Category Archives: Twentieth-century architecture

Footprints on the phantom dance-floor

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Former Lewis's department store, Piccadilly Gardens, Manchester (2009)

Former Lewis’s department store, Piccadilly Gardens, Manchester (2009)

It amuses me when highly respectable historical and amenity societies report the activities of urban explorers.

Those risk-taking, law-bending, under-the-wire investigators of derelict and inaccessible structures are distinguished by their principles – “take nothing but photographs;  leave nothing but footprints” – and the quality of their photography.

They must be a great annoyance to property-owners who would prefer their empty and neglected spaces to remain unvisited and to become forgotten.

For conservationists and architectural historians, however, it’s very useful to have assiduous and athletic enthusiasts reporting on the web the current condition of endangered sites of heritage importance.

I repeatedly visit Manchester, and yet hadn’t given a second glance to the Primark store in Piccadilly.  It was originally Lewis’s, described by Clare Hartwell in the Pevsner Architectural Guide, Manchester, as “a huge untidy Baroque pile” built by J W Beaumont & Sons in 1915 and extended by the same architects in 1929.

Clare Hartwell says it was the biggest department store in the provinces when it was built.  Lewis’s stores aspired to bring the splendour of London department stores to the major provincial cities [see Losing a Liverpool legend:  Lewis’s department store].

The Primark chain only uses the lower floors of the Manchester building, and above the snowline lies a sleeping treasure – Lewis’s ballroom:  http://www.28dayslater.co.uk/forums/showthread.php?t=68769.

 

Premiere picture palace

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Embassy Theatre, Wellington, New Zealand

Embassy Theatre, Wellington, New Zealand

When I visited the Wellington Decorative & Fine Arts Society to present my Fun Palaces lecture in February 2011 my host, David Carson-Parker, showed me the Embassy Theatre, a restoration-project in which he had been involved.

The Embassy was originally and appropriately called the “De Luxe”.  It was designed by the New Zealand architect Llewellyn E Williams (1884-1967) for the theatre entrepreneur William Robert Kemball (1881-1969), and opened on October 31st 1924.

It was and is a notably distinguished building on a corner site facing Courtenay Place, four storeys high with an impressive classical frontage.  The grand tiled foyer and staircase remains:  originally the auditorium consisted of stalls and a generous balcony.  The stage was suitable for live performances and there was an orchestra pit, which was later used to house the console of a Wurlitzer organ and is now the second screen, the aptly-named Cinema Deluxe.

The De Luxe passed to another New Zealand cinema magnate, Robert Kerridge, who renamed it the Embassy.

In 1960 it was equipped with a wide screen for 70mm projection, and in the 1970s the auditorium was converted to a single rake by building out from the balcony front, so that the stalls space could be used for other purposes.

A 1991 project to convert it as a home for the Royal New Zealand Ballet came to nothing, and there was a risk that the Embassy would be lost.

To resist this possibility the Embassy Theatre Trust was formed in 1995.  In conjunction with the Wellington City Council, the Trust bought the building in 1997 and restored it to greater glory.

It re-opened in time to host the world premiere of Peter Jackson’s The Return of the King (2003), the final part of his Lord of the Rings trilogy.  As such, it now holds a place in the history of New Zealand film, and well as New Zealand cinema.

When David showed me round on a quiet summer Sunday morning, my first reaction was – what a splendid place to have coffee and read the Sunday papers.  You can eat and drink at Blondini’s Café & Bar, and indeed take your refreshments into the auditorium, which consists of the original balcony and a few additional rows beyond the balcony front.

The refurbished auditorium has all the comforts and amenity that contemporary filmgoers expect.  Behind the modern screen, however, the original proscenium and ante-proscenium remain in faded pale blue, grey, pink and gold.

David tells me there’s a scheme to make this original decoration visible from the auditorium.

When we showed images of it to the Wellington DFAS audience, people were astonished to discover that it still existed, and delighted to find that there’s more to the Embassy than meets the eye.

There is a detailed description of the Embassy Theatre at http://www.historic.org.nz/TheRegister/RegisterSearch/RegisterResults.aspx?RID=7500&m=advanced.  If you need to know what’s on at the moment, the website is at http://www.eventcinemas.co.nz/cinemas/the-embassy.aspx.

 

Cultural capital of cool

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St James Theatre, Wellington, New Zealand

St James Theatre, Wellington, New Zealand

Wellington, the largest city in New Zealand’s North Island, came close to losing its most attractive and comfortable theatres in the 1970s and 1980s. 

Now the Opera House, the St James and the Embassy provide a thriving cultural repertoire which enriches the city centre.

The city is currently marketed as the “capital of cool”, but it might easily have been left out in the cultural cold.

I was given privileged access to the St James Theatre, known in the entertainment industry as “Jimmy’s”, thanks to the manager, Bob Foot, and my Wellington host, David Carson-Parker.

Its initial claim to fame is that it was the first steel-framed, reinforced concrete theatre in the world when it was constructed in 1912 to the designs of Henry Eli White (1876-1952), a prolific New Zealand theatre architect, for the impresario John Fuller, who had operated an earlier theatre on the site.

Its ornate auditorium is embellished with plasterwork by William Leslie Morrison, who used his grandson as a model for the cherubs.  (I wonder what angst the lad suffered when he grew into his teens and went with his mates to see shows at the St James.)

The St James Theatre closed in 1987 and became the focus of a furious conservation row between a developer, the Chase Corporation, and local campaigners, with Wellington City Council in the midst.

Eventually in 1993 the city council bought it and restored it as a venue for the New Zealand International Arts Festival and a home for the Royal New Zealand Ballet, extending into the adjacent property to provide a café and bar, “The Jimmy”.

If Wikipedia is to be believed [http://en.wikipedia.org/wiki/St._James_Theatre,_Wellington] the St James hosts a wonderful company of ghosts – a Russian performer called Yuri, a wailing woman and wheezing Stan Andrews.

None of these were in evidence when Bob, David and I toured the building from top to bottom on a sunny summer morning.

They couldn’t show me the auditorium of the rival theatre across the road, the Opera House (William Pitt, 1911), because a lighting rehearsal was in progress, so I have to return when I’m next passing by.

The St James Theatre and the Opera House, long-time rivals, are now under co-ordinated management, operated by Positively Wellington Venues:  http://pwv.co.nz/our-venues/st-james-theatre.  To see what’s on, go to http://www.stjames.co.nz.

 

Grand Central

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Grand Central Terminal & Pan-Am Building, New York City (1981)

Grand Central Terminal & Pan-Am Building, New York City (1981)

The very heart of Manhattan’s 42nd Street is Grand Central Terminal, New York’s principal monument to the age of the railroad, which celebrated its centenary in 2014:  http://www.mta.info/gct/facts.html..

Many New Yorkers have never forgiven the destruction of the other great terminus, Penn Station, McKim, Mead, and White’s triumphant pink granite temple to transportation, built in 1910 and flattened in 1963:  http://en.wikipedia.org/wiki/File:Penn_Station1.jpg.

Grand Central was the destination of steam-hauled trains from the north, ploughing down a cutting that was covered over when electrification became practical from 1889 onwards.

Begun in 1903, the terminal was structurally completed ten years later but not fully operational until 1927.  Its concourse is 275 feet by 120 feet and 125 feet high, lit by arched windows 75 feet high.  The Guastavino roof is decorated with a painted zodiac (which is for some reason reversed) by Paul Helleu.

It has sixty-seven tracks on the two levels, a turning loop and connections to the subway, including the 42nd Street Shuttle, which takes a minute to shunt between Grand Central and Times Square.

This was the starting point for some of the great trains of the early twentieth century, the Knickerbocker to St Louis, the Ohio State Limited to Cincinnati and the Twentieth Century Limited to Chicago to which, among its many luxuries, is attributed the original red-carpet entrance.

A major conservation campaign, led by Jacqueline Kennedy Onassis, saved Grand Central from demolition in the 1970s, and in 1994-8 a $197-million renovation was undertaken by LaSalle Partners and Williams Jackson Ewing, the restorers of the superb Union Station in Washington DC.

Now it looks as good as it did in 1913 – if not better.

The quintessential Grand Central experience, other than catching a train, is to eat at the Oyster Bar [http://www.oysterbarny.com], where journalists used to take advantage of the acoustics to pick up scoops.  If that’s outside the budget, there’s plenty to eat in the food court:  http://www.grandcentralterminal.com/go/dirListing.cfm?currCat=2138210777,

To see images of parts of Grand Central Terminal that ordinary travellers don’t see, go to http://news.cnet.com/2300-11386_3-10004063.html.

To enjoy the best flashmob invasion of the Grand Central concourse go to http://www.youtube.com/watch?v=jwMj3PJDxuo.

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

 

The Chesterisation of Chesterfield

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Knifesmithgate, Chesterfield, Derbyshire

Knifesmithgate, Chesterfield, Derbyshire

Chesterfield is mainly famous for the Crooked Spire of its medieval parish church.  Indeed, the borough motto is “Aspire”.

Its town-centre buildings would be unremarkable but for the work of the Borough Surveyor from c1904 to 1933, Major Vincent Smith.

He included in the Bill that became the Chesterfield Corporation Act of 1923 a provision for altering the building-lines in order to arcade the new shopping-streets.  This provided shelter for pedestrians and additional first-floor space for the buildings’ owners.

While admitting that members of Chesterfield Corporation had visited Chester, he flatly denied that his project meant to imitate Chester’s Rows.  He claimed the precedent of the eighteenth-century buildings on Chesterfield Market Place.

In fact, the closest similarity between Chesterfield’s 1920s shops and the black-and-white buildings of Chester is John Douglas’ Shoemakers’ Row of 1897.

So it is that Chesterfield visually resembles its near-namesake Chester, not because of Chester’s unique Rows, but of a link with a late-nineteenth century architect who was himself adapting the idea of the Rows to modern needs.

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

 

Pan-Am’s London sibling

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Portland House, Victoria, London

Portland House, Victoria, London

It’s a commonplace that, when walking round a city, we miss so much by not looking up.  We’re conditioned to survey the eye-level streetscape, while just above shop-fascia level there’s a wealth of history and architecture telling us stories.

Some time ago I read around the Pan-Am Building in New York City, and discovered that the design of 1963 Manhattan skyscraper was based on the 1959 Pirelli Tower in Milan, and was related to at least three UK buildings.

Months later I happened to walk out of London’s Victoria Station and found myself staring at the instantly recognisable London sibling of the Pan-Am Building – Portland House, by Howard Fairbairn & Partners (1960-3), built on the site of Watney’s Stag Brewery.

Its height of 334 feet is far lower than the 808 feet of the New York building, yet it towers over the messy streetscape around Victoria.  It was conceived as part of a comprehensive post-war redevelopment that was itself compromised from the outset.

Its tapered footprint is an attempt to reduce its overbearing impact at ground level and give it a degree of elegance.

The website http://postwarbuildings.com/buildings/portland-house points out that it probably wouldn’t get planning permission now, yet it’s far too lucrative a concentration of floorspace to be in any danger of demolition.

In fact it’s been refurbished twice in recent decades, by the T P Bennet Partnership in 1993-5 and by EPR Architects in 2001-6.

I must have walked past it many times without noticing, despite its huge scale.  Now that I recognise it I rather like it, for its own leviathan elegance and for its connection with Manhattan and Milan.

 

Gothic New Zealand: Wellington 2

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St Paul's Cathedral, Wellington, New Zealand

St Paul’s Cathedral, Wellington, New Zealand

St Mary & the Angels Roman Catholic Church, Wellington, New Zealand

St Mary & the Angels Roman Catholic Church, Wellington, New Zealand

The city of Wellington stands on shaky ground, lying across a major geological fault in an area of constant seismic activity.  When I visited Wellington in February 2011, local people were particularly concerned at the tribulations in Christchurch, a city which had been considered much less vulnerable than their own.

Within a very few years of its first settlement in 1840, two major earthquakes occurred in 1848 and 1855, and as a result all Wellington’s early buildings were built in timber, including what are now called the Old Government Buildings (1875-6), the second-largest wooden building in the world, and the pro-cathedral, Old St Paul’s (1866).

The Anglican diocese of Wellington was about to start the replacement for Old St Paul’s when the Second World War intervened.  Influenced by the effect of the 1931 earthquake in Napier, North Island, the architect Cecil Walter Wood (1878–1947) decided against building a medieval-Gothic building in ferro-concrete and instead used reinforced concrete to create a design that uses Gothic forms, modernised under the influence of Ragnar Östberg’s Stockholm City Hall (1911-23) and the Art Deco movement, and looking towards Sir Edwin Maufe’s Guildford Cathedral (1936-61):  http://www.teara.govt.nz/en/biographies/4w25/1/2.

(Similar influences are visible in Charles Towle’s uncompleted design for Holy Trinity Cathedral, Auckland.)

Cecil Wood never saw even the beginning of his St Paul’s Cathedral.  Queen Elizabeth II laid the foundation stone in 1954, and the first phase was opened ten years later.  The bulk of the nave was added in the second phase, 1970-2.  A historic Lady Chapel, formerly the 1905 timber St Paul’s Church, Paraparaumu, North Island, was added in 1991, and the westernmost bays of the nave, the narthex and the bell-tower were finished in 1998.

Though it was criticised from the start, and modified after his death, Cecil Wood’s design has retained its integrity.

I found it attractive – an architectural essay at the furthest edge of anything you could call Gothic – with a traditional layout, high round arches, subtle use of natural light and quirky arcades that reminded me of details from J R Leathart & W F Granger’s late 1920s cinemas, of which the Odeon, Richmond-on-Thames (1929) survives.

The glass entrance-screen is immediately familiar to British eyes, because the engraved angels are by New Zealand artist John Hutton (1906-1978), who also made the Screen of Saints and Angels for the rebuilt Coventry Cathedral (1962).  [See http://wellingtoncathedral.org.nz/index.php/Cathedral_History.]

The Catholic Cathedral in Wellington is the opposite of Gothic:  the Sacred Heart Cathedral is an uncompromisingly Italianate basilica of 1901, replacing the Gothic St Mary’s, built in 1851 and destroyed by fire in 1898:  http://www.shcathedral.wellington.net.nz/history/index.htm.

However, Wellington has a rare example of modern Gothic, the Catholic Church of St Mary & the Angels, built 1919-22 in ferro-concrete by Frederick de Jersey Clere.  It’s a world away from Cecil Wood’s cathedral, yet hides its modern construction within traditional architectural forms:  http://www.historic.org.nz/TheRegister/RegisterSearch/RegisterResults.aspx?RID=36&m=advanced.

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

 

Flicks in the sticks

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The Kinema-in-the-Woods, Woodhall Spa, Lincolnshire

The Kinema-in-the-Woods, Woodhall Spa, Lincolnshire

Photo:  Janet Miles

The March/April 2012 edition of the Cinema Theatre Association Bulletin mentions the then forthcoming ninetieth anniversary of the Kinema-in-the-Woods, Woodhall Spa – one of the most eccentric and evocative film-going experiences in England.

The Pavilion Cinema opened in a converted cricket pavilion in 1922 and only later became known as the Kinema-in-the-Woods.  It has always retained the original Greek spelling, derived from the word for ‘motion’.

The building started out as a cricket pavilion, and because the roof supports are integral to the structure, films have always been shown by back-projection of surprising clarity.

According to a 1937 advertisement, “while furnished with comfortable plush seats, deck chairs and cushions are provided for those who appreciate them”.  The deck chairs on the front six rows were priced at 1s 6d, threepence dearer than the best fixed seats in the house.

The Kinema was operated for half a century by its founder, Major C C Allport:  when he applied for his fiftieth licence in 1972 the magistrates waived the fee.

By the 1980s it had become a precious survival, and its next owner, James Green, installed the Compton organ from the Super Cinema, Charing Cross Road, to provide concerts in addition to current-release movies.  Its console is mounted on the lift from the former Regent Cinema, Hanley, Stoke-on-Trent.

Now there is a second screen, Kinema Too, opened in 1994, to complement the original auditorium and offer a wider variety of films.

Woodhall Spa is an unlikely spot to see first-release movies.  But after all, Woodhall Spa is an unlikely spot.

The history of the Kinema-in-the-Woods can be found in Edward Roy Mayor, The Kinema in the Woods: the story of Woodhall Spa’s unique cinema (J W Green Cinemas 2002) and at http://www.thekinemainthewoods.co.uk/history.

 

Air rights

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New York Central Building [now Helmsley Building] and Pan Am Building [now MetLife Building], New York City (1981)

New York Central Building [now Helmsley Building] and Pan Am Building [now MetLife Building], New York City (1981)

I recently came across Meredith L Clausen’s book The Pan Am Building and the shattering of the Modernist dream (Massachusetts Institute of Technology 2005).  It’s obvious from the title that she doesn’t much like the building.  She tells in great detail the story of a Manhattan building that symbolises the over-ambition of financiers seeking to make money out of transport.

This huge Modernist block sits astride the railroad tracks that lie in tunnel beneath Park Avenue, separating Grand Central Terminal (Reed & Stem, Warren & Wetmore 1903-27) from the former New York Central Building, now the Helmsley Building (Warren & Wetmore 1929).

Emery Roth’s original design, which would not have interrupted the Park Avenue vista, was altered, enlarged and turned 90° by Pietro Belluschi and Walter Gropius, who proposed, unsuccessfully, to demolish the New York Central Building to create a public park.

The development was commissioned by the New York Central Railroad in a desperate attempt to shore up their finances as traffic leached from rail to air.  The building reeks with irony, a hubristic symbol of the age of air-travel, no longer owned by the luckless company that built it.

Completed in 1963, it became the Pan Am Building because it was tenanted by Pan American World Airways, the last company to claim the right to have their logo on the outside of a New York skyscraper.  Initially the airline occupied fifteen floors of offices and ran a booking hall at street level.

The roof of the Pan Am Building was designed as a helicopter landing-pad offering rapid transfer from mid-town to JFK Airport for up to eight passengers at a time.  This grandiose scheme was unpopular from the start for obvious reasons of noise and danger.  Eventually, a fatal accident on May 16th 1977 put a stop to it:  http://www.airdisaster.com/reports/ntsb/AAR77-09.pdf.

The design is apparently derived from an unbuilt Le Corbusier design and the Pirelli Tower, Milan (Gio Ponti & Pier Lugig Nervi 1959) [http://en.wikipedia.org/wiki/Pirelli_Building].  Its distinctive footprint is repeated in Britain in the 331ft Portland House, Westminster (Howard Fairbairn & Partners 1960-3) [http://postwarbuildings.com/buildings/portland-house], and echoed by the 253ft Taberner House, Croydon (H Thornley 1964-7 – due for demolition) [http://www.croydonsfuture.info/taberner-house.html] and the 656ft Alpha Tower, Birmingham (Richard Seifert & Partners 1969-73) [http://www.birminghamuk.com/alphatower.htm].

Pan American Airways came to grief, driven to bankruptcy in the face of the 1973 oil crisis, the Airline Deregulation Act of 1978, the destruction of Flight 103 over Lockerbie in December 1988 and the effect on oil prices of the First Gulf War of 1991.

In 1990, Pan Am gave up their remaining four floors of the building and shortly afterwards the owner, the Metropolitan Life Insurance Company changed the name to the MetLife Building and replaced the Pan Am name and logos with their own.

Though the airline ceased to exist in 1991, the Pan Am brand still functions.  It now belongs to a railroad company:  http://en.wikipedia.org/wiki/Pan_Am_Railways.

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

 

Gothic New Zealand: Auckland 2

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Old St Mary's Church, Auckland, New Zealand

Old St Mary’s Church, Auckland, New Zealand

Holy Trinity Cathedral, Auckland, New Zealand

Holy Trinity Cathedral, Auckland, New Zealand

The city of Auckland has a special place in the history of the Anglican Church in New Zealand, because it was the base from which Bishop George Augustus Selwyn (1809-1878) set up missions across the two islands as the first and only Bishop of New Zealand between 1841 and 1858.

Selwyn, who rowed in the first ever Oxford-Cambridge boat race and after whom Selwyn College is named, was a fellow of St John’s College when the Cambridge Camden Society, later known as the Ecclesiological Society, began to promote the idea that a truly Christian building should be built in the Gothic manner.

As Bishop of New Zealand he had to face the fact that masonry architecture was out of reach:  the cost and time involved in building in stone meant that the first New Zealand churches had to be timber.

But they could still be Gothic, and the Anglican community in Auckland outgrew a succession of churches until what is now called Old St Mary’s was begun in 1886 to the ambitious designs of Benjamin Mountfort (1825-1898).  Mountfort was a prolific first-generation New Zealand architect, and at St Mary’s he provided all the detail that would be found in a much larger stone-built European cathedral, with a three-sided sanctuary and lancet windows under a generous cat-slide roof.

The largest timber church in the world, it was designated as Auckland’s Anglican Cathedral in 1887 and was completed in 1898.

Its much larger successor, Holy Trinity Cathedral, was begun in 1959 to a reduced version of a twenty-year-old design by Charles Towle that had been stalled by the start of the Second World War.  The choir, transepts and crossing – reminiscent of Sir Edward Maufe’s contemporary Guildford Cathedral in Surrey – were completed in 1973.

The nave, to a much lighter design with a glazed west wall by Richard Toy, was added in 1991-5.  Now a further chapel, to the liturgical east (geographical south) is under way, due to be completed by Christmas 2014, the bicentenary of the arrival of Christianity on the North Island:  http://www.anglicancommunion.org/acns/digest/index.cfm/2012/5/8/Dramatic-chapel-for-Holy-Trinity.

The conjunction between the two is vibrant:  it’s a very special interior space.  Next door, Old St Mary’s stands – a very different, antique interior – on a new site.  It was transported bodily across the road and turned ninety degrees in 1982.

Update:  Stewart Buckthorp has added a very useful and detailed comment to this article.

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