of the Doncaster Borough Architect’s Department in a team led by borough architect Mr LJ Tucker.
The ceramic designs were a later addition when it was discovered that the large open areas of glass overheated almost everything inside, the work was undertaken by LJ Tucker and family.
The sculptural work by Franta Belsky, now has a skip for company.
As a footnote the work by Fabio Barraclough reveals a murky past.
Barraclough was born in Madrid in 1923, to a Spanish mother and Yorkshire father who founded Madrid’s Chamber of Commerce. He moved to London with his family in the 1930s as a refugee from Francoist Spain. He taught fine art and sculpture at Rugby School, where colleagues considered him “highly entertaining, a most unorthodox and highly gifted” teacher. He established himself during the 1960s and early 1970s as an authority on sculpture, publishing in academic journals and becoming a member of the Royal British Society of Sculptors.
In 2000, it was revealed that Barraclough, while outwardly living the life of anti-apartheid activist since the 1970s, had been a paid informant of the South African state security police. The media was used to promote his image as a “brilliant, liberal artist with apparently impeccable credentials” in order to gain public trust, while he was funnelling money from anti-apartheid groups to the police. He died on 6th January 2019.
Over the way faros the green sward is St Peter in Chains RC – A large and striking design by JH Langtry-Langton, incorporating important furnishings by J F Bentley from the predecessor church, along with good furnishings of the 1970s. The churches houses the modern successor to the medieval shrine of Our Lady of Doncaster.
Figurative stained glass by Patrick Feeny for Hardman in 1973 and abstract glass fitted in 2000 as part of reordering and revival of the shrine.
Designed by architects Bond Bryan and built by main contractor Willmott Dixon, the new cultural and learning hub has been created following the restoration of four existing buildings.
A key focal point of the scheme is the restored frontage of the Edwardian former Doncaster High School for Girls, which has been framed by Senior’s slimline SF52 aluminium curtain wall and showcased within a new steel-frame building. The glazed facade, which was fabricated and installed by Senior’s supply chain partner Chemplas, also features Senior’s aluminium commercial doors.
Work began in the interwar years, and continued following the hiatus of 1939-45. The shopping centre named the Civic Centre was open in 1963, the actual Civic Centre containing a swimming pool, theatre, public hall and library in 1971.
Here I am again four years later, taking a look at how it looks today.
ASDA remains the anchor store, Wilko having left a Wilko sized hole in the precinct. On an overcast Friday morning there was sufficient footfall to sustain the wide variety of smaller shops and larger retail chains. As with many other towns within the central Manchester orbit, the easy proximity fills those busy trams and buses, which are leaving the area.
There are plans in place to regenerate the area, in the form of a Masterplan – which can be downloaded here.
Between 1991-2002 there have been some architectural changes, including new stores and office developments. Some of the interventions included significant adaptions which further increased retail into the existing buildings high street.
The interventions included significant adjustments to the multi-storey car park with the aim of reducing parking numbers whilst providing additional lettable space. Further Transport Hub Arrival commercial development was created to the north of the site with the construction of Etrop Court, despite there being significant commercial vacancy across other parts of the estate.
Whilst there has been significant incremental intervention, the character of the area has not fundamentally changed from its founding concept. However the cumulative impact of the various changes have had a negative impact on the functionality and suitability of place, so much so that the centre is in many ways no longer fit- for purpose.
The site today is surrounded by surface car parks, with a total of around 2,500 car parking spaces, 1,700 of which are contained within the multi-storey car park. Many of the retail units, the upper floor office spaces along the Birtles and Hale Top, and buildings to the east are vacant.
Typically, the levels of vacancy are consistent with the changing demands of the high street, where typically modern and successful retail centres are now more diversified and focussed on creating a visitor or destination-based experience. In this sense, we anticipate a need to diversify the high street and to promote a smaller more concentrated retail core, whilst supplementing the offer with more meanwhile and permanent uses and activities based on culture, food and creative workplace.
The gateway to the Civic Centre on arrival from the Transport Interchange is very poor. Access to the high street isn’t obvious and the route through to the high street isn’t clear. Much of the site is surrounded by fencing, barrier and gates and whilst they are open during the day, they are locked at night to prevent vandalism. This barricaded aesthetic does nothing to promote an easily accessible and family friendly environment as well as preventing any opportunity to promote a much needed night- time economy.
Currently, the Civic Centre appears to only cater for those with a need to visit for a particular purpose, rather than capitalising on an opportunity to create a place to visit and dwell.
Multi Storey Car Park Rowlandsway Manchester M22 5RG
I’ve lost count of the countless times I have visited countless car parks.
I do have a fondness for ramps – particularly helical ramps, one of my most memorable early modernist encounters, was with Lubetkin’s penguin pool.
The cast concrete taking on a truly sculptural dimension.
There is also the Proustian recollection of a collection of geometry lessons and Helix instruments.
It has all left a lasting impression and I have subsequently taken every opportunity to waddle penguin like up and down several concrete car park ramps.
I was informed by the seriously erudite Christopher Marsden that the bus station and car park were the work of Derek C W Vane: Borough Architect 1972-1974.
Having visited and photographed the bus station in 2016 I thought that it was about time I went up in the world, to the top level of the car park.
Mixed opinions from Parkopedia reviewers – let’s take a look around.
There are plans for refurbishment outlined in 2022 in the Huddersfield Hub.
The bus station will undergo a major revamp both inside and out and the most striking feature will be a sweeping canopy with a living grass roof which will run right across the main frontage from Macaulay Square to Upperhead Row.
Also of note a project by Kate Matthews to seriously rethink the role and design of the space.
The starting point for this project was the Welcoming Water group scenario, involving the controlled flooding of areas of the town.
The new interchange includes facilities for cycling, walking, and public transit. The basin and marina on the new lake allow for an increased focus on water-based transport, including a new bus-boat. The main Transport Hub sits below an undulating roof and contains not only the bus bays and ticketing facilities, but also co-working and relaxation spaces. The curves of the roof, trying to confuse the binary of floor and ceiling, are just one example of the ambiguity throughout the scheme.
This project was nominated for the Architects for Health Student Design Award in 2021.
The Ferodo Factory was founded in Caernarfon in 1962, and officially opened by Princess Margaret.
However, the Ferodo Factory faced a significant setback in April 2001, when a lengthy industrial strike by the Transport and General Workers Union members began.
The strike lasted for an astonishing two and a half years.
Following the strike, the Ferodo Factory underwent a change in ownership. Bluefield Caernarfon Ltd acquired the site in 2007/08, with plans for redevelopment and revitalization. However, these plans did not come to fruition, and the factory’s buildings gradually fell into disrepair.
The site was identified as a potential location for a multi-million pound North Wales prison. This development would have created numerous job opportunities and breathed new life into the area.
Plans for this proposed redevelopment where rejected.
An appeal was launched in 2023 to find ex-strikers, in order to invite them to the premiere of a documentary to mark the 20th anniversary of one of Britain’s longest industrial disputes.
The hard-hitting film, Y Lein: Streic Friction Dynamics – The Line: Friction Dynamics Strike, has been made by Dïon Wyn, the grandson of one of the strikers, Raymond Roberts, who was determined the historic injustice should never be forgotten.
The foundation stone for the new building was laid by Sir Offley Wakeman, a former chairman of the county council, on 25 July 1964. It was designed by Ralph Crowe, the County Architect, in the Modernist style, built at a cost of £1.8 million and was completed in April 1966.
It was officially opened by Queen Elizabeth II, accompanied by the Duke of Edinburgh, on 17 March 1967.
The design for the six-storey building facing Abbey Foregate involved continuous bands of glazing with concrete panels above and below: it also included an unusual ovoid-shaped council chamber which jutted out to the south-west of the main building.
Pevsner described the building as – the major monument to post-war modernism in the county.
Shropshire Council initially backed a scheme drawn up by HLM Architects in 2017 to revamp Shirehall to provide modern working facilities as well as commercial opportunities. However this plan has not progressed and the local authority has said that making the building fit for purpose would require ‘a multi-million pound investment’.
in September 2020, the council indicated that it would rather sell the building and move to the town centre. Then in October 2020, following an application for a certificate of immunity from listing requested by the county council, English Heritage decided not to list County Hall as the building did not meet the criteria for listing post-1945 buildings.
Shropshire Council Raven Meadows Shrewsbury SY1 1PL
Built by Truscon Ltd. – 1969
I am a disabled driver and found a lot of the direction signs worn away. When I came to leave I wanted to use the machine on the ground floor. This was out of order, as a lot of other people found. The office was empty as the staff were outside smoking. I then had to negotiate stars back to the 7th floor where the next machine was located. There was no sign on the ground floor machine telling it was out of use and where the next machine was located.
If staff want to have a smoke they should at least leave someone in the office.
Most of the parking spaces are very tight and I would not recommend the use of this car park unless you have a small car and a crystal ball to find the disabled parking and the payment meters.
The rudest man at the kiosk, that I have ever had an encounter with, over a ticket that was blurred. He had a go at me for not going to him straight away – I went when I went to leave and it wouldn’t work. He also had a go at me because I pressed the buzzer on the intercom. Very strange unhelpful man. Made an issue for no reason! Awful to deal with I never write reviews, but I hope this gets back to him and with hope he will gain some manners.
Being a pedestrian, I entered through the bus station on foot.
The station is considered to be dated due to its 1980s architecture partially under a 1960s multi-storey car park. There have been plans for the station to be modernised and rebuilt, or even demolished completely, as part of the town’s Big Town Plan. The demolition of the station would mean the town would not have a central bus terminus and would instead use smaller sites on the town’s Park and Ride routes.
Shrewsbury Bus Station is a disgrace. I am embarrassed to use it. I don’t feel comfortable with using it. Yet, it is the bus hub for our county. It is one of the main gateways into Shrewsbury and Shropshire for those travelling by public transport.
New bus hubs and interchanges have been developed around the country. Shropshire Council meanwhile ignores Shrewsbury Bus Station. It promises a new bus interchange, but that is in Phase 4 of its plans to redevelop Shrewsbury town centre between Pride Hill and the riverfront. In the current financial climate and with the council stretched to the limit on existing funding, Phase 4 is probably more than a decade away.
It’s now all grown up into a fully fledged transport interchange – with its very own pedestrian and cycling ramp.
The 189-metre ramp provides a seamless and accessible route to navigate the level change from the rooftop park to the river Mersey frontage, leading to the Trans Pennine Trail route.
Forming part of the Stockport Interchange Mixed Use development scheme, and which also includes a new cycle and pedestrian link from Stockport rail station to the new park, as well as connecting the new facility to the wider Bee Network cycling and walking infrastructure, which is designed to encourage more people to make journeys on foot or by bike.
Titterstone Clee is the third-highest hill in Shropshire rising at the summit to 533 metres – 1,749 ft above sea level.
Most of the summit of the hill is affected by man-made activity, the result of hill fort construction during the Bronze and Iron Ages and, more recently, by years of mining for coal and quarrying for dolerite, known locally as dhustone, for use in road-building. Many derelict quarry buildings scattered over the hill are of industrial archaeological interest as very early examples of the use of reinforced concrete.
Near the summit trig point are the remains of a Bronze Age cairn, dating back up to 4,000 years and indicating that the summit was a likely ceremonial site. Although partly destroyed by quarrying, Titterstone Clee’s Iron Age hill fort is enclosed by a huge boundary earthworks.
It is of note that the walls of the fort are made up of stone blocks, instead of earth banks.
The Adelphi Picture Theatre is located in the Attercliffe district in the east of Sheffield. It opened on 18th October 1920 with Irving Cummings in Auction of Souls. The red brick building has buff and blue coloured terracotta enrichments on the façade, especially on the small turret dome over the entrance, which also has stained glass windows.
Seating in the auditorium was provided in stalls and circle, and the projection box was located in the rear stalls, underneath the circle. The cinema was in reverse, and patrons entered the auditorium from behind the screen. The decoration includes pilasters, a segment-arched panelled ceiling and a moulded proscenium arch with a central crest which is flanked by torches. The circle has a lattice-work plaster front.
Single photo enhanced with easyHDR 3.15.2: Adelphi 1920 10 18.jpg
It underwent some restoration in 1936 and a re-decoration in August 1939. It received some bomb damage during the second week of the blitz and was closed for around a month. It received further renovation in August 1946. It remained an independently operated cinema throughout its cinematic life and was usually tied in with the Coliseum Cinema on Spital Hill.
The Adelphi Picture Theatre closed on 28th October 1967 with Robert Vaughn in The Karate Killers and Glenn Ford in The Rounders. It became a bingo club, last operated by the independent Walkers Bingo. After this closed in around 1995 it became a nightclub and since March 2000 was converted into a music teaching centre. This closed in 2006, and the building stood unused, and by 2013, it was in use as a storage facility. It was announced in November 2022 that the city council were seeking to purchase the building to renovate and convert it into a community centre.
Since early 1996, the Adelphi Picture Theatre was designated a Grade II Listed building by Historic England.
Just the other day I came across an old ticket stub issued by The Savoy in Heaton Moor.
They used a Automaticket machine, but with dead stock tickets.
Evolving from being gear and lever driven, to powered by electric motors, these ticketing machines served as somewhat of an industry standard for over eighty years.
While there are still a few of these machines in use, the theatre industry generally abandoned such ticketing systems, in favor of computerized ticketing, by the late 1980’s.
The striking art deco – sic. building later hosted Sheffield’s famous Gatecrasher club nights, among other events, and was also used as a music teaching centre.
It sat empty from 2006 until 2013 and has since been used only for storage.
My dad was a regular at The Adelphi during the war years. He remembers that the showings were always like a theatre with two matinees during the week and two evening showings everyday unlike the continuous showing at other cinemas and a children’s matinees on a Saturday.
He and his friends had six seats booked on Q row for every Monday and Saturday night as more often than not the films ran for three nights Mon, Tues and Wed, then a new picture Thurs, Fri, and Sat – no show on a Sunday. Occasionally a good film, now known as a blockbuster, would run for longer; if this was the case they just put up with seeing it twice.
The cost of the film was 4d or 6d upstairs, the cinemas in town were dearer.
Called up in February 1944 he did not return to Attercliffe until his first leave from the army a week before VE day in 1945. He returned from Germany, said hello to his Mum and Dad, dropped off his kit bag then caught the tram the three stops to the Adelphi where he knew his friends would be. The smartly dressed commisioner, in blue with plenty of gold braid, standing outside immediately recognised him even in army uniform. He showed him in telling him the lads were all there. He crouched in the aisle next to his friends and caused quite a commotion once he was spotted – he has no memory of the film showing but great memories of the reunion to this day.
It was bought by Sheffield City Council earlier this year, as part of the Attercliffe Levelling Up project, and has now gone on the market as the council seeks someone to revive the Grade II-listed building as a vibrant cultural hub.
Councillor Ben Miskell, chair of the council’s Transport, Regeneration and Climate Policy Committee, said:
We’re thrilled to announce the Adelphi Cinema building in Attercliffe is now on the market and we’re eager to hear from interested parties. The building forms one part of our ambitious plans for the area which will all come together to breathe new life into the community.
It all began way back when I was a raw youth living in Ashton under Lyne – the precinct was our playground, cycling and running, often against the grain, up and down the travelator.
Some sixty years later I am still enthralled by the nation’s shopping precincts – including the very local Merseyway.
Modern Mooch 