View allAll Photos Tagged Demolished
Before March 2 2015, please come here to nominate the entire Chinatown as the historic site to be preserved, don't expect City of Vancouver to save Chinatown when the Council approved more condo to be built in Chinatown at rapid rate to destroy the Chinatown.
www.heritagebc.ca/blog?articleid=162
Chinese Historic Places Recognition Project
THE HERITAGE BATTLE FOR CHINATOWN
Historic Vancouver neighbourhood is being redeveloped, raising fears it will lose its character.
By JOHN MACKIE, VANCOUVER SUN November 15, 2014
The marketing line for the Keefer Block condo development in Chinatown is “Heritage Meets Modern.”
But just how much heritage will be left after a wave of modern developments washes over the historic district is a matter of debate.
A new proposal for the 700-block of Main Street would demolish the last three buildings from Hogan’s Alley, a once-notorious back lane that was the longtime home of Vancouver’s black community.
Another condo development at 231 Pender would replace a funky, Chinese-themed garage that is listed on Canada’s Register of Historic Places. Angelo Tosi’s family has owned their building at 624 Main since 1930. It may date back to 1895, and looks it — the fixtures and shelving are as old as the hills.
But Tosi is 82, and will probably sell when the price is right. He doesn’t expect his store to survive.
“It’ll be gobbled up by the monstrous buildings,” said Tosi. “And then they’ll take it all, and it’s finished. They won’t keep the heritage on the bottom, they’ll put down whatever they want.”
His fatalistic attitude reflects the changes in Chinatown, which is undergoing a development boom after zoning changes by the City of Vancouver.
The protected “historic” area of Chinatown is now Pender Street, while much of Main, Georgia and Keefer can now be redeveloped, with heights of up to 90 feet (nine storeys). A few sites can go even higher.
Two towers are going up at Keefer and Main — the nine-storey, 81-unit Keefer Block, and the 17-storey, 156-unit 188 Keefer. Up the street at 137 Keefer, a development permit application has just gone in for a new nine-storey “multi-family building.”
None of them has stirred up much controversy. But a recent public meeting about a 12-storey, 137-unit condo to be built on an empty lot at Keefer and Columbia got people riled up.
“There was a lot of angry people that night,” said Henry Yu, a UBC history professor who feels a “vision plan” the Chinatown community worked on with the city for several years is being ignored.
“The vision plan gets passed, (but it has) no teeth,” said Yu. “Actually (there is) no policy, it’s a wish list of ‘Oh, we’d like seniors housing, we’d like to do this, we’d like to do that.’
“Almost immediately, the two (highrise) buildings in the 600-, 700-block Main go up, and they’re just basically Yaletown condos. Not even Yaletown — Yaletown has more character.
“These are straight out of the glass tower (model), no (historic) character, obliterating everything in terms of tying it to the kind of streetscape of Chinatown. You’re going to split the historic two or three blocks of Chinatown with a Main Street corridor of these glass towers.”
Yu says Chinatown has historically been small buildings on 25-foot lots, which makes for a jumble of small stores that gives it a unique look and character. But the new developments are much wider, and just don’t look like Chinatown.
“The two 600-, 700-block buildings have a rain shield that’s an awning, a glass awning that runs the whole block,” said Yu. “That’s the design guideline for the city as a whole, but it was nothing to do with Chinatown, (which is) narrow frontages, changing awnings.
“We said that (to the city planners), we raised it and raised it, but the planners just shoved it down our throat.”
Kevin McNaney is Vancouver’s assistant director of planning. He said the city changed the zoning in parts of Chinatown to help revitalize the neighbourhood, which has been struggling.
“We have been taking a look across Chinatown,” said McNaney. “What we’re finding is that rents are dropping, and vacancies are rising. And that’s a big part of the strategy of adding more people to revitalize Chinatown.
“There are only 900 people currently living in Chinatown, many of them seniors. It’s just not the population base needed to support businesses, so a lot of the businesses are going under. Along Pender Street you see a lot of vacancies right now.
“So at the heart of this plan is to bring more people to revitalize Chinatown, and also use that development to support heritage projects, affordable housing projects and cultural projects.”
Henry Yu disagrees. “The idea that you need density in Chinatown itself, that you need your own captive customer base, is moronic,” he said.
“Where else in the city would you make that argument, that nobody can walk more than two blocks, that no one is going to come in here from somewhere else?
“They will. People go to the International Summer Market in Richmond in an empty gravel field. Ten thousand people at night come from everywhere in the Lower Mainland, because there’s something worth going to.
“The problem isn’t that you need a captive audience that has no other choice but to shop in Chinatown — that’s just stupid, there’s plenty of people in Strathcona. The problem is, is there something worth coming to (in Chinatown)? And that has to do with the character, what the mix is, what kind of commercial.”
Ironically, all the new construction comes just as Chinatown seems to be undergoing a bit of a renaissance. Several new businesses have popped up in old buildings, attracted by the area’s character and cheap rents.
The très-hip El Kartel fashion boutique recently moved into a 6,000 sq. ft space at 104 East Pender that used to house Cathay Importers. It’s on the main floor of the four-storey Chinese Benevolent Association Building, which was built in 1909.
Across the street at 147 East Pender is Livestock, a runner and apparel store that is so cool it doesn’t even have a sign. “We were in Gastown at the corner of Cordova and Abbott, (and) just felt a change was needed,” said store manager Chadley Abalos.
“We found the opportunity in Chinatown, so we decided to move here. We feel it’s one of the new spots that are booming. You see a lot of new businesses — restaurants, clothing stores, furniture. We see the potential in it growing.”
Russell Baker owns Bombast, a chic furniture store at 27 East Pender. But he is not new to the neighbourhood — Bombast has been there for 10 years.
“I think (Chinatown is) one of the most interesting parts of the city,” he said.
“It’s still got some variety, some texture, architecturally, socially, economically. A lot of what’s happened to the downtown peninsula (in recent years) constitutes erasure. This is one of the places that still sort of feels like … it feels more urban than some parts of downtown. I would say downtown is a vertical suburb.
“If you like cities, Chinatown feels like one. That’s why we’re here.”
Baker said he expected Chinatown to happen a lot sooner than it did. Retailers that do well there still tend to be destinations, rather than stores that rely on heavy street traffic. “The buzz is that Chinatown is happening, but it’s really strategic, what’s happening,” he said. “Fortune Sound Club, that’s a niche market that’s destination. That’s the kind of thing that works down here. We’re destination, Bao Bei (restaurant) is destination.”
The new businesses make for an interesting mix with the old ones. The 200 block East Georgia Street is hopping with hipster bars (the Pacific Hotel, Mamie Taylor’s) and art galleries (Access Gallery, 221A, Centre A). But it also retains classic Chinatown shops like the Fresh Egg Mart and Hang Loong Herbal Products.
The question is whether the small businesses will be displaced as the area gentrifies. Real estate values have soared — Soltera paid $6.5 million for the northwest corner of Keefer and Main in 2011, Beedie Holdings paid $16.2 million for two parcels of land at Columbia and Keefer in 2013.
That seems like a lot for a site that’s two blocks from the troubled Downtown Eastside, but Houtan Rafii of the Beedie Group said that’s what land costs in Vancouver.
“It is a significant, substantial amount of money, but compared to most every area in Vancouver, it’s not dissimilar, whether you’re in Gastown, downtown, Concord-Pacific, even on the boundaries of Strathcona or on Hastings close to Clark or Commercial,” said Rafii. “It’s not an obscene amount of money, it’s market.”
Rafii said the Beedie Group met with local groups for a year about its development, and was surprised at the reaction it got at the public meeting, which was held because Beedie is looking to rezone the site to add an additional three storeys.
Yu doesn’t have a problem with the Beedie proposal per se, but feels it’s on a key site in Chinatown, and should be developed accordingly.
“It’s not the building’s fault,” said Yu.
“People are going ‘What’s wrong with this glass tower, it’s working everywhere else, and Chinese people love buying this stuff if it’s UBC.’
“That’s not the point. There’s plenty of room around the city to build glass towers (that are) 40 storeys, 50 storeys, whatever. Why do they need to be in this spot?
“This one is right in the heart (of Chinatown). Across the street is the Sun Yat-sen (garden), the Chinese Cultural Centre. On the same street is the (Chinese workers) monument. Next door is the back alley of Pender.”
Yu said a recent study found there will be a need for 3,300 income-assisted senior housing beds in the Lower Mainland over the next 15 years. He said the Columbia and Keefer site would be perfect for a seniors project.
“There’s a particular kind of resonance to the idea this is a traditional place where a lot of Chinese seniors can retire to,” he said.
“There is a five-year waiting list for the Simon K.Y. Lee Success long-term care home, so there’s huge demand, huge need, this is a place where they want to go. (Building a seniors home) would actually would help revitalize (Chinatown), because seniors bring sons, daughters, grandsons and granddaughters into a community.
“That’s the Chinatown vision plan, that’s what’s in there, that’s what those discussions were about. And yet what we’ve got is 137 luxury condo units for hip youngsters. That’s the Beedie proposal, and that’s what the last two towers (on Main) were. It’s not just insulting, it’s the thwarting of the very promise (of the vision plan).”
Wu would like to see a moratorium on new developments in Chinatown “until design guidelines are actually built to create a zone that respects the (area’s special) character.”
Retired city planner Nathan Edelson agrees. Which is significant, because he worked on the Chinatown vision plan for over a decade.
“My suggestion is that there should be a moratorium on the rezonings, for sure, until they can get an assessment of what the current new development is,” said Edelson. “To what degree are they contributing to, or harming Chinatown, the historic character of Chinatown? And it’s not an obvious answer.”
Read more:
www.vancouversun.com/business/Battle+Chinatown/10384991/s...
I believe this photo was taken in around 1985, just before the closure of the MTT City Tram Depot, Adelaide. The Depot was on the corner of Victoria Square and Angas Street. Glenelg tram 370 can be seen closest to the photographer.
The City Depot was demolished in 2007 and SA Water built their new office building on the site. Why the facade of the old depot couldn't be kept is beyond me...
Think that this is the last building worth taking in the courts area of Corporation Street.
Recently noticed it for the 6 heads on the side of the wall. I usually walk on the same side as this building so don't see its details.
The Gazette Buildings was originally Lincolns Inn, lawyers' chambers of 1885 - 86 by W H Ward. Ground floor altered 1928 by W H Martin; mutilated top. What remains is Ward's finest surviving commercial design, an expansion of City Chambers, New Street. The giant arches with their Venetian arrangement recall the splendours of his demolished Colonnade Building. The rich all-over treatment derives from Italian Mannerism; the first floor niches placed illogically above the ground-floor piers from Raphael's Palazzo dell'Aquilla.
Above information from Pevsner Architectural Guides; Birmingham by Andy Foster.
It is at 160 - 178 Corporation Street.
The following was in Victorian Buildings of Birmingham by Roy Thornton.
No 160 - 78: It was caled Lincoln's Inn Buildings when built, and comprised ten shops and offices. The architect was W H Ward, and the owner of this 1882 building was Evan Thomas, owner of nos 132 - 48. An application was made for extensions and alterations by Essex, Nicol & Goodman, in 1899. The author wonders if Oliver Essex was involved in the earlier design of this building when he was in the employ of Ward. At some time the building's name was changed to Gazette Buildings.
He was unsure about no 178 where John's Fish Bar is (now just John's).
Each section has three heads each. And between them was a pair of lions.
Like The Crown, the first floor is occupied by Murria Solicitors, and the second floor by McGrath Solicitors. It seems like both solicitors have taken up using all the floor space from the Gazette Buildings to The Crown.
St Matthew, Portman Road, Ipswich
In the 1960s, Ipswich went mad. Town planners devised a scheme whereby the population would rise towards half a million, and the existing town centre would be encircled and crossed by urban motorways. They didn't get very far before the men in white coats came and took them away, releasing them into the wild somewhere like Croydon or Wolverhampton; but the towering Civic Centre, the brutalist police station and courts buildings were evidence of their ambitions (the Civic Centre has since been demolished), and the four lane Civic Drive cuts across what was the Mount residential area, the little terraces all demolished to make way for the 20th century.
Now, the new Ipswich plan designates this whole area for residential use, and the civil servants have all moved down to the river. This new plan, if it emerges, can only serve St Matthew well, sitting beside Civic Drive as it does, and cut off from the town centre by it.
St Matthew is, perhaps, less well-known than the other working town centre churches. Partly, this is because it is the only one of them which is kept locked, but also because it is such an effort to get to if you are a visitor. Because of this, many people don't realise that it contains a treasure of national importance. It is the early 16th Century font, which is quite unlike any other in Suffolk, and perhaps is unique in England.
Before we come to it, the church building itself is worth examining. This must once have been quite a small church, but is now a big one. Its core is 15th century, including the lower part of the tower. Nothing else is. Its 19th century expansion can be explained by the proximity of the Ipswich Barracks, for this became the Garrison church. This resulted in the huge aisles, as wide as the nave. The chancel was also rebuilt, but retaining its medieval roof.
Until 1970, the church was hemmed in to the east, but the construction of Civic Drive opened up this view, which isn't a particularly good one, particularly from the north east. It comes as a surprise to find the west end on Portman Road quite so pastoral, but the hidden graveyard surrounding the tower is quite beautiful, and would once have been the familiar view. Ancestor hunters will be horrified to learn that the greater part of the graveyard was built over in the 1960s, with the construction of a church school to the south. All those graves are under the playground now. The part of the graveyard to the east fell foul of the road, and those immediately beyond the chancel were turned into a garden, now the preserve of homeless drinkers. A footpath runs along the north side, which will take you through to the main entrance, the west door, under the tower. You step into a broadly Victorian interior, and find the font in the north aisle.
East Anglia is famous for its Seven Sacrament fonts, 13 of which are in Suffolk. These show the seven sacraments of the Catholic Church, and are rare survivals; so much Catholic iconography was destroyed by the Protestant reformers of the 16th century, and the Puritans of the 17th century.
Here at St Matthew, we find an even rarer survival of England's Catholic past; a series of images of events associated with the Blessed Virgin Mary.
Before describing it, I have to make the point that this really is one of the dozen most important and significant medieval art survivals in Suffolk, and one of the finest late medieval fonts in England. There is nothing as good as this in the Victorian and Albert Museum, or in the British Museum. I make this point simply because on every occasion that I have visited, the person accompanying me (they don't let you vist the church on your own) did not seem to realise quite how important the font was, and gave the impression that the parish, though they care for it lovingly, also did not realise what a treasure, what a jewel, they had on the premises. "It's quite pretty," said the lady when I visited in September 2016.
Of the eight panels, two bear Tudor roses, but five of them depict events in the story of Mary, mother of Jesus. These five reliefs, and a sixth of the Baptism of Christ, are amazing art objects. They show the Annunciation to the Blessed Virgin, The Adoration of the Magi, the Assumption of the Blessed Virgin, the Coronation of the Queen of Heaven, and the Mother of God Enthroned. The guide books all describe these as the five Joyful Mysteries of the Rosary. In fact, this is technically not the case, although certainly the font was intended for use in rosary meditations. After extensive research, the late John Blatchly showed convincingly that this font was paid for by the Rector John Bailey to celebrate the Miracle of the Maid of Ipswich, which occured in the parish in 1516 and was held in renown all over England in the few short years left before the Reformation intervened.
We know that the rosary was a hugely popular devotion in medieval England, and that a persons 'bedes' were their most valued possession. They played a major part in personal devotion, but were also important as a way of participating in the liturgy, and an expression of communal piety. Most pre-Reformation memorials show people holding their rosary beads. However, what we now think of as the Rosary sequence only dates from the 14th century or so, and was only one among many - the so-called Dominican Rosary, which is now the predominant meditation. The rosary was greatly popularised in England by St Thomas of Canterbury in the 12th century, who devised a series of seven joyful mysteries, including the Adoration of the Magi and the Assumption. Most sequences were of five meditations, and we must presume that this is what we find here. In time, the Joyful Mysteries would come to be Mary's earthly experiences, and the Glorious Mysteries her heavenly ones.
Because personal devotion was considered a diversion from congregational worship, and Marian devotion was thought superstitious, the rosary was completely anathematised by the 16th century Protestant reformers, and attempts were made to write it out of history, by destroying images of it. Within forty years of this font being produced, possession of rosary beads was punishable by death in England.
The survival of an image of the Assumption is particularly interesting. We still have much surviving evidence of religious life in England before the Church of England came along, but it does not really reveal to us the relative significance of different devotions, simply because some of the major cults and their images - St Thomas of Canterbury, for instance - were ruthlessly rooted out and destroyed. The Assumption is another case in point. 15th and early 16th century wills and bequests reveal a great devotion to the Blessed Virgin, particularly to the feast of the Assumption, which is celebrated on August 15th.
This is at the height of the harvest, of course, and it is not difficult to see the connection between this feast and the culmination of the farming year, or the importance to farmworkers of a festival at this time. More than 200 Suffolk parish churches were dedicated to the Assumption. When the dedications of Anglican churches were restored in the 19th century, after several centuries of disuse, these generally became 'St Mary', although some have been restored correctly since, notably Ufford. The Church of England, of course, does not recognise the doctrine of the Assumption.
Of equal significance are the other images, of course; extraordinary survivals. And why the Baptism of Christ? In fact, this is the most common 'odd panel out' on the Seven Sacrament fonts, and shows us the significance of 'anointing to serve' in the medieval church. The medieval church didn't see Baptism as a mere naming ceremony, or welcoming ceremony, as so many people seem to do today. It was the sacrament by which people received their commission as Christians.
The north aisle also retains panels from the rood screen, built into a 19th century screen.You might miss these, because chairs are stacked against them. Three of the panels show bishops, and the other two show cheering crowds of seven and nine people respectively. I do not think that these can be in their original configuration. Roy Tricker thought that the crowds were portraits of parishioners, but I have seen elsewhere a suggestion that this may have been the screen to the chantry altar of the guild of Erasmus, which was established here.
There is clear evidence of the location of at least one nave altar, since a squint kicks in from the north aisle. There are two good 17th century wall memorials in the chancel, the best being to Anthony Penning and his wife, depicting their children weeping, some holding skulls to show that they pre-deceased their parents.
Much of the 19th century woodwork is from the workshops of two major 19th century Ipswich carpenters, Henry Ringham and John Corder. Ringham's work can be found in several Suffolk churches, most notably St Mary le Tower and Great Bealings, while Corder was an architect responsible for several restorations, including Swilland. Both have Ipswich roads named after them.
The church has an extensive collection of late 19th and early 20th Century glass, not all of it good, but happily by a wide variety of workshops. The great curiosity is the window in the east end of the south aisle, which depicts Jane Trimmer Gaye, wife of a 19th Century Rector, flanked by female members of her husband's flock with images of birth and death. It was designed by her brother Frank Howard, and made by George Hedgeland. Another oddity is Percy Bacon's Christ flanked by St Edmund and St Felix - for the last hundred years the Saints have stood there with their names transposed.
There is a frankly functional modern screen, with a curious Anglo-catholic style rood, which looks most out of place, for St Matthew today is very much in the evangelical tradition. But the lady who allowed me entry thought it 'nice', so I expect nobody minds.
A once popular lunchbar at Rous Head Harbour, Fremantle Port, WA.. Now has disappeared to make way for the new Rous Head Industrial area.
The modern Caltex fuel / food stop taking over,
The interior in the “How Things Fly” gallery is being demolished after the artifacts were removed at Smithsonian’s National Air and Space Museum in Washington, DC, April 11, 2022. (Smithsonian photo by Jim Preston) [20220411JP-0198] [NASM2022-02666]
This photo is subject to Smithsonian Terms of Use: si.edu/termsofuse.
Demolished railway goods yard in my town
Rimane poco del vecchio Filzi scalo ferroviario merci nella mia città
05.02.2012
www.britishlistedbuildings.co.uk/en-503839-westminster-ro...
Westminster Road Police and Fire Station, Kirkdale, Liverpool.
The Police and Fire Station buildings in Westminster Road, Kirkdale have only been saved from demolition as recently as 2007. Designed by Liverpool's youngest ever City Surveyor Thomas Shelmerdine in 1885 it formerly housed a police station, fire station and bridewell. Later parts of the building were used as a public house, but for many years it has been derelict. it was due to be demolished in 2007. Fortunately it has now been granted Grade II listed status. The building uses red-brick, tile and is in an 'Old English' style and contains some remarkable detailing.
Shelmerdine built several equally impressive libraries in Liverpool including the nearby Everton Library in a neo-Jacobean style. The Kirkdale and Everton areas of Liverpool retain some incredible examples of late Victorian and Edwardian building craftsmanship, such as checkerboard banding in the brickwork, turrets (as in the Westminster Road site) and architectural mouldings. As these areas are in a very run-down and deprived part of Liverpool the beauty of this element of the city's heritage is too often ignored.
Thomas Shelmerdine (1845-1921) became City Surveyor aged 26 in 1871 and continued in the job for 43 years.
Views of the spire of the ruined church of St Andrew off Deansway in Worcester
This is above a college in Worcester.
This is all that is left of the medieval church of St Andrew in Worcester. It was demolished in 1949 after decline, disuse and decay. All that remains is this 15th century tower with its vaulted ceiling and fine series of 32 carved stone bosses.
The spire was created by local mason Nathaniel Wilkinson. It went up in the 1750s, to replace the smaller, wooden one destroyed by lightning in c.1730.
It is a Grade II* listed building.
Also known as: St Andrew's Tower COPENHAGEN STREET. Also known as: St Andrew's Church Tower ST ANDREW'S GARDENS. Church tower. C15 with spire rebuilt in 1751 by Nathaniel Wilkinson, a journey-man of Worcester. Limestone ashlar. 3-stage Perpendicular tower with slim, recessed, octagonal Gothick spire. Chamfered plinth. Diagonal off-set buttresses to first and second stages, those to first stage have engaged columnettes, with clasping pilasters to third stage. Pointed arches to east, north and south with Perpendicular moulding. 5-light pointed west window. First-stage band. To second stage a 2-light pointed window with Perpendicular tracery to head; second stage band. Third stage has 2-light pointed belfry window. Spire has one level of 2-light, then single light lucarnes. Surmounted by Corinthian capital. INTERIOR: lierne-vault over lower stage, to the east the springers of the first bay of the arcades. To south-west angle a plank door in ogeed surround. HISTORICAL NOTE: the medieval, probably C12 church was demolished after war damage. It now stands in a public garden, opened 1953 to commemorate the coronation of Elizabeth II. The original top of the spire stands in the same garden. The spire is locally known as "The Glover's Needle" due to its shape and to Worcester's association with the glove-making industry. A significant streetscape feature, forming an important landmark. It forms part of the visual context for Worcester Cathedral (qv) from the River Severn, together with Worcester Bridge, Bridge Street (qv), Gascoyne House, Brown's Restaurant and Bond House, South Quay (qqv) and grouping with Merchant's House, Quay Street (qv). NMR photographs. (The Buildings of England: Pevsner: N: Worcestershire: Harmondsworth: 1968-1985: 317-8).
Spire of Saint Andrew's Church, Worcester - Heritage Gateway
The Glover's Needle (or St Andrews Spire) is a spire-carrying tower in the city of Worcester, England.
The tower is a prominent landmark of the city, from road, rail, or the River Severn, and can be seen for miles around. It is located in St Andrews Gardens close to Worcester College of Technology. The spire used to crown the church of St Andrew but this was demolished in the late 1940s. The Glover's Needle is seated on Deansway Road, Worcester Cathedral being very close to the south and All Saints Church to the north. On the western side of the spire the pedestrian can descend into gardens that lead onto the River Severn. Across the road from the Glover's Needle is a "House of Fraser" shop which stands on the site of the old graveyard of St Andrews. At night the spire is illuminated (but not the tower below) and a blue glow is projected from inside one of the windows. The blue represents St Andrew, the colour of the Scottish flag. The blue glow and night lighting were paid for by the Rotary Club of Worcester Severn, to commemorate the millennium in 2000.
In the 15th century, Saxons built a church (called St. Andrews Church) with a tall spire but this was destroyed in a great storm of 1733. Shortly after this disaster, the spire was rebuilt. It was constructed by using the ingenious method of kite flying to carry up the stones. Worcester people took the new masterpiece to their hearts and named it the 'Glover's Needle'. This name came from the industrial glove making that was executed in Worcester. The entire structure measures approximately 245 feet. It is the tallest spire in the country to have such a narrow angle of taper. In the 1920s the slum housing which crowded round the church was demolished. The congregation of the church was thus reduced by a large degree. The church fell into decay, had an overgrown churchyard, few parishioners and a tiny parish of five acres. In the 1940s, the council accepted the Bishop of Worcester's offer of the church. They decided to demolish the church and create a garden of remembrance to replace it. However the council decided to leave the tower and spire, freestanding. Thus St Andrew's church was demolished in 1949.
As a millennium project, a clock was installed in the tower and now the hours are struck on the council bell. A recently reinstated custom is to have the council bell strike from 18:45 to 18:50 before a full meeting of the council. In the early 2000s a fence was put around the base of the spire. A few years ago, the RSPB has taken the Glover's Needle into their own hands and the actual spire is now used for special birds of prey for roosting. Live web cams have been installed in the tower.
The Glover's Needle formerly housed a set of five bells.[citation needed] These were hung full circle for proper English style change ringing. In 1870, four of the bells were sold but the tenor (heaviest bell) was retained in the old bell frame. This bell weighs 20 CWT — 1 ton. This is the so-called council bell mentioned above. It is unlikely that the Glover's Needle could sustain a ring of bells today as there is no church to buttress the swaying tower.
It is sometime around August/September 1998 and the old painting & servicing shed is being demolished. Apart from the Evans Street goods shed and the old red shed, this was the last building left that was present in the old TGR days.
Edyth Walker Hall was a high-rise dormitory constructed in 1972, and housed a few hundred students in spartan accommodations on 9 floors. The building, having become functionally obsolete, was demolished in October 2020, along with the adjacent, and larger, Mary White Scott Residence Hall, built in 1969.
Snapped from a bus.
Calvary Church first appears in Kelly's Directory for 1939.
Looks post-war to me - it's got that "austerity" look.
There's a chance that it was re-built - who knows?
Demolished in 2012.
Not sure how much, but the front has gone.
www.calvarychurchliverpool.info/single-post/2018/07/23/Cl...
This photo of Screen #1, taken with My P&S Film Camera back on February 18 1999, is The Astro Drive In Theatre located in Oak Cliff (Dallas) Texas. DEMOLISHED. This drive in opened in 1968/69. Closed November 1998 Due to Fire in the Concessions Stand. Altho it could have been re-built, it was demolished in February of 1999. The Last operating Drive In Theatre in Dallas now gone. Taken during the demolition...
Photo Taken: February 18 1999
Photo Taken By: Randy A. Carlisle
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St Matthew, Portman Road, Ipswich
In the 1960s, Ipswich went mad. Town planners devised a scheme whereby the population would rise towards half a million, and the existing town centre would be encircled and crossed by urban motorways. They didn't get very far before the men in white coats came and took them away, releasing them into the wild somewhere like Croydon or Wolverhampton; but the towering Civic Centre, the brutalist police station and courts buildings were evidence of their ambitions (the Civic Centre has since been demolished), and the four lane Civic Drive cuts across what was the Mount residential area, the little terraces all demolished to make way for the 20th century.
Now, the new Ipswich plan designates this whole area for residential use, and the civil servants have all moved down to the river. This new plan, if it emerges, can only serve St Matthew well, sitting beside Civic Drive as it does, and cut off from the town centre by it.
St Matthew is, perhaps, less well-known than the other working town centre churches. Partly, this is because it is the only one of them which is kept locked, but also because it is such an effort to get to if you are a visitor. Because of this, many people don't realise that it contains a treasure of national importance. It is the early 16th Century font, which is quite unlike any other in Suffolk, and perhaps is unique in England.
Before we come to it, the church building itself is worth examining. This must once have been quite a small church, but is now a big one. Its core is 15th century, including the lower part of the tower. Nothing else is. Its 19th century expansion can be explained by the proximity of the Ipswich Barracks, for this became the Garrison church. This resulted in the huge aisles, as wide as the nave. The chancel was also rebuilt, but retaining its medieval roof.
Until 1970, the church was hemmed in to the east, but the construction of Civic Drive opened up this view, which isn't a particularly good one, particularly from the north east. It comes as a surprise to find the west end on Portman Road quite so pastoral, but the hidden graveyard surrounding the tower is quite beautiful, and would once have been the familiar view. Ancestor hunters will be horrified to learn that the greater part of the graveyard was built over in the 1960s, with the construction of a church school to the south. All those graves are under the playground now. The part of the graveyard to the east fell foul of the road, and those immediately beyond the chancel were turned into a garden, now the preserve of homeless drinkers. A footpath runs along the north side, which will take you through to the main entrance, the west door, under the tower. You step into a broadly Victorian interior, and find the font in the north aisle.
East Anglia is famous for its Seven Sacrament fonts, 13 of which are in Suffolk. These show the seven sacraments of the Catholic Church, and are rare survivals; so much Catholic iconography was destroyed by the Protestant reformers of the 16th century, and the Puritans of the 17th century.
Here at St Matthew, we find an even rarer survival of England's Catholic past; a series of images of events associated with the Blessed Virgin Mary.
Before describing it, I have to make the point that this really is one of the dozen most important and significant medieval art survivals in Suffolk, and one of the finest late medieval fonts in England. There is nothing as good as this in the Victorian and Albert Museum, or in the British Museum. I make this point simply because on every occasion that I have visited, the person accompanying me (they don't let you vist the church on your own) did not seem to realise quite how important the font was, and gave the impression that the parish, though they care for it lovingly, also did not realise what a treasure, what a jewel, they had on the premises. "It's quite pretty," said the lady when I visited in September 2016.
Of the eight panels, two bear Tudor roses, but five of them depict events in the story of Mary, mother of Jesus. These five reliefs, and a sixth of the Baptism of Christ, are amazing art objects. They show the Annunciation to the Blessed Virgin, The Adoration of the Magi, the Assumption of the Blessed Virgin, the Coronation of the Queen of Heaven, and the Mother of God Enthroned. The guide books all describe these as the five Joyful Mysteries of the Rosary. In fact, this is technically not the case, although certainly the font was intended for use in rosary meditations. After extensive research, the late John Blatchly showed convincingly that this font was paid for by the Rector John Bailey to celebrate the Miracle of the Maid of Ipswich, which occured in the parish in 1516 and was held in renown all over England in the few short years left before the Reformation intervened.
We know that the rosary was a hugely popular devotion in medieval England, and that a persons 'bedes' were their most valued possession. They played a major part in personal devotion, but were also important as a way of participating in the liturgy, and an expression of communal piety. Most pre-Reformation memorials show people holding their rosary beads. However, what we now think of as the Rosary sequence only dates from the 14th century or so, and was only one among many - the so-called Dominican Rosary, which is now the predominant meditation. The rosary was greatly popularised in England by St Thomas of Canterbury in the 12th century, who devised a series of seven joyful mysteries, including the Adoration of the Magi and the Assumption. Most sequences were of five meditations, and we must presume that this is what we find here. In time, the Joyful Mysteries would come to be Mary's earthly experiences, and the Glorious Mysteries her heavenly ones.
Because personal devotion was considered a diversion from congregational worship, and Marian devotion was thought superstitious, the rosary was completely anathematised by the 16th century Protestant reformers, and attempts were made to write it out of history, by destroying images of it. Within forty years of this font being produced, possession of rosary beads was punishable by death in England.
The survival of an image of the Assumption is particularly interesting. We still have much surviving evidence of religious life in England before the Church of England came along, but it does not really reveal to us the relative significance of different devotions, simply because some of the major cults and their images - St Thomas of Canterbury, for instance - were ruthlessly rooted out and destroyed. The Assumption is another case in point. 15th and early 16th century wills and bequests reveal a great devotion to the Blessed Virgin, particularly to the feast of the Assumption, which is celebrated on August 15th.
This is at the height of the harvest, of course, and it is not difficult to see the connection between this feast and the culmination of the farming year, or the importance to farmworkers of a festival at this time. More than 200 Suffolk parish churches were dedicated to the Assumption. When the dedications of Anglican churches were restored in the 19th century, after several centuries of disuse, these generally became 'St Mary', although some have been restored correctly since, notably Ufford. The Church of England, of course, does not recognise the doctrine of the Assumption.
Of equal significance are the other images, of course; extraordinary survivals. And why the Baptism of Christ? In fact, this is the most common 'odd panel out' on the Seven Sacrament fonts, and shows us the significance of 'anointing to serve' in the medieval church. The medieval church didn't see Baptism as a mere naming ceremony, or welcoming ceremony, as so many people seem to do today. It was the sacrament by which people received their commission as Christians.
The north aisle also retains panels from the rood screen, built into a 19th century screen.You might miss these, because chairs are stacked against them. Three of the panels show bishops, and the other two show cheering crowds of seven and nine people respectively. I do not think that these can be in their original configuration. Roy Tricker thought that the crowds were portraits of parishioners, but I have seen elsewhere a suggestion that this may have been the screen to the chantry altar of the guild of Erasmus, which was established here.
There is clear evidence of the location of at least one nave altar, since a squint kicks in from the north aisle. There are two good 17th century wall memorials in the chancel, the best being to Anthony Penning and his wife, depicting their children weeping, some holding skulls to show that they pre-deceased their parents.
Much of the 19th century woodwork is from the workshops of two major 19th century Ipswich carpenters, Henry Ringham and John Corder. Ringham's work can be found in several Suffolk churches, most notably St Mary le Tower and Great Bealings, while Corder was an architect responsible for several restorations, including Swilland. Both have Ipswich roads named after them.
The church has an extensive collection of late 19th and early 20th Century glass, not all of it good, but happily by a wide variety of workshops. The great curiosity is the window in the east end of the south aisle, which depicts Jane Trimmer Gaye, wife of a 19th Century Rector, flanked by female members of her husband's flock with images of birth and death. It was designed by her brother Frank Howard, and made by George Hedgeland. Another oddity is Percy Bacon's Christ flanked by St Edmund and St Felix - for the last hundred years the Saints have stood there with their names transposed.
There is a frankly functional modern screen, with a curious Anglo-catholic style rood, which looks most out of place, for St Matthew today is very much in the evangelical tradition. But the lady who allowed me entry thought it 'nice', so I expect nobody minds.
20 Nidderdale demolished after being set on fire five times and damaged beyond repair since 2010 the fence is new so no one can get in during demolition but it does not go all the way round so children can just walk in at will. Am glad it is going but the question remains what are they planning to put there?
A stitched panorama of the last sunrise on the Chula Vista powerplant. It was set to be demolished that morning.
The Winter Gardens Morecambe in 1996. Only the Pavilion Theatre remains now, the ornate ballroom was demolished in 1978 to be replaced by a hideous amusement arcade. Added to the Winter Gardens Ballroom in 1897, designed by Mangnall & Littlewood with fibrous plaster by Dean & Co. and tiling by Burmantoft's. It has also been known as the Victoria Pavillion, King's Pavilion and the People's Palace. Seating 2,500 on three levels, with standing room for many more, the auditorium is vast, with excellent acoustics. It was a dual-purpose concert hall and music hall/theatre, catering for classical music festivals (Elgar premiered works here, and the Halle Orchestra were frequent visitors) together with big name variety (Julie Andrews, Chung Ling Soo). Its fortunes declined with the resort, and it closed in 1977, the Ballroom was demolished in 1982 - as the theatre was built as an extension to this, many of its key services depended on the ballroom and were lost). A preservation group was established and eventually ownership of the building passed to them, allowing a restoration to begin. Grade 2* listed.
Morecambe, Lancashire, North West England - Winter Gardens Theatre, Marine Road Central
A scanned negative from October 1996, image reworked 2022
Demolished, one of the first parts of Thamesmead to be built on the corner of Harrow Manorway and Yarton Way.
In the beginning.. www.flickr.com/photos/50780708@N02/5274995363/
"The Radcliffe family, who towards the end of the 19th century sponsored revivalist meetings usually held in marquees and other kinds of temporary building, built a permanent hall in Kensington, which became a useful venue for orchestral concerts when not in use for religious purposes. The Liverpool Sunday Society's choir conducted by Percival Ingram gave many concerts here, as did the Liverpool Orchestral Society and Vasco V. Akeroyd's orchestra."
Source:- Two Centuries of Music in Liverpool
Films were far from being a novelty in the Kensington area of Liverpool as the Sun Hall, built in 1904 - almost opposite the Kensington Picturedrome (1910 to 1958)
www.flickr.com/photos/44435674@N00/243056214
had shown occasional films as far back as June 1905.
It was built in 1904 as a gospel hall at the same time as the Sun Hall in Bootle, which also was an early cinema from 1905, and continued as the Imperial Cinema.
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www.flickr.com/photos/44435674@N00/2169033577/in/photolis...
On 22 October 1907 "Cinematograph Entertainments (were) sanctioned for 12 months" by the Licensing Committee at the Kensington Sun Hall. This permission was repeated on 20 October 1908 and again on 19 October 1909. (Note that even though Cinematograph Licenses didn't exist before 1910, premises showing films still needed official permission to operate, and a music license was needed to cover the piano or orchestra.)
On 25 October 1910, the Sun Hall was due to make an application for a Cinematograph licence, but didn't do so, (probably being aware that a purpose-built cinema was under construction across the road) and as far as can be ascertained films were never again shown at the Kensington Sun Hall.
The building which was capable of holding 4500 people was also used for large meetings.
It was requisitioned during World War Two and was demolished in the late 1950s to be replaced by a Woolworth's store.
Built and extended over a long period 1700 - 1887 the hall retained a generally classical theme. This is the south front with a carved frieze using trigyphs (the vertical rectangular features on the band above the doric pillars). The hall was demolished in 1950.
Well, just after two weeks of having my new expensive iPhone5, the unthinkable happens! While at work, one of my employees accidentally ran over my phone with a forklift (phone had just fallen out of my pocket). I nearly cried! It has since been replaced but loosing my phone was like loosing a part of me; sad I know! Siri did keep my phone active as I was using it to send messages.
I am probably one of the first people to demolish an iphone5 but that's okay. Thanks to AppleCare, it's all yesterday's news now. I am extremely happy with the service at Apple and can see why people are so loyal!
Anywho, I thought I would share my awful ordeal and would not wish this upon anyone!
Have a great week everyone and remember, keep your phone secure!!!!