Author Archives: Mike Higginbottom

Between two Ormes

Glan y Mor Parade, Llandudno,

Glan y Mor Parade, Llandudno,

Llandudno is a beautifully unspoilt Victorian holiday resort because the freeholds are still largely owned by the Mostyn Estate, which dictated the layout, the width of the streets and the height of the buildings, and has never allowed razzmatazz on the seafront (or anywhere else, for that matter):  http://www.mostyn-estates.co.uk/history.htm.

In the 1830s, before anyone even thought of building a holiday resort, it could have been a replacement for Holyhead.

At the beginning of the age of steam railways, there was a problem in speeding up the Irish mails that went by horse-drawn stage-coach along Thomas Telford’s road across Anglesey because the Admiralty insisted on a high-level bridge over the Menai Strait. 

George Stephenson seriously suggested drawing railway carriages by cable across Telford’s suspension road-bridge of 1826, which couldn’t cope with the weight of even the earliest locomotives.

The St George’s Harbour & Railway Company proposed a rail-served new port, to be called St George, beside the Great Orme.  This would bring the journey-time from London to Kingstown (now Dun Laoghaire) in good weather to 19½ hours, and avoid the need for a high-level railway bridge to cross the Menai Straits.

A rival scheme to avoid Anglesey was proposed between London, Worcester, Bala, Ffestiniog, Tremadog and Pwllheli to a port at Porthdinllaen, the only safe haven on the north-west coast of the Lleyn peninsula.  The Porthdinllaen Harbour Company, originally established in 1804-8, apparently still exists:  its premises on what would have been the harbour-front now belong to the National Trust:  http://www.walesdirectory.co.uk/Towns_in_Wales/Porth_Dinllaen_Town.htm.

Neither scheme gained much favour:  the Railway Magazine of October 1838 argued that if Irish ferries had to pass Holyhead they might as well also pass Ormes Bay and sail directly into Liverpool.

Both schemes were rejected by a Treasury Commission in 1839-40, which accepted the Admiralty’s uncompromising view that Ormes Bay and Porthdinllaen were alike “mere roadsteads”.

So instead, the Mostyn estate developed the flat land between the Great and Little Orme promontories from 1849 onwards as a holiday resort which became known, after the church of St Tudno on the headland, as Llandudno.

It’s perhaps as well:  the idea of carrying the Irish mails through Wales via a harbour named after the English patron saint was, at the very least, tactless.

For details of Mike Higginbottom’s lectures on seaside architecture, Away from it all:  the heritage of holiday resorts, Beside the Seaside:  the architecture of British coastal resorts, Blackpool’s Seaside Heritage and Yorkshire’s Seaside Heritage, please click here.

 

Another Albert

Stanley Dock, Liverpool (1983)

Stanley Dock, Liverpool (1983)

Stanley Dock, in Liverpool’s north docks, comes as a surprise to those who only know the celebrated tourist honey-pot of Albert Dock.

Built soon after Albert by the same engineer, Jesse Hartley, and opened in 1848, Stanley is the only one of the Liverpool docks to lie inland from the dock road.  This is because it forms the link between the dock system and the Leeds & Liverpool Canal.

Only in recent years has this link been extended through what remains of the north docks, across Pier Head in a cutting and into the Albert Dock complex.  Now you can sail your narrow boat all the way into the heart of the rejuvenated city centre:  http://www.penninewaterways.co.uk/liverpoolcanallink/link60.htm.

Stanley Dock itself has hardly been touched since the Second World War.  Its austere brick warehouses, with iron columns and semicircular crane-arches, are very similar to the buildings at Albert and Wapping Docks.  Adjacent are entertaining Hartley buildings such as the battlemented gatepiers and the Hydraulic Power Centre (1854).

The southern half of the dock was filled in at the end of the nineteenth century to accommodate Anthony George Lyster’s gigantic Tobacco Warehouse (1900).  Probably the largest warehouse in the world, this impressive structure held raw tobacco in bond.  Alongside is the King’s Pipe, in which scrap tobacco was burnt to avoid paying duty.

The Tobacco Warehouse is gigantic, thirteen storeys (125 feet) high and forty-two bays wide with a floor-area of 36 acres.  Joseph Sharples, in his Pevsner Architectural Guide Liverpool (2004) points out that its great depth and low ceilings (only 7 feet 2 inches because the tobacco was stored in short stacks to prevent damage) have been an obstacle to redevelopment since it came out of use in 1980.

Now at last it looks as if Stanley Dock and the Tobacco Warehouse are ready, after years of planning,  for redevelopment:  see http://www.liverpoolecho.co.uk/liverpool-news/capital-of-culture/capital-of-culture-liverpool-news/2003/12/08/100m-plan-for-tobacco-building-100252-13704568/ and http://www.liverpooldailypost.co.uk/liverpool-news/regional-news/2011/12/07/stanley-dock-tobacco-warehouse-residents-will-share-development-with-bats-92534-29908689/2/.

This enormous project will require the disruption of one Liverpool’s Sunday-morning amusements, the Heritage Market:  http://www.liverpoolecho.co.uk/liverpool-news/local-news//tm_headline=dock-market-fear-for-jobs&method=full&objectid=18817453&siteid=50061-name_page.html.

There is a superb series of images of the Tobacco Warehouse in its current state at http://www.28dayslater.co.uk/forums/showthread.php?p=797873#post797873.

The photographer, an urban explorer who goes by the name ‘rookinella’, says, “Stanley Dock has made for a fine night’s sleep the few times that we’ve been to Liverpool.  Picturesque views, period features and private en-suite bathrooms for everyone…”  What can they mean?

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

Eight wonder of the world

Empire State Building, New York City

Empire State Building, New York City

The Empire State Building, described when it opened in 1931 as “the eighth wonder of the world”, epitomises Manhattan. Perhaps the most elegant of all the New York skyscrapers, faced in Indiana limestone and granite, with stainless steel mullions running from the six-storey base to the Art Deco pinnacle, its setbacks make light of its vast bulk.

Nowadays it wouldn’t get built, because it occupies the site of the original Waldorf-Astoria Hotel: http://en.wikipedia.org/wiki/File:Waldorf-Astoria_1904-1908b.jpg. This grand Victorian pile, originally two hotels of 1893 and 1897, was pulled down in 1930 and the business transferred to its current address at 301 Park Avenue.

The Empire State Building was extended during construction from its planned 86 storeys to 102 storeys to be sure of the accolade of the World’s Tallest Building. It was completed in advance of schedule and below budget, yet initial rentals were so few that it was dubbed the “Empty State Building”. Once again the tallest building in New York City after the destruction of the World Trade Center towers, its height to the top of the TV mast is 1,454 feet.

There are comfortable open promenades as well as a glass-enclosed viewing-area at the 86th floor. The view from the 102nd-floor observatory stretches up to eighty miles, reaching into the states of New Jersey, Pennsylvania, Connecticut and Massachusetts.

The mast was originally intended as a mooring for dirigibles, but only one landing was ever attempted. This hair-raising procedure failed because it was impossible to stabilise the end of the airship that wasn’t anchored to the tower.

In 1946 a B-25 bomber collided with the 79th floor in thick fog, killing fourteen and causing only localised damage.

The Empire State lives in New York legend. It starred notably in the film King Kong (1933) where the giant gorilla ends its life clinging to the top of the building.

When the film director Peter Jackson consulted primatologists while planning his 2005 version of King Kong, he was told that a real giant ape would fling excreta at the attacking aircraft, and offer what was discreetly described as a “display-challenge” [John Harlow, ‘Hollywood agenda,’ The Sunday Times, November 2nd 2003].

The Empire State Building is open to the public until midnight, which makes it an admirable and popular place from which to watch the city lights, carpeting the view in all directions.

The official website is http://www.esbnyc.com, and the smart tourist information is at http://www.nycinsiderguide.com/Empire-State-Building.html#axzz1ilC4n9Jg.

For details of Mike Higginbottom’s lecture ‘The Big Apple: the architecture of New York City’, please click here.

 

Pinnacle of the Jazz Age

Chrysler Building, New York City

Chrysler Building, New York City

Woody Allen’s movie Manhattan (1979) first inspired me to visit New York.  Freddie Laker’s Skytrain made it possible, in the summer of 1981.  My former school-friend, Malcolm, at that time lived on E41St, so when I came out of his apartment each morning, the first building I saw was the Chrysler Building, the epitome of Jazz Age New York.

The Chrysler was built, not by the Chrysler Corporation, but by Walter P Chrysler on his own account.  Its architect, William Van Alen, engaged in a race with his former professional partner, H Craig Severance, to build the tallest building in the world.

The story is repeatedly told of how Van Alen waited until Severance’s 40 Wall Street was topped out at 927 feet before launching the 27-ton, 125-foot steel spire, which had been secretly delivered to the site in pieces, through the roof in ninety minutes flat on the night of Friday September 27th 1929, giving a final height of 1,046 feet 4¾ inches.  Van Alen remarked afterwards that “it was necessary to resort to the unusual”.

This procedure is explained in ‘How engineers crowned world’s tallest building’, Popular Science, August 1930, p 52 at http://kanikasweet-amazing.blogspot.com/2011/10/unreal-structures-built-in-secret.html in the section ‘Chrysler Building’s secret spire’.

Black Thursday, the beginning of the Wall Street Crash, came less than a month later, on October 24th 1929, and the Chrysler has always had a fin-d’époque air.  It was the tallest building in the world for all of eleven months, until the rival Empire State Building was in turn topped out.

The building is known for its embellishments, the genuine Chrysler hubcaps fixed to the brickwork around the 30th floor, the corner features at the 31st floor based on Chrysler radiator caps and the eagle-gargoyles on the 61st floor, modelled on the hood (boot) handles of the 1929 Plymouth.  Its diamond-honed Enduro KA-2 stainless steel cladding by the German manufacturer Krupp has needed neither cleaning nor replacement since it was installed.  Lewis Mumford dismissed it as “advertising architecture”.

The red African marble lobby with its ceiling mural by the English artist, Frank Brangwyn, carefully restored by the current owners, is accessible to the general public, though if you try to take a photograph the security guards become agitated.  I’ve never dared outface them to enter one of the elevators, which are also apparently still in original condition.

When the Chrysler opened, the 66th-68th floors were given over to the Cloud Club, the most blatant speakeasy in Prohibition New York.  Long before the police stepped out of the elevator the members’ liquor could be stowed in individual lockers, personalised by indecipherable hieroglyphics.  Its decoration included a Georgian lobby, a Tudor lounge, a Bavarian bar and a dining room with faceted blue marble columns and white-ice sconces and a vaulted ceiling painted with clouds.  All this survived a couple of decades after the club finally closed in 1979, only to be ripped out and dumped at the end of the 1990s.  Randy Juster’s images of the club area are at http://decopix.com/art_deco_photo_galleries/the-cloud-club;  there are further images of the Chrysler Building at http://adamunderhill.wordpress.com/2012/02/26/the-chrysler-building-new-yorks-art-deco-masterpiece.

Above the Cloud Club, on the 71st floor, was a public observatory giving views into neighbouring states across fifty miles in each direction [http://flappergirlcreations.wordpress.com/2011/05/18/the-chrysler-buildings-long-lost-observatory].  This closed after the Second World War and is now the offices of an architectural practice [see http://chryslerbuilding.circa68.net/cloudclub.html].

Though the Chrysler Building nominally has 77 floors, in fact there are more levels, each tapering within the spire, lit oddly by the shark’s tooth windows.  The 74th floor contains a derelict radio station.  Above the 75th floor the windows have never been glazed, so it’s exceptionally draughty, even on hot days.

Beyond the final floor, 77, a further seven levels accessible by ladder lead eventually to an area about a yard square, which gives access to a trapdoor through which, once a month, an engineer checks the base of the lightning conductor.

There is a detailed description of this by David Michaelis at http://mrbellersneighborhood.com/2002/03/inside-the-needle-the-chrysler-building-gets-lit.

Another enjoyable essay on the building is by Claudia Roth Pierpont, ‘The Silver Spire:  how two men’s dreams changed the skyline of New York’, which appeared in The New Yorker, November 18th 2002, and can be found at http://jayebee.com/discoveries/criticism/silver_spire.htm.

For details of Mike Higginbottom’s lecture ‘The Big Apple:  the architecture of New York City’, please click here.

Outside the box

St Hilda's Church, Shiregreen, Sheffield (December 2011)

St Hilda’s Church, Shiregreen, Sheffield (December 2011)

Photo:  Midlands Churchcrawler

I didn’t realise when I first posted an article about St Hilda’s Church, Shiregreen, Sheffield how many of my neighbours I would stir up.

A local resident started a website to campaign for the future of the building – http://sthildas.webs.com/:  the associated petition attracted over three hundred signatures, most of them local.

I did an interview on BBC Radio Sheffield and an article has appeared in the Sheffield Star newspaper.

Local people woke up to the probability that a distinguished local landmark is about to disappear, and those individuals who have a past connection with St Hilda’s were particularly upset that it could disappear.

Since it finally closed for services in 2007, there seems to have been no mention or discussion of its fate in the local media, and I could find no proposal to replace it with any other kind of building.

Local politicians explained, politely but wearily, that the problem had been around for years, and say that they wouldn’t stand in the way of a practical, businesslike scheme to save the building.

Some national amenity societies were encouraging, but their brief is primarily to engage with English Heritage within their guidelines, which are interpreted to the disadvantage of St Hilda’s.

Members of the core group of supporters made contact with the Church Commissioners, who currently still owned the building.

One can’t blame the Church Commissioners for their disinclination to support a redundant building at the expense of the real work of the Church.  It’s a pity, nevertheless, that the situation wasn’t advertised a good deal more loudly in the streets that surround St Hilda’s.

Not everyone loved the building.  One commentator on a web forum said she thought it looked like a factory, which suggests a sanguine view of Sheffield’s industrial architecture.

In the Sheffield Local Studies Library I came across a run of parish magazines from the late 1980s which show exactly how a once thriving parish went downhill.

In April 1988, the month before the fiftieth anniversary of the consecration, the vicar, Father Roger Bellamy, enumerated the previous year’s rites of passage:   baptisms – 11;  confirmations – 0;  marriages – 0;  blessing of a marriage – 1;  funerals – 57.  He noted that fund-raising was “not a great success”.

At the end of 1988 he estimated the active membership of the parish at 42, and expected around ten of those to be “lost”, through age or migration, over the following year.

At the start of 1990 he commented:  “We are facing the realities of our situation:  a small congregation, a largeish building and a remarkable indifference to us from the parish.”

It’s not so much the eleventh hour as after midnight for St Hilda’s, too late – as it turned out – for those of us who live on the spot and care about the building’s existence to audit whether there really were community and commercial needs that it could serve, and to identify any positive, practical proposals to present to the owners and the planners.

Old-fashioned for its date

St Catherine's Roman Catholic Church, Pitsmoor, Sheffield

St Catherine’s Roman Catholic Church, Pitsmoor, Sheffield

When I was collecting signatures for the petition to save St Hilda’s Church, Shiregreen, Sheffield, a gentleman who knows a thing or two about historic building conservation told me a scurrilous tale suggesting that listed-building inspectors aren’t always infallible.

Apparently the very fine Italianate St Catherine’s Roman Catholic Church, Pitsmoor, Sheffield was originally listed Grade II and dated “c1860”.

In fact, the original, temporary St Catherine’s by M E Hadfield & Son was built in 1884 on an entirely different site on Andover Street.

Eventually, the very fine permanent church that stands on the corner of Burngreave Road and Melrose Street was built to designs by the Halifax architects Charles Edward Fox & Son and consecrated with great ceremony in 1926.

Its interior is sumptuous:  black marble columns with Carrara capitals support a coffered ceiling over the nave.  The aisles are vaulted.  The chancel apse has a mosaic frieze with a cornice of Connemara marble, under which stands a baldachino, its canopy supporting a statue of Christ the King.

I’m told that when this date came to light English Heritage promptly delisted it on the grounds that it was so recent – and so old-fashioned for its date.

I’ve found no evidence to back this story, except that St Catherine’s does not appear on the current English Heritage list.

The fact that an authentic-looking Italian basilica was planted in the midst of inner-city Sheffield in the year of the General Strike is actually more significant than if it was simply a mid-Victorian Italianate church.

On the night of its consecration – the Feast of St Catherine – the Bishop of Leeds carried the Sacred Host from the temporary church to the new building in a torchlit procession.  Two thousand Sheffield Catholics turned out to witness their faith, and Canon Charles Leteux pointed out in an address to the crowds that “their public procession made history, for not twenty years before, a similar function in London had been banned by the orders of the Prime Minister”.

Apparently, the legislation banning public processions by clergy and members of the Roman Catholic Church was repealed soon after St Catherine’s opened.

It’s salutary to consider the power and energy that invested organised religion in Britain up to the Second World War.

For this reason, apart from its aesthetic value, St Catherine’s deserves to be recognised for its historic interest.  Fortunately, this church apparently continues to thrive, unlike so many.

Alma de Cuba

Former St Peter's Roman Catholic Church, Seel Street, Liverpool

Former St Peter’s Roman Catholic Church, Seel Street, Liverpool

If you’re looking for somewhere unusual to eat in the centre of Liverpool you can do a lot worse than Alma de Cuba [http://www.alma-de-cuba.com/homepage] on Seel Street, one of the streets running parallel to, and between, Bold Street and Duke Street, within easy walking distance of Lime Street and Liverpool One.

This vibrant, ultra-modern bar restaurant sits inside the oldest surviving Catholic church building in Liverpool.

Indeed, St Peter’s Church is astonishingly old for a post-Reformation Catholic place of worship.  It opened in 1788, ten years after the passing of the first Act of Parliament rescinding the penal laws governing the persecution of Catholics ever since Tudor times.

St Peter’s thrived as a place of worship for nearly two hundred years.

When it could no longer support a local congregation it was transferred in 1976 to the Polish Catholic community and rededicated to Our Lady of Czestochowa.  This attempt to keep it going lasted only two years.

Eventually, the developer Urban Splash rescued the building and it opened as a particularly fine Latin American restaurant in August 2005.

It’s the sort of place where award-winning barmen toss glasses in the air and usually catch them.  And Sunday brunch is enlivened with, of all things, a Gospel choir.

The walls are stripped to the bare brickwork and the ceiling has been removed, revealing the roof-beams.  The ornate Classical sanctuary is intact, with a plate-glass mirror in place of the reredos.

It’s disconcerting to eat and drink and listen to music while staring at the inscription “TU ES PETRUS” – Christ’s words to St Peter, “Thou art Peter, and upon this rock I will build my church” [Matthew 16:18].

The contrast between spirituality and hedonism isn’t quite comfortable, and some customers might look askance at the restaurant’s tag-line “Heaven can wait”.

Nevertheless, the building – arguably the most precious archaeological gem of the proud Liverpool Catholic community – survives and is physically safe.  It needn’t be a restaurant for ever, and at least it’s not a pile of rubble.

For so many former places of worship, that’s all too likely a fate.

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

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

Reformed chapel

Wesleyan Reform Chapel, Bodmin Street, Attercliffe, Sheffield (1977)

Wesleyan Reform Chapel, Bodmin Street, Attercliffe, Sheffield (1977)

Former Wesleyan Reform Chapel, Bodmin Street, Attercliffe, Sheffield (2012)

Some buildings stick in the memory for entirely sentimental reasons.  I passed the Wesleyan Reform Chapel, Bodmin Street, Attercliffe, Sheffield every morning in my first five years of schooling.

My Auntie Nellie lived literally next door.  It formed the background to my earliest memories of backyard Bonfire Nights when Uncle Charlie was in charge of the box of matches:  in Coronation year the biggest bang of all came when Auntie Nellie’s new pressure-cooker, inexpertly screwed down, exploded and spattered mushy peas all over the kitchen ceiling.

My latest memory of this thriving temple of Methodism is of my cousin Cathryn singing at a chapel anniversary in the early 1960s.

It’s an austerely attractive, utterly unremarkable building, unlisted, invisible in the Sheffield Local Studies Library index.

Built in 1890, its foundation stones were laid by a star-studded cast of Sheffield’s most important Methodists, such as Jethro and Samson Chambers, Robert Hadfield and Frederick Mappin – all of them men of steel with Attercliffe connections, the latter two later to become baronets.

Its registration for marriages was cancelled because it was no longer used for worship in 1966.

My 1977 image of the building shows the brickwork still encrusted with industrial grime and most of the windows smashed.

No-one would have given tuppence for its chances of survival.

Nowadays it sparkles:  it’s well-maintained;  its windows are renewed and its brickwork is beautifully cleaned.  It serves as the Jamiyat Tableegh ul Islam Mosque.

So historic buildings which are not worth listing can survive if someone finds an appropriate use for them that will justify their upkeep.

Praised with faint damns

St Hilda's Church, Shiregreen, Sheffield (December 2011)

St Hilda’s Church, Shiregreen, Sheffield (December 2011)

After I first expressed an interest in the threatened St Hilda’s Church, Shiregreen, Sheffield I was shown the Council for the Care of Churches 2006 report, from which I quoted in Church going, which recommended the building for listing.

I’ve now seen the latest English Heritage advice-report rejecting that recommendation.  The task of an English Heritage inspector is to evaluate the building in the context of its national significance, according to guidelines which are set out at http://www.english-heritage.org.uk/content/publications/docs/places_of_worship_final.pdf.  At the end of these guidelines (p 20) is a comment that “while all listed buildings are of national importance, local factors may sometimes be of significance”.

St Hilda’s failed the tests when it was last inspected in October 2011.  There’s more than a hint of de haut en bas about the inspector’s silky comments.

The architect, Leslie Moore, is described as a “junior partner” to his better-known father-in-law, which he would be, being the son-in-law.  The original design of 1922 had a “strong resemblance” to Temple Moore’s St Mary, Nunthorpe, but the rather different building of 1935-8 is “simplified down” – as if an imitation is preferable to an adaptation while still not quite good enough.

It’s described as a “plain rectangular box”, which it certainly isn’t, “old-fashioned for [its] date”, built of red engineering brick which is “common”, like most of inter-war Sheffield, and the interior, embellished by George Pace, is “austere”.  Ruth Harman and John Minnis clearly thought it merited an illustration in their Pevsner Architectural Guide Sheffield (2004), p 188.

All this suggests that if St Hilda’s has aesthetic worth, it belongs on a local list in “recognition of its architectural or historical importance and its value to the local community” [see https://www.sheffield.gov.uk/planning-and-city-development/urban-design–conservation/locallisting-.html].  Somehow, it seems not to have been considered so far as a candidate for the local list.

It’s not for me to assert that the national inspector and the local planners are wrong about St Hilda’s.  I think it’s a memorable, exciting, confident building that could once more be put to good use.  None of those epithets is necessarily a criterion for listing.

It would be peevish to point to listed buildings in the locality that might compare with St Hilda’s, but it is pertinent to point to some of the interesting, attractive and potentially useful structures that Sheffield has lost over the decades when listed-building legislation has existed to protect the built environment – the Britannia Music Hall, Huntsman’s Gardens Schools and the Pavilion Cinema, Attercliffe.

While St Hilda’s stands, there’s a chance of saving it – and it’s worth saving, whether it’s worth listing or not.

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.

Gorton renaissance

Monastery of St Francis, Gorton, Manchester (2009)

Monastery of St Francis, Gorton, Manchester (2009)

In November 1861 four Franciscan friars arrived in Manchester to set up the Monastery of St Francis, Gorton, serving the working-class community that grew up round the nearby railway works.

Their buildings were designed by Edward Welby Pugin (1834-75), who possessed much of the vigour of his father, A W N Pugin, and were constructed largely by the physical labour of the brothers and their parishioners.

The first stone was laid on May 24th 1862, and the three wings of the original monastery were complete by 1867.  To raise funds for the Infant School in 1867 Father Francis hired the Free Trade Hall for a bazaar which raised £1,000.

E W Pugin’s magnificent church, 184ft long, 98ft wide and 100ft high, dominates the streets of Gorton and is clearly visible from central Manchester.

By 1900 the Catholic population of Gorton had increased from 300 to over 6,000.  The fathers saw the parish change from a poor village community, initially dependent on cotton (and badly hit by the effects of the American Civil War), into an industrial inner-city suburb.

For almost a century they provided spiritual and pastoral support to the people of Gorton, and – because many of those people were drawn from Wexford, Waterford and Cork – Gaelic classes, lantern lectures on Irish history and St Patrick’s Day celebrations.  They also exported missionaries to China, Peru and elsewhere.

The surrounding nineteenth-century housing was cleared in the early 1970s, and the Monastery became unsustainable.  Eventually, the Franciscans sold the site for £75,000 to a developer who planned to divide the church into a seven-storey apartment-block but instead went bankrupt.

The abandoned buildings were quickly and badly vandalised.  Lead and slates were removed, and there were repeated arson attacks.  Virtually all the decorative features of interest or value were removed or smashed.

In 1997 the Monastery of St Francis and Gorton Trust bought the Monastery for £1 and began the formidable task of bringing the place back into use.  Cornering funds was not the least of their labours:  the Architectural Heritage Fund, English Heritage, the Heritage Lottery Fund, New East Manchester (NEM) and the North West Development Agency (NWDA) between them chipped in millions.

Fixtures that had disappeared in the dark days of dereliction have returned.  A complete set of twelve statues, stolen from the lofty nave arcades, famously appeared as garden ornaments at Sotheby’s:  Manchester City Council bought them for £25,000 and stored them until September 2011 when they returned to the site for restoration.

The art-dealer Patricia Wengraft [http://www.patwengraf.com/Patricia-Wengraf-Fine-European-Sculpture-and-Works-Art-Intro-DesktopDefault.aspx?tabid=1] secured the return of the huge crucifix:  http://www.manchester.gov.uk/news/article/1954/monasterys_giant_crucifix_is_hoisted_back_into_place.  The chains to support it had been handed in mysteriously some time before.

I remember the first public opening in September 2005:  people queued down the street, showing immediately how much St Francis’ Monastery meant to local people who’d grown up, been baptised or married here, and had been uprooted.

The Monastery reopened fully as a community, conference and events centre in 2007.  It’s open to the public most Sundays:  see what’s on offer at http://www.themonastery.co.uk/Whats-on.html.

I would have liked to see something similar happen to St Hilda’s Church, Shiregreen, Sheffield.

Just because a place of worship is no longer needed for worship doesn’t prevent it having enormous value to people.

But making the transition requires enormous energy, imagination, devotion, acumen – and the creative support of people in power.

Shiregreen waits…

For details of Mike Higginbottom’s lecture Manchester’s Heritage, please click here.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.