I’ve been to the Barbican before, wandering the walkways without purpose.
This is a whole new box of tiles, the search for a re-sited mural, a first time meeting with what would seem at once like an old and well-loved friend.
Dorothy Annan20 January 1900 – 28 June 1983
Was an English painter, potter and muralist, married to the painter and sculptor Trevor Tennant. She was born in Brazil to British parents and was educated in France and Germany.
Annan’s paintings are in many national collections, she is also known for her tile murals, many of which have been destroyed in recent decades. Only three of her major public murals are believed to survive, the largest single example, the Expanding Universe at the Bank of England, was destroyed in 1997.
I was looking for her mural which illustrates the telecommunications industry – formerly of the Fleet Building Telephone Exchange Farringdon Road.
The murals were commissioned at a cost of £300 per panel in 1960. Annan visited the Hathernware Pottery in Loughborough and hand-scored her designs onto each wet clay tile, her brush marks can also be seen in the fired panels.
The building was owned by Goldman Sachs, who wished to redevelop the site and opposed the listing of the murals.
In January 2013, the City of London Corporation agreed to take ownership of the murals, and in September 2013 these were moved to a permanent location in publicly accessible part of the Barbican Estate. They are displayed in their original sequence within an enclosed section of the Barbican High Walk between Speed House and the Barbican Centre.
So following a discursive and somewhat undirected circumnavigation of the Center we were finally united – it only seemed polite to linger a while and take some snaps – here they are.
We have been here before on the west side of Grosvenor Square, between the former Eye Hospital and Registry Office on Lower Ormond Street, sits the solid stolid brick form of St Augustine.
The original St Augustine’s was one of the oldest Roman Catholic churches in Manchester, having been established at Granby Row in 1820. This church was sold in 1905 to make way for the Manchester Municipal Technical College, and a new church built on York Street. This church was destroyed in the Manchester Blitz of 1940. The present site previously housed a chapel of ease in a building bought from the Methodists in the 1870s. It had briefly been a separate parish, but in 1908 was amalgamated with St Augustine’s parish. After the War it was the only surviving church in the parish. The new St Augustine’s was built here with the help of a grant from the War Damage Commission, at a cost of £138,000, when it was clear that the original building was inadequate. The new building was opened in 1968 and consecrated in 1970.
Roman Catholic Church 1967-8 by Desmond Williams & Associates. Load-bearing dark brown brick construction with felt roofs supported on Vierendeel girders, with rear range in brick and timber cladding.
Body of church virtually square, with corridor at rear right leading to cross wing containing offices and accommodation. Windowless façade with floating service projection to the left and four full height brick fins to the right of wide recessed central entrance reached by low flight of steps. On the projection a ceramic plaque with star and mitre and on the inner face of the left hand fin a figure of the Madonna, both by Robert Brumby. Set back returns of 6 bays, divided by pairs of projecting slim brick piers. Openings between the pairs of piers filled with coloured chipped French glass. Secondary entrance beneath large cantilevered canopy in first bay of left hand return. Slender linking block containing sacristy. The rear presbytery range, containing first floor hall, meeting rooms, kitchen, chaplaincy offices and accommodation for four priests. Bell tower rising from parish rooms block.
A simple box plan with ceiling of steel trusses clad with timber and clerestory north lights. Sanctuary of three stepped platforms with white marble altar set forward. Large ceramic reredos sculpture of Christ in Majesty by Robert Brumby of York. Bays containing either projecting confessionals or chapel recesses are divided by pairs of projecting slim brick piers. Fixed seating in angular U-shape surrounding Sanctuary. Side chapel to left. Narthex. West gallery above originally with seating, now housing organ. Unified scheme of decoration by Brumby including the external plaque and statue, holy water stoups, wall light brackets, circular font with ceramic inset and aluminium lid, altar table with bronze inset and, probably, Stations of the Cross sculptures. Also by Brumby, a memorial plaque fashioned from mangled plate, damaged in the Blitz, commemorating the earlier parish church which this replaced.
Of particular note are the stained glass windows.
The internal atmosphere of the church is modified by the changes in light cast through the stained glass windows. The windows are of a colourful random and abstract design and ascend the full height of the walls between structural bays which themselves form enclosures to confessionals and stores. The pieces of coloured glass are suspended in concrete and were supplied by the now defunct Whitefriars company. The designer was a French artist, Pierre Fourmaintraux, who began working with Whitefriars in 1959, using the ‘dalle de verre’ (slab glass) technique that had been developed in France between the wars. His motif was a small monk variously painted upon, or cast into, the glass. In St. Augustine’s the motif is cast and highly stylised and can be found tucked away at the foot of each of the rear windows.
Antonio Fusciardi emigrated in the 1960s in search of a better life. He opened a number of businesses in Ireland. In 1965 he met Anna Morelli at an Italian wedding and romance blossomed. The couple married and set up home in Marine Parade, Eastbourne. They worked very hard in establishing the business and attributed their success to ambition, dedication and the family.
Mitzi Solomon Cunliffe January 1st 1918 December 30th 2006
American born, resident of Didsbury Manchester, sculptor and designer, responsible for, amongst other things, the BAFTA mask.
Her first large scale commission was two pieces for the Festival of Britain in 1951. One, known as Root Bodied Forth, shows figures emerging from a tree, and was displayed at the entrance of the Festival. The second, a pair of bronze handles in the form of hands, adorned the Regatta Restaurant. She created a similar piece, in the form of knots, in 1952 which remains at the School of Civic Design at Liverpool University, along with The Quickening in the rear courtyard.
Cunliffe developed a technique for mass-producing abstract designs in relief in concrete, as architectural decoration, which she described as sculpture by the yard. She used the technique to decorate buildings throughout the UK, but particularly in and around Manchester.
Particularly this example of four modular panels named Cosmos, set in the wall of the student halls of residence in Owens Park, Fallowfield, Manchester.
I was lured here, siren like, by an un-purchased eBay postcard – which precipitated a virtual four colour process printed journey around the shopping precincts of the UK.
It only seemed appropriate to finally arrive at MK Central in real life, by train from Stockport – walking at last wide-eyed and expectant, along the whole length and width of Midsummer Boulevard to centre:mk
The Milton Keynes Development Corporation began work on the Shopping Building in 1973. It was to be the largest building of Central Milton Keynes. It had a total length of over one kilometre and a maximum width of one hundred and sixteen metres . It was built at the highest point in the New City. The architects were Derek Walker, Stuart Mosscrop, and Christopher Woodward, who had been significant architects at the MK Development Corporation; and the engineers were Felix Samuely and Partners. The shopping area was opened on 25th September 1979 by Margaret Thatcher. The building’s sleek envelope accommodated one hundred and thirty shops and six department stores, arranged along two parallel day-lit arcades, each eight hundred meters long and planted with sub-tropical and temperate trees.
A big bad Miesian box of glass and steel that goes on forever and forever.
At the very far end of forever is the John Lewis store, to the right of the entrance there are a series of tiled panels – these are possibly the work of Lucienne and Robin Day
Way back when, when brown was the new brown, brown still is the new brown.
Fresh and crisp and even.
Bobbing up and down precipitously on low marble walls, from amongst the sub-tropical and temperate trees, I bring you these thirteen tiled panels.
Working so close up and personal at altitude, photographing such large pieces in confined spaces, it’s not until you arrive home that you discover that together they spell:
Once upon a time the future was shop-shaped and utopian, the Modernist reliefs a welcome relief from post-war doom and gloom, public decorative art was off the ration for good, or so it seemed. Small retail units, housed small local operators, their shiny well-washed fascias, glowing with graphic pride and diversity, slab serif and decorative script the order of the day.
And lo it came to pass and underpass – the future was here yesterday.
Get off the bus on Fishergate and walk right on in.
The shopping centre opened on 22 March 1966 as St George’s Shopping Centre.
It was originally an open air centre, and was roofed over during refurbishment in 1981. It was further refurbished in 1999.
In May 2004, when The Mall Company took over the centre, they were greeted with an ageing shopping centre. The shopping centre was rebranded as The Mall, and a massive development scheme was planned. Small stalls, main shops, cafes, restaurants, toilets, and escalators were overhauled.
In March 2010, the shopping centre was acquired by Aviva Investors for £87 million. In September 2010, The Mall was rebranded under its original name St George’s Shopping Centre.
The third such public sculpture I have had the pleasure to visit following trips to Newcastle and the now defunct BHS in my hometown of Stockport.
Henry William Collins and Joyce Millicent Pallot have a very special place in my heart, their lives’ work together gracing the Festival of Britain, GPO Tower and Expo 70, along with other retail outlets in Southampton, Gloucester, and Colchester. A distinctive style of bas relief in impressed concrete, ceramic terrazzo and simple modern motifs, drawn from local history and imagery.