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.

St Hilda’s lingers

St Hilda's Church, Shiregreen, Sheffield (September 27th 2013)

St Hilda’s Church, Shiregreen, Sheffield (September 27th 2013)

Last August the scaffolding went up around St Hilda’s Church, Shiregreen, Sheffield, and it was apparent that it would be demolished. I was told that the schedule was to have the site cleared by the end of September 2013. A cheerful crew duly turned up and over a matter of two or three weeks removed the entire roof. Then they went away, and nothing further has happened. The place continues to stand a roofless ruin. My diocesan source tells me that the delay results from “discussion between the Sheffield City Council Planning Department, Church Commissioners, Diocese and the Contractor”. The Church authorities don’t seem to have much luck either with keeping redundant buildings standing or knocking them down. St Hilda’s is now neither one thing nor the other. It’s perhaps mischievous to point out that roofless churches have been preserved against all the odds, such as the Welsh Presbyterian Church, Toxteth, Liverpool [http://www.liverpoolecho.co.uk/news/liverpool-news/toxteths-welsh-presbyterian-church-new-6086259] and the Welsh Baptist Chapel, Upper Brook Street, Manchester  [http://www.victoriansociety.org.uk/news/the-unitarianchapel-upper-brook-street-manchester]. Both these examples are listed, and are of undeniable historical and architectural merit. But sometimes even the most unassuming derelict buildings gain a purpose that keeps them standing and restored to good order:  https://www.mikehigginbottominterestingtimes.co.uk/?p=1461. Update – March 11th 2014:  The interrupted demolition of St Hilda’s has resumed, and it should be gone within a matter of days. 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.

Greentop Circus

Former St Thomas' Church, Brightside, Sheffield, now Greentop Circus

Former St Thomas’ Church, Brightside, Sheffield, now Greentop Circus

Because of the discussions about the future of the redundant St Cecilia’s Church, Parson Cross, Sheffield, I’m looking at examples of successful conversions of redundant religious buildings which have preserved the architecture while enabling the building to earn its keep.

I’ve already written about the former St Peter’s Roman Catholic Church, Seel Street, Liverpool (now a restaurant) and the Wesleyan Reform Chapel, Attercliffe, Sheffield (now a mosque) and the spectacular revival of the Monastery of St Francis, Gorton.

One of the best examples I’ve come across is the former St Thomas’ Church, Brightside, Sheffield, a modest Victorian parish church of 1854 by the local architects Flockton & Son, built to serve the first growth of artisan housing as the steelworks crept across the Lower Don Valley after the arrival of the railway in 1838.

It’s a more modest building than Flockton & Son’s contemporaneous work in Sheffield – the General Cemetery Church and Christ Church, Pitsmoor (both 1850), and St Matthew’s, Carver Street (1855) – but it is, as the cliché goes, small and perfectly formed, with a nave and chancel, a south aisle but no north aisle, a bell-tower and spire.

It was listed Grade II in 1973 and made redundant in 1979.  At first it was converted as a gymnasium for the Sheffield School of Gymnastics but then fell into neglect.

It was rescued by Anneka Rice’s TV programme, Challenge Anneka, broadcast on August 27th 1995 [http://www.youtube.com/watch?v=u9vZ1FI6Mwc and http://www.youtube.com/watch?v=2gGPhlmeY5s] as a circus school for Greentop Circus [http://www.greentop.org].

Apart from a shortage of storage-space, the interior is ideal for its present purpose.  The trapeze rig sits comfortably on the load-bearing walls of the nave;  there is ample height and floor-area and cramped but well-organised office-space in the west gallery, accessible by an intriguing spiral staircase in the tower.

Greentop is an arts education charity which provides, alongside training facilities for professional performers, school workshops and team-building for adults as part of its mission “to use contemporary circus skills to enhance people’s lives and inspire positive change”.

When I met a committee of the Church Commissioners to discuss the proposal to demolish St Cecilia’s, I was asked if there weren’t already enough community facilities on the Parson Cross estate.  I replied that if the existing six buildings were sufficient support for the local community, the area would not figure so high on indices of deprivation.

Greentop’s value to the local Firvale community is incalculable.  Some of the young people who have become involved are from the local Roma community, who have had a famously bad press recently:
http://www.telegraph.co.uk/news/uknews/immigration/10452130/Roma-in-Sheffield-When-it-goes-off-it-will-be-like-an-atom-bomb-here.html.

And without Greentop, the consecrated churchyard of St Thomas would contain only graves and a wreck or an empty space.

Sham Castles

The Towers, Scarborough, North Yorkshire

The Towers, Scarborough, North Yorkshire

Castle-by-the-Sea, Scarborough, North Yorkshire

Castle-by-the-Sea, Scarborough, North Yorkshire

Scarborough has three castles – the genuine article which dates back to Roman times, and two Victorian shams which have their own unique appeal.

The Scarborough brewer Thomas Jarvis built The Towers, designed by William Baldwin Stewart in 1866, immediately below the gatehouse of the medieval castle on the promontory that divides Scarborough’s two bays.

He later added the Castle-by-the-Sea, which overlooks the North Bay, at the other end of the little street that became Mulgrave Place, and in 1876 leased it to the Leeds artist, Atkinson Grimshaw (1836-1893).

Atkinson Grimshaw was the son of a Leeds policeman, an ex-railway-clerk who without formal training executed canvases of dusk and moonlight scenes, mainly of coast and harbour settings, with considerable commercial success.

One of his first and finest Scarborough works is ‘Sic Transit Gloria Mundi, the Burning of the Spa Saloon’ (1876), which was probably commissioned by Jarvis and was painted in great haste for the sake of topicality but not publicly exhibited.  It is now in the Scarborough Art Gallery [http://www.scarboroughartgallery.co.uk], along with ‘Scarborough Lights’ (c1877), ‘Burning off a Fishing Boat at Scarborough’ ) and ‘Lights in the Harbour, Scarborough’ (1879).

Atkinson Grimshaw reputedly influenced Bram Stoker into setting Dracula in Whitby.

He’s also regarded as a possible influence on Frank Meadow Sutcliffe, the Whitby photographer.

He returned to Leeds in 1879 after getting into financial difficulties, and went on to paint numerous scenes in Hull, Liverpool, London and Glasgow Docks.

The Castle-by-the-Sea is a notably welcoming bed-and-breakfast hotel, one of the pleasantest places to stay in Scarborough:  http://www.thecastlebythesea.co.uk.

The Towers is a private residence and not open to the public.

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

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.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  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.

Great little Norfolk railway

Bure Valley Railway:  Wroxham

Bure Valley Railway: Wroxham – locomotive no 6, Blickling Hall

An unexpected sight on the rail journey between Norwich, Cromer and Sheringham is the busy little station of the Bure Valley Railway at Wroxham.

It’s literally little because the Bure Valley trains run to the tiny gauge of fifteen inches.  The line follows the trackbed of the former East Norfolk Railway standard-gauge line to Aylsham, which is now the terminus.  Originally it extended past what is now a Tesco car-park to a junction at County School.

The scale of the Bure Valley trains allows for the full paraphernalia of main-line steam and diesel operation.  The Aylsham station has four platforms and a complicated track layout, and both termini have turntables:  indeed, the turning of the locomotive at Wroxham is a highlight of the journey.

Miniature it may be, but this is no toy railway.

Indeed, it operates boat trains which offer a return journey from Aylsham to Wroxham with a ninety-minute Broads cruise:  http://www.bvrw.co.uk/trains/boattrain.asp.

Three adults can sit comfortably side by side in the passenger coaches, some of which have electric heating for winter operation.

It’s a seriously attractive attraction.

Norfolk Orbital Railway

Wymondham Abbey Station, Mid-Norfolk Railway, Norfolk

Wymondham Abbey Station, Mid-Norfolk Railway, Norfolk

At present, the Mid-Norfolk Railway [http://www.mnr.org.uk] preserves an 11½-mile-long, unremarkable stretch of the former Great Eastern Railway between Wymondham and Dereham.  Though there is a physical connection to Network Rail at Wymondham, public services stop short at Wymondham Abbey.

As well as providing the usual tourism services of a heritage railway, the enterprising Mid-Norfolk line provides freight services through its connection to the national network, serves military traffic and provides testing facilities for the rail industry and training opportunities for the emergency services.

Most of its operations are diesel hauled, and there are regular appearances of guest steam locomotives.

Reaching this stage of development has been a considerable struggle [http://en.wikipedia.org/wiki/Mid-Norfolk_Railway] and future plans are ambitious and exciting.

The Mid-Norfolk Railway Trust owns a further six miles of track-bed northwards to County School Station (built for and named after a long-gone boarding school operated by Dr Barnardo’s from 1907 to 1953).

Linking this section to the existing line provides a springboard for a further lengthy extension to Fakenham.

And that’s not all.  The proposed Holt, Melton Constable & Fakenham Railway plans to reinstate continuous railway from Holt to Melton Constable, the core of the Midland & Great Northern Joint Railway system, continuing on to the M&GNR main line to Fakenham, where it would ultimately connect with the extended Mid-Norfolk Railway on the former Great Eastern Railway.

This project involves several physical alterations to the historic route –

  • reinstating a rail link alongside the A148 by-pass into Holt
  • constructing a new Melton Constable station on a different site to the vanished original
  • realigning the route through Melton Constable to avoid reversal
  • avoiding the Pensthorpe wildfowl park which occupies the original alignment on the entry to Fakenham

The completed project, the Norfolk Orbital Railway [http://www.norfolk-orbital-railway.co.uk/index.html], would reintroduce rail transport to north-west Norfolk, and provide an 84-mile continuous loop incorporating the current rail-services between Wymondham, Norwich, Cromer and Sheringham.

A further project, the Whitwell & Reepham Railway Preservation Society Limited, based at Whitwell & Reepham station on the M&GNR Fakenham-Norwich line, has long-term [http://whitwellstation.com] plans to reinstate seven miles of track and to link with either the North Norfolk Railway or the Mid-Norfolk Railway.

 

Gothic New York: Riverside Church

Riverside Church, New York City

Riverside Church, New York City

On Riverside Drive overlooking the River Hudson is a great twentieth-century Gothic church of surprising proportions, the Baptist Riverside Church, largely financed by John D Rockefeller Jnr, and opened in 1929 to the designs of Allen, Pelten & Collens.

Especially when seen from the river, the huge tower, 392 feet high, dominates the church, which is itself a hundred feet high and 215 feet long.

The tower is in fact a 22-storey office building for the church administration, surmounted by a 72-bell carillon which – until 9/11 – visitors could inspect on their way to view the panorama from the top of the tower, from where the skyscrapers of Lower Manhattan dot the horizon.

Riverside Church is proud of its stained glass and sculpture.  It has two Epsteins, the bronze ‘Madonna and Child’ (1927) and the gilded mould of the cast ‘Christ in Majesty’ at Llandaff Cathedral, Wales.

From the outset of its ministry, started by Rev Harry Emerson Fosdick (1878–1969), Riverside Church has been a springboard for all kinds of social intervention, and has provided a pulpit for a dazzling array of speakers, from Martin Luther King to Nelson Mandela, Jesse Jackson to Desmond Tutu, and Fidel Castro to Bill Clinton.

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

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

 

Gothic New York: Trinity Church

Trinity Church, New York City (1981)

Trinity Church, New York City (1981)

Perhaps the most famous image of Wall Street is the vista westwards along the canyon of tall twentieth-century buildings to the apparently modest-sized Trinity Church, designed by Richard Upjohn and completed in 1846.

This was itself once the tallest building on Manhattan, 281 feet high.

The original foundation dates from a royal charter of 1697, and the present building is the third on the site.

The great wealth of the trustees arose from Queen Anne’s 1705 grant of the land west of Broadway between Fulton and Christopher Streets, the rentals of which have supported widespread endowments, educational institutions and subsidiary chapels.

Upjohn’s church was a significant influence on the architecture of nineteenth-century New York, firstly because it effectively established the Gothic Revival here (though its suspended plaster vault would have offended contemporary English purists such as Pugin), and because it helped to popularise the use of the local brownstone, a material which became synonymous with New York housing in the half-century that followed.

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

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

 

Glen’s finest

Forum Cinema, Lime Street, Liverpool

Forum Cinema, Lime Street, Liverpool

At the north end of Lime Street, on the opposite side to the Futurist Cinema, is the much more imposing former Forum Cinema, designed for the ABC circuit by William R Glen and Ernest A Shennan and opened in 1931, “one of W R Glen’s finest”, according to the Theatres Trust website:  http://www.theatrestrust.org.uk/resources/theatres/show/2102-forum-liverpool.

This splendid Portland stone building occupies a corner site corresponding to Lewis’s department store at the other end of Lime Street.

Its fine interior, described by some writers as “semi-Atmospheric”, was a celebration of the possibilities of indirect lighting using Holophane reflectors with a sunburst light-feature in the ceiling.  On each side of the proscenium are curious relief panels, supposedly Venetian though both include recognisable representations of the Chrysler Building.

The architects contrived to squeeze a big auditorium, originally 1,835 seats, into a constricted space 150 feet × 75 feet, by creating a huge balcony seating 750 and placing the projection ports high above the rear circle with a throw of 146 feet.

Such a narrow auditorium was less than ideal for wide-screen films, and when the Forum was tripled in 1982 a false ceiling was inserted from the balcony front so that the proportions of the proscenium were lost.

It finally closed in January 1998 with a showing of Casablanca at 50p per seat and has remained unused.  Although (or perhaps because) it’s listed Grade II, the various proposals for the building have so far come to nothing.

A recent urban explorer report shows that the division between stalls and circle has been removed, recovering the original auditorium space:  http://www.derelictplaces.co.uk/main/leisure-sites/32830-abc-cinema-liverpool-march-2016-a.html#.V0O15Y-cGUk.

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

Another Futurist bites the dust

Futurist Cinema, Lime Street, Liverpool

Futurist Cinema, Lime Street, Liverpool

As Liverpool city-centre regenerates, the remaining patches of neglect stand out more clearly.

The east side of Lime Street has been neglected for years, and yet the stretch between the Crown and the Vines pubs includes a spectacular landmark building that still, somehow, remains in one piece.

The Futurist Cinema, originally the Lime Street Picture House, was the first purpose-built cinema in Liverpool, opened in 1912.  It was the first to show sound movies, in 1926, three years before The Jazz Singer at the Olympia, West Derby Road.  It converted to Cinemascope in 1954 without interrupting performances, and at the end of its long history it was the only place in Liverpool fitted with Sensurround for the film Earthquake (1975):  [http://www.in70mm.com/newsletter/2004/69/sensurround/about.htm].

It closed in July 1982 and has remained empty and untended ever since.  Kim Ryan’s film of the Merseyside film-maker Alex Cox revisiting the Futurist shows the interior in 2008:   http://www.youtube.com/watch?v=Y2_JRTwP4J0.  An April 2013 news article raises the question of whether the building is beyond saving:  http://www.clickliverpool.com/business/business-news/1218614-back-to-the-future-futurist-building-set-for-revamp.html.

The campaign to save at least the façade of the Futurist is at http://thefuturistcinema.wordpress.com.

A more recent Victorian Society alert to threats to the Lime Street streetscape is at http://www.victoriansociety.org.uk/news/damaging-lime-street-plans-could-further-endanger-liverpools-world-heritage.  This is supplemented by the SAVE Britain’s Heritage objection to demolition:  http://us8.campaign-archive2.com/?u=9ea03bb11e3ccc82634488e2b&id=63d3031744&e=68a86e2740.

Update:  After a protracted legal process, the campaign to save the Futurist failed in August 2016, and demolition followed immediately:  http://www.liverpoolecho.co.uk/news/liverpool-news/demolition-historic-futurist-cinema-begins-11697085.

Futurist Cinema, Lime Street, Liverpool (demolition 2016)                                                    Photo:  John Binns

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