The Barbican Estate – London

Bouncing betwixt and between Bonnard and Bill Viola from Tate Modern to the Royal Academy I took a detour to The Barbican – in search of the Dorothy Annan tiled mural.

Having failed conspicuously to find it, following an extensive and discursive wander, I did the wise thing and asked.

My thanks to the helpful resident and his young son.

Redirected and on course for our deferred engagement, Dorothy and I met at last on an underpass.

I also recently discovered a Barbican Manchester mash up – Gerrards of Swinton fulfilled their largest ever single order for the site – my thanks to David Roughley for the information and illustration.

Here are the snaps that I took along the way.

Crazy Golf – Postcards From Blackpool

This in so many senses is where it all began – my first encounter with the visual arts was through my Aunty Alice’s postcard album. Predating visits to Manchester City Art Gallery in my mid-teens, I was lost in a world of post WW1 printed ephemera, rendered less ephemeral by careful collection and collation. Sitting entranced for hours and hours absorbing the photography, text and illustration of hundreds of unseen hands.

This is North Shore Blackpool – behind the Metropole in the early 60s.

The colour is muted by the then state of the art colour reproduction, the holiday dress is constrained by the codes of the day. Light cotton frocks and wide brimmed sun hats, shirts tucked in belted slacks, sandals and shorts – purely for the pre-teens.

The focus and locus of fun is located on the prom and what better way to squander a moment or eighteen, than with a pleasurable round of crazy golf. Municipal Modernist frivolity rendered corporeal in corporation concrete, repainted annually ahead of the coming vacationers.

Domesticated Brutalism to soften the soul.

And there can be no better away to inform the awaiting world of your capricious coastal antics than a picture postcard, so playfully displayed on the corner shop carousel – 10p a pop.

Stopping to chuckle at the Bamforth’s mild mannered filth, yet finally purer of heart, opting for the purely pictorial.

Man and boy and beyond I have visited Blackpool – a day, week or fortnight here and there, the worker’s working week temporarily suspended with a week away.

Times have now changed and the new nexus is cash, all too incautiously squandered – Pleasure Beach and pub replacing the beach as the giddy stags and hens collide in an intoxicating miasma of flaming Sambuca, Carling, Carlsberg and cheap cocktails – for those too cash strapped for Ibiza.

The numbers are up – 18 times nothing is nothing – each year as I revisit, the primarily primary colour paint wears a little thinner in the thin salt air and the whining westerly wind, of the all too adjacent Irish Sea.

Overgrown and underused awaiting the kids and grown ups that forever fail to show. On one visit the sunken course had become the home of the daytime hard drinkers, they suggested we refurbish and run the course as a going concern. I declined lacking the time, will and capital for such a crazy enterprise.

The starting has finally stopped.

Grey Mare – Longsight

Exeter Close/Warmington Drive Manchester Longsight M12 4AT

Once there was this.

Once there was that.

Then there wasn’t.

That’s just the way of it.

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A dense web of streets awash with back to backs, jobs for all – in conditions perceived to be unfit for purpose.

Of a total of 201,627 present dwellings in Manchester, some 54,700, or 27.1 per cent., are estimated to be unfit. A comparison of slum clearance action taken by six major local authorities, Manchester, Leeds, Birmingham, Liverpool, Sheffield and Bristol, shows that for the five years ending 30th June, 1965, Manchester was top of the league, both in compulsory purchase orders confirmed and the number of houses demolished or closed.

Manchester’s figures -13,151 houses demolished or closed .

Alfred Morris MP Hansard
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Along came a wrecking ball and left the pub bereft

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The original Grey Mare on Grey Street

Whenever mass slum clearance was carried out, the pubs tended to remain, often for just a short time  because – the story goes – demolition workers refused to touch them, as they wanted somewhere to drink during and after their shift.

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Then along came the cavalry – the bold boys from Fort Ardwick – Coverdale Crescent Estate

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A new dawn – and a new pub.

This vision of municipal modernity was short lived, the estate was demolished in the 1980s and the new Coverdale Estate was constructed on the site in 1994.

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Image – Pubs Galore

Built in 1972 the pub outlived the system built blocks that surrounded it.

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Another new gold dream, another day.

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Despite the high hopes embodied by the low rise rebuilding of the new estate.

The Grey Mare shuts its doors – forever.

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Lowry House – Manchester

17 Marble St, Manchester M2 3AW

Situated in a prime location between King Street and Market Street, Lowry House is convenient for Manchester’s main financial district as well as being adjacent to the city’s main retail core. Well-positioned for a range of quality eateries and public transport connections at Piccadilly Gardens, the building is a great choice for businesses looking to create a quality impression.

Part of Bruntwood’s extensive property portfolio across the city.

Painfully modern and anonymous interiors for the modern business – this could be your dream location.

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This area has been at the vortex of power and wealth for over a hundred years.

1866

Manchester and Salford Bank 1866

 

1909

Marble Street 1909

 

1970

Marble Street 1970

Narrow winds enclosing light and space.

Controlling pounds, shillings and pence.

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The final withdrawal has been made.

The ATM encased in oxidised steel.

The Nat West has gone west.

Rust we are told never sleeps.

Built in 1973 by architects Robert Swift and Partners, renovated in 2006 by Bruntwood, adding cladding and a certain je ne sais pas.

I do admire its precast modular lift and mass almost towering over its surroundings.

The late afternoon sun adds a certain beguiling warmth to the pale pinkish concrete.

Take a swerve off of the hustle and seemingly unnecessary bustle of Market Street and marvel at this Marble Street structure.

Let’s follow in the imaginary footsteps of Manchester man Thomas de Quincey.

No huge Babylonian centres of commerce towered into the clouds on these sweet sylvan routes: no hurricanes of haste, or fever-stricken armies of horses and flying chariots, tormented the echoes in these mountain recesses.

 

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Church of St Mark – Chadderton

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.

Thank you.

I suggest that you do the same.

Contact details and location.

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.

British Listed Buildings

A fine companion to Pace’s William Temple Church in Wythenshawe.

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Lady Chapel

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Trinity United Reform Church – Sheffield

737a Ecclesall Road  Sheffield S11 8TG.

The church building, designed by John Mark Mansell Jenkinson, the second generation of a Sheffield firm of architects, was opened in 1971. A steel cross, fixed to the facade in 1989, is a memorial to their work here and in the city. 

The church, which stands at the side of a main road, has a grey concrete exterior, once white, which rises like a cliff, echoing the natural cliff face of the rocks behind. Three carved roundels in the lowest quarter of the facade soften the exterior as does a brown brick tower which guards the entrance steps and houses a lift which was added in 2004.

The steps lead into a narthex where two plaques outline the history of the three Congregational Churches which came together to instigate the building of this church. The doors to the left, which lead into the worship area, suggest the influence of Charles Rennie Mackintosh and Frank Lloyd Wright upon John Jenkinson.

The hexagonal church interior, which is well lit from the sides and the roof, is clad in golden brown stone. There is an air of Puritan simplicity. The tiered seating looks towards the raised sanctuary area which has a stone pulpit, lectern, communion table, and chairs; the font was carved by James Stone. There are stained glass windows, a banner, and a gold cross, designed by David Mellor, above the pulpit. At noon on sunny days the light strikes the top of the cross and brings the building to life. The organ console which is at the side of the churchcame from Zion Congregational Church at Attercliffe. It was originally built for Weetwood, the home of Sir William Ellis, a Sheffield Industrialist.

The banner is one of four fabric collages depicting the seasons, designed by Elaine Beckingham and made by the children of Junior Church. The other three are also displayed in the church

The church area leads into what survives of Endcliffe Park Congregational Church, notably a large hall with an organ to match which, along with the benches which served as pews, are reminders of its former days. It has a gallery divided by moveable partitions to facilitate use as classrooms.

National Churches Trust

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On The Waterfront – Llandudno

A welwyd eisoes.

I’ve been here before, as have others before me.

The town of Llandudno developed from Stone Age, Bronze Age and Iron Age settlements over many hundreds of years on the slopes of the limestone headland, known to seafarers as the Great Orme and to landsmen as the Creuddyn Peninsula.

Some years later.

In 1848, Owen Williams, an architect and surveyor from Liverpool, presented landowner Lord Mostyn with plans to develop the marshlands behind Llandudno Bay as a holiday resort. These were enthusiastically pursued by Lord Mostyn. The influence of the Mostyn Estate and its agents over the years was paramount in the development of Llandudno, especially after the appointment of George Felton as surveyor and architect in 1857.

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The edge of the bay is marked by concrete steps and a broad promenade, edging a pebbled beach which arcs from Orme to Orme.

Walk with me now and mark the remarkable shelters, paddling pools and bandstand screens, along with the smattering of people that people the promenade.

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