The Roger Stevens Building 1970 – by Chamberlin, Powell and Bon for Leeds University South Campus is designated at Grade II
The building represents the high point of their Leeds University work.
Architecture: the building is an outstanding and individual design with bold external shapes and carefully designed interiors
Planning: the internal spaces are the result of extensive research on the requirements of the university and introduce innovative and influential features such as individual doors into the lecture theatres, and external links intimately with other buildings on the campus by means of multi-level walkways
Intactness: despite the changing requirements of universities, the building has remained largely unchanged, proving the success of its design
Group Value: the building provides a fitting centrepiece to the group of university buildings on the South Campus at Leeds, also recommended for designation.
We live in strange and troubled times, the urban landscapes we have created are often far from convivial.
Deserts possess a particular magic, since they have exhausted their own futures, and are thus free of time. Anything erected there, a city, a pyramid, a motel, stands outside time. It’s no coincidence that religious leaders emerge from the desert. Modern shopping malls have much the same function. A future Rimbaud, Van Gogh or Adolf Hitler will emerge from their timeless wastes.
Council House former Civic Centre – Armada Way Plymouth PL1 2AA
Former Civic Centre 1958-62 by Jellicoe, Ballantyne and Coleridge with city architect HJW Stirling. In-situ concrete structure with pre-cast aggregate panels. It comprises a fourteen storey slab block on a raised raft foundation which straddles a two storey block to the north and a bridge link to the two storey Council House to the south. The bridge link is elevated on pilotis to create an open courtyard with a reflecting pond, part of the designed landscape of the civic square.
I rode into town on my bicycle en route from Weston super Mare to Hastings one sunny afternoon in 2015. The pictures I took that day were largely left untouched, until today. I was prompted by an online postcard search to finally put them to some good use.
On the day of my visit the building was well and truly closed, and its future uncertain.
I took my time and explored the site, here is what I saw:
I subsequently found archival image of the interior – including examples of applied decorative arts.
The building has suffered of late, from poor maintenance and general neglect.
Love it or hate it, it’s one of Plymouth’s most iconic post-war buildings – and it towers over the city centre. But the Civic Centre has been empty since 2015, with sad images revealing parts of the outside literally crumbling.
Today is the day Plymouth will finally discover what developer Urban Splash plans to do with the landmark 14-storey tower block it bought for £1.
The proposal, by Gillespie Yunnie Architects, will see the 14-storey former council headquarters converted into 144 one and two-bedroom flats with the ground floors of the lower blocks providing about 4,600m² of office, retail and leisure space.
Unanimously approved last week, the scheme will open up the ground floor, making it ‘an active public space filled with outside seating for cafés, bars and restaurants’ and reuse the existing landscaped pools, while creating new pedestrian connections through the scheme from the Theatre Royal and Civic Square.
On the night of 14 November 1940, the city of Coventry was devastated by bombs dropped by the Luftwaffe. The Cathedral burned with the city, having been hit by several incendiary devices.
The decision to rebuild the cathedral was taken the morning after its destruction. Rebuilding would not be an act of defiance, but rather a sign of faith, trust and hope for the future of the world. It was the vision of the Provost at the time, Richard Howard, which led the people of Coventry away from feelings of bitterness and hatred. This has led to the cathedral’s Ministry of Peace and Reconciliation, which has provided spiritual and practical support, in areas of conflict throughout the world.
Her Majesty the Queen laid the foundation stone on 23 March 1956 and the building was consecrated on 25 May 1962, in her presence. The ruins remain hallowed ground and together the two create one living Cathedral.
Ralph Beyer carving the foundation stone for Coventry Cathedral.
The new Cathedral was itself an inspiration to many fine artists of the post-war era. The architect, Sir Basil Spence, commissioned work from Graham Sutherland, John Piper, Ralph Beyer, John Hutton, Jacob Epstein, Elisabeth Frink and others – most still to reach the peak of their artistic careers.
St. Michael and the Devil on the southern end of the east wall. It was sculpted by Sir Jacob Epstein, who, sadly, died in 1959, and therefore didn’t live to see his masterpiece mounted on the cathedral wall a year later.
Entrance to the cathedral is through the Screen of Saints and Angels – it is seventy feet high and forty five feet wide and is supported by a bronze framework hung by wires from the roof for added strength.
This unique screen formed part of Sir Basil Spence’s first vision for the new cathedral. As he stared out from the ruins of the bombed cathedral, he saw the shape for the new church through a screen of saints. This transparent wall would link the old and new – making each mutually visible from within each other. Provost Howard set out to draw up a scheme consisting of all the saints who were responsible for the bringing of Christianity to Britain. As John Hutton began to make initial designs, he soon realised that row upon row of saints would need to be broken up in some way, and suggested that angels be inserted between the saints.
The eighty one foot high Baptistery Window containing a total of one hundred and ninety five lights of stained glass in bright primary colours designed by John Piper and Patrick Reyntiens, with the Stone of Bethlehem for a font just in front. Each individual window contains an abstract design, but the overall effect is breathtaking. Basil Spence himself designed the stone containing the glass.
The great tapestry was another example of a re-think in design. Basil Spence’s original intention was to depict the Crucifixion but Provost Howard suggested that the subject be Christ in Majesty and from there on, this idea prevailed
The Chapel of Christ in Gethsemane is approached by following the aisle from the Baptistery window towards the altar which is at the north end. The mosaic depicts the Angel of Agony by Steven Sykes and becomes more impressive when seen from a distance through the wrought iron crown of thorns designed by Basil Spence.
A short passageway takes you through to the Chapel of Christ the Servant – also known as the Chapel of Industry due to the view of Coventry workplaces from its narrow windows.
Monumental inscriptions to walls and floor by Ralph Beyer
At the far end of the aisle, opposite the Baptistery Window is the Chapel of Unity, with its detailed mosaic floor, donated by the people of Sweden, representing the nations of the world and lit by shafts of light from the narrow stained glass windows around the circumference of the star shaped chapel.
This design was Basil Spence’s vision of a chapel representing the star which began the story of Christ – from the outside it appears shaped similarly to a Crusader’s tent.
The chapel is intended for prayer by all denominations, not just Anglican, and for this reason was purposely built with no view of the great altar.