BT Telephone Exchange – Ashton under Lyne

BT Roundabout OL6 6QQ

In 1913 Ashton is already a crowded town, a cotton town.

The first telephone exchange arrives and sweeps away property at the junction of Scotland and Bedford Streets.

The second arrives along with the bypass and establishes a roundabout, an island of telecommunication.

Tameside Image Archive

There they sit betwixt St Michael’s Parish Church and Albion Congregational.

A marriage of inter-war brick Revivalism and post-war concrete Brutalism.

Ninety nine point nine percent of the passing parade pass by onto the bypass by car, I took time to circumnavigate the site on foot.

This is what I saw.

William Temple Church – Wythenshawe

The Anglican Church of William Temple was opened in 1965 on the corner of Robinswood Road and Simonsway as the church of the Civic Centre.

We have been here before, here’s the background info and snaps.

Hopefully we will all be here again and again.

It’s one of my all time favourite churches and one of George Pace’s most distinctive.

Here he is in Keele, Doncaster, Bradford, Sheffield and Chadderton.

An exterior which betrays only a little, of that which lies inside.

And here is what lies within a range of fittings and fixtures which sympathetically mix and match materials and form.

Perfect.

Many thanks to Brenda and the Wythenshawe team for making us feel so welcome.

Wythenshawe Walk

We begin at the William Temple Church

1970

The Anglican Church of William Temple was opened in 1965 on the corner of Robinswood Road and Simonsway as the church of the Civic Centre. The mission was already well-established, having begun many years previously in Shadow Moss School Room, latterly operating in a dual-purpose building on Simonsway. The architect, George Pace, agreed with the proviso that he should not design a ‘pseudo’ building, but that it should be modern in concept. This he did and particular attention was paid to the acoustics with a view to music and drama being performed there. One of Pace’s stipulations was that, as with all the churches he designed, there must be no plaques attached to the walls commemorating the dedication of the church or in memory of anyone, for he said he built his churches to the Glory of God. The only lettered stone is on the back wall of the church and it has on it the date of the consecration and a symbol, which is Pace’s original sign for William Temple Church.

The internal supports of the church are black-painted steel girders, not romantically symbolising the industry of the area, as it is sometimes said, but because when it was discovered that the church had been built on swampy ground an extra £2,000 was needed for foundations; the wooden beams of the original design had to be changed for cheaper steel ones. There is symbolism, however, in the placing of the font between and beneath the three main weight-bearing supports of the church.

The pews have an interesting history, having been brought from derelict churches in and around Manchester. 

The present lady churchwarden said:

“whenever we heard of a church being demolished we borrowed Mr. Owen’s coal cart and went off to see if we could buy any of the pews. Many times I’ve sat on the back of the wagon, in the pouring rain, with the pews, bringing them back to Wythenshawe to be stored until our church building was completed!”

Some time after the building was opened, a fire damaged some of the pews. With the insurance money all the pews were stripped and bleached, giving an element of uniformity and a bright welcoming atmosphere in the church generally. An interesting thought was voiced that as many people living in Wythenshawe now had their origins near to the centre of Manchester they may be sitting in the same pews in which their ancestors once sat.

Onwards to St Anthony’s RC – seen here under construction.

An imposing and monumental building by Adrian Gilbert Scott.

The church has a rich, little-altered interior with strong architectural qualities and notable furnishings. The church is described as ‘one of the few real landmarks of Wythenshawe’ and ‘beautifully built’, by Hartwell, Hyde and Pevsner 2004

The church was listed Grade II in 2014.

Taking Stock

It replaced the Green Hut.

Backtrack to St Andrews Architects JCG Prestwich and Son 1960 – as seen by Comrade Yuri Gagarin 12th July 1961 – detailed here.

We now take a secular route around the back of the Civic Centre to look at Centron and Delta House.

Built in 1972 to encourage white collar jobs into the area, formerly occupied by Shell and the TSB, currently partially unoccupied.

Across the way the former Barclay’s Bank IT HQ by DLG Shuldham the bank’s chief architect.

Just around the corner.

There were four eight-storey blocks of ‘Sectra’ flats that Laing built in Wythenshawe for Manchester County Borough Council, completed in 1967. The blocks were described by Laing in their monthly newsletter ‘Team Spirit’ in January 1968 as four blocks of specially designed eight-storey flats for elderly people.

Showing skeleton cladding, patterned end wall units and access balcony.

They were named Park Court, Violet Court, Birch Tree Court and Edwards Court.

Park Court and Violet Court have since been demolished to make way for retail space.

Violet Court

Tower Block 1987

Architect J Austen Bent

Local Image Collection 1972

Onwards to the most exotic magenta fire station.

Then down the road to St Luke’s 1939 by W Cecil Young of Taylor and Young.

No striving after sensational effect is strived at – Pevsner.

Down the road we go to St Martin’s.

The church is the the work of Harry Fairhurst Architects 1958.

Opened 21st March 1959.

Across the road to Tin Town.

A mini-estate of impeccably kept, neat steel-framed prefabs, designed in 1946 by Frederick Gibberd. We got a tour around one, home to former Durutti Column drummer Bruce Mitchell. The space standards and architectural quality are, as Phil Griffin points out, way above those of contemporary central Manchester luxury loft living. 

Owen Hatherley – The Guardian

New residents were given the choice of an apple or pear tree.

Finally arriving at Sir Basil Spence’s St Francis of Assisi.

2012

In December 1956 Basil Spence and Partners were commissioned to design St Francis Church in Wythenshawe, Greater Manchester. The project was part of a large building programme by the Manchester Diocese and was to service the new post-war housing estate at Newall Green. The site housed an existing hall that had been serving a dual-purpose as church and church hall but which reverted to use as a church hall once the new church was opened. The foundation stone was laid by Colin Skinner CBE on 23 April 1960 and the church was consecrated on 25 March 1961 by the Bishop of Manchester, W D L Greer.

The main building is predominantly brick; it is set back from the road by a landscaped courtyard that includes a brick tower and 73ft concrete cross. Another large cross rises from the front wall of the church itself making it highly visible from the surrounding neighbourhood.

The church can hold a congregation of 250. A small chapel is separated from the main church by a sliding screen and can be used independently for private prayer and mid week-services. On busy days the screen can be retracted to provide additional seating to the main church. A gallery over the entrance porch houses two organs and the choir.

St Francis of Assisi – Wythenshawe

66 Chalford Rd Wythenshawe Manchester M23 2SG

Sir Basil Spence 1959-61

In December 1956 Basil Spence and Partners were commissioned to design St Francis Church in Wythenshawe, Greater Manchester. The project was part of a large building programme by the Manchester Diocese and was to service the new post-war housing estate at Newall Green. The site housed an existing hall that had been serving a dual-purpose as church and church hall but which reverted to use as a church hall once the new church was opened. The foundation stone was laid by Colin Skinner CBE on 23 April 1960 and the church was consecrated on 25 March 1961 by the Bishop of Manchester, W D L Greer.

The main building is predominantly brick; it is set back from the road by a landscaped courtyard that includes a brick tower and 73ft concrete cross. Another large cross rises from the front wall of the church itself making it highly visible from the surrounding neighborhood.

The church can hold a congregation of 250. A small chapel is separated from the main church by a sliding screen and can be used independently for private prayer and mid week-services. On busy days the screen can be retracted to provide additional seating to the main church. A gallery over the entrance porch houses two organs and the choir.

Embroidery for the Church was designed by Anthony Blee and carried out by Beryl Dean and Associates, and Communion silver was specially designed by Gerald Benney.

CANMORE

An austerely simple deign, saved from bleakness by a few deft touches – Pevsner.

The lettering on the font cover is by Ralph Beyer, the painting on the east wall by William Chattaway, who came specially from Paris to paint.

2010 – John Richards

2015 – John Richards

The church also contains four stones brought from prominent Christian locations across the globe including a rose hued stone from Assisi itself, these are embedded in the walls and floor around the building.

Mainstream Modern

Construction.

Completion.

St Francis of Assisi’s Church in Wythenshawe stands testimony to the vigour of its first priest, the Reverend Ronald Pitcher. It was Pitcher who organised a local campaign to raise money for its construction, even before William Greer, Lord Bishop of Manchester, launched a wider appeal to fund churches and vicarages in new housing areas throughout the diocese. 

It was probably also Pitcher who chose the architect, since he made initial contact with Basil Spence late in 1956. Drawings and a watercolour perspective were prepared by the beginning of 1958, when the scheme was priced at £17,500, exclusive of professional fees. 

Following discussions with the congregation it was modified to provide side-aisles, and the estimate increased to £27,000, including an organ. Although the diocese believed the final cost might be as high as £35,000,the design was accepted and Spence formally commissioned at the end of the year.

Warwick University

2012

Manchester Evening News 2013

A church forced to close three years ago after its congregation dwindled to just two has been reborn – as a community centre.

St Francis of Assisi, in Wythenshawe, was forced to shut its doors when its popularity waned and repairs became too expensive.

Now, thanks to businessman James Munnery and Pastor William Simoes, the former Church of England building is rising again as a beacon of hope for the neighbourhood. The pair have teamed up to re-open the church as the New Life Opportunities Centre. Ambitious plans for the not-for-profit venture include sports pitches, a recording studio, and a hall for events and dancing.

It will also hold church services.

Businessman James Munnery outside St Francis of Assisi

The sound of the pipe organ

St Anthony’s RC Church – Wythenshawe

Dunkery Rd Wythenshawe Manchester M22 0WR

Grade II listed in March 2014.

The Roman Catholic Church of St Anthony’s, 1959-60 by Adrian Gilbert Scott, is listed at Grade II for the following principal reasons:

Architectural interest: the church has a strong composition and imposing presence derived from its bold design and cathedral-like scale, which is enhanced by the use of elegant building materials, including narrow and very pale buff bricks, Portland stone dressings and copper roofs, and a dramatic west end incorporating a giant camel-vaulted arch containing the recessed west entrance.

Architect: it was designed by the notable architect Adrian Gilbert Scott who trained under Temple Moore and specialised in ecclesiastical commissions for the Roman Catholic Church, and it is one of his major works.

Interior design: the elegant interior maintains stylistic continuity with the exterior through its incorporation of Gilbert Scott’s characteristic soaring camel-vaulted arches, which are derived from ancient Persia and are successfully reinterpreted here in a modern form; rendering the arches and treating them as parabolas. The dignified space is also enhanced by a dado of buff-coloured Hornton stone that contrasts with plastered walls above, and tall windows that serve to maximise light.

Interior quality: the interior decoration is kept to a minimum overall to enable the beauty of the building to be fully expressed, but the furnishings are of a high quality, including inset Stations of the Cross, an unusual carved wall pulpit, and an elaborate marble, gilded and mosaicwork baldacchino.

Historic England

Prior to the construction of St Anthony’s RC Church in 1959-60 Mass was celebrated first in two green Nissen huts knocked into one

Archive photographs Local Image Collection.

St Andrews Church – Wythenshawe

Brownley Road Wythenshawe M22 0DW

JCG Prestwich and Son 1960

As seen by Comrade Yuri Gagarin on his visit to Manchester and on our recent recreation of the route.

B&W photographs Local Image Collection

A solid Italianate brick structure with a til distinctive campanile.

Currently home to the Emmaus Community

Emmaus South Manchester is gearing up to support vulnerable people in Wythenshawe and surrounding areas.

Our charity aims to support homeless people and those suffering deprivation and social exclusion in the local area. Thanks to generous support from St. Andrews Church, we have set up a workshop in Wythenshawe and are now looking for retail premises to sell handmade items produced by local volunteers.

The Road to Emmaus 1877 – Robert Zund

St Martin’s Church Wythenshawe

2 Blackcarr Rd Wythenshawe Manchester M23 1LX

Sadly all tinned up with nowhere to go.

Services are now held in in the adjoining Church Hall.

The church is the the work of Harry Fairhurst Architects 1958.

Opened 21st March 1959.

The building has seen better days.

The interior a restrained delight.

Archive Photographs – Local Image Collection

The site is sodden with sadness, that such a gem is in such serious decline.

Keele University Chapel

I got on the 25 bus in Hanley and remained seated on the top deck until I reached Keele.

The chapel was just over the way from the bus stop, behind some trees.

Multi-denominational university chapel. 1964-65 by G.G. Pace. Blue vitrified engineering bricks. Slated pitched roof to eaves. Two copper covered pyramidal roof lights to paired towers and two copper-covered dormers. Rectangular building with paired apses at one end and a gallery along one side, with vestries and entrance below. Main space designed to be flexible, with movable furniture and a hydraulic screen which can be lowered to make two smaller spaces. One of the apses is dedicated to Roman Catholic worship; the other is for Anglicans and Non-conformists.

Exterior is dominated by the paired apses, which rise to form a pair of towers, each with panels of vertical strip windows with square-headed lights of irregular length, separated by brick tracery. Similar windows in irregular patterns to the flanks, which are otherwise unmodelled, and to the asymmetrical gable end. Rectangular leaded lights. Square-headed entrance on flank with concrete beam over. Double timber doors, recessed. Projecting concrete gutter spouts, three to each flank. Interior of exposed pink brick and unpainted board-marked concrete. `Y’ shaped laminated timber uprights and trusses, supporting timber roof, partly with timber rafters with exposed boarding behind, and partly with white acoustic tiles, forming a decorative contrast to the timber panels. Patterned brick screen with exposed, unpainted board-marked concrete frame divides the space at the higher level up to the roof, and a hydraulic screen of rust-stained timber, decorated with a cross motif, can be lowered to complete the division. Two similar, but smaller screens can be lowered to close off the apses.

Below the gallery a brick and concrete wall with groups of vertical windows. Broad, light timber handrail/bookrest, to `chunky’ concrete balustrade. Concrete pulpit of organic form attached to left of the screen wall. Also part of the Pace scheme is the limed timber altar, lectern, priest’s chairs, benches and other furnishings and the altars and furnishings in the semi-circular chapels. Also original are the pendant light fittings in black-painted metal. Floor with panels of parquet and polished concrete flags. Liturgically unusual as a multi-denominational chapel of this period, this impressive building is a fine example of Pace’s work.

Historic England

I’m something of a George Pace fan having previously visited William Temple, Doncaster, Chadderton, Bradford and Sheffield.

I was made more than welcome by Niall from the Chaplaincy Team.

The Chapel is open to the public Monday – Saturday and for worship on Sundays.

Let’s take a look around the exterior.

Followed by a tour of the interior.

ill was kind enough to show me some original documents related to the Chapel.

Salford Walk

We begin on the Crescent – taking in the former AUEW Building.

B&W images copyright USIR Archives

It became part of Salford University’s estate, renamed the Faraday Building.

It is currently unoccupied.

The University’s Masterplan is shifting emphasis to the Peel Park and Media City sites.

Also leaving Crescent House in limbo.

The original master plan would have swept away the Victorian Technical Institute and Salford Art Gallery.

Across the road are the Maxwell Buildings.

They were built between 1959 and 1960 to a design by the architect C H Simmons of the Lancashire County Architects Department.

The interior decorative order of Sixties’ institutions was integral to the architectural design, sadly this is no longer so.

Which may be the subject of ambitious redevelopment.

Take a turn around the corner to the Cockcroft Building.

The east facing mural painted out and obscured by retrofitted infrastructure.

These incised stone panels obscured by plants.

To the left is the Clifford Whitworth Library – this is the original architectural impression – signed Peter Sainsbury.

The original fascia was tile clad.

Subsequently replaced by uPVC boards.

Yet again the original interior was integral too the architectural scheme and period.

Across the way the Chapman Building.

It was designed by WF 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.

Mainstream Modern

To the rear of the building there are some of the original details, now painted a series of funny colours.

A ways down the road the former Salford Technical College.

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.

Mainstream Modern

Subsequently assimilated into the University.

Across the A6 the former estate pub the Flemish Weaver is currently shrouded in particle board and in use as a base for construction workers.

Just down the way The Woolpack is no more.

April 1965 saw the Salford City Reporter proudly boast in an article that

The Ellor Street dream begins to come true – complete with interviews with residents of the newly constructed Walter Greenwood, Eddie Colman and John Lester Courts all which towered some 120 feet above the Hanky Park skyline.

These particular blocks of flats were of special significance because their completion was the end of the first stage of the Ellor Street redevelopment scheme which was to provide 3,000 new homes, the £10 million pound Salford Shopping Precinct and a new civic centre – which never got built – making this A Salford of the Space Age.

Salford Online

The tower blocks are now clad and the site a construction base for cladders.

Full details of Salford’s complex and extensive redevelopment can be found here at Tower Block.

Walter Greenwood Court was demolished in 2000/2001, whilst Eddie Colman and John Lester Court are now student accomodation for the nearby Salford University.

Onwards and underwards towards Salford Shopping City.

The construction of the shopping centre and surrounding areas continued and on 21 May 1970 the new Salford Market officially opened. From 1971 onwards new shops inside the precinct itself began to open.

However, due to a lack of funds and a political scandal which saw chairman Albert Jones jailed for eight months construction of Salford Precinct was halted. The site had only 95 shop units compared to the proposed 260, the hotel and two storey car park were never built.

The architectural core of the site has been retained, including the 23 storey Briar Court residential tower.

Tucked in behind is Mother of God and St James RC Church.

Clearances took place from the middle of the twentieth century and new high-rise housing blocks were built, as well as a shopping centre.

There was a Catholic presence in the area from 1854, when schools were built. What was described in The Tablet as a beautiful church, an Early English Gothic design by M. Tijou – presumably Herbert Tijou, architect of the chapel to Loreto College, Manchester, was opened by Cardinal Manning, Archbishop of Westminster in 1875.

One hundred years later this church was demolished and replaced by the present building.

The architects were Desmond Williams & Associates, the design bearing some similarity to their St Sebastian, Salford. In 2010 the church of All Souls, Weaste, was closed, and the marble sanctuary furnishings brought to the church.

Description

All orientations given are liturgical. The church is steel framed with brick walls and a monopitch roof (originally covered with copper, now with felt).  Bold brick forms create a presence, and the design is somewhat defensive, with few windows. The building is entered from a lower porch which forms a narthex. The slope of the roof and the stepped clerestory lighting create a striking impression inside, and full-height windows towards the east end incorporate stained glass figures said to have originated in the previous church. Marble sanctuary furnishings are presumably those from the church in Weaste and appear to be of later twentieth century date, while the font is of traditional type with a clustered stem and may have come from the earlier church.

Taking Stock

Returning to The Crescent the High Street Estate is all but demolished, save for one resident and their row.

This is an area which has seen a succession of clearances, redevelopment and shifts in demographics during a relatively short and intense period of change.

That process of change continues to hastily unfold.

Our Lady Star Of The Sea – Amlwch

The Church of Our Lady Star of the Sea was built using reinforced concrete around 1937 and its dedication carries tribute to sailors lost at sea. The roof is designed to resemble the hull of a boat, and the windows in the crypt port holes. These aspects reflecting the maritime heritage of Amlwch. 

Designed by Giuseppe Rinvolucri, an Italian architect who was originally brought to Wales as a prisoner of war. He subsequently married a local woman, and lived and worked in north Wales, specialising in Roman Catholic churches. He also designed a number of other churches in Wales, including those at Abergele, and Porthmadog.

Coflein

Around 600,000 Italian soldiers were taken prisoner during the First World War, about half in the aftermath of Caporetto. Roughly one Italian soldier in seven was captured, a significantly higher number than in other armies on the Western Front.

About 100,000 Italian prisoners of war never returned home, having succumbed to hardship, hunger, cold and disease – mainly tuberculosis.

Uniquely among the Allied powers, Italy refused to assist its prisoners, and even hindered efforts by soldiers’ families to send them food.

Wikipedia

From the 1930s he was living at St Francis Grange, Glan Conwy, an art deco style dwelling overlooking the Conwy estuary.

Prior to the construction of adjacent houses and the treatment of the concrete shell.

The main entrance leads into a small vestibule with raking sides; further doorways lead into the end of the main body of the church. The ribbing that is such a prominent feature of the exterior of the church also dominates the design of the interior; the body of the church illuminated by bands of geometrically patterned lights between the ribs. The lateral walls have marble panels which also follow the pattern of the ribs; to the top are paired panels, each with a moulded quatrefoil plaques depicting biblical scenes, plain paired panels below. The marbled panels continue at the far end of the church, raised up over round-headed doorways flanking a recess painted with a depiction of the crucifixion; star shaped lights follow the line of the domed arch.

British Listed Buildings

Robert Jones of Beaumaris: 

I think it is worthy of mention how the whole mass of imitation stone frontage was done by one plasterer long gone called Llew – Inja Rock, whose pretty unique style of work is still to be seen elsewhere around town today. He once showed me how it was done, all with a little teaspoon. What patience and what a proven good job to stand the trial of time of 40-plus years without a great deal, if any, remedial work. A sound memorial to a good working man.

BBC

For many years I have cycled y on my tours around Anglesey- often stopping to marvel at this concrete anachronism.

This time I stopped to walk around and take some snaps – here they are.

The Pevsner Buildings of Wales guide calls it:

A piece of Italian architectural daring of the 1930s – a soaring reinforced concrete and brick vault formed on six arches, expressed as ribs externally and internally, with a conical apse. Three transverse bands of glazing in geometric trefoils of white and blue.

Five glass stars – made in France, perforate the East wall round the apse.

Rinvolucri’s team of builders constructed the innovative parabolic vault in six months in 1935.

The same guide calls it Futurist, closer to Freyssinet’s 1920s airship hangars at Orly, Paris, than to Catholic Church design, and unlike the conservatism of Anglesey building.

He died in 1962 and is buried in St Agnes Road Cemetery, Conwy with Mina, who died in 1991.

They had one son born in 1940.

Redcar to Newcastle

An early start on another sunny day, cycling along long straight roads out of town, towards Middlesborough.

Having previously visited Hull and Scarborough and all points in between.

Slowly passing sleepy factories and desolate bus shelters.

Bunker like social clubs and flower lined roads.

The Albion club in South Bank has stood empty for the last three years. 

Now local lad Mark Trainor has the keys – and says opening the doors to the club his own family frequented for years will be a dream come true.

He’s planning to cater for everyone, he says, and it won’t just be all about drinking.

Parents will be able to call in for a coffee after dropping the kids at school, there will be pool nights and Mark’s personal favourite – Pie Day Fridays.

Gazette

Public art framing the Transporter Bridge.

The £2.7m Temenos structure has taken four months to piece together on the banks of the River Tees near Middlesbrough’s Transporter Bridge.

Thousands of metres of steel wire have been woven between the two steel rings to create the 164ft high and 360ft long sculpture.

It was created by artist Anish Kapoor and structural designer Cecil Balmond.

BBC

Temenos is a Greek word meaning land cut off and assigned as a sanctuary or holy area.

Following a 1907 Act of Parliament the bridge was built at a cost of £68,026 6s 8d  by Sir William Arrol & Co. of Glasgow between 1910 and 1911 to replace the Hugh Bell and Erimus steam ferry services. A transporter bridge was chosen because Parliament ruled that the new scheme of crossing the river had to avoid affecting the river navigation. 

The opening ceremony on 17 October 1911 was performed by Prince Arthur of Connaught, at its opening the bridge was painted red.

In 1961 the bridge was painted blue.

In 1974, the comedy actor Terry Scott, travelling between his hotel in Middlesbrough and a performance at the Billingham Forum, mistook the bridge for a regular toll crossing and drove his Jaguar off the end of the roadway, landing in the safety netting beneath.

Wikipedia

The cycle track followed the river, which sports a fine array of industrial architecture.

Tees Newport Bridge designed by Mott, Hay and Anderson and built by local company Dorman Long who have also been responsible for such structures as the Tyne Bridge and Sydney Harbour Bridge, it was the first large vertical-lift bridge in Britain.

Wikipedia

Crossing the river and heading for Hartlepool.

Negotiating underpasses and main road cycle lanes.

I was delighted to be drawn toward Dawson House here in Billingham.

Austere brick churches.

St Joseph RC Low Grange Avenue Billingham

A prefabricated polygonal structure of the 1970s, with laminated timber frame. The seating came from Pugin & Pugin’s church at Port Clarence. 

Taking Stock

Just along the way Saint Lukes Billingham 1965.

In a slightly more upbeat mode St James the Apostle Owton Manor.

I convinced myself that this building on Station Road Seaton Carew was a former pub, I discovered following consultation with the local studies offices, that it was in fact a former children’s home destined to become a doctors.

I found myself looking back across the estuary to Redcar.

Northward toward Hartlepool.

Where the bingo was closed and the circus had left town.

Every Englishman’s home is a bouncy castle.

St John Vianney located on King Oswy Drive West View Estate.

Architect: Crawford & Spencer Middlesbrough 1961.

A large post-war church built to serve a housing estate, economically built and with a functional interior. The campanile is a local landmark. 

The parish of St John Vianney was created in 1959 to serve the growing West View Estate, on the north side of Hartlepool. The church was opened by Bishop Cunningham on 4 April 1961. The presbytery was built at the same time.

Taking Stock

I found myself on yet another former railway line.

The Cycleway was once a railway line designed by George Stephenson to take coal from the Durham coal fields to the docks in Hartlepool, where the coal was then distributed throughout the world.

Tees Valley

The landscape opened up to coal scarred scrub, I lost the path and found a church, which imposed itself upon the hillside.

St Joseph RC Seaham County Durham

Architect: Anthony J. Rossi of Consett 1964

Taking Stock

Opening 1964

Seeking assistance from a passing cyclist I negotiated a safe passage to Sunderland.

The Sunderland Synagogue is a former synagogue building in Sunderland, England. The synagogue, on Ryhope Road, was designed by architect Marcus Kenneth Glass and completed in 1928. It is the last surviving synagogue to be designed by Glass.

The synagogue was listed as a Grade II historic structure in 1999.

Wikipedia

I crossed the Queen Alexandra Bridge

The steel truss bridge was designed by Charles A Harrison – a nephew of Robert Stephenson’s assistant.

It was built by Sir William Arrol between 1907 and 1909 and officially opened by The Earl of Durham, on behalf of Queen Alexandra on 10 June 1909.

Wikipedia

I took a right and arrived in Roker, where I saw these well tanned and tattooed cyclists taking a rest.

Pressed on, largely alongside the coast to South Shields.

Under advisement from a jolly passing jogger I took the Tyne Pedestrian Tunnel.

Tyne Cyclist and Pedestrian Tunnel was Britain’s first purpose-built cycling tunnel. It runs under the River Tyne between Howdon and Jarrow, and was opened in 1951, heralded as a contribution to the Festival of Britain.

Wikipedia

I cycled the banks of the Tyne, fetching up at the Quayside with a fine view of the Baltic.

Washed and suitably brushed up I hastened to the Bridge Tavern – to take a glass or two.

A fine end to a very long day.

Scarborough to Redcar

Well it seems that I had already cycled from Hull to Scarborough, so it must be time to head for Redcar.

Leaving Scarborough by the Cinder Track under the expert guidance of Mr Ben Vickers.

This was the site of the Gallows Close Goods Yard.

Formerly the Scarbough to Whitby Railway – the line opened in 1885 and closed in 1965 as part of the Beeching Axe.

Yet again I chance upon a delightful post-war home.

I parted company with the track dropping down to the Esk Valley from the Larpool Viaduct.

Construction began in October 1882 and was complete by October 1884.

Two men fell from the piers during construction, but recovered.

I found myself in Ruswarp, home to this enchanting bus shelter.

I bombed along the main road to Sleights.

There then followed a hesitant ascent, descent, ascent along a badly signed bridleway, fearing that I had climbed the hill in error I retraced, then retraced.

A difficult push ensued, a precipitous path, rough and untended, rising ever higher and higher.

Finally arriving at Aislaby, more than somewhat exhausted – the village is mentioned in the Domesday Book as Asuluesbi

Pausing to catch my breath I took the wildly undulating road to Egton – along the way I was alerted to the presence of a tea stop by two touring cyclists from Nottingham.

The Cake Club.

A welcome wet and a hunk of home made carrot cake.

Brewmeister Maria was good enough to suggest route through Castleton Moor and over the tops to Saltburn.

It was too hot a day for a detour to Fryup.

The curious name Fryup probably derives from the Old English reconstruction Frige-hop: Frige was an Anglo-Saxon goddess equated with the Old Norse Frigg; hop denoted a small valley.

An old woman at Fryup was well known locally for keeping the Mark’s e’en watch – 24 April, as she lived alongside a corpse road known as Old Hell Road.

The practice involved a village seer holding vigil between 11pm and 1am to watch for the wraiths of those who would die in the following 12 months.

Castleton Moor ghost.

In the village I was given further directions by two elderly gents, who had been engaged in a discussion concerning their long term mapping of acid rain levels in the area.

One was wearing a Marshall Jefferson t-shirt.

I climbed Langburn Bank onto the flatish open moorland.

Taking a brief break to snap this concrete shelter.

There then followed a hair stirring series of hairpin descents to the coast at Saltburn.

Followed by an off road route to Redcar.

Our Lady of Lourdes – Architect: Kitching & Archibald 1928

Built in 1928, this church was designed with some care and is an attractive, if fairly modest, Lombard Romanesque-style essay in brick. The use of a semi-circular apse, narrow brickwork and use of tile for decorative effect give it a pleasing appearance, typical of restrained but elegant work between the wars.

I arrived and took a look around, first time in town, here’s what I found.

Another long day – I went to sleep.

Hull to Scarborough

Heading out of Hull one sunny Sunday morning along Sustrans Route 65.

The first leg of my journey northwards to Berwick, many thanks to all those kind souls who filled my water bottle, directed, redirected and misdirected me along my merry way.

I suddenly found myself on Sustrans Route 66 – nominally lost.

Good fortune however had pointed me in the direction of this functional yet charming brick built church, on the edge of a huge roundabout – St Mary Queen of Martyrs RC in Bransholme.

The new St Mary Queen of Martyrs church was built at Bransholme in 1976-7 and the old St Mary’s church closed and demolished in 1982.

Architect for the new church was JT Reid of The Reid Partnership – Pontefract.

The entrance graced by these textured fascias.

Following a series of brief engagements with various local benefactors, I regained my intended route and joined the Hornsea Rail Trail – the bed of the former branch line.

The line was officially opened on 28 March 1864, the last passenger train ran on 19 October 1964.

Goods traffic continued to use the line as far as Hornsea Bridge until 3 May 1965.

The place-name Swine is first attested in the Domesday Book of 1086, where it appears as Swine.

It appears as Suine in a charter of circa 1150, the name perhaps derives from the Old English swin meaning creek.

Wikipedia

Eventually arriving in Hornsea – on this occasion having little or no need of Do it Yourself, Ironmongery or Glass requisites.

And being Sunday, it was shut.

I tarried a while on the well appointed seafront.

Gliding along leafy, green hedge-lined lanes.

Following a dead end lane to the place of dead roads.

Skipsea – home to Crossways Fish & Chips

Here you will be offered perfectly cooked fish.

Retracing and crossing the Yorkshire Wolds.

Zigging and zagging here and there, in search of a route, any route, I came upon Okanagan – a delightful asymmetric Prairie Style modern home.

Filey Road, Gristhorpe, Filey, Scarborough, North Yorkshire – currently valued at £562,000.

The interior decorative order currently out of synch with the post war exterior.

Hurrying along to reach town by tea time – I descended deftly into Scarborough.

Where I hooked up with local lad Ben Vickers for a pint in the North Riding Hotel.

The rest is, as they say – a mystery.

Deal To Margate

We awoke, we dawdled around Deal, prior to our delightful breakfast.

Though the pier appeared to be closed.

Extending elegantly over a still, still sea.

The present pier, designed by Sir W. Halcrow & Partners, was opened on 19 November 1957 by the Duke of Edinburgh. Constructed predominantly from concrete-clad steel, it is 1,026 ft in length – a notice announces that it is the same length as the RMS Titanic, but that ship was just 882 feet, and ends in a three-tiered pier-head, featuring a cafe, bar, lounge, and fishing decks.

The lowest of the three tiers is underwater at all but the lowest part of the tidal range, and has become disused.

Wikipedia

Deal is home to some of the most extraordinary concrete shelters.

Home to some understated Seaside Moderne homes too.

Well fed, we set out along the private road that edges the golf course, encountering some informal agricultural architecture.

We took time to explore Pegwell Bay Hoverport – currently trading as a Country Park.

Pausing in Ramsgate to admire Edward Welby Pugin’s Grade II Listed – Granville Hotel.

The Granville development, so named after George Leverson Gower, second Earl Granville (1815-1891), was a venture undertaken by Edward Welby Pugin, together with investors Robert Sankey, George Burgess and John Barnet Hodgson on land acquired from the Mount Albion Estate in 1867. The scheme was to be an important new building in the eastward expansion of the town and the emergence of a fashionable new suburb. At the outset, the intention was to build a relatively restrained speculative terrace of large townhouses with some additional facilities. However, as the scheme progressed and it became apparent that buyers could not be secured, revised plans for an enlarged hotel complex were adopted in 1868 and brought to completion in 1869. These plans, which added a series of grand rooms including a banqueting hall, receptions rooms and an entrance hall in addition to a tunnel to connect to the railway line on the seafront, gardens, a complex of Turkish baths and a vast landmark tower (originally 170ft high, although truncated at a relatively early date), were remarkably ambitious. Ultimately, as it would transpire, the scheme was rather too ambitious on Pugin’s part; with his increasing reliance on loans eventually culminating in bankruptcy in October 1872, an event which precipitated his demise as an architect, tragically followed by his death just three years later.

Historic England

Overlooking the sea, the ornamental gardens were laid out and presented to the Borough of Ramsgate by Dame Janet Stancomb-Wills in 1920 and opened to the public in June 1923 by the Mayor of Ramsgate Alderman A. W. Larkin. They are maintained by Thanet District Council and were Grade II listed on 4 February 1988. 

The gardens were designed by the architects Sir John Burnet & Partners, and constructed by Pulham and Son. The main feature of the gardens, is a semi-circular shaped colonnade carved into the pulhamite recess.

On the upper terrace, approached by broad flights of steps, the gardens proper are reached. In the centre, and immediately over the shelter, is a circular pool enclosed on the north side by a semi-circular Roman seat.

Wikipedia

Broadstairs was alive with Bank Holiday activity.

On leaving the town we encounter this engaging flint church – Holy Trinity

Erected 1829-1830. David Barnes Architect, extended 1925.

Built of flint and rubble.

One of the first visitors to this church was Charles Dickens who offered a very unflattering description in his work, Our English Watering Place:

We have a church, by the bye, of course – a hideous temple of flint, like a petrified haystack.  Our chief clerical dignitary, who, to his honour, has done much for education, and has established excellent schools, is a sound, healthy gentleman, who has got into little local difficulties with the neighbouring farms, but has the pestilent trick of being right.

In Margate the tidal pools are full of waveless sea water and kiddy fun.

The former crazy golf course is undergoing an ongoing programme of involuntary rewilding.

The Turner Contemporary was hosting an impromptu al fresco sculpture show.

Dreamland was still dreaming.

And Arlington House staring steadfastly out to sea.

Time now for tea and a welcome plate of chish and fips at the Beano Cafe.

I miss my haddock and chips from Beano in Margate, brought to you with a smile and he remembers everyone.

Great customer service and friendly staff, see you soon.

The food is awful and the customer service is even worse: when we complained about the food the staff argued with us and wouldn’t do anything to change the food or refund, avoid at all costs!

Trip Advisor

Time for a wander around Cliftonville.

Discovering a shiny new launderette.

And a launderette that wasn’t a launderette – it’s a Werkhaus that isn’t a workhouse.

And a patriotic tea rooms.

So farewell then the south coast – we’re off home on the train in the morning.

But first a pint or two.

Hull Walk 2021

Turn right out of the station toward the Cecil Cinema.

The Theatre De-Luxe was built in 1911 at the corner of Anlaby Road and Ferensway with its entrance in Anlaby Road and its auditorium along the side of the pavement in Ferensway. Kinematograph Year Book of 1914 lists 600 seats and the owners as National Electric Picture Theatres Ltd.

In 1925, the theatre was rebuilt to a radically altered ground-plan and renamed the Cecil Theatre. 

The Cecil Theatre’s demise came during bombing on the night of 7/8 May 1941 when German incendiary bombs reduced the building to a shell; and it remained like that until demolition in 1953.

Work on the new Cecil Theatre was begun in April 1955 and it was opened on 28th November 1955 with 1,374 seats in the stalls and 678 in the balcony.

Architects: Gelder and Kitchca

At the time of opening it had the largest CinemaScope screen in the country measuring 57 feet wide, and the first film shown was Marilyn Monroe The Seven Year Itch.

In the 1980’s it was taken over by the Cannon Cinemas chain. The cinema operation was closed on 23rd March 1992 and the cinemas were ‘For Sale and/or Lease. It was taken over by Take Two Cinemas and renamed Take Two Cinema. It was closed on 27th February 1997 and the two screens in the former circle were stripped out and converted into a snooker club.

Whilst bingo continues in the former stalls area of this post war 
cinema, the former mini cinemas in the circle still contain the snooker tables, but the space is unused. The screen in the former restaurant/cafe area remains basically intact, but is unused.

Cinema Treasures

Whilst circumnavigating the Cecil one can’t help but notice the KCOM HQ – and its distinctive white telephone kiosks.

The work of City Architect A Rankine OBE RIBA

When Hull City Council founded KCOM back in 1904, as Hull Telephone Department, it was one of several local authorities across the country granted a licence to run its own phone network.

1952 Call Father Christmas service was introduced.

Having heard of a recorded message service in Scandinavia, Hull Councillor J M Stamper suggested the idea of putting Father Christmas on the telephone. The Call Father Christmas service was introduced shortly afterwards, the first of its kind in the UK. By dialling a Hull Central number children could hear recordings of a Christmas story and carol singing. 

The success of the Father Christmas service led to the creation of other recorded information lines, such as Bedtime Stories, Teledisc and Telechef. 

This recipe line was introduced in 1950s and was still going strong until the 1990’s, with 50s recipes such as meat loaf and corned beef with cabbages being replaced by dishes such as Italian Chicken Bake.

Returning to Ferensway we are confronted by the Danish Seaman’s Church.

Sea trade created a large Danish community which Hull’s very own Amy Johnson was descended from. Her grandfather was Anders Jorgensen, who anglicised his name to the more pronounceable Andrew Johnson. A Danish pastor was appointed and an old chapel in Osborne Street was purchased in 1841.

It was on May 9, 1954, that the present church, with its now familiar separate bell tower, was consecrated by the Bishop of Copenhagen.

Around the corner we find Porter Street Housing.

Hull was the most severely damaged British city or town during the Second World War, with 95 percent of houses damaged. It was under air raid alert for one thousand hours. Hull was the target of the first daylight raid of the war and the last piloted air raid on Britain.

Of a population of approximately three hundred and twenty thousand at the beginning of the war, approximately one hundred and fifty two thousand were made homeless as a result of bomb destruction or damage. 

Overall almost one thousand two hundred people were killed and three thousand injured by air raids.

Despite the damage the port continued to function throughout the war.

The earliest housing was built just after World War II, starting with what is known locally as Australia Houses

A circular five storey housing block off Porter and Adelaide Streets, with a communal garden in the middle. These flats consist of deck access flats and some traditional style Art Deco tenements. Some are three bedroom, and have been refurbished over the years.

UK Housing

Porter Street – three six-storey blocks containing seventy dwellings of 1954

Contractor J Mather

New Michael Street and Melville Street aka Upper Union Street one hundred and eight dwellings in three nine-storey blocks of 1958

Contractor Truscon

The designer behind Hull’s tower blocks was Andrew Rankine RIBA, who from 1939 remained City Architect until his retirement in 1961.

Just around the corner:

Over the last three years both companies have worked on undertaking the complex development of an off-site constructed, low carbon, Code 5 housing product. Working with Hodson Architects on the design the project will provide 3-bed family houses on the Thornton Estate in Hull. The scheme will increase provision of suitably sized accommodation in the area for families.

The project will see Premier Interlink manufacture the steel framed modules at the factory in Brandesburton East Yorkshire starting this March. The five houses are to be prefabricated off-site, with each house comprising of four separate units which are then assembled on site. This offers the benefit of reducing construction time, improving efficiency, reducing material wastage and offering an improved thermal envelope.

Premier Modular

The Goodwin Trust, a brilliant and pioneering community group, decided the new version of pre-fab, or ‘modular’ housing, was exactly what was needed to provide affordable housing for the people it also cares for in so many other different ways.

Locality

Onward to Holy Apostles Church now home to Hull Truck and renamed Thornton Village Hall.

Architects: Ferrey and Mennim

Back toward the station and Hammonds of Hull/House of Fraser – soon to be a food court, artisan everything outlet.

Built in 1952 on Paragon Square to designs by T. P. Bennett, with extensions added in 1954 and 1957. Within a couple of years the business had grown again by opening its own hairdressing salon, and in 1960 added a new warehouse to accommodate their furniture workshops and stock rooms. This itself was extended within four years, while a fourth floor was added to the main store.

On the right a civic building Festival House of 1951.

Architect: John Brandon-Jones.

Apprenticed to Lutyens‘ assistant Oswald Milne and later working with Charles Cowles-Voysey

With his good friend, John Betjeman, he helped found the Victorian Society in 1958.

On 1st May 1951, the foundation stone of Festival House was laid, to commemorate the first permanent building to be built in the city centre since the 1941 Blitz. Placed under the stone was a time capsule containing coins, stamps, a Festival of Britain programme, a copy of that day’s Hull Daily Mail, and a booklet about the city. Festival House was owned by Hull Corporation on behalf of the people of Hull.

Before us Alan Boyson’s Three Ships – now listed and set for preservation.

The fate of the attached former CO-OP/BHS is less secure.

Architect: Philip Andrew

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

We encounter Tonkin 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.

And behind we glimpse Frederick Gibberd’s fine Tech