Today on my way elsewhere, in search of something or other, I walked into the lobby of the CIS.
I asked permission from the Receptionist to take a few snaps, was referred to the Head of Security, who referred me to the Receptionist, who ‘phoned Paul, who turned out to be Steve, who thought that it would be OK.
So I did – here are those very snaps, my thanks to the cooperative staff of the Cooperative Insurance Society.
Where once productive and fulfilling lives were lived, buddleia now blooms, whilst thin grass entwines around forlorn fencing and betwixt ever widening cracks in the uneven paving.
Development in South Collyhurst will take the form of residential-led, family-focused neighbourhoods. We’ll be providing a variety of housing types and tenures to encourage diversity, along with a mix of social and community infrastructure that supports a family lifestyle in close proximity to the city centre.
There are two ideas of government. There are those who believe that if you just legislate to make the well-to-do prosperous, that their prosperity will leak through on those below. The Democratic idea has been that if you legislate to make the masses prosperous their prosperity will find its way up and through every class that rests upon it.
William Jennings Bryan 1896
Indeed, You have turned the city into a heap of rubble, a fortified town into ruins; the fortress of strangers is a city no more; it will never be rebuilt.
And they that shall be of thee shall build the old waste places: thou shalt raise up the foundations of many generations; and thou shalt be called, the repairer of the breach, the restorer of paths to dwell in.
The putative William Mitchell cast concrete block stares stolidly at its surroundings, overseeing a slow and painful decline.
All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.
There’s no business like no business – it’s no better out the back.
This is an unprecedented opportunity to deliver a significant residential-led development connecting the north to the centre of Manchester. Working with our partners we’re re-imagining the essential neighbourhoods of our city.
We were there at the behest of Esther and Leigh, gathering to say farewell to Alan Boyson’s Three Ships, as it transpired we were there to celebrate its reprieve, following their campaign for listing.
Over a million tesserae glowed in the low winter sun – so did we.
As Helen Angell read her poem – Christopher Marsden and Esther Johnson recording the performance for posterity.
The Three Ships are attached to a former Cooperative Store – complete with a formerly working Cooperative Store clock – where we meet at four minutes to six – forever.
We had previously encountered Hammonds of Hull/House of Fraser – soon to be a food court, artisan everything outlet.
And this Festival of Britain style functionalist council building.
Onward to the Queens Gardens the almost filled in former Queens Dock – forever fourteen feet below sea level.
We encounter Ton Liu’s Solar Gate – a sundial that uses solar alignment to mark significant times and dates in Hull. The super-light innovative two-shell structure is place-specific, responding to pivotal historic events and to the cultural context of its location in Hull’s Queens Gardens adjacent to the ancient site of Beverley Gate.
Carved stone panels Kenneth Carter 1960 – Ken’s art career began as an inspiring teacher, first at his alma mater, Hull College of Art, and later as principal lecturer at Exeter College of Art.
A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to:
The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.
I was in town, just looking around, just looking for modernity, just looking.
I found you by chance between the railway and the high street, so I took a good look around, fascinated by the concrete sculptural panels on your fascia columns, those facing Abbey Walk.
Research tells me that they the work of Harold Gosney – born in Sheffield, he studied at Grimsby School of Art and London’s Slade School of Fine Art.
The majority of Gosney’s early commissions were collaborations with architects and he has made a significant contribution to public art in Grimsby. He is the artist responsible for the reliefs on the Abbey Walk car park, the large Grimsby seal by the entrance to the Grimsby Central Library and the Grim and Havelok themed copper relief on the side of Wilko store in Old Market Place.
The car park has been the subject of some speculative repairs and refurbishment:
In total, the scheme will cost the council £1.54 million.
The authority will borrow £1.34 million to fund the project with a further £200,000 coming from a local transport grant. But the council said that the improvements made could help increase revenue from the car park of around £34,000 a year.
Councillor Matthew Patrick, portfolio holder for transport at the council, said that the work is essential to “brighten up” the building and attract people into Grimsby.
“It’s one of the largest car parks in the town,” he said.
“It will attract more people into the town centre and help to improve the offering of the car park.”
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.
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.