Category Archives: Twentieth-century architecture

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.

Futurist bites the dust

Futurist Cinema, Scarborough, North Yorkshire (September 2013)

Futurist Cinema, Scarborough, North Yorkshire (September 2013)

Reputedly the largest remaining single-screen cinema auditorium in Britain, with 2,150 seats, the Futurist Cinema, Scarborough closed its doors on Sunday January 5th 2014:  http://www.yorkshirepost.co.uk/news/main-topics/general-news/scarborough-s-futurist-theatre-closes-as-saviour-is-sought-1-6354622.

It was built in 1921 to designs by Frank Tugwell. The stage was first extended for live performances in 1957 and two years later the proscenium was widened.

In 1968, when the stage-area was further enlarged by the impresario Robert Luff to accommodate The Black and White Minstrel Show, the elaborate classical white faience façade was hidden behind plain cladding which has not worn well.

The chartered surveyor Mark Rothery described the building as “past the point of saving for refurbishment” in 2010, and English Heritage has twice declined to list it.

The Borough Council’s report by Kate Wafer and Jennifer Hadley (March 2013) identified these practical disadvantages to the building:

* small stage in relation to the size of the auditorium
* small box-office and bar-areas in relation to the size of the auditorium
* inadequate wing-space
* limited backstage get-in
* small orchestra pit

The lessee since 2002, Barrie Stead, estimated that refurbishment would cost at least £5 million, and regeneration would need at least £250,000 pa revenue subsidy.

Its owners, Scarborough Borough Council, promised to mothball the building for three months to allow the Save Our Futurist campaign [https://www.facebook.com/savethefuturist and http://www.savethefuturist.co.uk/contact/4580371634] to present a £3 million business plan to regenerate the existing auditorium:  http://www.thestage.co.uk/news/2014/01/scarborough-council-close-futurist-theatre-operator-negotiations-fail.

Despite the submission of a 4,000-signature petition in November 2013, no-one could produce a practical plan for the site as an alternative to the Council’s plans for demolition and redevelopment.  An apparently separate e-petition shows 870 signatures:  http://www.yorkshirepost.co.uk/news/main-topics/general-news/scarborough-s-futurist-theatre-closes-as-saviour-is-sought-1-6354622.

Eventually, in 2018, the Futurist was demolished at a cost of £4.2 million.

Mr Vines’ hotel

Vines Hotel, Lime Street, Liverpool

Vines Hotel, Lime Street, Liverpool

The Vines Hotel, next door to the Adelphi, is a sister pub to the splendid Philharmonic Hotel on Hope Street, designed by the architect Walter Thomas.  It’s a little later than the Phil, opened in 1907, so its mahogany, copper, glass and plaster interior has a distinctly Art Nouveau feel.

Alcohol has been served here since 1823, and the present building takes its name from its late-Victorian licensee, Albert B Vines, who came to the site in 1867.

Because of its location at the end of Lime Street the Vines has traditionally been noisier than the Phil.  Indeed, one reviewer [http://www.yelp.co.uk/biz/the-vines-liverpool] comments,–

The Vines will usually give you a fairly rockin’ Friday, Saturday and indeed Sunday evening provided what rocks you are karaoke and somebody’s grandmother pinching your arse.

Architectural-history enthusiasts may choose to visit for breakfast.

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

The finest gents in the North West

Philharmonic Hotel, Liverpool:  gentlemen's lavatory

Philharmonic Hotel, Liverpool: gentlemen’s lavatory

One of the great Liverpool experiences is having a drink – or perhaps more than one drink – in the Philharmonic Hotel (1898-1900) on the opposite corner of Hope Street to the Philharmonic Hall from which it takes its name.

This palace of a pub is the result of a partnership of the architect Walter W Thomas and Robert Cain’s Brewery during the great boom in public-house building at the turn of the nineteenth century.

Thomas was well-funded and fortunately placed to call on the formidable design-skills of the Liverpool University School of Architecture and Applied Art and of the Liverpool craftsmen who executed the decorative schemes of the interiors of the great ocean-liners built by Cammell Laird across the Mersey in Birkenhead.

The exterior of the Philharmonic Hotel is an odd combination of Scottish Baronial and Art Nouveau, with elaborate iron gates by the German-American artist H Blomfield Bare, who also designed the repoussé copper panels inside.

The interior scheme was co-ordinated by George Hall Neale and Arthur Stratten, who employed Charles J Allen to produce the distinctive plaster caryatids and atlantes in the billiard room (the former modelled by his friend Mrs Ryan), the Irish plasterer Pat Honan and the stone-carver Frank Norbury.

The gentlemen’s lavatories at the Philharmonic Hotel are not to be missed.  Indeed, the protocol is that any respectable lady customer can ask any respectable gentleman customer to check the coast is clear so she can admire the marble, the mosaic and the brass-work of this palatial pissoir.

John Lennon declared that one of the disadvantages of fame was “not going to The Phil any more”.

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

Devoted to music – and film

Philharmonic Hall, Liverpool

Philharmonic Hall, Liverpool

I once booked a Cinema Theatre Association Liverpool tour primarily on the strength of seeing On Golden Pond on the big screen at the Philharmonic Hall.

The Philharmonic Hall is a 1937-9 rebuild, replacing a predecessor of 1846-9 which had been burnt down in 1933.

It’s a very fine Art Deco auditorium, designed by Herbert J Rowse whose other distinguished Liverpool designs include India Buildings, Martin’s Bank and the ventilation shafts [see https://www.flickr.com/photos/liverpoolpictorial/7710001254/in/photostream]  and other structures for the Mersey Tunnel.

The 1,700-seat auditorium has a continuous rake of stalls seats with horseshoe boxes and a balcony:  the suspended ceiling has troughs containing indirect lighting fittings.

It’s the home of the Royal Liverpool Philharmonic Orchestra, Choir and Youth Orchestra, which together have an outstanding history of performance dating back to the foundation of the Liverpool Philharmonic Society in 1840:  http://www.liverpoolphil.com.

The CTA was attracted to this temple of serious music to hear the three-manual Rushworth & Dreaper concert organ, which is fitted with tremulants, a feature commonly found in theatre-organ specifications.

Though lacking the drums, chimes and whistles of a conventional cinema-organ it was clearly intended for use in film presentations as well as for performances across the classical repertoire.  Its console is mounted on a revolving lift, and can be played from below stage or in full view of the audience.

Even more unusual, and unmissable if you’re a serious cinema buff, is the seven-ton rising proscenium, now apparently the only example in working order anywhere in the world:  http://www.arthurlloyd.co.uk/Liverpool/PhilharmonicHallLivepool.htm#screen.

This cinema screen, complete with footlights and curtains and fitted with integral sound speakers, rises from the stage-floor in three minutes, uniquely transforming the concert hall into a movie palace before the eyes of the audience.

That’s an experience you can only have at the Philharmonic Hall.

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

Made good

Citicorp Center, 601 Lexington Avenue, New York City

Citicorp Center, 601 Lexington Avenue, New York City

When they designed Citicorp Center, now renamed 601 Lexington Avenue, in Manhattan in 1977, the architect Hugh Stubbins and the structural engineer William LeMessurier were faced with the uncompromising elders of St Peter’s Evangelical Lutheran Church, who were entirely happy to have their tired nineteenth-century Gothic building replaced but refused point-blank to give up its corner site.

Consequently, William LeMessurier supported the tower on four stilts planted firmly in the centre of each side so that it overhangs the corners of its footprint.  This odd-looking construction is stabilised by a series of stacked braces that transfer the load of the 59-storey structure to the nine-storey supporting columns.

The Citicorp Center was fitted with a 400-ton tuned mass damper to stabilise the effect of high winds.  Other tall towers of the period, while rolling safely with the wind, had made their inhabitants nauseous.

The wedge-shaped top was intended to carry solar panels which were never installed because the slope faces north.

The building is remarkable, not only for its engineering attributes, but for the fortuitous discovery and surreptitious repair of its structural weaknesses.

Within a year of the opening, LeMessurier received a phone-call from a trainee architectural engineer questioning the ability of the centre columns to support the building in extremely high winds.

Niggled, LeMessurier revised his calculations, and realised that in following the regulations by calculating wind-resistance square to the building he’d ignored the potential effects of quartering winds, hitting the tower cornerwise where there was no support to ground-level.

Casual discussions of the specification for a new project alerted LeMessurier for the first time to the fact that his office had sanctioned the use of bolted braces instead of welded ones in the Citicorp tower.  This made the building vulnerable to a once-in-55-year wind, but if the tuned mass damper was disabled by a power failure, the vulnerability increased to once in every sixteen years.

This came to light in June, just at the start of the hurricane season.

The building’s owners, Citibank, a team of construction-industry specialists and the City of New York – all of them anxious to avoid a public panic – arranged for the two-hundred-odd braces to be quietly patched with heavy steel plates, one by one, during evenings and weekends, without disturbing the building’s users.

The press were fed an innocuous explanation which remained unprobed because, as the work began, the entire New York newspaper industry was shut down by a strike.

And the city’s Office of Emergency Management created a plan to evacuate the building and 156 blocks of the surrounding neighbourhood if high winds were forecast.

Part way through the process Hurricane Ella headed directly for New York City, only to turn eastwards and follow the coast northwards towards Canada.

This remarkable episode remained outside the public domain for twenty years until an article in the New Yorker [http://people.duke.edu/~hpgavin/cee421/citicorp1.htm] was published in May 1995.

Le Messurier, whose entire career had been on the line eighteen years earlier, was hailed for his integrity in owning up to the problem and providing a solution.  601 Lexington Avenue is now rated as resistant to a once-in-700-year hurricane even without the damper.

A more critical view of Le Messurier’s ethics can be found at http://www.crosscurrents.org/kremer2002.htm.

Other accounts of the whole episode are at http://www.damninteresting.com/a-potentially-disastrous-design-error and http://en.wikipedia.org/wiki/Citigroup_Center.

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

Funny Girls

Former Odeon Cinema, now Funny Girls, Blackpool, Lancashire

Former Odeon Cinema, now Funny Girls, Blackpool, Lancashire

In the summer of 1939 Blackpool ignored the possibility of war.

The huge new Art Deco, 2,920-seat Opera House auditorium opened in the Winter Gardens, starring George Formby Jnr (who was paid £1,000 a week) in a review entitled Turned Out Nice Again.

A short distance down Dickson Road the Odeon Cinema, designed by W Calder Marshall for Harry Weedon’s practice, opened on May 6th 1939.  Its capacity of 3,088 made this the largest auditorium in the company’s chain, bigger even than the flagship cinema in London’s Leicester Square:  it cost £82,500.

This was one of the relatively few 1930s Odeons intended to have an organ, a magnificent five-manual Compton instrument, big enough to stand comparison with the Wurlitzers in the Tower and Winter Gardens.  Oscar Deutsch disapproved of theatre organs:  he thought they were a waste of money.

As it happened, the Odeon organ was not delivered until after war broke out, and was apparently bombed in the railway sidings at Blackpool.  Eventually, in 1946, the Conacher organ from the Ritz, Southend, was installed.

The Blackpool Odeon was tripled in October 1975 and closed in 1998.

It stood derelict for some years, until Basil Newby recreated it magnificently as Funny Girls [http://www.funnygirlsonline.co.uk], refreshing the meaning of the expression “holiday camp”.

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 hereTo 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 Yorkshire Lutyens 2

Sion Hill Hall, North Yorkshire

Sion Hill Hall, North Yorkshire

Sion Hill Hall has been described – convincingly but imprecisely – as “the last of the great country houses”.  It was built for Percy Stancliffe, the son of a wealthy brewer by one of Yorkshire’s foremost local architects, Walter H Brierley, in 1912-3. 

Walter Brierley (1862-1926) was a partner in the dominant York architectural practice which was begun in the eighteenth century by John Carr and had included in the intervening years such figures as J P Pritchett (1789-1868) and G T Andrews (1804-55, architect to the North Eastern Railway).

Like John Carr, Walter Brierley’s fame was limited because his work is concentrated in the North.  He built a rich collection of houses, churches and public buildings including a distinctive series of 1890s school buildings for the York School Board and the Principal’s House at the King’s Manor in York.  He restored Sledmere House after the major fire in 1911 and designed Welbeck Woodhouse, Nottinghamshire, which was built (1930-1) after his death.

At Sion Hill Hall there were temperamental clashes between the rich but parsimonious Percy Stancliffe and his perfectionist architect, whose belief that “cheap work is always there to remind and annoy us” did not encourage a quiet relationship.

Nevertheless, the resulting building made Brierley’s reputation as “the Lutyens of the North”, and its expansive horizontal façades, enlivened by generous hipped roofs and tall chimneys, have a strong air of assurance, with an ambitious classical doorcase, dated 1913, as an entrance and on the south-facing garden front, roundels and painted shutters.

In fact, the house is only one room deep, with connecting corridors the length of the north front and all the principal rooms facing the sunny south.  At the western end the corners are stepped, so that Percy Stancliffe’s study and his wife’s boudoir share the advantage of south- and west-facing windows.

(The real Edwin Lutyens, on one of his rare Northern commissions, took no nonsense from his rich Yorkshire client, whom he despised.)

Percy Stancliffe lived at Sion Hill House until his death in 1949.  It was eventually purchased in 1962 by a remarkable collector, Herbert W Mawer (1903-1982), who rose from humble origins, trained as a chef at the Royal Station Hotel in Hull and started his own model bakery, “Our Herbert’s”, at Stokesley in 1926.  The family business prospered enough for Herbert to retire in his forties with sufficient wealth to support a passion for antiques which had begun with the purchase of two candlesticks for £1 5s in Hull when he was eighteen.

In the late 1930s he bought Ayton Hall near Guisborough, but by the 1950s that modest Georgian house was too small to house his accumulating possessions.

Herbert Mawer chose, in the absence of an heir, to establish the H W Mawer Trust to administer Sion Hill Hall and the Mawer Collection, which has since his death been increased to include the remarkable pot that contained the Breckenbrough Hoard (discovered in 1985) and paintings by the identical twins Dorothy and Elizabeth Alderson (respectively 1900-1992 and 1900-1987), who were Herbert Mawer’s aunts.

The house is open for group visits by prior arrangement:  http://www.sionhillhall.co.uk.

 

Exploring New South Wales: St Patrick’s Orphanage, Armidale

Former St Patrick's Orphanage, Armidale, New South Wales, Australia

Former St Patrick’s Orphanage, Armidale, New South Wales, Australia

When I lectured to the Armidale Decorative & Fine Arts Society, I was invited to dinner by Les and Libby in their spacious Gothic Revival apartment, part of the former St Patrick’s Orphanage.

This surprisingly late example of Gothic design was built between 1919 and 1921 for the Sisters of Mercy by George Nott, who had previously built Armidale’s Catholic Cathedral of St Mary & St Joseph.

By 1924 there were 120 children at the home, cared for and largely educated by the Sisters.  The regime at St Patrick’s Orphanage was not, it seems, a bed of roses:  http://www.clan.org.au/news_details.php?newsID=568.

The orphanage transferred to two cottages in 1976 and eventually closed in 1984.  The 1921 building stood derelict for some years, and has now found a happier fate as an opulent apartment-block.

There is an image of the building when it was new at http://www.flickr.com/photos/statelibraryofvictoria_collections/6819575484.

Theatre for heroes

Stanford Hall, Nottinghamshire:  theatre wing

Stanford Hall, Nottinghamshire: theatre wing

The Stanford Hall estate on the Nottinghamshire-Leicestershire border has been in limbo ever since the Co-operative College moved out in 2001.  Two developers have successively raised schemes to finance the restoration of the hall and its grounds by constructing houses and apartments in the park, and both have come to nothing.

Its long history is both complex and sensitive – owned by two successive gentry families, a Burton brewer, the eccentric furniture millionaire Sir Julien Cahn and latterly the College.  In particular, Sir Julien’s external additions – various sporting facilities and a fully-equipped private theatre – have been greatly valued by the local community during the years that the College ran the place.

In 2011 the 6th Duke of Westminster bought the Stanford Hall estate as a future base for the Defence and National Rehabilitation Centre, which supports members of the armed services and civilians as they recover from traumatic injuries.

This work currently takes place at the Defence Medical Rehabilitation Centre at Epsom, Surrey, but this facility is no longer capable of expansion, though the need continues to grow:  casualties now survive injuries which would have been beyond recovery even ten years ago.

Stanford Hall is considered ideal for this new purpose because of its Midlands location, its tranquil environment and the space for magnificent new facilities which need not overpower the historic landscape.

Members of the local community have expressed concern about the future of the Stanford Hall Theatre, which Sir Julien built in 1937 as a venue for his private conjuring shows.

There’s a potential conflict between the desire of local groups for access to the theatre such as they enjoyed in the days of the Co-operative College and the needs of the Defence and Rehabilitation Centre, which will make active use of the theatre and requires higher levels of security than were ever needed by the College.

The proposed physical alterations to the Theatre, primarily to provide level access for wheelchairs, seem relatively benign:  a wrap-around block will provide much better access to the auditorium, and Sir Julien’s top-floor bedroom suite for his private cricket team will be stripped out to reduce loading on the outer walls.  I can find no mention in the planning application of the bomb shelter beneath the auditorium rake.

The plans don’t appear to stretch to a full restoration of the theatre facilities and the Wurlitzer organ, and this has exercised a consortium of local amateur-dramatic societies:  http://www.independent.co.uk/arts-entertainment/theatre-dance/news/dukes-scheme-rings-down-the-curtain-8449399.html.

Let’s hope that the heroes and the thespians can live amicably together.