When World War II broke out, Hastings and St Leonards-on-Sea were considered vulnerable to attacks and invasion from abroad. On the night of Saturday 29 July 1944 a doodlebug was hit over the English Channel. Damaged, it nevertheless continued to fly towards the coastline of St Leonards-on-Sea. It was approaching Marine Court which was hosting a servicemen’s party – but it veered and crashed in front of the doors of St Leonard’s Church, making a deep crater. The tower fell into this, and the rest of the church was brought down as well. Although there were no casualties, the church was completely destroyed. Although the problem of rock falls and subsidence associated with the cliffs had continued throughout the life of the church, the War Damage Commission would only pay for it to be rebuilt on the same site. The architectural partnership of brothers Giles and Adrian Gilbert Scott were commissioned to design the new building.
Patrick Reyntiens stained glass
The unique features were inspired by Canon Cuthbert Griffiths, rector from 1929 to 1961. Following a dream, he went to Israel and had the prow of a Galilean fishing boat constructed to form the pulpit.
Marble work on the floor depicts locally caught skate and herring.
Beyond the communion rail are loaves and fishes set in different marble patterns bordered by scallop shells, a copy of the Byzantine mosaic in the Church of the Feeding of the Five Thousand in Galilee.
The structure set into shifting cliffs is subject to subsidence.
Procedures have been completed for St Leonard’s Parish Church on Marina to be closed for worship.
The service will be next Saturday August 4 2018 at 3pm.
Because the building cannot be used the service will be at St Ethelburga’s in St Saviour’s Road.
St Leonard’s has been called the church with an inbuilt message. Even the very stones cry out to those who have eyes to see, ears to hear and a heart to understand and accept the Good News of the Gospel.
Day three Wednesday 3rd September – leaving Southend under a cloud.
The huge slab of the Civic Centre shrouded in sea mist.
Designed by borough architect – PF Burridge.
Queen Mum Opens Civic Centre – It took a while to get there, since 1958 when the council agreed to embark on a quest to build a new home for itself; but on 31st October 1967 HRH the Queen Mother did the honours and formally opened the spanking new Civic Centre. During its build Southend was classed as being in the top ten in the country for full employment, due to this workers were hard to come by and bus loads of workers were brought in to complete this and the many other projects shooting up along Victoria Avenue at the same time.
Cllr Beryl Scholfield commented later on the day – The Queen Mother opened the Civic Centre in 1967, when my husband was chairman of the town hall committee, and we had lunch with her at Porters. We were presented to her when she came in. There were no more than about 30 of us there. It was a most exciting day.
She was as natural as you see her on the television.
A Union Jack lowered to half-mast in tribute to the Queen Mum has been stolen from Southend’s Civic Centre. A council spokeswoman today denounced the theft as – a despicable act at a time of great sadness and national mourning.
The outrage has caused extra sadness for royalist residents in the town because of the Queen Mother’s special place in the history of the Civic Centre.
The Leda and the Swan statue by Lucette Cartwright, which used to be in the Civic Centre atrium, gets a polish in May 1987.
A bronze statue depicting a mythological rape has finally found a new home at the mayor of Southend’s official residence. The controversial statue of Leda and the Swan was specially commissioned by Southend Council in the Sixties and first stood outside the courthouse in Victoria Avenue.
Later it was moved to the Civic Square and then to the courtyard of the Palace Theatre, in Westcliff. Later, it was moved to the Civic Centre when it caused outrage among staff. Workers claimed the statue, representing the rape of Leda by the Greek god Zeus disguised as a swan, glorified rape as an art form.
Last week, the statue was removed from the Civic Centre and is now at the mayor’s residence, Porters, in Southend.
Rob Tinlin, Southend Council’s chief executive and town clerk said – The statue of Leda and the Swan was located at the Civic Centre until a suitable location was found. The statue is permanently on display in the garden of the mayor’s residence, Porters in Southchurch Road.
It is in an appropriately landscaped area next to the pond.
Misty eyed I missed the sculptural fountain – William Mitchell I presume?
Said farewell to Neptunes unilluminating assorted fish.
Heading out of town past noisy scenes of quiet despair, no more fancy goods, no more confectionary – shake that.
Heading inland, away from the wibbly wobbly estuarine coast of higgledy piggledy Essex, through freshly mown pasture and solitary haywains.
This is Constable country:
Like many artists practising at the time, Constable used sketches as source material for fully worked-up compositions. He did not find the production of finished paintings easy, which probably contributed to his late recognition by the art establishment.
Passing by solitary bus shelters, patiently awaiting passengers.
Waterworks works in the palatial neo-classical manner, with a restrained nod to incipient Art Deco.
Encountering the occasional leafy lane.
I eventually found myself on the outskirts of Colchester, outside St Theresa Of Lisieux .
A striking pre-cast concrete frame design of 1971, with a dramatic and well-lit interior, lively modulation of wall surfaces and some furnishings and artworks of note.
Architect – JH Dabrowski
The entrance façade has a large gable and projecting entrance canopy, above which is a bronze statue of the Risen Christ, by local artist Tita Madden – 1977
This is a large modern church, built with a pre-cast concrete frame with a crossover roof beam system, allowing for dramatic internal effects. Within the bays created by the frame, the walling is mostly brick, with some pre-cast concrete panels, and large areas of glazing. Concrete is also used for the window mullions and surrounds. Each bay has the brickwork slightly angled or faceted, giving the design a great sense of movement and liveliness, both inside and out.
£240,000 will get you an Art Deco maisonette in Vint Crescent from Wowhaus:
This one is a ground floor apartment, which has undergone a complete refurbishment, but with one on keeping those period features to the fore – period features such as original radiators and those distinctive windows and doors are intact, rubbing shoulders with some new, high-end finishes like oak floors and updated kitchen and bathroom.
Foolishly I became more than somewhat lost and on making enquiries concerning my whereabouts and destination, I was met with gently derisive laughter. Therefore, I bypassed Colchester, took the wrong route along a mainly main road and ended up much too quickly in Clacton.
Home to several shops to let, as we shall subsequently see.
Also home to a fabulous concrete frieze on the exterior wall of the library.
Quickly ensconced in my bijou digs – I hit the town to take a look around.
I was staying right opposite this here boozer – a little too early for a pint, I’ll pop back in a bit.
Seaside shelter in a faux vernacular manner, calm seas ‘neath an azure sky – perfect.
Artifice and authenticity the sunbathing citizens sit beside an inflatable pool – perched above the sea on the pier.
Clacton Pier, which opened on 27 July 1871 was officially the first building erected in the then-new resort of Clacton-on-Sea. A wooden structure 160 yards in length and 4 yards wide, the pier served as a landing point for goods and passengers, a docking point for steamships operated by the Woolwich Steam Packet Company, and a popular spot for promenading.By 1893, Clacton had become such a popular destination for day trippers that the pier was lengthened to 1180 ft (360m) and entertainment facilities, including a pavilion and a waiting room, were added to accommodate them.
Mitzi Solomon Cunliffe January 1st 1918 December 30th 2006
This time we are taking a peek around the back.
Having passed by on the top deck deck of the 42 on my way home to Stockport, I espied an extension of the sculpture to the rear of the tower.
I vowed to return!
Fighting through extraction units, wheelie bins, hoppers, plus a disused and disabused vacuum cleaner, I found myself in the narrow service area, where I did my best to get back from the wall, hard against the chain link fence.
The things you do.
For some much needed light relief, air and open space I revisited the front face of the tower.
Something of an iconic, totemic, pin-up poster boy/girl for the Modernists, I bumped into you one rainy day, on the way from here to there. Initially attracted by an unexpectedly bright slab of primrose yellow and white.
Golden Lane was developed in the early 1950s to create local housing for essential workers in the City of London, following the devastation of the Blitz. At the time only around 500 people actually lived in the City of London so the estate was deliberately designed with small units to house single people and couples comprised of the broad social and professional mix needed to support the local community. 554 units were built of which 359 were studios and one bedroomed flats; the remainder were maisonettes and early tenants included caretakers, clergymen, doctors, police offices, cleaners and secretaries. Today there are approximately 1,500 people living on the estate in 559 flats and maisonettes.
Golden Lane was commissioned from architects Chamberlin, Powell and Bon by the City of London Corporation (which still manages it) and built on bombed sites previously occupied by small businesses and industries. Some of the basement areas of the former buildings were retained as sunken areas of landscaping. Building took place over a 10-year period between 1952 and 1962 when Crescent House on Goswell Road was completed. Golden Lane was listed Grade II in 1997 (Crescent House is Grade II*). When built, Great Arthur House was the tallest residential building in London and its Le Corbusier inspired design included a resident’s roof garden. The estate also included a leisure centre with a swimming pool and tennis courts. It is now run by a private operator and is open to both residents and the general public.
I stuck around too take a look, struck by the variety of scale, detail and space within a relatively tight integrated development. Mature greenery abounds along with a delightful water feature.
It would appear that following the 70s right to buy the estate is a 50/50 mix of social and private ownership, relatively trouble free and well maintained, something of an anomaly in our go-ahead, left behind land.
Why is there just one remaining tower block dancing unclad around Ancoats?
Let’s go back in time and see if we can find out – it seems that back in 1807 there wasn’t a Woodward Street to be found, the ever expanding industrial might of Manchester had not yet reached these particular green fields of Ancoats.
By 1824 it shows a fresh face to the world christened Woodworth Street, sparsely dotted with new development.
Almost fully formed in 1836 and renamed as Woodward Street, the area begins to accumulate the familiar domestic and industrial clutter of a burgeoning Victorian City.
By 1860 the street is fully formed and open for business.
Workers finding homes in austere and functional brick back to backs, typical of the period’s housing.
Fast forward to the early Sixties and the street is showing signs of age – the century old industries are already in decline, steady jobs, mills and factories gone west and east, well-worn housing looking terminally tired and in need of a little care and attention.
But wait what’s this coming around the bend?
The first wave of urban regeneration, post war optimism incarnate, a bright new shiny future – out with the old and in with the new, as Municipal Modernism stamps its big broad architectural feet all over Woodward Street.
Our story is far from over, this optimism is short-lived the homes, houses and industry are swept away yet again, replaced with two story modern terraced housing and an all too obvious absence of regular employment – yet the tower blocks prevailed.
Former streets were over written and remain as poignant vestigial marks in the landscape.
Though their future was built on more than somewhat shifting and uncertain sands.
A tower block has been left lying empty for a whopping 18 years. The 13-storey building at Saltford Court in Ancoats has been unoccupied since Manchester council closed it in the 1990s. It was bought by top developers Urban Splash six years ago but residents have now hit out about it still being empty. Neighbours of Saltford Court say it has become an ‘eyesore’ and magnet for vermin since the firm bought it.
A large group of blocks stood tinned up and unloved, yet owned, for a number of years, victims one supposes of land-bankers, developers speculating on an even better return, as the warm waves of gentrification washed slowly over them, from nearby New Islington.
All but one was refurbished, clad and re-let.
Woodward Court was spared – set aside for the homeless.
A period piece surrounded by Post Modern and Revivalist pretenders.
High Street Pendleton 1930s – the cast of Love on the Dole walk down High Street Pendleton, passing Hill’s Pawnbroker, author Walter Greenwood is ninth from the right.
This was a dense area of back to back terraces adjacent to pubs, schools, churches, mills, docks and cattle markets. Communities formed from shared patterns of employment, education, leisure and worship.
These communities survived into the 1960s and the coming of slum clearance, followed by an intense period of rebuilding in the modern manner.
Patterns of employment, economic boom and bust, the exponential expansion in higher education, all contribute to the change in character of the area, along with slow and sudden demise in social housing.
2014 and the area begins to be reshaped yet again – this time by former resident Mr Peter Hook, who grew up in the area, the low slung former New Order bass meister described it in a book as – rotten and horrible, like a concrete wasteland
The Orchards tower block, the first of three, is removed piece by piece, each of the 14-storey blocks took around six weeks to be demolished.
The citizens of High Street Estate await the ‘dozers with apprehension and a sense of grim inevitability.
Clearance begins with the promise of new homes, tenants and homeowners are relocated, houses are tinned up or demolished wholesale. – a few remain in situ dissatisfied and afraid.
Altogether, 885 houses in Pendleton are being bulldozed and, to date, 584 have already been demolished, including houses on Athole Street and Amersham Street. Over the Pendleton Together project’s £650million thirty year life, only around one third of new houses being built will be affordable.
Meanwhile, after years of anguish and uncertainty, Fitzwarren Court and Rosehill Close, previously down for demolition, are being saved. Salix Homes will now bring flats in Fitzwarren Court and houses in its ownership on Rosehill Close up to the Decent Homes Standard.
So welcome to Limboland – as financial arrangements shift, shimmy and evaporate – government policy, local authority pragmatists, private partnerships and funding perform a merry dance of expediency, around an ever diminishing circle of demolition, development, stasis and deceit.
Built in 1973 scheduled to be closed and demolished in ten days time.
The future is not so red rosey for yet another traditional local market.
A typically boxy arrangement of steel, concrete, asbestos glass and brick, the complex of trading units, stalls and parking is not without charm. Though as with many other developments of its type, it seems to be without friends, then inevitably without customers and traders.
Following a template originated at London’s Borough Market, developers and councils seem to favour the modern artisan over the proletarian . This concept when meshed with the multi-plex and chain restaurant/bar amalgam, provides a shiny new future, for the shiny new shape of all our retail and leisure needs.
So ta-ta to another world of hats and socks, fruit and veg, workwear for workers.
This is the one and only photograph of its former black and white self.
Though an internet search revealed a rich heritage of pool, football, fancy dress and trips to Lloret De Mar, for the lads and lasses of Lower Scholes.
The pub now named Sam’s Bar, has retained its jolly jumble of modernist volumes and angles – though having lost the harlequin panels and off licence. Mid-morning the lights were on and the pub was surrounded by cars taking advantage of the £1.90 a day parking.
The online reviews seem to divide opinion as to the quality of the current provision.
This pub is not a nice place to visit. If your not a regular you get leered at all night, the people and staff are absolutly terrible. You will wait at the bar all night waiting to get served, whilst all the regulars get their drinks. Then and only then will you get yours. You will see a fight at least once a night. Karaoke is only for those of us who are blessed with the ability to sing – they wont let you up again if not. This pub needs knocking down it’s a menace to society, out of 10 a big fat 0.
Solid, dependable and well-run. Friendly bar staff and regulars, local and national newspapers, rugby league memorabilia, jukebox, pool table, and very fair prices. Has been my local for years, ever since I got tired of the landlord turnover at the Cherries. I’ve never seen anyone refused a go at karaoke, including me, and I can’t sing, and rarely pick a song anyone likes. So you carry on spouting tripe, and I’ll carry on drinking at Sam’s Bar Scholes.
Here we are again – having previously travelled back to the inception of the estate in the 1970s.
Structurally little has changed, politically and economically things have shifted.
The Conservative Party had committed itself to introducing a Right to Buy before Margaret Thatcher became Party leader. After the election of May 1979 a new Conservative government drafted legislation to provide a Right to Buy but, because this would not become law until October 1980, also revised the general consent to enable sales with higher discounts matching those proposed in the new legislation. The numbers of sales completed under this general consent exceeded previous levels. Between 1952 and 1980 over 370,000 public sector dwellings were sold in England and Wales. Almost a third of these were in 1979 and 1980 and it is evident that higher discounts generated and would have continued to generate higher sales without the Right to Buy being in place. 200,000 council houses were sold to their tenants in 1982, and by 1987, more than 1,000,000 council houses in Britain had been sold to their tenants.
The post war policy of building and renting local authority housing was swamped by the phrase property owning democracy, on which the popular conservatism of the 20th century rested, and with it a vision of the good society, was coined by the Scottish Unionist Noel Skelton in a quartet of articles for the Spectator entitled Constructive Conservatism, written in the spring of 1923. The appeal of Popular Capitalism proved compelling, however the periods of de-industrialisation, and the subsequent lull in the building of new affordable homes, has created a myriad of obstacles for those simply seeking somewhere to live and work.
The estate illustrates this historic shift, replete with homeowners decorative amendments and addenda, managing agents and trusts and an end to the architectural integrity of the development.
One could become all Ian Nairn about this, swathed in Outrage.
I myself feel that despite the cosmetic surgery, this remains a homely enclave, residents going about their business in a relatively orderly and happy manner.
Baguley is derived from the Old English words Bagca, badger, and Leah, wood.
Historically in Cheshire, Baguley is mentioned in the Domesday Book of 1086, it was incorporated into Manchester in 1931.
It has a Brook though babble heard I none, it had a Station now long gone.
I idled by on my bike to snap the homes around Bideford Drive, which I dutifully did. My curiosity suitably aroused I perused the Manchester Local Image Archive, in search of clues. Planned in 1969 complete in 1971 main contractor Laing architects the City Office.
A rich mix of scale and typology, two differentiated blocks, tower and slab, short rows of compact terraces, open spaces, shops, car parking and limited planting. The interlocking geometries, paths and walkways make it an intriguing and entertaining estate, full of small surprises and ideas – these pictures are of 1971.
There is a sharply attenuated and clean feel in the air, optimism on a largely overcast day, a totality – planned integration – homes and architecture of distinction.
The construction of the shopping centre and surrounding areas continued and on 21 May 1970 the new Salford Market officially opened. From 1971 onwards new shops inside the precinct itself began to open.
However, due to a lack of funds and a political scandal which saw chairman Albert Jones jailed for eight months construction of Salford Precinct was halted. The site had only 95 shop units compared to the proposed 260, the hotel and two storey car park were never built.
In 1991 the building was refurbished at a cost of £4 million, this included the installation of roofs across various walkways, making large swathes of the centre undercover. The shopping centre which at the time was known as Salford Precinct was renamed Salford Shopping City.
On 9 August 1994 the Manchester Evening News reported that Salford City Council was planning on selling off Salford Shopping City to raise money for local housing repairs, these plans split the ruling Labour Party council, one councillor telling the press that it would be like selling off the family silver.
In 2000 Salford Shopping City was eventually sold to a private company for £10 million in an effort to cut the council’s deficit. It was then later sold in March 2010 to Praxis Holdings for £40 million, the company stated that it wanted to invest in the precinct and link it to the new food superstore.
This is a tale of our times – 60s and 70s redevelopment designed and built in the rampant spirit of free enterprise and uber-buoyant consumerism, falling foul of an economic downturn, subsequent unemployment and shrinking retail spending. Property is ping-ponged between local authority and speculative developers.
Following the riots of 2011 pledges were made regarding the future of the site, plans are still afoot, as yet to be rendered corporeal. Although the area has benefitted from an influx of students and a refurbishment of housing stock, there is pressure on the prosperity of the precinct from thriving retail developments in nearby Manchester and the Trafford Centre.
The architectural core of the site has been retained, including the 23 storey Briar Court residential tower, though diluted by more recent additions, misguided post modern detailing that threatens the integrity of full many a post war development.
I’ve passed this way before, they’re hard to miss, seven substantial tower blocks towering over the town on College Bank.
But what goes up, may come down.
Construction in 1963
Demolition in 2017 is one suggestion – following years of poor maintenance, problems of heating and ingress, plus a whole host of other reasons outlined here.
The housing trust in consultation with residents, have produced a tentative plan.
This may or may not include the demolition of one or more blocks. On the day of my visit, the tenants I spoke with understood that the blocks faced an uncertain future, and were rightly concerned by the rumours and conjecture. The majority would prefer to stay put, having lived there for several years, raising families and building homes.
Whatever the outcome I hope that the wishes of the residents are not overwhelmed by political expedience, or the will of the developer.
The Balfron Tower Conservation Area was designated in October 1998 around the two residential blocks designed by Ernö Goldfinger for the London County Council in the 1960s. The Conservation Area boundary protects the listed Balfron Tower and Carradale House, and other buildings in the ‘Brownfield Estate’, including Glenkerry House, a community centre, shops and associated low-rise housing development.
The 27-storey Balfron Tower is Goldfinger’s first public housing project, and a precursor to his better known Trellick Tower in North Kensington. The neighbouring Carradale House and Glenkerry House sit within the landscaped areas developed at the same time. The Brownfield Estate, also known as the East India Estate, is now recognised as a fine example of planned 1960s social housing. Considered to be exemplary examples of the post-war housing schemes, Balfron Tower and Carradale House were listed in 1998 for their cultural & architectural merit.
This was my first visit, to a key building in the short history of modernist post war housing, currently something of a sleeping giant, awaiting Prince Charming’s kiss.
What will it awake to?
Tower Hamlets are mid consultation, as evidenced in this here document.
On an overcast and ever darkening afternoon, the rain cutting in on a chill wind, set against a slate grey sky, its surfaces and volumes were ever so slightly forlorn.
There is much to be done by way of regeneration, with the attendant issues of heritage, funding, gentrification and inevitably who lives where and why?
Arriving in Rochdale in search of something else entirely, it was impossible to ignore seven prominent, as yet unclad tower blocks, high upon a hill. I was informed by a local resident that they were known locally as the Seven Sisters, though variously identified as Falinge B, College Bank, and Holland Street flats.
The area was formerly home to Victorian workers’ dwellings, known as The Paddock – the post-war policy of slum clearance saw them swept away, in readiness for municipal modernity.
Hey presto 1963 and there appears four 21 storey blocks containing 476 dwellings; three 17 storey blocks containing 286 dwellings.
Photograph Mancunian 101
Building contractors were Wimpey and the flats were designed by Rochdale’s Borough Surveyor, Mr W H G Mercer and Mr D. Broadbent along with Mr E V Collins, chief architect to contractors George Wimpey and Company.