Blank Street – Ancoats

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As with all things material and corporeal there was a time when you simply didn’t exist.

1860 adjacent to Woodward Street and the Rochdale Canal, a simple agglomeration of loose limbed industrial buildings and such – yet to be christened Blank.

adjective

  1.  Unrelieved by decorative or other features; bare, empty, or plain a blank wall.
  2. Showing a lack of comprehension or reaction – we were met by blank looks – synonyms: expressionless, empty, vacant, deadpan, wooden, stony, impassive, inanimate, vacuous, glazed, fixed, lifeless, uninterested, emotionless, unresponsive, inscrutable.

noun

  1. A space left to be filled in a document – leave blanks to type in the appropriate names – synonyms: space, gap, blank space, empty space.
  2. A cartridge containing gunpowder but no bullet, used for training or as a signal.

verb

  1. Make (something) blank or empty – electronic countermeasures blanked out the radar signals.
  2.  Informal North American defeat (a sports team) without allowing them to score – Baltimore blanked Toronto in a 7–0 victory.

Though contradictorily I have found reference to a bankrupt foundry in the London Gazette 1857.

You appear again during the Manchester Blitz.

By 1960 you are on the map and the area is on the up and up.

Though I have to ask the question of the namers of streets – why so Blank, an off day at the office – we have whole blocks named for poets, painters, and far flung places, so why so Blank?

Hadn’t they heard of nominative determinism – born to be Blank.

Whilst in search of a Brown Cow I found a photograph on the Local Image Collection of 60’s maisonettes in the area alongside Woodward Street.

This Municipal Modernist development seems to have been short-lived and subject to yet more demolition in the area, to be replaced by late 70’s terraced housing.

Blank Street inexplicably became Fulmer Drive.

Which in turn had been tinned up and demolished around 2008.

How did that happen – seemingly viable homes previously changing hands for £100,000 deemed surplus to requirements – land banking, ahead of an as yet unseen masterplan?

Your life was short and sharp – shaped by economic shifts, world war and the local authorities ephemeral housing policies. There is little evidence of your existence, photographic or otherwise, so I want to set the record straight – draw a blank.

Here you are as of July 2019 – tarmac intact, drains fully functioning, pavements paved, awaiting orders. A circuitous run of grassy ridges resembling the remains of some Roman or Iron Age fortification.

Where do we go from here?

Woodward Court Woodward Street – Ancoats Manchester

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“What’s going on?”

As Marvin Gaye so succinctly asked.

Why is there just one remaining tower block dancing unclad around Ancoats?

Let’s go back in time and see if we can find out – it seems that back in 1807 there wasn’t a Woodward Street to be found, the ever expanding industrial might of Manchester had not yet reached these particular green fields of Ancoats.

By 1824 it shows a fresh face to the world christened Woodworth Street, sparsely dotted with new development.

Almost fully formed in 1836 and renamed as Woodward Street, the area begins to accumulate the familiar domestic and industrial clutter of a burgeoning Victorian City.

By 1860 the street is fully formed and open for business.

Workers finding homes in austere and functional brick back to backs, typical of the period’s housing.

Fast forward to the early Sixties and the street is showing signs of age – the century old industries are already in decline, steady jobs, mills and factories gone west and east, well-worn housing looking terminally tired and in need of a little care and attention.

But wait what’s this coming around the bend?

The first wave of urban regeneration, post war optimism incarnate, a bright new shiny future – out with the old and in with the new, as Municipal Modernism stamps its big broad architectural feet all over Woodward Street.

Archival photographs from Manchester Local Image Collection

Our story is far from over, this optimism is short-lived the homes, houses and industry are swept away yet again, replaced with two story modern terraced housing and an all too obvious absence of regular employment – yet the tower blocks prevailed.

Former streets were over written and remain as poignant vestigial marks in the landscape.

Grand plans are made for their revival.

Paul Daly

Though their future was built on more than somewhat shifting and uncertain sands.

A tower block has been left lying empty for a whopping 18 years. The 13-storey building at Saltford Court in Ancoats has been unoccupied since Manchester council closed it in the 1990s. It was bought by top developers Urban Splash six years ago but residents have now hit out about it still being empty. Neighbours of Saltford Court say it has become an ‘eyesore’ and magnet for vermin since the firm bought it.

Manchester Evening News 2012

A large group of blocks stood tinned up and unloved, yet owned, for a number of years, victims one supposes of land-bankers, developers speculating on an even better return, as the warm waves of gentrification washed slowly over them, from nearby New Islington.

All but one was refurbished, clad and re-let.

Woodward Court was spared – set aside for the homeless.

A period piece surrounded by Post Modern and Revivalist pretenders.

Why not go take a look.

Odeon – Guide Bridge

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285 Stockport Road Guide Bridge Ashton-under-Lyne

This was planned to be the Verona Cinema, a project of local builders – P Hamer Verona Cinema Ltd. The construction of the cinema was almost completed when Hamer sold the building to Oscar Deutsch and it opened as one of his Odeon theatres.

Hamer then used the proceeds of the sale to build the Roxy Cinema Holinwood, which was designed by Drury & Gomersall.

Opening date of the Odeon Theatre was 29th June 1936, when the first programme was Bing Crosby in “Anything Goes” and Harold Lloyd in “The Milky Way”. Designed by the noted cinema architectural firm of Drury & Gomersall, the frontage had a neat entrance in brick, with white stone facings on the window surrounds. There was a parade of shop units on each side of the entrance which had matching brickwork and a white stone trim.

Inside the auditorium the seating was arranged for 834 in the stalls and 330 in the circle. The side splay walls on each side of the proscenium was decorated in wide horizontal bands, and topped with a backlit illuminated grille.

The Odeon was closed by the Rank Organisation on 11th March 1961 with Kenneth More in “Man in the Moon”.

It was converted into St. Paul’s Roman Catholic Church. Former cinemas have made good conversions to churches and the fabric of the buildings are generally respected. In this case though, the sad story is that the front entrance has been rendered over and inside all details of it cinematic past have been erased. You would never know you were inside what had been been an Art Deco styled building.

Contributed by Ken Roe Cinema Treasures

I passed by nearly every day for years travelling to and from school, I played there at a wedding reception in the church social club. I sadly have no recollection of the building in use as a cinema.

It has been closed since 2010 – currently it has no purpose or seemingly any future use, there are no For Sale signs in evidence.

Fallen so quickly and absolutely from grace.

St Mary’s RC Church – Denton

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Duke Street Denton Manchester M34 2AN

I remember you being built.

I remember our visit with the Manchester Modernists in 2015 – arranged by Angela Connelly and Matthew Steele of Sacred Suburbs

I popped by to see you yesterday – a truly remarkable structure set amongst the terraced housing of an unremarkable street.

The foundation stone for the present building laid by Bishop Beck in August 1962. He returned to bless and open the church on 25 June 1963. The new church was built from designs by Walter Stirrup & Sons – job architect Kevin Houghton, at a cost of about £60,000. The church is notable for its dalle de verre glass, by Carl Edwards of Whitefriars.

The church is a very striking and characterful building with a hyperbolic paraboloid roof rising in peaks on four sides, with clerestory lighting in the angles, that on the west side jutting out to form a canopy over the entrance. It was described by Nikolaus Pevsner as ‘wildly expressionist’.

Taking Stock

I suggest that you do the same and pop by to see St Mary – Our Lady of Sorrows soon.

The Odeon née Gaumont – Ashton Under Lyne

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Opened 22 April 1920 with “The Forbidden City” and designed by Arnold England, the Majestic Picture House was part of the Provincial Cinematograph Theatres circuit. With 1,233 seats in stalls and balcony and a splendid facade faced in white faience tiles on two sides of the building on its prominent town centre corner site of Old Street and Delamere Street, the cinema was a great success.

It had an oak panelled foyers which had beautiful coloured tapestry’s on the walls. The interior was in a Georgian style and it was equipped with a pipe organ and a seperate tea room and cafe which were located on the upper floor.

It passed, with all the other PCT houses to Gaumont British Theatres in 1929, but it was not until 12th July 1946 that it was renamed Gaumont. The Majestic Picture House was renovated in July 1936, with new seating installed and a re-recoration of the foyer and auditorium. A new Compton 3Manual/6Rank organ was installed that was opened by organist Con Docherty.

Later being merged into the Rank Organisation, the Gaumont was re-named Odeon on 11th November 1962. It was eventually sold to an independent operator who renamed it the Metro Cinema from 6th November 1981.

With capacity now down to 946 seats, the Metro Cinema continued as a single screen operation until the middle of 2003, sometime after a multi-plex had opened in the town. In 2008 (with seats and screen intact) the building was unused except for the long foyer area, linking the front and back elevations of the Metro, which was a Slotworld Amusement Arcade. By 2011, the entire building had been stripped out and stood empty and unused.

Cinema Treasures

The cinema was used as a location for the film East is East.

Archive images Metro Majestic

It was my local cinema as a lad – attending Saturday morning matinees as a member of the Odeon Boy’s and Girls club. Hundreds of the nosiest kids. regularly warned by the manager that the film would be stopped if the raucous behaviour continued.

Now it’s just an empty shell, superseded by multiplex and latterly a lost Slotworld.

Unlisted unloved sitting at the heart of the town – too late for the last picture show.

St Vincent de Paul – Rochdale

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Caldershaw Road Norden Rochdale OL12

Well it’s almost a mighty long way to cycle from Stockport to here, but well worth it.

A clear functional design of the 1970s, designed to place all the internal focus on the top-lit altar, which beneath its modern cladding incorporates a pre-Reformation altar stone. The external appearance of the church is slightly forbidding but the interior is enhanced by vibrant slab glass.

More than somewhat bunker like in its recessed situation, well below street level, yet interesting and engaging nonetheless – I’m rather fond of grey.

Working around the comings and goings of the adjacent school, I half circumnavigated the site, capturing something of the detail and exterior views of the stained glass. The interior will have to wait until another day.

Planned and newly constructed housing developments in Norden and Bamford made it apparent that a new church was needed nearer the geographical centre of the parish. In June 1975 the present church of St Vincent de Paul was opened, nearly a mile away from the old church. The architect was Bernard Ashton of the Cassidy & Ashton Partnership, Preston.

Internally the church is simply fitted with plain white plastered or boarded walls. The low level of daylighting enhances the effect of the four corner windows, which are filled with rainbow glass, and of the top-lit altar. The dalle de verre glass was designed by Eddie Blackwell and made in Dom. Charles Norris’s workshop at Buckfast Abbey. The figure of the risen Christ on the roof over the entrance porch were also designed by Blackwell.

Taking Stock

Underpass – Lancashire Hill Stockport

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I can’t resist passing under an underpass from Scarborough to Milton Keynes.

I often use this local yellow passageway as I make my way in the world.

Bridging Lancashire Hill, Belmont Way, Manchester Road, Tiviot Way – from the town centre to the out of town shopping centre, the flats to everywhere.

Bridging the tarmac to another green world and back.

Come with me now there’s a life going on underground.

St Aidan and St Oswald – Royton

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Vaughan Street Royton Oldham OL2 5DL

All in a day’s work cycling around north Manchester searching out and snapping five churches in a day.

This just happens to be one of my favourites, tough and uncompromising, monumental and modern – set hard against a main road.

A simple brick, concrete and glass construction, an immovable mass with strong vertical accents.

Though over time it has lost its colourful mosaics and concrete relief – gains a pitched roof and obtrusive gutters and drainpipes along the way.

My thanks to Andrew Spence for the info and photo.

In 1964, Fr Edward Glyn commissioned Massey & Massey of Warrington to design a new larger church in place the previous church, to be built on the same site. The foundation stone was laid on 10 April 1965 by Bishop Holland. R. Partington & Sons Ltd were the contractors and the building cost around £48,000. 

The church is concrete- framed and faced in brick, with dark red brick to the flat-roofed aisles and buff brick to the upper part of the nave. Tall brick piers connected by concrete beams form a vertical accent on the northwest corner, carrying a steel cross.

The shallow-pitched roof is laid with concrete tiles, on deep eaves (originally the roof was flat).  Windows are now mostly uPVC, with some stained glass; the six-bay nave is lit by tall narrow windows at clerestory levels, with similar narrow lights to the aisles.

Taking Stock

Take a trip take a look.

Immaculate Conception – Failsworth

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Clive Road Failsworth Manchester M35

A church of the early 1960s, built before the Second Vatican Council on a traditional basilican plan. The design is striking and unusual, with an interesting combination of Gothic, classical and modern architectural motifs. The architect, Tadeusz Lesisz of Greenhalgh & Williams, is a little known figure but a designer of some interest. The church exhibits a scheme of sculpture, stained glass and mosaic on Marian themes, mainly by local designers, and retains almost all of the original furnishings and fittings in little altered state. It also retains furnishings from the late-nineteenth-century predecessor church. 

Taking Stock

The church is Grade II Listed

The west front is very striking, the broad entrance arch enclosing a suspended aluminium figure of the Virgin by E.J. Blackwell of Manchester, who also executed the moulded artificial stone friezes. 

The stained glass is by Charles Lightfoot, much of it to the designs of the architect, some incorporating glass from the previous church.

Holy Family Church – Hollinwood

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Roman Road Limeside Oldham OL8 3BY

A typical example of a post-war church built to serve a growing residential suburb; it retains some attractive ‘Festival of Britain’ features and fittings.

The church was built to seat 360, with room for fifty people in the Lady Chapel. The architect was Geoffrey Williams of Greenhalgh & Williams, the builder Whitworth, Whittaker & Co Ltd of Oldham, and the cost £27,140. Bishop Beck blessed the foundation stone on 7 December 1957, and the church was formally opened in 1958.

Taking Stock

It’s a long straight uphill Roman road to Holy Family.

Well worth the effort to visit a well kept suburban church, constructed with load bearing walls faced in brown and buff bricks and steel roof trusses. The shallow-pitched roof was originally clad in copper but is now felted, flat roof areas are concrete. 

Let’s take a look.

Sheila Gregory Hair Stylist – Manchester

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142 Oldham Road Failsworth Manchester M35 0HP

I’m in a different world:

A world I never knew, I’m in a different world.
A world so sweet and true, I’m in a different world.

A world of rollers, pins, grips, hair dryers and drying hair.

A world permanently waving at itself.

My thanks to Sheila – sixty years a stylist and her customers for allowing me into their world for a short time – a privilege and a pleasure.

Little seems to have changed here within – on the corner of Oldham Road and Mellor Street.

Let’s take a little look.

Shelia’s certificates of 1962 – so proudly displayed.

The Wash Tub Levenshulme – Manchester

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When is a washtub not a washtub – self evidently when it doesn’t wash.

This is the land of the decommissioned washer – cash box removed, unrepurposed, demure and decorative yet sadly redundant.

This is a dry only facility its surfaces inert, frozen in time, its sign declaiming pointless imperatives to nobody in particular.

Worn lino, prosaic mosaic, strip lighting, wood-grained Formica, black wooden benches backed up against the warmth of the warm drier – time becomes elastic, limitless.

Enter at your own peril, Persil in hand prepare to be disappointed.

Ten Acres Lane Again – Manchester

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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.

The former Tootal’s Mill is now owned by Sleepdown Textiles.

Some of the older terraces were spared the wrecker’s ball.

Industrial sites remain fenced and unused slowly returning to some form of urban natural habitat.

The cast-iron Rochdale Canal bridge is still in place – it was itself a replacement for an earlier masonry version.

Mather and Platt’s foundry sheds are just about hanging on – though I am uncertain of their current use and ownership.

The recreation ground is now an extensive community football facility and also home to the National Taekwondo Centre.

This large tract of land once Jackson’s Brickworks is under consideration for a modern private housing development

Much of the inter-war housing stock is still extant.

The sad shell of the Co-operative corner shop currently half storefront church half former tyre supplier is a sorry sight.

The still-standing CWS Works.

Finally passing under the railway bridge and descending into the Medlock Valley – our journey’s end.

Ten Acres Lane – Manchester

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Ten Acres Lane 1904 running south from Oldham Road – not quite crossing under the Ashton and Stalybridge Railway.

I was propelled by the vague memory of an Ashton Lads football match way back in the 1970s – my dad Eddie Marland managed the team in the Moston and Rusholme League.

There was land given over to recreation from 1900, the area is famed for its links to the inception of Manchester United and almost but not quite became home to FC United.

The Recreation Grounds in 1900.

To the left of the inter-war housing in 1963.

So I took a trip back in time along the lane – courtesy of the Local Image Collection.

In 1896 the area was largely farmlan

Baguley Fold Farm – occupying land adjacent to the Medlock Valley.

Farm Yard Tavern closed in 1917 a Rothwell’s pub supplied from Heath Brewery on Oldham Road.

This was an area dominated by the Rochdale Canal and criss-crossed with rail links.

The canal bridge 1904.

Construction work 1920.

Tootal’s Mill.

CWS warehouse and works corner of Briscoe Lane.

Mather And Platt’s adjoining the Rochdale Canal.

The area was also home to Jackson’s Brickworks.

There was a Co-op shop.

Going going gone St Paul’s Church seen here in 1972.

Victorian terraces and inter-war social housing – homes for a large industrial work force.

Many of the sights and sites above are still extant though their appearance and uses have changed along with the times. Manchester inevitably continues to from and reform for good or ill.

Sadly the old Rec the Moston and Rusholme League and my dad are all long gone – though it’s just as well to remember them all fondly, as we travel through our familiar unfamiliar city.

William Mitchell – Newton Heath

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On meeting an old friend in Manchester – following previous encounters in Coventry, Salford and Liverpool

Following a lead from Neil Simpson I cycled along Clayton Vale and emerged on Amos Avenue where the flats came into view.

I was in search of an an averaged sized totemic concrete municipal public art pillar – similar to the example to be found in Eastford Square.

It belongs to a time when Municipal Modernism was very much in vogue – the provision of social housing along with the commissioning of murals, sculptures, mosaics and tiled reliefs.

There has been some discussion regarding its authorship – it may or may not be the work of William Mitchell – both Skyliner and The Shrieking Violets have tried to find an answer.

Inevitably my only concern is art over authenticity – does it move you?

Let’s just take a little look.



Salford University

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So here we are hard by the River Irwell, Peel Park and the A6.

The Royal Technical Institute, Salford, which opened in 1896, became a College of Advanced Technology in 1956 and gained university status, following the Robbins Report into higher education, in 1967.

A new dawn – fired by the white hot heat of British Technology – including the unrealised demolition of the Victorian College, Art Gallery and Museum buildings.

B&W images courtesy USIR Archives

The Maxwell Building and Hall forms the older portal to the campus site.

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

In back of the Maxwell complex is the Cockcroft Building.

Sir John Douglas Cockcroft OM KCB CBE FRS 27 May 1897 – 18 September 1967 was a British physicist who shared with Ernest Walton the Nobel Prize in Physics in 1951 for splitting the atomic nucleus, and was instrumental in the development of nuclear power.

The concrete relief to the east fascia of the northern block of the building is now sadly obscured by the addition of intrusive infrastructure.

This incised block of limestone tiles laden with fossilised remains is a curious delight.

Just around the corner the Chapman Building.

This latter day piece of brutalism is buried within the campus of the University of Salford. It was designed by W.F. Johnson and Partners of Leamington Spa, as a lecture theatre block and gallery. It sits with its long axis running parallel to the railway behind. The series of grey volumes, occasionally punctuated by colourful floods of red and green trailing ivy, hang together in a less than convincing composition. The orientation and access to the building seem confused and detached from any cohesive relationship to the rest of the campus, but there is something perversely attractive about the right essay in the wrong language. The reinforced concrete building contained five lecture theatres, communal spaces, an art gallery, AV support areas and basement plant rooms. Following a major refurbishment in 2012, several additions were made to the exterior and its total concrete presence somewhat diminished. It still houses lecture theatres and a number of other learning and social spaces.

Mainstream Modern

Across the wide and wider A6 are Crescent House and Faraday House – formerly home to the AUEW Amalgamated Union of Engineering Workers, ceded to the University in the 1970s

Let’s shimmy along to the former Salford Technical College site.

Now the part of the University of Salford, this grouping is probably the most significant work by Halliday Meecham during this period. The blocks wrap to almost enclose a courtyard and they step up in height towards the rear of the site. To the front is a lecture theatre block in dark brick. The multi-storey elements are straightforward in their construction and appearance and have had their glazing replaced. Perhaps the richest elements here are the three totemic structures by artist William Mitchell, which were listed at Grade II in 2011. Mitchell was actively engaged with the experiments of the Cement and Concrete Associations during the 1960s and produced a wide variety of works for public and private clients; other works regionally include the majority of the external art and friezes at Liverpool Metropolitan Cathedral and the Humanities Building at Manchester University. These textured concrete monoliths appear to have an abstract representation of Mayan patterns and carry applied mosaic. They were made on site using polyurethane moulds. There is another Mitchell work hidden behind plasterboard in the inside of the building.

Mainstream Modern

More about the:

Minut Men

Shopping City

High Street Estate

Flemish Weaver

Woolpack

High Street Estate – Pendleton

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High Street Pendleton 1930s – the cast of Love on the Dole walk down High Street Pendleton, passing Hill’s Pawnbroker, author Walter Greenwood is ninth from the right.

This was a dense area of back to back terraces adjacent to pubs, schools, churches, mills, docks and cattle markets. Communities formed from shared patterns of employment, education, leisure and worship.

These communities survived into the 1960s and the coming of slum clearance, followed by an intense period of rebuilding in the modern manner.

Archival photographs Digital Salford

Patterns of employment, economic boom and bust, the exponential expansion in higher education, all contribute to the change in character of the area, along with slow and sudden demise in social housing.

2014 and the area begins to be reshaped yet again – this time by former resident Mr Peter Hook, who grew up in the area, the low slung former New Order bass meister described it in a book as – rotten and horrible, like a concrete wasteland

The Orchards tower block, the first of three, is removed piece by piece, each of the 14-storey blocks took around six weeks to be demolished.

The citizens of High Street Estate await the ‘dozers with apprehension and a sense of grim inevitability.

Clearance begins with the promise of new homes, tenants and homeowners are relocated, houses are tinned up or demolished wholesale. – a few remain in situ dissatisfied and afraid.

Altogether, 885 houses in Pendleton are being bulldozed and, to date, 584 have already been demolished, including houses on Athole Street and Amersham Street. Over the Pendleton Together project’s £650million thirty year life, only around one third of new houses being built will be affordable.

Meanwhile, after years of anguish and uncertainty, Fitzwarren Court and Rosehill Close, previously down for demolition, are being saved. Salix Homes will now bring flats in Fitzwarren Court and houses in its ownership on Rosehill Close up to the Decent Homes Standard. 

Salford Star

So welcome to Limboland – as financial arrangements shift, shimmy and evaporate – government policy, local authority pragmatists, private partnerships and funding perform a merry dance of expediency, around an ever diminishing circle of demolition, development, stasis and deceit.

Burton’s Moderne – Ashton and Beyond

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In almost every town or city worth its salt stood a modern white tiled tailor’s shop, almost every man or boy wore a Burton’s suit.

Harry Wilson had become the company architect by the early 1920s, and was responsible for developing Burton’s house style. Montague Burton, however, maintained a close personal interest. The company’s in-house Architects Department was set up around 1932 under Wilson. He was followed as chief architect around 1937 by Nathaniel Martin, who was still in post in the early 1950s. The architects worked hand-in-hand with Burton’s Shopfitting and Building Departments, who coordinated the work of selected contractors. Throughout the late 1920s and 1930s they were kept phenomenally busy: by 1939 many of Burton’s 595 stores were purpose-built.

The very first made to measure gear I owned came from Burton’s in Ashton under Lyne – mini-mod aged fourteen in a three button, waisted, light woollen dark brown jacket, four slanted and flapped side pockets and an eighteen inch centre vent.

Just the job for a night out at the Birdcage, Moon or Bower Club

The story of the stores begins in the province of Kovno in modern Lithuania – Meshe David Osinsky (1885-1952), came to England where he initially took the name Maurice Burton. 

The distinctive architecture stood out on the high street, Art Deco motifs and details abound – elephants chevrons and fans.

Topped off with the company’s distinctive logotype.

This example in Doncaster is one of the few remaining examples many having been removed – as the stores have changed ownership and usage.

This Neo-Classical Burnley branch is a rare example of a Burton’s which hasn’t gone for a Burton.

The group maintained a distinctive graphic style in labelling signage and advertisements.

Often including ornate mosaic entrances, ventilation covers and obligatory dated foundation stones – as seen in this Ashton under Lyne branch.

Stores often housed dance halls or other social spaces.

In 1937 Burton’s architect, Nathaniel Martin, collaborated with the architects Wallis Gilbert & Partners on a subsidiary clothing works on the Great Lancashire Road at Worsley, near Manchester. Conceived as a Garden Factory and built in a modern style, this was dubbed ‘Burtonville Clothing Works’. It opened in October 1938 .

Where machinists worked on Ashton built Jones equipment.

Time changes everything and the inception of off the wall unisex disco clothing saw the made to measure suit fall into a chasm of loon pants and skinny rib grandad vests.

The Ashton branch becomes a motorcycle then fitted kitchen showroom, topped off with a succession of clubs and various other modern day leisure facilities.

Currently home to the Warsaw Delicatessen and Good News Gospel Church

Formerly Club Denial.

This is the tale of the modern high street grand ideas, architectural grandeur, entrepreneurial immigrants, style and fashion – disappearing in a cloud of vinyl signage and fly by night operations. Though if you look carefully the pale white shadows of Burton’s are still there in one form or another, however ghostly.

Heaton Norris Park – Stockport

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Heaton Norris Park’s elevated position gives stunning views of the Stockport town centre skyline and of the Cheshire plain. The central position of the Park means that it is a green retreat for shoppers and local residents. Also it is within easy reach of the Stockport town centre. The land for this park was acquired by public subscription and as a gift from Lord Egerton. Work on laying out the site as a public park began in May 1873, and it was formally opened on June 5th 1875. Since then it has undergone a number of changes. The construction of the M60 has shaved several acres off the park’s size.

The park is predated by the nearby Drabble Ash Pleasure Gardens – entrance strictly by token only, as commemorated on the BHS Murals in Merseyway.

5 November 1905 – Edward VII declares his eldest daughter The Princess Louise, Duchess of Fife, the Princess Royal.

He also orders that the daughters of Princess Louise, Lady Alexandra Duff and Lady Maud Duff are to be styled as Princesses of the United Kingdom of Great Britain and Ireland with the style Highness.

So they built a big bonfire on bonfire night at Heaton Norris Park – sometimes they still do.

Picture courtesy of ©Phil Rowbotham

In 1935 the area seems to be little more than windswept cinders and thin forlorn grass, traversed by broad uneven paths – overlooking the dark industrial mire below.

Into the 1960s and although now there is the provision of a children’s play area, the park is still in need of a little more care and attention, the immediate surroundings a dense dark warren of industrial activity and terraced housing.

In 1968 the construction of two twelve storey Stockport County Borough Council residential blocks begins, alongside the recreation grounds, Heaton and Norris Towers, creating 136 new homes.

The 1970s sees the banked gardens bedded out with summer flowers and a crazy golf course on the edge of the bowling area. Both of these features are now a thing of the past, the future financing, care and maintenance of our parks is always precarious, especially during times of central government funding cuts and enforced austerity.

© John Davies

The park now has a Friends group to support it, along with I Love Heaton Norris. The area is cared for and used by all ages and interests children’s play, bowls, tennis, conservation area, football, picnic and floral areas – somewhere and something to be very proud of, social spaces for sociable people.

And much beloved of Natalie Bradbury the SS Norris concrete boat.

Take a walk over the concrete bridge or along Love Lane and treat yourself to a day in the park

Archive photographs Stockport Local Image Archive