The Avenue Church is no less monumental – a steel, brick and glass octagon with attached single storey hall – set in a shimmering sea of grass and tarmacadam.
The interior is open and light illuminated on four sides by large plain glass windows, broken up by a vertically unchallenged grid.
Artificial lighting is provided by suspended groups of lamps.
The seating a mix of plain wooden pews and portable chairs.
The altar a simple statement of panels and cross.
Treat yourself to a walk down the Avenue – take a look around.
Commercial building with ground-floor retail units and offices to the upper floors, c1883, by W H Crossland with sculptural work by C E Fucigna. Sandstone ashlar, slate roof, substantial ashlar ridge stacks. C19 Queen Anne style with French influences and classical Greek sculpture. One of the ground-floor shop units was remodelled in 1935 by Sharp and Law of Bradford with Moderne shopfronts and interior fittings.
The cultural and visual collision is immediate – the pairing of Huddersfield’s grand Victorian manner with the latest of European Moderne.
Neaverson’s – purveyors of pottery and glass began life in 1893 in premises on Cross Church Street, before moving to the Grade I-listed Byram Street building in 1935.
Set to the ground floor of bay 4 is a 1935 Moderne shopfront by Sharp and Law of Bradford. The shopfront is of grey and pink/beige marble with unmoulded windows that are curved to eliminate reflection, and has a glazed door set within a recessed porch. Set below the top of the shopfront is a ribbon window with dark tinted glazing and slender vertical and horizontal muntin bars arranged in a geometric pattern. The original metal signage in stylised sans-serif relief lettering reads ‘NEAVERSONS’, ‘pottery’ and ‘four’.
Thought to echo Susie Cooper’s London shop and unswervingly now – the fascia must have been something of a shock to the taciturn Tykes.
There is not a day goes by when I don’t see some of my customers asking what went wrong. They think I was a failure and that is so not the truth.
Along came a restaurant:
The Grade II 1930’s interior has been refurbished by the new owners and exudes understated sophistication.
“Wow, I feel like I’m in London,” said Trish as she stepped into the newly-opened Neaversons restaurant, having just arrived on the train from the capital.
An alternate art trip devised by local art trippers Red Fodder.
We set forth from Huddersfield Station on Monday 13th January 2020 at the prearranged time of 14.00 hours. The weather was resolutely overcast and increasingly cold, with an ever present threat of rain.
Never to be knowingly deterred we made good progress around the town – we were hungry for art, the more contemporary the better.
Almost every avenue, alley and byway explored these are the snaps I snapped during our crazy Kirklees caper.
Along the way I added my own small contribution to the town’s contemporary art stock.
A veil was finally drawn over the afternoon’s cultural caprice with fine glasses of foaming ale in The Grove, where I finally came face to face with the Red Fodder folk for the very first time.
So here we are again at Piccadilly Station – stood standing at the western end of Platforms 13 and 14, waiting on a Southport train.
Time to spare and spend a few more magic moments with an old and trusted friend.
The back-filled concrete planter.
Seen here in a neglected and forlorn state, awaiting minor repairs to its upper sealed surface.
Once incarcerated and seemingly set for demolition, our diminutive concrete pal has lived to fight another day.
Standing alone in all elements, disabused by illicit smokers, grabbing a serruptitious chuff, whilst avoiding the ubiquitous Network Rail CCTV.
Sat upon by the indolent leg weary traveller, having missed yet another cancelled train.
Your days may yet be numbered, as the platforms are part of a Station upgrade – the platforms are not thought to be commodious by the majority of train users.
I for one shall campaign for your preservation and reinstatement – right at the heart of matters.
My personal, totemic modernist work of public art.
This time of year, with limited light and an inclement climate, it’s far easier to travel by picture postcard. Researching and searching eBay to bring you the finest four colour repro pictures of our retail realm.
We have of course been here before – via a previous post.
It is however important to keep abreast of current coming and goings, developments are ever so often overwritten by further developments.
Precincts my appear and disappear at will – so let’s take a look.
Stasis is the order of the day – the last stand for this forlorn stand of shops.
Once the realm of cobbles, railings, high rise arrivals and urban cowboys – an area overwhelmed by the weight of its past and the insubstantial promise of a sustainable future.
Where once productive and fulfilling lives were lived, buddleia now blooms, whilst thin grass entwines around forlorn fencing and betwixt ever widening cracks in the uneven paving.
Development in South Collyhurst will take the form of residential-led, family-focused neighbourhoods. We’ll be providing a variety of housing types and tenures to encourage diversity, along with a mix of social and community infrastructure that supports a family lifestyle in close proximity to the city centre.
There are two ideas of government. There are those who believe that if you just legislate to make the well-to-do prosperous, that their prosperity will leak through on those below. The Democratic idea has been that if you legislate to make the masses prosperous their prosperity will find its way up and through every class that rests upon it.
William Jennings Bryan 1896
Indeed, You have turned the city into a heap of rubble, a fortified town into ruins; the fortress of strangers is a city no more; it will never be rebuilt.
Isiah 25:2
And they that shall be of thee shall build the old waste places: thou shalt raise up the foundations of many generations; and thou shalt be called, the repairer of the breach, the restorer of paths to dwell in.
Isiah 58:12
The putative William Mitchell cast concrete block stares stolidly at its surroundings, overseeing a slow and painful decline.
All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.
There’s no business like no business – it’s no better out the back.
This is an unprecedented opportunity to deliver a significant residential-led development connecting the north to the centre of Manchester. Working with our partners we’re re-imagining the essential neighbourhoods of our city.
Set back from Beverley Road – we just about found this delightful Modernist gem. Tucked in amongst student accommodation and approximate to the Endsleigh College.
The church built in 1965 is fan-shaped in plan. Concrete portal frame with yellow brick infill. Shallow-pitched sheet metal clad roof. The main rear wall is flat and blind, with a parapet, and extends across the building at full height. From this wall the main body of the church radiates, three facetted bays to either side, with a saw tooth eaves line, then a projecting square block which houses the narthex and west gallery. The saw tooth eaves continue just above the entrance block to complete the fan shape. Attached to the other side of the main wall are the low, square projections of the side chapels and sacristies and a concrete framed bell tower with shallow pitched roof. The entrance block is clad is artificial stone, has a wide, glazed screen with central doors and a thin flat canopy.
We had arrived some twenty five strong as part of Manchester Modernist’s Hull Mooch – we were very warmly welcomed and left more than satisfied by the riches both within and without.
My thanks to Deacon Rev. Robert Shakesby
Above this an inset panel of decorative mosaic by Ludwig Oppenheimer Ltdof Manchester -the firm ceased trading in 1965. The facetted elevations have large glazed areas set in a bold concrete grid of mullions and transoms, tripartite in the centre with a border of smaller divisions. The bell tower is placed in the centre of the east wall and has a port cullis-like bell-opening facing west.
The mosaic is surrounded by decorative abstract panels in light relief
Let’s take a look inside.
The interior is a light and spacious essentially single cell, with the shallow canted projection of the sanctuary – top lit by a row of seven small circular skylights, the low side chapels and the organ gallery. The concrete portal frame provides a dramatic grid radiating from the centre of the east wall. Sanctuary fittings in contrasting marbles, by Toffolo & Son of Hull, designed as a piece. Similar marble altar in the northeast side chapel. The chapels have subtle shallow-pitched arches. West gallery also with circular skylights. Organ pipes at either end arranged within a striking double-curve enclosure, like a grand piano in plan. Open-backed pews and original light fittings. Stained glass by Leo Earley of Earley & Co. of Dublin. Stations of the Cross, wooden relief panels set within integral frames, somewhat stark.
We were there at the behest of Esther and Leigh, gathering to say farewell to Alan Boyson’s Three Ships, as it transpired we were there to celebrate its reprieve, following their campaign for listing.
Over a million tesserae glowed in the low winter sun – so did we.
As Helen Angell read her poem – Christopher Marsden and Esther Johnson recording the performance for posterity.
The Three Ships are attached to a former Cooperative Store – complete with a formerly working Cooperative Store clock – where we meet at four minutes to six – forever.
We had previously encountered Hammonds of Hull/House of Fraser – soon to be a food court, artisan everything outlet.
And this Festival of Britain style functionalist council building.
Onward to the Queens Gardens the almost filled in former Queens Dock – forever fourteen feet below sea level.
We encounter Ton Liu’s Solar Gate – a sundial that uses solar alignment to mark significant times and dates in Hull. The super-light innovative two-shell structure is place-specific, responding to pivotal historic events and to the cultural context of its location in Hull’s Queens Gardens adjacent to the ancient site of Beverley Gate.
Carved stone panels Kenneth Carter 1960 – Ken’s art career began as an inspiring teacher, first at his alma mater, Hull College of Art, and later as principal lecturer at Exeter College of Art.
A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to:
The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.
Top of the shop William Mitchells relief – time to pause and reflect.
Paying homage to Frederick Gibberd author of the College and Queens Gardens scheme.
En passant catching a glimpse of this splendid non-functioning water feature.
Waving Mister Larkin farewell we leave the station and head for the former Cooperative Store and latterly British Home Stores to view the magnificent Three Ships mural.
Commissioned by the Co-operative Society and designed by Wolverhampton artist Alan Boyson, this large and iconic Italian glass mosaic mural immortalises the Hull fishing fleet. The face of the mural – which is fixed to a 66 foot by 64 foot concrete screen – is composed of 4224 foot square slabs, each made up of 225 tiny glass cubes. The mural was built to Boyson’s design, by Richards Tiles Ltd
Included in the mural is the Latin text “res per industriam prosperae” – the success of industry, it also includes “HULL” in the ships’ masts.
In May 2007 the mural was locally listed by Hull City Council, who described it was a “superb example of modern public art”. The council subsequently pledged to retain the mural when the site is developed. In November 2016, a proposal by Hull Civic Society to give the mural statutory protection at a national level was rejected. The society announced its intention to appeal the decision.
The mural was placed on the National Heritage List for England on 21 November 2019 – following a long and arduous campaign by devoted local group Ships in the Sky, along with national and international Modernists.
An additional mural by Boyson, inside the store on the fourth floor, was rediscovered during refurbishment in 2011. Depicting a shoal of fish, it is over 22 feet long and is made from ceramic tiles, marble and stone. Located outside the former Skyline Ballroom – later Romeo and Juliet’s, a nightclub, it had been hidden behind a false wall. The building’s then owners, Manor Property Group, announced plans to feature it in their designs for the building’s decor. It was made as part of the same commission as the exterior mural.
Onwards now to Queen’s Gardens – a sequence of gardens in the centre of the city. They are set out within a 9.75 acre area that until 1930 was filled with the waters of Queen’s Dock.As the dock was not fully filled in, the gardens are largely below the level of the surrounding streets.
Badly bombed by the Nazis in 1941 and rebuilding was slow and inconsistent, based on a reconstruction plan by Edwin Lutyens and Patrick Abercrombie which was never fully realised.
The plan envisioned a new civic heart for the city concentrated around Queen’s Gardens. Frederick Gibberd was employed to oversee its post-war remodelling, setting it below the surrounding road to emulate the appearance of the former docks and introducing public art to animate the space.
A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to:
The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.
The church built in 1965 is fan-shaped in plan. Concrete portal frame with yellow brick infill. Shallow-pitched sheet metal clad roof. The main rear wall is flat and blind, with a parapet, and extends across the building at full height. From this wall the main body of the church radiates, three facetted bays to either side, with a saw tooth eaves line, then a projecting square block which houses the narthex and west gallery. The saw tooth eaves continue just above the entrance block to complete the fan shape. Attached to the other side of the main wall are the low, square projections of the side chapels and sacristies and a concrete framed bell tower with shallow pitched roof. The entrance block is clad is artificial stone, has a wide, glazed screen with central doors and a thin flat canopy.
Above this an inset panel of decorative mosaic by Ludwig Oppenheimer Ltdof Manchester -the firm ceased trading in 1965. The facetted elevations have large glazed areas set in a bold concrete grid of mullions and transoms, tripartite in the centre with a border of smaller divisions. The bell tower is placed in the centre of the east wall and has a port cullis-like bell-opening facing west.
The interior is a light and spacious essentially single cell, with the shallow canted projection of the sanctuary – top lit by a row of seven small circular skylights, the low side chapels and the organ gallery. The concrete portal frame provides a dramatic grid radiating from the centre of the east wall. Sanctuary fittings in contrasting marbles, by Toffolo & Son of Hull, designed as a piece. Similar marble altar in the northeast side chapel. The chapels have subtle shallow-pitched arches. West gallery also with circular skylights. Organ pipes at either end arranged within a striking double-curve enclosure, like a grand piano in plan. Open-backed pews and original light fittings. Stained glass by Leo Earley of Earley & Co. of Dublin. Stations of the Cross, wooden relief panels set within integral frames, somewhat stark.
Onward now to Hull University campus in search of the Gulbenkian Building – Cottingham Road HU6 7RX
Drama teaching centre incorporating a fully adaptable theatre. 1967-9 by Peter Moro for the University of Hull’s Department of Drama. Michael Heard partner in charge, Clarke Nicholls & Marcel structural engineers, Theatre Projects Limited lighting and sound consultants. Concrete beam construction with red brick panels restricted to the ground and first floors, board marked concrete, copper-clad roof.
Next to Middleton Hall, an important post-war listed building at the University of Hull, is a recent case revealing critical gaps in our historic protection system. It is set for a raft of damaging alterations and extensions, but if listing had been dealt with earlier, we could have had a very different outcome.
Middleton Hall and non-denominational Chapel, and Faculty of Arts building Larkin Building. Designed in 1962 by Sir Leslie Martin, built in 1965-7 for the University of Hull. Concrete and load-bearing brick construction, externally pale red brick cladding and lead roofs. The pipe organ is excluded from the listing.
Your bold mosaic whilst once exposed, was sadly disabused, then unthinkingly covered.
Has subsequently been uncovered, steam cleaned and proudly on view, as a central part of the most recent of the estate’s phases of redevelopment.
The block is to become student housing, the distinctive tan, turquoise blue and bold red colours of the mosaic, integrated into the banding of the newly refurbished building.
My face was a picture of delight, viewing the multicoloured tesserae – as we were privileged to be guided around the site by Kier Construction, Matthew Borland from Whittam Cox Architects, who are working with Alumno on Béton House and Urban Splash – my thanks to all and particularly PR Surriya Falconer.
So here it is living and breathing the South Yorkshire air once more.
Alas the Parkway is a pub no more – simply an empty shell.
But hush – can you not catch the chink of pint pots and gales of merry laughter, carried gently on the passing breeze?
This Building Design Partnership scheme pre-dates Wilson Womersley’s appointment as master planners for the Education Precinct but exists harmoniously with the later series of buildings. This is most likely due to the method of development before any ‘grand concept’. The incremental expansion of the University, following WWII, was largely dictated by the progress of compulsory purchase orders; this group was no exception. At the planning stages, the lack of a masterplan led to organising the wings of the buildings in an open, orthogonal arrangement. This would allow expansion in a number of directions, according to the next available site in ‘the dynamic situation’. The result was the creation of a small courtyard flanked by two five-storey blocks and a two-storey structure. All three buildings use the same pink-grey concrete. The plastic qualities of concrete were explored in both cladding and structural panels and the textural qualities exposed in the bush hammered columns, to reveal the Derbyshire gravel aggregate. The sculpted and moulded panels on the two-storey block and on the gable ends of the larger blocks were designed in collaboration with William Mitchell. The only other materials in the external envelope were the windows of variously clear and tinted glass. The window modules were set out against a basic geometry in three standard patterns and applied across the façade. This resulted in a clever interplay of vertical and horizontal expression.
EllenWilkinson was born into a poor though ambitious Manchester family and she embraced socialism at an early age. After graduating from the University of Manchester, she worked for a women’s suffrage organisation and later as a trade union officer. Inspired by the Russian Revolution of 1917, Wilkinson joined the British Communist Party, and preached revolutionary socialism while seeking constitutional routes to political power through the Labour Party. She was elected Labour MP for Middlesbrough East in 1924, and supported the 1926 General Strike. In the 1929–31 Labour government, she served as Parliamentary Private Secretary to the junior Health Minister. She made a connection with a young female member and activist Jennie Lee. Following her defeat at Middlesbrough in 1931, Wilkinson became a prolific journalist and writer, before returning to parliament as Jarrow’s MP in 1935. She was a strong advocate for the Republican government in the Spanish Civil War, and made several visits to the battle zones.
During the Second World War, Wilkinson served in Churchill’s wartimecoalition as a junior minister, mainly at the Ministry of Home Security where she worked under Herbert Morrison. She supported Morrison’s attempts to replace Clement Attlee as the Labour Party’s leader; nevertheless, when he formed his postwar government, Attlee appointed Wilkinson as Minister of Education. By this time, her health was poor, a legacy of years of overwork. She saw her main task in office as the implementation of the wartime coalition’s 1944 Education Act, rather than the more radical introduction of comprehensive schools favoured by many in the Labour Party. Much of her energy was applied to organising the raising of the school-leaving age from 14 to 15. During the exceptionally cold weather of early 1947, she succumbed to a bronchial disease, and died after an overdose of medication, which the coroner at her inquest declared was accidental.
So here we are now – a significant building, named for a significant figure.
I wandered around, pale painted rectangular reliefs abutting darker rectangular reliefs. Strict window grids at a variety of heights. Warmer rounder rounded reliefs to the east, contrasting with their orthogonal cousins. A surprising courtyard contains a diminutive but charming concrete sculpture and an almost hidden exterior spiral stairway.
Holy Cross is positioned in a spectacular position among the houses on the Rollestone hillside.
Holy Cross is a church for people of all ages and stages of life.
Apart from the warm welcome at Holy Cross, you will always find something that is relevant to your age and stage in life – however old you are and whatever walk of life you come from.
It has a canted front which is triangular in shape which has a large white cross at its apex.
The interior features full height stained glass windows of the Virgin Mary and St John by John Baker Ltd.
Born in 1916, John aka Jack studied at the Central School in London and worked under James Hogan at the Whitefriars stained-glass studios before joining Samuel Caldwell junior at Canterbury Cathedral in 1948 to help reinstate the medieval glass removed for safekeeping during the Second World War.
He subsequently authored English Stained Glass; the revised edition of this work, English Stained glass of the Medieval Period , which was to become one of the most popular soft back books on English medieval glass ever published.
Apart from his conservation skills, John was also an inspired teacher at Kingston College of Art. He produced windows for a number of churches, including eleven windows for the church of the Holy Name, Bow Common Lane, Mile End; two windows and a brick sculpture for the church of Little St Peter, Cricklewood; eighteen windows for St Anne’s church, East Wittering, Sussex; two large abstract windows for Broomfield Chapel, Abbots Langley; ten large concrete and glass windows for the new parish church, Gleadless Valley, Sheffield; and twenty-two glass windows for the Convent Chapel, St Michaels, Finchley. He also created a huge Jesse window for the church at Farnham Royal. The church was demolished in 2004, but the glass is now in storage, and some of the panes will be installed in the welcome are of the new church.
His favourite works were the windows he produced for Auckland Cathedral, New Zealand – as seen above.
John Baker, born Birmingham, 11 March 1916, died Hastings, 20 December 2007.
The concrete altar is set on a raised paved podium, complemented by a silver cross and distinctive Arts and Crafts style oak chairs.
The original seating seems to be no longer in use, replaced by a newer more comfortable alternative.
There is a large carved stone font.
The main body of the steeply pitched roof space is illuminated by slotted windows.
Many thanks to the key holders and parishioners at Holy Cross, our Sheffield guide Mick Nott and Claire Thornley at Eleven Design – for making our visit possible.
Thanks also to all those who turned up on Saturday to walk a very, very wet Gleadless Valley.
To begin at the beginning – The Plaza super-cinema faithfully restored and providing quality entertainment and sustenance to Stopfordians and strangers alike.
It is, as of 2000 a Grade II* Listed Building.
Built in 1932, the Plaza Super Cinema first opened its doors to the public on Saturday, October 8th, 1932 with a charity show for Stockport Infirmary. The original seating capacity was 1,878, in stalls and circle levels.
The films shown were Stan Laurel and Oliver Hardy in “Jailbirds” and Gene Gerrard and Jessie Matthews in “Out of the Blue”.
Early programmes were a mix of cinema and live performance, or ‘prologues’ as they were known. The Plaza Super Cinema was equipped with a Compton 3Manual/11Rank theatre organ which has an illuminated surround on the console. The opening organist was Cyril Chadwick. It is still played today. There is a cafe/restaurant located on the circle lounge level.
Just around the corner is the Bus Station – work began here in April 1979, the first stage finally opening on March 2nd 1982.
Slowly emerging from the rough ground – a series of glass and steel boxes worthy of that master of minimalism Ludwig Mies van der Rohe, a Neue Nationalgalerie in miniature.
It still retains its original GMPTE orange M identity.
There are now plans for imminent demolition and rebuilding – shaping a transport hub fit for the Twenty First Century – Space Age forms for a brave new world.
It is of 2022 no more.
With a brand new, more than somewhat, old hatlink bridge.
Onwards over the brand new Trans-Mersey bridge, catching sight of Regent House a modest modular high-rise block, currently housing a Travelodge and multi-use administrative office space.
Over the road and up onto the elevated car parking space above Merseyway where we can catch sight of The George an inter-war pub now permanently tinned up.
The car park extends across the whole upper level of the precinct. – an accessible Ballardian Concrete Island.
Back down to Earth to pay our respects to the spiral ramp drainage area.
Thence to the Hatton Street foot bridge over the M60/3
Currently under threat as the town’s development requires a more accessible route between Heaton Norris Rec. and the Red Rock complex.
Next up the BHS Murals they are the work of Joyce Pallot and Henry Collins. Their work was featured in the Festival of Britain, GPO Tower and Expo 70, along with other retail outlets in Southampton, Newcastle, Gloucester, Bexhill and Colchester.
Listing was refused.
We are now above the Mersey in Merseyway – in its concrete culvert home.
Completed and opened in 1965 the shopping precinct was concrete poetry in motion, incorporating the surrounding topography and extant architecture with grace and aplomb. Combining retail, restaurants and car parking facilities in a manner that critic Iain Nairn considered to be amongst the finest in the land.
Architects Bernard Engle and Partners.
Now modified as a Po-Mo Hi-Tec shadow of its former self some details and untreated concrete do remain.
High above the town we ascend to the giddy heights of the multi-storey car park – architect Philip Andrew.
This is Grimsby Central Library – a proud public building of real quality, reflecting the cautious optimism and fierce civic pride of the Sixties. Built to last, in the modern manner – gently monumental, softened by the easy grace of the restrained decoration and a refined palette of stone, glass and concrete.
By the Borough Architect – JM Milner ARIBA assisted by E L Shepherd
This image was used as the Mayor’s Xmas card in 1969.
The bold exterior grid is enhanced by a honeycombed grille above the entrance, along with a mosaic depicting the town’s seal.
The mosaic is the work of Harold Gosney – who is also responsible for the Abbey Walk reliefs
The Guardians of Knowledge which adorn the south facing elevation of the library are the work of Peter Todd former head of Grimsby Art School
To the rear of the building is a modular relief.
Inside the entrance porch a commemorative plaque.
Once inside, what a pleasure it is tread upon this interstellar inset stone flooring.
Either side of the lobby display case there are two vertical tapestries.
Along with a further plaque commemorating the opening on the 3rd September 1968 – by the then local MP Anthony Crosland.
Crosland looked ahead to a time where “personal freedom, happiness and cultural endeavour; the cultivation of leisure, beauty, grace, gaiety and excitement… might be pursued.” After he was elected MP for Grimsby in 1959, he referred to the above passage in an early speech, insisting – to much laughter, cheering and applause from the audience, that “it is possible to achieve all these things in Grimsby, and especially at Blundell Park.”
May I take this opportunity to thank the ever so helpful library staff – for kindly granting me permission to photograph the main body of the library.
Many original fittings and fixtures are intact – particularly the distinctive vertical suspended lighting system and the steel and wood stairways.
The facilities were well used and lit by the expansive window space.
Let’s take another final look outside, and say a fond farewell to this fine building – go on treat yourself, take a trip to the East Coast and feast your eyes, heart and mind on this beauty.
I was in town, just looking around, just looking for modernity, just looking.
I found you by chance between the railway and the high street, so I took a good look around, fascinated by the concrete sculptural panels on your fascia columns, those facing Abbey Walk.
Research tells me that they the work of Harold Gosney – born in Sheffield, he studied at Grimsby School of Art and London’s Slade School of Fine Art.
The majority of Gosney’s early commissions were collaborations with architects and he has made a significant contribution to public art in Grimsby. He is the artist responsible for the reliefs on the Abbey Walk car park, the large Grimsby seal by the entrance to the Grimsby Central Library and the Grim and Havelok themed copper relief on the side of Wilko store in Old Market Place.
The car park has been the subject of some speculative repairs and refurbishment:
In total, the scheme will cost the council £1.54 million.
The authority will borrow £1.34 million to fund the project with a further £200,000 coming from a local transport grant. But the council said that the improvements made could help increase revenue from the car park of around £34,000 a year.
Councillor Matthew Patrick, portfolio holder for transport at the council, said that the work is essential to “brighten up” the building and attract people into Grimsby.
“It’s one of the largest car parks in the town,” he said.
“It will attract more people into the town centre and help to improve the offering of the car park.”
So here we are faced with a rare, precious and beautiful example of municipal modernism, a bold and brave attempt to decorate what is often the most functional of functional structures.
Owing something to the work of both Henry Moore and Pablo Picasso the imagery is derived from automotive parts, along with it seems to me, vague intimations of figuration.
The building says what the Baptist Church believes: that the ministry of the Word is central; that the believers’ baptism is a public act of witness. The baptistery is not hidden under moveable floorboards as was a common older practice, but is visible as a permanent reminder to each member of his original commitment. Organ and choir are there, but neither obtrudes; nor do they confuse the clear language of the building itself.
A Ronald Bielby – Churches and Chapels of Kirklees
Kirklees Technical College – now closed formed by an amalgamating the former Infirmary, the older Technical College and later additions.
The Bus Station was opened on Sunday 1 December 1974 and is owned and managed by Metro. It is now the busiest bus station in West Yorkshire. The bus station is situated in Huddersfield town centre, underneath the Multi-storey car park. It is bordered by the Ring Road – Castlegate A62 and can be accessed from High Street, Upperhead Row and Henry Street.
Concrete Curtain Wall
Civic Centre
Exsilite panels set in the stone faced columns – a brand name for a synthetic, moulded, artificial marble.
Exsilite is made by fusing grains of silica and pigments to form a slab that simulates onyx marble.
Magistrates’ Court
Co-operative Store
It gives the town of Huddersfield a store that is entirely modern in design and equipped on the most up to date lines – a store of which the townspeople generally, and co-operators in particular, can be proud.
Huddersfield Daily Examiner 1937
As a powerful retailer in the north of England, the Co-op ran its own architectural department, producing good modern design. J.W. Cropper reputedly travelled to Russia in the early 1930s. Other buildings designed by him in association with W.A. Johnson, the Co-op’s chief architect, are in Eastbank Street, Southport 1934, and Sunbridge Road, Bradford -1935, which was recently listed at Grade II.
Market Hall. 1968-70 to the designs of the J. Seymour Harris Partnership, with Leonard and Partners as consultant engineers. Reinforced concrete, board-marked internally to columns and partly clad in local Elland Edge stone and ceramic panels, with patent glazing. Rectangular building on a site that slopes steeply downhill from the town centre to the west towards the ring road, Queensgate. The structure comprises 21 ‘mushroom’ columns each supporting an asymmetrical rectangular section – each 56ft long by 31ft wide by 10ft deep – of board-marked hyperbolic paraboloid roof, four rows of four and one of five facing Queensgate, where the market is set over a delivery bay and car park. From north to south the rows alternate in height, and from west to east they step upwards, then down. This means that there are gaps of 4’6″ between each roof section which is filled with patent glazing to form clerestoreys, the glazing suspended from the upper hypar to accommodate any movement which may occur and having aluminium bars. Further patent glazing over natural stone walling and expressed framework to facades on Princess and Peel Streets, whence there are direct entrances into the market hall from Peel Street via steps. Ventilation is by fixed louvres.
Along the north wall of the hall is a relief sculpture entitled ‘Commerce’, in black painted metal with semi-abstract figures representing agriculture, trade and products, by the sculptor Fritz Steller.
The façade of the market hall on Queensgate incorporates five roof sections with patent glazing and is decorated with square ceramic panels by Fritz Steller, entitled ‘Articulation in Movement’, set over natural stone cladding. These continue across the façade of the adjoining shops, to make nine panels in all, with a tenth larger panel added in 1972, pierced by stairs and an entrance to the market hall from Queensgate. They have representations of the mushroom shells of the market hall, turned through 90 degrees, with abstract representations of the goods available within.
The library was designed in 1937 by E.H. Ashburner. The entrance is flanked by two stone figures symbolising Art and Literature.
As a design the late neo-Classical elevations appear somewhat stark and unwelcoming. The relationship between glazed area and wall surfaces is poorly proportioned even though the ashlar stonework is of high quality. The ornamental detailing, cornice, and frieze of the central bay fail to relieve this monolithic appearance. Interest is created at the entrance by the sculpted figures by James Woodford R.A., who also designed the panels between ground and first floor windows.
Murrayfield Redevelopment
Part of a wider BDP undertaking to reshape and pedestrianise the area and including the development of the inner ring road and Buxton House and the Hammerson Development.
The Development of the Woollen Industry from a Cottage Craft Practised as an Ancillary to Farming – Up to the Beginning of the Industrial Revolution.
Harold Blackburn 1966
Midland Bank – now HSBC
The use of bush-hammered concrete, highly polished Brazilian Old Gold granite facings and tinted glass is given emphasis by the projecting form of the floor beams which also reveal the structural bones of the building.
It was designed by Peter Womersley, who also designed the thoroughly modern private house, Farnley Hey, near Castle Hill, which won the RIBA Bronze Medal in 1958.
The Hammerson Redevelopment Scheme & Buxton House1968
The architects were Bernard Engle & Partners London and the Consulting Engineers were J. Roger Preston London.
Mosaic – Systematic Sequence in Line and Shade.
Artist – Richard Fletcher. 1969.
Neaversons
This new shop front was installed by Bradford shop fitters Sharp & Law in 1935 – with curved glass to reduce reflections and aid viewing. The interior was based on the potter Susie Cooper‘s London shop.
Finishing off in the listed inter-war warmth of the Sportsman – for a welcome rest.
I thought that you may have all been removed – phase two of several phases reshaping the hard landscape of Wales.
It seems I was incorrect – I’m happy to report that as of last Friday only one of our shelters is missing.
So I more or less repeated the task undertaken on my last visit.
Yet another series of photographs of the amalgamated municipal mash-up – concrete glass pebbles pebbledash paving mosaic and imagination rendered corporeal courtesy of Cyngor Bwrdeistref Sirol Conwy.
And the constantly berated Undeb Ewropeaidd.
Jubilant Leave supporters in Conwy are celebrating a convincing win in the historic EU referendum vote.
The Brexit backers secured a majority of more than 5,000, winning the poll by 35,357 votes to 30,147 votes.
So here we are almost all present and correct – let’s take a stroll down the prom together, stopping only to snap and shelter from time to time, from the short sharp September showers.
Modern Mooch 