The Roger Stevens Building 1970 – by Chamberlin, Powell and Bon for Leeds University South Campus is designated at Grade II
The building represents the high point of their Leeds University work.
Architecture: the building is an outstanding and individual design with bold external shapes and carefully designed interiors
Planning: the internal spaces are the result of extensive research on the requirements of the university and introduce innovative and influential features such as individual doors into the lecture theatres, and external links intimately with other buildings on the campus by means of multi-level walkways
Intactness: despite the changing requirements of universities, the building has remained largely unchanged, proving the success of its design
Group Value: the building provides a fitting centrepiece to the group of university buildings on the South Campus at Leeds, also recommended for designation.
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.
I have admired the work of Bernhard and Hilla Becher ever since seeing their photographs in the one and only Tate at the time, in old London town.
An early example, possibly twelve small black and white prints of pit head winding gear, assembled in a three by four grid.
I became intrigued by the notion of serial art and typology, later in the seventies working as a Systems printmaker.
Very much in the tradition of Max Bill and Richard Paul Lohse.
In more recent years I have worked as a documentary photographer, at time paying homage to Bernhard and Hilla.
By placing several cooling towers side by side something happened, something like tonal music; you don’t see what makes the objects different until you bring them together, so subtle are their differences.
So on hearing of their exhibition at the National Museum of Wales in Cardiff, I excitedly booked my train ticket from Manchester.
Saturday 29th February 2020 – an auspicious Leap Year – knowingly taking a leap into the known unknown.
Braving the imminent threat of Storm Jorge.
I was given the warmest of welcomes by the gallery staff, spending a good while chatting to James, a fellow enthusiast.
My first surprise was the Bechers’ drawings, painting and notebooks.
Then onwards into two large, light spaces, with the work – actual Becher archive prints, displayed with the reverence that they deserve.
Given space to breath, in a calm contemplative area.
With a quiet attentive audience.
So here that are in situ – worth the wait, worth the train ticket, worth the two way seven hour rail trip. Seeing the prints close up reading the exposure, the thrill of the dodge and burn, a lifetime’s ambition realised.