Each and every time I wandered by, I wondered.
The whys and wherefores of your seemingly unknowable comings and goings.
Standing alone, aloof and unloved on the corner of Rochdale Road and Sudell Street.
Something was missing.
I was missing something.
In 1813 there’s a field
In 1836 something’s there, but not it’s you.
By 1900 the days of the two up, two downs are numbered – sanitary dwellings are the order of the day, plans are drawn up, the local council have decreed that workers dwellings are to be built.
Known as Alexandra Place or The Dwellings.
You must have been home to many too many to recall, then you were gone again.
Save for one old triangle, refusing to jingle jangle to the modern dance.
I do not know what fate awaits you, I only know you must be strong.
A change is gonna come.
Life is full of little surprises, to turn from Middleton Road into Milne Street in downtown Chadderton and discover a triangular, blue-grey brick tower soaring into the September sky.
So solid geometries pierced by rectangular, triangular and angular gridded windows, deservedly Grade II Listed in 1998, made all the more extraordinary by its seemingly ordinary surroundings.
The interior mixes tradition with modernity, reusing pews and fragments of stained glass. Restrained natural lighting, complemented by slatted wooden, almost oriental boxed light shades. The furniture, fixtures and fittings bringing together a coherent decorative order.
The whole an uplifting and embracing space, punctuated by the curved y-shaped wooden supports, rising to the timber framed roof structure.
It was a pleasure to meet the current incumbent Father Stephen and a privilege to spend some time exploring this altogether delightful and impressive church.
I suggest that you do the same.
G.G. Pace 1960-63 – Blue engineering brick; graduated slate to pitched roofs – low pitched to church and entrance and steeply pitched to tower. Concrete dressings around windows. Five sided aisled space, three walls being orthoganal and the liturgical north side being canted outwards to provide room for the choir. Entrance with narthex to west and west also is a small rectangular chapel. Corner site, the corner itself dominated by a low rectangular brick tower with a high gabled roof. Four bay nave, the bays separated by buttresses and with rectangular windows set in varying groups high in the wall. West wall of nave is visible, and secondary glazing has been sensitively installed over the west window between the western buttresses. Thick exposed board-marked concrete beam at eaves. On return elevation, tower is flush with small chapel, with irregular groups of rectangular windows to both. Rectangular leaded lights. Recessed entrance with two doors of timber and leaded-glazing in vertical strips. Liturgical north and south faces of the tower each has a stack of 14 small pointed louvres. Jutting gutter spouts in exposed board-marked concrete.
Internally the bays are divided by three pairs of varnished laminated timber `y’ shaped supports and trusses, supporting timber trussed purlins (with prominent bolts) and timber rafters. Walls are white-painted brick with exposed board-marked concrete bands, which act as bonding strips between brick piers and as lintels for windows. Original altar of limed timber with four pairs of legs, is in original position, set forward from the east wall. Sanctuary raised by two steps. Limed timber pulpit, also chunky and so is altar rail with thick black metal supports and thick limed timber handrail. Priest’s chair to match, against east wall. Black metal crucifix also in characteristic Pace manner. Stone sedilia built into the north and south walls of the sanctuary. East window with stained glass which comprises broken and reset fragments of nineteenth-century glass. Font sited in central aisle towards the west end; this is of tooled cream stone, the bowl comprising a monolithic cylinder, flanked by a smaller cylinder which rises higher and has a prominent spout. Elaborate font cover in roughly textured cast aluminium, rising to flame-like pinnacles. Reused nineteenth-century benches, painted semi-matt black. Narthex and west chapel with limed timber doors, which have decorative nail-heads in rows. West chapel has open truss timber roof, painted white. Sanctuary light and cross are characteristic of Pace’s style.
A fine example of Pace’s idiosyncratic manner, this church shows the influence of the Liturgical Movement, especially in the forward placement of the altar.
A fine companion to Pace’s William Temple Church in Wythenshawe.
Standing stately on the corner of Carruthers and Pollard Street, safe as houses.
As safe as the houses that are no longer there, along with the other public houses, along with the jobs, along with the punters – all long gone, it’s a long story.
Mind that tram, full of the boys and girls in blue, off to shriek at a Sheikh’s shrine.
The Bank of England was one of Ancoats’ first beerhouses, licensed from 1830 and ten years later it was fully licensed with attached brewhouse. The brewery did well, in fact it had another tied house, the Kings Arms near Miles Platting station nearby. The brewery was sold off in the 1860s but continued as a separate business for a few years.
Ancoats, the core of the first industrial city, a dense cornucopia of homes, mills and cholera – its citizens said to find respite from disease, through the consumption of locally brewed beer.
Once home to a plethora of pubs, now something of a dull desert for the thirsty worker, though workers, thirsty or otherwise are something of a rarity in the area.
One worker went missing, some twenty years ago Martin Joyce was last seen on the site, the pub grounds were excavated – nothing was found.
When last open it was far from loved and found little favour amongst the fickle footy fans.
To the north a tidal wave of merchant bankers, to the east redundant industry.
The Bank of England has gone west.
So clean the mills and factories
And give me council houses too
And work that isn’t turning tricks
Like building homes and making bricks.
Eva Brothers of Crabtree Forge, Crabtree Lane, Clayton, Manchester.
1909 The partnership of James Eva, Archibald William Eva, Victor Eva, Arthur Eva, and Frank Eva, carrying on business as Forge-masters, at Crabtree-lane, Clayton, Manchester, under the style or firm of Eva Bothers was ended. All debts due would be settled by Archibald William Eva, Victor Eva, Arthur Eva, and Frank Eva, who continued the business under the same style.
By 1953 The EVA group of companies was the largest edge tool makers in the world, exporting most of their products. The associated companies included: Chillington Tool Co, Edward Elwell Limited of Wednesbury, A. W. Wills and Son Limited of Birmingham, John Yates and Co Limited of Birmingham, and the Phoenix Shovel Co Limited of Cradley Heath.
1958 Acquired T. Williams Drop forgings and Tools of Small Heath, Birmingham
1959 Planned to convert into a holding company; depressed demand for heavy engineering but continued group prosperity were anticipated.
1960 Eva Brothers paid dividends and made scrip issue; changed the name to Eva Industries as the holding company.
1976: Eva Brothers continued to be a part of Eva Industries.
Graces Guide – for further information.
This is where Manchester’s prosperity was created, engineering along with King Cotton, formed the financial foundations of the city. These industries are now all but vanished, along with the communities and skills that created them, work and wealth are elsewhere.
Years of free-market economics, acquisition, asset stripping, amalgamation and monopoly have bequeathed a legacy of loss.
Once bustling and business like sheds and yards, are now forests of buddleia and bramble. The sound of metal on metal, but a dull memory, amidst the wilder side of wildlife and the gentle whisper of peeling paint.
Come with me now to the Kingdom of Rust.
Formerly an area of high density terraced housing.
Lillington Gardens is an estate in the Pimlico area of the City of Westminster, London, constructed in phases between 1961 and 1980 to a plan by Darbourne & Darke. The estate is now owned and managed by City West Homes.
The estate was among the last of the high-density public housing schemes built in London during the postwar period, and is referred to as one of the most distinguished. Notably, seven years before the Ronan Point disaster ended the dominance of the tower block, Lillington Gardens looked ahead to a new standard that achieved high housing density within a medium rather than high-rise structure. It emphasised individuality in the grouping of dwellings, and provided for private gardens at ground and roof levels.
The estate’s high build quality, and particularly the planted gardens of its wide roof street, blend sympathetically with the surrounding Victorian terraces.
The estate’s high quality design was acknowledged by a Housing Design Award 1961, Ministry of Housing and Local Government Award for Good Design 1970, RIBA Award 1970 and RIBA Commendation 1973. Nikolaus Pevsner described it in 1973 as “the most interesting recent housing scheme in London”.
The site surrounds the Grade I listed Church of St James the Less, built in 1859–61. The entire estate, including the church, was designated a conservation area in 1990.
On the day of my visit, London in the grip of a July heatwave, the open areas, narrow alleys, byways, steps, stairs and roof gardens and play area were largely empty, citizens preferring the cooler interior environment of their homes.
The materials, warm brown brick and sheet-metal cladding, form complex interlocking shapes and volumes, creating a variety of heights and spaces. This makes exploration and navigation of the estate quite an adventure, disorienting at first, until one grasps an overall sense of the development’s structure.
Lillington Gardens provides homes, community, green space and an exciting range of vistas, a prime example of social housing on a human scale. Leafy glades, light and shade, grassy knolls abound.
Municipal Dreams for further reading.
737a Ecclesall Road Sheffield S11 8TG.
The church building, designed by John Mark Mansell Jenkinson, the second generation of a Sheffield firm of architects, was opened in 1971. A steel cross, fixed to the facade in 1989, is a memorial to their work here and in the city.
The church, which stands at the side of a main road, has a grey concrete exterior, once white, which rises like a cliff, echoing the natural cliff face of the rocks behind. Three carved roundels in the lowest quarter of the facade soften the exterior as does a brown brick tower which guards the entrance steps and houses a lift which was added in 2004.
The steps lead into a narthex where two plaques outline the history of the three Congregational Churches which came together to instigate the building of this church. The doors to the left, which lead into the worship area, suggest the influence of Charles Rennie Mackintosh and Frank Lloyd Wright upon John Jenkinson.
The hexagonal church interior, which is well lit from the sides and the roof, is clad in golden brown stone. There is an air of Puritan simplicity. The tiered seating looks towards the raised sanctuary area which has a stone pulpit, lectern, communion table, and chairs; the font was carved by James Stone. There are stained glass windows, a banner, and a gold cross, designed by David Mellor, above the pulpit. At noon on sunny days the light strikes the top of the cross and brings the building to life. The organ console which is at the side of the churchcame from Zion Congregational Church at Attercliffe. It was originally built for Weetwood, the home of Sir William Ellis, a Sheffield Industrialist.
The banner is one of four fabric collages depicting the seasons, designed by Elaine Beckingham and made by the children of Junior Church. The other three are also displayed in the church
The church area leads into what survives of Endcliffe Park Congregational Church, notably a large hall with an organ to match which, along with the benches which served as pews, are reminders of its former days. It has a gallery divided by moveable partitions to facilitate use as classrooms.