Monthly Archives: January 2014

Akroyd town

Salisbury Terrace and former co-operative store, Akroydon, Halifax (1992)

Salisbury Terrace and former co-operative store, Akroydon, Halifax (1992)

When Colonel Akroyd came to build his second model village in 1855 (the first was Copley), he went upscale, as the Americans say.

Influenced by the growing permanent building society movement, he planned housing for his Haley Hill Mills, overlooking the centre of Halifax, to be purchased rather than rented by his workers.  He donated the land, adjacent to his own residence, Bankfield, and arranged for the cost of building to be underwritten by the Halifax Permanent Building Society.  The community was named Akroydon and all the streets were named after Anglican dioceses.

He hired George Gilbert Scott, the greatest Gothic Revival architect of the day to design 350 houses in terraced blocks of eight to ten in the style they called domestic Gothic, “the original style of the parish of Halifax”.  Akroyd considered that “intuitively this taste of our forefathers pleases the fancy, strengthens house and home attachment, entwines the present with the memory of the past, and promises, in spite of opposition and prejudice, to become the national style of modern, as it was of old England.”

However, he found that potential freeholders are not so pliable as prospective tenants.  Being Yorkshire people, they first regarded the whole thing as a speculation, and shunned it.

Then they objected to the Gothic style:  “…although they liked the look of it, they considered it antiquated, inconvenient, wanting in light, and not adapted to modern requirements.  The dormer windows were supposed to resemble the style of almshouses, and the independent workmen who formed the building association positively refused to accept this feature of the Gothic, which to their minds was degrading.”

Scott’s former pupil, W H Crossland, later the architect of St Stephen’s Church, Copley, recast the scheme as 92 houses “clustered around a market cross in a toned-down Gothic style ‘simple, yet bold in detail’”.

These were duly built, and still remain.  The original owners, long gone to their rest, left their mark as a result of an inspired appeal to their vanity:

The occupiers find their new homes commodious in every respect, with abundance of light;  and their prejudices against the pointed style are now finally uprooted.  They are much gratified by one feature recently introduced, viz, the insertion of the owner’s monogram or device, on a stone shield, placed over the door, with the intent to give individuality and a mark of distinction to each dwelling.

These Englishmen’s homes were indeed their terraced ancestral castles.

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

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

The church across the water

St Stephen's Church, Copley, West Yorkshire

St Stephen’s Church, Copley, West Yorkshire

I find it hard to imagine the sheer power of churches in nineteenth-century England.

There’s a specific reason why the magnificent parish church of St Stephen, Copley, West Yorkshire, was built on the opposite side of the River Calder from Colonel Edward Akroyd’s model village beside the mill.

The vicar of All Saints’, Dudwell, objected having a new church so near his own, so the site was moved from the main road to the woods beyond the village.

The £4,000 cost of the building was raised by public subscription, and Colonel Akroyd spent a further £5,000 of his own money on the furnishings, stained glass, and building the chancel and sacristy.

Consecrated in 1865, it’s a complete essay in Victorian church design by the Huddersfield architect William Henry Crossland (1835-1908) – rich in stained-glass, some of it by Hardman & Co, carving, mosaic and painted decoration.

Furthermore, according to Malcolm Bull’s informative Calderdale Companion website http://freepages.history.rootsweb.ancestry.com/~calderdalecompanion/qq_12.html, Colonel Akroyd contributed to the vicar’s stipend.

In 1872 Colonel Akroyd took against the practices of the vicar he’d appointed, Rev J B Sidgwick, and stopped paying his voluntary contribution.  A group of parishioners promptly made up the deficiency, while others decamped to the local Methodist church.

St Stephen’s, which is big enough to seat a third of the village, is now redundant, and is maintained by the Churches Conservation Trust:  http://www.visitchurches.org.uk/Ourchurches/Completelistofchurches/St-Stephens-Church-Copley-West-Yorkshire.

Graham White has an admirable series of photographs of the interior at http://www.flickr.com/photos/strabod72/sets/72157627628722184/with/6227123155.

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

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Housing the workers

Copley, West Yorkshire

Copley, West Yorkshire

Tucked by the river Calder, the village of terraced houses at Copley, West Yorkshire, looks a pleasant place to live.

That was exactly the intention of its builder, Edward Akroyd – always known as Colonel Akroyd – when his family firm transferred the business and employees to their new mill at Copley in 1846.

In the political conflicts of the time, Colonel Akroyd became one of the driving forces in the movement to reconcile the interests of workers and capitalists.

To house the workforce at this unpopulated spot beside the River Calder he began a small community which eventually consisted of 136 houses, accommodating by the 1870s a population of about seven hundred.

This was anything but cheap housing, but the village provided excellent facilities, including allotments, a co-operative store, an employees’ canteen-shed seating 600 and serving dinners of meat and potatoes at three-halfpence or twopence each, boys’ and girls’ schools (1849), a burial club (1849), a lending library (1850 – free until 1863), a branch of the Yorkshire Penny Savings Bank (1862) and a clothing club (1863).

Colonel Akroyd admitted he didn’t make much money out of renting houses to his workers, but he believed his business gained “from a more attached and contented population”.

It’s tempting to think of the building-society movement as a nineteenth-century workers’ enterprise, sponsored by radical politicians, but in some cases it was the product of employers’ enlightened self-interest.

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Curtains at the Abbeydale

Former Abbeydale Cinema, Sheffield (1984)

Former Abbeydale Cinema, Sheffield (1984)

The Sheffield Star reported in June 2012 that the Abbeydale Cinema, which has been run as a not-for-profit community venue, was threatened with closure:  http://www.thestar.co.uk/news/money-woes-could-spell-final-curtain-for-sheffield-theatre-1-4698498.

I drew attention to the Abbeydale in a blog-article some time ago because of its rare surviving iron safety-curtain, complete with 1950s advertisements for local businesses.

At that time, a Friends group were restoring it as a venue for amateur drama and other community uses:  http://www.abbeydalepicturehouse.co.uk/index.php?option=com_content&view=article&id=81&Itemid=115.

There are some fine interior views at http://www.28dayslater.co.uk/forums/showthread.php/53993-Abbeydale-Picture-House-Sheffield-08-09-07 and an art-photography series by Guy J Brown at http://www.guyjbrown.com/abbeydalepicturehouse.

A further article in the Star at the end of October reported that the building had been sold for £150,000.  The then unnamed buyer dismissed the possibility of running as a theatre as “not financially viable”, but said, “It’s a lovely facility.  The intention is to bring it back into public use.”

The new owner is in fact Phil Robins, who runs The Edge, an indoor climbing centre near Bramall Lane football ground.  He announced in January 2013 his intention to seek planning permission to adapt the building for climbing, bouldering and a multi-gym.  His scheme restores the interior space to its 1975 condition, and will be known as The Picture House.

Sheffield has only two listed cinemas:  the other one is the Adelphi, Attercliffe, which has been mothballed for years.

For details of Mike Higginbottom’s lecture Fun Palaces:  the history and architecture of the entertainment industry please click here.

Ritz in bits

Former Ritz Cinema, Parson Cross, Sheffield (1988)

Former Ritz Cinema, Parson Cross, Sheffield (1988)

Sitting innocuously in the midst of Parson Cross, Sheffield’s largest housing estate, the former Ritz Cinema, an Art Deco masterpiece, stood unknown, neglected and without a purpose until it was demolished at the end of January 2013.

It was built in 1937 on the site of Toad Hole Farm to serve a brand-new community.  The Parson Cross council estate covered the green fields with well-appointed houses for fortunate working-class families who had previously struggled with inadequate housing in the Victorian inner city.

The Ritz was designed by the well-reputed Sheffield architectural practice Hadfield & Cawkwell, with a restrained brick exterior and a sensational art deco auditorium which looked for all the world like the inside of a typewriter.

In its early days the Ritz was almost the only entertainment facility, apart from pubs and working-men’s clubs, on the estate.  There is a wartime photograph of the doorman, Mr Bilton, standing alongside a “House Full” sign at five to eight in the evening.

Between 1962 and 1966 the Ritz gradually went over to bingo, and was for many years run as an independent operation by Mr David Chapman.  He once told me that his business rested on being the only place in Parson Cross that ladies could go for entertainment without their husbands.

When I ran a Sheffield Cinema Society visit to the Ritz Bingo Club in 1988 the operating box (or projection room, to those of us who don’t belong to the industry) was intact.  Apparently the deeds of the building included a covenant requiring it to remain capable of reverting to cinema use.

Bingo finally ended at the Ritz sometime soon after 2001, after which it stood empty and became vandalised.

The last record of its condition that I can find is an urban explorer’s report from 2009 at Report – – The Ritz Cinema – Sheffield – 28/12/09 | Theatres and Cinemas | 28DaysLater.co.uk   The projectors were still in place, but trashed.

The Ritz deserved a much better fate.  It was a victim, not only of economic forces, but of the ungenerous and uninformed process of listing twentieth-century buildings in Sheffield.

Sometimes it seems as if listing is a process of creating rarities rather than protecting the historic-buildings stock for future evaluation and resuscitation.

It was eventually demolished in January 2013.

The Ritz Cinema, Parson Cross is featured in Demolished Sheffield, a 112-page full colour A4 publication by Mike Higginbottom.

For details please click here.

“Sheffield’s perfection cinema”

Former Capitol Cinema, Sheffield Lane Top, Sheffield (1985)

Former Capitol Cinema, Sheffield Lane Top, Sheffield (1985)

When my mate Richard and I have our regular weekday evening putting the world to rights in whichever local pub is not having karaoke or a quiz night, towards the end of the night we phone our ETA to Lee or Jamie, fish-friers of distinction, and go to the Norwood Fish Bar, 411 Herries Road (0114-242-4127) for our supper, freshly cooked and timed to perfection.  It doesn’t matter whether it’s Lee or Jamie on duty:  the food is invariably top quality.

The Norwood Fish Bar is a shop-unit in an utterly unremarkable block that has been a Tesco supermarket since the early 1970s.  Before that, the site was the Forum Cinema, Southey Green, one of a series of huge 1930s cinemas built on Sheffield’s then new northern council estates.

(Someone on the council was clearly a lover of literature.  There are roads named after Chaucer, Wordsworth, Keats and so on.  Sheffield folk, as is their habit, choose to pronounce “Southey” to rhyme with “mouthy”, just as when a pub or street is named “Arundel” – after the home of the city’s ground-landlord, the Duke of Norfolk,– it’s always accented on the second, not the first syllable.)

The Forum was built by and for the Sheffield construction company M J Gleeson Ltd, who constructed the surrounding houses and appear to have had some kind of deal to build the adjacent shops as well as the cinema.

The architect was George Coles (1884-1963), a specialist cinema designer best known in London and the south-east for the Gaumont State, Kilburn, and a series of Odeons including the Odeon, Muswell Hill.

The Forum opened on September 17th 1938 and was closed on May 31st 1969.  It’s illustrated at http://cinematreasures.org/theaters/25709.

A couple of miles away, its sister cinema, originally the Capitol, Sheffield Lane Top, also by George Coles and built for M J Gleeson, survives as a carpet showroom.

The Capitol was due to open the week the Second World War broke out, so it stayed closed under the national ban on gatherings for entertainment until September 18th 1939, when it opened with Angels with Dirty Faces, starring James Cagney.

The opening-day description in the Sheffield Star refers to the cream faience dressing highlighting the brick exterior and the tubes of red and green neon on the canopy and the tower fin which inevitably remained switched off until 1945.

The Capitol subsequently became the Essoldo in 1950 and ultimately the Vogue in 1972, by which time it was one of only three remaining suburban cinemas in Sheffield.  It closed on October 4th 1975.

Its interior was understated, neo-classical in style, with alcoves and statues only recently concealed behind timber facing.

Even though the tower fin has been reduced in height, presumably for structural reasons and the marquee dismantled [https://www.mikehigginbottominterestingtimes.co.uk/?p=4786], it’s a more attractive structure than the architecturally illiterate 21st-century block of flats that has been built alongside.

It’s unlisted, and the interior décor that might justify listing is unrecognised.

The Capitol appears still to earn its keep and is for the moment in safe hands.

When it changes hands, however, a new owner might not recognise that they’ve acquired a building of some distinction by a nationally reputed architect.

Crossing the Clifton Gorge

Clifton Suspension Bridge, Bristol

Clifton Suspension Bridge, Bristol

The first high-level crossing of the Avon Gorge at Bristol was not, in fact, Isambard Kingdom Brunel’s suspension bridge, but a wrought-iron bar, installed in 1836 when bridge-building was about to begin, a thousand feet long and 1½ inches thick, suspended two hundred feet above the River Avon, to carry a basket for transporting materials hung from a roller.

Brunel made the first trip across (after his newly-wed wife, Mary Elizabeth Horsley, declined the opportunity) and got stuck halfway when the bar dipped.  He shinned up the suspension ropes to free the pulley and reached the opposite bank without further difficulty.

By 1843, with £45,500 spent, only the piers had been completed, linked by the single iron bar:  work stopped – to Brunel’s lifelong disappointment – and the unused suspension chains were sold and incorporated in his railway bridge across the Tamar at Saltash.

L T C Rolt, in his biography Isambard Kingdom Brunel (1957;  revised edition with an introduction by Angus Buchanan 1990), reports that when construction of the bridge stopped for lack of funds, the Clifton Bridge Company collected £125 in fares from members of the public who wished to ride across in the bucket.

The bridge as we know it was completed, to a variant of Brunel’s original design, in 1864 using the chains from another of his suspension bridges, across the River Thames at Hungerford.

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

Gothic New Zealand: Nelson

Christ Church Cathedral, Nelson:  west front

Christ Church Cathedral, Nelson: west front

It would be good to think that Christ Church Cathedral, Nelson, on New Zealand’s South Island, was a work in progress.  Its frankly odd appearance is a result of its history:  it reached its current shape and style through earthquake, fire and not a little controversy.

In 1842, within a year of the establishment of what became the town of Nelson, Bishop George Selwyn arrived with a tent which he planted at the top of what is now called Church Hill.  He returned in 1851 to dedicate the replacement wooden church as Christ Church [see http://find.natlib.govt.nz/primo_library/libweb/action/dlDisplay.do?vid=TF&docId=nlnz_tapuhi670250].

This structure was enlarged and altered in 1859, 1866 and again when it was inaugurated as a cathedral in 1887.  The spire was damaged by an earthquake in 1893 and the tower demolished as unsafe in 1921, shortly before the building was further damaged by fire.

In 1927 an ambitious new stone Gothic cathedral was begun to the designs of Frank Peck (1863-1931), a British architect trained by Sir Aston Webb.  (One of Peck’s British designs, before he emigrated to New Zealand in 1915, was the furniture-heiress Grace Maple’s residence, Petwood at Woodhall Spa, Lincolnshire.)

Peck’s design would have looked magnificent [http://photonews.org.nz/nelson/issue/NPN76_19670304/fig-NPN76_19670304_053b.html], but hardly had work begun than the Murchison earthquake of 1929 led to tighter building regulations, and construction came to a halt in 1932.

The result was that Peck’s nave stopped abruptly at clerestory level:  a temporary roof was installed, and the surviving wooden chancel from the previous church was attached to the east end.

A simplified design of 1954 by Ron Muston brought a sense of closure and practicality to the interrupted design.  Muston used reinforced concrete, faced with ground marble, to complement Peck’s marble blocks.

The dominant feature is the tower, a tall, spare essay in lightweight Gothic, much more adventurous than Peck’s orthodox Gothic Revival design.

Not everyone liked it.  The Nelson Evening Mail grumbled, “We are apparently to be satisfied with the second best.”

The cathedral was completed in 1967 and consecrated, once it became clear of debt, in 1972.

Of course, it doesn’t look complete.  Peck’s cathedral proved to be unbuildable on its tectonically vulnerable site.

But perhaps one day it might be possible at least to complete the nave.  Some medieval cathedrals stood incomplete for centuries:  Cologne, paused in 1473, was finished in 1880;  Bristol, interrupted at the Reformation, was eventually completed in 1888;  the first stone of Milan Cathedral was laid in 1386 and construction ended in 1965.

Never say never.

For details of Mike Higginbottom’s lecture Antipodean Gothic:  English architecture “down under”, please click here.

Christ Church Cathedral, Nelson, New Zealand:  tower

Christ Church Cathedral, Nelson, New Zealand: tower

The Top of the South

Queen Charlotte Sound, South Island, New Zealand

Queen Charlotte Sound, South Island, New Zealand

One of the finest ferry journeys in the world is the 70-kilometre Interislander voyage across New Zealand’s 24-kilometre wide Cook Strait, between the south of the North Island and the north of the South Island.  The three-hour trip takes so long because it involves sailing in or out of Wellington Harbour and penetrating the drowned valleys of the Marlborough Sounds.  There’s a detailed history of the Cook Strait ferries at http://www.nzhistory.net.nz/culture/cook-strait-ferries.

It’s a fine, relaxing journey – as long as you’re a passenger, and not responsible for steering the ship.  The Cook Strait is notoriously rough and unpredictable, with particularly weird tidal surges:  http://www.niwa.co.nz/sites/default/files/images/imported/0011/43004/cookmov_2.gif.

The vessel, MV Kaitaki, felt oddly familiar.  It turned out to be a former Irish Ferry, originally built in 1995 for the Holyhead-Dublin route:  originally the MV Isle of Innisfree, it was latterly P&O’s MV Challenger, operating between Portsmouth and Bilbao.  ‘Kaitaki’ is the Maori word for ‘challenger’.

The other two vessels on the Interislander service, DEVs Arahura and Aratere, are rail-capable, purpose-built as the physical link between the railway systems on the two islands.

Though none of the ferries transport passenger rail vehicles, they make it possible to travel all the way from Auckland to Christchurch by surface public transport, using the Overlander, the Interislander ferry and the Coastal Pacific train [see http://www.seat61.com/NewZealand.htm].

Indeed, when I return to New Zealand at leisure I plan to use that route and then the TranzAlpine to reach the west coast of the South Island at Greymouth.

The errand that took me on the Interislander was a lecture for the Nelson Decorative & Fine Arts Society at the Suter Art Gallery [http://thesuter.org.nz/visitus.aspx].

While I was in Nelson my host, Ainslie Riddoch, and her colleagues gave me snapper for lunch at the Boat Shed Café [http://www.boatshedcafe.co.nz] and dinner at Harry’s Bar [http://www.harrysnelson.co.nz], where we admired the waiter’s sang froid in serving a ménage à trois in the far corner.  Ménage à trois is not, I’m assured, usually on the menu.

Ainslie’s husband, Hamish, told me about the holiday potential of the “Top of the South”, in particular, the tiny settlement of Collingwood, named – like Nelson and Wellington – after a British hero of the French wars a generation earlier.

During the 1850s gold rush there was a serious suggestion that Collingwood should be designated the capital of New Zealand.  Now it’s where tourists go to experience wide-open spaces, with curious outliers of history such as the Collingwood Cemetery (1857) and St Cuthbert’s Church (1873):  http://www.farewellspit.com/collingwood-new-zealand.html.

I’m fascinated by remote places that time passed by, so I will return to the Top of the South.

Wainsgate Baptist Church

Wainsgate Baptist Church, Old Town, Hebden Bridge, West Yorkshire

Wainsgate Baptist Church, Old Town, Hebden Bridge, West Yorkshire

Visitors to Hebden Bridge often find their way to the older hilltop town of Heptonstall, but few find their way to the other hilltop settlement on the opposite side of the valley of the Hebden Water – Old Town.

Up the hill above Old Town stands the Wainsgate Baptist Church, founded by the Particular Baptists c1750.

The second minister, Rev John Fawcett (1740-1817), had packed up ready to move to a better-placed ministry in London, when the distress of his Yorkshire congregation at losing him made him change his mind and remain in Hebden Bridge for the rest of his life.  He used this experience when he wrote the great nonconformist hymn, ‘Blest be the tie that binds’.

The present church dates from 1859-60, a typically robust, elegant classical, galleried chapel, expensively embellished at the end of the nineteenth century.

It’s hard to imagine how the houses scattered along the hillside could fill the chapel and the Sunday school – and the graveyard – year in, year out, but they did.

This fine Grade II* listed building was taken over by the Historic Chapels Trust after it closed in 2001 [http://www.hct.org.uk/chapels/yorkshire/wainsgate-baptist-church/21], and it’s now used as a venue for musical events.

To see what’s on, go to http://wainsgate.co.uk.  It’s worth turning up in good time to be sure of a parking place.

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.