Blackpool Council says it remains committed to the Blackpool Central project amid the potential collapse of the developer leading the works.
But warning alarms sounded this week when Nikal – which was hired to oversee the project – filed a notice of intent to appoint administrators.
The £300m Blackpool Central development is billed as the biggest single investment in the town in more than a century and is planned to involve a “world-class leisure development” which would create 1,000 new jobs, bring an extra 600,000 visitors per year, and boost annual spend in the town by around £75m.
A spokesperson for Blackpool Council told the Blackpool Lead:
We have been working on the enabling phase of Blackpool Central over the last few years. The new multi-storey car park opened earlier this summer and we are currently completing preparations to demolish the old police station and courts building early in the New Year.
The proposals for the Bonny Street area can be seen here.
Plans for the area have hit further problems.
A new £40m magistrates courthouse is facing building delays after the project’s main contractor collapsed.Blackpool’s magistrates court was one of twenty two projects belonging to construction giant ISG, which was working on the scheme for the Ministry of Justice.
But the firm went into administration in September, leaving two thousand two hundred workers at risk of redundancy, the Local Democracy Reporting Service said.
Work was due to start early next year with a completion date expected in 2026.
The town needs all the help it can get, time has not been too kind, whilst efforts have been made to invigorate the area around Blackpool North and the promenade, the back streets reflect the legacy of years of deprivation.
Blackpool ranks as one of the most deprived areas in the UK. Many people were already in poverty, and the cost of living pressures are having the biggest impact on this group, who need to spend a greater proportion of their incomes on household essentials. It is also affecting people on low and middle incomes, often surviving by having several jobs, who are being pushed into poverty. More people are turning to services for support, and as the winter progresses this is a serious concern.
I have no wish to poor scorn on the area – but a short walk around the streets approximate to the coast tells a tale of failed businesses, decay and decline.
Happily there are the seeds of recovery in evidence, in the form of newly built housing.
The executive report outlines an area of regeneration to the South of the town centre. It lies broadly between Chapel Street and Rigby Road, and the Promenade and Central Drive. These have been identified as the initial areas of focus for detailed scheme development, community engagement and property acquisitions in preparation for future development.
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.
Far, far away from the mad, rushing crowd, Please carry me with you. Again I would wander where memories enfold me, There on the beautiful Island of Dreams.
At the northern end of Barrow Island lies the Ferry Road Triangle. Covering an area formerly known by the field names, Crow Nest, Great New Close, Little New Close, Moss, Cow Park and Middle Park; the Ferry Road area has always been known as the Triangle, because the shape of the estate is truly a triangle.
I had arrived in Barrow in Furness and taken to wandering the streets, hastily in search of nothing in particular.
I came upon a neat triangle of terraced housing, which abutted the huge BAE Systems sheds.
The collision of scale created by the low lying domestic buildings, and the gargantuan industrial nuclear submarine homes, immediately put me in mind of Chris Killip’s photographs.
He had recorded the last days of a dying industry, whilst the BAE contracts represent a long term lifeline to a once dying town.
The Ministry of Defence has awarded £3.95 billion of funding to BAE Systems for the next phase of the UK’s next-generation nuclear-powered attack submarine programme, known as SSN-AUKUS.
The funding follows the AUKUS announcement in March by the leaders of Australia, the UK and the United States. This will eventually see Australia and the UK operate SSN-AUKUS submarines, which will be based on the UK’s next generation design, incorporating technology from all three nations, including cutting-edge US submarine technologies.
Having started early design work in 2021, the £3.95bn funding will cover development work to 2028, enabling BAE Systems to move into the detailed design phase of the programme and begin to procure long-lead items. Manufacture will start towards the end of the decade with the first SSN-AUKUS boat due to be delivered in the late 2030s.
It has been said of Barrow: A rich mineral district was the cause, a railway was the effect, and an important manufacturing town the result.
The dramatic growth of Barrow-in-Furness in the late 19th and early 20th Centuries was fuelled by the ready availability of Furness iron ore. Significant investments were made in developing the town to exploit this resource. The various ironworks, steelworks, foundries, shipyards and docks required a huge influx of population to support them. This in turn led to the rapid building of rows of good quality mass-produced terraced housing for the workers, and substantial sandstone villas for the management.
I stopped to chat with a local lad – I had thought Barrow to be a hard town, he thought not.
There’s not much trouble, though we have hard times – how so?
The Tories – now my kids have all got jobs for the next twenty years.
There were no reported crimes in June 2024
Devonshire Dock Hall is a large indoor shipbuilding and assembly complex that forms part of the BAE Systems shipyard.
Constructed between 1982 and 1986 by Alfred McAlpine plc for Vickers Shipbuilding and Engineering, DDH was built on land that was created by infilling part of Devonshire Dock with 2.4 million tonnes of sand pumped from nearby Roosecote Sands.
Opened in May 1888 it was described by the Barrow News as one of the best-appointed hotels in Barrow. From this start, Walton Lee, elected Town Councillor in 1886 envisaged an estate for the workers literally within spitting distance of their workplace.
A section of Career of Evil was filmed at The Crow’s Nest.
Barrow shipyard’s Devonshire Dock Hall, The Crow’s Nest pub, Barrow Island streets, including Stanley Road and Stewart Street, and Michaelson Road Bridge, all featured in episode one of Career of Evil on Sunday night.
The Market Hall was considered to be a prime example of cutting edge modern architecture when it was officially opened amid a blaze of publicity and civic pageantry on September 16 1965.
It replaced a large Victorian market hall of similar proportions that was in a poor state of repair and was condemned as unhygienic, dingy and “no longer fit for purpose”.
Developed by the Second Covent Garden Property Company, the new Market Hall cost £1 million to build and was designed by a respected architect of his day, David du Rieu Aberdeen. Aberdeen designed major buildings in London and made his name when he won a national competition to design Congress House for the TUC in Bloomsbury. Today Congress House is described as a “modernist masterpiece”.
The Pevsner Architectural Guide pronounced the new Market Hall “a good example of modern architecture”, with “its clean lines and simple forms. But the town’s timber-framed tradition is also evoked. The upper storey is jettied out on a reinforced concrete structure and faced with vertical fins in an echo of close studding,” it stated. “The tall slender red brick clock tower mingles effectively in distant views with the town’s medieval steeples.”
Built and operated by Shrewsbury Empires Ltd, the Granada Theatre opened on 14th November 1934 with Jack Hulbert in The Camels Are Coming.
It closed as a cinema on 31st March 1973 with Charles Bronson in The Valachi Papers and Anatomy of a Pin-Up.
The Granada circuit was famous for its lavishly decorated interiors created by a Russian émigré called Theodore Komisarjevsky, the most famous examples of which are at Woolwich and Tooting – both now operate as bingo halls. The Shrewsbury Granada was by far the best cinema in the area, and in addition to Komisjarevsky, the scheme was designed by Cecil Massey, with some work being carried out by a local architect called Arthur Williams. The architecture of the Shrewsbury hall is often referred to as being a “standard” Granada, and the interior was very similar to the Granadas at Bedford now demolished and Maidstone which wasdestroyed by sub-division. There were less than 20 theatres built for the circuit, of which Shrewsbury was number five, although many existing cinemas were taken over and renamed, making the Granada Theatres an important group, although in numbers they were far behind Odeon and ABC.
On 17th November 1995, the Granada Theatre was designated a Grade II Listed building by English Heritage.
Many thanks to the staff of Buzz Bingo for allowing us access.
Next up is a Marks & Spencers store very much a shop of two halves – marrying post-war Brutalism with interwar Classicism, unified by a glazed ground floor.
Across the way, a 60s corner site development, with a dual-entry Greggs.
Formerly the site of the Post Office – demolished in 1959, and next to the Barclays bank the long gone Crown Hotel.
On the adjacent corner a curvaceous Barclays Bank, built in the post war Ministry of Works manner.
Next door is Crown House – refurbished but with it’s architectural type intact.
One of Marshall Structures’ biggest projects to date was the conversion of Crown House from a tired office block to a complex featuring 14 luxury apartments, providing a much-needed improvement to the site. The work involved in this project included large amounts of steel work and timber design.
The biggest challenge faced during the completion of this project was trying to fit an additional storey without loading quite an old existing structure. To do this, the new storey was designed out of a lightweight timber frame. By doing this, the client’s brief could be met while also ensuring that the existing 1950s building wasn’t overloaded in the process.
The foundation stone for the new building was laid by Sir Offley Wakeman, a former chairman of the county council, on 25 July 1964. It was designed by Ralph Crowe, the County Architect, in the Modernist style, built at a cost of £1.8 million and was completed in April 1966.
Pevsner described the building as – the major monument to post-war modernism in the county.
The Market Hall, which includes the town’s 240ft clock tower, an indoor market and a ground-floor shopping centre, was hailed the most modern building in Shropshire when it opened in September 1965.
Developed by the Second Covent Garden Property Company Ltd to replace an ailing Victorian market hall, it cost £1 million to build and was designed by award-winning architect David du Roi Aberdeen who also famously designed the Trade Union Congress headquarters, Congress House, in London, and the Swiss Centre in Leicester Square.
Today the Market Hall’s 1960’s architecture might not be to everyone’s taste, but its indoor market is thriving with over 70 small businesses ranging from popular contemporary cafes and gift retailers to artisan producers and traditional market stalls selling fresh produce.
Bobbing toward the centre – a striking Lloyds Bank.
A conscious effort to reflect the nearby Tudor architecture of Ireland’s Mansion and Pride Hill. Lloyds Bank is considered a good example of Brutalist architecture, and proof that bold modern buildings can be successfully slotted into traditional historic streets.
Possibly Shrewsbury’s finest post-war building, but of course it has its detractors. It was well received by critics of the period including the assessors for the Civic Trust who bestowed an award in 1968. They noted the quandary that the architects faced of building in such a historic setting and terminating the vista along one of the town centre’s main streets. In their opinion the architects ‘faced the problem squarely and their building, brave in its conception and immaculate in its detail’ and that it was ‘uncompromisingly of today but beautifully sympathetic to the great buildings it rests with’. Pevsner’s original assessment of it being the ‘boldest modern response to the town’s half-timbering’ was not shared by the authors who revised the Shropshire edition and viewed it as an ‘aggressive display of exposed and textured concrete’.
It was also shortlisted for the European Cement Association awards, one of only two British buildings to make the grade. Opting to draw on the Tudor traditions of the town, partner W Marsden, working with project architect W Allan Clark and assistants Malcolm Lovibond and Keith Maplestone, used cantilevered floors, vertical structural and sub-structural members, oriel windows and a black and white tonal palette deploying anodized aluminium window frames against finely ribbed concrete panels. The standing seam zinc roof adopted the town’s norm of pitched roofs without gables in order to blend with the street scene. Concrete Quarterly referred to it as ‘a skilful bridging of the centuries in a way that would not offend a purist’ . The main contractor was Henry Willcock and Company Limited.
Arriving by train and ascending into the light – here’s the station lights.
The railway station has sharpened up its apron and facade.
We have transformed the station forecourt. It has become a quality gateway which delivers a great first impression for visitors arriving in Doncaster by train. This will help stimulate interest from investors and developers, helping to attract new investment and create jobs for the borough and wider region.
Celebrating engineering, speed and connectivity and stretching forty metres in length the public art at Doncaster Station consists of forty seven monoliths which are a nod to Doncaster’s past, present and future. With a fountain and three impressive water walls, the art takes centre stage in the new public space as you step out of the train station and head into the town centre.
The concept was devised by Doncaster Council and further developed by Chris Brammall.
Typically the high and low streets of Britain’s industrial towns and cities, are an amalgam of architectural style and fashion, spanning at least two or three centuries.
Behind the buff faience frontage is a lovely, small two-room pub with a well preserved interior created under plans of 1934. It was remodelled by the Grimsby brewers Hewitt Brothers Ltd who were Doncaster’s biggest pub owners for many years.
Of course, every town had a Burton’s – the tailor of taste.
This post war infill has that distinctive Festival of Britain feel, original metal window frames, Portland stone and blueish slate like panels.
The revamped Frenchgate Shopping Centre, officially opened on October 4th 1968, has in places an upper tier, resistant to zinc over cladding.
The centre has been the heart of the city for over 40 years and was originally called the Arndale Centre because it was built, owned and managed by the Arndale Group. It was renamed in 1988 after a change of ownership, with the new name reflecting the name of the street which passes to the east of the centre and which is one of Doncaster’s main shopping streets.
The sale of the centre came just a year after Frenchgate had undergone a £200 million facelift to transform it into the country’s first shopping centre with integrated public transport and retail interchange.
We propose this is fundamentally transformed though the addition of apartments that wrap along the back of the first-floor retail with a further 2.5 new storeys placed on top. We also feel additional height -up to seven or eight storeys, is justifiable to the corner of Frenchgate and Trafford Way.
The Lovers were once located in the Arndale, removed to a local garden, unloved – then later reinstated in the Waterdale Centre, where we will embrace them a little later.
Turn right to take in the 1920s mosaic remake remodel of the Grade II listed Blue Building.
The Blue Building which used to be the Doncaster Design Centre and Tourist Information Centre was originally the home of John Whitaker, a wine merchant, and son of James Whitaker who was Mayor of Doncaster in 1758.
In 1925 the complete building was demolished apart from the facade which was retained and given a facing of decorative blue tiles. The intention was to build a shopping arcade from High Street to Printing Office Street. Only part of the arcade, known as the Westminster Arcade was built. It had a number of shops, the largest being that of Woodhouse & Co Furnishers.
Two adjacent 60s extensions – to the right a redundant post office to the left an almost redundant telephone exchange, with the earlier brick built exchange in smack dab the middle.
Turn another corner and it’s all at the Co-op now – the Grade II listed Danum Co-operativeBuilding, department store and offices: 1938-40 designed by T H Johnson & Son for the Doncaster Co-operative Society Ltd.
Over the road a zig-zag Halifax Building Society branch, tightly contorted by its corner footprint.
To the right of the Danum, this former Boyes store, having relocated to the Wilko site, the building is ripe for residential conversion.
To the left the Colonnades Shopping Centre a fierce angular glass and brick bunker of mixed office and retail space – the sole occupant seeming to be Home Bargains.
A £3.3m makeover of the Colonnades shopping mall in Doncaster town centre was completed in 2019.
The scheme of works was co-ordinated by Doncaster Council and funded by the Sheffield City Region Local Growth Fund.
Built in the 1980s, the brick built building received a major overhaul. The investment saw the visual appearance enhanced inside and out. The five floors were transformed into the prime office space needed in the town centre and the enhancements to the retail area were also finished.
The shift in the town’s axis to the Frenchgate and Market areas, seems to have taken the wind out of its sails.
The former flicks now a redundant pale brick behemoth – no more and ABC.
Doncaster’s new £250,000 ABC cinema, part of the Golden Acres development near the town centre, was opened on May 18th 1967.
Closed in January 1981 for conversion into a triple screen it re-opened on 9th April 1981 with seating in the three screens for 477, 201 and 135.
The Cannon Group took control in the mid-1980’s and it was re-named Cannon and it closed on 18th June 1992, screening its opening film Doctor Zhivago.
Cinema Treasures
The Golden Acres development seemed to have morphed into the Waterdale Centre.
It is currently being reshaped to provide a line of desire twixt the Civic and Cultural areas, from the town centre. There are still the remnants of homes, shops and a pub amongst the demolition – almost inevitably there is new paving.
Waterdale is a well-known part of Doncaster’s town centre. During its heyday it was a bustling area with people flocking to shops and the like – it was a place you had to visit while you were in town. However, it had suffered a steady decline which continued when the southern bus station closed – Frenchgate Interchange opening, and Doncaster College moved to the Hub at the Waterfront. With limited public transport entering the area and no student population on its doorstep, less people had reason to pass through.
Demolition of the College.
The Civic and Cultural Quarter is transforming Waterdale reconnecting it to the town centre. The quality and content of the plans is raising the profile of this part of town to new levels. The carefully thought out layout and consistent building design is giving the area a clear identity. It is already becoming a big attraction that draws people in and encourages redevelopment in the neighbouring areas.
The weary walker is diverted toward the Civic Quarter Car Park.
The former Civic Offices are to be demolished.
Demolition of the Central Library is well under way.
Facing the former library we find the CAST Theatre, Civic Buildings and Savoy Cinema, grouped around Sir Nigel Gresley Square.
Within the square is a frieze, salvaged from the former Gaumont Cinema, the work of sculptor Newbury Abbot Trent.
The Gaumont Palace Theatre in Hall Gate at the corner of Thorne Road, Doncaster opened on 3rd September 1934 with Jesse Matthews in Evergreen.
It was designed by architects WE Trent and W Sydney Trent.
In 1949 WH Price the Borough Surveyor produced an outline plan for the area, with a green space at its heart, it was never realised. In 1955 Frederick Gibberd produced his plan to include a ten storey Town Hall, Art School, Technical College and Civic Theatre, revised and reduced in 1963 – eventually his Police Station and Law Courts were completed in 1969.
The former NHS Clinic at the ‘T Junction’ is transformed into a day care service.
The building was designed in the office of the Doncaster Borough Architect’s Department in a team led by borough architect Mr LJ Tucker.
The ceramic designs were a later addition when it was discovered that the large open areas of glass overheated almost everything inside, the work was undertaken by LJ Tucker and family.
The sculptural work by Franta Belsky, now has a skip for company.
As a footnote the work by Fabio Barraclough reveals a murky past.
Barraclough was born in Madrid in 1923, to a Spanish mother and Yorkshire father who founded Madrid’s Chamber of Commerce. He moved to London with his family in the 1930s as a refugee from Francoist Spain. He taught fine art and sculpture at Rugby School, where colleagues considered him “highly entertaining, a most unorthodox and highly gifted” teacher. He established himself during the 1960s and early 1970s as an authority on sculpture, publishing in academic journals and becoming a member of the Royal British Society of Sculptors.
In 2000, it was revealed that Barraclough, while outwardly living the life of anti-apartheid activist since the 1970s, had been a paid informant of the South African state security police. The media was used to promote his image as a “brilliant, liberal artist with apparently impeccable credentials” in order to gain public trust, while he was funnelling money from anti-apartheid groups to the police. He died on 6th January 2019.
Over the way faros the green sward is St Peter in Chains RC – A large and striking design by JH Langtry-Langton, incorporating important furnishings by J F Bentley from the predecessor church, along with good furnishings of the 1970s. The churches houses the modern successor to the medieval shrine of Our Lady of Doncaster.
Figurative stained glass by Patrick Feeny for Hardman in 1973 and abstract glass fitted in 2000 as part of reordering and revival of the shrine.
Designed by architects Bond Bryan and built by main contractor Willmott Dixon, the new cultural and learning hub has been created following the restoration of four existing buildings.
A key focal point of the scheme is the restored frontage of the Edwardian former Doncaster High School for Girls, which has been framed by Senior’s slimline SF52 aluminium curtain wall and showcased within a new steel-frame building. The glazed facade, which was fabricated and installed by Senior’s supply chain partner Chemplas, also features Senior’s aluminium commercial doors.
Work began in the interwar years, and continued following the hiatus of 1939-45. The shopping centre named the Civic Centre was open in 1963, the actual Civic Centre containing a swimming pool, theatre, public hall and library in 1971.
Here I am again four years later, taking a look at how it looks today.
ASDA remains the anchor store, Wilko having left a Wilko sized hole in the precinct. On an overcast Friday morning there was sufficient footfall to sustain the wide variety of smaller shops and larger retail chains. As with many other towns within the central Manchester orbit, the easy proximity fills those busy trams and buses, which are leaving the area.
There are plans in place to regenerate the area, in the form of a Masterplan – which can be downloaded here.
Between 1991-2002 there have been some architectural changes, including new stores and office developments. Some of the interventions included significant adaptions which further increased retail into the existing buildings high street.
The interventions included significant adjustments to the multi-storey car park with the aim of reducing parking numbers whilst providing additional lettable space. Further Transport Hub Arrival commercial development was created to the north of the site with the construction of Etrop Court, despite there being significant commercial vacancy across other parts of the estate.
Whilst there has been significant incremental intervention, the character of the area has not fundamentally changed from its founding concept. However the cumulative impact of the various changes have had a negative impact on the functionality and suitability of place, so much so that the centre is in many ways no longer fit- for purpose.
The site today is surrounded by surface car parks, with a total of around 2,500 car parking spaces, 1,700 of which are contained within the multi-storey car park. Many of the retail units, the upper floor office spaces along the Birtles and Hale Top, and buildings to the east are vacant.
Typically, the levels of vacancy are consistent with the changing demands of the high street, where typically modern and successful retail centres are now more diversified and focussed on creating a visitor or destination-based experience. In this sense, we anticipate a need to diversify the high street and to promote a smaller more concentrated retail core, whilst supplementing the offer with more meanwhile and permanent uses and activities based on culture, food and creative workplace.
The gateway to the Civic Centre on arrival from the Transport Interchange is very poor. Access to the high street isn’t obvious and the route through to the high street isn’t clear. Much of the site is surrounded by fencing, barrier and gates and whilst they are open during the day, they are locked at night to prevent vandalism. This barricaded aesthetic does nothing to promote an easily accessible and family friendly environment as well as preventing any opportunity to promote a much needed night- time economy.
Currently, the Civic Centre appears to only cater for those with a need to visit for a particular purpose, rather than capitalising on an opportunity to create a place to visit and dwell.
The foundation stone for the new building was laid by Sir Offley Wakeman, a former chairman of the county council, on 25 July 1964. It was designed by Ralph Crowe, the County Architect, in the Modernist style, built at a cost of £1.8 million and was completed in April 1966.
It was officially opened by Queen Elizabeth II, accompanied by the Duke of Edinburgh, on 17 March 1967.
The design for the six-storey building facing Abbey Foregate involved continuous bands of glazing with concrete panels above and below: it also included an unusual ovoid-shaped council chamber which jutted out to the south-west of the main building.
Pevsner described the building as – the major monument to post-war modernism in the county.
Shropshire Council initially backed a scheme drawn up by HLM Architects in 2017 to revamp Shirehall to provide modern working facilities as well as commercial opportunities. However this plan has not progressed and the local authority has said that making the building fit for purpose would require ‘a multi-million pound investment’.
in September 2020, the council indicated that it would rather sell the building and move to the town centre. Then in October 2020, following an application for a certificate of immunity from listing requested by the county council, English Heritage decided not to list County Hall as the building did not meet the criteria for listing post-1945 buildings.
Shropshire Council Raven Meadows Shrewsbury SY1 1PL
Built by Truscon Ltd. – 1969
I am a disabled driver and found a lot of the direction signs worn away. When I came to leave I wanted to use the machine on the ground floor. This was out of order, as a lot of other people found. The office was empty as the staff were outside smoking. I then had to negotiate stars back to the 7th floor where the next machine was located. There was no sign on the ground floor machine telling it was out of use and where the next machine was located.
If staff want to have a smoke they should at least leave someone in the office.
Most of the parking spaces are very tight and I would not recommend the use of this car park unless you have a small car and a crystal ball to find the disabled parking and the payment meters.
The rudest man at the kiosk, that I have ever had an encounter with, over a ticket that was blurred. He had a go at me for not going to him straight away – I went when I went to leave and it wouldn’t work. He also had a go at me because I pressed the buzzer on the intercom. Very strange unhelpful man. Made an issue for no reason! Awful to deal with I never write reviews, but I hope this gets back to him and with hope he will gain some manners.
Being a pedestrian, I entered through the bus station on foot.
The station is considered to be dated due to its 1980s architecture partially under a 1960s multi-storey car park. There have been plans for the station to be modernised and rebuilt, or even demolished completely, as part of the town’s Big Town Plan. The demolition of the station would mean the town would not have a central bus terminus and would instead use smaller sites on the town’s Park and Ride routes.
Shrewsbury Bus Station is a disgrace. I am embarrassed to use it. I don’t feel comfortable with using it. Yet, it is the bus hub for our county. It is one of the main gateways into Shrewsbury and Shropshire for those travelling by public transport.
New bus hubs and interchanges have been developed around the country. Shropshire Council meanwhile ignores Shrewsbury Bus Station. It promises a new bus interchange, but that is in Phase 4 of its plans to redevelop Shrewsbury town centre between Pride Hill and the riverfront. In the current financial climate and with the council stretched to the limit on existing funding, Phase 4 is probably more than a decade away.
It’s now all grown up into a fully fledged transport interchange – with its very own pedestrian and cycling ramp.
The 189-metre ramp provides a seamless and accessible route to navigate the level change from the rooftop park to the river Mersey frontage, leading to the Trans Pennine Trail route.
Forming part of the Stockport Interchange Mixed Use development scheme, and which also includes a new cycle and pedestrian link from Stockport rail station to the new park, as well as connecting the new facility to the wider Bee Network cycling and walking infrastructure, which is designed to encourage more people to make journeys on foot or by bike.
The Adelphi Picture Theatre is located in the Attercliffe district in the east of Sheffield. It opened on 18th October 1920 with Irving Cummings in Auction of Souls. The red brick building has buff and blue coloured terracotta enrichments on the façade, especially on the small turret dome over the entrance, which also has stained glass windows.
Seating in the auditorium was provided in stalls and circle, and the projection box was located in the rear stalls, underneath the circle. The cinema was in reverse, and patrons entered the auditorium from behind the screen. The decoration includes pilasters, a segment-arched panelled ceiling and a moulded proscenium arch with a central crest which is flanked by torches. The circle has a lattice-work plaster front.
Single photo enhanced with easyHDR 3.15.2: Adelphi 1920 10 18.jpg
It underwent some restoration in 1936 and a re-decoration in August 1939. It received some bomb damage during the second week of the blitz and was closed for around a month. It received further renovation in August 1946. It remained an independently operated cinema throughout its cinematic life and was usually tied in with the Coliseum Cinema on Spital Hill.
The Adelphi Picture Theatre closed on 28th October 1967 with Robert Vaughn in The Karate Killers and Glenn Ford in The Rounders. It became a bingo club, last operated by the independent Walkers Bingo. After this closed in around 1995 it became a nightclub and since March 2000 was converted into a music teaching centre. This closed in 2006, and the building stood unused, and by 2013, it was in use as a storage facility. It was announced in November 2022 that the city council were seeking to purchase the building to renovate and convert it into a community centre.
Since early 1996, the Adelphi Picture Theatre was designated a Grade II Listed building by Historic England.
Just the other day I came across an old ticket stub issued by The Savoy in Heaton Moor.
They used a Automaticket machine, but with dead stock tickets.
Evolving from being gear and lever driven, to powered by electric motors, these ticketing machines served as somewhat of an industry standard for over eighty years.
While there are still a few of these machines in use, the theatre industry generally abandoned such ticketing systems, in favor of computerized ticketing, by the late 1980’s.
The striking art deco – sic. building later hosted Sheffield’s famous Gatecrasher club nights, among other events, and was also used as a music teaching centre.
It sat empty from 2006 until 2013 and has since been used only for storage.
My dad was a regular at The Adelphi during the war years. He remembers that the showings were always like a theatre with two matinees during the week and two evening showings everyday unlike the continuous showing at other cinemas and a children’s matinees on a Saturday.
He and his friends had six seats booked on Q row for every Monday and Saturday night as more often than not the films ran for three nights Mon, Tues and Wed, then a new picture Thurs, Fri, and Sat – no show on a Sunday. Occasionally a good film, now known as a blockbuster, would run for longer; if this was the case they just put up with seeing it twice.
The cost of the film was 4d or 6d upstairs, the cinemas in town were dearer.
Called up in February 1944 he did not return to Attercliffe until his first leave from the army a week before VE day in 1945. He returned from Germany, said hello to his Mum and Dad, dropped off his kit bag then caught the tram the three stops to the Adelphi where he knew his friends would be. The smartly dressed commisioner, in blue with plenty of gold braid, standing outside immediately recognised him even in army uniform. He showed him in telling him the lads were all there. He crouched in the aisle next to his friends and caused quite a commotion once he was spotted – he has no memory of the film showing but great memories of the reunion to this day.
It was bought by Sheffield City Council earlier this year, as part of the Attercliffe Levelling Up project, and has now gone on the market as the council seeks someone to revive the Grade II-listed building as a vibrant cultural hub.
Councillor Ben Miskell, chair of the council’s Transport, Regeneration and Climate Policy Committee, said:
We’re thrilled to announce the Adelphi Cinema building in Attercliffe is now on the market and we’re eager to hear from interested parties. The building forms one part of our ambitious plans for the area which will all come together to breathe new life into the community.
It all began way back when I was a raw youth living in Ashton under Lyne – the precinct was our playground, cycling and running, often against the grain, up and down the travelator.
Some sixty years later I am still enthralled by the nation’s shopping precincts – including the very local Merseyway.
We arrive at and begin our journey at the Interchange – the bus station is closed, along with the station entrance.
Bradford accepts that it is a part of the Northern Supercity stretching from Coast to Coast – Liverpool to Hull. Every existing town and new settlement must be unique. People belong to their own hotspot as well as Coast to Coast. Bradford as a dispersed centre will give it individuality as well as becoming synonymous with the whole new city. Bradford is a mini version of the whole. It is composed of a series of mini hotspots which will each act as a focus for each square kilometre.
Bradford has the topography to allow every citizen to wake up to a view – both physical and mental. Their collective ambition can create a place of extraordinary difference.
The Interchange opened in 1971 was the first of its kind in the country, designed by the BR regional team headed by RL Moorcroft and the City Architect.
Onward to the Magistrates’ Courts designed by City Architect Clifford Brown in 1972.
Bradford is in the process of paving and puzzling pedestrians, as it becomes City of Culture in 2025.
So we wind our way over the inner ring road, advisedly avoiding the filled in underpasses.
The former Central Library awaits us, designed in 1965 by Clifford Brown – a striking podium and tower, currently home to council offices.
Next door the Sir Henry Mitchell House home to the Children’s Services.
Sir Henry Mitchell 1824 1898 was a mill owner and Mayor.
Moving further along the Telephone Exchange of 1936, design by architect FA Key.
Partner to the Telephone Exchange of 1976 by architect Trevor H Hanson for PSA
The gates were open and we were afforded a view of these delightful vents.
Next to the Ice Arena topped off with Wardley House – Sanctuary accommodation for key workers and students.
Wardley House is equipped with all the modern amenities you need for a comfortable and connected life as a key worker. The rent includes high-speed broadband and building-wide Wi-Fi, utility bills, and contents insurance. Our top-notch facilities comprise a large common room with a pool table, flat-screen TV, and live BT Sport – the perfect social space.
Up the hill and around the bend totheUniversity of Bradford – the main Richmond Building fronted by Joe Mayo’s tiles.
At the University of Bradford our focus is oncreating the conditions for social, cultural and economic impact. We will achieve this by using our proud heritage as a springboard and remaining steadfast in our commitment to equality, diversity and inclusion. We will harness our strengths in research, innovation, teaching and partnerships to extend our reputation, influence and impact. All of this will create a values-led culture that is inclusive and effective in enriching lives and benefitting society.
The undercroft has undergone a major refurb rethink – transformed into a Goth Disco.
We emerge unscathed into the clear light of day and the BDP designed Chesham and Horton blocks.
The mosaic covered columns remain unclad.
Let’s hop to the Grade II-listedCo-op designed by CWS in house architect WA Johnson and JW Cropper in 1935.
Architect W A Johnson worked for the Cooperative Wholesale Society from 1899 until 1950. He was heavily influenced by the German architect Erich Mendelsohn after 1930, evident in his embrace of the International Modernist style. Johnson travelled widely in Germany and Holland, and Mendelsohn’s Schocken store in Stuttgart 1928 is quoted as being a particular inspiration for the Bradford Co-op.
Demolished despite protests in 1960.
In 2019 the Architectural Heritage Fund announced a £5,000 Project Viability Grant to Freedom Studios Ltd.
The money funded a viability study to investigate the potential of building becoming a multi-use cultural hub.
In 1979, the building won a European award from the International Council of Shopping Centres.
But the Historic England report described its design as mundane and repetitive.
Janice Ivory and Lisa Donison didn’t hold back in their criticism of the centre in its current state.
Thank God for that, was Janice’s reaction to the news the building was set to be bulldozed, although an exact date for its closure remains unknown.
It’s just a concrete monstrosity, she said of its design, which Historic England said was lacking architectural flair.
It’s just an ugly building, added Lisa.
Once dubbed Bradford’s space age retail destination, Kirkgate Shopping Centre will soon be no more.
The city centre landmark, which opened for business as an Arndale in 1976, has been denied listed status by Historic England – paving the way for its demolition.
Geoffrey Cowley from Wibsey, who was in town for an eye appointment, said demolishing it:
Might be the right thing to do.
There are plans to remove and display the William Mitchell panels along with these other examples of his work.
In-situ at Highpoint.
In storage – removed from the Bradford And Bingley Building Society.
Artist Bernd Trasberger plans an artistic project, which involves repurposing Fritz Steller’s tile works.
As Ken Kesey so rightly said – Further!
Up to Highpoint designed by John Brunton and Partners 1973.
The derelict former headquarters of Yorkshire Building Society, on one of the highest parts of the city centre, looms over the city centre, and to many people is the city’s ugliest building.
High Point is the perfect site for the first Radii development. Now perceived as an exemplar of the Brutalist style, this eight-storey titan, has languished derelict and in disrepair for many years in the heart of Bradford City Centre.
Our regeneration of High Point into an innovative residential apartment complex with a community at its heart, embraces ideas of sustainability, preservation, and rejuvenation that will bring a new lease of life to this abandoned landmark.
Sharp, chic and spacious apartments available. Furnished to the highest standards throughout and with the flex to provide you with office space if required – this is modern city living that’s easy on your eye and your pocket.
And finally the cafe that is not a cafe – Fountains, where the griddle no longer grills, the lights are always out and the shutters tightly shut, ain’t nobody home.
Wishing nothing but well for this West Riding gem – Bradford City of Culture and cultures and culture.
So on a light bright sunny day, I took another look around.
Salford’s town centres are important to the city’s future. They provide employment for local people, retail and leisure opportunities, homes, a sense of community, and a place for local people to interact. However, it is well known that town centres are changing and that they need to adapt and reposition themselves so that they can thrive and meet the needs of the local communities.
Despite Swinton’s many strengths, it faces similar challenges to other towns. The shopping centre and other buildings in the town centre are dated and in need of investment. Demand for local housing has grown by 23% in the last five years, but there is a lack of high-quality family and affordable housing in the right locations in the area.
The city council has identified Swinton town centre – along with Eccles, as a priority area for regeneration. On that basis, the council has engaged with the community and local stakeholders to establish a clear vision for the town that will help to guide change and future investment, whilst protecting what local people consider important for Swinton.
Swinton Square is in private ownership and therefore not something that the council has any direct control over. It is also important to acknowledge that the issues facing Swinton precinct are not unique to Swinton and those challenges are varied but linked to changing shopping habits, decline in the retail offer, competition from out-of-town centres as well as changes in the wider economy.
We do have an open dialogue with the owners of Swinton Square, the West Bromwich Building Society, who are aware of the vision and aspiration for Swinton.
One of the aims of the council’s events and animation programme is to encourage additional footfall and dwell time within the town centre.
Bury Interchange is a transport hub opened in 1980, it is the northern terminus of the Manchester Metrolink’s Bury Line, which prior to 1992 was a heavy-rail line.
It also incorporates a bus station.
Bury Interchange replaced the bus termini scattered around Bury town centre, notably around Kay Gardens.
Bury Interchange was opened by British Rail in March 1980, integrating a new bus station with the northern terminus of the Bury-to-Manchester heavy railway 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.
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.
It’s not what we need for our customers need.
The new Bury Interchange project is expected to complete at the end of the decade.
The line and station were closed on 5 October 1970 as part of continuing cutbacks in British Rail services and the line west to Bolton subsequently dismantled.
Modern Mooch 