Wolverhampton High Level Station was built in 1852 and lay on what used to be known as the Stour Valley Line. The modern day Wolverhampton Station now occupies the site and there is little left of what my father photographed as the station suffered a major phase of modernisation in the mid 1960’s.
The present Wolverhampton station dates from 1964 to 1967 when the High Level station was completely rebuilt by the architect Ray Moorcroft as part of the modernisation programme which saw the West Coast Main Line electrified.
More recently in 2004, a new through platform – platform 4, was constructed on the site of infrequently-used sidings. This has greatly enhanced the capacity of the station. A new footbridge was also constructed, to allow access to the new platform but also to improve access to the existing ones.
Members of the public are now able to access the second half of the new Wolverhampton railway station, following the completion of main construction on Phase 2 in March 2021.
The new station forms part of a significant local transformation being carried out, as part of the city’s £150m Interchange scheme. Within the city scheme, there are improvements planned for bus, Metro, cycle and train connectivity.
This was my first visit to Wolverhampton, arriving at 8.42 on a crowded Bournemouth bound Cross Country train, which was destined to terminate at Reading.
Whilst Oxford Road echoes to the sound of Freshers fleet of foot.
UMIST is only home to fallen leaves and a palpable air of melancholia.
The last of the students have left and a crew of hi-vis workers are busy stripping the remains of days long gone.
We have all walked on by before and will again – though with heavier heart, into an all too uncertain future – for only the Holloway Wall is listed.
Now a grand redevelopment project has been unveiled to tend to that. According to the developer’s website, the plan promises to accelerate growth, partnership and collaboration.
Christened ID Manchester, the plans could see the area hacked into a glass maze of ultra-modern offices, apartments and hotels.
Gwent House is the home of the District Council Offices for Torfaen and the Public Library. Used by HM Courts Service and HCMS – South East Wales, the building is a seven story structure with retail space on the ground floor and open plan office space above. Built during the 1970s as a local government building, it is constructed with a steel and concrete frame with wall to wall double glazed windows and a flat roof.
Gwent House sits on the east side of Gwent Square at the heart of Cwmbran New Town’s centre. The ‘Central Building’ as it was known during development was conceived by the Cwmbran Development Corporation, as a mixed development of leisure (including a club, dance hall and hotel) and office accommodation with retail to the ground floor. this was to expand the function of the town centre beyond purely a shopping centre, and to address the perceived lack of ‘professional’ office jobs. In the event, the offices proved difficult to let and were occupied by the CDC and Cwmbran Urban District Council.
The building was designed by Sheppard, Robson & Partners and opened on the 18th January 1973. The eight-storey, concrete framed block included a job centre, the library, a conference and exhibition hall, and three restaurants catering for different tastes and age ranges, including the ‘Sign of the Steer’.
On the west side of the building are a series of three moulded concrete relief panels designed by Joyce Pallot and Henry Collins for the MEPC, the Cwmbran Development Corporation and the Cwmbran Arts Trust in 1974. The panels depict scenes representing different phases of the history of Gwent: Iron Age and Roman, Medieval and Industrial.
The work of Joyce and Henry is well known here at the modern mooch having visited Newcastle, Bexhill and of course Stockport. There are also examples in their hometown Colchester, Gloucester and Southampton.
Joyce Pallot 1912-2004 and Henry Collins 1910-1994 – two artist/designers, who along with John Nash, established the Colchester Art Society, during the 1930s.
The square it seems is due to be revamped as part of the broader regeneration plans.
Literature displayed at the public consultation said improvements in Monmouth Square aim to -introduce colour into what is a lacklustre space.
One hopes that these important public arts work survive the transformation.
September 2022 the bandstand was demolished.
Photo: Rhiannon Jones
Lia Jones said:
The bandstand was a well-known centre point for the area. I really wish it had been kept in the design for the area, they should have relocated it instead of getting rid of it all together.
Built between 1963 and 1967, the centre comprised 18 shops, a childrens playground, public toilets, a health and dental centre, and a combined public house and community centre. The unit centre was designed by Chief Architect of the CDC, Gordon Redfern, and was architecturally the most innovative and ambitious unit centre within Cwmbran New Town. To combat the exposed nature of the site together with the ‘high rainfall, mists and variable winds’ prevalent in the area, Gordon Redfern designed an enclosed, high-sided space that would physically and mentally shield shoppers during their visits. This protective environment extended to creating a central play area that could be viewed from the shops, allowing a more enjoyable experience for children. Four different shops types were provided on increasing floor footage for facilities ranging from barbers to grocery shop, all with storage to the first floor and eight, on the south-west side, with a two-bedroom maisonette above. To enhance the architectural impact of the scheme, Redfern created each unit on an hexagonal plan despite the inefficiences in floor space usage and additional costs in creating the fixtures and fittings. The CDC also fitted out each of the uits to a customised requirement – for example the Post Office unit was pre-fitted with a telephone booth, posting box, stamp machine and half-glazed panel for advertising services.
The structural engineers were Ove Arup & Partners, the builders were Gee, Walker & Slater. Construction costs for the scheme were estimated at £214,106. The unit centre was opened 12 September 1967, shared with the opening of Monmouth House, both undertaken by Rt. Hon. James Callaghan, M.P. A scathing article written the following month by architectural critic Ian Nairndismissed the design as a ‘kind of in-turned medieval village … an oasis of picturesqueness in a desert of statistical units’ designed for, rather than with, the inhabitants and therefore destined for commercial failure.
In 1949, the then Minister for Town and Country Planning, John Silken, designated an area of 31,000 acres surrounding the village of Cwmbran to be the first new town in Wales. Unlike the first generation new towns, the aim of Cwmbran was to provide housing and a range of facilities for those employed in existing industry but who lived in poor housing in the neighbouring valleys.
A master plan was implemented to achieve the objective for the town. However, as the town developed, the projected size of the town had to increase and many of the plans ideals were diluted as the Southwest expansion area was approved in 1977.
In fact, due to the planned nature of Cwmbran, there now exists few opportunities for new development within the town. This has meant intense development pressure on the outskirts of Cwmbran from house builders and developers.
On the day of my visit the centre was busy with happy shoppers happily shopping – there were major works underway in line with the town’s new plans.
Cwmbran has also prospered from having a vibrant retail core. The Shopping Centre has a fully pedestrianised, multi purpose centre with covered shopping malls. There are over 170 retail outlets covering a total area of 700.000 sq. ft, including a number of popular high street retailers, restaurants, a theatre and cinema. Accordingly, the town is now considered to be a sub regional centre, and the intention is that this retail focus will be increased by regeneration of the eastern side of the town.
Now 50 years on parts of the town are in need of renovation. Through various public and private partnerships the aim of the Cwmbran Project Team is to set out a 15 year strategy for the regeneration and development of the new town, and begin its implementation.
My primary interest concerned the public art in Monmouth Square – William Mitchell’s concrete clad lift shaft.
There is a water feature currently off limits and without the water that would elevate the feature to a fully functioning feature.
Plans proposed in 2018 could may herald the demise of this important public work of art.
Plans to level the water gardens in Monmouth Square at the Cwmbran Centre will be reviewed by Torfaen council’s planning committee.
The proposal also includes a modern café with a glazed front, the development of an events space to house farmers markets and street theatre and a green area.
Rebecca McAndrew, Torfaen council’s principal planning officer, said in the report that the water feature would be filled in and flattened as part of “an ongoing renovation programme”.
The application states that the area has a ‘weary and dated appearance’ and do not meet disability access requirements.
According to the report, the water gardens last flowed 13 years ago and its demolition would lead to further improvements at Wales’ second largest shopping centre.
The Water Gardens were designed by the CDC Chief Architect Gordon Redfern as a key visual and recreational element of the Town Centre. His focus was on combining different textures in the form of hard landscaping and planting, with the sense of movement and sound created by running water. At the upper end a pool, containing an artwork created from Pilkington Glass, was fed by a horizontal water jet which was in turn led by a small ‘canal’ to the lower, sunken garden. With water cascading down the southern retaining wall, consisted of moulded concrete sporting abstract geometric form, and variety of trees and shrubs, this formed an area for busy shoppers and families to relax and socialise.
The old Royal building opened in 1978 and has served the city ever since – despite ongoing infrastructure problems. Looking at the crumbling, unsightly building, it is clear why Liverpool is desperate for its sparkling new facility to finally open.
When the new build plans were first announced, the Trust stated: “Once the new hospital is constructed, our existing hospital will be demolished. In its place, there are plans to develop a world-class health campus, as well as landscaping green space, roughly the size of Chavasse Park.”
In January 2020, two years after Carillion’s collapse, a report from the National Audit Office, projected the overall costs of the new Royal could tip over the £1.1 billion mark. It also commented on the plans for the old building, stating: “Further work to demolish the old hospital and create a new underground car park and public plaza, was not included in the PFI project and is currently unfunded. The cost of this was not included in the PFI project and is currently estimated at £38 million.”
The Royal Liverpool – it’s amazing that people are supposed to get better there. Then again, what motivation it must be to get yourself back home! No wonder it’s being replaced.
J Carter, Aigburth
In 2011 the Echo’s readers voted it the ugliest building in town.
Unloved and due for demolition just as soon as the money can be found – though it may be around for some time to come – go and have a look.
Walking toward Giles Gilbert Scott’s – Anglican Cathedral via the University Campus.
We are greeted by William Mitchell’s sliding door panels.
Let’s take a look inside.
Above is the tower with large areas of stained glass designed by John Piper and Patrick Reyntiens in three colours – yellow, blue and red, representing the Trinity.
On the altar, the candlesticks are by RY Goodden and the bronze crucifix is by Elisabeth Frink. Above the altar is a baldachino designed by Gibberd as a crown-like structure composed of aluminium rods, which incorporates loudspeakers and lights. Around the interior are metal Stations of the Cross, designed by Sean Rice. Rice also designed the lectern, which includes two entwined eagles. In the Chapel of Reconciliation, the stained glass was designed by Margaret Traherne. Stephen Foster designed, carved and painted the panelling in the Chapel of St. Joseph. The Lady Chapel contains a statue of the Virgin and Child by Robert Brumby and stained glass by Margaret Traherne. In the Blessed Sacrament Chapel is a reredos and stained glass by Ceri Richards and a small statue of the Risen Christ by Arthur Dooley. In the Chapel of Unity is a bronze stoup by Virginio Ciminaghi, and a mosaic of the Pentecost by Hungarian artist Georg Mayer-Marton which was moved from the Church of the Holy Ghost, Netherton, when it was demolished in 1989. The gates of the Baptistry were designed by David Atkins.
Designed by NBBJ and HKS – The Royal Hospital is one of the national infrastructure schemes being delivered under a Government PFI contract, with work having started in 2014 led by now-collapsed contractor Carillion.
After Carillion went into administration, further issues were uncovered during a structural review by Arup in 2018, including that the cladding on the building was unsafe and the project had to be reviewed and re-costed as a result. The targeted completion date is now five years later than planned.
Work on the new building began in 1960: it was designed by Sir Basil Spence and was built by John Laing & Son at a cost of £2.75 million and was officially opened by the Duke of Edinburgh on 14 October 1963.
The design for the seven-storey building involved continuous bands of glazing with exposed concrete beams above and below.
A large mosaic mural depicting local scenes was designed by Clayton and Gelson and installed on the face of the building.
In March 2019, the County Council approved a proposal to move to a smaller new-build facility on the Sands car park at Freeman’s Place in the centre of Durham. Of around 1,850 staff currently based in County Hall, 1,000 will be based at the new HQ and approximately 850 will relocate to four council office sites being developed across the county in Crook, Meadowfield, Seaham and Spennymoor. The building works, which are being carried out by Kier Group at a cost of £50 million, are scheduled to be completed in late 2021. Richard Holden, Conservative member of parliament for North-West Durham, has described the new council headquarters as a ‘vanity project’, questioning the suitability of the location as well as tax increases and cuts to services used to pay for the development.
In April 2022 the council sold their new HQ to Durham University – yet demolition will still go ahead. This unlisted gem in the grand Festival of Britain style deserves much, much better.
Nearby Neighbours Newcastle have had the good sense to list and retain their Civic Centre.
The administration now plans a three-pronged approach to:
Construct another new modest-sized civic building and conference centre for businesses at Aykley Heads.
Occupy other council-owned offices already being built at Aykley Heads.
Refurbish and reuse the former customer access point on Front Street, Stanley, a large, run-down Grade II listed building which the council has been unable to sell.
Online, there is no evidence of any will or pressure to save this glorious building – the site will eventually become that most modern mix of business park, retail, and leisure facilities.
The proposal, led by Durham County Council, forms part of an overall masterplan to knock down the municipal building in Aykley Heads and redevelop the wider site to provide retail, financial and professional space, food and drink units, space for leisure use and a multi-storey car park.
A mural by a beloved pitman painter, commissioned by Durham County Council to mark the opening of County Hall in 1963, has been successfully moved to its new home in Bishop Auckland.
The painting by Norman Cornish, one of the most respected and much-loved artists to emerge from the North-East, depicts the arrival of the banners at Durham Miners’ Gala.
After being commissioned by the council, Cornish was granted 12 months unpaid leave from Mainsforth Colliery in Ferryhill to complete the painting, with most of the work being completed during the coldest winter in 40 years.
Although it arrived at County Hall in 1963 rolled up in the back of a carpet van, the mural’s removal was an incredibly intricate process, involving several experts.
We have been here before – before the wrecking ball.
Subsequently, the tills have long since ceased to ring.
The road to redevelopment is paved with good intentions, and so far a profound lack or realisation.
The local folk objected to the planned luxury offices.
Tomorrow Manchester City Council’s Executive is set to approve the development framework for the former Central Retail Park that will see it turned into a zero carbon office district. But, according to a public consultation carried out by grassroots campaigners, an overwhelming majority of locals want public spaces on the 10.5 acre site in Ancoats rather than luxury offices.
As of April 2022 Trees Not Cars have sought the views of local representatives following the decision not to go ahead with the building of a multi-storey car park
What we need are councillors who will stand up for us and push for as much green space as possible at Central Retail Park development.
It’s council owned, it would link in well with Cotton Field Park and will give the capacity for locals to enjoy the outdoors – without driving, once New Islington Green has been developed into offices.
There is a perennial plea for affordable homes and green space, along with perennial structural and institutional barriers to their financing and building.
This is a town with a visual culture defined by carefully created picture postcards – conjuring images from land, sea, sand and sky.
New technology arrives, dragging Llandudno from the sepia soaked past into the CMYK age!
So it’s only right and proper that the town should have an art gallery.
Oriel Mostyn Gallery was commissioned by Lady Augusta Mostyn after the Gwynedd Ladies’ Art Society asked her for better premises than their existing home, in a former cockpit in Conwy. The ladies’ gender prevented them from joining the Royal Cambrian Academy, also based in Conwy.
Designed by architect GA Humphreys, the new gallery opened in 1901. From 1901 to 1903, the gallery housed works by members of the GLAS. As a patron of the arts and president of the society, Lady Augusta was aware that the ladies needed more space to display their work and gave them the opportunity to rent a room in the new building.
Lady Augusta was keen for the gallery to be used by local people, so the society was asked to leave and a School of Art, Science and Technical Classes was set up. Alongside the many classes, there were art exhibitions, lectures. social events, and even a gallery choir and shooting range!
The current shop area was the location for a ‘Donut Dugout’ – a rest and recreation area for the many American servicemen in the town. Coffee and doughnuts were served and the men could read magazines from home.
After the war, Wagstaff’s Piano and Music Galleries occupied the building. In 1976 the artist Kyffin Williams, and others, suggested the building should become the proposed new public art gallery for North Wales. Architects Colwyn Foulkes supervised its restoration and it reopened, as Oriel Mostyn, in 11 August 1979.
Once the Post Office had vacated the adjacent building, expansion and development took place – Ellis Williams Architects were responsible for the design.
Acknowledged to be ‘one of the most beautiful galleries in Britain’, Mostyn in North Wales was an existing listed Victorian museum with two lantern galleries tucked behind a listed facade. We were appointed by Mostyn after winning the Architectural competition with a design combining a gallery space refurbishment with a gallery expansion and a new dramatic infill section linking new and old. The project has won a number of awards and increased footfall by over 60%.
Why not let your feet fall there soon – Oriel Mostynis open.
The very first time I visited the town as a child back in the early 1960s, it rained almost every day.
Subsequent visits have almost always been bathed in warm sunshine.
The Main Campus based on Jesse Boot’s Highfield parkland incorporating Lenton House and Lenton Hall. Boot along with his architect Percy Morley Horder developed a building scheme in 1921, achieving university status in 1948.
DH Lawrence Pavilion architect Marsh & Grochowski 1998-2001
Portland Building – T Cecil Howitt 1949 -56
Trent Building architect: P Morley Horder 1922-28
Portland Building extended in 2001-3 architects: Michael Hopkins & Partners
Further additions to the rear 2013
The New Theatre was established in 1969, and was originally housed in the Archaeology and Classics building of the University of Nottingham. In 2001 an extended foyer was added to the building, following a donation from an alumnus of the university.
The summer of 2012 saw an extensive redevelopment of the building housing the New Theatre. The former Archaeology and Classics building was demolished from the site; leaving the New Theatre as a freestanding building. Parts of the old building were retained and repurposed as new rehearsal rooms, and a studio space; as well as a significant remodelling of the dressing room, and extending the foyer.
Architects: Maber
University Library architects: Faulkner Brown, Henry, Watkinson & Stonor 1971-73
The collection of buildings in University Park Campus, colloquially known as Science City, was first masterplanned by Basil Spence in 1959. His vision was largely realised by Renton Howard Wood Associates during the 1960s. Since then, numerous additions and alterations have been made to suit the ever increasing student numbers and the changing needs of the University.
Sir Clive Granger Building
A view over the Science Buildings by Basil Spence 1955 and partner Andrew Renton 1961 onward.
The University of Nottingham needed to double the size of its existing academic library to cater for an expansion in serious scientific study. Hopkins Architects faced the difficult task of doubling the size of a rather unremarkable 1960’s building – designed by Basil Spence, on a tight sloping site.
Pope Building leading to the Engineering Science Learning Centre by Hopkins Architects 2011
Chemistry Department
Coates Building by Basil Spence
Tower Building by Andrew Renton 1963-65
Refurbishment work is taking place to develop flexible workspaces, including offices, conference and meeting rooms, while the building will also accommodate hospitality and events rooms. The university also plans to include a restaurant, coffee bar, a deli-shop and a top-floor sky lounge.
Jubilee Campus is a modern purpose-built campus which now extends to 65 acres and is located only one mile from University Park. The initial phase was opened by Her Majesty the Queen in 1999. The state-of-the-art facilities now include:
The Schools of Education – including CELE and Computer Science
The Nottingham University Business School
The National College for Leadership of Schools and Children’s Services
Sports Centre
University of Nottingham Innovation Park
4000 third party purpose-built student residences within half a mile radius of the campus
Central to the development of the site has been the setting of high BREEAM Standards – an holistic approach to achieve ESG, health, and net zero goals. It is owned by BRE – a profit-for-purpose organisation with over 100 years of building science and research background.
Built on the former site of the immense Number 3Raleigh Bicycle Factory – which was opened by Field Marshal Lord Montgomery in 1957.
At its peak in the 1950s, Raleigh employed 7000 people on a 40 acre site that covered most of Lenton Boulevard, Triumph Road and Orston Drive.
In May 1999, Raleigh announced that it was to cease volume production of frames in the UK. The frame welding robots, installed in 1996, were auctioned off in December 1999.
Enjoying a prime location on the University of Nottingham’s Jubilee Campus, the building provides a number of multidisciplinary and specifically designed laboratory spaces, as well as high quality single and multiple occupancy offices, technical support bases and breakout spaces.
Set within 65 acres of lakeside grounds, close to Nottingham city centre, The Jubilee hotel & conferences offers an innovative setting for events, along with all the comforts of a modern hotel.
If you are looking for sustainable venue hire, look no further. With a range of meetings spaces, breakout areas and bedrooms; The Jubilee is perfect for event and conferences organisers looking for a light, airy and relaxing setting.
Designed to minimise the impact on the environment of its construction and operation. The design of the building is made up of modules manufactured off-site. The building support pillars and trusses are made from a combination of German spruce, Austrian Spruce, and American red cedar.
The designers used computational fluid dynamics to design the curved roof. This enables ventilation of the building by taking advantage of the prevailing wind. One of the laboratories is also ventilated in this way, to determine the viability of doing so elsewhere. The building also features a green roof, and solar panels that cover 45 per cent of the roof area and provide up to 230.9 kW. The four towers on the roof hide the building’s plant equipment. Additionally, a 125-kilowatt biofuel combined heat and power system was built on-site, providing the majority of heat needed for the buildings.
Wikipedia
Ingenuity Centre by Bond Bryan 2017
Alucraft designed fabricated and delivered the façade,
At first glance the centre appears to be a hi-tech structure that would not look out of place in a sci-fi movie, with a complex array of metal fins forming a metallic bronze-coloured circular envelope that seems to float around a central core.
Keep looking though and some of the design cues are clearly industrial – the metallic external envelope echoing the form of some finely machined, mechanical component or even the patterned tread of a tyre.
Sir Colin Campbell Building by Bond Bryan 2011 – with Arup acting as structural and services engineer.
Si Yuan Centre of Contemporary Chinese Studies
Xu Yafen Building and Yang Fujia Building by MAKE 2008
Aspire is a 60-metre tall, red and orange steel sculpture by Ken Shuttleworth of MAKE, and was, until overtaken by Anish Kapoor’s Orbit, the tallest free standing public work of art in the United Kingdom. It is taller than Nelson’s Column, the Angel of the North, and the Statue of Liberty
The name Aspire was chosen after a competition to name the sculpture, which was open to staff and students at the university.
A showcase £6.5m research centre, which brings together world-class experts in energy research, has chosen ALUCOBOND® A2 from 3A Composites GmbH, finished in Sakura 917 from its spectra colour series for its cladding.
The Sir Harry and Lady Djanogly LRC architect Sir Michael Hopkins 1999
A single floor spirals up through the building in the manner of FL Wright’s Guggenheim Museum
The library was named after the philanthropists Sir Harry and Lady Djanogly who gave a significant contribution towards the cost of its construction. Sir Harry Djanogly is the father of Jonathan Djanogly, who became MP for Huntingdon in 2001.
Wikipedia
Business School North 2003
The Atrium
John Player & Sons Bonded Warehouse by William Cowlin and Son 1938-39
Mouchel’s involvement with the iron industry, and his ties with France, brought him into close proximity with the French engineer François Hennebique (1842-1921), who had been a contractor in Brussels. A self-educated builder, Hennebique had patented an idea of strengthening concrete using iron and steel bars – a forerunner to the widespread modern reinforced-concrete method used in construction today.
The medieval Leicester Guildhall was used as the Town Hall for around 300 years. By the mid-19th Century much larger premises were needed to support a rapidly growing industrial centre. The Victorian Town Hall was opened in 1876 on the site of the old cattle market.
In 1919, Leicester was recognised as a city. It continued to expand, along with its Council. Conditions in the Town Hall soon became cramped and some departments began to move out. By 1930 it was agreed new municipal offices were needed to centralize the Housing, Electricity, Rates, Motor Licence and Valuation departments. They would form part of a major redevelopment of Charles Street, the so-called quarter of a million pound building on a million pound road.
The modest opening ceremony took place on 7th November 1938. In his speech the Lord Mayor, Councillor Frank Acton, said it was a privilege to open “this long sought-after and wonderful place.” A stone tablet to mark the event can be seen opposite the reception desk in the entrance foyer. The building was designed to command attention and respect, and conform to a modern desire for simplicity. Clad in Portland Stone, its interior included many elegant Art Deco features, many of which have been restored.
The office floors accommodate workstations for 480 staff, together with breakout areas and meeting rooms. The project included re-purposing original municipal spaces for new assembly functions; restoring period features; and providing a dignified civic interior appropriate to the functions of the Council. An environmentally conscious servicing solution minimises the building’s energy usage.
Attenborough Hall
By the 1930s, demand for electricity was growing rapidly. The Municipal Offices housed the Leicester Corporation Electricity Department (later the East Midland Electricity Board) and were specially furnished with a model kitchen for:
Housewives who are interested in the modern uses of electricity in the home.
A special theatre also presented weekly cookery demonstrations and a Service Centre displayed, sold and hired out electrical appliances.
The theatre is still extant, though sadly no longer available for cookery demonstrations.
On the back wall this mural remains as a reminder of the theatre’s the former use.
Many thanks to Grant Butterworth – Head of Planning, for negotiating access to the hall and accompanying us on our Modernist Mooch.
In the 1960s a nuclear bunker was constructed. This was one of many across the country built by local authorities to protect key personnel from radiation in the event of an attack, enabling some form of government to continue. Today, the bunker has long gone, and the basement of City Hall is now used as a storage area.
By 1963 the De Montfort Hall Box Office was located in the building. This caused chaotic scenes in Charles Street when, in October of that year, around 3,000 youngsters queued all night for tickets to see The Beatles. When the Box Office opened at 9:30am, the queue stretched back to Humberstone Gate and was held in check by a pitifully thin line of police. The Leicester Mercury described the scene as:
A heaving, shouting, screaming, unruly, undignified, disorderly mob – a disgraceful night.
Pressure from the crowd caused a 10 foot square window in Halford´s shop to break. With all the tickets sold, the crowd dispersed and the Leicester Mercury said Charles Street resembled
A filthy, unswept ghost street, badly in need of the cleaners to remove the mountains of waste paper and return its respectability.
By wandering aimlessly, all places became equal, and it no longer mattered where he was.
Paul Auster City of Glass.
The station as built in 1961 to a design by the architect William Robert Headle, which included and advertised a significant amount of the local Pilkington Vitrolite Glass. The fully glazed ticket hall was illuminated by a tower with a valley roof on two Y-shaped supports. The platform canopies were free standing folded plate roofs on tubular columns.
The new station building and facilities were assembled just a few yards from the 1960s station building and is the third build on the same site. The project came in at a total estimated cost of £6 million, with the European Union contributing £1.7 million towards the total funding. The new footbridge was lifted into place in the early hours of 22 January 2007.
The striking Pilkington’s glass-fronted building was designed by architect SBS of Manchester. Construction work was completed in the summer, with the new waiting rooms and footbridge opened to passengers on 19 September. The new station building was officially opened on 3 December 2007.
In the early Edwardian era a fine theatre was opened on 1st June 1903. It had been designed by local architect J A Baron and was on the site of an earlier theatre known as the Peoples Palace. It was operated as the New Hippodrome Cinema from 8th August 1938 when it reopened with Anna Neagle in Victoria the Great. On 1st September 1963 it was converted to a Surewin Bingo Club by Hutchinson Cinemas which continued to operate in 2008. By May 2019 it was independently operated as the Hippodrome Bingo Club.
Onwards down Corporation Street to Century House, currently awaiting some care and attention and tenants.
Century House is a prominent landmark in St Helens town centre, being the tallest office building in place. The accommodation ranges over 9 floors, providing offices from a single person, to whole floors. In addition, all tenants benefit from the use of a modern break out space and meeting rooms, in addition to manned reception desk.
The Capitol Cinema opened on 3rd October 1929 by an independent operator. It stood on a prominent corner site at North Road and Duke Street – known as Capitol Corner.
The Capitol Cinema was taken over by Liverpool-based Regent Enterprises Ltd. in 1929, and by the Associated British Cinemas – ABC chain in 1935. It underwent a renovation in the 1960’s, and was closed by ABC on 9th December 1978.
The building was converted into a sports centre, by 2009 it was a Central Fitness gymnasium.
Along the way to St Mary Lowe House RC – the style is a combination of Gothic and Byzantine elements. One of the most unusual fittings is the carillon, one of the largest in the British Isles with 47 bells, which was installed in 1930 and is still played regularly.
The main approach is identified by a beak-like porch which projects from the main cladding. In this space hangs a recast eighteenth century bell, from the original chapel.
Let’s take it to the Midland, Nat West and Barclays Banks.
With an intermediate former Gas Showroom.
Next to the Church of St Helen.
Architect: WD Caroe 1920-26 Grade II Listed
A chapel has been on the site since at least the 16th century. The chapel was doubled in size in 1816, but burnt down in 1916. It is the parish church of the town, and stands in a prominent position.
St Mary’s Car Park a multi-storey masterpiece straight outa Dessau.
Next crossing a complex web of inner ring roads designed with the beleaguered pedestrian at the forefront of the planners’ minds.
To the inter-war Pilkington’s Offices – Reflection Court
Architects: Herbert J Rowse and Kenneth Cheeseman 1937-41 Grade II Listed.
There is something within the work of George Pace which speaks directly to my eyes and heart – and feet. His Modernism is tempered by the Mediaeval – along with Arts and Crafts references and a nod to Le Corbusier’s Notre Dame du Haut, Ronchamp
Here in Sheffield is a church built in 1868 – 1871 to a standard neo-Gothic design by William Henry Crossland. Bombed in the Blitz restored, redesigned and built by Pace 1958 – 1963, accommodating the original spire and porch.
Architects: J Webb as County Architect and CW Quick as the job architectof the West Glamorgan County Architects Department 1982
Canolfan Ddinesig Abertawe formerly known as County Hall.
Confused?
Don’t be, it’s all quite simple really.
Following the implementation of the Local Government Act 1972, which broke up Glamorgan County Council and established West Glamorgan County Council, the new county council initially met at Swansea Guildhall. Finding that this arrangement, which involved sharing facilities with Swansea Council, to be inadequate, county leaders procured a dedicated building, selecting a site formerly occupied by an old railway goods yard associated with the Mumbles Railway.
The design features continuous bands of glazing with deep washed calcined flint panels above and below.
Queen Elizabeth II, accompanied by the Duke of Edinburgh, visited on 20 April 1989.
After local government re-organisation in 1996, which abolished West Glamorgan County Council, ownership of the building was transferred to Swansea Council. It was renamed Swansea Civic Centre on 19 March 2008, and Swansea Central Library moved into the complex as part of a redevelopment scheme.
Urban Splash seem to have a slightly vaguer vision.
In March 2021, plans to find a new use for the location continued to still be a commitment of Swansea council, with the announcement of the transfer of the central library and other public services to the former BHS and now What! store on Oxford Street.
Swansea Civic Centre is at risk the Twentieth Century Society says so – they are strongly opposed to demolition of the iconic building and have submitted an application to have the building listed as Grade II.
I do not know what fate awaits it, I only know it must be brave – to paraphrase Dimitri Zinovievich Tiomkin, Ned Washington, Gary Cooper and Frankie Laine – it’s High Noon and counting.
Any road up as of the 11th of May it looked just like this:
Diolch yn fawr once again to Catrin Saran James for acting as my spirit guide.
To 2015 when local artist and archivist Catrin SaranJames is undertaking a little reverse vandalism by way of guerrilla restoration or adfer gerila if you will.
Leading to a full scale cleaning of the Harry Everington 1969 concrete mural adorning the Central Clinic.
It was under Harry’s guidance that students from the Swansea College of Art produced the mural which was put on the building’s exterior back in 1969.
It was fantastic to have had an email from the ABMU Health Board earlier this year. Martin Thomas who leads the ABMU Heritage Team contacted me as he was researching what public art the health board owned.
Martin came across my Guerrilla Restoration work and the previous work I’d done in highlighting cleaning samples of Harry Everington’s 1969 abstract concrete sculptural mural over the last 5 years.
Taken from the ABMU Heritage blog, here’s what Martin said of the project:
When we started this group we carried out a scoping exercise to see what historical artefacts the health board owned and this mural came up.
When I did more research I found out about Catrin’s project and we thought it would be a good idea to help finish what she had started.
We thought this would be a great opportunity for us to clean a very neglected sculpture.
Subsequently her gallant restoration endeavours made headline news in Wales Online.
Fast forward to Wednesday May 11th 2022 – I am aboard the Transport for Wales train, Swansea bound!
Catrin had kindly forwarded me a clear and comprehensive guide to Swansea’s Modernist architecture.
Characteristically, I promptly got lost, fortunately we had arranged to meet at the National Waterfront Museum – which was clearly signposted. Following a chat and a cuppa we swanned off, visiting the Civic Centre and a lovely array of post-war retail outlets.
We parted and I went on my merry way – I can’t thank you enough for your company and erudition Catrin, diolch yn fawr.
Eventually I arrived at the Clinic, I feel that the best time to visit a medical centre is when you are fighting fit, with an overwhelming interest in cast concrete, rather than plaster casts.
I walked from St Bride’s Church, through a valley to East Kilbride Civic Centre
Commissioned by the burgh of East Kilbride, was designed by Scott Fraser & Browning, built by Holland, Hannen & Cubitts and completed in 1966.
Accommodating Ballerup Hall.
Ballerup Hall is located within East Kilbride Civic Centre and takes its name from its twin town Ballerup, which is near Copenhagen in Denmark. The hall comprises a main hall with stage, kitchen facilities and a bar servery. The adjoining district court room is available after office hours for a limited range of activities.
The stars of British Championship Wrestling return to East Kilbride with a star-studded line up including The Cowboy James Storm and all your favourite BCW Superstars!
I missed the missing link twixt Roddy Frame and the Civic Centre.
If you were lucky enough to catch the 2013 concerts in which Frame marked the 30th anniversary of High Land Hard Rain by playing Aztec Camera’s seminal debut album live, you’ll already have seen Anne’s pictures. Before getting to High Land Hard Rain itself in those shows, Frame treated audiences to a rare set drawn from what he termed his East Kilbride period – the songs he was writing as a teenager that would appear on Aztec Camera’s two Postcard singles, and form the basis of the band’s legendarily unreleased Postcard album, Green Jacket Grey.
While he played those tunes, huge, striking black and white images of his old hometown appeared as a backdrop behind him, setting exactly the right fragile, retro-future new town mood of post-industrial Fahrenheit 451 urban development.
A strategic masterplan for East Kilbride town centre which could see a new purpose-built civic facility is to be put before the council next month.
Last March we told how radical new plans could see the crumbling Civic Centre replaced with – a new front door to East Kilbride.
Despite there being no specific proposals agreed at this stage, South Lanarkshire Council has confirmed that agents of the owners are set to present their strategic masterplan to elected members in February.
It currently sits by the shopping centre and a patch of empty ground.
Several imposing interlocking volumes, formed by pre-cast concrete panels.
East Kilbride was the first new town built in Scotland in 1947. New Town designation was a pragmatic attempt to soak up some of the population from an overcrowded and war ravaged Glasgow. Its design was indeed an anathema to the chaotic and sprawling Glasgow: clean straight lines, modern accessible public spaces; and footways, bridges and underpasses built with the pedestrian in mind. It was designed as a self contained community — with industry, shops, recreation facilities and accommodation all within a planned geographic area.
I was walking along St Vincent Street one rainy day.
From the corner of my left eye, I espied a pyramid.
Curious, I took a turn, neither funny nor for the worse, the better to take a closer look.
Following a promotion within the Church of Scotland to construct less hierarchical church buildings in the 1950s, an open-plan Modern design with Brutalist traits, was adapted for the new Anderson Parish Church. The building consists of a 2-storey square-plan church with prominent pyramidal roof, with over 20 rooms. The foundation stone was laid in 1966, with a service of commemoration in the now demolished St Mark’s-Lancefield Church. The building was completed in 1968.
Let’s take a look around outside.
Later that same day, I got a message from my friend Kate to visit her at the centre.
She is charged with co-ordinating a variety of activities at The Pyramid.
In 2019 the Church of Scotland sold the building and it became a community centre for people to:
Connect, create and celebrate.
It also serves as an inspirational space for music, performances, conferences and events.
Let’s take a look around inside.
As a footnote the recent STV Studios produced series SCREW was filmed here!
The M60 was developed by connecting and consolidating the existing motorway sections of the M63, M62, and an extended M66. It came into existence as the M60 in 2000, with the completion of the eastern side opening in October.
The original plan called for a completely new motorway, but policy change led to the plan which created the current motorway. As soon as it opened, the motorway got close to its projected maximum volume on significant sections.
This Palladian mansion was designed and built in 1736 by renowned architect, Giacomo Leoni, who had also been responsible for significant alterations to Lyme Hall during the same period.
Offering an infusion of historical significance coupled with an abundance of living space throughout, Alkrington Hall East, simply must be viewed to be appreciated in full.
During the early 1770’s, the Hall became the largest museum outside of London, when the Hall’s owner, Sir Ashton Lever, exhibited his private collection of natural objects, including live animals. Remaining as an imposing symbol of Leoni’s work, Alkrington Hall remains one of only a few surviving examples throughout England.
In modern times, the Hall has since been carefully and sympathetically separated into 4 sections, and we are pleased to be offering for sale the largest portion of the Hall, with a total floor area comprising of over 7500 SQFT, and living accommodation spread over 4 floors.
Next thing you know you find yourself in Middleton, where the Irk sort of disappears – you sort of get lost and sort of follow the wrong track, eventually ending up back where you should have been in the first place.
Don’t follow Wince Brook – it’s so far from right that it’s wrong – right?
Take a walk up Oldham Road to see Warwick Mill instead.
1907 by G Stott of J Stott and Sons – Red brick with internal cast-iron frame.
There was and Oval Partnership planning for a retail development in 2014 which failed to materialise.
The converted building will provide a showcase for Chinese manufacturers of construction-related products looking to enter the UK and wider European markets. Products on display will include tiles, lighting, furniture, kitchenware, sanitary ware and curtains. A second phase will see the construction of a new building alongside effectively doubling the floor space. In addition the brief includes a range of restaurant, leisure, culture and entertainment facilities threaded through the building. The conversion will open up the existing building in a dramatic way, maximizing permeability and providing a strong visual connection back into the town, promoting public access through the building to the attractive south-facing waterside of the mill.
Permeability failed to be maximised, sadly.
Ambitious plans to refurbish Grade II listed Warwick Mill to create new homes and breathe life into an important building and part of Middleton’s history have been drawn up.
Warwick Mill has recently changed ownership and the new owners, Kam Lei Fong (UK) Ltd, have been working with Rochdale Borough Council over the last nine months to develop proposals to redevelop the site.
A Middleton couple has saved the oldest surviving mill in the town after a two-year renovation project.
Located on Townley Street, Lodge Mill was built in the mid-1800s and was originally a silk weaving mill. It went on to cotton weaving and cloth dying, then to a home for many different small local businesses. Sadly, in the early 2000s, it fell into disrepair and became derelict.
Martin Cove and Paula Hickey bought Lodge Mill on 1 April 2019 and immediately set about replacing and repairing the roof. They also installed a 19.4kw solar PV system so the mill became its own little power station that summer.
In August 2019, the couple opened a small ice cream shop on the ground floor of the mill – named the Ice Cream Shop at Lodge – selling locally-made ice cream from Birch Farm, Heywood.
The ice cream is made using cream from Tetlow Farm’s dairy herd at Slattocks – Martin explained.
Founded in 1949 on £100 capital, Vitafoam started its original operation manufacturing latex foam products in Oldham, Greater Manchester.
After establishing the business, the company made a major move to its current site in Middleton, Manchester in 1955, acquiring two empty former cotton mills to cope with increased demand.
By 1963, Vitafoam had added the manufacture of polyurethane foam to its business and was providing product speciality for upholstery and bedding markets.
As Vitafoam entered the new millennium the company had made great strides in supplying external foam converters. These rely on Vitafoam to be their business partner and provide their foam needs. This trend continues to grow from strength to strength and is supplemented by our own group conversion companies.
Regaining the river at Chadderton Hall Park.
Its roots stretch back to the 13th century being the land on which Chadderton Hall once stood. It contains a large field area with a small football pitch, a playground area, several flower gardens and a small café situated next to the Park’s bowling green.
Chadderton Hall was first built in the 13th century by Geoffrey de Chadderton, this first hall was in Chadderton Fold slightly to the east of the current park. In 1629 a new hall was built at the site of the current park and was present there until the 20th century when it was demolished in 1939. It was at the end of the 19th Century that the area surrounding Chadderton Hall began to be used for public recreation. A boating lake and a menagerie, including a kangaroo and a lion, were established as part of a Pleasure Garden. These features have long since been demolished but evidence of the boating lake can be seen by the hollowed out area where the playing fields now stand.
Based in the heart of Thorpe Estate – Royton Cricket, Bowling & Running Club offers a family friendly environment whilst hosting strong, competitive cricket throughout the summer. Bowling throughout the summer along with a Running section – Royton Road Runners, who operate all year round. Along with seasonal events such as our well known firework display along with St Georges Day celebrations – with plans in the pipeline for improvements on current events as well as new exciting projects – it’s a great time to be apart of the club & community!
I have very fond memories of visiting with my dad Eddie Marland as he followed Ashton in the Central Lancashire League – both watching cricket and seeing my dad crown green bowling here.
These now full memorial forests were originally donated to Life for a Life by Oldham Metropolitan Borough Council. Salmon Fields meadow sits adjacent to a lovely pond that is used regularly by fishing enthusiasts and is frequently used as a breeding site for Canadian Geese.
Life for a Life planting areas are natural environments where we encourage wildlife and plantlife to flourish, as such additional items should not be added to the tree or the space around it, especially as they can cause damage to the tree.
Please be aware that any prohibited items left on or around memorial trees will be removed.
Although these sites are now full to the planting of new memorial trees if you have an existing memorial tree dedicated you can still upgrade memorial plaques, add additional ashes to a memorial tree, order memorial keepsakes etc.
The first leg of a journey to the source of the River Irk beginning behind Victoria, finishing by the Hexagon Towerin Blackley.
The Irk’s name is of obscure etymology, but may be Brittonic in origin and related to the Welsh word iwrch, meaning roebuck
In medieval times, there was a mill by the Irk at which the tenants of the manor ground their corn and its fisheries were controlled by the lord of the manor. In the 16th century, throwing carrion and other offensive matter into the Irk was forbidden. Water for Manchester was drawn from the river before the Industrial Revolution. A bridge over the Irk was recorded in 1381. The river was noted for destructive floods. In 1480, the burgesses of Manchester described the highway between Manchester and Collyhurst which – the water of Irk had worn out. In 1816, of seven bridges over the Irk, six were liable to be flooded after heavy rain but the seventh, the Ducie Bridge completed in 1814 was above flood levels.
According to The New Gazetteer of Lancashire the Irk had – more mill seats upon it than any other stream of its length in the Kingdom and – the eels in this river were formerly remarkable for their fatness, which was attributed to the grease and oils expressed by the mills from the woollen cloths and mixed with the waters.
However, by the start of the 20th century the Irk Valley betweenCrumpsall and Blackley had been left a neglected river – not only the blackest but the most sluggish of all rivers.
The river emerges from beneath the city into an area named Scotland – a remnant of Manchester’s links with the Jacobite Rebellion.
To the left were the squalid Victorian homes of Red Bank – currently presenting as the Green Quarter.
The river briefly becomes subterranean again.
This is a river with an ignominious history – famously damned by émigré Friedrich Engels.
At the bottom flows, or rather stagnates, the Irk, a narrow, coal-black, foul-smelling stream, full of debris and refuse, which it deposits on the shallower right bank.
Spanning the defunct railway workings, affording a view of the brightly blooming city centre.
Leaving Collyhurst Road, we journey along Smedley Road.
Seen here in 1934.
Passing beneath Queens Road – Queens Park to the right.
Queen’s Park was one of Britain’s first municipal parks created in 1846. The park was originally arranged around Hendham Hall, home of the Houghton family however this was demolished in 1884.
Dropping down to Hendham Vale.
To the right is the Smedley Hotel.
The Smedley Hotel is a very large pub that is hidden away on a quiet back street.Once inside there were a few different rooms and I had a drink in the bar which was fairly large and seemed in need of some attention. The pub still had its old Chesters signs outside and there were three real ales on the bar. I had a drink of Chesters bitter and this was a very nice drink the other beers were Chesters mild and Boddington’s bitter.
I thought this pub would be long gone but it is still standing and I think open for business.
Lost to the world are the Manchester Moderne flats of Kennet House overlooking the Irk Valley on Smedley Lane.
Hendham Way becomes a pedestrianised lane.
Taking the road up and then down, returning to the river, and following the wrong path – alongside the Hapurhey Reservoir and Ponds.
A remnant of the industrial era the reservoirs and ponds, once used by the factories as a source of water, have over the year become a thriving habitat which supports a substantial amount of wildlife.
Then cutting back and regaining the correct path.Finally arriving at the Hexagon Tower.
The flats had acquired a stereotypical bad reputation.
Blight flats will soon be high-rise des-res.
Residents on a blighted Blackley estate have been told of plans to deal with the mostly unoccupied high-rise flats that are seen as the cause of the problem.
I entered via the vehicular access – in order to view the four remaining reliefs.
The Lakeside Rise blocks now form part of a private gated community and are accessed from Blackley New Road.
The original blocks and their locations are as follows:
Ashenhurst Court Now Lakeside 1 Heaton Court Now Lakeside 2 Wilton Court Now Lakeside 3 Blackley Court Now Lakeside 4
Bracknell Court demolished – was on the corner of Riverdale Road and Bridgenorth Road adjacent to Heaton Court Riverdale Court demolished – was on Riverdale Road opposite Bantry Avenue.
Modern Mooch 