Early one morning, six o’clock on Saturday 30th August 2014 to be precise – I set out on my bike from my humble Stockport home, Pendolino’d to Euston, London Bridged to Hastings.
It was my intention to follow the coast to Cleethorpes, so I did.
Five hundred miles or so in seven highly pleasurable days awheel, largely in bright late summer sun. Into each life however, some rain must fall, so it did.
Kent, Essex, Suffolk, Norfolk and Lincolnshire flashed by slowly in lazy succession, to the right the sea – you can’t get lost, though I did. Following Sustrans signs is relatively easy, as long as they actually exist, when I reached Kings Lynn I decided to buy a map.
I set out at eight o’clock on Monday 1st September – I had taken early retirement in March. I would have normally been enrolling new students and teaching photography in a Manchester Further Education College, as I had done for the previous thirty years.
Not today thanks.
With the wind and my former career behind me, I cycled on with an unsurpassable sense of lightness and elation.
The building was designed by architects Kenneth Dalgleish and Roger K Pullen, with overt references to the Cunard White-Star Line Queen Mary, which had entered commercial transatlantic service in 1936. The east end of Marine Court is shaped to imitate the curved, stacked bridge front of the Queen Mary; the eastern restaurant served to imitate the fo’c’sle deck of the ship.
Heading towards Hythe on the coastal defence path.
Out of Tune Folkestone Seafront, opposite The Leas Lift – is home to AK Dolven’s installation. It features a 16th-century tenor bell from Scraptoft Church in Leicestershire, which had been removed for not being in tune with the others. It is suspended from a steel cable strung between two 20m high steel beams, placed 30m apart.
For Folkestone Triennial 2014, Alex Hartley’s response to the title Lookout is inspired by the imposing architecture of the Grand Burstin Hotel, which overlooks the Harbour. For his project Vigil, Hartley will use state of the art climbing technology to make a lookout point suspended from the highest point of the hotel. This climber’s camp will be inhabited for the duration of the Triennial, by the artist and by volunteers, all of whom will keep a log of what they observe.
The current hotel was built in 1984 from the foundations of the Royal Pavilion Hotel, originally built in 1843. Out of the 4,094 reviews currently on TripAdvisor 974 are of the terrible rating which doesn’t inspire much hope.
The most recent review is titled – Dirty Dated Hotel With Clueless Staff.
Before the advent of radar, there was an experimental programme during the 1920s and 30s in which a number of concrete sound reflectors, in a variety of shapes, were built at coastal locations in order to provide early warning of approaching enemy aircraft. A microphone, placed at a focal point, was used to detect the sound waves arriving at and concentrated by the acoustic mirror. These concrete structures were in fixed positions and were spherical, rather than paraboloidal, reflectors. This meant that direction finding could be achieved by altering the position of the microphone rather than moving the mirror.
Charles Stewart Rolls was a Welsh motoring and aviation pioneer. With Henry Royce, he co-founded the Rolls-Royce car manufacturing firm. He was the first Briton to be killed in an aeronautical accident with a powered aircraft, when the tail of his Wright Flyer broke off during a flying display in Bournemouth.
In September 1953 it was announced that Roger K Pullen and Kenneth Dalglish had won and were to receive 100 guineas, for a design for the Gateway Flats.
Behind the Art Deco facade of the Regent was once a grand ironwork and glass Pavilion, built to house regular performances by military bands, which the Edwardian holidaymakers loved. The Lord Warden of the Cinque ports, Lord Beauchamp, officially opened the Pavilion Theatre on Deal’s seafront in 1928.
Deal Pier was designed by Eugenius Birch and opened on 8th November 1864, in 1954 work started on Deal’s third and present-day pier. The new pier took three years to build and was formally opened by the Duke of Edinburgh on 19 November 1957. It was the first seaside pleasure pier of any size to be built since 1910. Designed by Sir W Halcrow and Partners, the 1026ft-long structure comprises steel piles surrounded by concrete casings for the main supports. The pier head originally had three levels but, these days, the lower deck normally remains submerged.
The building was designed by David Chipperfield – It was built on the raised promenade following a flood risk analysis. Construction started in 2008, and was completed for opening in April 2011, at a cost of £17.5 million. The gallery opened on 16 April 2011.
A Grade II listed country house, now divided into two dwellings. c1812. Ashlar gritstone. Hipped slate roof with leaded ridges. Various ashlar triple stacks with moulded tops. Moulded cornice and low parapet. Two storeys, central block with recessed long wing to east, orangery to west.
This Grade II listed manor house is set within 14 acres of natural grounds, together with the occupied adjoining servants’ wing, and has been sympathetically converted, retaining many original features to provide comfortable accommodation for families wishing to meet up for that special family occasion, and wi-fi is available in the living room.
Then came a pool:
Previously a private pool belonging to a country club in the 1930’s it later opened to members around 1938 who paid a small fee for its use. The pool is fed by a mountain stream and the water is reported to remain cool throughout the year. In the 1940’s/50’s locals recall the pool being open to the public where it cost a ‘shilling for children and half a crown for adults’ entry. During storms in 1947 the pool was badly damaged and reportedly ‘never the same again’ but postcards in circulation in the 1960’s provide evidence that the pool remained open at least until then.
Now it sits abandoned and hidden in the woods.
I went there in my early teens late 60’s the pool was still intact, well used and well cold. I remember chilly changing rooms with duckboards on concrete floors, a small café with pop and crisp if you had the pennies.
Most of all the simple joy of emersion in clear moorland water, on long hot summer days long gone.
Revisiting in April 2014, following a misguided scramble through brambles, it was a poignant reunion. The concrete shells of the pillars and statuary crumbling and moss covered, the waters still and occluded.
It sure it has subsequently been the scene of impromptu fashion shoots and pop promo videos, possibly a little guerrilla swimming. Though sadly it largely sits unused and unloved – let’s take a look around:
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.
High atop West Cliff Whitby is a pale blue imitation of the deep blue North Sea below.
A TG Green Cornishware blue and cream striped pot, reimagined on the distant Yorkshire coast, in paddling pool form.
Scarborough Borough Council has resurfaced the paddling pool, re-concreted and repainted the bottom and the sides. The railings adjacent to the footpaths at Whitby Pavilion have been repaired and re-painted and seating next to the crazy golf has also been improved.
Martin Pedley, Scarborough Borough Council’s asset and risk manager said:
The council has, in conjunction with the voluntary sector, invested both time and money in continuing to revitalise the West Cliff area in preparation for the summer season and the influx of visitors to Whitby.
West Cliff councillor Joe Plant added:
The improvement works that have been done both last year and this year is most welcome. Not only the visitors will benefit, but local people also and it again shows working in partnership with the voluntary sector does make a difference.
The Big Society in action, replacing railings improving lives.
I arrived in late April the pool as yet sans d’eau, more of a pedalling pool than paddling pool as the BMX bandits invaded the space, in direct contravention of the rules and regulations.
The water when present is some twelve inches deep, clearly better suited to larking, splashing and cavorting rather than performing The Twister, a bewildering blur of twists and turns two and a half back-somersaults with two and a half twists during the 1.5 seconds between launching and entering the water at 40mph.
The pool is flanked to the north by a sweeping Lubetkin style, flat roofed pavilion complete with fully functioning toilet facilities.
Turn your back on the Abbey, go wild – take a wet walk on the West Cliff side.
Once again I am following in the footsteps of Rita Tushinghan and the Taste of Honey film crew, this time my research has lead me to Barmouth Street, Manchester.
To the east of the city centre, Bradford Park School was the scene of the opening scene, Jo’s netball match. The school is now long gone, now the site of a much enlarged public park, as can be seen from the map above.
Shelagh Delaney, author of the original play on which the film was based, can be seen fleetingly in this opening scene, appearing momentarily over the games teacher’s shoulder.
I have found one archive image of the school, as the scholars prepare for the annual Whit Walks, this along with many other community traditions and conventions, have all but disappeared from the streets of the city.
This was once a tight knit community, surrounded by industry, full employment and a short lived period of post-war growth and optimism.
A corner shop on very corner, though by the time I worked as a Mothers Pride van lad in the late sixties, many were already on their last legs. A lethal cocktail of closing factories, incipient supermarkets, and an urban renewal programme, which lead to slum clearance, would change the character of the area forever.
I am indebted to the photographic work of T Brooks who seems to have spent much of the mid Sixties documenting the streets, his pictures are now kept here in the Manchester Image Archives. Sadly I have found no further reference to him or his images, but have nothing but admiration for all those who pass unnoticed amongst us, camera forever poised.
Central to the social and sanitary life of that that community were the Barmouth Street Baths and Washhouse, where citizens would swim, wash, dry, iron, chat convivially, and surprisingly – play bowls.
Now long gone, along with the provision of local authority nursery care. There were similar low level pre-fabricated buildings dotted all over the city. Built quickly and cheaply, to provide for a growing population, of largely working-class families, with no shortage of work opportunities.
This was a time of great social change, a time which the film attempts to anticipate -a more diverse, and hopefully more tolerant time, a time of possibilities and opportunities for all.
A large delicious expanse of seawater, now sadly designated as a boating pond.
I was drawn magnetically to this elemental artifice, where untamed waters meet a controlled concrete geometry, waves temptingly lapping the walls.
Would that it could be open again to the town’s swimmers.
I am latterly reliably informed, that the pool is well used by local aquarists, despite the Local Authority’s prohibitions and ministrations – bravo!
The second at Walpole Bay still open to the swimmer and what’s more it’s listed.
Walpole Bay Tidal Pool, one of two tidal pools designed by Margate’s borough engineer in 1937, constructed in concrete blocks reinforced by reused iron tram rails, is listed at Grade II for the following principal reasons: * Structural engineering interest: an ambitious project because of its scale, the weight of each concrete block, and that work needing to be carried out day and night because of the tides; * Scale and design: impressive in scale and shape, occupying 4 acres and three sides of a rectangle, the sides 450 feet long diminishing towards the seaward end which was 300 feet long; * Social historical interest: provided an improvement to sea bathing at the period of the greatest popularity of the English seaside; * Degree of intactness: intact apart from the loss of the two diving boards which do not often survive; * Group value: situated quite near the remains of the 1824-6 Clifton Baths (Grade II), an 1935 lift and the other 1937 tidal pool.