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.
I alighted from the 49 bus at Boots and proceeded to take a look around.
Unsurprisingly the construction work was now complete.
The pharmaceutical factory for the Boots Company was built in the 1930s and was designed by Sir E Owen Williams. It uses reinforced concrete as an external frame. The strength of the frame allowed the design to incorporate large areas of glass.
Bolton Town Hall – 1873 was designed by William Hill of Leeds, with Bolton architect George Woodhouse.
The original building was extended in 1938 by Bradshaw Gass & Hope – hereafter BGH.
Le Mans Crescent by BGH 1932-9 well complements the Town Hall extension. Its neo-classical design is assured and confident. Pevsner remarked that:
There is, surprisingly enough, no tiredness, the panache is kept up.
Three arches pierce the Crescent’s centre but today they lead only to a potential development site. One end of the Crescent contains the Art Gallery and Library; the other used to house the former Police Headquarters and Magistrates’ Courts.
George Grenfell Baines, the founder of the Building Design Partnership, was involved in this project when he worked for BGH in the 1930s
The Octagon 1966-67 originally by Geoffrey Brooks, the borough architect, rebuilt 2018-2021. The hexagonal auditorium has apparently been retained. Pevsner states of the former building:
A welcome dose of honest Brutalism.
The Wellsprings successfully fitting with the Town Hall
The former 1931 Cooperative Society Store, on the Oxford Street corner, is by BGH. The entrance has Doric columns in deference to the Town Hall’s Corinthian ones – and Le Mans Crescent uses the Ionic for the same reason.
We pass Paderborn House 1968 -69 Sutton of Birmingham clad in moulded concrete, with Traverine around the entrance.
Former Lloyds Bank on Deangate corner, clad in white faience, looks BGH-ish but it’s not listed in the Lingards’ BGH monograph.
Across the way the unlisted Post Office – complete with listed phone boxes.
Whitakers 1907 by George Crowther.
Pastiche timber-framed with pepper-pot turret.
Incorporates genuine Tudor timbers from a demolished building nearby.
To the north of Deansgate, down Knowsley and Market Streets, is GT Robinson’s 1851-6 Market Hall. The interior is, according to Matthew Hyde: a lucid structure simply revealed.
He contrasts it with Market Place Centre 1980-88 by Chapman Taylor Partners: In that most ephemeral of styles, a jokey Postmodernism.
It does however echo Victoria Hall 1898-1900 BGH.
Chapman Taylor also did the 1980-8 Market Place Shopping Centre. The Market Hall was built over an impressive brick undercroft above the River Croal which has recently been opened up and is a destination.
At the Oxford Street corner, Slater Menswear, above Caffé Nero, has Art Deco white faience upper storeys. Further down is the imposing Marks & Spencer, faced in dark stone 1965-67.
The mansard roof was added later.
Along Market Street, Clinton Cards is clad in white faience with Art Deco window details.
At the corner of Bridge Street is a charming 1960s clock; the building would not look out of place in Coventry.
Other buildings of interest on Deansgate include Superdrug – with some Art Deco features; Greggs by Ernest Prestwich of Leigh who trained with WE Riley.
Sally Beauty and the Nationwide – entrance by William Owen of BGH.
The former Preston’s jewellers, on the corner of Bank Street, has terracotta, by Thomas Smith & Sons 1908-13, a prolific local firm. It had a time ball, on the clock tower, which was raised daily at 9am and dropped at 10am, on receipt of a telegraph signal from Greenwich.
The 1909 Bolton Cross, in Dartmoor granite, by BGH replaced an earlier one which is now kept at Bolton School. Churchgate contains the 1636 Ye Olde Man & Scythe; the former coaching inn Swan Hotel, reconstructed in the 1970s to look more genuinely Georgian and Ye Olde Pastie Shoppe 1667.
Stone Cross House 1991 was built for the Inland Revenue in an aggressively red brick and spiky style. It has a rather desperate chandelier in the foyer.
The gates of St Peter’s church EG Paley 1871 are framed by Travel House, Newspaper House -1998 and Churchgate House and Huntingdon House 1974.
St Peter’s has a Neo-Gothic font and cover by N Cachemaille-Day 1938. The gates and gate piers may look early C20 but they are late C18.
Samuel Crompton 1753-1827, the inventor of the mule, is buried under the large granite monument, erected in 1861.
At the corner of Silverwell and Institute Streets is WT Gunson & Son’s 1970 Friends Meeting House: decent with a light elevated roof corner. It has a tilted roof floating on the glazed upper walls.
Scott House has a charming 1926 plaque commemorating Sir James Scott and his wife Lady Anne. Scott started the Provincial Insurance Company.
The two storey offices of Fieldings and Porter are a successful piece of infill by BGH.
Nip around the back to get a glimpse of this cracking stairway.
Silverwell Street 1810 is named after the Silver Well. Bradshaw Gass & Hope now self-described as Construction Design Consultants, not architects, are at number 19. Note the plaque to JW Wallace, founder of the Eagle Street College, dedicated to the works of the American poet, Walt Whitman. Wallace worked there from 1867 to 1912. The plaque is ringed by a quote from Whitman:
All architecture is what you do to it when you look upon it.
Whitman corresponded with his Bolton admirers; the Museum contains early editions of his works and his stuffed canary.
Further down Silverwell Street is the 1903 Estate Office of the Earl of Bradford who still owns a large area of Bolton. At the end of Silverwell Street is the former Sun Alliance House, now converted to flats, the colourful panels are a later addition.
Bradshawgate and Silverwell lane corner has a former café bar with original curved Moderne windows. This was originally Vose’s tripe restaurant, later UCP – United Cattle Products. It was most stylish and elegant, decorated in 1930s streamline Moderne style, with starched white tablecloths, silver service and smart waitresses.
Nelson Square was opened on March 23, 1893. The cenotaph memorial to the Bolton Artillery is by Ormrod, Pomeroy & Foy 1920. Calder Marshall sculpted the statue of Samuel Crompton 1862. The shiny red former Prudential Assurance office 1889 isn’t by Waterhouse but by Ralph B. Maccoll of Bolton. Matthew Hyde in Pevsner describes the early C20 faience facades of Bradshawgate as:
A plateful of mushy pea, ginger nut, liver, tripe and blood orange shades.
Infirmary Street has a 1970s office block with an octagonal, nicely lettered plaque to WF Tillotson, newspaper publisher. Round the corner in Mawdsley Street, the former County Court 1869 TC Sorby, 1869. Opposite, at the corner, is GWBD Partnership’s 1987 St Andrew’s Court, containing a somewhat whimsical recreation of a Victorian shopping street in miniature. The job architect was J Holland. Matthew Hyde says:
Neatly contrived on a tight site.
Into Exchange Street and through the former Arndale Centre 1971; low and mean according to Pevsner 2004, now re-branded as Crompton Place 1989 Bradshaw, Rose & Harker and still dreary, we go to Victoria Square and the Town Hall. The classical building on the left is the former Bolton Exchange 1824-5 Richard Lane.
The square was pedestrianised in 1969, to the Planning Department’s designs, under RH Ogden. It was quite an early scheme which won three awards including one, unsurprisingly, from the Concrete Society. The fountains were designed by Geoffrey Brooks and the trees were planted by the Earl of Bradford.
Owen Hatherley in Modern Buildings in Britain says of the town
It feels as if you’re in a real city, like in Europe, and you can drink your cup of tea in repose while admiring the monuments.
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.
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.
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:
Welcome, at the Kardomah Cafe we have a long history of excellent service, great food and wonderful coffee. We are an independent, established, family run business of nearly 50 years. Traditional values are important to us and have helped us create a warm and friendly atmosphere, which is seen by many of our customers as an important part of their lives, a place to meet their friends, whilst enjoying quality food and drink.
The company that created the Kardomah brand began in Pudsey Street, Liverpool in 1844 as the Vey Brothers teadealers and grocers. In 1868 the business was acquired by the newly created Liverpool China and India Tea Company, and a series of brand names was created beginning with Mikado. The Kardomah brand of tea was first served at the Liverpool colonial exhibition of 1887, and the brand was later applied to a range of teas, coffees and coffee houses. The parent company was renamed Kardomah Limited in 1938. The brand was acquired by the Forte Group in 1962, sold to Cadbury Schweppes Typhoo in 1971, and became part of Premier Brands some time between 1980 and 1997. The brand still exists, selling items such as instant coffee and coffee whitener.
The Kardomah Cafés in London and Manchester were designed by Sir Misha Black between 1936 and 1950.
The original Swansea branch was at 232 High St, and known as ‘The Kardomah Exhibition Cafe & Tea Rooms’, moving to the Castle Street in 1908.
The Castle Street cafe was the meeting place of The Kardomah Gang, which included Dylan Thomas, and was built on the site of the former Congregational Chapel where Thomas’s parents were married in 1903. The cafe was bombed during WW2 and was later replaced by the present Kardomah Coffee Shop Restaurant in Portland Street.
I’d never had the pleasure of visiting a Kardomah before, imagine my delight when I was directed there by local artist, activist and archivist Catrin Saran James, during our delightful Swansea Moderne tour!
Following an extensive walk from one end of town to the other, I returned there for a late midday bite to eat and a sit down – it looked a little like this:
Many thanks to the staff and customers for putting up with me wandering around for a while with my camera, whilst they worked and ate.
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.
When the Victorian church was demolished, traces of several earlier churches were revealed, stretching back to the 9th century. Artefacts found included the stone sarcophagus of Alkmund of Derby, now in Derby Museum and Art Gallery.
Designed by Alexander Buchanan Campbell and named after former Lord Provost Sir Patrick Dollan, it was opened in 1968 as Scotland’s first 50 metre swimming pool.
It consists principally of pre-stressed concrete and imitates a colossal marquee – the vaulted 324 ft parabolic arched roof appears to be held down by pairs of v-shaped struts that meet the ground at a thirty degree angle.
Buchanan Campbell admitted that he had been influenced by the architecture of the 1964 Summer Olympics in Tokyo, Japan and the designs by Kenzo Tange for the gymnasium there.
The Dollan’s wet recreation facilities include South Lanarkshire’s only 50m swimming pool and SLLC’s most exclusive health suite facility which features a sauna, steam room, sanarium, spa pool and relaxation area.
If you prefer dry recreation facilities then look no further as the Dollan features two gyms. The first is a traditional gym with the latest Life Fitness cardio and HUR compressed-air resistance equipment.
To complement these fantastic facilities there are two fitness studios that play host to a diverse range of fitness and mind, body and soul classes as well as a morning creche.
Sadly, I am neither a water babe nor gym bunny – body, soul and mindfulness are maintained in perfect harmony solely by means of modern mooching.
I walked around, I took a look.
Structural engineering surveys showed that parts of the pool surround and pool tank were in a state of near collapse and emergency work had to be carried out to install temporary structural supports. The centre was closed in October 2008 for major refurbishment, consisting of structural repairs and replacements and the installation of new structural supports. This required a significant amount of structural engineering design input. The structure of the unique roof was not affected.
Substantial redesign and replacement of heating and ventilation and pool water treatment engineering services was carried out. This included new high-efficiency gas-fired boilers, a ventilation system for the swimming pool hall, a combined heat and power system, new water filters, and high-efficiency pumps as part of an upgraded pool water treatment system.
Electrical engineering and lighting systems were almost entirely replaced throughout the building. The external roof covering was replaced and an additional layer of thermal insulation was added to reduce heat loss from the roof and to provide extra protection for the roof structure. New lockers were provided for the changing rooms and the health suite. New tiles were placed for the pool and health suite. The repair work began in July 2009 and the Aqua Centre re-opened on 28 May 2011. The completion of the major repair and refurbishment contract cost over £9 million.
Would that more buildings were saved from the demolition derby.
The wrecking ball has always been the great symbol of urban progress, going hand in hand with dynamite and dust clouds as the politicians’ favourite way of showing they are getting things done. But what if we stopping knocking things down? What if every existing building had to be preserved, adapted and reused, and new buildings could only use what materials were already available? Could we continue to make and remake our cities out of what is already there?
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!
Architects: David Harvey, Alex Scott & Associates – 1967
The Adam Smith Building, named in honour of the moral philosopher and political economist, Adam Smith, was formally opened on 2 November 1967 by Sydney George Checkland, Professor of Economic History from 1957 to 1982. The building was the first of the University’s multipurpose blocks housing a large number of departments, and a library for Political Economy, Social and Economic Research, Economic History, Political and Social Theory and Institutions, Management Studies, Psychology, Social Psychology, Accountancy, Citizenship, Anthropology, Criminology, Industrial Relations, and the School of Social Study. A records store was provided beneath the Library for the Economic History department to house their rapidly growing collection of business records from the vanishing Clyde shipyards and heavy engineering workshops, which now form part of the Scottish Business Archive held at University of Glasgow Archive Services.
Single storey, square-plan pyramidal church with halls adjoining to SW.
Category B Listed
St Mungo’s Parish Church is a striking landmark in the centre of Cumbernauld. Prominently sited on the top of a small hill, the bold copper pyramidal roof is an important landmark. Alan Reiach designed two churches in Cumbernauld, both of which can accommodate 800, Kildrum Church – the earlier of the two. Alan Reiach 1910-1992, who was apprenticed to Sir Robert Lorimer 1864-1929, was primarily involved in the design of public buildings, including churches, schools, universities and hospitals. Noteworthy features of St Mungo’s Parish Church include the bold pyramidal roof, with apex of which forms a roof light lighting the nave of the church, and above this is a pyramidal belfry. The impressive Baltic redwood-lined interior gains natural light from the large central rooflight and clerestory windows.
In October 2017, a £120 million project began on bringing the station up to modern standards, demolishing many of the 1960s buildings and replacing them with a new station concourse, which was completed in 2021.
I arrived in Cumbernauld and walked toward the Central Way and back again.
Cumbernauld was designated as a new town in December 1955, part of a plan, under the New Towns Act 1946, to move 550,000 people out of Glasgow and into new towns to solve the city’s overcrowding. Construction of its town centre began under contractors Duncan Logan, chief architect Leslie Hugh Wilson and architect Geoffrey Copcutt – until 1962 and 1963, and later Dudley Roberts Leaker, Philip Aitken and Neil Dadge.
Designed by Professors Andy MacMillan and Isi Metzstein.
Grade A listed 1994 RIBA Bronze Medal
Should you so wish – jump the train from Glasgow Central, unless you’re already here/there.
Walk up West Mains Road, alone on a hill standing perfectly still sits St Bride’s, you can’t miss it.
The biggest extant example of Bricktalism, the most Bricktalist building in the world, possibly.
Stallan-Brand design director Paul Stallan commented:
St Bride’s for me is the most important modernist buildings of the period. The church made from Victorian sewer bricks and concrete is both simple and complex. The architecture continues to be a key reference for students of architecture from across the world interested in modernism and the contemporary vernacular in context. Andy and Isi’s work is as important to Scotland as Alvar Aalto’s work is to the Finnish.
It’s a traditional Scottish stone detail I saw for myself as a boy growing up in the Highlands, on every castle and fortified house, and on the flanks of the tower at Muckrach, ancient seat of the Grants of Rothiemurchus, built in 1598. This was my local castle just a mile from home.
The entrance to St Bride’s, I like to imagine, comes from a friendship that included travel in the Scottish Highlands, admiring the Scottish vernacular close-up, of a fevered conversation about a simple concept – the massive blind box, and how the application of simple, semi-traditional material detailing can make it all the richer.
St Bride’s is simply one of the finest buildings in Scotland.