Sir Basil Spence

Liverpool – Cathedral to Cathedral

Posted on September 23, 2022October 2, 2022 by modernmoocher

Beginning at Frederick Gibberd’s – Metropolitan Cathedral of Christ the King.

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.

On now to the University.

Vine & Chestnut Houses by Gerald Beech 1967-70

Computing Services Electrical Engineering & Electronics by Yorke, Rosenberg & Mardall 1962-74

Harold Cohen Library 1938 – Harold A Dod of Willink & Dod

Learning by Eric Kennington 1938

Sherrington Buildings 1951-57 – Weightman & Bullen.

These days of peace foster learning

Let There be light!

Dental Hospital 1965-69 Anthony Clark Partnership

Royal Liverpool Hospital 1978 Holford Associates.

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.

Place Northwest

William Henry Duncan Building 2017 by AHR Architects

Life Sciences Building

Mathematics and Oceanography Building 1961 by Bryan & Norman Westwood & Partners

Metal screen 1961 by John McCarthy also responsible for the Concrete Wall at the New Century Hall Manchester.

The History and Essence of Mathematics 1961 terrossa ferrata panes by John McCarthy.

Central Teaching Hub by Robert Gardner-Medwin in association with Saunders Boston and Brock 1965-67

Abstract Reliefs by David Le Marchant Brock in collaboration with Frederick Bushe.

Big Bird 1964 by Sir Frank Rowling

Square with Two Circles by Barbara Hepworth 1964

Re-sited from its original setting.

Just around the corner a Relief by Hubert Dalwood aka Nibs

Senate House by Tom Mellor & Partners 1966-68

Chadwick Building by Sir Basil Spence 1963-68

Abstract mosaic Geoffrey Clarke.

Three Uprights by Hubert Dalwood 1960

Materials Innovation Factory by Fairhursts Design Group 2016

Muspratt Lecture Theatre

Bubble Chamber Tracks by Geoffrey Clarke 1968

Donnan and Robert Robinson Building

Oliver Lodge Building by Tom Mellor & Partners 1966-68

Sports Centre by Denys Lasdun 1963-66

Bedford House by Gerald Beech 1965-66

Gordon Stephenson Building by Gordon Stephenson 1950-51

Door handles by Mitzi Solomon-Cunliffe.

Rendall Building by Bryan & Norman Westwood, Piet & Partners 1964-6

Between the concrete is glass by Gillian Rees-Thomas – she was also responsible for the side chapel windows at St Mark’s Broomhill Sheffield.

Within the courtyard site Mitzi Solomon Cunliffe’s – Quickening 1951

Roxby Building by Bryan & Norman Westwood, Piet & Partners 1961-66

South Teaching Hub by Bryan & Norman Westwood, Piet & Partners 1961-66

Sydney Jones Library by Sir Basil Spence

Further Reading: Liverpool Campus Built Heritage

Onward now taking in some sites along the way.

Philharmonic Hall by Herbert J Rowse 1936-69

Federation House by Gilling Dod and Partners 1965-66

Relief Decoration by William Mitchell

County Hall Durham

Posted on September 22, 2022 by modernmoocher

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.

Wiki pedia

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.

The Northern Echo

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.

Insider Media 2020

Go see it whilst you are still able.

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.

Northern Echo

Norman Cornish

The University of Nottingham

Posted on September 2, 2022September 4, 2022 by modernmoocher

The Main Campus based on Jesse Boot’s Highfield parkland incorporating Lenton House and Lenton Hall. Boot along with his architect Percy Morley Holder 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.

Mathematical Sciences 2012 William Saunders

George Green Library by Hopkins Architects 2017

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.

Architecture.com

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.

West Bridgford Wire

Jubilee Campus

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 3 Raleigh 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.

Bikebiz

**Alan Oakley –** who designed the Raleigh Chopper

Famously home to Alan Sillitoe/Arthur Seaton/Albert Finney in Saturday Night and Sunday Morning.

Advanced Manufacturing Building by Bond Bryan Architects 2018

University of Nottingham RAD Building 2017 Lewis & Hickey Ltd

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.

RIBA

Jubilee Conference Centre 2008 Hopkins Architects

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.

GSK Carbon Neutral Laboratory 2014 by Fairhursts Design Group

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.

Building Construction Design

Romax Technology Centre by Tomlinson 2015

Aerospace Technology Building by William Saunders 2012

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.

The Nottingham Geospatial Building by Maber Architects 2010

Energy Technologies Building by Maber Architects 2018

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.

Institute of Mental Health by BENOY 2012

The House for a Gordian Knot by Ekkehard Altenburger

Business School South

Dearing Building

Computer Science Building

The Exchange Building

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 System concrete construction.

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.

Engineering timelines

Sadly – returning in September the last building had been recently demolished.

Many thanks to Elain Harwood from whose Pevsner Guide much of the information was garnered

Wythenshawe Walk

Posted on November 19, 2021November 19, 2021 by modernmoocher

We begin at the William Temple Church

The Anglican Church of William Temple was opened in 1965 on the corner of Robinswood Road and Simonsway as the church of the Civic Centre. The mission was already well-established, having begun many years previously in Shadow Moss School Room, latterly operating in a dual-purpose building on Simonsway. The architect, George Pace, agreed with the proviso that he should not design a ‘pseudo’ building, but that it should be modern in concept. This he did and particular attention was paid to the acoustics with a view to music and drama being performed there. One of Pace’s stipulations was that, as with all the churches he designed, there must be no plaques attached to the walls commemorating the dedication of the church or in memory of anyone, for he said he built his churches to the Glory of God. The only lettered stone is on the back wall of the church and it has on it the date of the consecration and a symbol, which is Pace’s original sign for William Temple Church.

The internal supports of the church are black-painted steel girders, not romantically symbolising the industry of the area, as it is sometimes said, but because when it was discovered that the church had been built on swampy ground an extra £2,000 was needed for foundations; the wooden beams of the original design had to be changed for cheaper steel ones. There is symbolism, however, in the placing of the font between and beneath the three main weight-bearing supports of the church.

The pews have an interesting history, having been brought from derelict churches in and around Manchester.

The present lady churchwarden said:

“whenever we heard of a church being demolished we borrowed Mr. Owen’s coal cart and went off to see if we could buy any of the pews. Many times I’ve sat on the back of the wagon, in the pouring rain, with the pews, bringing them back to Wythenshawe to be stored until our church building was completed!”

Some time after the building was opened, a fire damaged some of the pews. With the insurance money all the pews were stripped and bleached, giving an element of uniformity and a bright welcoming atmosphere in the church generally. An interesting thought was voiced that as many people living in Wythenshawe now had their origins near to the centre of Manchester they may be sitting in the same pews in which their ancestors once sat.

Onwards to St Anthony’s RC – seen here under construction.

An imposing and monumental building by Adrian Gilbert Scott.

The church has a rich, little-altered interior with strong architectural qualities and notable furnishings. The church is described as ‘one of the few real landmarks of Wythenshawe’ and ‘beautifully built’, by Hartwell, Hyde and Pevsner 2004

The church was listed Grade II in 2014.

Taking Stock

It replaced the Green Hut.

Backtrack to St Andrews Architects JCG Prestwich and Son 1960 – as seen by Comrade Yuri Gagarin 12th July 1961 – detailed here.

We now take a secular route around the back of the Civic Centre to look at Centron and Delta House.

Built in 1972 to encourage white collar jobs into the area, formerly occupied by Shell and the TSB, currently partially unoccupied.

Across the way the former Barclay’s Bank IT HQ by DLG Shuldham the bank’s chief architect.

Just around the corner.

There were four eight-storey blocks of ‘Sectra’ flats that Laing built in Wythenshawe for Manchester County Borough Council, completed in 1967. The blocks were described by Laing in their monthly newsletter ‘Team Spirit’ in January 1968 as four blocks of specially designed eight-storey flats for elderly people.

Showing skeleton cladding, patterned end wall units and access balcony.

They were named Park Court, Violet Court, Birch Tree Court and Edwards Court.

Park Court and Violet Court have since been demolished to make way for retail space.

Tower Block 1987

Architect J Austen Bent

Local Image Collection 1972

Onwards to the most exotic magenta fire station.

Then down the road to St Luke’s 1939 by W Cecil Young of Taylor and Young.

No striving after sensational effect is strived at – Pevsner.

Down the road we go to St Martin’s.

The church is the the work of Harry Fairhurst Architects 1958.

Opened 21st March 1959.

Across the road to Tin Town.

A mini-estate of impeccably kept, neat steel-framed prefabs, designed in 1946 by Frederick Gibberd. We got a tour around one, home to former Durutti Column drummer Bruce Mitchell. The space standards and architectural quality are, as Phil Griffin points out, way above those of contemporary central Manchester luxury loft living.

Owen Hatherley – The Guardian

New residents were given the choice of an apple or pear tree.

Finally arriving at Sir Basil Spence’s St Francis of Assisi.

In December 1956 Basil Spence and Partners were commissioned to design St Francis Church in Wythenshawe, Greater Manchester. The project was part of a large building programme by the Manchester Diocese and was to service the new post-war housing estate at Newall Green. The site housed an existing hall that had been serving a dual-purpose as church and church hall but which reverted to use as a church hall once the new church was opened. The foundation stone was laid by Colin Skinner CBE on 23 April 1960 and the church was consecrated on 25 March 1961 by the Bishop of Manchester, W D L Greer.

The main building is predominantly brick; it is set back from the road by a landscaped courtyard that includes a brick tower and 73ft concrete cross. Another large cross rises from the front wall of the church itself making it highly visible from the surrounding neighbourhood.

The church can hold a congregation of 250. A small chapel is separated from the main church by a sliding screen and can be used independently for private prayer and mid week-services. On busy days the screen can be retracted to provide additional seating to the main church. A gallery over the entrance porch houses two organs and the choir.

St Francis of Assisi – Wythenshawe

Posted on November 17, 2021November 18, 2021 by modernmoocher

66 Chalford Rd Wythenshawe Manchester M23 2SG

Sir Basil Spence 1959-61

Embroidery for the Church was designed by Anthony Blee and carried out by Beryl Dean and Associates, and Communion silver was specially designed by Gerald Benney.

CANMORE

An austerely simple deign, saved from bleakness by a few deft touches – Pevsner.

The lettering on the font cover is by Ralph Beyer, the painting on the east wall by William Chattaway, who came specially from Paris to paint.

2010 – John Richards

The church also contains four stones brought from prominent Christian locations across the globe including a rose hued stone from Assisi itself, these are embedded in the walls and floor around the building.

Mainstream Modern

Construction.

Completion.

St Francis of Assisi’s Church in Wythenshawe stands testimony to the vigour of its first priest, the Reverend Ronald Pitcher. It was Pitcher who organised a local campaign to raise money for its construction, even before William Greer, Lord Bishop of Manchester, launched a wider appeal to fund churches and vicarages in new housing areas throughout the diocese.

It was probably also Pitcher who chose the architect, since he made initial contact with Basil Spence late in 1956. Drawings and a watercolour perspective were prepared by the beginning of 1958, when the scheme was priced at £17,500, exclusive of professional fees.

Following discussions with the congregation it was modified to provide side-aisles, and the estimate increased to £27,000, including an organ. Although the diocese believed the final cost might be as high as £35,000,the design was accepted and Spence formally commissioned at the end of the year.

Warwick University

2012

Manchester Evening News 2013

A church forced to close three years ago after its congregation dwindled to just two has been reborn – as a community centre.

St Francis of Assisi, in Wythenshawe, was forced to shut its doors when its popularity waned and repairs became too expensive.

Now, thanks to businessman James Munnery and Pastor William Simoes, the former Church of England building is rising again as a beacon of hope for the neighbourhood. The pair have teamed up to re-open the church as the New Life Opportunities Centre. Ambitious plans for the not-for-profit venture include sports pitches, a recording studio, and a hall for events and dancing.

It will also hold church services.

Businessman James Munnery outside St Francis of Assisi

The sound of the pipe organ

Coventry Cathedral

Posted on April 2, 2020April 2, 2020 by modernmoocher

On the night of 14 November 1940, the city of Coventry was devastated by bombs dropped by the Luftwaffe. The Cathedral burned with the city, having been hit by several incendiary devices.

The decision to rebuild the cathedral was taken the morning after its destruction. Rebuilding would not be an act of defiance, but rather a sign of faith, trust and hope for the future of the world. It was the vision of the Provost at the time, Richard Howard, which led the people of Coventry away from feelings of bitterness and hatred. This has led to the cathedral’s Ministry of Peace and Reconciliation, which has provided spiritual and practical support, in areas of conflict throughout the world.

Her Majesty the Queen laid the foundation stone on 23 March 1956 and the building was consecrated on 25 May 1962, in her presence. The ruins remain hallowed ground and together the two create one living Cathedral.

Ralph Beyer carving the foundation stone for Coventry Cathedral.

Coventry Cathderal

The new Cathedral was itself an inspiration to many fine artists of the post-war era. The architect, Sir Basil Spence, commissioned work from Graham Sutherland, John Piper, Ralph Beyer, John Hutton, Jacob Epstein, Elisabeth Frink and others – most still to reach the peak of their artistic careers.

St. Michael and the Devil on the southern end of the east wall. It was sculpted by Sir Jacob Epstein, who, sadly, died in 1959, and therefore didn’t live to see his masterpiece mounted on the cathedral wall a year later.

Entrance to the cathedral is through the Screen of Saints and Angels – it is seventy feet high and forty five feet wide and is supported by a bronze framework hung by wires from the roof for added strength.

This unique screen formed part of Sir Basil Spence’s first vision for the new cathedral. As he stared out from the ruins of the bombed cathedral, he saw the shape for the new church through a screen of saints. This transparent wall would link the old and new – making each mutually visible from within each other. Provost Howard set out to draw up a scheme consisting of all the saints who were responsible for the bringing of Christianity to Britain. As John Hutton began to make initial designs, he soon realised that row upon row of saints would need to be broken up in some way, and suggested that angels be inserted between the saints.

The eighty one foot high Baptistery Window containing a total of one hundred and ninety five lights of stained glass in bright primary colours designed by John Piper and Patrick Reyntiens, with the Stone of Bethlehem for a font just in front. Each individual window contains an abstract design, but the overall effect is breathtaking. Basil Spence himself designed the stone containing the glass.

Study for the the seventy two foot high tapestry designed by Graham Sutherland – collection of The Herbert Art Gallery

The great tapestry was another example of a re-think in design. Basil Spence’s original intention was to depict the Crucifixion but Provost Howard suggested that the subject be Christ in Majesty and from there on, this idea prevailed

Altar cross and crown of thorns by Geoffrey Clarke, large ceramic candlesticks by Hans Coper.

Chairs by Russell Hodgson and Leigh.

The Chapel of Christ in Gethsemane is approached by following the aisle from the Baptistery window towards the altar which is at the north end. The mosaic depicts the Angel of Agony by Steven Sykes and becomes more impressive when seen from a distance through the wrought iron crown of thorns designed by Basil Spence.

A short passageway takes you through to the Chapel of Christ the Servant – also known as the Chapel of Industry due to the view of Coventry workplaces from its narrow windows.

Monumental inscriptions to walls and floor by Ralph Beyer

Stained glass to aisle walls by Lawrence Lee, Geoffrey Clarke and Keith New.

At the far end of the aisle, opposite the Baptistery Window is the Chapel of Unity, with its detailed mosaic floor, donated by the people of Sweden, representing the nations of the world and lit by shafts of light from the narrow stained glass windows around the circumference of the star shaped chapel.

This design was Basil Spence’s vision of a chapel representing the star which began the story of Christ – from the outside it appears shaped similarly to a Crusader’s tent.

The chapel is intended for prayer by all denominations, not just Anglican, and for this reason was purposely built with no view of the great altar.

Historic Coventry

St Catherine of Sienna – Sheffield

Posted on December 7, 2016 by modernmoocher

Sir Basil Spence 1958-62. . Brown brick. Roof not visible. Slate cladding to entrance block of parish hall. Rectangular nave sweeping around into a semicircular apsed sanctuary .

EXTERIOR: entrance to liturgical south-west and parish hall to liturgical west with vestry. Carved words “The Church of St Catherine” to left of recessed entrance. Tower linked to liturgical south-east, and comprising two convex slabs forming a sacristy at ground level and linked by concrete beams above. Patinated bronze sculptural group with crucified Christ affixed to its east side.

INTERIOR: aisleless with vertical slit windows to north and south walls and roof sloping upwards towards chancel, on laminated timbers beams, so that roof deck is separated from the walls by a narrow glazed strip. Light is thrown onto the east wall by a concealed window at the east end of the nave. Sanctuary is raised two shallow steps, and altar was originally raised on two further steps against the east wall. It has now been moved forward. Altar is a black painted metal framed table with a varnished timber top. Font of polished limestone with fossils is in the original position to liturgical south side of sanctuary. Timber lid with schematic metal dove. Large timber cross behind altar, comprising two pairs of overlapping beams, penetrated symbolically by large nails. Timber sedilia on metal supports. Laminated timber pews. Organ above entrance to sacristy . A strongly sculptural design with a powerful presence.

British Listed Buildings.

St Catherine Sienna is a fine church, sited impressively and standing imperiously on the Sheffield outer ring road, high above the city. Brick curves, a tall detached tower and open for business, serving the outlying post war housing estate of Woodthorpe with regular services and a firm foundation of community activity.

Lit delicately from side slatted windows and higher apertures, the main body is calm and assured, the scale and proportion in harmony with the simple Spence seating and slightly raised altar. The detail of the wooden roof grid perfectly balancing the warm austerity of the walls.

My thanks to Father Phillip for his time and a fine cup of tea.

St Paul – Ecclesfield/Sheffield

Posted on November 22, 2016November 25, 2016 by modernmoocher

High above the city on Wordsworth Avenue, Eccleshall, built to serve the large Parson Cross post-war social housing estate, stands St Paul.

On the day of my visit, more than somewhat windswept and sleet lashed, almost imperious, the church stood steadfast set against the elements.

It is however registered as at risk by Historic England.

Designed by Sir Basil Spence and built by Charles Price of Doncaster Ltd. the church was completed in 1959 and consecrated on24th January 1959.

A large open brick steel and concrete structure, glassed and open at each end, a curved roof with vaulted detail, a detached tower is connected by a concrete cloister. There is an elegant simplicity to the body of the church, which is elevated by the staggered supporting walls.

A plain altar is complemented with ornaments, the gift of Spence, decorated by a frontal designed by Anthony Blee and an embroidered panel by Beryl Dean. A plain slatted wooden screen masks the window to the rear.

The pews – also the work of Spence were not costed in the original proposal, additional funds were found and they remain in use as an integral part of the scheme and worship.

The organ, sited in the gallery, is a later addition of 1962, puchased for £100 from Mount Tabor Church, Holland – integrated into the overall design using slatted wood.

My thanks to John Roch, church organist and lifelong member of the congregation, having attended Sunday School at St Paul on the first day of its opening, for his time and erudite instruction.