Antony Holloway – artist born March 8th 1928 he died on August 9th 2000.
Dorset was where he was born and grew up and the Dorset landscape was always there deep within him. He was educated at Poole grammar school between 1939 and 1945. After national service in the Royal Air Force in Dorset and Germany from 1948 to 1953 he studied at Bournemouth College of Art. Then came the RCA.
Tony began work as a stained glass and mural designer and jumped, with astonishing confidence, into working as a consultant designer with the architects’ division of the London County Council. He learned how to deal with architects and builders, and became adept at getting as much out of the money available – never enough – for his projects.
In 1963 he was introduced to the Manchester architect, Harry Fairhurst. Eight years later, after they had worked together on commissions in Cheshire and Liverpool, Fairhurst sought Tony’s advice about a plan for five large stained-glass windows in Manchester Cathedral.
Tony asked to design and make the first window, the St George in the inner south-west aisle. It was completed in 1973. Further windows followed in 1976 and 1980 and the final window, Revelation was installed in 1995.
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.
One fine day – whilst walking back to and/or from happiness, in the general direction of Blackburn town centre, I happened to chance upon three towers.
Whilst not in any sense Tolkienesque – for me they held a certain mystique, wandering unclad amongst swathes of trees and grass.
Trinity, St Alban and St Michaels Courts – three thirteen storey towers each containing sixty one dwellings.
Three thirteen-storey slab blocks built as public housing using the Sectra industrialised building system. The blocks contain 183 dwellings in total, consisting of 72 one-bedroom flats and 111 two-bedroom flats. The blocks are of storiform construction clad with precast concrete panels. The panels are faced with exposed white Cornish aggregate. Spandrel panels set with black Shap granite aggregate are used under the gable kitchen windows. The blocks were designed by the Borough architect in association with Sydney Greenwood. Construction was approved by committee in 1966.
Bouncing betwixt and between Bonnard and Bill Viola from Tate Modern to the Royal Academy I took a detour to The Barbican – in search of the Dorothy Annan tiled mural.
Having failed conspicuously to find it, following an extensive and discursive wander, I did the wise thing and asked.
My thanks to the helpful resident and his young son.
Redirected and on course for our deferred engagement, Dorothy and I met at last on an underpass.
I also recently discovered a Barbican Manchester mash up – Gerrards of Swinton fulfilled their largest ever single order for the site – my thanks to David Roughley for the information and illustration.