Mitzi Solomon Cunliffe January 1st 1918 December 30th 2006
This time we are taking a peek around the back.
Having passed by on the top deck deck of the 42 on my way home to Stockport, I espied an extension of the sculpture to the rear of the tower.
I vowed to return!
Fighting through extraction units, wheelie bins, hoppers, plus a disused and disabused vacuum cleaner, I found myself in the narrow service area, where I did my best to get back from the wall, hard against the chain link fence.
The things you do.
For some much needed light relief, air and open space I revisited the front face of the tower.
It never fails to surprise, turning the corner of a somewhat anonymous suburban street to find:
A building of outstanding importance for its architectural design, advanced liturgical planning and artistic quality of the fixtures and fittings.
Broadfield Drive Leyland Lancashire PR25 1PD
The Benedictines came to Leyland in 1845 and the first Church of St. Mary’s was built on Worden Lane in 1854. The Catholic population was small at this time, but had grown to around 500 by 1900. Growth was assisted by the industrial development of Leyland and after the Second World War the town was earmarked as the centre of a new town planned in central Lancashire. By the early 1960’s, the Catholic population was 5,000. Fr Edmund Fitzsimmons, parish priest from 1952, was a guiding force in the decision to build a large new church of advanced liturgical design, inspired by progressive continental church architecture of the mid 20th century. The church was designed by Jerzy Faczynski of Weightman and Bullen. Cardinal Heenan blessed the foundation stone in 1962 and the new church was completed ready for its consecration and dedication by Archbishop Beck in April 1964.
Pink brick, reinforced concrete, copper covered roofs, zig-zag to main space and flat to aisle. Circular, aisled plan with projecting entrance and five projecting chapels.
Central altar. Entrance in large projecting porch with roof rising outwards and the roof slab cantilevered above the doors, its underside curving upward.
Large polychrome ceramic mural representing the Last Judgment by Adam Kossowski occupies the width of the porch above the two double- doored entrances.
Brick rotunda with projecting painted reinforced concrete chapels to left and right, of organic round-cornered form.
Folded radial roof above main space, leaning outwards to shelter triangular clerestory windows. Circular glazed light to centre of roof, its sides leaning outwards, culminating in a sculpted finial of copper or bronze.
Internally, sanctuary is floored in white marble, raised by a step, and the white marble altar is raised by three further steps.
Fixed curved timber benches are placed on slightly raked floor.
`Y’ shaped concrete aisle posts, designed to incorporate the Stations of the Cross, sculpted by Arthur Dooley.
Above these the exposed brick drum rises to the exposed, board-marked concrete folded roof. The aisle walls comprise thirty-six panels of abstract dalle-de-verre stained glass, totalling 233 feet in length, by Patrick Reyntiens, mostly in blues and greens. The theme is the first day of Creation. Suspended above the altar is the original ring-shaped light fixture, and also Adam Kossowski’s ceramic of Christ the King.
Further original light fittings are suspended above the congregation.
The font is placed in the narthex, in a shallow, marble-lined depression in the floor. It comprises a concrete cylinder with an inscribed bronze lid.
The Blessed Sacrament Chapel, with its rising roof slab, contains a green marble altar with in-built raking supports.
Behind it is a tapestry representing the Trinity, designed by the architect J. Faczynski.
I’ve been to the Barbican before, wandering the walkways without purpose.
This is a whole new box of tiles, the search for a re-sited mural, a first time meeting with what would seem at once like an old and well-loved friend.
Dorothy Annan20 January 1900 – 28 June 1983
Was an English painter, potter and muralist, married to the painter and sculptor Trevor Tennant. She was born in Brazil to British parents and was educated in France and Germany.
Annan’s paintings are in many national collections, she is also known for her tile murals, many of which have been destroyed in recent decades. Only three of her major public murals are believed to survive, the largest single example, the Expanding Universe at the Bank of England, was destroyed in 1997.
I was looking for her mural which illustrates the telecommunications industry – formerly of the Fleet Building Telephone Exchange Farringdon Road.
The murals were commissioned at a cost of £300 per panel in 1960. Annan visited the Hathernware Pottery in Loughborough and hand-scored her designs onto each wet clay tile, her brush marks can also be seen in the fired panels.
The building was owned by Goldman Sachs, who wished to redevelop the site and opposed the listing of the murals.
In January 2013, the City of London Corporation agreed to take ownership of the murals, and in September 2013 these were moved to a permanent location in publicly accessible part of the Barbican Estate. They are displayed in their original sequence within an enclosed section of the Barbican High Walk between Speed House and the Barbican Centre.
So following a discursive and somewhat undirected circumnavigation of the Center we were finally united – it only seemed polite to linger a while and take some snaps – here they are.
The third such public sculpture I have had the pleasure to visit following trips to Newcastle and the now defunct BHS in my hometown of Stockport.
Henry William Collins and Joyce Millicent Pallot have a very special place in my heart, their lives’ work together gracing the Festival of Britain, GPO Tower and Expo 70, along with other retail outlets in Southampton, Gloucester, and Colchester. A distinctive style of bas relief in impressed concrete, ceramic terrazzo and simple modern motifs, drawn from local history and imagery.
We here in Stockport have our own BHS murals, happily so does Newcastle.
The work of acclaimed artists Joyce Pallot and Henry Collins, they worked on a large number of murals and exhibition designs for amongst others, Jamestown Festival, USA; Brussels Exhibition; Expo 70; Japan; Shell Centre; GPO Tower, London; Grosvenor House, London; Ind Coope Ltd; Philips Business Systems; Sainsburys; British Home Stores; Cwmbran Arts Trust; Essex County Council and IBM, London.
They never worked on the site itself, but used a regular contractor Hutton’s Builders Ltd Colchester, who cast the concrete in panels around four feet square. There are two relief panels, depicting events in the history of Newcastle. Highly stylised, the relief is moulded to a depth of 5cm and features some charming Geordie characters.
The left panel contains the following inscriptions and images Monkchester with Roman head and Newcastle coat of arms. Roman ship and golden coin. Collier Brig 1704-1880 with ship. Oceanus with anchor and seahorse with trident. The right panel contains the following inscriptions and images: Jupiter Fortuna with two figures. Engineering; Davy and Stephenson; coal mining ship building with images of same. G & R Stephenson; Armstrong Whitworth; Rocket 1829 with image of first steam engine. Armstrong 12 Pounder RA with image of gun. 1878 J.Swan Pons Aelius with bridges depicted below. Turbinia and image of ship. Various churches with names carved about including Grainger Dobson 1865; 1838 Green Stokoe; Bewick with a swan; a figure and Brigantia. Final section on far right has Geordie over two figures, then the Keel Row with a loading boat at the bottom.
The building was originally developed by C&A and it is thought that funding for the reliefs might have been provided by the store and/or Northern Arts. It became BHS which subsequently closed last year, the building is now occupied by Primark, C&A estates still own the site.
The mural illustrated the cover of the 1975 Newcastle Festival.
Today much of the original footprint and well-built brick, stone, glass and concrete structure prevails, with more recent retro fitted additions.
The Cullen mural has been renovated and re-sited.
Sadly only one of the neon sculptures, remains illuminated – they may have been listed by Historic England, they have certainly given them a coat of looking at. I myself was approached whilst working away by a crack squad of precinct management, questioning my methods and motives. I reassured them I was a serious student of post-war architecture and they allowed happily to go about my business – assuring me that I was following in the footsteps of HE.
The elevated café, pierced screenwork, mosaics on the former Locarno, now Library and town clock are still every much in situ, Lady Godiva dutifully appearing on the hour, every hour with an ever attendant Peeping Tom for company.
The area is well-used bustling busy, with a smattering of empty units which are sadly typical of most provincial town competing for custom and prosperity on the high street.
A market hall built in 1957 to designs by Douglas Beaton, Ralph Iredale and Ian Crawford of Coventry City Architect’s Department.
Various designs were considered, but eventually a circular design was chosen to encourage circulation and to offer a number of entrances. It was given a flat roof in order to create a car park (with a heated ramp to prevent icing, now no longer there), and was to become the central focus for a complex scheme of linked roof car parks in Coventry.
The market consists of a series of concrete arches joined by a ring beam, all left exposed, with brick infilling and a concrete roof, laid out as a car park, with a central circular roof light. It has a circular plan, just over 84m in diameter and 4 ½ m high, is laid out with 160 island stalls, arranged in groups of two or four units in concentric rings, with 40 `shop stalls’ set into the perimeter wall.
Inside, the circular space is characterised by the tall V-shaped concrete `columns’ that hold the roof. Some of the original shop and stall signs have survived. Natural light enters via the clerestory windows along the top perimeter of the building and through the clerestory lighting and oculi in the central dome. The space under this dome, designed as an area for shoppers to rest, is lined with seats and has a terrazzo mosaic floor designed by David Embling, with a central sun motif, a gift from the Coventry Branch of the Association of Building Technicians.
Above the current market office is an impressive painted mural by art students from Dresden commissioned especially for the market in the 1950s in a Socialist Realist manner, depicting farming and industrial scenes.
I visited the market on a busy bustling day and was made to feel more than welcome, a wide range of heavily laden stalls was trading briskly. The Market Office kindly gave me a copy of the book Coventry Market in a Roundabout Way.