February 2020

Campus Capers – Manchester

Posted on February 17, 2020May 16, 2022 by modernmoocher

Moving down the road a ways in search of an education, we encounter the UMIST Campus 1962-68 Cruikshank and Seward.

But first we hit a concrete, not brick, a concrete wall, a barrier with a barrier, encased in green metal mesh, shrouded in leafy trees.

Anthony Holloway Screen Wall 1966

Former student residence.

Barnes Wallis Building

Renold Building designed by W. Arthur Gibbon of Cruickshank and Seward. It was one of a suite of white concrete structures on the UMIST campus in Manchester. It was the first of its type in the UK – an entire building to house lecture theatres and seminar rooms.

And a foyer Victor Pasmore Mural

This is a maquette for the unlisted mural in the lobby of the Renold Building.

Turn around and there’s the Pariser Building.

The Maths and Social Science Block.

Gone is the low lying Chemistry Building – it’s mosaics now almost hidden in intemperate storage at the base of the Faraday Building.

Works continue with the preparation for the construction of the new £60 million Graphene Engineering Innovation Centre GEIC and the demolition of the Faraday Undergraduate Building and link bridge on the North Campus.

The mosaic, `The Alchemist’s Elements’, in the entrance colonnade, has now been safely removed from the building and are being stored securely on campus until the building works are complete.

On completion of the GEIC in late 2017, the 4.5m x 3m artworks will be permanently reinstated within the site for visitors to enjoy for years to come.

The mosaics were created by Hans Tisdall a German-born artist, illustrator and designer with a distinguished career in 20th century Britain. Following the Second World War, Tisdall became involved in the revival of public artworks within many educational and industrial buildings – one of which included the Faraday Building at UMIST.

Staff Net

As of last week this was not the case.

Faraday Tower was designed by H. M. Fairhurst and built in 1967. A bridge connected it to the Faraday Building. Originally a library occupied the bridge.

The cladding is also by Tony Holloway

Onward and upward and slightly backwards into the world of modern information technology the National Computing Centre 1974 Cruickshank and Seward.

Another great sadness is the closure of St Augustine Church 1967-8 by Desmond Williams & Associates at All Saints, without a priest for well over a year.

Though there are rumours of a change of use and this wall relief by Robert Brumby is still visible.

The church now has an incumbent priest and is generally open most days.

Twixt the old and not so old this zigzag connecting corridor.

Off now to the RNCM 1968 Bickerdicke Allen Rich and Partners.

In the past fifteen years it has been slowly extended and modified by MBLA Architects, late MBLC. This has included a new library and teaching facility to the west and new practice suites to the eastern elevation as well as internal modifications to the kitchens, café and foyer spaces.

Mainstream Modern

Across the way and somewhat set back Lynn Chadwick’s Sun

Further art in the environment almost in the environment Hans Tisdall’s Four Seasons – half in half out of the café.

Opposite we find the Schuster Building contains a mysterious mosaic.

The Schuster Building houses the Department of Physics and Astronomy and is named after Sir Franz Arthur Friedrich Schuster. The building was designed by Harry S. Fairhurst & Sonsand was completed in 1967. The roof of the largest Lecture Theatre in the building has an abstract sculpture by Michael Piper on it.

A Sixties photographer called John D Green was chosen by the architect – however it’s a mystery why he was commissioned.

It would seem John D Green was a man of many talents – he was also a regular racing driver at Brands Hatch, and author of the legendary book Birds of Britain, recently the subject of an exhibition at Snap Galleries in London.

Staffnet

Returning again to Oxford Road – we encounter the classical mass of the Students Union J.W. Beaumont 1956

Cutting into the campus towards the Ellen Wilkinson aka Humanities Building – BDP 1964

The sculpted and moulded panels on the two-storey block and on the gable ends of the larger blocks were designed in collaboration with William Mitchell.

AQA HQ – Playne and Lacey 1962.

Around the corner the student homes of Whitworth Park

The Whitworth Park Residence has earned the obvious nickname of The Toblerones. It offers accommodation to 1085 undergraduate and 153 postgraduate students. The complex was designed by the Building Design Partnership and built in 1973-74.

Manchester History

Merseyway – Adlington Walk

Posted on February 15, 2020July 25, 2020 by modernmoocher

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.

Plans are now afoot to revamp the precinct – starting with Adlington Walk.

Proposed facilities include a soft play space, new seating, buggy stores, high grade toilets, parent and child facilities and a multi faith prayer room.

St Saviour’s Church – Bradford

Posted on February 13, 2020March 20, 2020 by modernmoocher

St Saviour ‘s 25 Ings Way Bradford BD8 0LU

What a delight – the stunning surprise that awaits you, around one particular suburban corner of Bradford.

I had called ahead, to arrange the visit – the Reverend Dorothy Stewart had gracefully invited me to join members of the community and herself, one wild and windy Wednesday.

Steel frame and shuttered concrete with dark red brick walls in stretcher bond, and slate roofs.

Church of 1966 with attached hall of 1971, both designed by architect George Pace. Characterised by asymmetric arrangement of roofs, exposed structure and juxtaposition of materials, this is a complete and largely unaltered example of Pace’s work. The asphalt roof and windows are in very poor condition. Repair works to the roof were carried out in 2016 with funding from the National Lottery Heritage Fund’s former Grants for Places of Worship scheme.

Listed November 2007

The exterior is stark and angular, the body of the church is a broad rectangle with no division between nave and chancel, with a bell tower to the east, vestries to the north-west and a chapel to the west. At the western end is the church hall, added in 1971. Externally a single asymmetric roof covers the main body of the church, rising at the east end to form a mono-pitch section over the altar area and incorporating the bell tower. There is a porch at the east end of the north side, and a transept with a double pitch roof. To the west is a single storey, flat roof section with an entrance to the north, extending to the transept. West of the main body of the church on the south side is a separate roof, housing a chapel. To the west is the church hall, with a north-south asymmetric roof. All the windows are rectangular, of varying sizes, with plain glass in rectangular leaded lights. Lintels over the doors and the parapet of the flat roofed block are of shuttered concrete, as are the window surrounds.

The body of the church contains Victorian stripped oak bench pews derived from St John’s church in Little Horton, arranged with a central aisle. To the north side is a range of contemporary pews in wood with vertical slatted fronts, in front of the organ, recovered from St. Chrysostom’s Bradford , by Driver and Haigh of Bradford, which is housed in the transept with a matching front of vertical wooden slats.

Let’s take a look.

To the rear is the cylindrical font in white concrete with a wooden lid, set on a raised platform. Suspended above it is a large light fitting in black metal, inscribed around the edges with the words: “This font is erected by relatives and parishioners in memory of/ Beatrice May Parkin, for over forty years a Sunday School teacher and/ worker for St Saviour’s Church, who died 2nd March 1961”.

There is no separate chancel, and the finishes throughout are exposed brick, shuttered concrete and limed oak. The sanctuary area is in the south-east corner and consists of a tall angled purple brick reredos, topped with concrete, and a lower detached, angled purple brick pillar to each side each holding a shelf and incorporating a wooden seat. In front of the central reredos is an integral wooden bench with three backs, and a large black metal cross in the same style as those on the exterior but with more elaboration, fixed to the floor on a raised concrete block. To the fore is the altar table on a low raised platform. The whole is enclosed within an altar rail of iron and wood, open to the centre.

The main roof has exposed wooden trusses supported on concrete pillars and beams, with rafters and purlins also exposed creating a latticework pattern.

The whole interior order is orderly, calm and coherent, a simple consistency of materials and architectural intent.

The solid wood, studded chapel door has the words “I am the Good Shepherd” engraved on it. The chapel has exposed beams and rafters, and an altar to the north with iron and wood altar rail in front. Pews are as in the church. There is a mosaic plaque behind the altar which came from St John’s church in Little Horton.

Beyond to the west is the narthex, with shuttered concrete ceilings pierced by circular skylights, exposed brick walls and doors to the chapel, service rooms and hall.

Such a pleasure to visit such an enchanting church – it was a precious privilege to be welcomed by the congregation, warden and Reverend Dorothy.

Once again – many sincere thanks.

Cecil Cinema – Hull

Posted on February 11, 2020June 24, 2021 by modernmoocher

Anlaby Road and Ferensway Hull HU1 2NR

After you, Claude – no, after you Cecil

The Theatre De-Luxe was built in 1911 at the corner of Anlaby Road and Ferensway with its entrance in Anlaby Road and its auditorium along the side of the pavement in Ferensway. Kinematograph Year Book of 1914 lists 600 seats and the owners as National Electric Picture Theatres Ltd.

In 1925, the theatre was rebuilt to a radically altered ground-plan and renamed the Cecil Theatre. The opening night was Monday 28th September 1925. The entrance was in a curved façade at the Anlaby Road/Ferensway corner. The alignment of the new, larger, auditorium was at right angles to Ferensway, and parallel to Anlaby Road. Effectively, the length of the Theatre De-Luxe auditorium became the width of the Cecil Theatre’s. Seating was 1,700 with 700 of those in the balcony, according to the Hull Daily Mail. The Cecil Theatre was originally designed for silent movies with a full orchestra pit. KYB 1931 lists it having Western Electric sound installed; and a 1931 aerial view shows that a brick horn-chamber had been built onto the wall at the rear of the stage. It had a 35 feet wide proscenium. The cinema also had a café attached.

The Cecil Theatre’s demise came during bombing on the night of 7/8 May 1941 when German incendiary bombs reduced the building to a shell; and it remained like that until demolition in 1953.

Cinema Treasures

Work on the new Cecil Theatre was begun in April 1955 and it was opened on 28th November 1955 with 1,374 seats in the stalls and 678 in the balcony.

Architects: Gelder & Kitchca

At the time of opening it had the largest CinemaScope screen in the country measuring 57 feet wide, and the first film shown was Marilyn Monroe The Seven Year Itch. The proscenium was 60 feet wide, and the cinema was equipped with a Marshall Sykes 3Manual/15Ranks organ, which was opened by organist Vivian Newall.

There was also a 100-seat restaurant & bar which in 1971 was converted into a second screen seating 137 (Cecil 2). The following year the main auditorium was spilt into 2 smaller cinemas in the balcony (Cecil 1 & 3 each seating 307) and an entertainment hall in the former stalls which became a Mecca Bingo Club, with Mecca also operating the cinemas.

In the 1980’s it was taken over by the Cannon Cinemas chain. The cinema operation was closed on 23rd March 1992 and the cinemas were ‘For Sale and/or Lease. It was taken over by Take Two Cinemas and renamed Take Two Cinema. It was closed on 27th February 1997 and the two screens in the former circle were stripped out and converted into a snooker club.

Whilst bingo continues in the former stalls area of this post war
cinema, the former mini cinemas in the circle still contain the snooker tables, but the space is unused. The screen in the former restaurant/cafe area remains basically intact, but is unused.

Cinema Treasures

I worked at the Cecil in the three years before it closed in the 90’s. MGM owned the place before the Virgin group bought it and closed it. It was a good place to work and an interesting building. Behind the scenes had remained unchanged since Anna Neagle first opened it. The organ had been removed however but the organ room was still in tact in the bingo section of the building. The fire exits led to long dark corridors that were always being infiltrated by kids sneeking in for a free shows. I understand that this was always the case. The resturant kitchen was fully intact and resembled something out of a Kubrick film – very spooky place!

Bilko2000

And so the projectors whirr no more, house is called at the Cecil – possibly the most oddly named cinema in the land.

Happily it remains an imposing presence in the centre of the city – a mammoth modern temple of entertainment – reflecting the ever changing tastes of the day and the morning after.

Humber Bridge

Posted on February 10, 2020 by modernmoocher

The Humber Ferry was a ferry service on the Humber between Kingston upon Hull and New Holland in Lincolnshire which operated until 1984, after the completion of the Humber Bridge in 1981.

I walked from Hull to Hessle – but you were always on my mind.

Glimpsed once or twice from a train, I’d never been up close and personal.

The Humber Bridge was opened by Her Majesty Queen Elizabeth II in 1981.

It is one of the marvels of modern engineering and was, until 1998, the longest single span suspension bridge in the world but there are now five other longer bridges of this type. However it is still the longest that can be used by pedestrians.

The bridge is 2,220 metres long and the towers, which are farther apart at the top than the bottom to compensate for the curvature of the earth, are 155 metres high. It was built at the narrowest point of the estuary known as the ‘Hessle Whelps’ and when completed it was admired for its design and elegance, but reviled by others as a bridge from nowhere to nowhere, the crossing comprises a dual carriageway with walkways for pedestrians and cyclists on both sides.

Although approval to build the bridge was granted in 1959 work did not begin until 1972 due to difficulties in financing the project. In 1966 Harold Wilson, the Prime Minister of the day, allowed Barbara Castle, the Minister for Transport, to give permission for the bridge to be built, hoping that the announcement would be a vote winner in the forthcoming Hull North by-election.

Construction Team

The consulting engineers for the project were Freeman Fox & Partners . Sir Ralph Freeman had produced the first ideas in 1927 and in the early 1930s the cost of the project was estimated at £1.725 million and that the bridge would be unlikely to recoup the construction or maintenance costs. In 1935 he had an idea for a 4,500-foot suspension bridge for the Humber Tunnel Executive Committee. Sir Gilbert Roberts produced more ideas in 1955 for a bridge with a 4,500-foot central span, costing £15 million, to be paid for by East Riding County Council and Lindsey County Council. Once it was likely that a bridge would be constructed, Bernard Wex produced the design in 1964 that was actually built. The bridge was built to last 120 years.

The architect was R. E. Slater ARIBA. The administration building for the tolls, was designed by Parker & Rosner. The landscaping was designed by Prof Arnold Weddle. Wind tunnel testing took place at the National Maritime Institute at Teddington and the road deck is designed for wind speeds up to 105 miles per hour (170 km/h).

Wikipedia

Even on the calmest of days the power and sway, push and pull of wind and tide is an uplifting, hair-raising and visceral experience.

The elegantly engineered giant towers above as you gaze from the shore.

An elegy to human endeavour in concrete and steel.

The bridge is of necessity firmly anchored to the ground.

The walkway wide and high astride the estuary.

The tall towers towering above.

The whole structure tied down, anchored and suspended securely.

The mid brown waters of the Humber flowing gently below.

I walked back and to in the company of a handful of fellow travellers, on foot and bike, one of life’s best ever free rides, and reluctantly bade farewell as I headed home to Hull.

But just like just like General MacArthur I came through and I shall return.

George Street Car Park – Hull

Posted on February 6, 2020February 6, 2020 by modernmoocher

My previous Hull walk was was linear, along the Humber Estuary open and expansive.

This was a very different kettle of fish – spiralling out of control, rising and falling, walking the ramp, a journey into one’s inner self.

Possibly the worst multi storey I have been in for years.

Spooky, filthy, bays too small, machines remote, access tortuous.

Avoid.

So says Nick Shields

Dark, Gloomy and Rotting .

Looks a good candidate for a location for a crime watch reconstruction.

Quoth Peter Campbell

It’s a multi story multi Storey and no mistake

I couldn’t possibly pass comment, I walk can’t drive, won’t drive – though simply can’t resist exploring car parks.

Though the local paper has identified an issue of fitness to fit.

Heard the one about a city centre car park where you can’t easily park your car? It might sound like a joke but it’s no laughing matter for drivers trying to squeeze into vacant spaces at Hull City Council’s multi-storey car park in George Street. For motorists are finding it increasingly difficult to manoeuvre into its tight parking bays.

I myself navigated the bays with ease, though not without that unique sense of foreboding and unease, generated by an empty concrete carapace where car space, decay and ingress are issues.

It was designed and developed by Maurice Weston in the 1960s. He had two companies, Multidek and Dekotel, and built circular continuous ramp car parks in Hull, Nottingham, Leicester, Bristol and Bournemouth, some of them also involving circular hotels on the upper floors. In its day, the bays were easily wide enough for most cars. When I used George Street myself, it felt great to use, because you could easily reverse into the pitches and there were no tight corners to negotiate. But car widths have probably got the better of it, these days, and you can’t widen the pitches because of the position of the pillars.

The plans were very complicated to get approved because the George pub was a listed building and the car park had to be built around it. Incidentally, Maurice Weston also had an option to develop the wasteland on Ferensway in the 60s, but his hotel and entertainment centre project didn’t get past the council.

Thanks to David Sugarman

Let’s take a look.

Hull to Hessle – Humber Estuary Walk

Posted on February 4, 2020 by modernmoocher

Overcast and grey – heading headlong into the prevailing westerly.

This is just the day to walk from Hull to Hessle.

From the recently renovated early morning, empty piazzas of Hull Marina to the foot of the Humber bridge.

To the left the interminable rippling brown surface of the river, relentlessly heading out to sea.

To the right a modern melange of working docks – shipping aggregates and timber, hither and thither.

The vacant haunts of fisher folk no longer casting nets, forever and a day.

Disused and decayed warehousing, betrayed by the coming of the container, home now to the Urbex snapper and itinerate tagger.

Out of town retail parks fuelled by debt.

Dried up reed beds swaying beneath the weight of the wind.

The suspended bed of the bridge, floating high above the waters, far below.

Take a walk with me now.

Cooperative Sunlight – Manchester Walk

Posted on February 4, 2020February 8, 2020 by modernmoocher

This is a tale of two tales and one city – the collective philosophy of the CWS and the individualism of Joe Sunlight, all within the welcoming arms of Manchester free trade liberalism.

Born Novogrudok, Belarus, then part of Russia, his Jewish family were named Schimschlavitch, his father a cotton merchant. The family emigrated to England in 1890 to avoid conscription and settled in Manchester, probably choosing their new name from Port Sunlight.

Sunlight was apprenticed to an architect in Manchester in 1904 and by 1907 had his own practice in St Ann’s Square. Reputedly, by 1910, he had designed and built more than 1000 houses in Prestwich and claimed that by 1921 he had created more than one million pounds’ worth of property.

He also designed and built factories and warehouses, but his greatest memorial is Sunlight House – 1932. In 1949, he proposed a 40-storey extension, but it was rejected by the city council.

The Rochdale Society of Equitable Pioneers was a group of 28 that was formed in 1844. Around half were weavers in Rochdale . As the mechanisation of the Industrial Revolution was forcing more and more skilled workers into poverty, these tradesmen decided to band together to open their own store selling food items they could not otherwise afford. With lessons from prior failed attempts at co-operation in mind, they designed the now famous Rochdale Principles, and over a period of four months they struggled to pool one pound per person for a total of twenty eight pounds of capital. On 21 December 1844, they opened their store with a very meagre selection of butter, sugar, flour, oatmeal and a few candles. Within three months, they expanded their selection to include tea and tobacco, and they were soon known for providing high quality, unadulterated goods. By 1900, the British co-operative movement had grown to 1,439 co-operatives covering virtually every area of the UK.

The Cooperative Wholesale Society dominated a whole swathe across the east of the city and beyond, encompassing manufacturing, banking and insurance.

Fruit and veg distribution.

The icing on the empire’s cake being the 1960s CIS Tower.

The Co-Operative Insurance Society (CIS) Chief Office was built between 1959-62. Its aim was to provide the company with a headquarters in the north comparable to anything in London. Operating from ten different sites in Manchester following the war, the company wished to consolidate their activities within a landmark building, and took advantage of a bomb-cleared site on Miller Street. The architect was Gordon Tait, of Sir John Burnet, Tait and Partners, who was brought in to collaborate with the already appointed Chief Architect in Manchester, G S Hay.

CIS Tower was the largest office block to be built since the war, reaching 25 floors in height. The design was heavily influenced by a trip to the United States, which resulted in a taller, more centralised building that made use of curtain walling. The brief was for an open plan office building, to house 2,500 staff.

CWS Redfern Building 1928 WA Johnson & JW Cropper – a delightfully functionalist brick moderne building in the northern European manner.

I do how however have a personal preference for the tower’s relatively diminutive neighbour New Century House and Hall

Particularly note must be made John McCarthy’s concrete screen wall water feature.

New Century House was designed by G. S. Hay and Gordon Tait and constructed by John Laing & Son for the Co-operative Insurance Society in 1962. The attached New Century Hall has a capacity of 1,000 people. New Century House and Hall were listed in 1995 as Grade II as a good example of a high-quality post-war office building. It is considered one of the finest modernist towers in the United Kingdom alongside the sister building CIS Tower – It is described in its listing as:

A design of discipline and consistency which forms part of a group with the Co-operative Insurance Society.

I am told that the current work will see the building used as a music school and venue.

Over the road and we are in the heart of the former CWS realm – Cooperative cigs, matchless, currently home to new homes.

Crossing the Irk to our right this impressive utilitarian infrastructure.

Up and over the river heading for Strangeways.

The Strangeways family themselves are certainly recorded in antiquity at the site, although the name appears differently over time; Strongways in 1306, Strangewayes in 1349 and Strangwishe in 1473. In the late 1500s in records at Manchester Cathedral the surname is spelt Strangwaies.

In modern times home to the city’s Jewish community, followed by subsequent layers of immigrant groups from the Indian subcontinent and East Asia.

Amongst the Victorian development are Joe Sunlight’s industrial buildings.

Manufacture gives way to retail distribution, the post-war Cheetwood Estate, remade and remodelled as Miami Modes, or simply left to gently decay.

Nothing stands still in this ever changing landscape.

Tucked cosily in the middle is Manchester Ice Palace.

Opened by Lord Lytton on October 25 1910, clad in white marble, it hosted the National Ice Skating Championships a year later and the World Championships in 1922.

A plant across the road provided the ice. At the end of each day, the churned ice from the rink was pumped through an underground pipe to iceworks. Fresh iced water was then pumped back to refresh the rink’s surface overnight.

The Ice Palace was the only ice hockey rink in Britain during the early 1920s. A game between The Army and The Rest was played at the Ice Palace in November 1923 to select the British team for the 1924 Winter Olympics.

It was closed in 1915 and used to manufacture observation balloons for the war effort. It reopened on November 21, 1919. It was requisitioned by the Ministry of Aircraft Production in 1941 and later reopened as an ice rink on March 21, 1947.