Author Archives: Mike Higginbottom

Liverpool’s life story

Museum of Liverpool:  Liverpool Overhead Railway 3

Museum of Liverpool: Liverpool Overhead Railway 3

Liverpool’s trio of Edwardian buildings fronting Pier Head – the Liver Building, the Cunard Building and the former Mersey Docks & Harbour Board Building – are collectively known as the “Three Graces”.

The design of Liverpool’s “Fourth Grace” – to occupy Mann Island, the space next to the Pier Head group – brought lengthy controversy.

The initial scheme, for Will Alsop’s design “The Cloud”, described by one journalist as a “diamond knuckleduster”, was eventually dismissed as expensive and impractical:  http://www.theguardian.com/uk/2003/nov/21/regeneration.europeancapitalofculture2008, http://www.theguardian.com/uk/2004/jul/20/europeancityofculture2008.arts and http://www.theguardian.com/artanddesign/2004/jul/24/architecture.communities.

The eventual outcome was the Museum of Liverpool by the architects 3XN and engineers Buro Happold, an altogether quieter building that provides a surprising amount of space for exhibits and offers superb views along the river front.

Here at last are opportunities to savour some of the most significant major exhibits that could rarely if ever be displayed in the limited amount of museum space that was previously available.

The Liverpool & Manchester Railway locomotive Lion, built in 1837, latterly the star of the 1953 film The Titfield Thunderbolt and last steamed in 1989, rests alongside a reproduction stretch of the former Liverpool Overhead Railway viaduct, on which stands the one remaining vehicle from that much-mourned fleet.

Upstairs, the great model of the unbuilt Roman Catholic Cathedral designed between the wars by Sir Edwin Lutyens stands before a panorama showing exactly how this vast structure would have dominated the Liverpool skyline and streetscape.

Perhaps most fascinating of all, in the amount of time it demands, is Ben Johnson’s huge, minutely-detailed painting ‘Liverpool Cityscape’ (2005-8) commissioned for the Liverpool Capital of Culture Year and now permanently displayed at the Museum.

These are the star attractions of a rich, constantly evolving museum that celebrates one of the vibrant cities in the UK:  http://www.liverpoolmuseums.org.uk/mol/things-to-see.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Semi-detached theatre

Theatre Royal, Nottingham

Theatre Royal, Nottingham

The classical portico of Nottingham’s Theatre Royal has dominated the streetscape since it was built in 1865:  http://www.theatrestrust.org.uk/resources/theatres/show/514-theatre-royal-nottingham.

Originally designed by the prolific and prestigious Victorian theatre-architect Charles John Phipps (1835-1897), it was modernised in 1896-7 by the more famous Frank Matcham (1854-1920), who at the same time built the new Empire Palace Theatre for what shortly after became Moss Empires partly on what had been the site of the Theatre Royal dressing-rooms.

There are stories of artistes straying into the wrong backstage-area, particularly after Moss Empires took over the Theatre Royal in 1924.

The Empire was also the site of Ken Dodd’s stage debut, as Professor Yaffle Chucklebutty, “Operatic Tenor and Sausage Knotter”, in 1954.

The Empire closed in 1958 and was demolished eleven years later for road-widening.  At a time when Nottingham City Council were planning and building the ultra-modern Playhouse as a repertory theatre, there was talk of demolishing the Theatre Royal also and building a replacement touring house elsewhere.

In fact, the Theatre Royal lingered on, becoming so decrepit that eventually the D’Oyly Carte company refused to appear because of the state of the backstage areas.

In 1977 the City Council purchased the County Hotel, on the opposite side of the Theatre Royal building to the former Empire, and commissioned Renton Howard Wood Levin to restore Matcham’s design, except for the proscenium arch and adjacent boxes, within Phipps’ auditorium envelope.

Subsequently, in 1980, Renton Howard Wood Levin built from scratch the magnificent Royal Concert Hall behind the Theatre Royal.  The two auditoria work in tandem [http://www.trch.co.uk], with the Playhouse operating at the other side of the city centre:  http://www.nottinghamplayhouse.co.uk/whats-on.

Nottingham has a proud claim to have been at the forefront of the late twentieth-century revival of live performances in provincial towns and cities.

Bruce Tunnel

Bruce Tunnel, Kennet & Avon Canal, Wiltshire:  west portal

Bruce Tunnel, Kennet & Avon Canal, Wiltshire: west portal

Bruce Tunnel, Kennet & Avon Canal, Wiltshire: west portal – 2003 inscription

Just as the proprietors of the Kennet & Avon Canal named the Dundas Aqueduct at Limpley Stoke after the company chairman, Charles Dundas, 1st Baron Amesbury, so they named the tunnel at Savernake after the local landowner Thomas Brudenell-Bruce, 1st Earl of Ailesbury (1729-1814).

Bruce Tunnel wasn’t in fact needed.  It was built solely because the Earl declined to have a deep cutting splitting his estate.

It’s 502 yards long, with a wide bore to take Newbury barges, and has no towpath.

Above the west entrance portal is a stone panel carved with an elaborate dedication by Benjamin Lloyd, the canal company’s mason:

The Kennet and Avon Canal Company
Inscribe this TUNNEL with the Name of
BRUCE
In Testimony of the Gratitude
for the uniform and effectual Support of
The Right honourable THOMAS BRUCE EARL of AILESBURY
and CHARLES LORD BRUCE his Son
through the whole Progress of this great National Work
by which a direct communication by Water was opened

between the cities of LONDON and BRISTOL

ANNO DOMINI 1810

The inscription is almost illegible, so a modern duplicate, smaller and in a different stone, stands to the side of the tunnel arch, with a pendant:

“This monument was erected by the Kennet & Avon Canal Partnership and John Lloyd, seventh generation mason of Bedwyn, as a replica of that erected by his ancestor, Benjamin Lloyd, mason of Bedwyn to the Kennet & Avon Canal Company, AD 2003.”

John Lloyd delivered the new inscriptions, appropriately, by boat.

The 72-page, A4 handbook for the 2012 Waterways and Railways between Thames and Severn tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

The seventh generation

John Lloyd, Stonemason, Great Bedwyn, Wiltshire

John Lloyd, Stonemason, Great Bedwyn, Wiltshire

Participants in my 2012 Waterways & Railways between Thames & Severn tour were bemused when I insisted on stopping in the Wiltshire village of Great Bedwyn to look at the post office.

Ostensibly it had nothing to do with waterways or railways but the building is a delight because it’s the historic base of the stonemasonry business of John Lloyd [http://www.johnlloydofbedwyn.com/our-experience], a family firm dating back seven generations to the arrival of Benjamin Lloyd in 1790 in connection with the cutting of the Kennet & Avon Canal.

The post office itself and the yard beside it are encrusted with monumental panels, miscellaneous carvings, offcuts, uncollected orders, rejected pieces of all kinds.

A Daily Telegraph article [Hamish Scott, ‘Say it with stone’, September 21st 1996 [http://www.independent.co.uk/life-style/say-it-with-stone-1364250.html] about John Lloyd records his laconic advocacy of taking time and care to respect natural stone:  “You have to listen to its ring. If the note changes, then you’re doing something wrong. The stone will tell you what you can get away with, so long as you respect it.”

John Lloyd no longer manufactures on the site.  One of the most spectacular lots sold at an auction in 2009 was a memorial to a First World War airman – a stone Sopwith Camel with an eleven-foot wingspan.

Still remaining are a selection of eccentricities, including the ‘Repairs to a monument’, an account in stone of the mason’s work and his charges.

Abbeydale unveiled

Former Abbeydale Cinema, Sheffield

Former Abbeydale Cinema, Sheffield

Since Phil Robins took ownership of the former Abbeydale Cinema, Sheffield, he’s tidied up the interior so that at last it’s possible to see the entire auditorium from the back of the stalls or the back of the balcony.  The stage remains a forest of scaffolding until the stage-tower roof is made weather-tight.

When the Sheffield Antiques Quarter Christmas Market took place at the Abbeydale I was asked to show people the auditorium, a privilege that gave me opportunity to learn more about the building.

Insurance restrictions meant that visitors were not allowed on the stage or in the circle, so I provided a PowerPoint sequence showing the angles that weren’t accessible.

Talking to people who visited the cinema regularly from the 1950s to the 1970s suggested that there were at least four colour schemes over the years:

  • pale and deep cream and gold from the opening in 1920
  • pale green and gold sometime up to the early 1950s when Cinemascope was introduced
  • white or cream until at least the end of the 1960s
  • the current blue, claret and cream by the beginning of the 1970s

There may have been other colour schemes that only a paint analysis will reveal:  planning documents indicate, for instance, that a major refurbishment took place in 1928 and Clifford Shaw, in Sheffield Cinemas (Sheffield Cinema Society/Tempus 2001) p 101, shows a monochrome image of a decorative scheme that dates from August 1949.

I’m told I was introduced on the PA system as the Abbeydale’s “resident historian”, which led a friend to enquire if I had a flat in the projection room.

He’d no reason to know that in the late 1970s there was a flat in the projection suite after A & F Drake Ltd took it over as an office-equipment showroom.  Later in the day I met a lady who had lived in the flat for a couple of years.

She said that her dad and his mate had spent a night in the auditorium seeking ghostly presences.  The only presence that appeared was her cat.

Oddly, even later in the afternoon a lady asked me about the psychic history of the Abbeydale.  I had to say I didn’t know there was one, but I was able to point her towards the only accredited haunted cinema, the Don on West Bar, which still exists.

People were reassured to know that Phil’s plan to use the Abbeydale as a climbing centre won’t damage the listed interior:  all the climbing installations will be free-standing.  Indeed, one climber, a regular visitor to Phil’s existing centre, The Edge [http://www.sheffieldclimbing.com], said he was looking forward to sitting in the circle with a cup of coffee watching other climbers.

Update:  I read in the Sheffield Cinema Society June 2014 newsletter that Phil Robins has changed his plans:  the climbing-centre project at the Abbeydale isn’t going ahead – indeed, Phil has closed his other climbing centre, The Edge,– and the snooker club has moved out of the Abbeydale’s former ballroom in the basement.  For the first time in its history the entire building is empty.

Last word on St Hilda’s

St Hilda's Church, Shiregreen, Sheffield (March 13th 2014)

St Hilda’s Church, Shiregreen, Sheffield (March 13th 2014)

No sooner had I posted a blog-article complaining that St Hilda’s Church, Shiregreen, Sheffield had stood a roofless ruin for six months than the demolition team moved in.

Within a week, March 10th-14th 2014, the building was flattened – an eyesore that need never have been an eyesore. The earliest reference I’ve so far found to the possibility of  closure is in 1993.  As late as 2004, Ruth Harman and John Minnis clearly thought it merited an illustration in their Pevsner  Architectural Guide Sheffield (2004), p 188. By the time I became aware it was threatened and my neighbours started a campaign to save it at the end of 2011 it was far too late to have any effect. This is what I’ve learned from following the fate of St Hilda’s Church:
  • the Church of England’s procedure for disposing of redundant churches is ponderous, glacially slow and largely ignores the possibility that the secular community might resolve the problems of disposal
  • local politicians, hammered for a generation by central governments’ stripping away of their autonomy, think in terms of solving problems rather than exploring possibilities
  • the network of amenity organisations, particularly English Heritage and the national amenity societies, prioritises its concerns in terms of national perspectives, with a bias against twentieth-century architecture and buildings of purely local significance
  • just as the churches declined because people think they’re going to be there for ever and never set foot across the threshold, so local people will sign petitions but aren’t inclined to participate actively in seeking uses for derelict local buildings
It was always on the cards that St Hilda’s would go. One less twentieth-century suburban church makes the others that remain marginally more valuable. The failed campaign to save St Hilda’s Church, Shiregreen is featured in Demolished Sheffield, a 112-page full colour A4 publication by Mike Higginbottom. For details please click here.

Lancaster Corner

Newark Air Museum:  Lancaster Corner – (above) wing-tip of Lancaster bomber, R5726;  (foreground) fuselage fragment of Lancaster Mk I, W4964

Newark Air Museum: Lancaster Corner – (above) wing-tip of Lancaster bomber, R5726; (foreground) fuselage fragment of Lancaster Mk I, W4964

One of the most poignant exhibits at the Newark Air Museum is the wingtip of a Lancaster bomber, R5726, which was fished out of Knipton Reservoir, near Melton Mowbray, Leicestershire.

It broke up in the air in bad weather on the afternoon of April 4th 1944, killing the crew of seven, and was found by Newark Sub-Aqua Club in 1979.

Next to it is a short section of the fuselage of another Lancaster Mk I, W4964, which flew 106 missions, one of them part of Operation Catechism, the final attack on the German battleship, Tirpitz, on November 12th 1944.

When this aircraft was retired its fuselage was used for ground training, and eventually a sawn-off section became a garden shed in Gainsborough, from where it was rescued for preservation in 1974.

Its wartime paintwork remains intact.  The accompanying display shows a photograph of its crew returning from its first sortie to Stettin in 1943, with the plane’s insignia in the background.

Also on display is one of Barnes Wallis’ bouncing bombs, properly an Upkeep Mine:  this one was a test version dropped in a practice run at Reculver, Kent.

It’s one thing to see a historic relic, whether a plane or a train or a building, fully restored as new, but it’s a far more resonant experience to see actual artefacts unchanged from the time of the story that they tell.

Do-it-yourself aeroplane kit

Newark Air Museum:  Taylor JT1 Monoplane G-APRT

Newark Air Museum: Taylor JT1 Monoplane G-APRT

The most endearing aircraft in the Newark Air Museum is the prototype Taylor JT1 Monoplane, G-APRT, designed in 1956 and built in Ilford in 1958-9 by Mr John F Taylor.

He specified that it had be within the capabilities of a do-it-yourself constructor, fabricated entirely of wood, and originally cost less than £100.  Its wingspan was restricted to sixteen feet, because that was the size of the lounge in his apartment.  Even so, extricating the finished plane involved removing the bay-window and sliding it down ramps from first-floor to ground level.

At least 110 of these nippy little planes have been built, and you can buy one for slightly above £4,500:  http://www.afors.com/index.php?page=adview&adid=14519&imid=0.

It cruises at 90-100 mph, and has a range of 290 miles.

I imagine John Taylor’s family were glad to get it – and him – out of the house.

There’s an article about the Taylor JT1 Monoplane at http://www.dailykos.com/story/2013/04/22/1203846/-Taylor-JT-1-Monoplane-the-little-plane-upstairs#.

 

Newark Air Museum

Newark Air Museum:  English Electric Lightning T5 XS417

Newark Air Museum: English Electric Lightning T5 XS417

I know very little about aircraft.

I was brought up alert to steel wheels on steel rails.  I was taught to read, write and count by watching the trams go past the house in post-war Sheffield.  My dad took me trainspotting on Sunday mornings while my mum cooked lunch (which we called dinner).

I still think numbers look best in sans-serif, as they were on the front of most Sheffield trams and buses and on the cab-sides of British Railways locomotives.  And though roller-blind destination indicators are on their way out, if I see a driver scrolling to change his display I have to stand and watch the succession of place-names.

My mate Richard was brought up on rubber wheels – cars and motorbikes – and seems to have spent his childhood building model planes.

So when he suggested spending a couple of hours at the Newark Air Museum, just off the A1 in Nottinghamshire [http://www.newarkairmuseum.org/index.html], I didn’t expect to learn much.

In fact, it’s a rich, varied and highly professional museum, with excellent interpretation that’s informative for enthusiasts and at the same time intelligible to numpties like me.

We wandered through two vast display halls and a small-objects display hall, inspected a range of aircraft outside, and briefly looked at a collection of aero-engines (to appreciate which you presumably need an engineering degree).

I declined an offer to sit in the cockpit of a Jaguar, knowing that when Dick walked round the corner he’d jump at the chance.  He had at least a vague idea of what all the knobs and dials were for, whereas I’d be like the guy at Crich who asked how you steer a tram.

The Museum runs a rich series of events, ranging from an Aeroboot sales day to a Cockpit-Fest.  There is a comprehensive education programme, particularly for primary schoolchildren, Cubs and Scouts, and Air Training Corps squadrons.

There’s a shop, billed as “the best specialist aviation outlet in the Midlands”, and a small, warm and welcoming café, which for the moment only goes as far as “legendary” toasties and paninis but will in due course branch out in a new building, thanks to ‘Project Panini’ [http://www.newarkairmuseum.org/newsItem.php?id=736].

The site, adjacent to the Newark and Nottinghamshire Agricultural Society showground, was formerly RAF Winthorpe, a Second World War base that operated from September 1940 until July 1959.

The aircrew who flew from there and didn’t come back are commemorated by a poignant memorial which incorporates part of a propeller hub of a MK III Short Stirling, EF186, which was based at RAF Winthorpe and crashed out of control at Breeder Hills near Grantham on December 4th 1944.

In essence, this rich collection of magnificent engineering commemorates the skill and the bravery of those who flew from airfields like this before, during and after the Second World War and their successors who continue to do so.

St Cecilia’s lingers

St Cecilia’s Church, Parson Cross, Sheffield – nave & baptistery

St Cecilia’s Church, Parson Cross, Sheffield – nave & baptistery (2013)

After I’d taken part in the Church Commissioners’ meeting to discuss the redundancy and proposed demolition of St Cecilia’s Church, Parson Cross, Sheffield, I spent some time talking to people in the Parson Cross community about the building’s practical possibilities.

Apparently, there aren’t any.

Local community workers told me that there’s already full provision of community facilities on the Parson Cross and neighbouring Foxhill estates:  a further facility, if it could be financed, would threaten the viability of those already existing.

Public finance is, of course, an impossibility.

One City Councillor told me with understandable passion of the difficulties of maintaining social provision in the face of draconian financial cuts.  One particular priority at present, justifiably, is somehow to maintain a branch library within reach of local residents.

Yet the emotional pull of St Cecilia’s still remains.  A clergyman spoke movingly of how the building holds the prayers of seventy years of congregational worship, and is a monument to the revered Kelham Fathers who built up the parish from nothing.

The one positive insight I heard came from someone with enterprise experience:  “The only hope for that building,” he said, “is serendipity.”

That, after all, is what happened at Gorton Monastery in Manchester, the Abbeydale Cinema on the south side of Sheffield, and the former St Thomas’ Church, Brightside, which is now Greentop Circus.

The Gorton Monastery project was co-founded by Elaine Griffiths, MBE;  the Abbeydale Cinema turned a corner when Phil Robins spotted its possibilities as a climbing centre;  the founders of Greentop Circus had the wit to challenge Anneka Rice.

In other words, the only possibility of finding a use for the building is if someone comes along with a practical idea that no-one else has thought of.

The only way of saving St Cecilia’s is for someone who needs an attractive space on the north side of Sheffield to come up with a business plan that relieves the Church Commissioners of the need to spend nearly £200,000 knocking the place down brick by brick to the great inconvenience of the neighbours.