Southampton to Portsmouth

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We arrived safely by train from Stockport at Southampton Central.

Following lengthy consideration we headed off on our bikes.

Whilst halting to review our progress, I realised that I had lost the map, a map vital to our further progress.

Returning to the station I found it nestled against the kerb.

Further assessment of our onward journey resulted in yet another retracing of steps.

In the shadow of Southampton Station dwarfed by Norwich House.

Resolute, we confront the fact that we are unsure of the route and following close scrutiny of the map, our environs and the surrounding signage, we proceed eastward towards our destination.

Wyndham Court – architects Lyons Israel Ellis, E.D. Lyons being the partner in charge along with Frank Linden and Aubrey Hume.

Leaving the city and heading along the Weston Shore – Southampton Water.

To our right several Seaside Moderne shelters

Tim feasts on a Mint Club biscuit.

To our left are the tower blocks of Weston Farm Foreshore – L. Berger City Architect 1963

Seen here in 1985 – Tower Block.

In the distance Canberra Towers Ryder and Yates 1967

Residents living on the second floor of 24-floor block Canberra Towers, on Kingsclere Avenue in Weston, were told to evacuate as flames erupted inside a kitchen.

The Daily Echo spoke to the residents of the affected flat, who said the cat knocked paper that was on top of the microwave, which then fell onto the toaster.

Tracey Long said:

I’ve got two cats, and Sponge was the one who knocked the paper.

He knocked paper off the microwave and into the toaster, it was quite scary.

I lost him in the flat but now I’ve found him again.

Daily Echo

Arriving just in time to be too late, next thing you know we’re bobbing along on the Hamble Warsash Ferry.

The obliging ferry folk having taken us across the estuary, despite our tardiness.

The village and the River featured in the 1980s BBC television series Howards’ Way.

Sadly little evidence of the successful TV show remains, however happily Henry VIII’s Dock and an Iron Age Fort have prevailed.

Onward to Gosport where we happen upon a diminutive yet perfectly formed Bus Station.

Originally built in the 1970s, the bus station was described in 2012 as knackered by the council chief executive at the time, Ian Lycett, and an investment plan was drawn up.

Talk of redevelopment then resurfaced in 2015, before the site was put on the market in 2016.

The News

Keith Carter, retiring owner of Keith’s Heel Bar in Gosport Precinct, has described the bus station as a missed opportunity.

The nearby Harbour and Seaward Towers have faired a little better, newly clad and their tiled murals intact.

While working for George Wimpey and Co. Ltd, and together with J E Tyrrell, Chief Architectural Assistant to Gosport Borough Council, Kenneth Barden was responsible for tiled murals on Seaward Tower and Harbour Tower, two sixteen-storey tower blocks built in 1963 on the Esplanade in Gosport. 

They really are something they really are.

And so following a ride on the Gosport Ferry we arrive at Portsmouth Harbour.

The land where British Rail signage refuses to die!

I have passed this way before on a Bournemouth to Pompey trip and both Tim and I were students at the Poly here in the 70s – more of which later.

Seaward Tower Harbour Tower – Gosport

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While working for George Wimpey and Co. Ltd, and together with J E Tyrrell, Chief Architectural Assistant to Gosport Borough Council, Kenneth Barden was responsible for tiled murals on Seaward Tower and Harbour Tower, two sixteen-storey tower blocks built in 1963 on the Esplanade in Gosport.

The surfaces of the tower blocks are covered in mosaic murals designed by Barden that rise the full 135 foot height of the buildings. They were controversial initially but are now a tourist attraction.

The tiles were produced by Carter and Co of Poole

Wikipedia

He was also responsible for the unlisted and under threat ceramic murals in Halifax Swimming Baths.

C20

Whilst cycling form Southampton to Margate I took the opportunity to walk around and snap the blocks, one sunny day in May.

Here they are unclad in 1984

Tower Block

Brochure courtesy of Peter Blake

The work seems unrivalled in both scale and vision a lasting testament to good design.

Fishermen’s Mission – Grimsby

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Hope Street Grimsby DN32 7QL

If asked to name the UK’s biggest fishing port many people will answer Grimsby.

That was certainly true in the 1950’s when over 500 trawlers set out to sea, today only a handful of boats remain.

The Fishermen’s Mission

Opened in 1966 the Mission met the needs of those engaged in the most perilous of occupations.

Today it is a residential housing block – with flats for sale and rent.

Part of the town’s history a striking building, in many modern ways – most notably its strikingly modern mosaic.

Along with its striking colour scheme interesting use of textured materials and angular geometry.

St Willibrords RC – Clayton Manchester

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1963

North Road Clayton Manchester M11 4WQ

1937-38 by Reynolds and Scott built in buff brick of a Modernist Byzantine style.

The choice of the Apostle of Holland as a patron saint for the parish was that of a Dutch priest, Fr. Sassen, who bought land for the parish from St. Brigid’s in 1905. The new parish was opened in 1906.

Fr. Charles Hanrahan developed the mission in its infancy and was followed by Fr. Richard Mortimer, who laboured here for a long period, devoting most of his priestly life to the parish.

Fr. Patrick Dillon supervised the building of the magnificent new church of unusual design, which was opened in 1938.

Genuki

The church was Grade II listed in June 1994

Research Portal

Our Lady and St. Joseph Hanwell 1967

The church is sited in a densely populated area of the city, comprising Victorian terraces and inter-war social housing.

The interior has extensive mosaic work by the Manchester firm Ludwig Oppenheimer – whose work can also be seen in St John the Baptist RC Rochdale.

1968

So farewell St Willibords and many thanks to the exceptionally kind and welcoming parishioners who granted me access to this very fine church.

Archive photographs Local Image Collection

Serveway Five – Merseyway

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There comes a time in very life when you finally go where you have never been before – even though you have walked by that very same place almost every day.

That’s how I found myself in Serveway Five.

Situated on the north east corner of Merseyway.

1984 – Stockport Image Archive

It is bounded by the former Burton’s store, the long gone BHS now home to Poundland, a later extension to the precinct and a Nineteenth century building. Illustrating the mongrel nature of many English towns, the result of world wars, speculative development and town planning.

It’s a self contained world of loading, unloading unloved and overused.

Home to the pirate parker, carelessly avoiding the imposition of the municipal surcharges.

Shops and goods come and go part of the merry retail gavotte.

The trams once clang, clang, clanged along and the Picture House opened 2nd June 1913, later The Palladium, finally closing in 1956 – now occupied by a huge Charity Shop – Highway Hope.

The Merseyway construction is a modern amalgam of mosaic, brick and cast concrete.

The older brick building now almost rendered and coated in off white exterior emulsion.

There are signs of life and former lives.

This is a nether world that never really was a world at all.

The place where the sun almost doesn’t shine.

And the blue sky seems like an unwelcome intrusion.

So as the retail sector contracts and the virus remains viral – wither Serveway Five?

The Council purchased the development at no cost to taxpayers via the current income stream. The rationale for purchase was to create a sustainable future for the centre via a series of targeted redevelopments. Key aspirations for the centre will be to fully integrate it into the town centre. We also want it to complement our exciting ownerships such as Debenhams, Redrock and Market Place and Underbanks.

The investment will seek to change perceptions of not only the retail offer but also Stockport as a whole. It will ultimately create a town centre that will benefit the local business community and Stockport residents.

St John The Baptist RC – Rochdale

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I have had the privilege and pleasure to visit St John’s several times over the years and doubly pleased to visit with a group of some 30 Modernists in March 2020 as part of a Rochdale Walk, prior to the lockdown days later.

I cannot thank Christine Mathewson and her fellow volunteers enough for the warm welcome we were given. They take such pride in their church and are eager to convey that pride along with their obvious erudition.

Approaching from the adjacent railway station we could not fail to be impressed by the scale and grandeur of the church, a wonderful mix of the Byzantine and restrained Art Deco – most clearly expressed in the sculptural angels looming high above the tram stop.

The building is Grade II* Listed and deservedly so – details can be found here on the Historic England site.

The original design pre-1917 by Oswald Hill, executed in 1923-25 by Ernest Bower Norris. Henry Oswald Hill was a promising architect with a clear interest in contemporary church-building trends, as evidenced here and at the nearby RC Church of St Joseph, Heywood, he was tragically killed in action in the First World War.

St Joseph’s

The church uses concrete to its advantage in the construction of the striking, 20m-wide central dome, surrounded by the delicate touch of several arched stained glass windows at the perimeter.

Illuminating the concave space in a heavenly manner.

The apsed sanctuary contains an encompassing mosaic scheme of powerful emotional intensity designed by leading mosaic designer, Eric Newton of specialist firm Ludwig Oppenheimer Ltd.

The mosaic is breathtaking in scale, design and execution – nothing can prepare you for its impact as you enter the church.

The quality of the sanctuary mosaic is further enhanced by the use of high-quality tesserae made of stone, coloured marbles and coloured glass, set off by a shimmering background of gold tesserae.

The apsed sanctuary is completely covered in a mosaic scheme with the theme Eternal Life designed by Eric Newton. Newton was born Eric Oppenheimer, later changing his surname by deed poll to his mother’s maiden name. He was the grandson of Ludwig Oppenheimer, a German Jew who was sent to Manchester to improve his English and then married a Scottish girl and converted to Christianity. In 1865 he set up a mosaic workshop, (Ludwig Oppenheimer Ltd, Blackburn St, Old Trafford, Manchester) after spending a year studying the mosaic process in Venice. Newton had joined the family company as a mosaic craftsman in 1914 and he is known to have studied early Byzantine mosaics in Venice, Ravenna and Rome. He later also became art critic for the Manchester Guardian and a broadcaster on ‘The Critics’. Newton started the scheme in 1932 and took over a year to complete it at a cost of £4,000. It had previously been thought that he used Italian craftsmen, but historic photographs from the 1930s published in the Daily Herald show Oppenheimer mosaics being cut and assembled by a Manchester workforce of men and women. It is likely, therefore, that the craftsmen working on St John the Baptist were British.

Historic England

The whole building is full of surprising details of the highest quality.

Lit by simplest yet most effective stained glass.

This is an exemplary building, on entering one is filled with both calm and awe, an experience which is never diminished by subsequent visits.

The mosaic work is on local and international significance – it is unthinkable that it may ever be lost to us, or that funding was not forthcoming to secure its future into perpetuity.

I implore you to visit, whensoever that may be possible.

Please take a moment append your comments on this post and play some small part in ensuring the St John’s is preserved for generations to come.

William Mitchell – Bradford

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This is one of many visits to the Kirkgate Market in Bradford, in order to take a look at the William Mitchell murals.

Positioned above the entrance/exit and either side of the exit/entrance.

They have had over time various companions to keep them company.

They are currently friendless – the Kirkgate Market is to be closed, its future uncertain – and by inference Big Bill’s public art is under threat too.

The Council has announced to its traders in Kirkgate Market and the Oastler Centre that it will not be carrying out the proposed refurbishment of Kirkgate Market as the new market in Darley Street will now accommodate non-food sales on one trading floor with the other trading floor being dedicated to fresh foods and the 1st floor for hot food and beverage sales.

The Telegraph and Argus

We don’t want to eliminate existing customers, or the low income customers who use the existing markets.

Mr Wolstenholme

Do they however wish to eliminate the murals?

As per they are unlisted, largely unnoticed and as such very vulnerable, get it while you can, take a trip to Bradford real soon.

Mention must also be made of the tiled ceramic mosaics which adorn one wall and the three panels on the raised area above the stalls.

Authorship unknown.

I was most intrigued by these tiles – I have not seen this type before – they have a resemblance to to Transform tiles that were produced in Staffordshire in the 1970s, but they are different in several ways.

The November 1973 T&A microfilm appears to have been stolen from Bradford Library so I can’t check reports and features from the time of the opening of the market on November 22 1973.

I would be grateful for any memories and news.

Christopher Marsden 2012

Hastings 2015

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I had completed my journey from Weston super Mare, with a final day’s cycle ride from Eastbourne and had two days to spare.

So I took some time to have a mooch around and this dear readers is what I did see.

I have snapped the seafront shelters previously and put together one post after another.

These are an integral part of Sidney Little’s concrete promenade scheme

Lurched toward London Road Launderette in St Leonards – which was featured in my 2020 book eight laundrettes.

Next door is this Post Office mosaic.

Back to the front for a more traditional seaside shelter.

Exploring the backstreets in search of fitness for purpose and secret signs.

Then diving in for a delicious dosa at the long gone St Len’s Lakshmi Mahal – since moved to Bexhill on Sea.

Snapping the plaques at the White Rock Theatre.

Currently closed but hopefully open in time for the We Love The Spice Girls.

Popped into Arthur Green – former gent’s outfitters, current bric a brac brokers.

Before we know it, we’re in another laundrette, once more without washing in the Wash Inn.

Back along the front to the well appointed and freshly painted Marine Court.

Time to pop into the not always open subsequently closed St Leonard’s Church.

When World War II broke out, Hastings and St Leonards-on-Sea were considered vulnerable to attacks and invasion from abroad. On the night of Saturday 29 July 1944 a doodlebug was hit over the English Channel. Damaged, it nevertheless continued to fly towards the coastline of St Leonards-on-Sea. It was approaching Marine Court which was hosting a servicemen’s party – but it veered and crashed in front of the doors of St Leonard’s Church, making a deep crater. The tower fell into this, and the rest of the church was brought down as well. Although there were no casualties, the church was completely destroyed. Although the problem of rock falls and subsidence associated with the cliffs had continued throughout the life of the church, the War Damage Commission would only pay for it to be rebuilt on the same site. The architectural partnership of brothers Giles and Adrian Gilbert Scott were commissioned to design the new building.

Patrick Reyntiens stained glass

The unique features were inspired by Canon Cuthbert Griffiths, rector from 1929 to 1961. Following a dream, he went to Israel and had the prow of a Galilean fishing boat constructed to form the pulpit.

Marble work on the floor depicts locally caught skate and herring.

Beyond the communion rail are loaves and fishes set in different marble patterns bordered by scallop shells, a copy of the Byzantine mosaic in the Church of the Feeding of the Five Thousand in Galilee.

The structure set into shifting cliffs is subject to subsidence.

Procedures have been completed for St Leonard’s Parish Church on Marina to be closed for worship. 

The service will be next Saturday August 4 2018 at 3pm. 

Because the building cannot be used the service will be at St Ethelburga’s in St Saviour’s Road.

St Leonard’s has been called the church with an inbuilt message.  Even the very stones cry out to those who have eyes to see, ears to hear and a heart to understand and accept the Good News of the Gospel.

St Leonards Church

Eastbourne to Hastings

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Wednesday 5th August 2015 the last and shortest leg of the journey, feeling fit and well, yet more than somewhat sad that it’s almost all over.

Ten days of cycling almost mostly by the sea – mostly seeing things.

Stopping by Fusciardi’s to say hello to the tiles.

I live in landlocked Stockport, yet yearn for the coastal life.

These recent posts have been put together in June 2020, locked down, going nowhere near there, just here.

There are sections of the seaside ways around yet to be explored, the whole of Cornwall, Wirral to the Lakeland Borders, Cleethorpes to Berwick.

Someday one day soon.

I’d left plenty of time to mooch around Pevensey Bay – Beachlands in particular.

Having made previous visits, I was keen to explore further.

I have paired pairs of homes here – Beachlands.

Along with single singular homes here – Beachlands Again.

What we have here is an abbreviated account of an extraordinary estate.

T Cecil Howitt was responsible for the initial designs, sketches and layout of the first fifty houses in Beachlands, making him both the architect father and inspiration for the estate.

The estate is also home to the so called Oyster Bungalows.

The oyster shell houses, together with the homes on the Beachlands Estate, were a form of kit build, imported from Sweden by local builders Martin and Saunders. The original plan to build envisaged a choice from as many as twelve possible kits, built in four waves, the estate is now studied, photographed and mentioned by architectural historians from across the country.

Pevensey Bay Life

The estate is the embodiment of mutable Modernism – some original details prevail, whilst others are overwritten in the style de jour.

Having strolled and chatted to the warm and friendly residents, what does still permeate the whole development is a loose bonhomie – that easy going, anything goes manner which the seaside embodies.

The Ridgeback World Voyage takes centre stage – thanks for keeping me company every day.

God bless Asda and the tradition of the British gnome – now writ larger than life.

The route from Eastbourne is a low-level level delight which drifts inevitably toward Bexhill on Sea.

Home to the De la Warr Pavillion

It was decided to ask the RIBA to hold a competition to design the new building and the choice of judge was made by its president Sir Raymond Unwin. He selected Thomas S. Tait, who was respected by established architects but was also known to be sympathetic towards the ideals of new ‘modernist’ architects. The Bexhill Borough Council prepared a tight brief that indicated that a modern building was required and that heavy stonework is not desirable.The competition was announced in The Architects Journal of 7 September 1933, with a closing date of 4 December 1933. Two hundred and thirty designs were submitted and they were exhibited at the York Hall in London Road, from 6 February to 13 February 1934. The results were announced in the Architects Journal of 8 February 1934 and the £150 first prize was won by Erich Mendelsohn and Serge Chermayeff.

– It says so here.

A stroll around town to catch a glimpse of the local ghosts.

Then I’m on my way, the last few miles into St Leonards and Hastings.

A few pints of Carnival.

And a final night night.

Ilfracombe to Okehampton

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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.

Though first a little look at Ilfracombe.

Looks to me like local Marland Brick

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.

Wikipedia

A delightfully decorated prefabricated concrete railway hut.

Huts old railway huts, council take ’em and they cover them in colouring book Constructivism.

Eventually I find myself outside an inter war Modernist Masonic Hall in Braunton.

Dozens of Devon councillors are also Freemasons – is yours?

Conservative Cllr for Topsham Andrew Leadbetter is a well-known Mason.

Devon Live

We leave behind – the shadowy 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.

Wikipedia

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.

Photo James Ravilious

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.

Devon Live

In 2014 Barnstaple 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.

Devon Live 2019

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.

Night night.

Coventry Cathedral

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On the night of 14 November 1940, the city of Coventry was devastated by bombs dropped by the Luftwaffe. The Cathedral burned with the city, having been hit by several incendiary devices.

The decision to rebuild the cathedral was taken the morning after its destruction. Rebuilding would not be an act of defiance, but rather a sign of faith, trust and hope for the future of the world. It was the vision of the Provost at the time, Richard Howard, which led the people of Coventry away from feelings of bitterness and hatred. This has led to the cathedral’s Ministry of Peace and Reconciliation, which has provided spiritual and practical support, in areas of conflict throughout the world.

Her Majesty the Queen laid the foundation stone on 23 March 1956 and the building was consecrated on 25 May 1962, in her presence. The ruins remain hallowed ground and together the two create one living Cathedral.

Ralph Beyer carving the foundation stone for Coventry Cathedral.

© Historic England Archive, John Laing Photographic Collection.

Coventry Cathderal

The new Cathedral was itself an inspiration to many fine artists of the post-war era. The architect, Sir Basil Spence, commissioned work from Graham Sutherland, John Piper, Ralph Beyer, John Hutton, Jacob Epstein, Elisabeth Frink and others – most still to reach the peak of their artistic careers.

St. Michael and the Devil on the southern end of the east wall. It was sculpted by Sir Jacob Epstein, who, sadly, died in 1959, and therefore didn’t live to see his masterpiece mounted on the cathedral wall a year later.

Entrance to the cathedral is through the Screen of Saints and Angels – it is seventy feet high and forty five feet wide and is supported by a bronze framework hung by wires from the roof for added strength.

This unique screen formed part of Sir Basil Spence’s first vision for the new cathedral. As he stared out from the ruins of the bombed cathedral, he saw the shape for the new church through a screen of saints. This transparent wall would link the old and new – making each mutually visible from within each other. Provost Howard set out to draw up a scheme consisting of all the saints who were responsible for the bringing of Christianity to Britain. As John Hutton began to make initial designs, he soon realised that row upon row of saints would need to be broken up in some way, and suggested that angels be inserted between the saints.

The eighty one foot high Baptistery Window containing a total of one hundred and ninety five lights of stained glass in bright primary colours designed by John Piper and Patrick Reyntiens, with the Stone of Bethlehem for a font just in front. Each individual window contains an abstract design, but the overall effect is breathtaking. Basil Spence himself designed the stone containing the glass.

Study for the the seventy two foot high tapestry designed by Graham Sutherland – collection of The Herbert Art Gallery

The great tapestry was another example of a re-think in design. Basil Spence’s original intention was to depict the Crucifixion but Provost Howard suggested that the subject be Christ in Majesty and from there on, this idea prevailed

Altar cross and crown of thorns by Geoffrey Clarke, large ceramic candlesticks by Hans Coper.

Chairs by Russell Hodgson and Leigh.

The Chapel of Christ in Gethsemane is approached by following the aisle from the Baptistery window towards the altar which is at the north end. The mosaic depicts the Angel of Agony by Steven Sykes and becomes more impressive when seen from a distance through the wrought iron crown of thorns designed by Basil Spence.

A short passageway takes you through to the Chapel of Christ the Servant – also known as the Chapel of Industry due to the view of Coventry workplaces from its narrow windows. 

Monumental inscriptions to walls and floor by Ralph Beyer

Stained glass to aisle walls by Lawrence Lee, Geoffrey Clarke and Keith New.

At the far end of the aisle, opposite the Baptistery Window is the Chapel of Unity, with its detailed mosaic floor, donated by the people of Sweden, representing the nations of the world and lit by shafts of light from the narrow stained glass windows around the circumference of the star shaped chapel. 

This design was Basil Spence’s vision of a chapel representing the star which began the story of Christ – from the outside it appears shaped similarly to a Crusader’s tent.

The chapel is intended for prayer by all denominations, not just Anglican, and for this reason was purposely built with no view of the great altar. 

Historic Coventry

St Saviour’s Church – Bradford

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St Saviour‘s 25 Ings Way Bradford BD8 0LU

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.

Listed November 2007

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.

Once again – many sincere thanks.

See also: William Temple Church of St Mark’s and St Mark’s Broomhill

St Anthony and Our Lady of Mercy – Hull

Posted on by modernmoocher

667 Beverley Rd Hull HU6 7JL

Set back from Beverley Road – we just about found this delightful Modernist gem. Tucked in amongst student accommodation and approximate to the Endsleigh College.

It was well worth the circuitous bust journey from the Interchange to St Anthony and Our Lady of Mercy

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 Ltd of 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.

Thanks to Taking Stock for the facts.

The Parkway Pub – Park Hill Sheffield

Posted on by modernmoocher

I’ve been here before, virtually – in my online guide to Park Hill Pubs.

I’ve been here before, actually – on my visits to Park Hill Estate

But hark, what news of the Parkway pub?

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?

Central Library – Grimsby

Posted on by modernmoocher

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.

Ta-ra Grimsby!

I’ll be back real soon.

Shelters – Rhos on Sea

Posted on by modernmoocher

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.

Daily Post

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.

Shelters Rhos to Colwyn

Posted on by modernmoocher

I have previously sought succour in your shady shelters, as unrelenting sheets of steel grey rain peppered the wind whipped Irish sea.

A concrete cornucopia of Californian screen block, glass, pebbledash, mosaic and crazy paving.

Municipal modernism under threat as the unstoppable force of coastal improvement lumbers on, a pantechnicon of shiny surfaces, sensitive planting, contemporary seating and laser-cut, contextually appropriate historical panels.

As Hardscape introduces a wholesome dose of CGI style medicine to the promenade

I for one will miss you all when you’re gone.

Next time I pass all this will seem as a dream, a tale told by a fool full of sand and fury signifying nothing.

Burton’s Moderne – Ashton and Beyond

Posted on by modernmoocher

In almost every town or city worth its salt stood a modern white tiled tailor’s shop, almost every man or boy wore a Burton’s suit.

Harry Wilson had become the company architect by the early 1920s, and was responsible for developing Burton’s house style. Montague Burton, however, maintained a close personal interest. The company’s in-house Architects Department was set up around 1932 under Wilson. He was followed as chief architect around 1937 by Nathaniel Martin, who was still in post in the early 1950s. The architects worked hand-in-hand with Burton’s Shopfitting and Building Departments, who coordinated the work of selected contractors. Throughout the late 1920s and 1930s they were kept phenomenally busy: by 1939 many of Burton’s 595 stores were purpose-built.

The very first made to measure gear I owned came from Burton’s in Ashton under Lyne – mini-mod aged fourteen in a three button, waisted, light woollen dark brown jacket, four slanted and flapped side pockets and an eighteen inch centre vent.

Just the job for a night out at the Birdcage, Moon or Bower Club

The story of the stores begins in the province of Kovno in modern Lithuania – Meshe David Osinsky (1885-1952), came to England where he initially took the name Maurice Burton. 

The distinctive architecture stood out on the high street, Art Deco motifs and details abound – elephants chevrons and fans.

Topped off with the company’s distinctive logotype.

This example in Doncaster is one of the few remaining examples many having been removed – as the stores have changed ownership and usage.

This Neo-Classical Burnley branch is a rare example of a Burton’s which hasn’t gone for a Burton.

The group maintained a distinctive graphic style in labelling signage and advertisements.

Often including ornate mosaic entrances, ventilation covers and obligatory dated foundation stones – as seen in this Ashton under Lyne branch.

Stores often housed dance halls or other social spaces.

In 1937 Burton’s architect, Nathaniel Martin, collaborated with the architects Wallis Gilbert & Partners on a subsidiary clothing works on the Great Lancashire Road at Worsley, near Manchester. Conceived as a Garden Factory and built in a modern style, this was dubbed ‘Burtonville Clothing Works’. It opened in October 1938 .

Where machinists worked on Ashton built Jones equipment.

Time changes everything and the inception of off the wall unisex disco clothing saw the made to measure suit fall into a chasm of loon pants and skinny rib grandad vests.

The Ashton branch becomes a motorcycle then fitted kitchen showroom, topped off with a succession of clubs and various other modern day leisure facilities.

Currently home to the Warsaw Delicatessen and Good News Gospel Church

Formerly Club Denial.

This is the tale of the modern high street grand ideas, architectural grandeur, entrepreneurial immigrants, style and fashion – disappearing in a cloud of vinyl signage and fly by night operations. Though if you look carefully the pale white shadows of Burton’s are still there in one form or another, however ghostly.