An express bus ride away from Newcastle City Centre – arriving in Peterlee, with a clear intent to wander around and look at housing.
There have been many alterations and amendments made, in the short time since the inception of the Masterplan. Flat roofs have largely been and gone, timber replaced by uPVC, what remains is an interesting array of building types set in an attractive rolling landscape.
The case for founding Peterlee was put forward in Farewell Squalor by Easington Rural District Council Surveyor CW Clarke, who also proposed that the town be named after celebrated Durham miners’ leader Peter Lee. A deputation, consisting mostly of working miners, met the Minister of Town and Country Planning to put the case for a new town in the district. The minister, Lewis Silkin, responded by offering a half-size new town of 30,000 residents. The subsequent new residents came largely from surrounding villages in the District of Easington.
Peterlee Development Corporation was founded in 1948, first under Dr Monica Felton, then under AV Williams. The original master plan for tower blocks of flats by Berthold Lubetkin was rejected as unsuitable for the area’s geology, which had been weakened by mining works, and Lubetkin resigned in 1950. George Grenfell Baines’ plan was accepted, and construction quickly began, but it was of poor quality. Williams invited artist Victor Pasmore to head the landscaping design team.
The long and narrow site intersected by a sloped ravine necessitated a new design approach for the layout of the road system and housing in Sunny Blunts. Rather than imposing a grid system as before, the roads follow the natural contours of the landscape so become curvilinear. The housing is then arranged in asymmetric patterns – a deconstructed grid system is one way of describing it.
One of the oddities of Sunny Blunts is the way the houses are rotated 180 degrees in relation to the conventional streetscape where enclosed gardens are normally at the rear of the houses. At Sunny Blunts the front door opens into the garden, while the backdoor opens out onto public realm space, often directly onto grassed areas, which because of how the houses are arranged forms small communal gardens isolated from road traffic for safe places to play. Peterlee at this time had a very high percentage of young families.
Sunny Blunts is also where the now infamous Crudens houses were introduced – along with the Howletch area. Crudens owned the British rights to the Skarne building system, where prefabricated concrete walls and floors are bolted together to form the frame of the house. The system reduced building costs by 10% per house unit, though at Sunny Blunts this saving was then absorbed by the costs of remedial work required to make many of the houses habitable for residents to move in. This still didn’t fully resolve issues with water ingress in some cases.
After the completion of Sunny and Howletch the Development Corporation reverted back to using more traditional building methods.
The Peterlee Development Corporation initially employed the Russian modernist architect Berthold Lubetkin to design the new town. Appointing a renowned Modernist architect such as Lubetkin demonstrated the importance that was placed on innovative design. Lubetkin initially planned to build a modern town of high-rise towers and walkways in the sky. However, his plan was rejected because towers of such height could not be built on land that had been mined.
After Lubetkin’s resignation in 1950 a new architect, Grenfell Baines, was employed to work on the development of Peterlee. After further dissatisfaction with the plans, Victor Pasmore was invited to collaborate on a new scheme for the south west area of the town in 1955. Pasmore’s role was to work alongside the architects to add imagination to a project that could potentially get weighed down with the restrictions of building regulations. That Pasmore – one of the most influential abstract artists in Britain at the time – was given such a vital role in the development of Peterlee demonstrates the central role art played in urban design after the war.
As well as appearing in the Chapel Hill area, this house style was also introduced in parts of Acre Rigg, along Manor Way, and in the early phases of the South West Area. These were designed and built in the early 1960’s when Roy Gazzard was Chief Architect. The three story blocks of flats with their distinctive butterfly roof design that were introduced in the same areas of the new town can also be credited to Gazzard.
Roy Gazzard left Peterlee Development Corporation in June 1962 and went on to become Chief Architect at Killingworth in North Tyneside.
The footpath running between a group of two-bedroom houses.
Essington Way is the main spine road running north from the town centre to Thorpe Road which connects Easington Village and Colliery, with Horden and Sunderland Road. East of Essington Way is the North East Quadrant . West is Acre Rigg which was built in five phases from 1956-1966. The early phases of Acre Rigg share a similar character to that of the earlier North East Quadrant. The later phases built in the 1960s contrast sharply, drawing on the design approached developed in the South West Area under the guidance of artist Victor Pasmore.
The contract to build the Howletch area was awarded to Crudens, who owned the British franchise for the Swedish designed Skarne building system.
The Crudens houses were constructed using prefabricated concrete sections bolted together to form the frame of the building. The gable end walls were then rendered with brick, with non-loadbearing glass, wood, and rendered panel sections forming the front and rear elevations of the houses.
In the foreground of this aerial photo is Old Shotton Hall, which at this time was the headquarters of Peterlee Development Corporation after it was refurbished in 1948 by Architect Planner Berthold Lubetkin. In 1976 the Development Corporation moved its headquarters to Lee House in the town centre. It is now the offices of Peterlee Town Council.
After the departure of Berthold Lubetkin, Grenfell Bains was drafted in as Architect Planner to develop the new Master Plan and oversee development of the North East Quadrant. Bains at the time filled the position at Newton Aycliffe, another of the first wave new towns located 20 miles south west of Peterlee.
1956
As the dates of these aerial photographs testify, building work was already well underway in the North East Quadrant by the time the Peterlee Master Plan was published in September 1952. Indeed, as surviving residency agreements and rent books also testify, houses in this part of Peterlee were already occupied, such were the pressures on the Development Corporation to have something tangible to show for their efforts.
Thorntree Gill was the first phase of residential development completed in Peterlee. It was home to the towns first residents, who began moving in in 1951. The road layout is that designed by Architect Planner Berthold Lubetkin for his ‘Hundred Houses’ scheme , though the houses eventually built differed dramatically from what Lubetkin had envisaged.
In the first phase of the South West Area, Victor Pasmore – Consulting Director of Urban Design, Frank Dixon – Building Architect and Peter Daniels – Landscape Architect, settled upon an orthogonal layout system – roads and houses set at right angles to form a grid pattern.
Three bedroom semi-detached cantilever house on Avon Road.
Screen partition on Thames Road.
Dart Road
A stub block of single-bedroom flats over garages.
The road and housing layouts in the South West III and IV areas extend the orthogonal grid pattern introduced in the South West I and II areas.
The presence of existing mature trees is a feature of South West III which helps give the area an identity that is distinctive from South West I and II. This distinctiveness is further enhanced by the choice of building material.
The South West III and IV areas were built with cured lime brick, with black dye added to a material that is naturally white, creating symbolic reference to a coal face. The visual effect was then sharpened with white panelling. When the dye added to the bricks began fading to a pale grey colour through exposure to the elements, the intended symbolism uncannily started to mirror the fate of the coal industry across the east Durham area.
The South West V Area is approximately twice the size of Sunny Blunts. This final phase of development therefore provided Victor Pasmore with the opportunity to expand the new layout system without the constraints presented by the Sunny Blunts site.
Though the basic cubic house unit is retained in South West V, the detailing in the house elevations is much simpler and closer in feel to the South West III and IV Areas.
This is an an abridged version of the material to be found on PeterleeHistory – intended as an accessible guide to visitors wishing to explore the town.
The idea for the Apollo Pavilion was the culmination of Victor Pasmore’s involvement with the planning and design of the new town of Peterlee in County Durham which began in 1954 with his appointment by AV Williams, the General Manager, as a consultant architectural designer to the Corporation. The brief was to inject a new initiative into the new town’s design, which had been limited by practical and financial constraints. The early departure of Berthold Lubetkin from the original design team, and the limitations imposed by building on land subject to underground mining, had led to a deterioration in the quality of the architecture being produced at Peterlee.
The Apollo Pavilion, created by Victor Pasmore in 1969, is designated at Grade II* for the following principal reasons: Architectural interest: the structure is of very high architectural quality, forming the centrepiece of a registered landscape Artistic quality: the only truly three-dimensional work by the internationally known artist Victor Pasmore, the Pavilion is an abstract work of art, a demonstration of Constructivist ideas on a large scale and an expression of brutalist architecture Setting: the setting of the structure is the centrepiece of the registered Pavilion Landscape and as such survives intact.
The current station was built in 1962, by the architect William Robert Headley, as part of the modernisation programme which saw the electrification of the West Coast Main Line.
On leaving the station there is an as yet partially un-let Sixties office block to let – Victoria Park House.
Onward to the County Technical College 1937 Grade II Listed – interior completed 1946.
The shell of the building was completed in 1937, after which it was used as an American army hospital during the war, then completed afterwards.
Heavily loaded with Art Deco details.
The new £28m three-storey Skills & Innovation Centre at Stafford College, completed in August 2023, was one of the first further education college schemes to be delivered under the DfE framework and a pathfinder scheme for delivery in accordance with the Further Education Output Specification. The new Centre is equipped with cutting-edge equipment and state-of-the-art facilities for construction, engineering and hybrid / electric vehicle maintenance facilities, as well as IT rich seminar suites and open learning break-out spaces along with a 4-court sports hall, a fully-equipped gym and a flexible 300-seat auditorium.
A 1970’s block was demolished to make way for the new development.
Almost everywhere we go we find a PoMo Crown Courts 1991 – architects: Associated Architects of Birmingham, cost of £10.4 million.
The war memorial of 1922 is by Joseph James Whitehead.
Sneaking through the alley to and before the McDonalds – one many more recent buildings with jetted lead clad bays.
Keeping the town Tudor one bay at a time..
Further along a Sixties Boots.
The Classical stone frontage of the Guildhall Shopping Centre.
Working with Mercia Real Estate, Glancy Nicholls Architects have designed a contextual mixed-use scheme in the heart of Stafford Town Centre, within the footprint of a disused shopping centre. This includes the regeneration of the 1930’s Guildhall building that serves as the main entrance to the shopping centre and the listed Market Square building.
Around the corner a somewhat neglected retail development.
And a long lost Wilko.
Amidst it all the curious time warp that is Trinity Church 1988.
It is used by Methodist and United Reformed Church congregations.
Tucked away in a minor maze of retail a piece of figurative commemorative public art by Glynis Owen Jones, entitled Stafford Faces.
Around the corner a big B&M.
Further along a brick FoB Telephone Exchange of 1959.
Adjoined by the County Records building.
Pringle Richards Sharratt Architects have been appointed by Staffordshire County Council to create a new History Centre for Staffordshire and Stoke on Trent.
The new £4m centre will be located on Eastgate Street in Stafford and will hold historical records and collections up to 1,000 years old.
The scheme will help to provide a rejuvenated service combining the existing Records Office building and William Salt Library, in Stafford and provide a welcoming destination for all of those with an interest in local history. This will include bringing on to the Stafford site the Lichfield Records Office and aspects of the County museum.
Further FoB in the Civic Building.
Close by the Staffordshire Place a civic and retail mixed use development.
Our scheme delivers 135,000 ft2 of high quality contemporary office space across two buildings linked by a new town square. The ground floor incorporates a mix of retail and leisure uses around a sequence of smaller public spaces to maximise the amount of visible active frontage and create a natural extension to the town centre.
Sustainability issues fundamentally informed the design approach, from mitigating energy consumption to ‘future proofing’ the finished building. The building achieves a BREEAM ‘Excellent’ rating and a European Energy Performance of Buildings Directive Rating ‘A’.
Surprise surprise another retail development Riverside.
£70m riverside town centre retail and leisure development in the heart of Stafford. The 230,000 sq. ft. scheme anchored by M&S will deliver 18 retail units arranged over ground and first floors, five leisure units and a six-screen cinema to complement and strengthen the town centre economy and create new businesses and jobs.
Coniston, Windemere and Rydal were among the first council homes to be built in Stafford, between 1951-52, under the direction of County Architect CM Coombes.
The flats were built as a result of The Housing – Financial and Miscellaneous Provisions Act 1946, which gave subsidies to local authorities to provide social housing. The expansion of the Borough Council’s civic duties included the employment of County Architects, in this case CM Coombes FRIBA, to whom these flats are attributed.
54 flats were built in total, to a distinctly Modernist design, and their appearance and setting are very well preserved.
Let’s head back into the town centre – to the Grade II ListedPicture House 1914
The Picture House was closed on 30th March 1995 after a three week run of Disclosure starring Michael Douglas, there were seventy eight attending the final performance.
It was disposed of by the Rank Organisation in July 1981 and was taken over by the Hutchinson Leisure Group who re-named it Astra Cinema. In December 1981 it was tripled with 435 seats in the former stalls and two mini cinemas in the former circle seating 170 and 168.
In 1988 it was taken over by Apollo Cinemas and re-named Apollo Cinema. The downstairs cinema was closed and became a bingo club for a couple of years, during which time the two mini cinemas in the former circle remained open. The bingo operation gave way to films again in 1990 and all three screens were again open, with seating for 305, 170 and 164. In January 2014 it was taken over by the Curzon Cinemas chain and renamed Stafford Cinema.
It was closed on 18th December 2017 with Star Wars:The Last Jedi.
I came along to take a look aroundin 2017 – at this point all of the homes are occupied.
Fast forward to 2025 and the estate looks very different, a minority of the blocks have been refurbished.
The remainder have been, or are to be demolished.
Rochdale’s 2021 planning statement for Lower Falinge is beguiling in its talk of ‘a better quality and mix’ of housing, better public space and better links with surrounding areas. It goes on to say that the ‘the delivery of market housing within this area is required to deliver this diversification and to ensure the sustainability of retained affordable housing in the area’ – a sentence containing the claim that a tenure mix of public and owner-occupied housing is a good in itself, whilst also acknowledging contradictorily that affordable housing (how affordable?) is only possible by cross-subsidy from market sales’
Some 560 new homes were proposed in Lower Falinge. The plans as a whole proposed the loss of 720 primarily social rent homes and their replacement by 560 new homes of indeterminate tenure.
The tenants in the refurbished blocks with whom I chatted were convinced that demolition was not the answer, further renewal could take place, Rochdale Boroughwide Housing, despite a well prepared save our homes campaign thought not.
In March, we told you that we planned to demolish the six empty maisonette blocks – Ollerton, Newstead, Romsey, Quinton, Ullesthorpe, and Vaynor, in Lower Falinge, as well as the former RSPCA buildings and the former car wash on High Street, within the next 12 months. This will make way for the development of new family homes across a larger site that we will work with the community on designing.
Our beautiful mature greenery here on Lower Falinge is showcased in this wonderful video. We are proud of living here surrounded by all this nature – it really is like living in a park.
Unfortunately our urban oasis of calm is at risk of being destroyed if RBH demolish 128 homes and eventually build on the land.
Once home to the Highland Laddie pub which closed in 2010.
The remainder of the estate remains in limbo.
Next door the new homes have been built.
A major housing regeneration scheme which includes the construction of 30 energy efficient, affordable homes is breathing new life into the Lower Falinge neighbourhood in Rochdale.
The project is being carried out for Rochdale Boroughwide Housing by Rochdale-based main contractor The Casey Group with OMI Architects. This is the largest of 3 schemes that Casey has carried out for RBH.
In recent years these homes have been under threat of both demolition and refurbishment.
Rochdale Boroughwide Housing – RBH had sought help from a developer to pay for its £107m plans to refurbish the College Bank high-rise apartments, known in the town as the Seven Sisters.
But the social housing landlord has been unable to reach a commercially viable agreement to help improve the blocks where 250 people live.
Amanda Newton, RBH chief executive said the lack of a deal was disappointing but all options for the future of the site would still be explored.
Many of the apartments spread across the Seven Sisters remain unoccupied after a plan was announced to demolish four of the blocks in 2017, leading to an exodus of hundreds of tenants. RBH later reconsidered the plan, and instead signed a deal with developer Legal & General Affordable Housing last year, to find a viable way of refurbishing the apartments.
All 700 flats in the 1960s blocks were set to be redeveloped under the plans, but the pair’s agreement has now come to an end without a solution emerging.
So an unsatisfactory stasis prevails across the windswept piazzas, podium garages and towering towers.
Local photographer Ellie Waters has her pictures of the flats displayed in the underpass.
Notes From College Bank is an ongoing project which documents the College Bank buildings in Rochdale, Greater Manchester. Known locally as ‘The Seven Sisters’, College Bank is formed of seven high-rise social housing blocks, four of which have come under recent threat of demolition.
Drawing from found imagery and photographs taken by my late Grandfather – M J Burgess – who like me grew up in Rochdale, I’ve been working with past and present residents to create a collective record of life in and around College Bank.
This project is ongoing, if you would like to share your stories of College Bank please get in touch via email – notesfromcollegebank@gmail.com
Here is a recent post from Municipal Dreams outlining the history state of play – Rochdale Housing Part II.
Fast forward to the present, the Seven Sisters still stand – an impressive architectural statement in the heart of Rochdale and, to my mind, as powerful a testament to municipal endeavour and aspiration as the town’s nearby town hall. But much has changed. In the slow evolution that affected council housing more broadly, the flats became less desirable, even, in some eyes, a ‘sink estate’. In Robin Parker’s view, the Council started re-housing people in the blocks ‘not suitable for high-rise living’ – a typical occurrence when the most vulnerable on the waiting list and those with least choice are allocated to so-called ‘hard to let’ estates.
We have often walked by the Magistrates’ Courts on the Preston Walk.
So, it’s about time this low lying white tiled delight received some well deserved attention.
Though recently there have been structural problems:
The safety of everyone who uses our courts is paramount and the decision to temporarily close Blackpool and Preston Magistrates’ courts was made in line with professional advice following the detection of defective Reinforced Autoclaved Aerated Concrete. These court buildings will reopen once they are assessed as safe by professionals following the completion of required remedial works.
There have also been solutions:
Preston Magistrates’ Court is currently scheduled to reopen in January 2024.
Local lad Tom Finney was unable for comment, though saddened to hear that the Microgramma sign was no longer in situ.
Copyright Rex Shutterstock
Microgramma is a sans-serif typeface designed by Aldo Novarese and Alessandro Butti for the Nebiolo Type Foundry in 1952. It became popular for use with technical illustrations in the 1960s, and was a favourite of graphic designers by the early 1970s.
The building is the work of the Borough Architects under John Hatton – though I am reliably informed that County Architect Roger Booth took an advisory role.
The Courts certainly echoes many of the stylistic and material characteristics of his work, particularly the County Archives, with similar piloti and glazing.
So let’s take a circuitous tour.
This is the seriously neglected seating area.
The Courts once had a Roger Booth Police Station as a neighbour.
Photographs – Richard Brook
Converted to apartments in 2013, with current plans for further developments.
More than 200 student flats are set to be built on part of Preston’s former divisional police headquarters.Preston City Council planning officers have recommended that councillors give the go-ahead to the scheme – at the junction of Walker Street and Lawson Street, to the rear of the magistrates’ and crown courts.
The part of the plot where the new ‘studio apartments’ would be erected is currently occupied by a multi-level public car park, accessed from Saul Street, which has been operated as a pay and display facility by Chorley-based Parking Eye for the last nine years.
Other Roger Booth police stations have also been visited by the wrecking ball, Blackpool and Bury are now no longer extant.
Here we are again, six years after the first visit.
What’s been happening hereabouts in the interim?
The Abbey Walk car park was built in 1969 by Holst & Company of Scunthorpe at a cost of approximately £200,000.Whilst a key asset for the town centre, the car park was closed in May 2024, after structural defects were found. This was water ingress into key structural supports, making the car park potentially unsafe to use.
It has now been approved to proceed with plans to demolish the car park, and replace it with a 120-space surface car park, but with the capability in the foundations of being built on in future years if needed.
But what of the unique concrete relief panels, you may ask?
The four abstract concrete reliefs depict parts of a car, which were inspired by drawings in the handbook of the artist’s Austin Cambridge estate car, and were installed when the building was constructed.
Designed in the 1960s by artist and sculptor, Harold Gosney, having been asked to carry out the car park commission by the architects, Nicholson and Rushton.
These panels were cast in situ, with metal bars running through them, which were integral to the car park structure, which is likely to make removal of the artwork incredibly difficult.
Last month, it was confirmed conservationists from the University of Lincoln had 3D scanned the sculptures to create digital 3D models to preserve them.
Which is all well and good, but will they ever be really remade and reinstated anywhere?
Only time will tell.
In 2023 the car park stairwell was transformed by young people from the local area, as part of a project by North East Lincolnshire Council and local artist Lynsey Powles, to try to tackle graffiti and anti-social behaviour.
Abbey Walk multistorey car park in Grimsby has been the site of a number of incidents of anti-social behaviour and graffiti in recent years.
Coniston, Windemere and Rydal were among the first council homes to be built in Stafford, between 1951-52, under the direction of County Architect CM Coombes.
The flats were built as a result of The Housing – Financial and Miscellaneous Provisions Act 1946, which gave subsidies to local authorities to provide social housing. The expansion of the Borough Council’s civic duties included the employment of County Architects, in this case CM Coombes FRIBA, to whom these flats are attributed.
54 flats were built in total, to a distinctly Modernist design, and their appearance and setting are very well preserved.
Whilst there are some common stylistic characteristics the Corporation Street Flats are of a more modest order. There are communal areas and a grassed apron, balconies and arched passages.
Over time the standard of maintenance seems to have declined, and the Crittall Windows have been replaced by white uPvc, where once there was a bowling green, this is now roughly mown and unused.
Yesterday, Wednesday 21st May 2025, the sun was shining and the tide was out, I decided to walk along the sands, and look towards the land.
To the right the Imperial Hotel – 1866-7 by Clegg and Knowles of Manchester, wing added 1875 by Mangnall and Littlewood.
The hotel was established in 1867. Charles Dickens stayed at the hotel in 1869. In 1904, the hotel was extended with the addition of a large neo-baroque style dining room. In 1912, Princess Louise, Duchess of Argyll stayed at the hotel.In the mid 20th century, Winston Churchill, Queen Elizabeth The Queen Mother, Princess Margaret, Countess of Snowdon and The Beatles stayed at the hotel. Queen Elizabeth II stayed at the hotel when visiting Blackpool. In 1985, Margaret Thatcher celebrated her 60th birthday in the hotel. In 2002, US President Bill Clinton and Prime Minister Tony Blair stayed at the hotel for the Labour party conference.
Join us at The Imperial Hotel Blackpool for an unforgettable experience where entertainment, family fun, and group leisure come together. Book now and start creating memories that will last a lifetime.
Grand Hotel – the hotel was built as the Pembroke Hotel in 1982, became the Hilton Hotel in 1999 and The Grand Hotel in 2017
The hotel was built next to the site of the Derby Baths 1939 – architect: John Charles Robinson who between 1920-1944 designed many of Blackpool’s landmark civic buildings including libraries, schools, swimming baths, leisure facilities and tourist infrastructure.
The Savoy Hotel, just north of Gynn Square, is one of the series of large red brick and red terracotta hotels built around the turn of the century. The architect was TG Lumb and the hotel opened in 1915; the sun lounge in Hathern’s cream faience was added in 1935 by Lumb and Walton.
The Cliffs Hotel started in 1921 – architect Halstead Best substantially rebuilt and enlarged the building 1936–37 and added an underground carpark
Castle Casino – architect: Arthur Hindle 1906
Arthur Knowles built the Castle at 64 Queens Promenade North Shore for his wife, who unfortunately stayed in France. The couple stayed in the house for a mere nine months during 1929. Apart from housing Belgian refugees during World War 1, it stayed empty until 1935. It then opened briefly as an old people’s home, before being bought by Lawrence Wright – AKA Horatio Nicholls, as his home.
Wright sold it in 1941, and after several years as the home of the Blackpool and Fylde Motor Club, it became the Castle Casino of today in 1965, first owned by wrestler Jack Pye, who moved to Blackpool in 1950. It has had various identities, and was last taken over in 2005, now being known as the Genting Club – part of a national chain of that name.
Former Miners Convalescent Home 1925-27 – architects: Bradshaw Gass & Hope, Grade II listed
Converted to apartments in 2005 – trading as Admiral Point.
Norbreck Castle Hotel originally built as a large private country house in 1869, it was bought around the end of the 19th century by JH Shorrocks, who used the house to entertain friends and colleagues at lavish weekend parties. The popularity of these parties led to Shorrocks running them on a commercial basis by taking paying guests.
The S Block by architect WH Longworth 1912 – the N Block by Halstead Best 1933-34.
In the 1970’s the Motel wing was added along with, the large Norcalympia exhibition hall, the name was changed from the Norbreck Hydro to Norbreck Castle.
European Regional Development Fund cash of £450,000 was granted towards a regeneration project on Cleveleys Promenade. Wyre Council improved 64,000 sq ft of the promenade to create a more attractive place for visitors to the town. The latest work complements the £20m sea defence installation.
Broadbent Studio worked collaboratively from the outset with Wyre Council, Ferguson & McIlveen and Faber Maunsell in 2008, to create an exciting new promenade and sea defence scheme for the coastline at Cleveleys.
The Sea Swallow is a 10m tall structure that brings to life Wyre’s Mythic Coast storybook ‘The Sea Swallow’. The coated aluminium sculpture, has the feel of ‘a book coming to life’, with the two sea swallows symbolic of the town’s protectors emerging from the page.
The station was covered by twin train sheds, an architecturally detailed canopy that covered all platforms. In 2000, due to its decaying state, it was removed, changing the nature of the station in a £35 million regeneration project. A new building was built on the main island platform. The Grade II listed original entrance built in the 1880s,including the station buffet and former booking hall, was retained and refurbished.
Facing the station the 2015 development of hotel and office space.
Arriving by train into Blackburn Rail Station, visitors get the full impact of this carefully planned but ambitious regeneration project. Maple Grove’s aspiration was to offer something befitting of a city centre in one of the region’s largest towns. Cathedral Square comprises a six storey BREEAM Excellent office building, designed by BDP, a Premier Inn Hotel, restaurants and cafes positioned around a new public square that acts as a link between the rail station, cathedral and beyond to the shopping centre.
Left onto Jubilee Street where we find the Telephone Exchange.
The site was formerly occupied by the Grand Theatre – in the 1950’s, Blackburn had no fewer than fourteen cinemas. The Grand carried on being a live venue until its closure in 1956, before finally being demolished in 1958.
Further down the road the rear of another former cinema – The Olympia
The Olympia was opened on 19th May 1909 as a roller skating rink. It was a short lived venture and closed in November 1911. It was converted into the Olympia Theatre, presenting music hall/variety, opening on 12th December 1911. Seating was provided for 2,000, many on long wooden benches. The proscenium was 32 feet wide and the stage 50 feet deep. It was soon screening films as part of the programme.
It was converted into a full time cinema in 1921, although there were still some variety acts on the programme. All the original wooden benches used for seating in the theatre were removed and replaced by regular tip-up seats, reducing the seating capacity to 1,360. During the 1940’s, the Olympia Cinema boasted a café for the convenience of its patrons and it was operated by Jacksons’ Amusements, Ltd.
The Olympia Cinema was mainly independently operated, and closed in 1957. It stood empty for two years, then in 1959, it was taken over by Mecca Ltd, and converted into the Locarno Ballroom, later becoming a Mecca Bingo Club. It later became the Golden Palms Nightclub, Jumpin’ Jax, and since 2009 it operated as a trendy nightclub named Liquid & Envy.
Previous to 1900 the site at the corner of Mincing Lane and Mill Lane had housed a temporary circus, known as Ohmy’s Circus. The New Central Hall was built and opened in April 1900, and was used as a roller skating rink until November 1909, when it was converted into the 1,000-seat Central Hall Cinema.
Altered and enlarged to 1,372 seats in 1923, it was re-named New Central Hall Cinema. The proscenium was 20 feet wide, later enlarged to 22 feet.
The Central Cinema was closed in January 1957. Then in 1974, it was renovated and was converted into a Walkers Bingo Club, which remained open until at least 1995. It recently operated as a Riley’s American Pool and Snooker Club until early 2009. In November 2009 after a refurbishment, it re-opened as the VIP Snooker Club.
Turn right into Darwen Street along to the former Barclays Bank.
Next door Lloyd’s Bank extension.
On Astley Gate the brown tiled remains of the Shopping Centre now known as The Mall.
The shopping centre was built in three phases, with the final phase opening in 1979. The centre was refurbished in 1995, during which the lower floor of the former Co-Operative Department Store was transformed into the Ainsworth Mall.
The centre was bought by Standard Life in 1993 and its name was subsequently changed to Blackburn Shopping Centre. Standard Life sold the centre in 2003 to Reit Asset Management.
In 2004, Reit Asset Management sold the centre to The Mall Fund. The centre was sold again in 2022 to the Adhan Group from The Mall Fund for £40 million.
Around the corner the Mother and Child monument, created by Welsh sculptor Robert Thomas in 1974, who used his wife and child as models.
In 1974 the statue was placed in Lord Square, removed in 2007 and placed in storage, it was placed in Cardwell Place in 2012.
The Mall has been significantly remodelled, along with the adjacent Tower Block.
Above the Mall is a dizzying array of multi storey car parks – reflecting the various stages of development.
Next to the Central Library, the former Co-op Emporium by Walter Stirrup in Town Hall Street, opened in 1930, was converted into a £1m library by BDP, it opened on September 1st 1975.
Onward to 10 Duke Street – home to council offices and the NHS, the Tower Block is now no longer in use.
Blackburn’s former town hall tower block has over the years become one of our most recognisable buildings. Sadly it is now starting to be given derogatory names, such as the ‘Big Empty’ and ‘Mothballed Monolith’. But compared to how it looked some years ago, before being reclad in today’s design, it still impresses many visitors to our town. Wouldn’t it be great if Blackburn’s ‘Big Empty’ could become full again.
These tower blocks were the flats at Queens Park and in the background you can see the co-called ‘deck-access’ flats at Shadsworth.
Bowland House was one of three tower blocks built in 1963 and the only one still standing after the others, Ribble and Pendle, were torn down in 2001 to be replaced by homes.
In 2022 Bowland House was refurbished.
Former four-time World Superbike champion Carl Fogarty was the guest of honour as Great Places’ Bowland House in Blackburn was officially unveiled.
Three thirteen-storey slab blocks built as public housing using the Sectra industrialised building system. The blocks contain 183 dwellings in total, consisting of 72 one-bedroom flats and 111 two-bedroom flats. The blocks are of storiform construction clad with precast concrete panels. The panels are faced with exposed white Cornish aggregate. Spandrel panels set with black Shap granite aggregate are used under the gable kitchen windows. The blocks were designed by the Borough architect in association with Sydney Greenwood. Construction was approved by committee in 1966.
1987 view of Birley Street development, with Trinity Court in the foreground: Tower Block
Back now into the centre – passing the now empty site of Thwaites Brewery, demolished in 2019.
Also missing in action is the 1960’s Market Hall – architect Tom Brennan.
The new Bus Station designed by Capita Symonds – replacing the old bus station.
The outward facing elements of the building are flat and orthogonal. In contrast, the underside of the canopy is free flowing and consists of a number of glazed slots cut in the canopy to allow daylight to penetrate onto the concourse area. Directly below each of the slots is a hanging loop which appears to be pulled down from the canopy to reveal a glazed opening. The composition of these draws inspiration from the cotton weaving looms, and drying cotton bundles, a reference to the town’s industrial past.
There are four loop types (A, B, C & D) which are arranged to alter the scale of the concourse and create a rhythm of peaks and troughs along its length. Loop A is designed to provide support to the whole canopy allowing the canopy to appear as one floating unified element.
Newspaper House – once the home to the LancashireTelegraph, converted to apartments in 2017.
Finally to the Garde II* listed BlackburnCathedralchurch – since 1926, formerly parish church, 1820-6 by John Palmer of Manchester.
Central concrete corona by Lawrence King 1961 – it was rebuilt in stone by Brian Lowe in 1998.
The Healing of Nations in steel and copper by Mark Jalland 2001.
It is a reflection on the opening of chapter 22 of the book of Revelation, new Jerusalem, and ‘the leaves of the tree are for the healing of the nations’.
Traditionally a stained-glass window at the east end of a cathedral would reflect a spectrum of light into the building but this sculpture projects the light out in a kaleidoscope of colour reminding us of Jesus the light of the world and the hope that we have in him.
Annunciation and Christ in Majesty sculptures by Siegfried Pietsch 1965.
In 1879, the Museum moved to a new larger building next to Mowbray Park including a library and winter garden based on the model of the Crystal Palace. US President Ulysses Grant was in attendance at the laying of the foundation stone by Alderman Samuel Storey in 1877, the building opened in 1879.
During World War II, Winter Garden was damaged by a parachute mine in 1941 and demolished the following year. A 1960s extension took its place, but in 2001, a lottery funded refurbishment of the museum created a new Winter Garden extensionand improved facilities.
Built in 1879 by local architects J & T Tillman, the museum building is Listed Grade II and was the first civic museum to be purpose-built outside of London.
I have been unable to find any attribution for the 1960s extension, built in the Festival of Britain style.
The panels, on the rear elevation, were by Walter Hudspith, then Senior Lecturer at Sunderland College of Art. They were the first examples of public art to be commissioned in Sunderland and were made for the building’s 1962-64 extension; they represent music, art and literature. The panels were restored by Lesley Durbin at the Jackfield Conservation studio in 2000-01.
Whilst not seeking sheltered housing for my good self, I am always intrigued by small developments of interesting social housing, grouped around pedestrian walk ways and green space.
The residents with whom I chatted seems content with their homes and the management thereof.
I bade them adieu and went about my way, taking these few snaps.
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.
The masterplan states that Radcliffe has many unattractive buildings and few architectural assets. But this could work to its advantage as a lack of protected or noteworthy buildings makes it easier to replace them with contemporary structures.
This could include demolishing the “unwelcoming” St Thomas Estate and replacing it with a mix of private and social housing on the old street layout. Existing tenants would be rehoused in the new houses so that the community would not be broken up.
During his term, Sheffield’s housing grew upwards with multi-storey flats constructed at Low Edges, Park Hill, Hyde Park, Netherthorpe and Woodside. It was Womersley’s response to 13,000 families on the council’s waiting list and 10,000 condemned properties waiting to be demolished.
In the space of a decade they shaped Manchester’s urban fabric, leaving a questionable legacy. The technical quality of their buildings was undoubtedly poor, but their qualities – bold forms, monolithic materiality and streets-in-the-sky – were of the moment, and captured a particular brand of urban renewal, imported from North America and inflected through British post-war planning.
Social housing has been, and continues to be, a contentious arena. This seemingly well-constructed estate was once deemed unfit for habitation by its residents.
Tenants of the St Thomas’ Estate in the town centre allege they have been forgotten by Six Town Housing, which manages the properties.
Magda Csatlos, former chairman of the now disbanded Tenants and Residents Association said rotten bricks with visible gaps between them, badly-designed leaking roofs and damp and mouldy conditions plague many of the 90 homes.
Happily the Local Authority are able to remedy the problem.
After some residents on the estate, who were visited by Bury South MP Ivan Lewis, called for the properties to be “condemned”, the Council agreed to invest £2 million to bring the homes up to standard.
A total of 90 social housing properties on St Thomas Estate have been provided with new external rendering, roofing, windows, doors, insulation and brick cladding.
Built between1954-5 by the Manchester City Architect’s Department, Chief Architect Leonard C Howitt, for the Manchester Corporation Waterworks. Alan Atkinson, engineer. Incorporates large relief by Mitzi Cunliffe, signed and dated 1955. Yorkshire sandstone, with Westmorland greenstone from Broughton Moor used as relief. Roof not seen above dentiled overhang.
Carved relief is a highly stylised depiction of the bringing of water from Haweswater to Manchester with contemporary figures supporting the pipeline and a curious flat relief designed to be seen from below. It was designed to commemorate those who constructed it as well as the origin and course of the aqueduct. Beneath it five plaques tell the history of the Haweswater supply.
Completely preserved interior fully lined in beige marble, with contrasting green marble skirting continued as door surround. Behind the Cunliffe mural is a wood relief section in sycamore depicting the 82 mile route of the pipe.
The bringing of water to Manchester from a new reservoir at Haweswater was a major undertaking which cost £14,000,000. The sectional relief plan and the mural were conceived as part of the original brief to give a ‘monumental’ character to the city’s remarkable achievement. Included as a remarkable synthesis of architectural design and fine sculpture, with the dominance of the latter in this tiny building. The building materials and the reliefs are all symbolic of the achievement in bringing of water from the Lake District to Manchester.
In 1929 work started to build the dam wall across the valley floor. At the time of construction, its design was considered to be at the forefront of civil engineering technology because it was the world’s first hollow buttress dam.
Before the valley was flooded in 1935, all the farms and dwellings of the villages of Mardale Green and Measand were demolished, as well as the centuries-old Dun Bull Inn at Mardale Green. The village church was dismantled and the stone used in constructing the dam; all the bodies in the churchyard were exhumed and re-buried at Shap.
I have previously led Mitzi Cunliffe walks in south Manchester – taking in her works at Owens Park and Manchester High School for Girls.
Mitzi Cunliffe is primarily known as the designer of the BAFTA Award, but her work encompasses both ceramics and textiles, in addition to her extensive public art works – as illustrated here.
Mitzi Cunliffe – An American in Manchester is available from the Modernist Shop.
I took the tram to Heaton Park Station and walked the rest of the way.
The imposing structure, clad in the dramatic relief dominates this domesticated street of well behaved semis. As I stood admiring the work, a passerby joined me in a mutual appreciation of its beauty and significance.
Do yourself a favour – take a trip, take a look for yourself.
To begin at the beginning, to begin at Baitings Reservoir.
Wakefield Corporation Waterworks started impounding the valley of the River Ryburn in the 1930s, with Ryburn Reservoir being completed in 1933. Construction on Baitings took place 20 years later with completion in 1956. Baitings Bridge, on an old road linking Yorkshire and Lancashire, was to be flooded under the reservoir so a concrete viaduct was built. During spells of very hot weather and drought conditions, the old packhorse bridge is revealed.
Wakefield Express: 31st August 1955
The dam head is a curved structure that is 1,540 feet long and over 160 feet high. The reservoir covers 59 acres and has a catchment of 1,830 acres , and when it is full, it holds over 113,000,000 cubic feet of water. The dam took eight years to complete at a cost of £1.4 million, and is located at 840 feet above sea level. A tunnel connects reservoirs in valleys to the north with Baitings to allow for the transfer of water. Manshead Tunnel is 8,000 feet long and was opened in 1962.
Inconveniently, the footpath to the lower Ryburn Reservoir was closed – we were diverted over the dam.
We took the pathway to Booth Wood Reservoir – over Pike End and beyond.
We dropped down beneath the Booth WoodDam.
Booth Wood Reservoir is a man-made upland reservoir that lies north of the M62 motorway and south of the A672 road near to Rishworth and Ripponden in Calderdale, West Yorkshire. The reservoir was approved for construction in 1966 and completed in 1971.
It supplies water to Wakefield.
The reservoir dams the Booth Dean Clough watercourse and takes water directly from the surrounding moorland. It has a plain concrete crest on the dam head which is straight and extends to a length of 1,150 feet and a height of 157 feet.
Below is a dinky pumping station, tucked beneath the dam.
We took a precipitous path through the wood – up to the level of the reservoir.
Under the the M62 and past the infamous Stott Hall Farm.
Stott Hall Farm is a farm located between the eastbound and westbound carriageways of the M62 motorway in Calderdale. It is the only farm in the UK situated in the middle of a motorway and was built in the 18th century on Moss Moor. It lies south of Booth Wood Reservoir where the carriageways are separated between junctions 22 and 23. The road divides for much of its length between the Windy Hill and Deanhead cuttings because of the surrounding geography; but a myth persists that it was split because Ken and Beth Wild refused to sell. However, the farm was actually owned by Yorkshire Water at the time the M62 was built.
We walked over the upland moors to meet with the Catchwater, which formerly fed the Ringstone Edge Reservoir, prior to the construction of the motorway cutting.
Climbing again over Cow Gate Hill to meet the Saddleworth Road.
Crossing the motorway and dropping down to meet the Scammonden Dam.
Scammonden Dam is part of the M62 motorway between junctions 22 and 23, the only such structure in Britain. Its construction by the Ministry of Transport and Huddersfield Corporation Waterworks required the passing of the Huddersfield Corporation Act 1965. The motorway dam spans the Deanhead Valley in the Pennines between Huddersfield and Rochdale and the main contractor for the project was Sir Alfred McAlpine & Sons.
It was designed by Rofe, Kennard and Lapworth
Surveying began in November 1961 and the route of the carriageway was determined in mid 1963. Excavation in the Deanhead Valley commenced the following year and for the dam in 1966. This required the removal of 25,200,000 cu ft of peat bog to reach the solid rock base nearly 43 ft below ground level. Material excavated elsewhere on the line of the motorway, clay from cuttings between Lofthouse and Gildersome, and 3.4 million cubic metres from the Deanhead excavations was used to build the dam’s embankment which is 2,051 ft in length and 207 ft above the original valley floor. The embankment is 1,427 ft wide at its base and 180 ft at road level.
Scammonden steps comprises five flights of steps up the hillside from the valley below. Totaling 458 steps, the cumulative step count when ascending each of the five flights is 95, 200, 287, 363 then 458.
At the base of the dam is this delightful Pumping House.
The motorway, which was dependent on the completion of the dam, was opened to traffic on 20th December 1970 and officially opened by Queen Elizabeth II who unveiled a plaque near the valve tower of Scammonden Water on 14 October 1971.
Ascending and looking back toward Scammonden Bridge also known locally as the Brown Cow Bridge – after the nearby Brown Cow Inn, now closed, spans the Deanhead cutting carrying the B6114.
The bridge was built for the West Riding County Council to the designs of the county surveyor, Colonel S Maynard Lovell.
It opened to traffic on Monday 18 May 1970 by Major Bruce Eccles – Huddersfield Transport ran buses to see the bridge.
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.
The concrete and the clay beneath my feet Begins to crumble But love will never die
Doomed to face the demolition crew – the anti-social intrusions and falling masonry have enforced a fence, an impenetrable fence.
My requests for unforced entry were politely rebuffed by the hi-vis vest security guards.
A former police station could finally be demolished this autumn after closing six years ago when officers moved to new headquarters.
Blackpool Magistrates’ Court, which is part of the same complex, will also be bulldozed after crumbling concrete was discovered in the building in January.
In recent months, the empty Bonny Street police station has become a target for anti-social behaviour.
Clearance of the site will pave the way for investment in leisure facilities including hotels and indoor theme parks by developer Nikal.
Modern Mooch 