I was walking from the railway station, a map of Oxford folded in my back pocket.
Having no real notion of anything really, I simply followed my intuition and ended up here.
Worcester College was founded in 1714 by the benefaction of Sir Thomas Cookes, 2nd Baronet 1648–1701 of Norgrove, Worcestershire, whose coat of arms was adopted by the college. Its predecessor, Gloucester College, had been an institution of learning on the same site since the late 13th century until the Dissolution of the Monasteries in 1539.
Founded as a men’s college, Worcester has been coeducational since 1979.
This Mediaeval terrace is thought to be the oldest surviving domestic building in the city, known as the cottages – forming one side of the Quad.
This is the Casson Building – undergraduate accommodation.
The Linbury Building is a dedicated conferencing and private dining venue enjoying a beautiful natural setting among mature trees and landscaped lawns.
Accommodating up to one hundred guests for receptions or forty eight on a fully-catered basis, the Linbury Building offers the perfect venue for your mid-sized event. Set among the College’s award-winning gardens, the Linbury allows you to enjoy our unique natural setting thanks to floor-to-ceiling glazing which can be retracted to create an al fresco space in the summer.
With its own bespoke furniture made from English oak and College-crested leather chairs, the main conferencing space can be adapted into a wide variety of configurations, from seminar, cabaret or theatre to private dining and drinks receptions. The adjacent foyer area is a perfect space for delegate registration, break-out coffee and pastries or buffet lunch service.
John Davan Sainsbury – Baron Sainsbury of Preston Candover 1927 – 2022 was a British businessman and politician. He served as the President of Sainsbury’s, and sat in the House of Lords as a life peer and member of the Conservative Party
Robert Alfred Maguire 1931–2019 was an influential British modernist architect and leading thinker in the British liturgical architectural movement of the Church of England. Maguire and Keith Murray formed an architectural practice in 1959.
Nazrin Shah ascended the throne of Perak in 2014. As Sultan of Perak, he has been a strong advocate for education, Islamic moderation, and national unity. He has served as deputy king under Sultan Muhammad V of Kelantan, Sultan Abdullah of Pahang, and Sultan Ibrahim of Johor.
The Sultan Nazrin Shah Centre is a new building of 2017 housing a large lecture theatre, a student learning space, seminar rooms and a dance studio. The project is not simply the provision of new facilities, but also the development and enhancement of the setting of this significant part of the College site. Whilst the relationship between the new buildings and the listed parkland is important, it is only one part of a complex arrangement.
Elizabeth Frink’s sculpture Seated Man II – on loan from Yorkshire Sculpture Park, in accordance with the wishes of the artist’s late son, Lin Jammet, 2020.
He overlooks The Sainsbury Building student accommodation – 1983 Architect: Richard MacCormac
The College Chapel was built in the 18th century. George Clarke, Henry Keene, and James Wyatt were responsible for different stages of its lengthy construction 1720–1791, owing to a shortage of funds. The interior columns and pilasters, the dome, and the delicate foliage plastering are all Wyatt’s work. His classical interior was insufficiently emphatic for the tastes of militant Victorian churchmen, and between 1864 and 1866 the chapel was redecorated by William Burges.
It is highly unusual and decorative; being predominantly pink, the pews are decorated with carved animals, including kangaroos and whales, and the walls are riotously colourful, and include frescoes of dodos and peacocks. Its stained glass windows were to have been designed by John Everett Millais, but Burges rejected his designs and entrusted the work to Henry Holiday.
Wikipedia
My first visit to Oxford and the centuries wide cornucopia of architectural styles and fashion.
The Denys Wilkinson Building was designed by Philip Dowson at Arup in 1967.
The building houses the astrophysics and particle physics sub-departments of the Department of Physics at Oxford University, plus the undergraduate teaching laboratories. It was originally built for the then Department of Nuclear Physics and named the Nuclear Physics Laboratory. From 1988, the building was known as the Nuclear and Astrophysics Laboratory after the Sub-Department of Astrophysics moved from the University Observatory in the Science Area. On 21st June 2002, the building was renamed as the Denys Wilkinson Building, in honour of the British nuclear physicist Sir Denys Wilkinson, who was involved in its original creation.
Denys Wilkinson Building Oxford photo – Webb Aviation.
Department of Nuclear Physics, Oxford Arup Associates 1971 – Colin Westwood RIBA pix.
The University of Oxford is relocating its undergraduate physics practical teaching from the Denys Wilkinson Building amid concerns about the presence of asbestos at the ageing site.
From Michaelmas this year, some practical teaching labs will move to the former Biochemistry and Biological Sciences Teaching Centre, with the remainder moving by Michaelmas 2027. The Biochemistry and Biological Sciences Teaching Centre will be adapted for physics practical teaching. Around six hundred undergraduates currently take part in compulsory practical coursework in the Denys Wilkinson Building across the first three years of Oxford’s physics degrees.
A University spokesperson told Cherwell that the decision to relocate had been taken proactively to avoid the risk of a sudden building failure causing disruption later. The spokesperson added that the Denys Wilkinson Building:
Is being carefully managed through the later years of its usable life, adding that the building has some legacy issues, including asbestos.
Originally completed in 1967, the building had not been maintained and required significant repairs to the roof structure of the accelerator tower, which had suffered from prolonged water ingress.
All defects were identified through a hammer test survey and thorough visual inspection, the original concrete was broken out back to a sound substrate and was square cut to depth of 10mm, thus preventing featheredging of the subsequent repair.
Exposed reinforcement was mechanically wire brushed, and prepared using high performing and sustainable products from Sika. Treated with Sika Monotop 1010; a bonding primer and corrosion protection, followed by the application of Sika Monotop 4012; a concrete repair mortar, to the original surface levels.
This building has been assessed under the Planning – Listed Buildings and Conservation Areas Act 1990 as amended for its special architectural or historic interest. The asset currently does not meet the criteria for listing.
It is not listed – the Secretary of State for Culture, Media and Sport disagreed with Historic England’s recommendation for this case23rd July 2015.
In 1956, with University considering plans for expansion, Alan Bullock obtained approval to transform St Catherine’s Society into a fully residential college – the search for a site and funding began.
An ambitious fundraising campaign began, focusing on the national shortage of scientists and on Bullock’s proposal of an increased number of science students at St Catherine’s than was usual for an Oxford college. In 1960 almost eight acres of Holywell Great Meadow was acquired from Merton College and the College’s chosen architect, Arne Jacobsen of Denmark, began to implement his design. His modernist masterpiece was to become the most important 20th-century collegiate buildings in Oxford, and is now Grade I listed.
In 1962 St Catherine’s College opened its doors – while still under construction, with Alan Bullock as its Master. The first undergraduates were admitted, and were quickly dubbed the ‘Dirty Thirty’ owing to the lack of running hot water. 1964 saw the ceremonial opening of the College by the then Chancellor of the University, Harold Macmillan, and ten years later in 1974, staying true to its forward-looking ethos, it became one of the first colleges to admit women.
As a footnote – it’s possibly not a great idea to rush around an unfamiliar city trying to snap as much as possible on a very hot day time limited by budget train bookings largely underfed and thirsty.
St Catherine’s College: 1961-66. Arne Jacobsen – Grade I Listed
Podium and all buildings upon it. GV I College buildings, raised on a podium, including dining hall, common room blocks; two residential blocks; library; Bernard Sunley Lecture Theatre; bell tower; piers and covering to walkways to east and west of library and east and west of hall; bridge adjoining west side of podium; brick walls enclosing canal and patio areas on western edge of podium; brick walls to patio areas to eastern edge of podium; twenty five short stretches of garden wall all running east-west, some incorporating seats; paving to podium surface and steps to east and south sides.
Designed by James Stirling and Partners in 1966-1967 for Queen’s College, Oxford, and built 1968-1971, with Roy Cameron as associate, and Frank Newby of F J Samuely and Partners as engineer.
RIBA pix 2005 Jeremy Harrison
Listed at Grade II* for the following principal reasons:
* as a highly significant work by Sir James Stirling, one of Britain’s foremost post-war architects;
* as the last of a triumvirate of university buildings that are without doubt amongst Stirling’s most significant works in England;
* as a highly creative re-working of a familiar formal language, executed with masterful handling of form and colour, characteristic of Stirling’s style;
* for the high degree of survival of the original plan form, fixtures and fittings, which have been little altered since the building’s completion, including but not limited to the bedrooms, porter’s lodge, and breakfast room;
* as a distinctive and popular piece of post-war university architecture.
On the day of my visit the building was secured and in a state of semi-dereliction, mothballed by the owners TheQueens College Oxford.
There have been plans and a competition for refurbishment:
Perhaps the most charismatic of James Stirling’s surviving buildings; the Florey Building is hugely admired worldwide for its boldness and heroism.
Despite some practical and infamous failings, the Florey has a cult presence in Oxford: a modernist’s riposte to a city defined by traditional architectural masterworks.
The Queen’s College Fellows seek a dedicated team who are inspired by Stirling’s exhilarating vision. The challenge: to use advances in technology to update the building, provide modern facilities and achieve exemplary energy design.
The competition has now concluded — 27th February 2014
The Queen’s College, Oxford is delighted to announce that the team led by Avanti Architects has won the design competition to update the Grade II listed Florey building, widely regarded as an emblem of modernism. Avanti will now work to develop their scheme for the project and determine construction priorities.
The plans however were poorly received:
Alas the proposal for Florey lets down the practice, the college and most importantly Jim Stirling and the Modernist corpus, with a design that all but wrecks the essence of this unique building.
Alan Berman – founding partner at Berman Guedes Stretton
These proposals must be thrown out and consigned with distaste to the dustbin as a gross violation of Stirling’s intentions.
If permitted, they would constitute the comprehensive betrayal, by alteration, of one of the internationally most important buildings of the 20th century.
Thomas Muirhead – Stirling’s friend and former colleague.
Furthermore there has been a history of criticism of the building:
At the official opening in 1971, the Queen Mother was rumoured to have said it was the ugliest building she had ever seen.
College bursar AA Williams described it as – a structure revolting and inhuman in its hideousness and defective in practically every aspect of its functioning.
Just a year later, students were complaining that it leaked, was noisy, too hot in summer, too cold in winter, they couldn’t stand up straight in the showers, and there were no baths.
Lord Florey, the pioneer of penicillin after whom the building is named put up the money, and was almost the architect’s sole supporter in the college.
This culminated in a legal battle, an intense dislike of the building throughout the college, a reluctance to spend anything but the minimum on maintenance, and decades later, to the possibility of demolition.
Oxford Mail.
So with little institutional love and a soupçon of general loathing, we are left with a Listed building in limbo.
Happily Leicester University are taking care to care for their Stirling building.
Following my previous visits to the University of York, recording the history and the Fred Millett Reliefs, I have searched the RIBA pix archives to find further images.
They mainly illustrate the Derwent and Langwith Colleges – both built using the CLASP system of construction.
The University of York was founded in 1963 and work on its campus facilities in the grounds of Heslington Hall was begun in 1964. The first two colleges, Langwith and Derwent, accepted residential students for the autumn term of 1965. The original buildings were designed by Sir Andrew Derbyshire of Robert Matthew Johnson-Marshall & Partners, and assembled using the CLASP system of prefabricated construction.
Derwent College: one of the two covered walkways linking the college buildings with sculptural relief by Fred Millett at the far end.
Photographs 1965 – Reginald Hugo de Burgh Galwey.
Derwent College: a concrete panel sculptured by Fred Millett.
Derwent College.
Photographs 1965 Keith Gibson.
JB Morrell Library.
Derwent College: a covered walkway over the lake.
Central Hall.
Photograph 1972 Bill Toomey.
Vanbrugh College: stepped roof to the covered way leading down to the lake.
Photograph 1972 Peter Bairstow.
Derwent College and Heslington Hall.
Photographs 1965 – Reginald Hugo de Burgh Galwey.
Langwith College, seen from the lake.
Langwith College.
Photographs 1965 Bill Toomey.
David Brown Laboratories: the flue stack.
David Brown laboratories: the water tower.
Photographs 1965 – Reginald Hugo de Burgh Galwey.
Derwent College.
Derwent College.
Langwith College: close-up of the oriel windows.
Photographs 1965 Bill Toomey.
Derwent College: a concrete sculptured screen flanking a covered way.
Derwent College: a concrete sculptured screen flanking a covered way.
One of several concrete link bridges.
Another of the several concrete link bridges.
Photographs 1965 – Reginald Hugo de Burgh Galwey.
David Brown laboratories: seen from one of the link bridges.
David Brown Laboratories: the flue stack and water tower rising above the laboratory blocks.
J. B. Morrell Library: the central staircase and lift tower.
Photographs 1965 Keith Gibson.
Central Hall.
JB Morrell Library, University of York, seen from the south side of Heslington Road with linking pedestrian bridge and ramp in foreground and cast aluminium sculpture by Austin Wright
JB Morrell Library: the covered pedestrian bridge linking the library to the southern side of the campus.
JB Morrell Library.
JB Morrell Library: the main entrance and terrace.
JB Morrell Library: the issue counter seen from the second floor.
JB Morrell Library: viewpoint from the fourth floor.
The covered pedestrian bridge linking the southern side of the campus to the JB Morrell Library on the north side.
The chapel was closed on a Saturday so we wandered around outside, peering curiously through the windows. Surrounded by mature planting, the bare brick and glazing is more than somewhat softened, the planting however does inhibit the intrepid photographer.
Designed 1965, built 1966-7; architect George Gaze Pace, executant assistant Ronald Sims.
Reinforced concrete frame, partly left exposed, clad in pale brick. Monopitched roofs. Low flat roofs to entrances and between the three main elements with thick board-marked eaves. Central space flanked by angled transepts, with organ loft to (liturgical) west end and wing of offices behind. Long narrow flat-headed windows between brick mullions, timber doors. Attached walls and steel gate lead to inner garden, intended for contemplation.
Interior with exposed concrete frame, including piers and thick ring beam at gallery level, with brick infill. Boarded timber ceiling to main space; board-marked ceilings to low side aisles. Choir gallery with organ, designed by Pace, set behind timber lattice screen also to his designs, and reached via narrow spiral stair. Ceramic piece to balcony front 1999 by Helen Batty. Some pews, brought from the college’s former chapel of 1858 remodelled by Pace in the 1950s.
Hanging pendant light-fittings to Pace’s designs. Altar, lectern and altar seating all by Pace; pulpit designed 1998. Windows – internally the concrete of the mullions is exposed, all originally clear leaded lights, but now stained glass is being incorporated, most notably ‘The Water of Life’ by Cathy Nutkins, a 1990 graduate, in right-hand transept.
Chapel of Christ the Teacher to rear, by foyer, refurbished 1994 by Helen Turner, textile artist. The building is well-suited to the incorporation of student works of art, some temporary, some permanent, and additions are continually being made to the collection.
Rendall Building by Bryan & Norman Westwood, Piet & Partners 1964-6
Named after Gerald Henry Rendall who was an English educator and college administrator.
He was principal of University College Liverpool.
We have been here before at liverpool-university, exploring the space betwixt and between the two cathedrals.
On this occasion, I wish to draw attention to this relatively small but perfectly formed building – #432 on your maps.
Westwood, Piet & Partners were well-known architects during the post-war period in Britain and built a body of varied work including army barracks, retail and theatre design. An example of their work is the Congress Theatre in Eastbourne – Grade II* listed.
Originally built to accommodate the arts library and lecture rooms on the south campus as the University grew to accommodate larger numbers of students.
The current use as lecture and seminar rooms maintains the building’s use as a key learning space on campus.
Located in an area of the southern campus where Westwood, Piet & Partners designed four blocks resulting in a group which Pevsner described as the
Most coherent and satisfying part of the precinct. The massing and materiality of the external is complementary and respectful to the surrounding Georgian buildings.
Between the concrete is ‘dalle de verre’ stained glass by Gillian Rees-Thomas.
she was also responsible for the side chapel windows at St Mark’s Broomhill Sheffield.
The courtyard contains a sculpture by Mitzi Solomon Cunliffe – The Quickening previously located behind the School of Architecture.
Somebody at the University of Liverpool saw Mitzi’s work at the Festival of Britain and took note. She was immediately commissioned to create three items for the University: a public sculpture to go in the courtyard of the School of Civic Design’s new building, a decorative sculpture for the inside the building and the handles for its front-door.
The public sculpture, is in the form of a hand gently holding a dove. It stood in its original position for sixty-nine years until sent away for conservation and then relocated across campus in 2020, to outside the Rendall Building.
The other sculpture that Mitzi created for the building is easily the spikiest thing in our art collection. ‘Loosestrife’ is a number of tentacle-like arms that intertwine and project outwards. For many it looks like an assemblage of golden deer antlers but it may be based on spires of the flower called loosestrife.
‘Loosestrife’ had been recorded on its arrival as being made of bronze and had turned completely black over the years, probably because it was hung in an area where students smoked back in the day. When it was removed from the School of Civic Design building in 2018 and sent for cleaning, it was revealed to actually be made of brass. It is very heavy and takes four technicians with lifting gear to hang it for display.
Lead architect Ivan Dale Owen of Sir Percy Thomas & Partners also responsible for the site’s 1960 masterplanning.
He then spent over a year working for Walter Gropius’s practice, The Architects Collaborative, in Cambridge, Massachusetts.He returned to Britain, where he became a senior architect/planner with William Holford & Partners in London, where he worked on plans for the reconstruction of London after the war.
He returned to Wales with health problems and in 1958 was hired by Percy Thomas & Son as an associate in their Cardiff office. By 1964, Percy Thomas & Son had become Sir Percy Thomas & Partners and Owen had become a partner. He changed the philosophy of the practice, transforming it with a contemporary modernist style.
Rio Architects worked with Cardiff University designing visually attractive, innovative and cost-effective buildings. The Rio team are enthusiastic and dedicated, taking time to meet the client Departments at all stages of the project to ensure that an informed and good working relationship is developed and maintained the innovative design of the new podium development for the School of Bioscience incorporates hexagonal shaped glass panels was developed in conjunction with Solaglas.
Ian Lomer
Director of Estates Development, Cardiff University
Arts and Social Studies Library designed by Faulkner-Brown Hendy Watkinson Stonor 1976
RIBA pix Josephine Reid
Music Department 1971 Alex Gordon Partnership.
RIBA pix Stanley Travers
Three Obliques – Walk Inis a 1968 sculpture by Barbara Hepworth. Three casts exist; two are in private collections and a third is displayed outside the Cardiff University School of Music.
Exploring the University of York campus the first point of interest which we encountered was the Water Tower.
Siward’s Howe, sometimes written Siwards How and also known as Heslington Hill or Bunny Hill is a terminal moraine located to the south-east of the city of York.
The howe is situated north west of the Morrell Library building of the University of York. The southern side of the howe is part of Alcuin College of the University of York.
Its imposing water tower is visible from many parts of the nearby suburbs of Tang Hall and Osbaldwick.
Siward’s Howe is named for Siward, Earl of Northumbria, the 11th century Danish warrior.
Siward died at York during 1055 and is rumoured to have been buried beneath the tumuli at the wooded summit.
Built in 1955 the water tower contained one million gallons of water – the largest in England at the time.
It’s still operational, and provides water to Dunnington and Elvington.
The shape of the tank and supporting structure on plan takes the form of a large central square portion, each corner of which is eclipsed by an octagonal tower seven faces of which are revealed.
The central tank is fifteen feet deep and is eighty three feet and six inches square.
The Tower comprised of an inverted twenty one metre diameter conical tank which was made up of thirty two pre cast concrete petals each weighing eight and a half tonnes. The Overall Height of the Tower was approximately twenty eight metres, the central core stem being two point three metres diameter .
Photo Steve Collins 2011
Photo RIBA pix
The landmark, built in 1965 to hold fifty thousand gallons of water for the chemistry department, is crumbling away due to carbonation and has been covered in a protective net to stop pieces hitting passers-by.
Bill Burns, building maintenance surveyor for the university, said many concrete structures of the 1960s and 1970s were suffering the same fate as the speed of building often meant salt got into the aggregate used in the concrete mix.
There was a degree of uncertainty surrounding the demolition of the pre-cast structure of the Tower as it had been subject to deterioration since erection. At Tender stage, the thirty two petals forming the bowl of the water tank were described as each individually being restrained by wire ropes to the central core. Upon opening up the works, it was found that the stated thirty two restraining Ropes had only been used during the construction of the bowl and had been removed, therefore the petals of the tank were gaining support from the ring beams.
Having previously posted a history of the University of York’s Modernist architecture – here’s further information regarding Fred Millett’s concrete reliefs.
Fred Millett 1920–1980 was an English muralist, poster artist, and teacher at the Polytechnic of Central London. A number of his surviving works were commissioned by large British institutions including London Transport, London County Council and National Westminster Bank. The University of York commissioned Millett to create over 20 concrete relief panels that were to be integrated within the modular architecture of the Derwent and Langwith Colleges.
Millett’s panels created a cohesive group of works while also being distinctly different from one another due to the use of a variety of textures, geometric shapes and negative space. Larger, more detailed works follow the main covered walkways through Derwent College leading to Heslington Hall.
Smaller, less detailed works were placed near accommodation blocks and laundry rooms which suggest that they were intended for the individual enjoyment of the students who live within the College rather than a university-wide viewing experience.
In a 1973 interview, Sir Andrew Derbyshire, who was the first project architect for the university, lamented that the project could not afford better finishes for the CLASP panels – such as adding white marble aggregate – but he did appreciate their appearance in bright sunlight or when they “glisten[ed] in the pouring rain.” Asked about the integration of the Millett sculptures to enliven the panels, he stated: “Yes. Well, that was an attempt. I would have liked it to have gone a bit further than that.”
This was my first visit to the campus, and having discovered the first of the reliefs, I cantered around from block to block, like a giddy one penny child in a seaside arcade – wondering where to look next.
Though plans for a university in York first appeared as early as 1617, it would be over three centuries before they came to fruition. In 1960, permission was finally granted for the University of York to be built, marking the beginning of our journey.
Before the Second World War, Heslington was a quiet rural retreat with a local aristocracy, and a working agricultural village.
Fresh, young, forward-looking and enthusiastic, the University of York was known for its friendly atmosphere before it even opened its doors.
Planning and building the University happened with astonishing speed. In April 1960 the Government approved the establishment and less than three years, on 9 October 1963, the first students walked through the gates of Heslington Hall.
In the 1970s, college social life began to blossom.
Central Hall was the venue for The Who, The Kinks, Fairport Convention, John Martyn, Ian Dury and the Blockheads, Hot Chocolate, Humphrey Littleton, Acker Bilk, Paul Tortelier, Julian Bream, John Williams and others.
Paul and Linda McCartney appeared one day out of the blue with their new band Wings and performed a concert in Goodricke College Dining Room.
The beginning of the 1980s came with significant challenges for the University.
The decade saw the start of cuts across higher education. Staff were exhorted to make economies including turning down their thermostats, recycling, and making telephone calls as short as possible. There was also a fire in the Department of Chemistry.
In 1990, the Vice-Chancellor, Berrick Saul, recounted to court that York had been described by a senior member of the Universities Funding Council as “a well-run university with a relatively low profile.”
What a difference a decade makes.
By the end of the 1990s, York was dominating national league tables for research and teaching and was receiving international press coverage for achievement across the disciplines.
University Chancellor Dame Janet Baker at the opening of the University’s Baby Unit, October 1994 – York Digital Library
The 90s was characterised by advancement and recognition. York remained a popular choice among prospective students growing from 4,300 to 8,500 students without compromising its high entry standards. As the Sunday Times pointed out, “elitism does not appear to be the price of excellence at York”. York was one of only very few universities whose entry from state schools and colleges (around 80 per cent) was the same as the proportion of A-level students in the state system.
The introduction of official quality assessments and the proliferation of newspaper league tables saw the University’s stock rocket. After years of academic advancement, York began to get the recognition it deserved. National recognition attracted additional funding and investment. Research grants rose to over £20m per annum, and the University enjoyed one of the highest incomes per researcher in the higher education sector.
The Sir Jack Lyons Music Research Centre is opened by Roger Wright, controller of BBC Radio 3, 2004
The planning for Heslington East began in earnest in 2002 with the arrival of Brian Cantor as Vice-Chancellor. It took years of master-planning, liaison with interest groups, negotiations with land-owners and local communities, an 8-hour city planning meeting and a Public Inquiry to achieve the purchase of land and complex planning permissions for a site equal to the size of the original Heslington West campus. In 2009, the new Goodricke College opened as the first building on Heslington East.
At the time of the 40th anniversary in 2003, we wrote about Heslington East:
It will be everything that the designers of the original campus hoped for – integrated, landscaped and traffic-free, with a large expanse of water, and a very eager populace.
On 25th November 2010, we were named “University of the Year” at the Times Higher Education Awards, achieving praise from the judges for our “success in combining academic excellence with social inclusion, as well as its record in scientific discovery”.
The development of Campus East continued throughout the decade, with four new sites to accommodate academic departments and a variety of support and social buildings, including the Ron Cooke Hub and York Sports Village.
Campus West also saw much expansion and redevelopment during the 2010s, with the opening of the £13.8m Spring Lane Learning and Teaching Building and £16m Biology teaching and laboratory facility in 2016.
The University of York was founded in 1963 and work on its campus facilities in the grounds of Heslington Hall was begun in 1964. The first two colleges, Langwith and Derwent, accepted residential students for the autumn term of 1965. The original buildings were designed by Sir Andrew Derbyshire of Robert Matthew Johnson-Marshall & Partners, and assembled using the CLASP system of prefabricated construction.
RIBA
Founded in 1956 by architects Robert Matthew and Stirrat Johnson-Marshall, RMJM’s first offices were based in London and Edinburgh.
RMJM is now one of the largest architecture and design networks in the world. Services include architecture, development management, engineering, interior design, landscape design, lead consultancy, master planning, product design, specialist advisory services, and urban design
Langwith College 1965 – photo Reginald Hugo de Burgh Galwey
Constructed using the Consortium of Local Authorities Special Programme – CLASP system, formed in 1957 by Local Authorities in England to develop a shared prefabricated system for the construction of school buildings. The resulting CLASP building system was initially developed by Charles Herbert Aslin, the county architect for Hertfordshire.
CLASP’s popularity in coal mining areas was in part because the system permitted fairly straightforward replacement of subsidence-damaged sections of building, and the lightness of the structures. The system was also later used for the construction of railway stations, offices, university buildings, and churches until the late 1970s.
Today, 3000 examples are still in use.
Photo – Keith Gibson 1965
The system utilised prefabricated light gauge steel frames which could be built economically up to a maximum of four storeys. The frames were finished in a variety of claddings and their modular nature could be employed to produce architecturally satisfying buildings. Initially developed solely for schools, the system was also used to provide offices and housing.
The cynics’ definition of the CLASP acronym, circulating in the 1970s, was:
collection of loosely assembled steel parts.
CLASP buildings fell out of favour in the late 1970s. Budgetary advances and changing architectural tastes made the scheme obsolete.
Walkway Derwent College with concrete relief by Fred Millett 1965
Photos 1965 Bill Toomey
Fred Millett 1920–1980 was a muralist and poster artist who exhibited at the Festival of Britain and was commissioned by London Transport, National Westminster Bank, University of York and the General Post Office. He also taught Perception and Communication at the Polytechnic of Central London.
Fred Millett – Sculpted Wall Raglan Estate Camden 1965
Originally part of the children’s playground, the work is a feature of a post war estate designed by Frank Scarlett in Kentish Town
JB Morrell Library seen from the south side of Heslington Road with linking pedestrian bridge and ramp in foreground and cast aluminium sculpture by Austin Wright.
Austin Wright 1911-1997 is a significant post-war sculptor whose personal and professional lives were deeply intertwined with the city of York.
He was born on 4th June 1911 in Chester but spent his childhood in Cardiff. Though a largely self-taught artist, Austin took evening classes at Cardiff Art School. Austin attended New College, University of Oxford for his degree in Modern Languages before he started his teacher training. His first job as a teacher started in 1934 at The Downs, Malvern in Worcestershire. The school attracted artistic people. W.H. Auden taught English for example, and the art master organised a Dada exhibition one year. Here, Austin taught painting and sculpture as well as French and German.
Covered pedestrian bridge linking the southern side of the campus to the JB Morrell Library on the north side.
Central Hall
Colloquially known as The Spaceship designed by John Speight, constructed in 1966–1968. The hall is seen as a tour de force of the university, appearing on merchandise and often used as a background for university publicity.
Central lecture and recreation hall to the University of York, 1966-1968 by Robert Matthew, Johnson-Marshall & Partners with Stirrat Johnson-Marshall and Andrew Derbyshire as partners in charge, and John Speight as job architect.
* it forms part of a wave of seven new universities that improved access to higher education and marked the high point of publicly-funded architecture in post-war Britain;
* it is a physical manifestation of the University of York Development Plan, which was heralded as the beginning of contemporary university planning in Britain;
* it continues a historic tradition established by late-C19/early-C20 ‘red brick’ universities of featuring a great hall for special events.
* it has an imaginative and bold design with a striking architectural form and massing that is the focus of the most dramatic views across the campus lake;
These are the streets in the sky passing between the Central Motorway, Saville Place and Oxford Street.
Streets constrained by infrastructure, a University and doomed leisure provision.
Welcome to Newbridge Hotel Newcastle upon Tyne – a charming oasis located in the heart of the vibrant city, just a short stroll from the renowned Theatre Royal and beautiful St James’ Park. Whether you’re visiting for business or leisure, the location ensures that you have easy access to the best of Newcastle, including fantastic shopping at Eldon Square and local attractions like the Metro Radio Arena.
Discover the essence of Newcastle from Newbridge Hotel, where every stay becomes a unique experience tailored to your needs.
Two sets of protestors gathered outside the New Bridge Hotel in Newcastle, as “Newcastle Welcomes Refugees” stood up to “Send Them Back” protesters who want an end to migrants being housed in the hotel.
This is an inland island of anonymity, home to pigeons, shake can shakers and the terminally curious.
It always rains on Saturdays.
Happily, the sun always shines on Sunday.
Hidden within and upon the walls of the walkways are these two cast concrete panels – the work of guerrilla artist Euan Lynn.
North east property group Gainford has unveiled its revised plan for a £170m residential and hotel project to transform Newcastle’s skyline.
It plans to redevelop a former Premier Inn site on New Bridge Street, with a 29-storey tower of 185 flats, alongside a separate 150-bedroom hotel, and bars, restaurants, and leisure space.
The Roscoe Building is to the University of Manchester what the Renold Building was to UMIST; its purpose was the unification of disparate lecture rooms into one building. In this instance it was a central hub for the Faculty of Science. Both buildings are by Cruickshank and Seward and share traits, though the Renold has arguably more flare. In the Roscoe Building the ground floor houses the smaller of the two main lecture theatres, the larger is an appendage to the main building, but both are accessed from the main foyer. As one ascends, the five upper floors are served by a central corridor flanked by smaller offices and laboratories on one side and larger flexible teaching and seminar rooms to the other. The glazed stairwell is expressed as a separate element.
The appraisal of the scheme in the AJ Building Study made claim that, ‘aesthetically the relationship of this staircase with the main tower is scarcely resolved, but the design has achieved the aim of making this an exciting staircase to use’.
This was the aim of the architect – if all the seminar rooms and lecture theatres emptied at the same time, there was not enough capacity in the two lifts to move everyone. The climb up the stairs is rewarded with a good view of the city centre, a photograph of which was illustrated in the same pages. The clear expression of the component parts of this building is a functional response to the demands, but also the part of the formal language developed through Cruickshank & Seward’s practice. Strong volumetric forms became something of a motif in the work of both John Seward and Arthur Gibbon.
The open entrance area has subsequently been compromised.
Photo: Richard Brook
Performance Electrical Limited was employed to carry out the full electrical refurbishment to the new reception at the University of Manchester’s Roscoe Building on behalf of Armitage Construction.
In common with the Renold Building the Roscoe has an elegant glazed staircase.
Along with the Renold Building– which is already home to start up tech businesses.
The city council has approved Bruntwood SciTech’s change of use bid to transform the 110,000 sq ft Renold building into a tech and science hub.
In a joint venture with the University of Manchester, Bruntwood will create 42,000 sq ft coworking and business incubator spaces for businesses in the sector at the Altrincham Street building.
Sister is Manchester’s new innovation district. A £1.7bn investment into the city, its setting – the former University of Manchester North Campus and UMIST site – is steeped in science and engineering history. Home to the UK’s most exciting new ideas and disruptive technologies, Sister is a worldclass innovation platform in the heart of one of the most exciting global cities. It stands as the city’s symbol of a new era of discovery that promises progress against humanity’s greatest challenges.
So it is with a bitter sweet feeling that I took a group of Modernist Moochers around the site this Saturday – a number of whom had been students there.
As a former UMIST student 1990-1997, I had a wander round the old site recently, sad to see it so empty and run-down.
So let’s take a look at the current state of affairs.
The University of Leeds has a long established collection of public art, this has now been formalised into an Art Trail around the campus. Each of the pieces on this largely accessible display, has a QR code with a supporting audio tour, along with an information panel.
Printed guides are also available from the Stanley & Audrey Burton Gallery, or online here.
Burton’s – The Tailor of Taste, have long been benefactors of the collection – here’s a little of the company’s history.
Sir Michael Sadler, University Vice Chancellor 1911-1923, was instrumental in developing an interest in Modernist art, through his own collection.
Sadler felt that a student’s education was greatly enhanced by a cultured and harmonious environment. He set about creating such an environment through the public display of pictures from his collection.
Take some time to wander around and consider the works in context, set against two centuries of architectural style and fashion, along with generous open and green spaces.
You can devise your own route around the trail, this is mine.
#4 Christ Driving The Moneylenders From the Temple – Eric Gill
The trustees operate within these two positions: we absolutely condemn Eric Gill’s abuse of his daughters with no attempt to hide, excuse, normalise or minimise, yet we also have a duty to protect, display and interpret the art work we hold in our collections.
We arrive at and begin our journey at the Interchange – the bus station is closed, along with the station entrance.
Bradford accepts that it is a part of the Northern Supercity stretching from Coast to Coast – Liverpool to Hull. Every existing town and new settlement must be unique. People belong to their own hotspot as well as Coast to Coast. Bradford as a dispersed centre will give it individuality as well as becoming synonymous with the whole new city. Bradford is a mini version of the whole. It is composed of a series of mini hotspots which will each act as a focus for each square kilometre.
Bradford has the topography to allow every citizen to wake up to a view – both physical and mental. Their collective ambition can create a place of extraordinary difference.
The Interchange opened in 1971 was the first of its kind in the country, designed by the BR regional team headed by RL Moorcroft and the City Architect.
Onward to the Magistrates’ Courts designed by City Architect Clifford Brown in 1972.
Bradford is in the process of paving and puzzling pedestrians, as it becomes City of Culture in 2025.
So we wind our way over the inner ring road, advisedly avoiding the filled in underpasses.
The former Central Library awaits us, designed in 1965 by Clifford Brown – a striking podium and tower, currently home to council offices.
Next door the Sir Henry Mitchell House home to the Children’s Services.
Sir Henry Mitchell 1824 1898 was a mill owner and Mayor.
Moving further along the Telephone Exchange of 1936, design by architect FA Key.
Partner to the Telephone Exchange of 1976 by architect Trevor H Hanson for PSA
The gates were open and we were afforded a view of these delightful vents.
Next to the Ice Arena topped off with Wardley House – Sanctuary accommodation for key workers and students.
Wardley House is equipped with all the modern amenities you need for a comfortable and connected life as a key worker. The rent includes high-speed broadband and building-wide Wi-Fi, utility bills, and contents insurance. Our top-notch facilities comprise a large common room with a pool table, flat-screen TV, and live BT Sport – the perfect social space.
Up the hill and around the bend totheUniversity of Bradford – the main Richmond Building fronted by Joe Mayo’s tiles.
At the University of Bradford our focus is oncreating the conditions for social, cultural and economic impact. We will achieve this by using our proud heritage as a springboard and remaining steadfast in our commitment to equality, diversity and inclusion. We will harness our strengths in research, innovation, teaching and partnerships to extend our reputation, influence and impact. All of this will create a values-led culture that is inclusive and effective in enriching lives and benefitting society.
The undercroft has undergone a major refurb rethink – transformed into a Goth Disco.
We emerge unscathed into the clear light of day and the BDP designed Chesham and Horton blocks.
The mosaic covered columns remain unclad.
Let’s hop to the Grade II-listedCo-op designed by CWS in house architect WA Johnson and JW Cropper in 1935.
Architect W A Johnson worked for the Cooperative Wholesale Society from 1899 until 1950. He was heavily influenced by the German architect Erich Mendelsohn after 1930, evident in his embrace of the International Modernist style. Johnson travelled widely in Germany and Holland, and Mendelsohn’s Schocken store in Stuttgart 1928 is quoted as being a particular inspiration for the Bradford Co-op.
Demolished despite protests in 1960.
In 2019 the Architectural Heritage Fund announced a £5,000 Project Viability Grant to Freedom Studios Ltd.
The money funded a viability study to investigate the potential of building becoming a multi-use cultural hub.
In 1979, the building won a European award from the International Council of Shopping Centres.
But the Historic England report described its design as mundane and repetitive.
Janice Ivory and Lisa Donison didn’t hold back in their criticism of the centre in its current state.
Thank God for that, was Janice’s reaction to the news the building was set to be bulldozed, although an exact date for its closure remains unknown.
It’s just a concrete monstrosity, she said of its design, which Historic England said was lacking architectural flair.
It’s just an ugly building, added Lisa.
Once dubbed Bradford’s space age retail destination, Kirkgate Shopping Centre will soon be no more.
The city centre landmark, which opened for business as an Arndale in 1976, has been denied listed status by Historic England – paving the way for its demolition.
Geoffrey Cowley from Wibsey, who was in town for an eye appointment, said demolishing it:
Might be the right thing to do.
There are plans to remove and display the William Mitchell panels along with these other examples of his work.
In-situ at Highpoint.
In storage – removed from the Bradford And Bingley Building Society.
Artist Bernd Trasberger plans an artistic project, which involves repurposing Fritz Steller’s tile works.
As Ken Kesey so rightly said – Further!
Up to Highpoint designed by John Brunton and Partners 1973.
The derelict former headquarters of Yorkshire Building Society, on one of the highest parts of the city centre, looms over the city centre, and to many people is the city’s ugliest building.
High Point is the perfect site for the first Radii development. Now perceived as an exemplar of the Brutalist style, this eight-storey titan, has languished derelict and in disrepair for many years in the heart of Bradford City Centre.
Our regeneration of High Point into an innovative residential apartment complex with a community at its heart, embraces ideas of sustainability, preservation, and rejuvenation that will bring a new lease of life to this abandoned landmark.
Sharp, chic and spacious apartments available. Furnished to the highest standards throughout and with the flex to provide you with office space if required – this is modern city living that’s easy on your eye and your pocket.
And finally the cafe that is not a cafe – Fountains, where the griddle no longer grills, the lights are always out and the shutters tightly shut, ain’t nobody home.
Wishing nothing but well for this West Riding gem – Bradford City of Culture and cultures and culture.
The A34 is a major route from the ports on the South Coast of England to the Midlands and the North West, with the standard varying from rural dual carriageway sections in the south to urban single carriageway in the north, and everything else in between.
Slade Lane junction, Rushford Park to Parr’s Wood, East Didsbury – to connect to Manchester Road to Cheadle. It continued on to Laneside Road as a residential road. Opened on 11 April 1923 by Mary Cundiff, Lady Mayoress, and Margaret Turnbull, daughter of Alderman Turnbull, Chairman of Manchester Town Planning Committee. Width was 100 feet and it was designed for tram tracks in the central reservation. The dual road carriageways were 20 feet wide. Manchester’s tram system was closed in 1949. The carriageways were widened and central reservation grassed over. Originally opened as A5079.
Laneside Road, East Didsbury to Schools Hill/ Wilmslow Road junction, Cheadle. Opened on 12 October 1959. The official opening was on 15 October 1959. Planning for the bypass had been halted by the war. In December 1949 Manchester Corporation stated that it was not a priority since the Corporation was only responsible for the 200 yards to the proposed bridge over the River Mersey and Cheshire County Council had not asked for a joint approach to Ministry of Transport to build it. Work was finally authorised in January 1957 and started in the June. Width was 90 feet with dual 24 foot carriageways. Expected cost was £600,000 to £700,000.
Plans are in place for redevelopment of the site and the demolition of the tower block and adjacent housing.
The scheme, designed by Sheppard Robson, would see 3,300 new bedspaces brought forward, taking the total number of units at the complex to 5,400, a net increase of 950. This is an increase of around 1,000 new units compared to the previous iteration of the project, approved in 2015.
Modern Mooch 