The building was cladded with a COR-TEN® steel envelope, the nature of which was relatively complex.
Corten steel sets itself apart due to the inclusion of unique alloying elements: chromium, nickel, copper and added phosphorous which gives the steel its self-protecting properties.
Platform 14 is primitive, I understand totally from an infrastructure standpoint because it’s on a bypass line on a bridge, but it gets too overcrowded and is windswept. The rest of the station is ok. Platforms 13/14 have not changed in 40 years, grim.
We the pass to the former BT Building – architects JW Hammond 1973.
Originally conceived as a hotel, there were no takers at the time, so it became the BT HQ.
Comprising 338 rooms, Manchester Marriott Hotel Piccadilly is near a shopping district, a 10-minute ride from Etihad Stadium. Offering a location right in the centre of a beautiful neighbourhood, this comfortable hotel boasts a lounge bar along with city views.
The developer’s architects now propose to ‘reimagine’ the artwork and incorporate it into the foyer of the new office building. However, this ‘reimagining’ requires large sections of the artwork to be removed by cutting away and ‘folding’ around 30% of the sculpture.
From beneath the roadway we can see the Ferranti Building.
Crossing over to see the Brunswick Estate, built in the Sixties and Seventies and recently refurbished.
S4B is a partnership leading the £106m regeneration of Brunswick, Manchester. The Brunswick Regeneration PFI is a combination of government funding, private investment and expertise that will revitalise Brunswick. Improvements will include council home refurbishments, new homes for sale and to rent and an improved neighbourhood design.
Long gone lost estate pub from the estate – King William IV a former Chesters then Whitbread estate pub was built in 1967. Closed in 1996 when it was converted to residential property. It had a brief spell 1991 to 1995 as brewery premises for the Dobbin’s West Coast Brewery, during this period the interior was stripped out to accommodate the brewery paraphernalia.
We take a jog around the block to see the concrete relief that clads the road ramp.
Where there was once a giant Cooperative Store there is now a light industrial and retail estate.
The Diocese of Manchester has been working in partnership with the Church Revitalisation Trust to open Fabric Church and refurbish the building, following a successful bid to the Church of England’s Strategic Mission and Ministry Investment Board.
We’re excited to be working alongside Fabric Church on the transformation of the Grade II listed former Ardwick Barracks in Manchester. This ambitious refurbishment project will see the historic site reimagined as a vibrant community hub, featuring a new worship hall, community café, offices, meeting spaces, and more.
Alongside Ardwick Green Park there are new housing developments nearing completion.
Ardwick Green combines contemporary design with great light infused spaces, offering stylish homes with a modern twist, private parking, outdoor spaces and a welcoming community atmosphere an urban retreat that truly feels like home.
With the city just moments away, living at Ardwick Green will give homeowners easy access to Manchester City Centre and beyond with its vibrant social scene, bustling business landscape and extensive transport network on your doorstep.
Without which much of what we understand as the modern age would possibly not now exist.
It appears to be green slate from the Lake District, the native underlying rock in this part of Manchester is a red sandstone.
Postcard of 1906
The Apollo of course prevails. – seen here in 1958
Architects: Peter Cummings Alex M Irvine
Opened on 29th August 1938 the interior decorations were carried out by noted interior designers Mollo & Egan with the Holophane lighting designed by R Gillespie Williams.
This Sixties municipal building remains a mystery.
Actor Harry H Corbett visiting his childhood area in 1969, he lived on Earl Street and later in Wythenshawe.
I began walking when quite young, then like Felix, I kept on walking, walking still.
The photograph was taking during the Whit Walks in 1958 – aged three, I was engaged in religious pilgrimage, as we know there are many reasons for walking, this is but one.
I was fortunate to grow up at a time when youngsters were permitted to roam freely, less traffic, less anxiety, gave me access to a wider axis of exploration.
The photograph would have been taken I assume, by my mam, on the Brownie 127. When aged nine I wandered alone through the local woods and exposed twelve frames of 44mm 127 film, the prints are long gone, yet I remember each of the photographs and locations clearly.
I went to school, then I didn’t, then I went to Art School, eventually becoming a teenage Constructivist, tutored by Jeffrey Steele, a leading light in the British Systems movement.
The rigidity of the grid, symmetry and orthogonal framing have stayed with me.
Then I went to work for a very long time indeed, then all of a sudden I didn’t. Taking early retirement aged 59 some ten years ago, subsequently taking to the roads, streets and hills of Britain in search of nothing in particular.
In recent years there has been a rapid development in the culture of walking, theories, films, guides, songs and literature. I am fully cognisant of such, yet believe at heart that walking can be free of such baggage, we can stride unhindered, atavistic and carefree/less.
Walk tall, walk straight and look the world right in the eye.
Getting lost is about the unfamiliar appearing.
In my own small way, I have become part of that baggage, having been asked to lead a walk around Stockport by the the modernist neé Manchester Modernist Society.
The photograph depicts Alan Boyson’s concrete screen wall, attached to the former Cooperative super store designed by Philip Andrew. The two worked to gather on the Hull Cooperative store, which is adorned by Alan’s huge Three Ships mosaic.
Philip was a childhood friend of Alan Boyson and it was Alan’s father, manager of the Marple Co-operative Society, that recommended Philip for an apprenticeship job in 1951 to the chief architect at the CWS in Manchester HQ.
In preparation for the tour, I visited the town’s Local Heritage Library and read extensively from serendipitous charity shop finds.
The two hour route was designed around an economy of distance and elevation, allowing time for others to take in, what may be for them unfamiliar surroundings. A group of around twenty or so folk became sociable and engaged, with a suitably concise and apposite contribution from myself. There are those who busied themselves taking snaps along the way, chatting amiably or simply gazing in amazement.
The service building above the former Debenham’s store.
Famed as an imaginary TV police station, this civic building is a civic building I simply can’t resist. I return on a regular basis to wander and snap. This is an open public space that seems little loved and has few visitors.
From then onwards I have been taking folks on Modernist Mooches on a regular basis, two or so a month, during the less inclement times of year.
At about the same time I was asked to exhibit my photographs in Stockport, I chose to mooch about at night. Walking around an almost deserted town, avoiding the glare of streetlights, there is a mild frisson to be about when nobody else is about. The air feels different, exposures are longer, the almost waking world feels arrested, by the low available light.
My local shopping centre and as such part of my weekly walking and shopping life.
NCP Car Park located on Stockport Station approach.
Regent House
Asda superstore
I found a copy of Charlie Meecham’s book Oldham Road in a charity shop.
Inspiring me in 2014, to walk in mostly straight lines, though often as not zig zagging along the main arterial roads of Manchester.
Taking pictures on Sunday mornings, in order to avoid traffic, mildly amused to be ignoring the primary function of the routes.
This is one of the more familiar roads, having walked up and down several times over several years. It was to have been an extension of the Mancunian Way, forming a trans-pennine motorway. Much of the property lining the route was cleared in preparation, it was never built, and for years a strange semi-deserted ambience hung over the A57.
Bus Depot
Railway Bridge
The car showrooms which later became an African Evangalist church.
Having cleared away both Victorian and Sixties housing, new architectural forms arose in West Gorton.
Now, everywhere I go, I see launderettes – so arriving in Hanley with time on my hands, wandering around I found this exemplary example.
Having a blog entitled Manchester Estate Pubs, the national media became interested in my photographs. I had spent quite some time, wandering around in search of this endangered architectural typology.
This was Billy Greens in Collyhurst, named for a local boxer, now demolished.
Which in turn became the second modernist calendar.
Followed the following year by fish and chip shops.
So building a vocabulary for my mooching, discovering yet another chippy, laundry, pub, Burton’s, telephone exchange, glazed stairway or underpass.
These things find you, yearning for some small amount of attention and affection.
The Trawl – my favourite peg board menu, my favourite Bridlington chippy.
We are now coming to the end of the car park year – seen here on the wall of my command centre.
Home to William Mitchell’s Totem, the homes long gone and the Council pledged to move the totem too.
The state of play this week, the detritus removed and the base filled in, repaved and safe for a while.
Off now to the Weaver Valley another day another river, passing under Weaver Viaduct
The looking toward KouraGlobal – leader in the development, manufacture, and supply of fluoro products and technologies, opened a new HFA 152a production facility at their Runcorn site in the UK.
Further rural Modernism as we pass under and traverse the M62, whilst walking around the Piethorn Valley
The newest of the Modernist Mooches was to Burnley where we visited the Keirby Hotel.
The former GUS Offices with a mural by Diane and William Morris.
Plus the Charles Anderson concrete relief at the Crow Wood Hotel.
Finally a little light relief – a visit to the Boots factory in Nottingham.
Having innocently board a bus outside the station with a Boots head code , I alighted within the factory gates. Then innocently walking around taking snaps, unheeded until the men in the van stopped me in my tracks.
Who are you, what are you doing?
I am the Modern Moocher going about my business – well it turns out this was not permitted and I was red carded by the earnest security guards and asked to leave forthwith. Suitably rebuked, I politely bade them farewell and headed for the gates.
Arriving at and looking around the Interchange – 1980 architects: Essex Goodman & Suggitt
It is the northern terminus of the Manchester Metrolink’s Bury Line, which prior to 1992 was a heavy-rail line.
A new short spur line was constructed to connect the new station. The railway had originally run into Bury Bolton Street which was further away from the town centre, and was closed by British Rail on the same day that Bury Interchange opened.
It also incorporates a bus station.
Bury Interchange replaced the bus termini scattered around Bury town centre, notably around Kay Gardens.
An £80m transformation is coming to the Bury Interchange, which will see step-free access at the Metrolink, a “vertical circulation core” to better connect the Metrolink with the bus facility, and an integrated travel hub with spaces for cycle storage.
The work is much-needed, explained Transport for Greater Manchester’s Alan Lowe, he said that the interchange was built in the 1980s and very much is of its time.
The Art Picture Palace was a 1923 rebuild of the earlier Art Picture Hall both designed by architect Albert Winstanley. The Art Picture Palace was opened on 26th January 1923. A remarkably complete survivor of a 1920’s cine-variety house executed in an elaborate style.
Films ceased in February 1965 and it became a bingo club. Later converted into a billiard hall until 19th May 1991 when it became a bingo club again, it later became a Chicago Rock Cafe.
Cinema Treasures
Next door a typical steel glass and brick banded office block Maple House.
Around the corner and over the road to the Town Hall 1939-40 architects: Reginald Edmonds of Jackson & Edmonds then 1947-54.
Large and Dull – Niklaus Pevsner.
Back through the Interchange to the former Cooperative Store of the 1930’s.
The Portland Stone towers still visible – the elevation largely retro-clad in glass.
Passing through the Millgate Shopping Centre of the 1980’s.
Unambitious but successful, the floors cheerfully tiled – Niklaus Pevsner.
Down in the subway at midday.
The better to get a view of the Market Hall 1971 – architects: Harry S Fairhurst.
The Indoor Market Hall is currently closed due to the discovery of Reinforced Autoclaved Aerated Concrete – within the building structure. RAAC is a lightweight type of building material that was used between the 1950s and 1990s.
Back under the road – where we find a delightful Telephone Exchange.
The Rock is a vibrant retail and leisure centre which is home to a range of high street fashion brands, independent retailers, tantalising eateries and fantastic entertainment – it’s the perfect place to visit any day of the week.
It is the work of architects BDP – completed in 2010 at a cost of £350 million.
Our masterplan for The Rock took into account the historical street pattern and public realm context to give the scheme its own identity, and make visual connections to local landmarks.
The retail and leisure scheme brings many exciting brands to Bury for the first time.
New pedestrian streets rejuvenate and improve connections to adjacent areas stitching the town back together.
The development will also contain 408 one and two-bedroom apartments.
Back to basics at a former Burton’s hiding its faience facade.
Typical inter-war infill on our crazy mixed up mongrel high streets.
Ribblesdale House
Application by Shop and Store Developments Ltd submitted August 1965. Architect on application was Samuel Jackson and Son of Ocean Chambers in Bradford but during the application process this changed to John Brunton & Partners – Brunton was a partner in Jackson’s firm, at the same address. It had a restaurant and shops on the first floor.
The street level buildings were destroyed by fire on 14 May 1947 and were replaced with a new brick and concrete entrance and footbridge in 1952.
British Rail closed the station on 17 March 1980, when it was replaced by a new bus/rail interchange station further east into the town centre. Bury Interchange railway station served up until 1991 before the entire Bury Line was converted to light rail operation. It reopened in 1992 for Metrolink operation.
Bury was once the centre of multiple train links and the lost station of Knowsley Street.
Over the road the former Temperance Billiard Hall 1910 architect Norman Evans.
Planning application January 1965 – work started in June 1965. The architectural firm was Richard Byrom, Hill and partners. Richard Byrom was submitting building applications in the 1930s in Bury and locally.
The rendering on the building is original but the windows have been changed. The Job Centre took over the building in 1993. It is in a conservation area and the Civic Trust had some concerns!
Many thanks to David French for the above information.
Arriving by train and ascending into the light – here’s the station lights.
The railway station has sharpened up its apron and facade.
We have transformed the station forecourt. It has become a quality gateway which delivers a great first impression for visitors arriving in Doncaster by train. This will help stimulate interest from investors and developers, helping to attract new investment and create jobs for the borough and wider region.
Celebrating engineering, speed and connectivity and stretching forty metres in length the public art at Doncaster Station consists of forty seven monoliths which are a nod to Doncaster’s past, present and future. With a fountain and three impressive water walls, the art takes centre stage in the new public space as you step out of the train station and head into the town centre.
The concept was devised by Doncaster Council and further developed by Chris Brammall.
Typically the high and low streets of Britain’s industrial towns and cities, are an amalgam of architectural style and fashion, spanning at least two or three centuries.
Behind the buff faience frontage is a lovely, small two-room pub with a well preserved interior created under plans of 1934. It was remodelled by the Grimsby brewers Hewitt Brothers Ltd who were Doncaster’s biggest pub owners for many years.
Of course, every town had a Burton’s – the tailor of taste.
This post war infill has that distinctive Festival of Britain feel, original metal window frames, Portland stone and blueish slate like panels.
The revamped Frenchgate Shopping Centre, officially opened on October 4th 1968, has in places an upper tier, resistant to zinc over cladding.
The centre has been the heart of the city for over 40 years and was originally called the Arndale Centre because it was built, owned and managed by the Arndale Group. It was renamed in 1988 after a change of ownership, with the new name reflecting the name of the street which passes to the east of the centre and which is one of Doncaster’s main shopping streets.
The sale of the centre came just a year after Frenchgate had undergone a £200 million facelift to transform it into the country’s first shopping centre with integrated public transport and retail interchange.
We propose this is fundamentally transformed though the addition of apartments that wrap along the back of the first-floor retail with a further 2.5 new storeys placed on top. We also feel additional height -up to seven or eight storeys, is justifiable to the corner of Frenchgate and Trafford Way.
The Lovers were once located in the Arndale, removed to a local garden, unloved – then later reinstated in the Waterdale Centre, where we will embrace them a little later.
Turn right to take in the 1920s mosaic remake remodel of the Grade II listed Blue Building.
The Blue Building which used to be the Doncaster Design Centre and Tourist Information Centre was originally the home of John Whitaker, a wine merchant, and son of James Whitaker who was Mayor of Doncaster in 1758.
In 1925 the complete building was demolished apart from the facade which was retained and given a facing of decorative blue tiles. The intention was to build a shopping arcade from High Street to Printing Office Street. Only part of the arcade, known as the Westminster Arcade was built. It had a number of shops, the largest being that of Woodhouse & Co Furnishers.
Two adjacent 60s extensions – to the right a redundant post office to the left an almost redundant telephone exchange, with the earlier brick built exchange in smack dab the middle.
Turn another corner and it’s all at the Co-op now – the Grade II listed Danum Co-operativeBuilding, department store and offices: 1938-40 designed by T H Johnson & Son for the Doncaster Co-operative Society Ltd.
Over the road a zig-zag Halifax Building Society branch, tightly contorted by its corner footprint.
To the right of the Danum, this former Boyes store, having relocated to the Wilko site, the building is ripe for residential conversion.
To the left the Colonnades Shopping Centre a fierce angular glass and brick bunker of mixed office and retail space – the sole occupant seeming to be Home Bargains.
A £3.3m makeover of the Colonnades shopping mall in Doncaster town centre was completed in 2019.
The scheme of works was co-ordinated by Doncaster Council and funded by the Sheffield City Region Local Growth Fund.
Built in the 1980s, the brick built building received a major overhaul. The investment saw the visual appearance enhanced inside and out. The five floors were transformed into the prime office space needed in the town centre and the enhancements to the retail area were also finished.
The shift in the town’s axis to the Frenchgate and Market areas, seems to have taken the wind out of its sails.
The former flicks now a redundant pale brick behemoth – no more and ABC.
Doncaster’s new £250,000 ABC cinema, part of the Golden Acres development near the town centre, was opened on May 18th 1967.
Closed in January 1981 for conversion into a triple screen it re-opened on 9th April 1981 with seating in the three screens for 477, 201 and 135.
The Cannon Group took control in the mid-1980’s and it was re-named Cannon and it closed on 18th June 1992, screening its opening film Doctor Zhivago.
Cinema Treasures
The Golden Acres development seemed to have morphed into the Waterdale Centre.
It is currently being reshaped to provide a line of desire twixt the Civic and Cultural areas, from the town centre. There are still the remnants of homes, shops and a pub amongst the demolition – almost inevitably there is new paving.
Waterdale is a well-known part of Doncaster’s town centre. During its heyday it was a bustling area with people flocking to shops and the like – it was a place you had to visit while you were in town. However, it had suffered a steady decline which continued when the southern bus station closed – Frenchgate Interchange opening, and Doncaster College moved to the Hub at the Waterfront. With limited public transport entering the area and no student population on its doorstep, less people had reason to pass through.
Demolition of the College.
The Civic and Cultural Quarter is transforming Waterdale reconnecting it to the town centre. The quality and content of the plans is raising the profile of this part of town to new levels. The carefully thought out layout and consistent building design is giving the area a clear identity. It is already becoming a big attraction that draws people in and encourages redevelopment in the neighbouring areas.
The weary walker is diverted toward the Civic Quarter Car Park.
The former Civic Offices are to be demolished.
Demolition of the Central Library is well under way.
Facing the former library we find the CAST Theatre, Civic Buildings and Savoy Cinema, grouped around Sir Nigel Gresley Square.
Within the square is a frieze, salvaged from the former Gaumont Cinema, the work of sculptor Newbury Abbot Trent.
The Gaumont Palace Theatre in Hall Gate at the corner of Thorne Road, Doncaster opened on 3rd September 1934 with Jesse Matthews in Evergreen.
It was designed by architects WE Trent and W Sydney Trent.
In 1949 WH Price the Borough Surveyor produced an outline plan for the area, with a green space at its heart, it was never realised. In 1955 Frederick Gibberd produced his plan to include a ten storey Town Hall, Art School, Technical College and Civic Theatre, revised and reduced in 1963 – eventually his Police Station and Law Courts were completed in 1969.
The former NHS Clinic at the ‘T Junction’ is transformed into a day care service.
The building was designed in the office of the Doncaster Borough Architect’s Department in a team led by borough architect Mr LJ Tucker.
The ceramic designs were a later addition when it was discovered that the large open areas of glass overheated almost everything inside, the work was undertaken by LJ Tucker and family.
The sculptural work by Franta Belsky, now has a skip for company.
As a footnote the work by Fabio Barraclough reveals a murky past.
Barraclough was born in Madrid in 1923, to a Spanish mother and Yorkshire father who founded Madrid’s Chamber of Commerce. He moved to London with his family in the 1930s as a refugee from Francoist Spain. He taught fine art and sculpture at Rugby School, where colleagues considered him “highly entertaining, a most unorthodox and highly gifted” teacher. He established himself during the 1960s and early 1970s as an authority on sculpture, publishing in academic journals and becoming a member of the Royal British Society of Sculptors.
In 2000, it was revealed that Barraclough, while outwardly living the life of anti-apartheid activist since the 1970s, had been a paid informant of the South African state security police. The media was used to promote his image as a “brilliant, liberal artist with apparently impeccable credentials” in order to gain public trust, while he was funnelling money from anti-apartheid groups to the police. He died on 6th January 2019.
Over the way faros the green sward is St Peter in Chains RC – A large and striking design by JH Langtry-Langton, incorporating important furnishings by J F Bentley from the predecessor church, along with good furnishings of the 1970s. The churches houses the modern successor to the medieval shrine of Our Lady of Doncaster.
Figurative stained glass by Patrick Feeny for Hardman in 1973 and abstract glass fitted in 2000 as part of reordering and revival of the shrine.
Designed by architects Bond Bryan and built by main contractor Willmott Dixon, the new cultural and learning hub has been created following the restoration of four existing buildings.
A key focal point of the scheme is the restored frontage of the Edwardian former Doncaster High School for Girls, which has been framed by Senior’s slimline SF52 aluminium curtain wall and showcased within a new steel-frame building. The glazed facade, which was fabricated and installed by Senior’s supply chain partner Chemplas, also features Senior’s aluminium commercial doors.
We arrive at and begin our journey at the Interchange – the bus station is closed, along with the station entrance.
Bradford accepts that it is a part of the Northern Supercity stretching from Coast to Coast – Liverpool to Hull. Every existing town and new settlement must be unique. People belong to their own hotspot as well as Coast to Coast. Bradford as a dispersed centre will give it individuality as well as becoming synonymous with the whole new city. Bradford is a mini version of the whole. It is composed of a series of mini hotspots which will each act as a focus for each square kilometre.
Bradford has the topography to allow every citizen to wake up to a view – both physical and mental. Their collective ambition can create a place of extraordinary difference.
The Interchange opened in 1971 was the first of its kind in the country, designed by the BR regional team headed by RL Moorcroft and the City Architect.
Onward to the Magistrates’ Courts designed by City Architect Clifford Brown in 1972.
Bradford is in the process of paving and puzzling pedestrians, as it becomes City of Culture in 2025.
So we wind our way over the inner ring road, advisedly avoiding the filled in underpasses.
The former Central Library awaits us, designed in 1965 by Clifford Brown – a striking podium and tower, currently home to council offices.
Next door the Sir Henry Mitchell House home to the Children’s Services.
Sir Henry Mitchell 1824 1898 was a mill owner and Mayor.
Moving further along the Telephone Exchange of 1936, design by architect FA Key.
Partner to the Telephone Exchange of 1976 by architect Trevor H Hanson for PSA
The gates were open and we were afforded a view of these delightful vents.
Next to the Ice Arena topped off with Wardley House – Sanctuary accommodation for key workers and students.
Wardley House is equipped with all the modern amenities you need for a comfortable and connected life as a key worker. The rent includes high-speed broadband and building-wide Wi-Fi, utility bills, and contents insurance. Our top-notch facilities comprise a large common room with a pool table, flat-screen TV, and live BT Sport – the perfect social space.
Up the hill and around the bend totheUniversity of Bradford – the main Richmond Building fronted by Joe Mayo’s tiles.
At the University of Bradford our focus is oncreating the conditions for social, cultural and economic impact. We will achieve this by using our proud heritage as a springboard and remaining steadfast in our commitment to equality, diversity and inclusion. We will harness our strengths in research, innovation, teaching and partnerships to extend our reputation, influence and impact. All of this will create a values-led culture that is inclusive and effective in enriching lives and benefitting society.
The undercroft has undergone a major refurb rethink – transformed into a Goth Disco.
We emerge unscathed into the clear light of day and the BDP designed Chesham and Horton blocks.
The mosaic covered columns remain unclad.
Let’s hop to the Grade II-listedCo-op designed by CWS in house architect WA Johnson and JW Cropper in 1935.
Architect W A Johnson worked for the Cooperative Wholesale Society from 1899 until 1950. He was heavily influenced by the German architect Erich Mendelsohn after 1930, evident in his embrace of the International Modernist style. Johnson travelled widely in Germany and Holland, and Mendelsohn’s Schocken store in Stuttgart 1928 is quoted as being a particular inspiration for the Bradford Co-op.
Demolished despite protests in 1960.
In 2019 the Architectural Heritage Fund announced a £5,000 Project Viability Grant to Freedom Studios Ltd.
The money funded a viability study to investigate the potential of building becoming a multi-use cultural hub.
In 1979, the building won a European award from the International Council of Shopping Centres.
But the Historic England report described its design as mundane and repetitive.
Janice Ivory and Lisa Donison didn’t hold back in their criticism of the centre in its current state.
Thank God for that, was Janice’s reaction to the news the building was set to be bulldozed, although an exact date for its closure remains unknown.
It’s just a concrete monstrosity, she said of its design, which Historic England said was lacking architectural flair.
It’s just an ugly building, added Lisa.
Once dubbed Bradford’s space age retail destination, Kirkgate Shopping Centre will soon be no more.
The city centre landmark, which opened for business as an Arndale in 1976, has been denied listed status by Historic England – paving the way for its demolition.
Geoffrey Cowley from Wibsey, who was in town for an eye appointment, said demolishing it:
Might be the right thing to do.
There are plans to remove and display the William Mitchell panels along with these other examples of his work.
In-situ at Highpoint.
In storage – removed from the Bradford And Bingley Building Society.
Artist Bernd Trasberger plans an artistic project, which involves repurposing Fritz Steller’s tile works.
As Ken Kesey so rightly said – Further!
Up to Highpoint designed by John Brunton and Partners 1973.
The derelict former headquarters of Yorkshire Building Society, on one of the highest parts of the city centre, looms over the city centre, and to many people is the city’s ugliest building.
High Point is the perfect site for the first Radii development. Now perceived as an exemplar of the Brutalist style, this eight-storey titan, has languished derelict and in disrepair for many years in the heart of Bradford City Centre.
Our regeneration of High Point into an innovative residential apartment complex with a community at its heart, embraces ideas of sustainability, preservation, and rejuvenation that will bring a new lease of life to this abandoned landmark.
Sharp, chic and spacious apartments available. Furnished to the highest standards throughout and with the flex to provide you with office space if required – this is modern city living that’s easy on your eye and your pocket.
And finally the cafe that is not a cafe – Fountains, where the griddle no longer grills, the lights are always out and the shutters tightly shut, ain’t nobody home.
Wishing nothing but well for this West Riding gem – Bradford City of Culture and cultures and culture.
The road now begins slightly further south than it used to. Instead of starting on Fairfield Street in Manchester city centre, it begins immediately as the Mancunian Way ends, which at this point is the unsigned A635(M). The motorway flows directly into our route. There’s a TOTSO right at a set of lights, and we pick up the old alignment, which now starts as the B6469.
We can see the new City of Manchester Stadium on the left, site of the 2002 Commonwealth Games and now home to Manchester City FC. The road switches between S2 and S4 as it passes through the rather run-down urban areas of Ardwick and Gorton. A short one-way system at a triangular-shaped junction with the A662 leads onto a wider stretch as we near the M60 junction. This area is set to see significant industrial growth, with whole swathes of land either side of the now D3 road cleared and ready for development.
The A62, which runs from Manchester to Leeds, via Oldham and Huddersfield, was once the main route across the Pennines, connecting the largest city in Lancashire with Yorkshire’s largest city. However with the completion of the M62 towards Leeds in the early 1970s it lost much of its importance and traffic to the motorway, which runs a few miles to the north. These days, the A62 serves as a busy primary route between Manchester and Oldham, an extremely very quiet route over the Pennines, and then a fairly busy local road linking Huddersfield with Leeds.
Most maps show that the A62 starts its journey in the middle of Manchester by leaving the A6 Piccadilly and running along Lever Street – the original route was the parallel Oldham Street. However, owing to a bus gate Lever Street is not generally accessible from Piccadilly. We head out easterly on a busy street – non–primary, until we meet the Ring Road where we pick up primary status that we retain until Oldham. We turn left at this point and then immediately right to start the A62 proper.
In 2014, having taken early retirement from teaching photography, I embarked on a series of walks along the arterial roads of Manchester.
This whole undertaking was prompted in part by Charlie Meecham’s 1980’s Oldham Road project.
The work questions whether a sense of local identity can be maintained in an area of constant redevelopment and community displacement.
This area was first developed in the 19th century for cotton manufacture, coal extraction and later electrical and heavy engineering. The road was lined with shops and there was a vibrant community.
When I first started working on the project, most of the early industry had ceased operating and the mills were either abandoned or being dismantled. However, some had been refurbished either for new industrial use or later, made into apartments. Some run down areas were cleared making way for new housing. Clearance also provided opportunity to build new schools, trading estates and create green space. Most of the older community centres such as theatres and cinemas along the road were also abandoned and later cleared.
Like many of the original Odeon Theatres built by Oscar Deutsch, the site chosen was a little out of the main town centre – where land prices were cheaper, and the Odeon Morecambe is a good example of this. It is located at the corner of Euston Road and Thornton Road in this Lancashire seaside town. The Odeon was opened on 2nd September 1937 with Sandy Powell in “It’s a Grand Old World”. It had seating provided for 1,084 in the stalls and 476 in the circle.
Taken over by the Classic Cinemas chain in December 1967, it was re-named Classic Cinema, and was closed on 28th February 1976 with Kenneth Williams in “Carry On Behind”.
The stunning Moderne style exterior much of which including the projectionists walkway is now much deteriorated.
Next to the Police Station another Roger Booth building – recently seen on the small screen in The Bay.
Backtracking to take in the Crescent Café entrance.
Which became Hart’s Restaurant now trading as the Black Thai.
Into the town centre to look at the former Centenary HouseCo-op 1927.
Bought by the city council as part of the West-End Masterplan, the intention is to refurbish the building’s upper floors to provide affordable housing and accommodation for local arts businesses, retaining the Co-op late shop that occupies one-half of the ground floor.
Let’s take a look along the front – where we find a former Woolworths.
Along with other stores from the same period.
Alongside sits the former Littlewoods.
By 1939 there were 24 stores. A number of these were purpose-built for Littlewoods to designs by J S Quilter & Son. John Salmon Quilter – 1841-1907 was, in fact, long dead, but his architectural practice had been continued by his son Cecil Molyneux Quilter – 1879-1951. Quilter specialised in commercial architecture, notably public houses. He designed a new Blackpool store for Littlewoods, on the corner of Church Street and Corporation Street, which was faced in Empire stone. He also designed a store in Chester, and may have been responsible for the one in Morecambe. This faience-clad art deco building is the best surviving example of a pre-war Littlewoods store – indeed, it may be the best surviving Littlewoods of all time – even preserving diamond L motifs on the entrance lobby floors. These clearly copied Woolworth’s diamond W.
Finally to the Midland Hotel 1932-3 by Oliver Hill
Concrete and rendered brickwork, painted white. Curved plan, with convex side facing west towards the sea. Three storeys. Windows are steel-framed casements with rendered surrounds. Above each storey are projecting horizontal bands. The entrance front has a rounded left-hand corner, and a convex central staircase projection rising above roof level. This projection has a tall window of steel casements above the doorway, divided into three by mullions, both of which are capped by sea horses, painted red, which were carved by Eric Gill. Projecting at the right is a single-storey cafe of circular plan, now known as the Ravilious Restaurant. The west side has a single-storey projecting sun lounge, which is an addition, its windows replaced in PVC-coated steel. Between the solid centre and ends of the facade the 1st and 2nd floors have their walls recessed to form balconies.
Interior: above the cantilevered circular open-well staircase is a ceiling panel carved in low relief by Eric Gill and painted by Denis Tegetmeier. They were also responsible for the pictorial map of north-west England in what was originally the children’s room at the south end of the building. Also in this room is Eric Gill’s Portland stone panel, originally in the lounge, carved in low relief with a representation of Odysseus and Nausicaa. It was moved to its present position when internal walls were demolished during the 1970s. The cafe walls were originally painted with frescoes by Eric Ravilious, representing morning and evening in an idyllic seascape setting. These deteriorated rapidly because the plaster and paint used were incompatible and were obliterated within 2 years of completion, but were repainted in the late 1980s using photographic evidence.
The Super Swimming Stadium at Morecambe, Lancashire, was one of the grandest of the 1930s modernist seaside lidos. This massive structure measuring 396ft. by 110ft. was said to be the largest outdoor pool in Europe when it opened in 1936, accommodating some 1200 bathers and 3000 spectators. Unusually for an inter-war lido, it was designed not in-house by a Borough Engineer but by two architects, Kenneth MB Cross and Cecil Sutton, who styled it to harmonise with the Streamline Moderne of Oliver Hill’s adjacent Midland Hotel.
The stadium was closed down in 1975 on grounds of structural problems and demolished just a year later.
Bolton Town Hall – 1873 was designed by William Hill of Leeds, with Bolton architect George Woodhouse.
The original building was extended in 1938 by Bradshaw Gass & Hope – hereafter BGH.
Le Mans Crescent by BGH 1932-9 well complements the Town Hall extension. Its neo-classical design is assured and confident. Pevsner remarked that:
There is, surprisingly enough, no tiredness, the panache is kept up.
Three arches pierce the Crescent’s centre but today they lead only to a potential development site. One end of the Crescent contains the Art Gallery and Library; the other used to house the former Police Headquarters and Magistrates’ Courts.
George Grenfell Baines, the founder of the Building Design Partnership, was involved in this project when he worked for BGH in the 1930s
The Octagon 1966-67 originally by Geoffrey Brooks, the borough architect, rebuilt 2018-2021. The hexagonal auditorium has apparently been retained. Pevsner states of the former building:
A welcome dose of honest Brutalism.
The Wellsprings successfully fitting with the Town Hall
The former 1931 Cooperative Society Store, on the Oxford Street corner, is by BGH. The entrance has Doric columns in deference to the Town Hall’s Corinthian ones – and Le Mans Crescent uses the Ionic for the same reason.
We pass Paderborn House 1968 -69 Sutton of Birmingham clad in moulded concrete, with Traverine around the entrance.
Former Lloyds Bank on Deangate corner, clad in white faience, looks BGH-ish but it’s not listed in the Lingards’ BGH monograph.
Across the way the unlisted Post Office – complete with listed phone boxes.
Whitakers 1907 by George Crowther.
Pastiche timber-framed with pepper-pot turret.
Incorporates genuine Tudor timbers from a demolished building nearby.
To the north of Deansgate, down Knowsley and Market Streets, is GT Robinson’s 1851-6 Market Hall. The interior is, according to Matthew Hyde: a lucid structure simply revealed.
He contrasts it with Market Place Centre 1980-88 by Chapman Taylor Partners: In that most ephemeral of styles, a jokey Postmodernism.
It does however echo Victoria Hall 1898-1900 BGH.
Chapman Taylor also did the 1980-8 Market Place Shopping Centre. The Market Hall was built over an impressive brick undercroft above the River Croal which has recently been opened up and is a destination.
At the Oxford Street corner, Slater Menswear, above Caffé Nero, has Art Deco white faience upper storeys. Further down is the imposing Marks & Spencer, faced in dark stone 1965-67.
The mansard roof was added later.
Along Market Street, Clinton Cards is clad in white faience with Art Deco window details.
At the corner of Bridge Street is a charming 1960s clock; the building would not look out of place in Coventry.
Other buildings of interest on Deansgate include Superdrug – with some Art Deco features; Greggs by Ernest Prestwich of Leigh who trained with WE Riley.
Sally Beauty and the Nationwide – entrance by William Owen of BGH.
The former Preston’s jewellers, on the corner of Bank Street, has terracotta, by Thomas Smith & Sons 1908-13, a prolific local firm. It had a time ball, on the clock tower, which was raised daily at 9am and dropped at 10am, on receipt of a telegraph signal from Greenwich.
The 1909 Bolton Cross, in Dartmoor granite, by BGH replaced an earlier one which is now kept at Bolton School. Churchgate contains the 1636 Ye Olde Man & Scythe; the former coaching inn Swan Hotel, reconstructed in the 1970s to look more genuinely Georgian and Ye Olde Pastie Shoppe 1667.
Stone Cross House 1991 was built for the Inland Revenue in an aggressively red brick and spiky style. It has a rather desperate chandelier in the foyer.
The gates of St Peter’s church EG Paley 1871 are framed by Travel House, Newspaper House -1998 and Churchgate House and Huntingdon House 1974.
St Peter’s has a Neo-Gothic font and cover by N Cachemaille-Day 1938. The gates and gate piers may look early C20 but they are late C18.
Samuel Crompton 1753-1827, the inventor of the mule, is buried under the large granite monument, erected in 1861.
At the corner of Silverwell and Institute Streets is WT Gunson & Son’s 1970 Friends Meeting House: decent with a light elevated roof corner. It has a tilted roof floating on the glazed upper walls.
Scott House has a charming 1926 plaque commemorating Sir James Scott and his wife Lady Anne. Scott started the Provincial Insurance Company.
The two storey offices of Fieldings and Porter are a successful piece of infill by BGH.
Nip around the back to get a glimpse of this cracking stairway.
Silverwell Street 1810 is named after the Silver Well. Bradshaw Gass & Hope now self-described as Construction Design Consultants, not architects, are at number 19. Note the plaque to JW Wallace, founder of the Eagle Street College, dedicated to the works of the American poet, Walt Whitman. Wallace worked there from 1867 to 1912. The plaque is ringed by a quote from Whitman:
All architecture is what you do to it when you look upon it.
Whitman corresponded with his Bolton admirers; the Museum contains early editions of his works and his stuffed canary.
Further down Silverwell Street is the 1903 Estate Office of the Earl of Bradford who still owns a large area of Bolton. At the end of Silverwell Street is the former Sun Alliance House, now converted to flats, the colourful panels are a later addition.
Bradshawgate and Silverwell lane corner has a former café bar with original curved Moderne windows. This was originally Vose’s tripe restaurant, later UCP – United Cattle Products. It was most stylish and elegant, decorated in 1930s streamline Moderne style, with starched white tablecloths, silver service and smart waitresses.
Nelson Square was opened on March 23, 1893. The cenotaph memorial to the Bolton Artillery is by Ormrod, Pomeroy & Foy 1920. Calder Marshall sculpted the statue of Samuel Crompton 1862. The shiny red former Prudential Assurance office 1889 isn’t by Waterhouse but by Ralph B. Maccoll of Bolton. Matthew Hyde in Pevsner describes the early C20 faience facades of Bradshawgate as:
A plateful of mushy pea, ginger nut, liver, tripe and blood orange shades.
Infirmary Street has a 1970s office block with an octagonal, nicely lettered plaque to WF Tillotson, newspaper publisher. Round the corner in Mawdsley Street, the former County Court 1869 TC Sorby, 1869. Opposite, at the corner, is GWBD Partnership’s 1987 St Andrew’s Court, containing a somewhat whimsical recreation of a Victorian shopping street in miniature. The job architect was J Holland. Matthew Hyde says:
Neatly contrived on a tight site.
Into Exchange Street and through the former Arndale Centre 1971; low and mean according to Pevsner 2004, now re-branded as Crompton Place 1989 Bradshaw, Rose & Harker and still dreary, we go to Victoria Square and the Town Hall. The classical building on the left is the former Bolton Exchange 1824-5 Richard Lane.
The square was pedestrianised in 1969, to the Planning Department’s designs, under RH Ogden. It was quite an early scheme which won three awards including one, unsurprisingly, from the Concrete Society. The fountains were designed by Geoffrey Brooks and the trees were planted by the Earl of Bradford.
Owen Hatherley in Modern Buildings in Britain says of the town
It feels as if you’re in a real city, like in Europe, and you can drink your cup of tea in repose while admiring the monuments.
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.
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.
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.
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.
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.
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.
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.
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 Carter1960 – 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, byRobert 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 Technical College.
Above the current market office is an impressive painted mural by art students from Dresden commissioned especially for the market in the 1950s in a Socialist Realist manner, depicting farming and industrial scenes.
The Gordon Cullen tiles have been renovated and re-sited within the exit corridor.
Still in clear view the stone relief work of John Skelton November 1956. Three of the eight column have incised Hornston stone works, depicting the activities of the CWS.
Get yourself there pronto – current restrictions considered of course.
A social history of Wythenshawe and its Civic Centre can be found here at Archives +.
A general history of the garden city’s development can be found here at Municipal Dreams.
Lest we forget, the story begins with a level of overcrowding and human misery that is – thankfully – almost unimaginable in Britain today. In 1935, Manchester’s Medical Officer of Health condemned 30,000 (of a total of 80,000) inner-city homes as unfit for human habitation; 7000 families were living in single rooms.
The estate was always considered to be, in some sense, the realisation of an ambitious vision.
The world of the future – a world where men and women workers shall be decently housed and served, where the health and safety of little children are of paramount importance, and where work and leisure may be enjoyed to the full.
Cooperative Women’s Guild
Work began in the interwar years, and continued following the hiatus of 1939-45. The shopping centre named the Civic Centre was open in 1963, the actual Civic Centre containing a swimming pool, theatre, public hall and library in 1971.
A triumph for Municipal Modernism conceived by the City Architects and realised by Direct Works. This post war development owed more to the spirit of Festival of Britain optimism, new construction methods and materials, rather than the grandiose functionalist classicism of the original scheme.
The Co-operative Superstore was a key element in the provision of provisions.
There still is – The Forum is a bright and modern hub for co-located services used by community and business.
The original Forum opened in 1971. One of Manchester’s largest public buildings, it had a leisure centre, library, theatre, main hall and meeting rooms. By the mid 1990’s it was under used, had deteriorated internally and externally and needed substantial investment.
The new Forum, along with a new police sub-divisional headquarters and improved transport link was designed to help strengthen the town centre, and provide a landmark project to raise Wythenshawe’s profile within Manchester and beyond.
In the 1980’s they put on a superb array of shows including Roll on 4 O’Clock which starred John Jardine, Jack Smethurst and Glynn Owen. Oh What a lovely War; What the Butler Saw and Habeas Corpus by Alan Bennett. Bury’s own Victoria Wood starred in Talent which she wrote. Another Manchester icon Frank Foo Foo Lammar, famous as the top drag queen of the North-West whose club was re-known for its great party nights appeared in The Rocky horror Show.
A land of elegant covered walkways and raised beds.
On the corner of Ravensbury and Stockholm Street Clayton Manchester there stands a Cooperative Shop of 1908.
We have previously visited another fine example on Northmoor Road.
In 1902 the area is still set to open ground.
This Manchester Local Image Collection photograph of 1912 shows new terraced homes emerging to meet the housing needs of the world’s first industrial city.
Changing patterns in shoppers habits sealed the fate of many local and corner shops, as larger supermarkets opened, increased mobility and car ownership became more common.
When I first visited the building was undergoing renovation work.
The beautiful terracotta tile work and corona obscured by scaffolding .
I returned last week to find the job almost done – converted to flats, in an area which has seen a great deal of improvement to the general housing stock, paving and street furniture.
A joy to see a fine building almost returned to its former glory, with a much needed social purpose, reviving the city’s western edge.
Once widely admired, Ian Nairn esteemed architectural writer, thought it an exemplary exposition of modern integrated shopping and parking, sitting perfectly in its particular topography – way back in 1972.
This German magazine dedicated several pages to coverage of Merseyway back in 1971.
Note the long lost decorative panels of Adlington Walk.
Many thanks to Sean Madner for these archive images.
Mainstream Modern has recorded its conception and inception, as part of a wider appreciation of Greater Manchester’s architecture.
The architects were Bernard Engle and Partners in conjunction with officers of Stockport Corporation and the centre opened in 1965. The separation of pedestrians and cars, the service areas, the multi level street, the city block that negotiates difficult topography to its advantage, are all planning moves that are of the new, ordered and systemised, second wave modernism in the UK. The aggregate of the highways engineering, the urban planning and the shifting demands of retailers frequently arrived at a form and order such as this. In this way Merseyway is unremarkable, it’s like many other centres in many other towns – consider the rooftop landscape of Blackburn. It is, however, typical and has been typically added to and adjusted during its life and presents perhaps the face of the last retail metamorphosis before the out-of-town really made the grade.
Each successive remaking and remodelling has seriously compromised the integrity of the development. We are left with dog’s dinner of poorly realised Post Modern and Hi-Tech additions, along with a failure to maintain the best of the original scheme.
Plans are now afoot to revamp the precinct – starting with Adlington Walk.
Proposed facilities include a soft play space, new seating, buggy stores, high grade toilets, parent and child facilities and a multi faith prayer room.
So here we are outside, you and I in 2015 – it seems like yesterday.
Whereas yesterday I was inside not outside, but more of that in a moment.
It seems that you were listed in 2009 and deservedly so.
1964 by George S Hay, Chief Architect for CWS, with interior design by Stanley Layland, interior designer for CWS. Reinforced concrete with Blue Pearl granite tiles and veneers, grey granite tiles and veneers, buff granite blocks, glass, and brick.
There’s just so much to stand and stare and marvel at.
Vulcan by Boris Tietze commisioned by Horne Brothers 1961 for their head office building No. 1 King Street. Glass fibre on a metal armature the 8 foot high figure holding a bundle of metal rods.
You were just about still open then, then you weren’t, then you were again – but a Co-op no more alas.
Work is underway on plans for a tech hub in Sheffield after a funding package was agreed.
Followed by a casual stroll towards 2019 where we are talking a peep inside courtesy of owners Kollider and book shop La Biblioteka.
I’d never ever seen the interior, save through the photographs of Sean Madner who captured the key features in 2014, prior to refurbishment.
So the Modernists and I pitched up this Sunday afternoon, the conclusion of our Sheffield Walk.
Lets take a look at the end stairwells, two very distinct designs one dotty one linear, both using Carter’s Tiles.
Configured from combinations and rotations of these nine modular units and two plain tiles.
Configured from combinations and rotations of these twelve modular units and two plain tiles.
The site has retained some of its original architectural typography.
The former top floor restaurant has a suspended geometric ceiling with recently fitted custom made lighting.
The timber-lined boardroom has a distinctive horseshoe of lighting, augmenting the board room table – which is currently away for repair, oh yes and a delightful door.
High atop the intoxicating vertiginous swirl of the central spiral stairway is the relief mural representing a cockerel and fish made of aluminium, copper and metal rod, with red French glass for the fish’s eye and cockerel’s comb.
Illuminated from above by this pierced concrete and glass skylight.
Many of the internal spaces have been ready for their new tenants.
This is a fine example of Modernist retail architecture saved from decay and degradation by the timely intervention of a sympathetic tenant.
Long may they and Castle House prosper – Sheffield we salute you!
The railway station was built in 1849 replacing a temporary structure constructed a year earlier. It was rebuilt in its present form in 1933 and has had several slight modifications since that date, most notably in 2006, when the new interchange and connection to Frenchgate Centre opened.
The front elevation is realised in a typical inter-war brick functionalist style.
Of particular note are the lobby lighting fixtures and clock, the booking hall and offices are listed Grade II.
There are plans to redevelop the station approach replacing the current car parking with a pedestrianised piazza.
The High Street boast a former branch of Burton’s with its logo intact.
An intriguing Art Deco shop frontage – combining a menswear outlet with a pub.
Further along an enormous Danum Co-operative Store in the grandest Deco manner – 1938-40. Designed by T H Johnson & Son for the Doncaster Co-operative Society Ltd.
Currently partially occupied with no access to the glass stairways.
Following the development of the Frenchgate Centre the Waterdale Centre sunk into a slow decline.
And the Staff of Life has lost a little of its estate pub period charm, following successive typographic makeovers and paint jobs.
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 Frederick Gibberd was appointed to oversee the site, though many of his designs were unrealised, his Police Station and Law Courts opened in 1969.
Having travelled back in time along Ten Acres Lane why not come along with me now and see just what’s left – right?
Each Manchester street tells its own tales of homes and people been, gone, rebuilt and buried – whole industries evaporating laid waste by seismic economic forces, land changing use again and again – shop door bells which are a now but a ghostly tintinnabulation on the wind.
Starting from the Oldham Road end the clearance of older terraced homes was followed by the construction of newer 70s social housing.
Modern Mooch 