Church of St Mark – Chadderton

Life is full of little surprises, to turn from Middleton Road into Milne Street in downtown Chadderton and discover a triangular, blue-grey brick tower soaring into the September sky.

So solid geometries pierced by rectangular, triangular and angular gridded windows, deservedly Grade II Listed in 1998, made all the more extraordinary by its seemingly ordinary surroundings.

The interior mixes tradition with modernity, reusing pews and fragments of stained glass. Restrained natural lighting, complemented by slatted wooden, almost oriental boxed light shades. The furniture, fixtures and fittings bringing together a coherent decorative order.

The whole an uplifting and embracing space, punctuated by the curved y-shaped wooden supports, rising to the timber framed roof structure.

It was a pleasure to meet the current incumbent Father Stephen and a privilege to spend some time exploring this altogether delightful and impressive church.

Thank you.

I suggest that you do the same.

Contact details and location.

G.G. Pace 1960-63 – Blue engineering brick; graduated slate to pitched roofs – low pitched to church and entrance and steeply pitched to tower. Concrete dressings around windows. Five sided aisled space, three walls being orthoganal and the liturgical north side being canted outwards to provide room for the choir. Entrance with narthex to west and west also is a small rectangular chapel. Corner site, the corner itself dominated by a low rectangular brick tower with a high gabled roof. Four bay nave, the bays separated by buttresses and with rectangular windows set in varying groups high in the wall. West wall of nave is visible, and secondary glazing has been sensitively installed over the west window between the western buttresses. Thick exposed board-marked concrete beam at eaves. On return elevation, tower is flush with small chapel, with irregular groups of rectangular windows to both. Rectangular leaded lights. Recessed entrance with two doors of timber and leaded-glazing in vertical strips. Liturgical north and south faces of the tower each has a stack of 14 small pointed louvres. Jutting gutter spouts in exposed board-marked concrete.

Internally the bays are divided by three pairs of varnished laminated timber `y’ shaped supports and trusses, supporting timber trussed purlins (with prominent bolts) and timber rafters. Walls are white-painted brick with exposed board-marked concrete bands, which act as bonding strips between brick piers and as lintels for windows. Original altar of limed timber with four pairs of legs, is in original position, set forward from the east wall. Sanctuary raised by two steps. Limed timber pulpit, also chunky and so is altar rail with thick black metal supports and thick limed timber handrail. Priest’s chair to match, against east wall. Black metal crucifix also in characteristic Pace manner. Stone sedilia built into the north and south walls of the sanctuary. East window with stained glass which comprises broken and reset fragments of nineteenth-century glass. Font sited in central aisle towards the west end; this is of tooled cream stone, the bowl comprising a monolithic cylinder, flanked by a smaller cylinder which rises higher and has a prominent spout. Elaborate font cover in roughly textured cast aluminium, rising to flame-like pinnacles. Reused nineteenth-century benches, painted semi-matt black. Narthex and west chapel with limed timber doors, which have decorative nail-heads in rows. West chapel has open truss timber roof, painted white. Sanctuary light and cross are characteristic of Pace’s style.

A fine example of Pace’s idiosyncratic manner, this church shows the influence of the Liturgical Movement, especially in the forward placement of the altar.

British Listed Buildings

A fine companion to Pace’s William Temple Church in Wythenshawe.

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Lady Chapel

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Lillington Gardens Estate – Pimlico

Formerly an area of high density terraced housing.

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Lillington Gardens is an estate in the Pimlico area of the City of Westminster, London, constructed in phases between 1961 and 1980 to a plan by Darbourne & Darke. The estate is now owned and managed by City West Homes.

The estate was among the last of the high-density public housing schemes built in London during the postwar period, and is referred to as one of the most distinguished. Notably, seven years before the Ronan Point disaster ended the dominance of the tower block, Lillington Gardens looked ahead to a new standard that achieved high housing density within a medium rather than high-rise structure. It emphasised individuality in the grouping of dwellings, and provided for private gardens at ground and roof levels.

The estate’s high build quality, and particularly the planted gardens of its wide roof street, blend sympathetically with the surrounding Victorian terraces.

The estate’s high quality design was acknowledged by a Housing Design Award 1961, Ministry of Housing and Local Government Award for Good Design 1970, RIBA Award 1970 and RIBA Commendation 1973. Nikolaus Pevsner described it in 1973 as “the most interesting recent housing scheme in London”.

The site surrounds the Grade I listed Church of St James the Less, built in 1859–61. The entire estate, including the church, was designated a conservation area in 1990.

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Lillington and Longmoore Gardens Conservation Area Audit

On the day of my visit, London in the grip of a July heatwave, the open areas, narrow alleys, byways, steps, stairs and roof gardens and play area were largely empty, citizens preferring the cooler interior environment of their homes.

The materials, warm brown brick and sheet-metal cladding, form complex interlocking shapes and volumes, creating a variety of heights and spaces. This makes exploration and navigation of the estate quite an adventure, disorienting at first, until one grasps an overall sense of the development’s structure.

Lillington Gardens provides homes, community, green space and an exciting range of vistas, a prime example of social housing on a human scale. Leafy glades, light and shade, grassy knolls abound.

Municipal Dreams for further reading.

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Trinity United Reform Church – Sheffield

737a Ecclesall Road  Sheffield S11 8TG.

The church building, designed by John Mark Mansell Jenkinson, the second generation of a Sheffield firm of architects, was opened in 1971. A steel cross, fixed to the facade in 1989, is a memorial to their work here and in the city. 

The church, which stands at the side of a main road, has a grey concrete exterior, once white, which rises like a cliff, echoing the natural cliff face of the rocks behind. Three carved roundels in the lowest quarter of the facade soften the exterior as does a brown brick tower which guards the entrance steps and houses a lift which was added in 2004.

The steps lead into a narthex where two plaques outline the history of the three Congregational Churches which came together to instigate the building of this church. The doors to the left, which lead into the worship area, suggest the influence of Charles Rennie Mackintosh and Frank Lloyd Wright upon John Jenkinson.

The hexagonal church interior, which is well lit from the sides and the roof, is clad in golden brown stone. There is an air of Puritan simplicity. The tiered seating looks towards the raised sanctuary area which has a stone pulpit, lectern, communion table, and chairs; the font was carved by James Stone. There are stained glass windows, a banner, and a gold cross, designed by David Mellor, above the pulpit. At noon on sunny days the light strikes the top of the cross and brings the building to life. The organ console which is at the side of the churchcame from Zion Congregational Church at Attercliffe. It was originally built for Weetwood, the home of Sir William Ellis, a Sheffield Industrialist.

The banner is one of four fabric collages depicting the seasons, designed by Elaine Beckingham and made by the children of Junior Church. The other three are also displayed in the church

The church area leads into what survives of Endcliffe Park Congregational Church, notably a large hall with an organ to match which, along with the benches which served as pews, are reminders of its former days. It has a gallery divided by moveable partitions to facilitate use as classrooms.

National Churches Trust

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All Saints & Martyrs – Langley

 

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All Saints & Martyrs Rectory, Wood St, Middleton, Manchester M24 5GL

We had the pleasure to visit All Saints & Martyrs on Saturday 7th July 2018 as part of an Art and Christianity – Manchester Modernists Society bus tour.

We could not have been made more welcome by The Reverend Canon Philip Miller – Vicar of Langley and his team, many thanks for their warm hospitality.

Set on the Langley Estate, one of many developed by Manchester Council as overspill social housing, the church serves a large community to the north of the city.

The architect was Albert Walker of Leach Rhodes Walker – this was the first church that they had built, having previously specialised in shopping precincts.

Leach, Rhodes and Walker had involved Geoffrey Clarke RA with their earlier new church building for All Saints, Barton Road, Stretford. (1957) here his contribution was chiefly a large stained glass window depicting the Trinity. LRW continued to collaborate with Clarke in their church projects, in the years following at Langley. In a letter to the church at the time he wrote: “Start saving now for a new West End Window – only £10 p.s.f – for the greatest window in the North…. I have just done some windows I’m rather pleased with..”

The church is an imposing angular structure, its height possibly determined by the treasure within – The Langley Cross.

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Consecrated in 1964, All Saints and Martyrs is home to the Langley Cross. This unique structure, which adorns our east wall, is the work of internationally renowned artist, Geoffrey Clarke RA, who has won reputation by his contributions to Coventry Cathedral.

The sculpture itself is 37 feet high and about 20 feet wide at the extremities of the transverse shaft and made of cast aluminium metal.

This is work of national and international significance.

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The church is lit from the west by a large yellow and white window, formed of French stained glass. Though seriously damaged over time, it has subsequently been repaired and forms an imposing counterpoint to the facing cross.

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To the right of the main entrance is a delightful chapel, illuminated by a large stained glass window.

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And in addition a charming period light fitting.

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To the right of the altar and cross are pierced stained glass windows.

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And to the left the sculptural organ pipes and further pierced stained glass.

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The church has retained much of its original furnishings.

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The roof is formed of intersecting concrete beams and coloured blocks.

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The adjoining ground floor space was once used for an overflowing congregation, it has retrospectively been partitioned and serves as a social meeting area.

It was here that we were so generously treated to tea and cakes.

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And given the opportunity to view examples from the church’s extensive archive.

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The building is not without its problems – the ingress of water and the cost of maintaining the structure require outside assistance, through grant aiding, fund raising and donation. We should all make every effort to ensure that All Saints and Martyrs survives intact for generations to come.

Here is a building of great distinction, housing public art of the highest quality, built at a time when the ethos of nothing but the best for all was commonplace.

I can only thank Phil once again for his warm welcome and wish he and his parishioners – nothing but the best for the future!

If you have the opportunity, go and take a look for yourself.

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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. 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.

historicengland.org.uk

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Holy Rosary – Fitton Hill

The first mission in the Fitton Hill, a post-war housing estate, was due to the work of Fr Buckley, an assistant priest at St Patrick’s Oldham. He arranged for the purchase of land in the Fitton Hill area in 1940, before the new housing was built. Once the estate had begun to be developed, Fr Buckley said Mass in an upper room in Maple Mill. The foundation stone of Holy Rosary was laid by Bishop Marshall on 2 October 1954 and the church was officially opened by Mgr Cunningham in July 1955.  The presbytery was built in about 1970. The first campanile blew down and had to be rebuilt.  In 2009, the parishes of Holy Family and Holy Rosary were merged.

Taking Stock told me so and will tell you even more.

Architect: W and JB Ellis who were also responsible for Our Lady of The Assumption in Langley.

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I first passed by one sunny day in April 2016 – happily snapping the exterior of this ever so pleasingly prosaic Italianate brick building.

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Following a cue from pal Tim Rushton, I was alerted to the significant decorative work within.

The mosaic and fresco work of Georg Mayer-Marton – born in Hungary 1897, died in Liverpool 1960 was one of Britain’s very few experts in the art of face or facetted mosaic.

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Sadly the fresco is no longer visible – painted over with emulsion when thought to be too tatty – a tiny fragment has been revealed by conservators.

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There is currently a campaign to restore and preserve these important works.

The church is now closed, but we were ever so fortunate to have Bernard Madden on hand to open up and show us around, a warm welcoming space once full to overflowing.

Now sadly silent.

We all deserve better.

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St Marks Broomhill – Sheffield

The church was originally built in 1868–1871 to a standard neo-Gothic design by William Henry Crossland. This building was destroyed by an incendiary bomb during the “Sheffield Blitz” of 12 December 1940, only the spire and a porch survived (they are now Grade II listed structures). The remnants of the bombed church were used as the basis for a new church designed by George Pace and constructed 1958–1963. This new building is of a Modernist design but is also sympathetic to the Gothic spire and porch. It is a rubble-faced concrete building with striking slit windows of varying numbers and locations around the building. There are also two notable stained glass windows: the Te Deum window by Harry Stammers and the west window by John Piper and Patrick Reyntiens.

Wikipedia told me so.

Welcome to St Mark’s – an open, welcoming church for people from all walks of life who wish to learn more about Jesus and Christian faith and seek the freedom to ask the big questions. We have strong engagement with Christian communities and other faith traditions. People come from all over the country to participate in our Centre for Radical Christianity, where a lively climate of debate and learning can be found.
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Their website told me so.
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This a remarkable building staffed by remarkably welcoming people, it’s exterior betraying little of the wonders within. Divine stained glass, brut concrete structures, pale limed wood, sculptural forms – full of light and warmth.
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