I first came here some twenty years ago or so and on each subsequent visit little seems to change.
The exterior signage and fascia remain intact.
The orange light shades are still hanging limp and bright from the suspended ceiling.
The furniture and scarlet carpet unmoved, as the cheery waiting staff weave merrily in, out and round about with meals and drinks.
The distinctive white relief sits in the same place on the wall.
Almost inevitably I order a mug of tea.
Along with a plate of eggs chips and peas.
Eat and drink the lot and leave happy and contented – who can resist a well run, well appointed classic café?
A well-known and respected figure in the Bradford business world, Mr Paul Georgiou ran Fountains Coffee House in John Street for just shy of 50 years alongside his wife Mary, and has run cafés and other businesses in the city for almost six decades.
Other ventures created by Mr Georgiou include the Hole in the Wall nightclub, which was one of the first underground nightclubs in the city centre.It hosted acts including Sir Tom Jones and rockers Thin Lizzy as they rose to fame in the late 1960s and early 1970.
Sadly he passed away in 2019.
His main business Fountains Coffee House is now managed by his son Michael, but when it opened it was one of the first businesses to open in the John Street Market, as the Oastler centre was known then.
Positioned above the entrance/exit and either side of the exit/entrance.
They have had over time various companions to keep them company.
They are currently friendless – the Kirkgate Market is to be closed, its future uncertain – and by inference Big Bill’s public art is under threat too.
The Council has announced to its traders in Kirkgate Market and the Oastler Centre that it will not be carrying out the proposed refurbishment of Kirkgate Market as the new market in Darley Street will now accommodate non-food sales on one trading floor with the other trading floor being dedicated to fresh foods and the 1st floor for hot food and beverage sales.
As per they are unlisted, largely unnoticed and as such very vulnerable, get it while you can, take a trip to Bradford real soon.
Mention must also be made of the tiled ceramic mosaics which adorn one wall and the three panels on the raised area above the stalls.
I was most intrigued by these tiles – I have not seen this type before – they have a resemblance to to Transform tiles that were produced in Staffordshire in the 1970s, but they are different in several ways.
The November 1973 T&A microfilm appears to have been stolen from Bradford Library so I can’t check reports and features from the time of the opening of the market on November 22 1973.
What a delight – the stunning surprise that awaits you, around one particular suburban corner of Bradford.
I had called ahead, to arrange the visit – the Reverend Dorothy Stewart had gracefully invited me to join members of the community and herself, one wild and windy Wednesday.
Steel frame and shuttered concrete with dark red brick walls in stretcher bond, and slate roofs.
Church of 1966 with attached hall of 1971, both designed by architect George Pace. Characterised by asymmetric arrangement of roofs, exposed structure and juxtaposition of materials, this is a complete and largely unaltered example of Pace’s work. The asphalt roof and windows are in very poor condition. Repair works to the roof were carried out in 2016 with funding from the National Lottery Heritage Fund’s former Grants for Places of Worship scheme.
The exterior is stark and angular, the body of the church is a broad rectangle with no division between nave and chancel, with a bell tower to the east, vestries to the north-west and a chapel to the west. At the western end is the church hall, added in 1971. Externally a single asymmetric roof covers the main body of the church, rising at the east end to form a mono-pitch section over the altar area and incorporating the bell tower. There is a porch at the east end of the north side, and a transept with a double pitch roof. To the west is a single storey, flat roof section with an entrance to the north, extending to the transept. West of the main body of the church on the south side is a separate roof, housing a chapel. To the west is the church hall, with a north-south asymmetric roof. All the windows are rectangular, of varying sizes, with plain glass in rectangular leaded lights. Lintels over the doors and the parapet of the flat roofed block are of shuttered concrete, as are the window surrounds.
The body of the church contains Victorian stripped oak bench pews derived from St John’s church in Little Horton, arranged with a central aisle. To the north side is a range of contemporary pews in wood with vertical slatted fronts, in front of the organ, recovered from St. Chrysostom’s Bradford , by Driver and Haigh of Bradford, which is housed in the transept with a matching front of vertical wooden slats.
Let’s take a look.
To the rear is the cylindrical font in white concrete with a wooden lid, set on a raised platform. Suspended above it is a large light fitting in black metal, inscribed around the edges with the words: “This font is erected by relatives and parishioners in memory of/ Beatrice May Parkin, for over forty years a Sunday School teacher and/ worker for St Saviour’s Church, who died 2nd March 1961”.
There is no separate chancel, and the finishes throughout are exposed brick, shuttered concrete and limed oak. The sanctuary area is in the south-east corner and consists of a tall angled purple brick reredos, topped with concrete, and a lower detached, angled purple brick pillar to each side each holding a shelf and incorporating a wooden seat. In front of the central reredos is an integral wooden bench with three backs, and a large black metal cross in the same style as those on the exterior but with more elaboration, fixed to the floor on a raised concrete block. To the fore is the altar table on a low raised platform. The whole is enclosed within an altar rail of iron and wood, open to the centre.
The main roof has exposed wooden trusses supported on concrete pillars and beams, with rafters and purlins also exposed creating a latticework pattern.
The whole interior order is orderly, calm and coherent, a simple consistency of materials and architectural intent.
The solid wood, studded chapel door has the words “I am the Good Shepherd” engraved on it. The chapel has exposed beams and rafters, and an altar to the north with iron and wood altar rail in front. Pews are as in the church. There is a mosaic plaque behind the altar which came from St John’s church in Little Horton.
Beyond to the west is the narthex, with shuttered concrete ceilings pierced by circular skylights, exposed brick walls and doors to the chapel, service rooms and hall.
Such a pleasure to visit such an enchanting church – it was a precious privilege to be welcomed by the congregation, warden and Reverend Dorothy.
This time of year, with limited light and an inclement climate, it’s far easier to travel by picture postcard. Researching and searching eBay to bring you the finest four colour repro pictures of our retail realm.
Eventually the school bell rang for the last time, and a newer brighter home was found for the little learners.
Lights were turned off and the doors of Varna Street were closed.
But not for the last time, a new use was found for this recently listed building.
Having lost their city centre base Rogue Studios were offered the site by the local authority, and in double quick time they have created a home for artists, a community resource and project space, which will continue to prosper for years to come.
Once again I am following in the footsteps of Rita Tushinghan and the Taste of Honey film crew, this time my research has lead me to Barmouth Street, Manchester.
To the east of the city centre, Bradford Park School was the scene of the opening scene, Jo’s netball match. The school is now long gone, now the site of a much enlarged public park, as can be seen from the map above.
Shelagh Delaney, author of the original play on which the film was based, can be seen fleetingly in this opening scene, appearing momentarily over the games teacher’s shoulder.
I have found one archive image of the school, as the scholars prepare for the annual Whit Walks, this along with many other community traditions and conventions, have all but disappeared from the streets of the city.
This was once a tight knit community, surrounded by industry, full employment and a short lived period of post-war growth and optimism.
A corner shop on very corner, though by the time I worked as a Mothers Pride van lad in the late sixties, many were already on their last legs. A lethal cocktail of closing factories, incipient supermarkets, and an urban renewal programme, which lead to slum clearance, would change the character of the area forever.
I am indebted to the photographic work of T Brooks who seems to have spent much of the mid Sixties documenting the streets, his pictures are now kept here in the Manchester Image Archives. Sadly I have found no further reference to him or his images, but have nothing but admiration for all those who pass unnoticed amongst us, camera forever poised.
Central to the social and sanitary life of that that community were the Barmouth Street Baths and Washhouse, where citizens would swim, wash, dry, iron, chat convivially, and surprisingly – play bowls.
Now long gone, along with the provision of local authority nursery care. There were similar low level pre-fabricated buildings dotted all over the city. Built quickly and cheaply, to provide for a growing population, of largely working-class families, with no shortage of work opportunities.
This was a time of great social change, a time which the film attempts to anticipate -a more diverse, and hopefully more tolerant time, a time of possibilities and opportunities for all.
I don’t know much about the Yorkshire Building Society, I must say I have less than a passing interest in Building Societies generally.
I more of a building societies man myself.
But I do know this
In 1993 the former Hammonds Sauce Works Band was renamed as the Yorkshire Building Society Band. The building society supported the main band and also the YBS Hawley Band and YBS Juniors. The building society ceased its sponsorship in December 2004 although the YBS initials were retained in the band’s name until 2008. From January 2009 the band was renamed the Hammonds Saltaire Band.
Which seems a particularly cruel way, to treat a sauce works band.
Their former HQ has been standing on the corner, watching all the world go by.