The Cheshire Lines Committee CLC operated Stockport, Timperley and Altrincham Junction Railway line from Portwood to Skelton Junction, a section of what became the Woodley to Glazebrook line.
It remained a part of the CLC, which was jointly owned from 1923 by the London and North Eastern Railway and the London Midland and Scottish Railway , until 1948 when it became part of the British Railways London Midland Region.
Closed in 1982, following the demise of the Woodhead route; the track was subsequently lifted in 1986.
What remains is a triangular island faced in glazed and blue engineer’s brick, topped out with trees.
I have entertained the idea of accessing the area by ladder, exploring and possibly setting up camp – though I think the proximity to an almost constant flow of traffic, would prove less than commodious.
It evokes for me an elevated affinity with Ballard’s Concrete Island.
He reached the foot of the embankment, and waved with one arm, shouting at the few cars moving along the westbound carriageway. None of the drivers could see him, let alone hear his dry-throated croak, and Maitland stopped, conserving his strength. He tried to climb the embankment, but within a few steps collapsed in a heap on the muddy slope.
So here it is as is complete with tags, signs, cracks and all.
It remains as a monument to those who built and worked on the railway.
Some time ago in Stockport Fred Perry was born, lived and moved away – in pretty rapid succession. Nevertheless the Borough claims him as their own and to celebrate the fact, they have devised a Way.
Not the way or an away day but a named way, the Fred Perry Way.
Stretching from North Reddish in the north to Woodford in the south – zigging and zagging through and across highways and byways, avenues and alleyways.
Combining rural footpaths, quiet lanes and river valleys with urban landscapes and park lands.
For the long distance walker it may be useful as a link route. The Fred Perry Way provides a link between the Bollin Valley Way, and through that, the North Cheshire Way, and via a short link between Mottram & Woodford, the Tame Valley Way and Etherow Goyt Valley Way at Stockport. A full crossing of historical North Cheshire could be devised, linking Black Hill & Crowden on the Pennine Way with Hilbre Island, utilising also the Wirral Way/Wirral Shore Way.
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.
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.
Early morning passing by the yet to be reopened Dreamland, back then just a work in progress, it has had a more than somewhat chequered past.
Dogged persistence has assured its future:
Just before Christmas 1919, and almost exactly one year after the end of the Great War, John Henry Iles purchased Margate’s The Hall By The Sea, thus initiating the history of what would become Dreamland.
The Dreamland cinema replaced a smaller cinema on the site, with this modernist masterpiece opening in 1935. The super-cinema, designed by architects Julian Leathart and WF Granger.
After several years of campaigning to save the Dreamland site from redevelopment, and successful funding bids to the Heritage Lottery Fund and Department for Culture Media and Sport’s SeaChange Scheme, the Dreamland restoration project went live in January 2010, appointing a professional team to deliver The Dreamland Trust’s vision for a reimagined Dreamland, however, the battle was not over.
After a long restoration project, Dreamland opened its doors to the public on June 19 2015. The park was further reimagined and expanded in 2017 following additional investment, with new thrill rides, a much bigger events space, fresh designs, and a new welcome for a new generation of visitors.
Along the long straight coastline the distinctive and distinguished silhouette of Reculver Castle can be seen in the distance.
Two thousand years ago the geography of this area was very different. The Wantsum, a sea channel up to 3 miles wide, cut off the Isle of Thanet from the mainland, and the Roman fort of Reculver stood on a promontory at the north end of the channel where it joined the Thames estuary. Today the Wantsum has silted up and become dry land.
By the 5th century the Romans had abandoned their defence of Britain and the fort at Reculver had fallen into disuse.
An Anglo-Saxon monastery was founded on the site in 669, reusing the existing defences, and the church of St Mary was built near the centre of the earlier fort. Documentary evidence suggests that the site had ceased to function as a monastic house by the 10th century, after which time the church became the parish church of Reculver.
Remodelling of the church in the 12th century included the addition of tall twin towers.
The medieval church was partly demolished in 1805, when much of the stone was reused to construct a new church on higher ground at Hillborough, but the twin towers were left. They were bought, repaired and underpinned by Trinity House in 1809.
Further along the unstable concrete coast we approach Whitstable.
With its chi-chi cafes and bars, tastefully ramshackle shacks and snacks.
Profil fronted fascias for family run department stores.
Whites of Kent is a family company now into the third generation of close family members. The original story begins with a young ambitious girl of 18 who knew all about stocking repair machines. She travelled to Australia by boat then on to Switzerland and Paris where she trained women and gave demonstrations on the stocking machines.
In 1954 the retail side commenced again with a ladies underwear shop in Faversham’s Market Street, followed by a fashion shop in Market Street and then our current shop in Court Street.
We have in the past had shops in Sandwich, Sittingbourne, Herne Bay, West Malling, Folkestone and Cliftonville. Currently we have Whites of Kent shops in Faversham, Whitstable and Dover selling lingerie, linen, hosiery, underwear, slippers and more. See our Shop page for addresses, phone numbers and opening times.
The road winds through the low marshes, across estuaries and inlets, between Seasalter and Graveney.
Home to a down home, home made fishing fleet.
On September 27 1940 – a Luftwaffe bomber was shot down by two Spitfires over Graveney Marsh after a raid on London. This was the last ground engagement involving a foreign force to take place on the mainland of Great Britain.
Dulled by dual carriageways and the dirty urban dust of a sunny late summer’s day – I was more than happy to discover this Modernist church in Rainham.
St Thomas of Canterbury RC
A modern church of 1956-58 by Eduardo Dodds. The atmospheric interior is decorated with fine sculpture by Michael Clark, and ceramic panels by Adam Kossowski. The tower is a local landmark. The former temporary church of 1934 survives as the Parish Centre.
Followed by another brick behemoth the Gaumont Chatham.
The Palace Cinema was built by a subsidiary of the Gaumont British Theatres chain, and opened on 30th November 1936. The exterior had a tall square clock tower, which was outlined in neon at night – Architect Arthur W. Kenyon
Re-named Gaumon from 18th December 1950, closed by the Rank Organisation on 2nd February 1961 with John Gregson in The Captain’s Table.
It was converted into a 24-lane Top Rank Bowling Alley, which opened in December 1961. Eventually, this was the last of the Top Rank Bowls to close, closing on 31st October 1970.
The building was converted into a B&Q hardware store, and the interior has been gutted. It was later in use as a camping centre, which remains open in 2010 as Camping International. The building is now known as Clock Tower House.
Designed by German civil engineer Hellmut Homberg, the two main caissons supporting the bridge piers were constructed in the Netherlands. ] The bridge deck is about 61 metres high, and it took a team of around 56 to assemble its structure.
The bridge was opened by Queen Elizabeth II on 30 October 1991. The total cost of construction was £120 million. The proposed name had been simply the Dartford Bridge, but Thurrock residents objected and suggested the Tilbury Bridge, leading to a compromise. At the time of opening, it had the longest cable-stayed span of any bridge in Europe.
I arrived at the Dartford Crossing hot and hungry – wandering towards the tunnel entrance, only to be apprehended by the authorities.
What are you doing here?
I pleaded for a glass of water and directions, happily I received both from a friendly member of staff.
Picked up by Range Rover and driven over to Essex free of charge.
Wearily I made my way across the county, no time for snaps it seems, simply wishing to hit town before nightfall. None of my B&Bs were booked ahead of time and I’ve never had a ‘phone. Finding a bed for the night proved troublesome – knocking on the door of a minor hotel, I was rebuffed by a Beatle suited, be-wigged figure:
Are you to take the vacancies sign down then – says I.
No – says he.
Under cover of darkness I holed up in a contractors’ flop house on the front, no-frills communal showers, short shrift and cold linoleum, but a welcome repose none the less.
Some pints don’t touch the sides – this and several others didn’t, ‘neath the flickering lights of Southend by night.
A wobbly walk along the prom.
Fetching up with pic of the Kursaal.
The Kursaal is a Grade II listed building in Southend-on-Sea which opened in 1901 as part of one of the world’s first purpose-built amusement parks. The venue is noted for the main building with distinctive dome, designed by Campbell Sherrin, which has featured on a Royal Mail special edition stamp.
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 Grade II listed country house, now divided into two dwellings. c1812. Ashlar gritstone. Hipped slate roof with leaded ridges. Various ashlar triple stacks with moulded tops. Moulded cornice and low parapet. Two storeys, central block with recessed long wing to east, orangery to west.
This Grade II listed manor house is set within 14 acres of natural grounds, together with the occupied adjoining servants’ wing, and has been sympathetically converted, retaining many original features to provide comfortable accommodation for families wishing to meet up for that special family occasion, and wi-fi is available in the living room.
Then came a pool:
Previously a private pool belonging to a country club in the 1930’s it later opened to members around 1938 who paid a small fee for its use. The pool is fed by a mountain stream and the water is reported to remain cool throughout the year. In the 1940’s/50’s locals recall the pool being open to the public where it cost a ‘shilling for children and half a crown for adults’ entry. During storms in 1947 the pool was badly damaged and reportedly ‘never the same again’ but postcards in circulation in the 1960’s provide evidence that the pool remained open at least until then.
Now it sits abandoned and hidden in the woods.
I went there in my early teens late 60’s the pool was still intact, well used and well cold. I remember chilly changing rooms with duckboards on concrete floors, a small café with pop and crisp if you had the pennies.
Most of all the simple joy of emersion in clear moorland water, on long hot summer days long gone.
Revisiting in April 2014, following a misguided scramble through brambles, it was a poignant reunion. The concrete shells of the pillars and statuary crumbling and moss covered, the waters still and occluded.
It sure it has subsequently been the scene of impromptu fashion shoots and pop promo videos, possibly a little guerrilla swimming. Though sadly it largely sits unused and unloved – let’s take a look around:
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.
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.
Gorton has received significant regeneration and investment over recent years as have nearby areas including Levenshulme. This is an aspirational, exciting new development and Arkwright Place has something for everyone – from first time buyers to growing families and downsizers – with a huge range of beautiful homes on offer.
A local campaign was organised to preserve the open space:
At present the fields are fenced and secured – though gaps have been made to allow access for strollers.
The goalposts still stand though currently without crossbars.
Which are stored by the Sports Hall.
The buildings are mothballed – awaiting what?
For me the concrete and brick functionalist changing rooms are a thing of beauty and seem to have been a part of my life for quite some time, as I cycled back and to – on my way to work.
Renold Chains were once a huge firm employing thousands in south Manchester, their main factory at Burnage, now demolished to make way for a supermarket. This grouping was designed as the administrative headquarters for the company and was in receipt of an RIBA Architecture Bronze Medal in 1955. The scheme, of two parallel wings connected by a central hub running perpendicular, now seems fairly pedestrian, though still exudes some presence by virtue of the evident control in the design and construction of relief within the main façade. This building, though, actually points toward the moment where Cruickshank & Seward were turning, with the rest of the profession, toward new engineered, curtain walling solutions. The three storey glazed stair towers are made of a relatively fine steel section glazing bar and are clearly expressed at the ends of the blocks; these perhaps pre-empt the altogether more refined towers at the Renold Building and Roscoe Building of the Universities. The third floor boardroom was also positively expressed as a curved solid, cantilevered above the entrance canopy. That the building was developed in such close proximity to the airport has ensured its continued viability as office and conferencing space. The firm also delivered the adjacent building for the same client in the 1970s.
Manchester International Office Centre (MIOC) is a prominent landmark office building extending to some 100,000 sq ft which provides occupiers with high quality space ranging from suites of 450 to 8,000 sq ft.
The building has undergone a complete internal transformation with a total refurbishment of the reception and common areas. The office suites provide a superb working environment in line with the demands of todays occupier.
On arriving home I hungrily rustled up a few RIBA Archive images from 1954.
Much remains intact – though gone is the concrete grid and glass brick insertions of the 1954 central section – replaced with a slick glass and steel skin.
And there are unpleasant intrusions made by the fitting of contemporary security and lighting – using intrusive exterior conduit.
It’s a sunny day with a southwest light – there’s nobody about, let’s take a look around.
The Orange Order is a conservative unionist organisation, with links to Ulster loyalism. It campaigned against Scottish independence in 2014. The Order sees itself as defending Protestant civil and religious liberties, whilst critics accuse the Order of being sectarian, triumphalist, and supremacist. As a strict Protestant society, it does not accept non-Protestants as members unless they convert and adhere to the principles of Orangeism, nor does it accept Protestants married to Catholics. Although many Orange marches are without incident, marches through mainly Catholic and Irish nationalist neighbourhoods are controversial and have often led to violence.
On the morning of March 28th 2015 I had taken the train to Scarborough, to spend a few days by the sea. As we passed throughHuddersfield and on into deepest Yorkshire, the carriage began to fill up at each stop with men, mainly men.
Men in dark overcoats, men with cropped hair, men sharing an unfamiliar familiarity. Intrigued, I enquired of my cultish companions the what, where, when and why of their collective purpose.
It transpired that they were all adherents of the Orange Order, Scarborough bound to participate in the annual Orange March.
On arrival we parted, but we were to meet up later in the day – I walked down to the foreshore and waited.
This is what I saw.
This year the march was cancelled.
You wouldn’t want anyone to catch anything, would you now?
Well of course we’ve all been here before, haven’t we?
Well I have – I even wrote all about it right here.
The tower was designed by the architects of the Ministry of Public Building and Works: the chief architects were Eric Bedford and G. R. Yeats. Typical for its time, the building is concrete clad in glass. The narrow cylindrical shape was chosen because of the requirements of the communications aerials: the building will shift no more than 25 centimetres in wind speeds of up to 95 mph. Initially, the first 16 floors were for technical equipment and power. Above that was a 35-metre section for the microwave aerials, and above that were six floors of suites, kitchens, technical equipment and finally a cantilevered steel lattice tower. To prevent heat build-up, the glass cladding was of a special tint. The construction cost was £2.5 million.
The tower was topped out on 15 July 1964, and officially opened by the then Prime Minister Harold Wilson on 8 October 1965. The main contractor was Peter Lind & Co Ltd.
I have admired the work of Bernhard and Hilla Becher ever since seeing their photographs in the one and only Tate at the time, in old London town.
An early example, possibly twelve small black and white prints of pit head winding gear, assembled in a three by four grid.
I became intrigued by the notion of serial art and typology, later in the seventies working as a Systems printmaker.
Very much in the tradition of Max Bill and Richard Paul Lohse.
In more recent years I have worked as a documentary photographer, at time paying homage to Bernhard and Hilla.
By placing several cooling towers side by side something happened, something like tonal music; you don’t see what makes the objects different until you bring them together, so subtle are their differences.
So on hearing of their exhibition at the National Museum of Wales in Cardiff, I excitedly booked my train ticket from Manchester.
Saturday 29th February 2020 – an auspicious Leap Year – knowingly taking a leap into the known unknown.
Braving the imminent threat of Storm Jorge.
I was given the warmest of welcomes by the gallery staff, spending a good while chatting to James, a fellow enthusiast.
My first surprise was the Bechers’ drawings, painting and notebooks.
Then onwards into two large, light spaces, with the work – actual Becher archive prints, displayed with the reverence that they deserve.
Given space to breath, in a calm contemplative area.
With a quiet attentive audience.
So here that are in situ – worth the wait, worth the train ticket, worth the two way seven hour rail trip. Seeing the prints close up reading the exposure, the thrill of the dodge and burn, a lifetime’s ambition realised.
Once widely admired, Ian Nairn esteemed architectural writer, thought it an exemplary exposition of modern integrated shopping and parking, sitting perfectly in its particular topography – way back in 1972.
This German magazine dedicated several pages to coverage of Merseyway back in 1971.
Note the long lost decorative panels of Adlington Walk.
Many thanks to Sean Madner for these archive images.
Mainstream Modern has recorded its conception and inception, as part of a wider appreciation of Greater Manchester’s architecture.
The architects were Bernard Engle and Partners in conjunction with officers of Stockport Corporation and the centre opened in 1965. The separation of pedestrians and cars, the service areas, the multi level street, the city block that negotiates difficult topography to its advantage, are all planning moves that are of the new, ordered and systemised, second wave modernism in the UK. The aggregate of the highways engineering, the urban planning and the shifting demands of retailers frequently arrived at a form and order such as this. In this way Merseyway is unremarkable, it’s like many other centres in many other towns – consider the rooftop landscape of Blackburn. It is, however, typical and has been typically added to and adjusted during its life and presents perhaps the face of the last retail metamorphosis before the out-of-town really made the grade.
Each successive remaking and remodelling has seriously compromised the integrity of the development. We are left with dog’s dinner of poorly realised Post Modern and Hi-Tech additions, along with a failure to maintain the best of the original scheme.