Public Art

Antony Holloway – Huyton Wall

Posted on August 29, 2019 by modernmoocher

Antony Holloway – artist born March 8th 1928 he died on August 9th 2000.

Dorset was where he was born and grew up and the Dorset landscape was always there deep within him. He was educated at Poole grammar school between 1939 and 1945. After national service in the Royal Air Force in Dorset and Germany from 1948 to 1953 he studied at Bournemouth College of Art. Then came the RCA.

Tony began work as a stained glass and mural designer and jumped, with astonishing confidence, into working as a consultant designer with the architects’ division of the London County Council. He learned how to deal with architects and builders, and became adept at getting as much out of the money available – never enough – for his projects.

In 1963 he was introduced to the Manchester architect, Harry Fairhurst. Eight years later, after they had worked together on commissions in Cheshire and Liverpool, Fairhurst sought Tony’s advice about a plan for five large stained-glass windows in Manchester Cathedral.

Tony asked to design and make the first window, the St George in the inner south-west aisle. It was completed in 1973. Further windows followed in 1976 and 1980 and the final window, Revelation was installed in 1995.

The Guardian

His Sculptural Wall on London Road Manchester – an integral part of Fairhurst’s UMIST scheme, is Grade II listed.

His concrete panels clad two opposing sides of the Faraday Tower which can also be seen on the UMIST site.

I discovered further reference to his work in an old copy of Studio International – serendipitously purchased from a local charity shop.

So I bided my time, awaiting the day I could take the train to Huyton, walk along Bluebell Lane, across the busy dual carriageway to Primrose Drive.

My patience was rewarded – 7,000 square feet of cast concrete retaining wall, surrounding the tower blocks, built on a site raised above the roads.

In 1987 the wall was open to public access – one of the three tower blocks has been subsequently demolished.

Tower Block

Partially covered with greenery and now securely contained within spiked railings, I circumnavigated the site catching and snapping the structure where I could – here are those very snaps.

William Mitchell – Newton Heath

Posted on April 26, 2019 by modernmoocher

On meeting an old friend in Manchester – following previous encounters in Coventry, Salford and Liverpool

Following a lead from Neil Simpson I cycled along Clayton Vale and emerged on Amos Avenue where the flats came into view.

I was in search of an an averaged sized totemic concrete municipal public art pillar – similar to the example to be found in Eastford Square.

It belongs to a time when Municipal Modernism was very much in vogue – the provision of social housing along with the commissioning of murals, sculptures, mosaics and tiled reliefs.

There has been some discussion regarding its authorship – it may or may not be the work of William Mitchell – both Skyliner and The Shrieking Violets have tried to find an answer.

Inevitably my only concern is art over authenticity – does it move you?

Let’s just take a little look.

Dorothy Annan Mural – The Barbican

Posted on February 13, 2019 by modernmoocher

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 Annan 20 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.

All Saints & Martyrs – Langley

Posted on July 9, 2018July 14, 2018 by modernmoocher

All Saints & Martyrs Rectory, Wood St, Middleton, Manchester M24 5GL

We had the pleasure to visit All Saints & Martyrs on Saturday 7th July 2018 as part of an Art and Christianity – Manchester Modernists Society bus tour.

We could not have been made more welcome by The Reverend Canon Philip Miller – Vicar of Langley and his team, many thanks for their warm hospitality.

Set on the Langley Estate, one of many developed by Manchester Council as overspill social housing, the church serves a large community to the north of the city.

The architect was Albert Walker of Leach Rhodes Walker – this was the first church that they had built, having previously specialised in shopping precincts.

Leach, Rhodes and Walker had involved Geoffrey Clarke RA with their earlier new church building for All Saints, Barton Road, Stretford. (1957) here his contribution was chiefly a large stained glass window depicting the Trinity. LRW continued to collaborate with Clarke in their church projects, in the years following at Langley. In a letter to the church at the time he wrote: “Start saving now for a new West End Window – only £10 p.s.f – for the greatest window in the North…. I have just done some windows I’m rather pleased with..”

The church is an imposing angular structure, its height possibly determined by the treasure within – The Langley Cross.

Consecrated in 1964, All Saints and Martyrs is home to the Langley Cross. This unique structure, which adorns our east wall, is the work of internationally renowned artist, Geoffrey Clarke RA, who has won reputation by his contributions to Coventry Cathedral.

The sculpture itself is 37 feet high and about 20 feet wide at the extremities of the transverse shaft and made of cast aluminium metal.

This is work of national and international significance.

The church is lit from the west by a large yellow and white window, formed of French stained glass. Though seriously damaged over time, it has subsequently been repaired and forms an imposing counterpoint to the facing cross.

To the right of the main entrance is a delightful chapel, illuminated by a large stained glass window.

And in addition a charming period light fitting.

To the right of the altar and cross are pierced stained glass windows.

And to the left the sculptural organ pipes and further pierced stained glass.

The church has retained much of its original furnishings.

The roof is formed of intersecting concrete beams and coloured blocks.

The adjoining ground floor space was once used for an overflowing congregation, it has retrospectively been partitioned and serves as a social meeting area.

It was here that we were so generously treated to tea and cakes.

And given the opportunity to view examples from the church’s extensive archive.

The building is not without its problems – the ingress of water and the cost of maintaining the structure require outside assistance, through grant aiding, fund raising and donation. We should all make every effort to ensure that All Saints and Martyrs survives intact for generations to come.

Here is a building of great distinction, housing public art of the highest quality, built at a time when the ethos of nothing but the best for all was commonplace.

I can only thank Phil once again for his warm welcome and wish he and his parishioners – nothing but the best for the future!

If you have the opportunity, go and take a look for yourself.

John Lewis Mosaics – Milton Keynes

Posted on June 17, 2018June 21, 2018 by modernmoocher

I was lured here, siren like, by an un-purchased eBay postcard – which precipitated a virtual four colour process printed journey around the shopping precincts of the UK.

It only seemed appropriate to finally arrive at MK Central in real life, by train from Stockport – walking at last wide-eyed and expectant, along the whole length and width of Midsummer Boulevard to centre:mk

The Milton Keynes Development Corporation began work on the Shopping Building in 1973. It was to be the largest building of Central Milton Keynes. It had a total length of over one kilometre and a maximum width of one hundred and sixteen metres . It was built at the highest point in the New City. The architects were Derek Walker, Stuart Mosscrop, and Christopher Woodward, who had been significant architects at the MK Development Corporation; and the engineers were Felix Samuely and Partners. The shopping area was opened on 25th September 1979 by Margaret Thatcher. The building’s sleek envelope accommodated one hundred and thirty shops and six department stores, arranged along two parallel day-lit arcades, each eight hundred meters long and planted with sub-tropical and temperate trees.

A big bad Miesian box of glass and steel that goes on forever and forever.

At the very far end of forever is the John Lewis store, to the right of the entrance there are a series of tiled panels – these are possibly the work of Lucienne and Robin Day

Way back when, when brown was the new brown, brown still is the new brown.

Fresh and crisp and even.

Bobbing up and down precipitously on low marble walls, from amongst the sub-tropical and temperate trees, I bring you these thirteen tiled panels.

Working so close up and personal at altitude, photographing such large pieces in confined spaces, it’s not until you arrive home that you discover that together they spell:

What a delightful surprise!

St George’s Shopping Centre – Preston

Posted on March 10, 2018March 11, 2018 by modernmoocher

Once upon a time the future was shop-shaped and utopian, the Modernist reliefs a welcome relief from post-war doom and gloom, public decorative art was off the ration for good, or so it seemed. Small retail units, housed small local operators, their shiny well-washed fascias, glowing with graphic pride and diversity, slab serif and decorative script the order of the day.

Architects J Seymour Harris and Partners envisaged a brave new water-coloured open-aired world for the grey austerity-tinted folk of Preston.

And lo it came to pass and underpass – the future was here yesterday.

Get off the bus on Fishergate and walk right on in.

The shopping centre opened on 22 March 1966 as St George’s Shopping Centre.

It was originally an open air centre, and was roofed over during refurbishment in 1981. It was further refurbished in 1999.

In May 2004, when The Mall Company took over the centre, they were greeted with an ageing shopping centre. The shopping centre was rebranded as The Mall, and a massive development scheme was planned. Small stalls, main shops, cafes, restaurants, toilets, and escalators were overhauled.

In March 2010, the shopping centre was acquired by Aviva Investors for £87 million. In September 2010, The Mall was rebranded under its original name St George’s Shopping Centre.

Wikipedia

So welcome back to today – stripped of distinctive decoration, covered in and given the international sheen of absolutely nowhere at all.

In intemperate template for the future.

Archival images from the Preston Digital Archive and Peter Reed.

Eastford Square Collyhurst – Slight Return

Posted on February 13, 2018February 13, 2018 by modernmoocher

I’ve been here before and after.

After now seems further away, forever awaiting redevelopment – waiting.

No more Flower Pot Café and a warm welcome from Lee and the lads.

Nearly nine years on – the shutters are down and nobody is home, save for the Lalley Centre – offering food, support and care to the community.

Though Sister Rita Lee has now move on to pastures new.

The homes and shops remain resolutely shut, un-lived in and unloved, though the City plans to re-site the resident sculpture, the residents remain absent without leaving.