Abbey Walk Car Park – Grimsby

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.

Wikipedia

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.”

Lincolnshire Reporter

So here we are faced with a rare, precious and beautiful example of municipal modernism, a bold and brave attempt to decorate what is often the most functional of functional structures.

Owing something to the work of both Henry Moore and Pablo Picasso the imagery is derived from automotive parts, along with it seems to me, vague intimations of figuration.

Let’s talk a look!

Antony Holloway – Huyton Wall

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.

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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.

Leyland – St Mary’s Church

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.

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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.

Stained glass by Patrick Reyntiens.

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.

Text from Taking Stock

Many thanks to Father John and the members of the congregation for the warm welcome that they extended to us on the day of our visit to their exceptional Grade II Listed church.

William Mitchell – Newton Heath

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.



Mitzi Cunliffe – Owen’s Park Manchester

Mitzi Solomon Cunliffe January 1st 1918  December 30th 2006

American born, resident of Didsbury Manchester, sculptor and designer, responsible for, amongst other things, the BAFTA mask.

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Her first large scale commission was two pieces for the Festival of Britain in 1951. One, known as Root Bodied Forth, shows figures emerging from a tree, and was displayed at the entrance of the Festival. The second, a pair of bronze handles in the form of hands, adorned the Regatta Restaurant. She created a similar piece, in the form of knots, in 1952 which remains at the School of Civic Design at Liverpool University, along with The Quickening in the rear courtyard.

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Cunliffe developed a technique for mass-producing abstract designs in relief in concrete, as architectural decoration, which she described as sculpture by the yard. She used the technique to decorate buildings throughout the UK, but particularly in and around Manchester.

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Particularly this example of four modular panels named Cosmos, set in the wall of the student halls of residence in Owens Park, Fallowfield, Manchester.

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London Road Fire Station – Manchester

London Road Fire Station is a former fire station in Manchester, England. It was opened in 1906, on a site bounded by London Road, Whitworth Street, Minshull Street South and Fairfield Street. Designed in the Edwardian Baroque style by Woodhouse, Willoughby and Langham in red brick and terracotta, it cost £142,000 to build and was built by J. Gerrard and Sons of Swinton. It has been a Grade II* listed building since 1974.

Wikipedia

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Manchester Local Image Collection

Despite its listing and prominence, opposite the rear corner of Piccadilly Station, this honeyed and red ochre delight has suffered nought but the indignity of abandonment since its closure in 1986, changing hands as quickly and venally as a worn deck of cards

The finest fire station in this round world stands empty.

 

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Eastford Square Collyhurst – Slight Return

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.

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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.

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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.

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