Return To Palmerston Street – Beswick

Having traced a lengthy history of the shortish Palmerston Street – I returned to take a snapshot of the current state of affairs.

So much has gone an Art Museum, Lads Club, churches, homes, schools, industry and pubs – much of this now indistinct scrubland, fenced and walled, neither use nor ornament, save as an unofficial wildlife garden for feather, fowl and flower.

There  are small groups of more recent housing developments with the promise of more on the way, though this as ever is contentious – the story of conflicted interests betwixt and between developer, local authority and the would be affordable homes and their occupants.

The council says – Manchester’s Affordable Housing Programme will ensure more than 2,200 homes by March 2021 through a £250m programme funded through a variety of sources including Homes England grant funding, Council borrowing and land or property sales and Registered Providers. The Council is also backing the programme through the release of suitable council-owned land.

Which seems barely adequate to meet the needs of those on lower incomes.

The Guardian says – Of the 61 big residential developments granted planning permission by Manchester city council’s planning committee in 2016 and 2017, not one of the 14,667 planned flats or houses met the government’s definition of affordable, being neither for social rent nor offered at 80% of the market rate.

Manchester has changed, constantly changed – often overlooking the needs of its citizens to the north and east of the city. The areas crippled by recession, deindustrialisation and demolition have yet to see the benefits of the city’s recent regeneration.

What was once a community overflowing with rough and tumble, hustle and bustle, now seems to have become a contested area for match day parking and non-existent urban renewal.

Let’s take a look down Palmerston Street.

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Palmerston Street – Beswick Manchester

To begin at the beginning – some years ago I traced the route of the River Medlock, I chanced upon a forlorn pub called The River, all alone, desolate and boarded up, presiding over an area that I assumed, would once have supplied ample trade to a busy boozer.

I returned last week in search of some rhyme or reason, for such a seemingly sad and untimely decline.

So here we are back at in Manchester 1813, the seeds of the Industrial Revolution sewn in adjacent Ancoats, the fields of Beswick still sewn with seeds, the trace of Palmerston Street nought but a rural track.

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Sited on land between Great Ancoats Street and Every Street was Ancoats Hall, a post-medieval country house built in 1609 by Oswald Mosley, a member of the family who were Lords of the Manor of Manchester. The old timber-framed hall, built in the early 17th century, and demolished in the 1820s was replaced replaced by a brick building in the early neo-Gothic style.

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This would become the Manchester Art Museum, and here the worst excesses Victorian Capitalism were moderated by philanthropy and social reform.

When the Art Museum opened, its rooms, variously dedicated to painting, sculpture, architecture and domestic arts, together attempted to provide a chronological narrative of art, with detailed notes, labels and accompanying pamphlets and, not infrequently, personal guidance, all underlining a sense of historical development.

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Housing and industry in the area begins to expand, railways, tramways, homes and roads are clearly defined around the winds of the river.

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In 1918 the museum was taken over by the city, it closed in 1953 and its contents were absorbed into the collection of Manchester City Art Gallery, as the State increasingly took responsibility for the cultural well being of the common folk.

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The building was finally demolished in the 1960’s – just as the area, by now a dense warren of back to back terraces, was to see further change.

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Along the way was the the River Inn, seen here with a fine Groves and Whitnall’s faience tiled frontage.

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The street also offered rest, relaxation and refreshment through the Church, Pineapple and Palmerston pubs, as recored here on the Pubs of Manchester blog.

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The River seen here in the 1970’s struggled on until 2007.

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Further along we find the Ardwick Lads Club, further evidence of the forces of social reform, that sadly failed to survive the forces of the free market and the consequent Tory cuts in public spending and wilful Council land-banking.

The Ardwick Lads’ and Mens’ Club, now the Ardwick Youth Centre, opened in 1897 and is believed to be Britain’s oldest purpose-built youth club still in use [and was until earlier in 2012]. Designed by architects W & G Higginbottom, the club, when opened, featured a large gymnasium with viewing gallery – where the 1933 All England Amateur Gymnastics Championships were held – three fives courts, a billiard room and two skittle alleys (later converted to shooting galleries). Boxing, cycling, cricket, swimming and badminton were also organised. At its peak between the two world wars, Ardwick was the Manchester area’s largest club, with 2,000 members.

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On the 10th September 2012 an application for prior notification of proposed demolition was submitted on behalf of Manchester City Council to Manchester Planning, for the demolition of Ardwick Lads’ Club  of 100 Palmerston Street , citing that there was “no use” for the building in respect to its historic place within the community as providing a refuge and sporting provision to the young of Ancoats.

At the top turn of the street stood St Mary’s – the so called Lowry church.

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Used as a location for the film adaptation of Stan Barstow’s A Kind Of Loving

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The homes and industry attendant schools and pubs were soon to become history, all that you see here is more or less gone. Slum clearance, the post-war will to move communities away from the dense factory smoke, poor housing stock and towards a bright shiny future elsewhere.

Whole histories have subsequently been subsumed beneath the encroachment of buddleia, bramble, birch and willow.

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The land now stands largely unused and overgrown, awaiting who knows what, but that’s another tale for another day.

Archive images from the Manchester Local Image Collection.

 

 

 

 

 

Mitzi Cunliffe – Owen’s Park Manchester

Mitzi Solomon Cunliffe January 1st 1918  December 30th 2006

American born, resident of Didsbury Manchester, sculptor and designer, responsible for, amongst other things, the BAFTA mask.

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Her first large scale commission was two pieces for the Festival of Britain in 1951. One, known as Root Bodied Forth, shows figures emerging from a tree, and was displayed at the entrance of the Festival. The second, a pair of bronze handles in the form of hands, adorned the Regatta Restaurant. She created a similar piece, in the form of knots, in 1952 which remains at the School of Civic Design at Liverpool University, along with The Quickening in the rear courtyard.

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Cunliffe developed a technique for mass-producing abstract designs in relief in concrete, as architectural decoration, which she described as sculpture by the yard. She used the technique to decorate buildings throughout the UK, but particularly in and around Manchester.

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Particularly this example of four modular panels named Cosmos, set in the wall of the student halls of residence in Owens Park, Fallowfield, Manchester.

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Linda’s Pantry – Manchester

Turn off London Road and into Ducie Street, it’s just around the corner from Piccadilly Station.

Enter a world of warehouses, homes and industry.

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Return some fifty years later and you’ll find a café on the corner.

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Return last Saturday you’ll find that it’s gone.

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No more of this.

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Top class scran at prices to suit all pockets.

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Linda and her crew have packed up the pans and scrammed.

Read all about it – Manchester Evening News

The face of the city changes, as one by one faces and places disappear, new build and mass tourism making ever new demands on space.

The rag trade is in tatters and the tatters are long gone.

It would seem that there is no place for the traditional café or its customers.

So thank you and goodnight, the last pie, chips and gravy has left the counter.

Shut the door and turn out the lights.

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All Saints & Martyrs – Langley

 

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All Saints & Martyrs Rectory, Wood St, Middleton, Manchester M24 5GL

We had the pleasure to visit All Saints & Martyrs on Saturday 7th July 2018 as part of an Art and Christianity – Manchester Modernists Society bus tour.

We could not have been made more welcome by The Reverend Canon Philip Miller – Vicar of Langley and his team, many thanks for their warm hospitality.

Set on the Langley Estate, one of many developed by Manchester Council as overspill social housing, the church serves a large community to the north of the city.

The architect was Albert Walker of Leach Rhodes Walker – this was the first church that they had built, having previously specialised in shopping precincts.

Leach, Rhodes and Walker had involved Geoffrey Clarke RA with their earlier new church building for All Saints, Barton Road, Stretford. (1957) here his contribution was chiefly a large stained glass window depicting the Trinity. LRW continued to collaborate with Clarke in their church projects, in the years following at Langley. In a letter to the church at the time he wrote: “Start saving now for a new West End Window – only £10 p.s.f – for the greatest window in the North…. I have just done some windows I’m rather pleased with..”

The church is an imposing angular structure, its height possibly determined by the treasure within – The Langley Cross.

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Consecrated in 1964, All Saints and Martyrs is home to the Langley Cross. This unique structure, which adorns our east wall, is the work of internationally renowned artist, Geoffrey Clarke RA, who has won reputation by his contributions to Coventry Cathedral.

The sculpture itself is 37 feet high and about 20 feet wide at the extremities of the transverse shaft and made of cast aluminium metal.

This is work of national and international significance.

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The church is lit from the west by a large yellow and white window, formed of French stained glass. Though seriously damaged over time, it has subsequently been repaired and forms an imposing counterpoint to the facing cross.

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To the right of the main entrance is a delightful chapel, illuminated by a large stained glass window.

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And in addition a charming period light fitting.

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To the right of the altar and cross are pierced stained glass windows.

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And to the left the sculptural organ pipes and further pierced stained glass.

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The church has retained much of its original furnishings.

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The roof is formed of intersecting concrete beams and coloured blocks.

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The adjoining ground floor space was once used for an overflowing congregation, it has retrospectively been partitioned and serves as a social meeting area.

It was here that we were so generously treated to tea and cakes.

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And given the opportunity to view examples from the church’s extensive archive.

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The building is not without its problems – the ingress of water and the cost of maintaining the structure require outside assistance, through grant aiding, fund raising and donation. We should all make every effort to ensure that All Saints and Martyrs survives intact for generations to come.

Here is a building of great distinction, housing public art of the highest quality, built at a time when the ethos of nothing but the best for all was commonplace.

I can only thank Phil once again for his warm welcome and wish he and his parishioners – nothing but the best for the future!

If you have the opportunity, go and take a look for yourself.

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Underpass – Scarborough

I’ve been here before.

In and out of the underpass from shore to mighty sea.

I’ve come back again, fascinated by the barely illuminated utilitarian infrastructure that seems so rarely used, alone in world of my own.

Take a closer walk and look with me.

The light at the end the tunnel is another tunnel.

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William Temple Church – Wythenshawe

The Anglican Church of William Temple was opened in 1965 on the corner of Robinswood Road and Simonsway as the church of the Civic Centre. The mission was already well-established, having begun many years previously in Shadow Moss School Room, latterly operating in a dual-purpose building on Simonsway. The architect, George Pace, agreed with the proviso that he should not design a ‘pseudo’ building, but that it should be modern in concept. This he did and particular attention was paid to the acoustics with a view to music and drama being performed there. One of Pace’s stipulations was that, as with all the churches he designed, there must be no plaques attached to the walls commemorating the dedication of the church or in memory of anyone, for he said he built his churches to the Glory of God. The only lettered stone is on the back wall of the church and it has on it the date of the consecration and a symbol, which is Pace’s original sign for William Temple Church.

The internal supports of the church are black-painted steel girders, not romantically symbolising the industry of the area, as it is sometimes said, but because when it was discovered that the church had been built on swampy ground an extra £2,000 was needed for foundations; the wooden beams of the original design had to be changed for cheaper steel ones. There is symbolism, however, in the placing of the font between and beneath the three main weight-bearing supports of the church.

The pews have an interesting history, having been brought from derelict churches in and around Manchester. The present lady churchwarden said:

“whenever we heard of a church being demolished we borrowed Mr. Owen’s coal cart and went off to see if we could buy any of the pews. Many times I’ve sat on the back of the wagon, in the pouring rain, with the pews, bringing them back to Wythenshawe to be stored until our church building was completed!”

Some time after the building was opened a fire damaged some of the pews. With the insurance money all the pews were stripped and bleached, giving an element of uniformity and a bright welcoming atmosphere in the church generally. An interesting thought was voiced that as many people living in Wythenshawe now had their origins near to the centre of Manchester they may be sitting in the same pews in which their ancestors once sat.

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