Deneway almost but not quite, literallyon my doorstep:
High above the Mersey Valley and 70 meters above sea level Deneway Estate stands proud, affording views of the Pennine White Peak to the south east and nothing but some other houses in all other directions.
Built in 1964, by architects Mortimer & Partners it was an award winner from the word go – coming first in an Ideal Homes sponsored competition.
Very much in the tradition of the Span Estates, it consists of small groups of two and three storey terraced homes, with communal open, well tended front gardens. At the entrance to the estate stands a single low tower block of flats.
The architecture sits quietly and confidently in the landscape, well behaved, prim and proper. Interiors are open plan and afforded ample daylight by generous windows. Detailing is tiled and wood panelled, with low pitched roofs.
Jump the train, walk, cycle, bus or tram, but arrive with eyes and heart wide opento enjoy this suburban gem – it’s right up my street.
This was my very first piece that appeared on the old Manchester Modernist site way back in 2014.
Six years later I walked up the road again and found the flats clad in a funny colour cladding and the plaques moved, much else was as was. I assume, that under deed of covenant, fencing and guerilla gardening within open areas is verboten, along with fancy extensions.
The estate therefore retains its original integrity.
The sun in the meantime however – had gone in.
Here are the pages of Ideal Home which featured this award winning estate.
2020 mid-lockdown and overcast, I took a walk to take another look.
There is a perennial appeal to this well ordered island of tranquility, an archetypal suburbia incubated in 1906, a copy book estate.
The housing estate of 136 houses known as Burnage Garden Village, a residential development covering an area of 19,113sqm off the western side of Burnage Lane in the Burnage ward. The site is situated approximately six kilometres south of the city centre and is arranged on a broadly hexagonal layout with two storey semi-detached and quasi detached dwelling houses situated on either side of a continuous-loop highway. The highway is named after each corresponding compass point with two spurs off at the east and west named Main Avenue and West Place respectively. Main Avenue represents the only access and egress point into the estate whilst West Place leads into a resident’s parking area.
The layout was designed by J Horner Hargreaves. Houses are loosely designed to Arts and Crafts principles, chiefly on account of being low set and having catslide roofs.
At the centre of the garden village and accessed by a network of pedestrian footpaths, is a resident’s recreational area comprising a bowling green, club house and tennis courts. The estate dates from approximately 1906 and was laid out in the manner of a garden suburb with characteristic hedging, front gardens, grass verges and trees on every street.
Verges and paving were freshly laid, hedges and gardens well tended, cars parked prettily.
The central communal area calm and restful, but lacking the clunk of lignum vitae wood on jack, hence the scorched earth appearance of the normally well used crown green.
Fairfield is a suburb of Droylsden in Tameside, Greater Manchester, England. Historically in Lancashire, it is just south of the Ashton Canal on the A635 road. In the 19th century, it was described as “a seat of cotton manufacture”. W. M. Christy and Sons established a mill that produced the first woven towels in England at Fairfield Mill.
Fairfield is the location of Fairfield High School for Girls and Fairfield railway station.
The community has been home to members of the Moravian Church for many years after Fairfield Moravian Church and Moravian Settlement were established in 1783.
Also the merchant banker and art collector Robin Benson (1850–1929).
Charles Hindley 1796 – 1857 was an English cotton mill-owner and radical politician the first Moravian to be elected as an MP.
Turning into Fairfield Avenue from Ashton Old Road you’ll find Broadway sitting prettily on your right hand side. It was intended to be an extensive Garden Village but was abandoned at the outbreak of the First World War. The estate consists of 39 houses, built between 1914 and 1920 in a neo-Georgian style. These are a mixture of detached, semi-detached and terraces in a range of sizes.
Broadway is a small scale example of a garden suburb development and is composed of a mixture of detached, semi detached and terraced houses ranging in size and built in a reddish-orange brick with dark brick dressing and patterning. The properties appear to be generously proportioned and they share similarities in design and construction and a unifying scheme of decoration.
It issuggested that the ‘imaginative exploitation of the levels and texture suggest that Woods was responsible for the layout, but the chaste Neo-Georgian character of the houses undoubtedly reflects the taste of Sellers’.
Sneaking through the alley – lined with a Yorkshire Stone fence you enter the Moravian Settlement.
The Unitas Fratrum or Moravian Church is an international Protestant Christian group which originated from the followers of Jan Hus in Bohemia (now part of the Czech Republic) during the 15th century. As a result of persecution, the group eventually re-established itself in Saxony in the early 18th century, and it is from there that followers first came to this country in the 1730s, with the intention to go on to carry out missionary work in America and the Caribbean. A decision was taken to establish the first Moravian Settlement in England at Fulneck in Yorkshire in 1744. The first Moravian settlement to be located in Tameside was in Dukinfield during the 1740s. It was there that they laid the foundation stone for their chapel at the top of Old Road in May 1751. By 1783, 40 years after their first arrival in Tameside, the lease on their land at Dukinfield expired, and negotiations for a new one proved difficult. This resulted in the purchase and removal of the community to a 54 acres site at Broad Oak Farm in Droylsden where they established a new settlement known as Fairfield.
As well as providing domestic accommodation, the buildings at Fairfield had industrial functions. During the late 18th and 19th centuries the Settlement would have been a hive of religious and industrial activity, which included the church, schools, domestic dwellings, inn, shop, bakery, laundry, farm, fire engine, night-watchman, inspector of weights and measures, an overseer of roads, physician, as well as handloom weaving and embroidery.
Tuesday 28th July 2015 waking up early on the outskirts of Okehampton – I went next door to explore – the Wash and Go.
I went back to Okehampton.
Headed out of town along the old railway line to Plymouth – where rests the solemn remains of previous railway activity and Meldon Quarry.
It’s believed that the first quarrying began around the late 1700s when the local limestone was extracted. Over the years this gradually gave over to aggregate quarrying and apelite quarrying until it final closure. The original owners of the quarry were the London and South Western Railway and then came Britsh Rail and finally EEC Aggregates.
Crossing Meldon Viaduct.
Meldon Viaduct carried the London and South Western Railway across the West Okement River at Meldon on Dartmoor. The truss bridge, which was constructed from wrought iron and cast iron not stone or brick arches, was built under the direction of the LSWR’s chief engineer, WR Galbraith. After taking three years to build, the dual-tracked bridge opened to rail traffic in 1874. Usage was limited to certain classes of locomotive because the viaduct had an axle load limit. Although regular services were withdrawn in 1968, the bridge was used for shunting by a local quarry. In the 1990s the remaining single line was removed after the viaduct was deemed to be too weak to carry rail traffic.
The crossing is now used by The Granite Way, a long-distance cycle track across Dartmoor. The viaduct, which is a Scheduled Monument, is now one of only two such surviving railway bridges in the United Kingdom that uses wrought iron lattice piers to support the cast iron trusses – the other is Bennerley Viaduct between Nottinghamshire and Derbyshire.
Architects– Percy Bartlett and William Henry Watkins
Built on the site of the Andrews New Picture Palace, which had opened in 1910, and was demolished in 1930. The Gaumont Palace was opened on 16th November 1931 with Jack Hulbert in “The Ghost Train” and Sydney Howard in “Almost a Divorce”.
The imposing brick building has a white stone tower feature in the central section above the entrance. Seating inside the auditorium was provided for 1,462 in the stalls and 790 in the circle.
It was re-named Gaumont in 1937 currently closed and at risk.
The post war redevelopment of Plymouth produced this sizable Portland Stone Shopping Centre.
‘A Plan for Plymouth’ was a report prepared for the City Council by James Paton Watson, City Engineer and Surveyor, and Patrick Abercrombie, Consultant Architect, published in 1943.
Planning is not merely the plotting of the streets of a town; its fundamental essence is the conscious co-relation of the various uses of the land to the best advantage of all inhabitants. Good planning therefore, presupposes a knowledge and understanding of the people, their relationship to their work, their play, and to each other, so that in the shaping of the urban pattern, the uses to which the land is put are so arranged as to secure an efficient, well- balanced and harmonious whole.
The magnificent dalle de verre fascia of the Crown and County Courts.
having had a good old look around I sought shelter for the night, with some difficulty I found a profoundly plain room. The town seemingly full of itinerant contractors, filling the vast majority of available space.
Not to worry let’s have a look at the seafront.
Tinside Lido by J Wibberley Borough Engineer, with Edmund Nuttall and Sons and John Mowlem and Company, builders, with entrance building of 1933 by the same engineer.
Set in a beautiful location overlooking the sea at the tip of Plymouth Hoe and voted one of the top 10 best outdoor pools in Europe, Tinside Lidois an attraction not to be missed.
Built in 1935, Tinside is a slice of the quintessential British seaside from a bygone era. The Lido is a wonderful example of art-deco style and is Grade II listed.
Time for a timely 99 tub – what ho!
Followed by several pints of Dartmoor Jail in the delightful Dolphin Hotel.
The Dolphin Hotel is a pub on the Barbican , the building, which is known as either the Dolphin Inn or Dolphin Hotel, is a Grade II listed building. It notable as the setting of several of the artist Beryl Cook’s paintings.
The three storey building was constructed in the early 19th century, although it may contain fabric from an earlier structure. It has a slate mansard roof surrounded by a tall parapet with a moulded cornice. The front has white stucco with plaster reliefs of dolphins. The pub is associated with the Tolpuddle Martyrs, some of whom stayed at the hotel on their return from exile in Australia in 1838, when a Mr Morgan was the landlord.
It is a no-frills unmodernised pub famous for its cask ale, draught Bass served straight from the barrel. The sign on the front of the building has always called the pub the ‘Dolphin Hotel’. In 2010 the pub was refurbished, but vandalised in 2014.
Today Monday 27th July 2015 – leaving Ilfracombe the royal we head south along the Tarka Trail, giving Cornwall a swerve.
Though first we feast on a slightly out of focus fry up at the digs.
Inspired by the route travelled by Tarka the Otter, this 180 mile, figure eight route traverses unspoiled countryside, dramatic sea cliffs and beautiful beaches. The southern loop incorporates the longest, continuous off-road cycle path in the UK. Walking or cycling, you can experience the best this beautiful area has to offer.
Then away we go following the former train line out of town.
The Ilfracombe Branch of the London & South Western Railway, ran between Barnstaple and Ilfracombe. The branch opened as a single-track line in 1874, but was sufficiently popular that it needed to be upgraded to double-track in 1889.
The 1:36 gradient between Ilfracombe and Mortehoe stations was one of the steepest sections of double track railway line in the country.In the days of steam traction, it was often necessary to double-head departing passenger trains.
Named trains such as the Atlantic Coast Express and the Devon Belle both started and terminated at Ilfracombe.
Despite nearly a century of bringing much-needed revenue into this remote corner of the county, passenger numbers dropped dramatically in the years following the Second World War, due to a massive increase in the number of cars on Britain’s roads, and the line finally closed in 1970.
Much of the course of the line is still visible today, and sections of it have been converted into public cycleways.
We leave behind – theshadowy world of secret handshakes, favours for friends and strange initiation ceremonies.
For the equally shadowy world of military installations.
The water tower at RAF Chivenor.
Originally a civil airfield opened in the 1930s, the site was taken over by the Royal Air Force in May 1940 for use as a Coastal Command Station. After World War II, the station was largely used for training, particularly weapons training.
In 1974 the station was left on care and maintenance, in 1994 7 FTS left Chivenor, merging with No. 4 Flying Training School RAF at RAF Valley, and the airfield was handed over to the Royal Marines.
A most delightful cycle path alongside the estuary of the River Taw.
The River Taw rises high on the slopes of Dartmoor and together with its tributaries, the River Mole, Yeo and little Dart, runs north through beautiful rolling countryside down to Barnstaple and into the Bristol Channel.
Passing under the Torridge Bridge at Bideford – a 650 metre long concrete structure built in 1987.
Three piers are in the river. Each of the piers in the water is protected by concrete fenders twenty four metres long by eight metres wide by eight metres high. The concrete piers of the bridge are around twenty four metres high.
It was designed by MRM Partnership.
Here we are in Barnstaple by the Civic Centre.
It’s described as an ‘iconic’ building, but not many locals would agree, this huge building widely considered to be one of the ugliest in Devon could soon be under new ownership.The council has confirmed that following a tender exercise, it is working with a preferred bidder to finalise the details of the sale.
In 2014Barnstaple based Peregrine Mears Architects believed the civic centre could provide up to 84 modern apartments.
Artist’s impression by Peregrine Mears Architects – looks a little too wobbly to me, Peregrine Mears Architects should get right back to the drawing board, where they started from.
The Neo-Classical facade restrained Deco of The Venue.
Formerly The Regal Cinema – opened on 30th August 1937
Architects – BM Orphoot
Revellers dancing at The Worx nightclub– as The Venue was to become.
The building in Barnstaple is for sale with Webbers estate agents for just £225,000. The striking building in a prime position on the town’s Strand was originally opened in 1937 as the Regal Cinema.
The building will probably be best known under the guise of Kaos, the name it was given during the 1990’s and at the height of its popularity.
Other nightclub incarnations at the premises included Babylon, Rockabillies, Coco, Club Tropicana and of course The Venue.
The Tarka Trail crossing the River Torridge, just south of Bideford, utilising the former railway bridge.
The old home town looks the same as I step down from the bike, and there to meet me is – well nobody.
And I realise, yes, I was only dreaming.
I’ll go to Okehampon then – take a look at the lovely tiled Post Office, whilst completely ignoring one of the oldest Norman castles in the country.
Walking around town in search of a B&B proved fruitless, though I was directed to an out of town Roadhouse aways away.
Welcome to Betty Cottles Inn – land of the lost apostrophe.
Rooms are not as photos/described on hotel booking sites, wi-fi hardly ever works. I prepaid/booked for nine nights, I checked out after two days. Needless to say I didnt receive a seven day refund. Owner with attitude problem, he had my money, and was not keen on helping with my concerns about the property. Musky smell to carpet in bar and restaurant areas. Not been cleaned for a long time. Rooms unsafe and not private, with curtains not long enough, lock on room doors inadequate.
Neil H – July 2109
You sneaked in a female into your single room without paying for her and got caught so obviously you have retaliated by way of a negative review. You were probably the most rude and hostile guest we have ever had and have had to report you to booking.com for guest misconduct and also banned you from being able to book here again.
Matthew owner at Betty Cottles Inn
I ate a reasonable meal in the Carvery and chatted amiably with a representative salesman on the move, whilst seeing off a few pints of Guinness – any port in a storm.
I’ve often cycled by here on occasion taking time to the a snap or two.
You seemed to be in decline, in need of care and attention. Stood amongst Peak vernacular and sub-Lutyens villas something of anomaly.
A diminutive Modernist house – a rose amongst the herbaceous borders.
Someone seems to have taken you in hand and work is underway, I just hope that they put your name back in place.
Tamara is a female given name most commonly derived from the Biblical name Tamar, meaning date – the fruit, date palm or palm tree. In eastern European countries like Armenia, Croatia, Czech Republic, Georgia, Hungary, North Macedonia, Poland, Russia, Serbia, Slovenia and Ukraine it has been a common name for centuries. In Australia it was very popular from the 1960s to 1990s.
In the United States, the name was fairly common from the late 1950s to mid 1990s, bolstered by the popularity of the film Tammy and the Bachelor – Tammy is commonly a nickname for Tamara. In the US the most girls named Tamara were born in 1970 and the number of Tamaras born per year was greater than 1,000 as late as 1996.
The name is now fairly uncommon in the US: in 2010, the name fell off the Top 1000 SSA Baby Names list, with fewer than 250 baby girls named Tamara that year.
Though remnants remain – this is a short journey through a hole in fence, down into the warren of power station offices past.
They have been stripped of their former use and meaning, transformed into a transitory art performance space, paint and plaster now peeling, appealing to the passing painter, partially reclaimed by nature.
A post-war design consisting of an upper church over a lower hall, the prominent campanile making it something of a local landmark. The portal frame construction, materials and design are standard for the time. The interior has been reordered but retains some original furnishings.
A new post-war parish was created to serve the growing residential area in Hurst Cross, previously served from St Anne’s, Ashton. Fr Kelly built the new church, whose foundation stone was blessed by Bishop Marshall on 5 June 1954. The first Mass was held on Easter Monday, 1955.
The church is conventionally orientated with the sanctuary to the east. Less conventionally, it is a two-storey building, with a ground floor parish hall and a first floor church. The church is reached from Lees Road by a reinforced concrete bridge and steps. A brick campanile marks the southwest corner. The structure of the portal-framed building is expressed externally by raking brick buttresses to side elevations. The west gable end is faced in aggregate panels with a concrete relief depicting St Christopher over a plain three-bay flat-roofed portico. The aisles are faced in ceramic tiled panels to the upper level with render to the parish hall level. The nave is lit by three-light clerestory windows with smaller windows to the aisles. The shallow-pitched roof is laid with mineral felt. A two-storey blockcontaining a large sacristy connects to the contemporary presbytery.
Inside, the six-bay upper church has a plain west gallery above a narthex with glazed screen. The aisles have arcades of square brick piers and plain plastered walls. The clerestory windows are leaded with coloured glass margins. The ceiling is lined with acoustic panels and the concrete floor is laid with carpet or linoleum tiles. The reordered sanctuary retains the original polished concrete altar in a forward position; the 1950s altar rails and pulpit have been removed. The east wall is now hung with wallpaper, but was originally fair-faced brick; the Crucifix and painted timber high altar canopy are part of the original arrangement. The side chapels also retain original 1950s polished concrete altars. The octagonal font with oak cover dates from the late nineteenth or early twentieth century, of unknown provenance. The hardwood pews were designed for the church.
The magnum opus of the architect Arthur Farebrother, who was a parishioner. The church is executed in monumental style and has a powerful and little-altered interior which owes a debt to Dom Paul Bellott’s design for the Benedictine Abbey of Quarr, Isle of Wight.
The parish was formed in 1958 and fundraising for building a church started almost immediately. The church was designed by Arthur Farebrother, a parishioner, and the contractors were Browns of Wilmslow, a craft firm with a high reputation particularly for woodwork and carving. The building was finally opened in 1964.
Holy Angels is a building of great presence, of pale brick executed in free early Gothic style with Romanesque overtones. It has a powerful pylon-like west tower, transeptal chapel, attached southwest baptistery with a conical copper-clad roof, and a plain presbytery attached on the north side. The interior is dominated by the powerful brick arches which continue into the ceiling as vaulting. Narrow processional aisles and ambulatory. The north side confessionals are framed by a timber surround. Elevated forward altar with choir seating around in an arc. The simple modern furnishings are probably original.
As Hale Barns grew in the 1950s and 1960s it was clear that the small daughter church was less than adequate in terms of size and facilities, and under the leadership of the Rev Fred Cox, the then Vicar, a new church was planned for the site. Designed by Brian Brunskill, All Saints Church was consecrated in 1967.
Outside it can seem a rather stark building, of brown brick, set back from the busy Hale Road but inside it is full of light and space. The influence has clearly been that of the French architect Le Corbusier, and there is a wonderful interplay of curved and straight walling. At first there was no stained glass, but in the early 1980s glass by the Japanese artist Sumiko was installed in the north windows. This includes a stylised tree-of-life design. In the baptistry there is some Victorian glass brought from St Mary’s Church.
In 2009 a radical and daring re-ordering of the building was completed. The church was carpeted and new furniture of high quality, designed and made by Treske, woodcarvers of Thirsk, North Yorkshire, was installed. The tree-of-life design in the 1980s glass has been echoed in the glass inserts to the Lectern and High Altar and also in the metal uprights of the Altar Rail. All the fittings are moveable, giving a flexible space. This flexibility give opportunities to explore how the building itself can enrich worship at different seasons of the Church’s year.
What a delight – the stunning surprise that awaits you, around one particular suburban corner of Bradford.
I had called ahead, to arrange the visit – the Reverend Dorothy Stewart had gracefully invited me to join members of the community and herself, one wild and windy Wednesday.
Steel frame and shuttered concrete with dark red brick walls in stretcher bond, and slate roofs.
Church of 1966 with attached hall of 1971, both designed by architect George Pace. Characterised by asymmetric arrangement of roofs, exposed structure and juxtaposition of materials, this is a complete and largely unaltered example of Pace’s work. The asphalt roof and windows are in very poor condition. Repair works to the roof were carried out in 2016 with funding from the National Lottery Heritage Fund’s former Grants for Places of Worship scheme.
The exterior is stark and angular, the body of the church is a broad rectangle with no division between nave and chancel, with a bell tower to the east, vestries to the north-west and a chapel to the west. At the western end is the church hall, added in 1971. Externally a single asymmetric roof covers the main body of the church, rising at the east end to form a mono-pitch section over the altar area and incorporating the bell tower. There is a porch at the east end of the north side, and a transept with a double pitch roof. To the west is a single storey, flat roof section with an entrance to the north, extending to the transept. West of the main body of the church on the south side is a separate roof, housing a chapel. To the west is the church hall, with a north-south asymmetric roof. All the windows are rectangular, of varying sizes, with plain glass in rectangular leaded lights. Lintels over the doors and the parapet of the flat roofed block are of shuttered concrete, as are the window surrounds.
The body of the church contains Victorian stripped oak bench pews derived from St John’s church in Little Horton, arranged with a central aisle. To the north side is a range of contemporary pews in wood with vertical slatted fronts, in front of the organ, recovered from St. Chrysostom’s Bradford , by Driver and Haigh of Bradford, which is housed in the transept with a matching front of vertical wooden slats.
Let’s take a look.
To the rear is the cylindrical font in white concrete with a wooden lid, set on a raised platform. Suspended above it is a large light fitting in black metal, inscribed around the edges with the words: “This font is erected by relatives and parishioners in memory of/ Beatrice May Parkin, for over forty years a Sunday School teacher and/ worker for St Saviour’s Church, who died 2nd March 1961”.
There is no separate chancel, and the finishes throughout are exposed brick, shuttered concrete and limed oak. The sanctuary area is in the south-east corner and consists of a tall angled purple brick reredos, topped with concrete, and a lower detached, angled purple brick pillar to each side each holding a shelf and incorporating a wooden seat. In front of the central reredos is an integral wooden bench with three backs, and a large black metal cross in the same style as those on the exterior but with more elaboration, fixed to the floor on a raised concrete block. To the fore is the altar table on a low raised platform. The whole is enclosed within an altar rail of iron and wood, open to the centre.
The main roof has exposed wooden trusses supported on concrete pillars and beams, with rafters and purlins also exposed creating a latticework pattern.
The whole interior order is orderly, calm and coherent, a simple consistency of materials and architectural intent.
The solid wood, studded chapel door has the words “I am the Good Shepherd” engraved on it. The chapel has exposed beams and rafters, and an altar to the north with iron and wood altar rail in front. Pews are as in the church. There is a mosaic plaque behind the altar which came from St John’s church in Little Horton.
Beyond to the west is the narthex, with shuttered concrete ceilings pierced by circular skylights, exposed brick walls and doors to the chapel, service rooms and hall.
Such a pleasure to visit such an enchanting church – it was a precious privilege to be welcomed by the congregation, warden and Reverend Dorothy.
A church of the early 1960s, built before the Second Vatican Council on a traditional basilican plan. The design is striking and unusual, with an interesting combination of Gothic, classical and modern architectural motifs. The architect, Tadeusz Lesisz of Greenhalgh & Williams, is a little known figure but a designer of some interest. The church exhibits a scheme of sculpture, stained glass and mosaic on Marian themes, mainly by local designers, and retains almost all of the original furnishings and fittings in little altered state. It also retains furnishings from the late-nineteenth-century predecessor church.
A typical example of a post-war church built to serve a growing residential suburb; it retains some attractive ‘Festival of Britain’ features and fittings.
The church was built to seat 360, with room for fifty people in the Lady Chapel. The architect was Geoffrey Williams of Greenhalgh & Williams, the builder Whitworth, Whittaker & Co Ltd of Oldham, and the cost £27,140. Bishop Beck blessed the foundation stone on 7 December 1957, and the church was formally opened in 1958.
Well worth the effort to visit a well kept suburban church, constructed with load bearing walls faced in brown and buff bricks and steel roof trusses. The shallow-pitched roof was originally clad in copper but is now felted, flat roof areas are concrete.
We have been here before on the west side of Grosvenor Square, between the former Eye Hospital and Registry Office on Lower Ormond Street, sits the solid stolid brick form of St Augustine.
The original St Augustine’s was one of the oldest Roman Catholic churches in Manchester, having been established at Granby Row in 1820. This church was sold in 1905 to make way for the Manchester Municipal Technical College, and a new church built on York Street. This church was destroyed in the Manchester Blitz of 1940. The present site previously housed a chapel of ease in a building bought from the Methodists in the 1870s. It had briefly been a separate parish, but in 1908 was amalgamated with St Augustine’s parish. After the War it was the only surviving church in the parish. The new St Augustine’s was built here with the help of a grant from the War Damage Commission, at a cost of £138,000, when it was clear that the original building was inadequate. The new building was opened in 1968 and consecrated in 1970.
Roman Catholic Church 1967-8 by Desmond Williams & Associates. Load-bearing dark brown brick construction with felt roofs supported on Vierendeel girders, with rear range in brick and timber cladding.
Body of church virtually square, with corridor at rear right leading to cross wing containing offices and accommodation. Windowless façade with floating service projection to the left and four full height brick fins to the right of wide recessed central entrance reached by low flight of steps. On the projection a ceramic plaque with star and mitre and on the inner face of the left hand fin a figure of the Madonna, both by Robert Brumby. Set back returns of 6 bays, divided by pairs of projecting slim brick piers. Openings between the pairs of piers filled with coloured chipped French glass. Secondary entrance beneath large cantilevered canopy in first bay of left hand return. Slender linking block containing sacristy. The rear presbytery range, containing first floor hall, meeting rooms, kitchen, chaplaincy offices and accommodation for four priests. Bell tower rising from parish rooms block.
A simple box plan with ceiling of steel trusses clad with timber and clerestory north lights. Sanctuary of three stepped platforms with white marble altar set forward. Large ceramic reredos sculpture of Christ in Majesty by Robert Brumby of York. Bays containing either projecting confessionals or chapel recesses are divided by pairs of projecting slim brick piers. Fixed seating in angular U-shape surrounding Sanctuary. Side chapel to left. Narthex. West gallery above originally with seating, now housing organ. Unified scheme of decoration by Brumby including the external plaque and statue, holy water stoups, wall light brackets, circular font with ceramic inset and aluminium lid, altar table with bronze inset and, probably, Stations of the Cross sculptures. Also by Brumby, a memorial plaque fashioned from mangled plate, damaged in the Blitz, commemorating the earlier parish church which this replaced.
Of particular note are the stained glass windows.
The internal atmosphere of the church is modified by the changes in light cast through the stained glass windows. The windows are of a colourful random and abstract design and ascend the full height of the walls between structural bays which themselves form enclosures to confessionals and stores. The pieces of coloured glass are suspended in concrete and were supplied by the now defunct Whitefriars company. The designer was a French artist, Pierre Fourmaintraux, who began working with Whitefriars in 1959, using the ‘dalle de verre’ (slab glass) technique that had been developed in France between the wars. His motif was a small monk variously painted upon, or cast into, the glass. In St. Augustine’s the motif is cast and highly stylised and can be found tucked away at the foot of each of the rear windows.
Life is full of little surprises, to turn from Middleton Road into Milne Street in downtown Chadderton and discover a triangular, blue-grey brick tower soaring into the September sky.
So solid geometries pierced by rectangular, triangular and angular gridded windows, deservedly Grade II Listed in 1998, made all the more extraordinary by its seemingly ordinary surroundings.
The interior mixes tradition with modernity, reusing pews and fragments of stained glass. Restrained natural lighting, complemented by slatted wooden, almost oriental boxed light shades. The furniture, fixtures and fittings bringing together a coherent decorative order.
The whole an uplifting and embracing space, punctuated by the curved y-shaped wooden supports, rising to the timber framed roof structure.
It was a pleasure to meet the current incumbent Father Stephen and a privilege to spend some time exploring this altogether delightful and impressive church.
G.G. Pace 1960-63 – Blue engineering brick; graduated slate to pitched roofs – low pitched to church and entrance and steeply pitched to tower. Concrete dressings around windows. Five sided aisled space, three walls being orthoganal and the liturgical north side being canted outwards to provide room for the choir. Entrance with narthex to west and west also is a small rectangular chapel. Corner site, the corner itself dominated by a low rectangular brick tower with a high gabled roof. Four bay nave, the bays separated by buttresses and with rectangular windows set in varying groups high in the wall. West wall of nave is visible, and secondary glazing has been sensitively installed over the west window between the western buttresses. Thick exposed board-marked concrete beam at eaves. On return elevation, tower is flush with small chapel, with irregular groups of rectangular windows to both. Rectangular leaded lights. Recessed entrance with two doors of timber and leaded-glazing in vertical strips. Liturgical north and south faces of the tower each has a stack of 14 small pointed louvres. Jutting gutter spouts in exposed board-marked concrete.
Internally the bays are divided by three pairs of varnished laminated timber `y’ shaped supports and trusses, supporting timber trussed purlins (with prominent bolts) and timber rafters. Walls are white-painted brick with exposed board-marked concrete bands, which act as bonding strips between brick piers and as lintels for windows. Original altar of limed timber with four pairs of legs, is in original position, set forward from the east wall. Sanctuary raised by two steps. Limed timber pulpit, also chunky and so is altar rail with thick black metal supports and thick limed timber handrail. Priest’s chair to match, against east wall. Black metal crucifix also in characteristic Pace manner. Stone sedilia built into the north and south walls of the sanctuary. East window with stained glass which comprises broken and reset fragments of nineteenth-century glass. Font sited in central aisle towards the west end; this is of tooled cream stone, the bowl comprising a monolithic cylinder, flanked by a smaller cylinder which rises higher and has a prominent spout. Elaborate font cover in roughly textured cast aluminium, rising to flame-like pinnacles. Reused nineteenth-century benches, painted semi-matt black. Narthex and west chapel with limed timber doors, which have decorative nail-heads in rows. West chapel has open truss timber roof, painted white. Sanctuary light and cross are characteristic of Pace’s style.
A fine example of Pace’s idiosyncratic manner, this church shows the influence of the Liturgical Movement, especially in the forward placement of the altar.
Formerly an area of high density terraced housing.
Lillington Gardens is an estate in the Pimlico area of the City of Westminster, London, constructed in phases between 1961 and 1980 to a plan by Darbourne & Darke. The estate is now owned and managed by City West Homes.
The estate was among the last of the high-density public housing schemes built in London during the postwar period, and is referred to as one of the most distinguished. Notably, seven years before the Ronan Point disaster ended the dominance of the tower block, Lillington Gardens looked ahead to a new standard that achieved high housing density within a medium rather than high-rise structure. It emphasised individuality in the grouping of dwellings, and provided for private gardens at ground and roof levels.
The estate’s high build quality, and particularly the planted gardens of its wide roof street, blend sympathetically with the surrounding Victorian terraces.
The estate’s high quality design was acknowledged by a Housing Design Award 1961, Ministry of Housing and Local Government Award for Good Design 1970, RIBA Award 1970 and RIBA Commendation 1973. Nikolaus Pevsner described it in 1973 as “the most interesting recent housing scheme in London”.
The site surrounds the Grade I listed Church of St James the Less, built in 1859–61. The entire estate, including the church, was designated a conservation area in 1990.
On the day of my visit, London in the grip of a July heatwave, the open areas, narrow alleys, byways, steps, stairs and roof gardens and play area were largely empty, citizens preferring the cooler interior environment of their homes.
The materials, warm brown brick and sheet-metal cladding, form complex interlocking shapes and volumes, creating a variety of heights and spaces. This makes exploration and navigation of the estate quite an adventure, disorienting at first, until one grasps an overall sense of the development’s structure.
Lillington Gardens provides homes, community, green space and an exciting range of vistas, a prime example of social housing on a human scale. Leafy glades, light and shade, grassy knolls abound.
That which we call a brick, by any other name would smell as sweet.
Chancing across a written reference to the Marland Brick in the bookThe Trains Now Departed, I was slightly taken aback – from wither and whence it came and went.
I was aware of the my patronymic local connection:
This most interesting surname is of Anglo-Saxon origin, and is a locational name from Marland, a minor place in the parish of Rochdale, in Lancashire. The placename itself is composed of the Olde English elements “mere”, a lake, pool, and “land”, land.
There are also places called Peters Marland in Devon, recorded as “Merland” in the Domesday Book of 1086 (the site of a church dedicated to St. Peter), and Marlands in Somerset.
So our southern cousins were clay-mongers, manufacturers of fine bricks to boot.
Marland Cream brickwork is a feature of North Devon. The hard cream bricks were made at Marland Moor by a succession of companies using stoneware ball clays dug from the Petrockstowe Basin.
Between Great Torrington and Hatherleigh, in north Devon, lie alluvial deposits of ball clay, a particularly useful clay which first found use for pottery and clay pipes in the seventeenth century. However the remoteness of the location prevented the growth of the industry and by the nineteenth century it only met local needs for pottery and bricks.
The impetus for the industry came, perhaps, with the opening of the London & South Western Railway to Torrington in 1872 for a few years later the owner of Clay Moor, William A. B. Wren, started to exploit his land. By 1877 he had sunk several pits and erected at the Marland Brick & Clay Works kilns, cottages and stables. Clay was being taken to Torrington station behind a traction engine but over six or so miles of poor quality roads this was not very efficient.
With the coming of the railway to Torrington, in 1881 a private mineral line was built to connect to the Marland area. This led to a great increase in production and was a factor in the opening in 1925 of the North Devon & Cornwall Junction Light railway, between Torrington and Halwill Junction, which superceded the mineral line. Closing to passengers in 1965, the section between Meeth and Barnstable remained open for freight, but by the 1980’s was moribund.
There are still remnants of the Marland Works Branch visible to this day.
One of our famed family brick built achievements is the Chelfham Viaduct:
A railway viaduct built in 1896-97 to carry the Lynton and Barnstaple Railway across the Stoke Rivers valley. Designed by L&B engineer, FW Chanter, and containing over a quarter of a million Marland bricks, its eight arches – each 42 feet wide and 70 feet high – meaning that the 132-yard long viaduct is the largest narrow gauge railway structure in England.
The L&BR’s peak period came between 1902 and1913 when it carried almost 97,000 passengers a year. Yet the considerable endeavour invested in the railway was not enough to save it; as traffic dwindled, the line succumbed to closure by Southern Railways on 29th September 1935. Most of the trackbed and buildings were sold at auction in 1938. Although Chelfham Viaduct was retained, its parapets were taken down to about one foot above ballast level. In 1943, it featured in a film, The Flemish Farm, representing the Franco-Belgian border.
The structure was granted a Grade II listing on 25th February 1965. In 2000, in partnership with the Railway Heritage Trust and the Lynton & Barnstaple Railway Trust, British Railways Board completed a programme of remedial works.
Then later today, casting my mind back to my 2105 cycle tour from Weston Super Mare via Ilfracombe and Plymouth and onward to Hastings, I remembered a former chance encounter.
I had been here before, blissfully unaware of the local family connections along the Tarka Trail – thick as a Devon cream-tea coloured brick.
So when I eventually return to the area to fully explore our family heritage, I shall be sure to doff my cycling cap and smile whilst passing the warm cream expanses of Marland Brick.
The future was functionalist flat-roofed, concrete, steel and brick boxes.
Adorned with the flowing scripts and signage of the multi-nationals, nationals and local companies, intent upon rendering corporeal the post-war optimism, attendant full-employment and the buoyant business of business.
Fast forward to the future – the roofs have been pitched up, the windows bricked up or shuttered or both, walls encased in sad cladding.
The semi-permanent signage replaced with terminally temporary vinyl.
Joe Sunlight’s neo-classical pediments have been painted a funny colour.