The magnificent bridge to the Magnificent Mile

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Michigan Avenue Bridge, Chicago

Michigan Avenue Bridge, Chicago

If any one structure can depict the entire history of Chicago it’s the Michigan Avenue Bridge, formally named since 2010 the DuSable Bridge after Chicago’s first non-Native inhabitant, Jean Baptiste Point Du Sable (before 1750-1818)

Constructed between 1918 and 1920, it opened up the area north of the Chicago River and extended the city’s retail quarter into the area that is now known as the Magnificent Mile.

It was designed for the Chicago Department of Public Works, Bureau of Engineering, led by the engineer William A. Mulcahy in consultation with the planner Edward H Bennett (1874-1954), who had co-authored the Chicago Plan of 1909 with the better-known Daniel Hudson Burnham (1846-1912).

There’s more to this bridge than meets the eye as you walk or drive across it.

It’s significant as the first bascule bridge across the Chicago River.  All previous bridges over this busy waterway were swing bridges, which were frequently closed to road traffic through the day.

It’s actually two parallel bridges which can be raised separately.  If either bascule needs repair it can be fixed in the raised position while traffic continues uninterrupted over the other.

And, though it’s not apparent from street level, it has two decks, the lower deck leading directly to the docks and riverside.

Furthermore, its northern abutment stands on the site of Du Sable’s original residence and the southern abutment occupies the location of Fort Dearborn (1803-4), the US Army base which encouraged the growth of the settlement that became the city of Chicago.

For these reasons the bridge is lavishly decorated with reliefs depicting scenes from the first discovery of the site by Louis Jolliet and Father Jacques Marquette in 1673 to the rebuilding after the Chicago Fire of 1871.

For details of Mike Higginbottom’s lecture Windy City: the architecture of Chicago please click here.

Bull Bridge Aqueduct

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Bull Bridge Aqueduct, Cromford Canal, Derbyshire (1967)

Bull Bridge Aqueduct, Cromford Canal, Derbyshire (1967)

My journeys to school in the early 1960s were punctuated by a pause on the road through Bull Bridge, near Ambergate in Derbyshire, for the traffic lights that controlled the tight gothic arch of Bull Bridge Aqueduct on the Cromford Canal.

The canal had not been used since before the Second World War and the arch was impossible for any vehicle larger than a single-deck bus.

The A610 road was already a significant link in the 1960s, and would become more important when the Ripley by-pass was opened in 1977.

It was inevitable, therefore, that Jessop and Outram’s tiny road-arch had to go.  It was demolished in 1968 – shortly followed by the adjacent iron-trough aqueduct that had been inserted into the canal when George Stephenson drove the North Midland Railway through in 1839.

In the 1960s no-one in their wildest dreams would have expected the Cromford Canal to be restored, but the Friends of the Cromford Canal plan to return the whole canal to navigation, however long it takes, and so one day an elegant new aqueduct will span the road and the railway, rather like the New Semington Aqueduct (2004) on the Kennet and Avon Canal:  http://en.wikipedia.org/wiki/New_Semington_Aqueduct.

Nottingham’s underground 2

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Drury Hill Caves, Nottingham

Drury Hill Caves, Nottingham

Nottingham’s City of Caves attraction shows what remains of the Drury Hill cave-system, named after a street that was swept away to make room for the Broadmarsh shopping centre which opened in 1972.

The complex includes the only underground tanneries in Britain, if not the world, dated, by pottery found in the cess-pit, to 1270-1300, and known to have been used as late as 1639.  The tanning process was so obnoxious, involving soaking hides from the slaughterhouses in vats of urine and ordure, that the caves were rat-free and the tanners, who had little else to be cheerful about, were notably immune to the plague.

Further tanneries at the Black’s Head, Drury Hill, behind 14 Low Pavement, were filled in for safety in 1992

The City of Caves website is at http://www.cityofcaves.com.  It’s a good idea to switch your computer to mute.

 

Nottingham’s underground 1

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Trip to Jerusalem, Nottingham

Trip to Jerusalem, Nottingham

Tony Waltham begins his invaluable study of underground Nottingham, Sandstone Caves of Nottingham (East Midlands Geological Society, 2nd edn, 1996), by saying that there are no caves in Nottingham:  all the cavities which honeycomb the historic centre are man-made.

The Sherwood Sandstone strata on which the city stands is so soft that it’s possible to dig a well by hand faster than the aquifer can fill it.  Indeed, the cavities beneath Nottingham have been used as cellars, dwellings, wells and cisterns, access passages, malt kilns and in one possibly unique case a tannery.  Wealthy householders sometimes dug ornamental garden features out of the rock, and from the late eighteenth-century at least sand was mined as an industrial abrasive.

Some of the existing underground sites date as far back as the twelfth century, and centuries before that a Welsh chronicler refers to a locality called ‘Tiggua Cobaucc’ – the place of the caves.

I’m indebted to my friend Stewart for tipping me off about the Nottingham Caves Survey [http://nottinghamcavessurvey.org.uk], which seeks to map all the surviving underground spaces in and around central Nottingham.  The survey uses laser-scanner technology to produce accurate three-dimensional representations for record, and to create fascinating fly-through videos.  The team continues to make new discoveries:  http://www.bbc.co.uk/news/uk-england-nottinghamshire-26816897.

If you’re in Nottingham, of course, some of these fascinating spaces are physically accessible, in some cases for the price of a drink.

The most famous of all, perhaps is the Trip to Jerusalem, a pub which claims a history back to 1189AD, though the buildings are clearly seventeenth-century or later:  http://www.triptojerusalem.com.  Its history is certainly much older than the buildings, because it stands at the foot of the Castle Rock, next to the castle’s Brewhouse Yard.

Drinkers have been calling at the Trip, so it seems, ever since the Crusaders set off to the Holy Land.

 

Temple of music

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Town Hall, Birmingham

Town Hall, Birmingham

Birmingham’s Town Hall is the equivalent of Liverpool’s St George’s Hall, designed solely as an assembly hall, and intended for the fund-raising concerts that supported the General Hospital.

Based on the Roman Temple of Castor and Pollux and designed in 1831-2 by Joseph Aloysius Hansom (whose name is indelibly linked to the cab he invented), this is the building that ruined Hanson, his partner Welch and the contractors Thomas & Kendall:  they were obliged to complete the contract for no more than £17,000, but the eventual final cost was around £25,000.  “Bankruptcy has been fixed as the price of my adventure,” Hansom declared.

The project took until 1861 to complete under the supervision of Charles Edge.

Hanson’s original design had a gallery round three sides of the interior, and was crowded by other buildings on the north and east sides.  As early as 1837 the decision was taken to rebuild northwards to accommodate the organ in its present position;  a further northward extension of 1849-51 brought the Town Hall to its present size, and only then was the north façade completed to match the south and the west podium refaced to match the east.

Subsequent alterations have not been kind to Hanson’s design.   Modifications to the lobby in 1890-1 reduced the size of the auditorium.  In 1926-7 two rear galleries were designed by Owen Williams to replace the original one and a redecoration scheme by White, Allom & Co completely obliterated Hanson’s ceiling.

The William Hill organ (built in 1834 and successively rebuilt in 1843, 1889-90, 1932-3 and 1984) was until 1922 owned by the Governors of the General Hospital, because it was primarily intended for use in their fund-raising Triennial Festivals which date back to the late eighteenth century.  It was the biggest of its time:   it had the first ever 32-foot pipe and the first part-pneumatic action;  it was the first four-manual pipe-organ (enlarged to five manuals in 1984) and it had the first full pedal-keyboard.

The Town Hall has always been the scene of prestigious musical events.  It was the venue for the premières of Mendelssohn’s Elijah (1846), Elgar’s Dream of Gerontius (October 3rd 1900 – “one of British music’s more famous disasters”), The Apostles (1903) and The Kingdom (1906).

The list of eminent conductors who have performed at the Town Hall runs from Mendelssohn, through Elgar, Sibelius, Dvorak, Bruno Walter, Sir Adrian Boult, Sir Malcolm Sargent and Sir Thomas Beecham to Sir Simon Rattle.  The inaugural performance of the City of Birmingham Symphony Orchestra was conducted here by Sir Edward Elgar on November 10th 1920.

When the City of Birmingham Symphony Orchestra moved to Symphony Hall in 1991 the Town Hall was little used and it closed in 1996.  After a radical restoration, involving the reinstatement of the 1834 single balcony, it reopened as a partner to Symphony Hall in October 2007.

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

The biggest semi-detached house in Britain

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Wentworth Woodhouse, South Yorkshire: west front

Wentworth Woodhouse, South Yorkshire: west front

I wrote about the rivalry between the descendants of the 2nd Earl of Strafford that littered eighteenth-century South Yorkshire with mansions, temples, obelisks and columns in an article about Wentworth Castle.

The race to amass the most and best titles and houses was ultimately won by Thomas Watson-Wentworth (1693-1750) who became Baron Malton (1726), 1st Earl of Malton (1734) and then 1st Marquis of Rockingham (1746), and built not one but two magnificent houses, consecutively, back-to-back.

He began what is now the west wing of Wentworth Woodhouse, a fine but not entirely symmetrical baroque house in brick, in 1726.

The gentleman-architect, Sir Thomas Robinson, disciple of the pioneer of the Palladian style, Lord Burlington, thought little of it:  “…partly patchwork of the old house…little can be said in its praise…”

Even before this brick house was finished in 1734, Lord Malton turned his back on it and began the vast east wing, designed by Henry Flitcroft, “Burlington’s Harry.”

A plan dated 1725 proves that an east wing was always intended, but Flitcroft’s beautifully proportioned design was a gigantic version of the long-gone Wanstead House in Essex, stretched to 606 feet.

By this means Wentworth Woodhouse became the largest and grandest semi-detached house in Britain.

After the Second World War this vast place became impossible to maintain, especially when the Minister of Power, Emmanuel Shimwell, insisted on bringing opencast coal mining to within sixteen feet of the west wing.  The 8th Earl Fitzwilliam’s aunt, the Labour councillor Lady Mabel Smith, arranged for the East Wing to be leased to West Riding County Council as a teacher-training college.

After the death of the tenth and last Earl in 1979 and the closure of the college some years later the two houses were reunited and now belong to Mr Clifford Newbold who is gradually restoring the buildings and grounds.

At last it’s possible to visit Wentworth Woodhouse, and to marvel at the way it’s being brought back from the brink.

And wherever you step from the East Wing to the West Wing and back again, there are always a couple of steps, because the two parts of the house are on different levels.

The 56-page, A4 handbook for the 2014 tour Country Houses of South Yorkshire, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £7.50 including postage and packing.  It includes chapters on Aston Hall, Brodsworth Hall, Cannon Hall, Cusworth Hall, Hickleton Hall, Renishaw Hall, Wentworth Castle, Wentworth Woodhouse and Wortley Hall.  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.

Whose campus?

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Jessop Hospital for Women, Sheffield: Edwardian Wing (May 5th 2013)

Jessop Hospital for Women, Sheffield: Edwardian Wing (May 5th 2013)

Thomas Jessop (1804-1887) was a Sheffield steelmaker whose wealth took him from his birthplace on Blast Lane by the canal to the opulent Endcliffe Grange to the west of the town.  He served as both Mayor and Master Cutler, the two leading roles in the borough, in 1863.

His greatest benefaction to Sheffield was the Jessop Hospital for Women, a 57-bed facility, designed by the local architect John Dodsley Webster, which cost £26,000 when it opened in 1878.

An Edwardian extension, also by J D Webster, trebled the capacity in 1902, and an unremarkable new wing was added in 1939-40.

The whole hospital was replaced by a women’s wing in the Royal Hallamshire Hospital in 2001:  http://www.sth.nhs.uk/our-hospitals/jessop-wing.

Sheffield University took over the site in 2007, demolished most of the peripheral buildings [http://www.bbc.co.uk/southyorkshire/content/image_galleries/jessops_hospital_old_gallery.shtml?1] and carefully restored Webster’s original wing as a base for the Department of Music, which opened in 2009:  http://www.shef.ac.uk/music/about.

The University then proposed to demolish the Grade-II listed Edwardian wing to replace it with an arrogantly modern £81-million New Engineering Building, and caused uproar.

The Director of Estates & Facilities Management, Mr Keith Lilley, told the Sheffield Telegraph (April 22nd 2013), “Having a new building across the whole site would allow us to provide around five per cent more space and cost 10% less per square metre.  A totally new building would create 19,600 square metres of space whereas incorporating the hospital wing would provide 17,300 square metres.”

Sheffield City Council chose to support demolition http://postcodegazette.com/news/9002814177/demolition-of-listed-edwardian-wing-at-jessop-hospital-gets-go-ahead-AT-sheffield-former-jessop-hospital-for-women, ignoring the recommendations of their own planning team:  “The proposals have
serious implications and constitute poor design and should therefore be refused
in accordance with the National Planning Policy Framework.”

Specifically, the principal planning officer supported the 1902 block for its “positive townscape value”, and described the New Engineering Building as an “ungainly big box with an overly-complex external envelope that has no relationship with its setting”.

In bean-counting terms the argument has weight, but RMJM Architects’ showy cube cannot compare with Webster’s elegant building.

Moreover, there is a vital legal issue at stake.  Conservationists are deeply angry that listed-building legislation is being disregarded.

The Ancient Monuments Society, the Society for the Preservation of Ancient Buildings and the Victorian Society [http://www.victoriansociety.org.uk/news/university-demolition-plan-flawed-and-unfair] each condemned the decision, and the Hallamshire Historic Buildings Society declared this was simply “the easy way out” and “a dangerous precedent”.

Private Eye (March 22nd-April 4th 2013) described the University’s plans as “gratuitously destructive and wasteful”.

A request to the Secretary of State for Communities and Local Government, Eric Pickles, to review the planning application was turned down.

SAVE Britain’s Heritage mounted a legal challenge, believing that the City Council “relies on an unsatisfactory interpretation” the new National Planning Policy Framework [http://www.savebritainsheritage.org/docs/articles/Jessops%20Hospital%20press%20release%20March%2013%20FINAL.pdf] and the social media buzzed:  https://www.facebook.com/oldjessophospital.

The challenged failed, and the Edwardian Wing was demolished in the late summer of 2013.

It was only one building, but the need to preserve it was hugely significant.  Why should a university, of all things, dump on the city a jazzed-up vanity building to gain 5% extra space in place of a polite, well-built, valuable piece of townscape?

Poste restante

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Former Head Post Office, Fitzalan Square, Sheffield (1993)

Former Head Post Office, Fitzalan Square, Sheffield (1993)

Sheffield was a town that thought it was a village, until 1893, when it became a city that thought it was a town.

Indeed, the first impressive piece of civic planning in the centre of Sheffield was Fitzalan Square, which grew from street clearance in the 1880s and is dominated by the baroque bulk of the former Post Office, built in 1910 to the designs of the Office of Works architect, Walter Pott.

This imposing place in which to buy a stamp closed in 1999, and three successive developers have failed to find a way of financing a new use:  http://www.thestar.co.uk/news/sorted_at_last_1_3672707.

Meanwhile, the urban explorers have kept an eye on the place, and their posts show that while most of the interiors were functional, the public spaces and the main staircase deserved to be kept:  http://www.derelictplaces.co.uk/main/showthread.php?t=5062,  http://www.28dayslater.co.uk/forums/other-sites/68834-sheffield-central-post-office-february-12-a.html and http://www.urbexforums.com/showthread.php/16186-General-Post-office-amp-sorting-office-Fitzalan-Square-Sheffield-Feb-2012.

The latest word is that this fine but mouldering building is to become a college for overseas students with 18-storey residential tower on the vacant plot behind:  http://www.sheffieldnewsandsport.com/2013/03/21/fitzalan-square-facelift.

If another high-rise building in the city-centre is the price of keeping Pott’s Edwardian splendour I think it’s worth paying.

Meanwhile, within a couple of minutes’ walk of Fitzalan Square, the Old Town Hall and the United Gas Light Company Offices, both listed, stand idle and neglected, and two fine post-war department stores, the former Walsh’s and the Co-op’s Castle House are in an uneasy state of transition.

And the City Planning Committee and the Secretary of State have waved through the demolition of the Edwardian wing of Jessop’s Hospital – which is another story…

 

Caledonia rides again

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Isle of Man Railway, Port Erin Station: loco no 15 (as Manx Northern Railway no 4): Caledonia

Isle of Man Railway, Port Erin Station: loco no 15 (as Manx Northern Railway no 4): Caledonia

Photo:  John Binns

The Isle of Man Railway has more locomotives than it really needs, and to the untutored eye they look very much similar.  In fact, there are three different varieties, and each of the survivors has its idiosyncrasies.

Only four of the eighteen original locos have completely disappeared:  of the remainder, a couple haven’t moved for decades and others are in private ownership.  One of the original 1873 fleet, No 3, Pender, is sectioned and exhibited at the Manchester Museum of Science & Industry.

Enthusiasts look forward to new events on this great little railway.  The 2013 star turn is the rebuilt No 15, Caledonia, one of two locomotives surviving from the Manx Northern Railway, which ran from St John’s to Ramsey and was originally independent of the Isle of Man Railway.

Since the Manx steam railway was nationalised in 1977, its locomotives have worn a variety of liveries in order, according to rumour, to prove that there are more than two locos in the fleet.

Caledonia is turned out in the attractive Manx Northern livery of “Metropolitan Carriage red”, a darker shade than the standard IMR red.

Built in 1885 to work the steeply graded Foxdale Railway, serving the zinc mines in the heart of the island, Caledonia was required to work a ruling gradient of 1 in 49, but proved capable of climbing at 1 in 12 when she visited the Snaefell Mountain Railway in 1995.

Over 125 years old, the second newest loco in the fleet – Caledonia proves that Victorian steam locomotives were built to last.

The 72-page, A4 handbook for the 2014 Manx Heritage tour, with text, photographs, maps, a chronology 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.

The People’s Caterer

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Empress Ballroom, Winter Gardens, Blackpool, Lancashire

Empress Ballroom, Winter Gardens, Blackpool, Lancashire

The great rival of Thomas Sergenson, Blackpool’s late-Victorian theatre impresario, was William Holland (1837-1895), “the People’s Caterer”, who first made his name managing the Canterbury Music Hall, Lambeth [http://en.wikipedia.org/wiki/Canterbury_Music_Hall].

Bill Holland was employed by the Winter Gardens Company specifically to counter the competition from Sergenson.

Against the opposition of a number of Winter Gardens directors, including the chairman, Dr Cocker, Bill Holland proposed and carried through the construction of the predecessor of the present-day Opera House, designed by Frank Matcham and built in nine months flat at a cost of £9,098.  It opened with a D’Oyly Carte production, The Yeomen of the Guard, on June 10th 1889.

As part of the same project, Frank Matcham redesigned the Winter Gardens Pavilion in the form of a proscenium-arched theatre.

Holland promoted an all-day admission charge of 6d which included operatic ballet spectaculars directed by John Tiller.  Fixed budget catering also appealed to thrifty Blackpool holidaymakers:  “One Shilling Dinner and One Shilling Tea.  Plenty of Everything.  Help Yourself!” 

Bill Holland apparently owned an old grey parrot, which he had trained to say “Going to see Bill Holland’s ballet?”  For the Winter Gardens, he initiated The Great Parrot Scheme:  he bought a hundred parrots, each in a cage marked “Blackpool Winter Gardens – Two Shows Daily”.

The birds were lined up in rows four deep and trained to repeat the grey parrot’s message and were allegedly placed all the leading hotels and restaurants of Lancashire and Yorkshire.

The total investment in the Opera House and associated extensions cost the Winter Gardens Company approximately £14,000:  gross receipts trebled between 1887 and 1891 to £36,000 and the dividend reached 8%.

In response to the opening of the Tower in 1893, Bill Holland persuaded the directors to install electric lighting throughout the Winter Gardens at a cost of £3,307, and to pay an additional £975 to buy out Dr Cocker’s 1875 covenant against dancing, so that he could plan the Empress Ballroom, designed by Mangnall & Littlewood of Manchester (who shortly afterwards built Morecambe’s Victoria Pavilion), with a barrel-vault roof, a balcony promenade and a proscenium stage. 

The Empress Ballroom was at the time one of the largest in the world, 189ft × 110ft, with a dancing-area of 12,500 square feet.

The Art Nouveau decorative scheme included plasterwork by J M Boekbinder and twenty-eight Doulton tile panels of female figures symbolising jewels by William J Neatby.

It opened in 1896, the year after Bill Holland’s death.

The Tower Company paid him a posthumous compliment by refurbishing their somewhat functional Assembly Hall as the sumptuous Tower Ballroom.

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 80-page, A4 handbook for the 2013 Lancashire’s Seaside Heritage 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.