One fine day – whilst walking back to and/or from happiness, in the general direction of Blackburn town centre, I happened to chance upon three towers.
Whilst not in any sense Tolkienesque – for me they held a certain mystique, wandering unclad amongst swathes of trees and grass.
Trinity, St Alban and St Michaels Courts – three thirteen storey towers each containing sixty one dwellings.
Three thirteen-storey slab blocks built as public housing using the Sectra industrialised building system. The blocks contain 183 dwellings in total, consisting of 72 one-bedroom flats and 111 two-bedroom flats. The blocks are of storiform construction clad with precast concrete panels. The panels are faced with exposed white Cornish aggregate. Spandrel panels set with black Shap granite aggregate are used under the gable kitchen windows. The blocks were designed by the Borough architect in association with Sydney Greenwood. Construction was approved by committee in 1966.
I have previously sought succour in your shady shelters, as unrelenting sheets of steel grey rain peppered the wind whipped Irish sea.
A concrete cornucopia of Californian screen block, glass, pebbledash, mosaic and crazy paving.
Municipal modernism under threat as the unstoppable force of coastal improvement lumbers on, a pantechnicon of shiny surfaces, sensitive planting, contemporary seating and laser-cut, contextually appropriate historical panels.
As Hardscape introduces a wholesome dose of CGI style medicine to the promenade
I for one will miss you all when you’re gone.
Next time I pass all this will seem as a dream, a tale told by a fool full of sand and fury signifying nothing.
The Maxwell Building and Hall forms the older portal to the campus site.
They were built between 1959 and 1960 to a design by the architect C. H. Simmons of the Lancashire County Architects Department.
In back of the Maxwell complex is the Cockcroft Building.
Sir John Douglas Cockcroft OM KCB CBE FRS 27 May 1897 – 18 September 1967 was a British physicist who shared with Ernest Walton the Nobel Prize in Physics in 1951 for splitting the atomic nucleus, and was instrumental in the development of nuclear power.
The concrete relief to the east fascia of the northern block of the building is now sadly obscured by the addition of intrusive infrastructure.
This incised block of limestone tiles laden with fossilised remains is a curious delight.
Just around the corner the Chapman Building.
This latter day piece of brutalism is buried within the campus of the University of Salford. It was designed by W.F. Johnson and Partners of Leamington Spa, as a lecture theatre block and gallery. It sits with its long axis running parallel to the railway behind. The series of grey volumes, occasionally punctuated by colourful floods of red and green trailing ivy, hang together in a less than convincing composition. The orientation and access to the building seem confused and detached from any cohesive relationship to the rest of the campus, but there is something perversely attractive about the right essay in the wrong language. The reinforced concrete building contained five lecture theatres, communal spaces, an art gallery, AV support areas and basement plant rooms. Following a major refurbishment in 2012, several additions were made to the exterior and its total concrete presence somewhat diminished. It still houses lecture theatres and a number of other learning and social spaces.
Across the wide and wider A6 are Crescent House and Faraday House – formerly home to the AUEW Amalgamated Union of Engineering Workers, ceded to the University in the 1970s
Let’s shimmy along to the former Salford Technical College site.
Now the part of the University of Salford, this grouping is probably the most significant work by Halliday Meecham during this period. The blocks wrap to almost enclose a courtyard and they step up in height towards the rear of the site. To the front is a lecture theatre block in dark brick. The multi-storey elements are straightforward in their construction and appearance and have had their glazing replaced. Perhaps the richest elements here are the three totemic structures by artist William Mitchell, which were listed at Grade II in 2011. Mitchell was actively engaged with the experiments of the Cement and Concrete Associations during the 1960s and produced a wide variety of works for public and private clients; other works regionally include the majority of the external art and friezes at Liverpool Metropolitan Cathedral and the Humanities Building at Manchester University. These textured concrete monoliths appear to have an abstract representation of Mayan patterns and carry applied mosaic. They were made on site using polyurethane moulds. There is another Mitchell work hidden behind plasterboard in the inside of the building.
Son of Coventry – architect, author and leading post-war planner.
From 1949 onwards plans were afoot to develop the Waterdale area of Doncaster – civic buildings, courts, educational provision and the like WH Price the Borough Surveyor at the helm. In 1955 Gibberd was appointed to oversee the site, though many of his designs were unrealised, his Police Station and Law Courts opened in 1969.
The area was also home to the Technical College and Coal – later Council House, both now demolished.
The Courts and Police Station now nestle behind the much newer civic developments, part of much wider regeneration scheme.
So let’s go back in time to a wet day in 2016 – when first I chanced upon these municipal concrete bunkers of law and order – where Brutalism is embodied in the buildings content and purpose, as well as its style.
This is an architecture that instructs you to avoid wrongdoing at all costs – or suffer the inevitable consequences.
Come and have a go if you think you’re hard enough.
2019 and I’m back again – architecturally little or nothing has changed, still standing – stolid solid pillars of justice. The day is brighter ever so slightly softening the harsh precast panels against a bluer spring sky.
I’ve been to the Barbican before, wandering the walkways without purpose.
This is a whole new box of tiles, the search for a re-sited mural, a first time meeting with what would seem at once like an old and well-loved friend.
Dorothy Annan20 January 1900 – 28 June 1983
Was an English painter, potter and muralist, married to the painter and sculptor Trevor Tennant. She was born in Brazil to British parents and was educated in France and Germany.
Annan’s paintings are in many national collections, she is also known for her tile murals, many of which have been destroyed in recent decades. Only three of her major public murals are believed to survive, the largest single example, the Expanding Universe at the Bank of England, was destroyed in 1997.
I was looking for her mural which illustrates the telecommunications industry – formerly of the Fleet Building Telephone Exchange Farringdon Road.
The murals were commissioned at a cost of £300 per panel in 1960. Annan visited the Hathernware Pottery in Loughborough and hand-scored her designs onto each wet clay tile, her brush marks can also be seen in the fired panels.
The building was owned by Goldman Sachs, who wished to redevelop the site and opposed the listing of the murals.
In January 2013, the City of London Corporation agreed to take ownership of the murals, and in September 2013 these were moved to a permanent location in publicly accessible part of the Barbican Estate. They are displayed in their original sequence within an enclosed section of the Barbican High Walk between Speed House and the Barbican Centre.
So following a discursive and somewhat undirected circumnavigation of the Center we were finally united – it only seemed polite to linger a while and take some snaps – here they are.
Bouncing betwixt and between Bonnard and Bill Viola from Tate Modern to the Royal Academy I took a detour to The Barbican – in search of the Dorothy Annan tiled mural.
Having failed conspicuously to find it, following an extensive and discursive wander, I did the wise thing and asked.
My thanks to the helpful resident and his young son.
Redirected and on course for our deferred engagement, Dorothy and I met at last on an underpass.
I also recently discovered a Barbican Manchester mash up – Gerrards of Swinton fulfilled their largest ever single order for the site – my thanks to David Roughley for the information and illustration.