The Turnpike Centre was designed by J C Prestwich and Sons architects, who, incidentally, also designed Leigh Town Hall nearly 70 years earlier.
Since its opening in 1971, the bustling library, thriving art gallery and popular meeting rooms have seen a phenomenal 12 million people walk through the doors, while staff have answered almost 400 thousand questions and issued more than 17 million books, cassettes and CDs.
The fascia is graced by a grand cast concrete relief the work of William Mitchell.
All but abandoned by the cash-strapped local council in 2013, Turnpike Gallery in the former mining town of Leigh near Wigan, is entering a new stage in its history with the creation of a community interest company to run its programme.
We were there at the behest of Esther and Leigh, gathering to say farewell to Alan Boyson’s Three Ships, as it transpired we were there to celebrate its reprieve, following their campaign for listing.
Over a million tesserae glowed in the low winter sun – so did we.
As Helen Angell read her poem – Christopher Marsden and Esther Johnson recording the performance for posterity.
The Three Ships are attached to a former Cooperative Store – complete with a formerly working Cooperative Store clock – where we meet at four minutes to six – forever.
We had previously encountered Hammonds of Hull/House of Fraser – soon to be a food court, artisan everything outlet.
And this Festival of Britain style functionalist council building.
Onward to the Queens Gardens the almost filled in former Queens Dock – forever fourteen feet below sea level.
We encounter Ton Liu’s Solar Gate – a sundial that uses solar alignment to mark significant times and dates in Hull. The super-light innovative two-shell structure is place-specific, responding to pivotal historic events and to the cultural context of its location in Hull’s Queens Gardens adjacent to the ancient site of Beverley Gate.
Carved stone panels Kenneth Carter 1960 – Ken’s art career began as an inspiring teacher, first at his alma mater, Hull College of Art, and later as principal lecturer at Exeter College of Art.
A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to:
The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.
This is Grimsby Central Library – a proud public building of real quality, reflecting the cautious optimism and fierce civic pride of the Sixties. Built to last, in the modern manner – gently monumental, softened by the easy grace of the restrained decoration and a refined palette of stone, glass and concrete.
By the Borough Architect – JM Milner ARIBA
This image was used as the Mayor’s Xmas card in 1969.
The bold exterior grid is enhanced by a honeycombed grille above the entrance, along with a mosaic depicting the town’s seal.
The mosaic is the work of Harold Gosney – who is also responsible for the Abbey Walk reliefs and the Guardians of Knowledge which adorn the south facing elevation of the library.
To the rear of the building is a modular relief.
Inside the entrance porch a commemorative plaque.
Once inside, what a pleasure it is tread upon this interstellar inset stone flooring.
Either side of the lobby display case there are two vertical tapestries.
Along with a further plaque commemorating the opening on the 3rd September 1968 – by the then local MP Anthony Crosland.
Crosland looked ahead to a time where “personal freedom, happiness and cultural endeavour; the cultivation of leisure, beauty, grace, gaiety and excitement… might be pursued.” After he was elected MP for Grimsby in 1959, he referred to the above passage in an early speech, insisting – to much laughter, cheering and applause from the audience, that “it is possible to achieve all these things in Grimsby, and especially at Blundell Park.”
May I take this opportunity to thank the ever so helpful library staff – for kindly granting me permission to photograph the main body of the library.
Many original fittings and fixtures are intact – particularly the distinctive vertical suspended lighting system and the steel and wood stairways.
The facilities were well used and lit by the expansive window space.
Let’s take another final look outside, and say a fond farewell to this fine building – go on treat yourself, take a trip to the East Coast and feast your eyes, heart and mind on this beauty.
Or possibly simply bump into them, casually walking around Sheffield and environs.
The Arts Tower is an exciting amalgam of Manchester’s CIS Tower, Mies van der Rohe’s Seagram Building and itself. A sleek slab of steel and glass, occupying a prominent site with views across Sheffield’s seven hills.
On a sunny Sunday in early April the adjoining library was alive with studying students and Modernists, attracting the odd, odd look, as we stopped and stooped to snap the odd period detail or two. It has retained much of its original character and features, deliciously elegant, almost edible chairs, some signage – and a clock.
Though the seven is mysteriously missing.
It was opened by TS Elliot.
On 12th May 1959 – it was a Tuesday.
The Arts Tower 12 Bolsover Street in Sheffield, belonging to the University of Sheffield and opened in 1966. English Heritage has called it
“the most elegant university tower block in Britain of its period”.
At 255 feet/78 m tall, it is the second tallest building in the city. It is also the tallest university building in the United Kingdom.
Designed by architects Gollins, Melvin, Ward & Partners, construction of the tower started in 1961 and lasted four years.
Entry to the building was originally made by a wide bridge between fountains over a shallow pool area in front of the building. This pool was eventually drained and covered over when it was found that strong down drafts of wind hitting the building on gusty days caused the fountain to soak people entering and exiting the building.
The building was officially opened by Queen Elizabeth, The Queen Mother in June 1966; it has 20 stories and a mezzanine level above ground. As its name suggests, the building originally housed all the University’s arts departments. Circulation is through two ordinary lifts and a paternoster lift, at 38 cars the largest of the few surviving in the United Kingdom.
A bridge at the mezzanine level links the tower to Western Bank Library. This building was also designed by Gollins, Melvin, Ward & Partners—the two buildings are intended to be viewed together, the Arts Tower and Library are Grade II* listed buildings.
So if you have a penchant for a tall slab with an adjoining library, set in expansive parkland on the perimeter of a dual carriageway – go take a look.
Built and opened in 1967, designed by the County Architect Roger Booth, who was also responsible for a whole host of buildings in Lancashire between 1962 and 1983.
Almost fifty years on, the building still speaks of modernity, optimism, light and learning. It’s well used and loved by the public and the charming and helpful staff – many thanks, for your time and assistance.
Application was made for listing, this was not accepted – there have been significant changes to both the external and internal structure over time.
The vertical, impressed cast concrete panels, shown above, have been replaced by brick.
The original suspended *bean can* lighting system has also been replaced. At night, I was told it was hard to navigate the building using the limited spot illumination, so a box of bike lights were kept and handed out, to permit the safe, well-lit passage of library users.
Concentric hexagonal rings of suspended strip lighting are now in place.
Sadly the vivarium, contained in a glassed link corridor, was short lived.