The Carlton Picture Theatre in Anlaby Road was designed by the firm of Blackmore & Sykes and was built by Messrs. Greenwood and Sons.
It was run by Hull Picture Playhouse Ltd.
This was a lavish suburban cinema, with an elaborate green and gold sliding dome utilising Venetian glass and housing hundreds of concealled lights. Roman marble mosaics and painted plaster panels on the walls added to the sense of occasion engendered by a trip to the flicks.
A Fitton & Haley organ was installed, but this was later removed to the more central Cecil Theatre and was destroyed when that theatre was bombed during WW II.
The cinema had two entrances, one in each of the two towers on the front corners of the building. Above the proscenium was the inscription, rather inapt given how soon talkies arrived :
“A Picture is a poem without words”.
There was a single balcony and, for its date, a surprisingly large car park.
It continued unaltered, save for minor war damage, until its closure in April 1967, after which it was simply converted to bingo usage which continued as a Mecca Bingo Club until 2008.
The building was originally developed by C&A and it is thought that funding for the reliefs might have been provided by the store and/or Northern Arts. It became BHS which subsequently closed, the building is now occupied by Primark, C&A estates still own the site.
A simple three-arched entrance had been built facing the seafront and the area was now completely enclosed within a boundary. In 1909, large rides appeared, including a Figure Eight rollercoaster and a Water Chute. Elderton and Fail wanted to make a statement and create a new, grand entrance to the fairground. They hired the Newcastle architects Cackett& Burns Dick to survey the site and begin drawing up plans for new Pleasure Buildings.
Building began in February 1910 and the construction was completed by builders Davidson and Miller 60 days later. The use of the revolutionary reinforced concrete technique pioneered by Francois Hennebique was perfect for the job, being cheap and fast. The Dome and surrounding buildings – a theatre and two wings of shop units – opened on 14 May 1910 to great fanfare. Visitors marvelled at the great Spanish City Dome, the second largest in the country at the time after St. Paul’s Cathedral in London, which provided a spectacular meeting place with uninterrupted views from ground level to its ceiling, 75 feet above.
Telegraph-wire cyclists, acrobatic comedians, singing jockeys, mermaids, they all appeared at the Spanish City during its first decade. One of the wings hosted the menagerie, where visitors could see hyenas, antelopes and tigers! This was converted into the Picture House cinema in 1916.
A little further along, a selection of Seaside Moderne semis in various states of amendment and alteration.
Before I knew it I was in Blyth.
The town edged with military installations
Gloucester Lodge Battery includes the buried, earthwork and standing remains of a multi-phase Second World War heavy anti-aircraft gun battery and radar site, as well as a Cold War heavy anti-aircraft gun and radar site. The battery occupies a level pasture field retaining extensive rig and furrow cultivation.
827 men of the 225th Antiaircraft Artillery Searchlight Battalion of the U.S. Army, arrived at this location in early March 1944 and were attached to the 30th British AAA Brigade. Here they sharpened their skills in the high-altitude tracking of aircraft.
The cycle route took me off road along the estuary and under the flyover.
Encountering a brand new factory.
And the remnants of the old power station.
Blyth Power Station – also known as Cambois Power Station, refers to a pair of now demolished coal-fired power stationsThe two stations were built alongside each other on a site near Cambois in Northumberland, on the northern bank of the River Blyth, between its tidal estuary and the North Sea. The stations took their name from the town of Blyth on the opposite bank of the estuary. The power stations’ four large chimneys were a landmark of the Northumberland skyline for over 40 years.
After their closure in 2001, the stations were demolished over the course of two years, ending with the demolition of the stations’ chimneys on 7 December 2003.
UK battery tech investor Britishvolt has unveiled plans to build what is claimed to be Britain’s first gigaplant at the former coal-fired power station in Blyth in Northumberland.
The £2.6 billion project at the 95-hectare Blyth Power Station site will use renewable energy from the UK and possibly hydro-electric power generated in Norway and transmitted 447 miles under the North Sea through the ‘world’s longest inter-connector’ from the North Sea Link project.
By 2027, the firm estimates the gigaplant will be producing around 300,000 lithium-ion batteries a year.
The project is predicted to create 3,000 new jobs in the North East and another 5,000 in the wider supply chain.
Two pioneering young entrepreneurial architects who worked with Le Corbusier and Ove Arup first met in the office of Berthold Lubetkin. In 1953, they formed Ryder and Yates in Newcastle upon Tyne. That Le Corbusier, Lubetkin and, to no less extent Newcastle born Arup, had a powerful influence on the subsequent design philosophy of Gordon Ryder and Peter Yates can still be seen in any evaluationof Ryder’s work today.
Lyons obtained a licence to use the Wimpy brand in the United Kingdom from Edward Gold’s Chicago based Wimpy Grills Inc. and, in 1954, the first Wimpy Bar was established at the Lyons Corner House in Coventry Street, London.The bar began as a special fast food section within traditional Corner House restaurants, but the success soon led to the establishment of separate Wimpy restaurants serving only hamburger-based meals.
In a 1955 newspaper column, Art Buchwald, syndicated writer for the Washington Post, wrote about the recent opening of a Wimpy’s Hamburger Parlor on Coventry Street and about the influence of American culture on the British.
Food served at the table within ten minutes of ordering and with atomic age efficiency. No cutlery needed or given. Drinks served in a bottle with a straw. Condiments in pre-packaged single serving packets.
In addition to familiar Wimpy burgers and milkshakes, the British franchise had served ham or sardine rolls called Torpedoes and a cold frankfurter with pickled cucumber sandwiches called Freddies.
During the 1970s Wimpy refused entry to women on their own after midnight.
Moving along eye spy the Isle of Wight Ferry through the Hovertravel window.
Hovertravel is now the world’s oldest hovercraft operator, and this service is believed to be unique in western Europe.
It is the world’s only commercial passenger hovercraft service.
The operator’s principal service operates between Southsea Common on the English mainland and Ryde Transport Interchange on the Isle of Wight: the crossing time of less than 10 minutes makes it the fastest route across The Solent from land to land.
This service commenced operations in 1965, Hovertravel currently operates two 12000TD hovercraft on a single route between Ryde and Southsea.
The Knight & Lee building, which is located between two conservation areas on a prominent corner of Palmerston Road and Clarendon Road in Southsea, Portsmouth, was designed by Cotton, Ballard and Blow.
Founded 1847 when Richard Gale acquired the Ship & Bell home brew house.
Registered in April 1888 with 80 public houses.
Acquired by Fuller, Smith & Turner Ltd in 2005 with 111 houses and closed.
Now we is at the Borough Arms and other favourite – purveyors of strong rough cider.
Built in 1899 architect AE Cogswell as the Old Vic now listed but no longer a pub
Along with the adjacent Wiltshire Lamb which since the 1980s this pub has had a variety of names including, Drummond’s, Tut ‘n’ Shive, Monty’s and now Hampshire Boulevard, usually shortened to HB.
The Norrish Central Library: city architect Ken Norrish 1976 – is all that remains this Brutal part of Portsmouth.
It faces the stylish new Civic Centre: Teggin & Taylor 1976 – a piazza completed by the adjacent Guildhall.
Alas no more:
The Tricorn Centrewas a shopping, nightclub and car park complex, it was designed in the Brutalist style byOwen Luder andRodney Gordon and took its name from the site’s shape which from the air resembled a tricorn hat.
Constructed in the mid-1960s, it was demolished in 2004.
Next we are by the former Portsmouth Polytechnic Fine Art block in Lion Terrace.
The ground floor corner housed the print room where I learnt my craft under the tutelage of Ian Hunter who we hooked up with for a pint and a chat.
Thanks ever so Ian for everything.
The happy days came to an end when the department was acrimoniously closed during a Hampshire shuffle.
We also cycled out to Langstone Harbour in search of the Arundel Canal lock gates, where Tim had languidly drawn away the hours, too many summers long ago.
After some circuitous searching we finally found them.
We ended a long day in the Barley Mow sharing yet another pint, one of many in our almost fifty year friendship.
While working for George Wimpey and Co. Ltd, and together with J E Tyrrell, Chief Architectural Assistant to Gosport Borough Council, Kenneth Barden was responsible for tiled murals on Seaward Tower and Harbour Tower, two sixteen-storey tower blocks built in 1963 on the Esplanade in Gosport.
The surfaces of the tower blocks are covered in mosaic murals designed by Barden that rise the full 135 foot height of the buildings. They were controversial initially but are now a tourist attraction.
1937-38 by Reynolds and Scott built in buff brick of a Modernist Byzantine style.
The choice of the Apostle of Holland as a patron saint for the parish was that of a Dutch priest, Fr. Sassen, who bought land for the parish from St. Brigid’s in 1905. The new parish was opened in 1906.
Fr. Charles Hanrahan developed the mission in its infancy and was followed by Fr. Richard Mortimer, who laboured here for a long period, devoting most of his priestly life to the parish.
Fr. Patrick Dillon supervised the building of the magnificent new church of unusual design, which was opened in 1938.
You were conceived as an integral part of the Merseyway development, which on its inception, was held in the highest regard.
Innovative architecture with confidence, integrity and a clear sense of purpose.
The failure of BHS was a national disgrace, venal management, asset stripping, avaricious, grasping rodents ruled the day.
Dominic Chappell, who had no previous retail experience, bought the high street chain from the billionaire Sir Philip Green for £1 in March 2015. The company collapsed with the loss of 11,000 jobs 13 months later, leaving a pension deficit of about £571m.
A sad end for a company with a long history and presence on the high street.
With an architectural heritage to match:
BHS’s chief architect at this time was G. W. Clarke, who generally worked alongside W. S. Atkins & Partners, as consulting engineers. The stores – like Woolworth’s buildings – were composite structures, with steel frames and concrete floors. Clarke sometimes appointed local architects.
At first, like C&A, BHS retained the narrow vertical window bays and margin-light glazing that had characterised high street façades in the 1930s, but by the end of the 1950s Clarke had embraced a modified form of curtain-walling.
This architectural approach became firmly associated with BHS, with framed curtain wall panels – like giant TV screens – dominating the frontages of many stores.
Of late the store has been home to Poundland – though time has now been called.
Poundland’s retailing concept is extremely simple: a range of more than three thousand – representing amazing value for money.
Our pilot store opened in the Octagon Centre, Burton-upon-Trent, in December of 1990, followed by new stores in High Street, Meadowhall and other quality trading locations. Shoppers loved the concept and so did fellow retailers and landlords. The stores proved to be a huge success. Meadowhall’s success was repeated by further stores opening by the end of the year.
The store has been a success even during COVID restrictions, let us hope that the planned return goes ahead.
So here is my record of the building as is, a tad tired, but in its day a simple and authoritative amalgam of volumes and materials.
Mixing variegated grades of concrete, tiling, mosaic, brick, steel and glass.
I have had the privilege and pleasure to visit St John’s several times over the years and doubly pleased to visit with a group of some 30 Modernists in March 2020 as part of a Rochdale Walk, prior to the lockdown days later.
I cannot thank Christine Mathewson and her fellow volunteers enough for the warm welcome we were given. They take such pride in their church and are eager to convey that pride along with their obvious erudition.
Approaching from the adjacent railway station we could not fail to be impressed by the scale and grandeur of the church, a wonderful mix of the Byzantine and restrained Art Deco – most clearly expressed in the sculptural angels looming high above the tram stop.
The building is Grade II* Listed and deservedly so – details can be found here on the Historic England site.
The original design pre-1917 by Oswald Hill, executed in 1923-25 by Ernest Bower Norris. Henry Oswald Hill was a promising architect with a clear interest in contemporary church-building trends, as evidenced here and at the nearby RC Church of St Joseph, Heywood, he was tragically killed in action in the First World War.
The church uses concrete to its advantage in the construction of the striking, 20m-wide central dome, surrounded by the delicate touch of several arched stained glass windows at the perimeter.
Illuminating the concave space in a heavenly manner.
The apsed sanctuary contains an encompassing mosaic scheme of powerful emotional intensity designed by leading mosaic designer, Eric Newton of specialist firm Ludwig Oppenheimer Ltd.
The mosaic is breathtaking in scale, design and execution – nothing can prepare you for its impact as you enter the church.
The quality of the sanctuary mosaic is further enhanced by the use of high-quality tesserae made of stone, coloured marbles and coloured glass, set off by a shimmering background of gold tesserae.
The apsed sanctuary is completely covered in a mosaic scheme with the theme Eternal Life designed by Eric Newton. Newton was born Eric Oppenheimer, later changing his surname by deed poll to his mother’s maiden name. He was the grandson of Ludwig Oppenheimer, a German Jew who was sent to Manchester to improve his English and then married a Scottish girl and converted to Christianity. In 1865 he set up a mosaic workshop, (Ludwig Oppenheimer Ltd, Blackburn St, Old Trafford, Manchester) after spending a year studying the mosaic process in Venice. Newton had joined the family company as a mosaic craftsman in 1914 and he is known to have studied early Byzantine mosaics in Venice, Ravenna and Rome. He later also became art critic for the Manchester Guardian and a broadcaster on ‘The Critics’. Newton started the scheme in 1932 and took over a year to complete it at a cost of £4,000. It had previously been thought that he used Italian craftsmen, but historic photographs from the 1930s published in the Daily Herald show Oppenheimer mosaics being cut and assembled by a Manchester workforce of men and women. It is likely, therefore, that the craftsmen working on St John the Baptist were British.
The whole building is full of surprising details of the highest quality.
Lit by simplest yet most effective stained glass.
This is an exemplary building, on entering one is filled with both calm and awe, an experience which is never diminished by subsequent visits.
The mosaic work is on local and international significance – it is unthinkable that it may ever be lost to us, or that funding was not forthcoming to secure its future into perpetuity.
I implore you to visit, whensoever that may be possible.
Please take a moment append your comments on this post and play some small part in ensuring the St John’s is preserved for generations to come.
Positioned above the entrance/exit and either side of the exit/entrance.
They have had over time various companions to keep them company.
They are currently friendless – the Kirkgate Market is to be closed, its future uncertain – and by inference Big Bill’s public art is under threat too.
The Council has announced to its traders in Kirkgate Market and the Oastler Centre that it will not be carrying out the proposed refurbishment of Kirkgate Market as the new market in Darley Street will now accommodate non-food sales on one trading floor with the other trading floor being dedicated to fresh foods and the 1st floor for hot food and beverage sales.
As per they are unlisted, largely unnoticed and as such very vulnerable, get it while you can, take a trip to Bradford real soon.
Mention must also be made of the tiled ceramic mosaics which adorn one wall and the three panels on the raised area above the stalls.
I was most intrigued by these tiles – I have not seen this type before – they have a resemblance to to Transform tiles that were produced in Staffordshire in the 1970s, but they are different in several ways.
The November 1973 T&A microfilm appears to have been stolen from Bradford Library so I can’t check reports and features from the time of the opening of the market on November 22 1973.
When World War II broke out, Hastings and St Leonards-on-Sea were considered vulnerable to attacks and invasion from abroad. On the night of Saturday 29 July 1944 a doodlebug was hit over the English Channel. Damaged, it nevertheless continued to fly towards the coastline of St Leonards-on-Sea. It was approaching Marine Court which was hosting a servicemen’s party – but it veered and crashed in front of the doors of St Leonard’s Church, making a deep crater. The tower fell into this, and the rest of the church was brought down as well. Although there were no casualties, the church was completely destroyed. Although the problem of rock falls and subsidence associated with the cliffs had continued throughout the life of the church, the War Damage Commission would only pay for it to be rebuilt on the same site. The architectural partnership of brothers Giles and Adrian Gilbert Scott were commissioned to design the new building.
Patrick Reyntiens stained glass
The unique features were inspired by Canon Cuthbert Griffiths, rector from 1929 to 1961. Following a dream, he went to Israel and had the prow of a Galilean fishing boat constructed to form the pulpit.
Marble work on the floor depicts locally caught skate and herring.
Beyond the communion rail are loaves and fishes set in different marble patterns bordered by scallop shells, a copy of the Byzantine mosaic in the Church of the Feeding of the Five Thousand in Galilee.
The structure set into shifting cliffs is subject to subsidence.
Procedures have been completed for St Leonard’s Parish Church on Marina to be closed for worship.
The service will be next Saturday August 4 2018 at 3pm.
Because the building cannot be used the service will be at St Ethelburga’s in St Saviour’s Road.
St Leonard’s has been called the church with an inbuilt message. Even the very stones cry out to those who have eyes to see, ears to hear and a heart to understand and accept the Good News of the Gospel.
The oyster shell houses, together with the homes on the Beachlands Estate, were a form of kit build, imported from Sweden by local builders Martin and Saunders. The original plan to build envisaged a choice from as many as twelve possible kits, built in four waves, the estate is now studied, photographed and mentioned by architectural historians from across the country.
It was decided to ask the RIBA to hold a competition to design the new building and the choice of judge was made by its president Sir Raymond Unwin. He selected Thomas S. Tait, who was respected by established architects but was also known to be sympathetic towards the ideals of new ‘modernist’ architects. The Bexhill Borough Council prepared a tight brief that indicated that a modern building was required and that heavy stonework is not desirable.The competition was announced in The Architects Journal of 7 September 1933, with a closing date of 4 December 1933. Two hundred and thirty designs were submitted and they were exhibited at the York Hall in London Road, from 6 February to 13 February 1934. The results were announced in the Architects Journal of 8 February 1934 and the £150 first prize was won by Erich Mendelsohn and Serge Chermayeff.
Today Monday 27th July 2015 – leaving Ilfracombe the royal we head south along the Tarka Trail, giving Cornwall a swerve.
Though first we feast on a slightly out of focus fry up at the digs.
Inspired by the route travelled by Tarka the Otter, this 180 mile, figure eight route traverses unspoiled countryside, dramatic sea cliffs and beautiful beaches. The southern loop incorporates the longest, continuous off-road cycle path in the UK. Walking or cycling, you can experience the best this beautiful area has to offer.
Then away we go following the former train line out of town.
The Ilfracombe Branch of the London & South Western Railway, ran between Barnstaple and Ilfracombe. The branch opened as a single-track line in 1874, but was sufficiently popular that it needed to be upgraded to double-track in 1889.
The 1:36 gradient between Ilfracombe and Mortehoe stations was one of the steepest sections of double track railway line in the country.In the days of steam traction, it was often necessary to double-head departing passenger trains.
Named trains such as the Atlantic Coast Express and the Devon Belle both started and terminated at Ilfracombe.
Despite nearly a century of bringing much-needed revenue into this remote corner of the county, passenger numbers dropped dramatically in the years following the Second World War, due to a massive increase in the number of cars on Britain’s roads, and the line finally closed in 1970.
Much of the course of the line is still visible today, and sections of it have been converted into public cycleways.
We leave behind – theshadowy world of secret handshakes, favours for friends and strange initiation ceremonies.
For the equally shadowy world of military installations.
The water tower at RAF Chivenor.
Originally a civil airfield opened in the 1930s, the site was taken over by the Royal Air Force in May 1940 for use as a Coastal Command Station. After World War II, the station was largely used for training, particularly weapons training.
In 1974 the station was left on care and maintenance, in 1994 7 FTS left Chivenor, merging with No. 4 Flying Training School RAF at RAF Valley, and the airfield was handed over to the Royal Marines.
A most delightful cycle path alongside the estuary of the River Taw.
The River Taw rises high on the slopes of Dartmoor and together with its tributaries, the River Mole, Yeo and little Dart, runs north through beautiful rolling countryside down to Barnstaple and into the Bristol Channel.
Passing under the Torridge Bridge at Bideford – a 650 metre long concrete structure built in 1987.
Three piers are in the river. Each of the piers in the water is protected by concrete fenders twenty four metres long by eight metres wide by eight metres high. The concrete piers of the bridge are around twenty four metres high.
It was designed by MRM Partnership.
Here we are in Barnstaple by the Civic Centre.
It’s described as an ‘iconic’ building, but not many locals would agree, this huge building widely considered to be one of the ugliest in Devon could soon be under new ownership.The council has confirmed that following a tender exercise, it is working with a preferred bidder to finalise the details of the sale.
In 2014Barnstaple based Peregrine Mears Architects believed the civic centre could provide up to 84 modern apartments.
Artist’s impression by Peregrine Mears Architects – looks a little too wobbly to me, Peregrine Mears Architects should get right back to the drawing board, where they started from.
The Neo-Classical facade restrained Deco of The Venue.
Formerly The Regal Cinema – opened on 30th August 1937
Architects – BM Orphoot
Revellers dancing at The Worx nightclub– as The Venue was to become.
The building in Barnstaple is for sale with Webbers estate agents for just £225,000. The striking building in a prime position on the town’s Strand was originally opened in 1937 as the Regal Cinema.
The building will probably be best known under the guise of Kaos, the name it was given during the 1990’s and at the height of its popularity.
Other nightclub incarnations at the premises included Babylon, Rockabillies, Coco, Club Tropicana and of course The Venue.
The Tarka Trail crossing the River Torridge, just south of Bideford, utilising the former railway bridge.
The old home town looks the same as I step down from the bike, and there to meet me is – well nobody.
And I realise, yes, I was only dreaming.
I’ll go to Okehampon then – take a look at the lovely tiled Post Office, whilst completely ignoring one of the oldest Norman castles in the country.
Walking around town in search of a B&B proved fruitless, though I was directed to an out of town Roadhouse aways away.
Welcome to Betty Cottles Inn – land of the lost apostrophe.
Rooms are not as photos/described on hotel booking sites, wi-fi hardly ever works. I prepaid/booked for nine nights, I checked out after two days. Needless to say I didnt receive a seven day refund. Owner with attitude problem, he had my money, and was not keen on helping with my concerns about the property. Musky smell to carpet in bar and restaurant areas. Not been cleaned for a long time. Rooms unsafe and not private, with curtains not long enough, lock on room doors inadequate.
Neil H – July 2109
You sneaked in a female into your single room without paying for her and got caught so obviously you have retaliated by way of a negative review. You were probably the most rude and hostile guest we have ever had and have had to report you to booking.com for guest misconduct and also banned you from being able to book here again.
Matthew owner at Betty Cottles Inn
I ate a reasonable meal in the Carvery and chatted amiably with a representative salesman on the move, whilst seeing off a few pints of Guinness – any port in a storm.