Salford Lads Club Blue Plaque Exhibition

Salford Lads Club name before and after renovation

Salford Lads Club name before and after renovation

The red brick arched doorway and facade of Salford Lads Club has been seen countless times in a set of black and white photographs of the Smiths taken outside the club by Stephen Wright in the mid-80s.

Since then thousands of fans have flocked to the location to have their photo taken at the same spot. But what many don’t realise is that you can visit Salford Lads Club. In fact many visitors who go there to have their photo taken are invited by volunteers to come inside and have a look around.

As you enter, the tiles, brickwork and window frames seem to exude an atmosphere of the past. The Smiths room contains memorabilia and the signatures of ‘pilgrims’ who have come here.

There is a room with snooker tables and photos on the walls showing young club members on field trips going back decades.

Upstairs the pristine green snooker tables are the orginal ones that have been used for over 100 years. In the boxing rooms I could imagine myself in a scene from the film ‘Rocky’.

But it’s important to remember this is not a museum, it’s a working club for young people, today providing activities for both girls and boys.

The building has undergone extensive renovation. Practically every room has been restored as closely as possible to how it was over 100 years ago.

Salford Lads Club is one of the most surprising and special places in the Manchester area, and wherever you’re from from you’ll receive a special Salford welcome and perhaps a personal guided tour.

To coincide with the Manchester International Festival 2017, Salford Lads Club put on an exhibition with tongue-in-cheek blue plaques. Project Manager Leslie Holmes told me he had been to London and seen them everywhere and decided to create a humorous exhibition on this theme. The plaques will put on display again at other events. I include just a selection here. To see them all you’ll need to go and visit Salford Lads Club.

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Aidan’s review of Cotton Panic by Jane Horrocks – Why mainstream reviewers got it wrong

Jane Horrocks performing in Cotton Panic

Jane Horrocks performing in Cotton Panic


5-stars

As I understand it, one of the aims of the MIF is to stretch artistic boundaries, to encourage people, both performers and audiences, to move out of their comfort zone, to experiment, take risks and try out new things.

That’s certainly true of Cotton Panic, a unique combination of theatre, music, on-screen projections and sound effects, narrated and performed by Jane Horrocks, created by Jane Horrocks, Nick Vivian and the electronic band Wrangler. The show was fittingly held inside the decaying Upper Campfield Market hall on Deansgate.

I looked at a few reviews in mainstream newspapers and as usual I found them unhelpful, as they didn’t understand the concept and contained petty criticisms.

I decided to write a review myself to give proper credit to this very powerful and inspiring musical-theatrical creation.

In fact, I was so impressed with Cotton Panic I went to see it twice.

So what was it about the show that grabbed me? There are many reasons, many aspects overlooked and ignored by the reviewers.

One of the most striking things is it is self-contradictory, a merging of opposites. It combines modern electronic music and imagery to tell a story that takes place in the mid-19th century. Folk songs are combined with contemporary techno, produced on stage by the three musicians working behind the semi-transparent screen. It was exciting to see an old computer with glowing lights on the left, and a reel to reel tape recorder on the right. What would the people of 1862 have made of these instruments?

A couple of the reviews describe it as ‘gig-theatre’, a term I find condescending. It’s a mixture of music, drama, dance, on-screen imagery presented on a stage in front of a standing audience.

This is a story that’s an important part of the history of Manchester. It’s our history and it’s still relevant today. The cotton famine came about due to the American Civil War. Southern American ports were blockaded by the north. The supply of cotton was stopped, causing the Lancashire cotton industry to grind to a halt. This caused huge poverty. But the workers of Lancashire remained in solidarity with the American president due to his opposition to slavery. This fact is documented in Manchester’s Abraham Lincoln statue, which appears on screen.

The story is told by Jane Horrocks, sometimes singing in her very high voice, sometimes narrating, and occasionally shrieking, against the loud, techno musical backdrop,

The three huge screens, one behind the performers and two on either side, show images projected by industrial size digital projectors. Cotton dust like a snow storm is a constant feature as well as a ghostly female figure that could be called ‘Queen Cotton’.

At other times, we see quotations by authors describing the events of the time and the terrible poverty. We see a gigantic face of Glenda Jackson, reading a dignified description of terrible poverty that’s still shocking after a century and a half.

Later we see a facial close-up of an African-British actor – I’ve not managed to find out his name – delivering more powerful quotations.

It’s always very interesting when new connections and juxtapositions are made. The deafening roar of the factory machines is echoed in the industrial beats of the electronic music. Could it be that Manchester’s electro sound was inspired by its industrial heritage? Maybe. A woman in factory overalls does a traditional clog dance to a contemporary beat. The clogs looked like they are very good quality, I wonder where they were made.

There were many transatlantic echoes. In the early part of the show, the Lancashire cotton towns are read out in time with the music, and later, towns in the southern US states. Jane Horrocks waves a mid-19th century US flag. Later there are contemporary media images of the ‘Black Lives Matter’ movement, interspersed with glimpses of mayhem on the streets, Donald Trump and Brexit.

Jane Horrocks is the lynchpin of the performance, holding it all together from beginning to end. She is a unique actor, a talented singer and a powerful narrator, her voice often amplified with a megaphone. She can transform herself from an angry agitator into a helpless child beggar, emphasised by her very high voice.

In one section, she wanders into the audience, repeating the words ‘Can you help me a bit?’, over and over again, and then then she is lifted up on the shoulders of fellow performers. It was moving – you could see it in the reactions of audience members.

In the reviews I gather that commentators found this and other sections a bit long and perhaps self-indulgent. I totally reject this criticism. The long sections emphasise drudgery and repetitiveness, whether of a 10-hour working day in a cotton mill, or a long day spent begging in the streets for a few pennies. The architecture of the piece is spread out and not curtailed in order to pander to a short attention span.

Hall of the Upper Campfield Market

Hall of the Upper Campfield Market before its conversion for ‘Cotton Panic’

I’ve heard people complain films are too long, like 2001 ‘Oh, it was too long’. No, that’s wrong! Its length is the whole point! It’s like complaining that The Cruel Sea has too much sea in it, or Lawrence of Arabia has too much desert. Cotton Panic has long, repetitive sections that help to tell the story. If they are longer than the three second sound bite editing culture of today, so be it.

What other interesting juxtapositions are there? I loved the use of Slave to the Rhythm by Grace Jones in connection to the rhythm of the cotton spinning machines. In the latter stages of the story, the cotton workers decide to go for a meeting at the Free Trade Hall, which is just around the corner from the venue. She sings the words ‘Anger is an energy’ from the song by Johnny Rotten, co-founder of The Sex Pistols, who performed at an infamous gig at the Lesser Free Trade Hall in 1976.

I was astonished at the statistics and learned a lot. Whilst there was much poverty, some cotton Lancashire workers earned very high wages, the highest in the country. Seeing Cotton Famine has encouraged me to find out more about this forgotten period in Manchester’s history.

I saw the performance twice – on Thursday 14th and again on Saturday 16th and both times I was captivated. The second time I stood near the front, close to the stage and watched as Jane Horrocks came out into the audience just a few feet away. On both occasions I saw it, it was absorbing and the time flew.

It’s a shame the reviewers failed to appreciate these qualities. I often think that reviews should be mostly written by people who know how to appreciate a piece of music or theatre, rather than those who don’t, or perhaps they were asleep, or thinking about going to the pub afterwards.

This was a show about our city, Manchester, our history, our region, presented using the medium of the music that came out of our city – techno / electronic, presented by artists from around here. It has a clear and simple concept. It was very powerful musically, theatrically and historically and was perfectly in the spirit of the Manchester International Festival. I unreservedly give it a five star rating.

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2017 redesign for Bootle Street (St Michaels) – My initial reactions

Hodder Architects model St Michaels

Model of Bootle St / St Michaels proposal. On the right: Architect Stephen Hodder MBE chatting with a member of the public.

In 2016, plans for the Bootle Street site (St Michaels) were unveiled and I was horrified, along with many others. My reactions are in this article.

On Wednesday 12 July 2017, a new vision for the site was presented at Manchester Central Library. Manchester-based Hodder architects have taken over the project and they have started again from scratch. I was relieved and encouraged by what I saw, but I still have some reservations.

The police station façade and pub are to be retained, though the syagogue will be demolished. The interaction with the streets on both sides is much improved and the two dark towers have been replaced with a single glass skyscraper that has been moved further away from the town hall and rotated by ninety degrees.

This change is intended to reduce the impact on the surrounding area, but there is still an impact!

I believe that in Manchester’s Victorian inner area, the roofline should be respected and there should be no tall buildings. This is the policy in Paris and Dublin and I believe it is right for the inner part of Manchester city centre, around the town hall.

I accept the arguments against keeping the Reform Synagogue and I understand why its users would prefer to have a new facility. I hope it will be properly documented for the future before it is demolished.

The most encouraging thing for me as a long-time heritage campaigner is that they have listened and responded to peoples’ reactions and criticisms. There has been a dialogue and as a result, the plans have been changed. People have had an impact.

The input of Historic England has had a big influence on the project. Their advice has been extensively taken into account.

Manchester Shield are to be commended for their tireless campaigning, which has produced a result.

It’s a great feeling to know that the police station façade and the Abercromby will not now be lost. I look forward to seeing how both look as part of a new development.

Bootle St Police Station

Bootle St Police Station

I see the police station façade as a monument to the work of the police in past decades. To destroy it would have been to blot out their memory.

But the height and dimensions of the tower still give me cause for concern. On the city centre model, it’s by far the tallest structure in the central area.

The plans are going to be developed further and there will be another exhibition later in the year. I look forward to seeing it.

But there is one important point I would like to make. Drawings, photographs and models are not adequate to give a realistic impression of how the development will look when completed.

I would like to see the architecture presented as a 3D visualisation. At the next exhibition there should be a computer and a 3D VR headset for use by visitors.

I would like to be able to move around the development and view it from all angles. I’m a fan of virtual reality, we have the HTC Vive system at home. The technology is well developed and has an important use in projects like this one.

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Before & After Manchester Volume 1 – Video slide show documenting change in Manchester

This is the first in a series of video slide show presentations on the theme of ‘Before & After’. From my archive, I have selected photographs of buildings and locations in Manchester and photographed how the same scene looked a few years later. The changes are the result of demolition, restoration, new construction.

Locations featured in this slide show include the Hacienda night club on Whitworth Street, the Rochdale Canal, Elizabeth Gaskell’s House, Piccadilly Basin and the Whitworth Art gallery.

I’ve tried to match up the viewpoint as closely as I can, but it’s not always possible.

‘Then and now’ is one of my central themes as someone who is interested in the local area and how it is changing. I’ve done the ‘now’ photos for several ‘Then and Now’ books, including Manchester and Liverpool.

I have taken a large number of photographs since 1996 and what I find visually fascinating is how places change, often in unexpected ways. In some cases, locations become worse, not better. I have campaigned to save buildings under threat and prevent bad construction, with mixed success.

I have written subtitles in both English and German. This is because my main activity is now language trainer and I want to provide clear German language material for my students based locally, as well as English material for people in Germany and beyond. I often give local tours to people from other parts of Europe, including Germany.

Please comment via my @AidanEyewitness Twitter account.

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Review of the Strawberry Studios exhibition at Stockport Museum

Stockport Market Hall and St Mary's Church What’s Stockport famous for? It’s the last stop on the West Coast line from London Euston to Manchester Piccadilly, it’s seven miles south east of the city centre and it’s my home town! But what else is it famous for? Oh yes, it’s the home of a groundbreaking recording studio that existed from 1967 to 1993, Strawberry Studios.

So what made Strawberry Studios different? The first thing is that it wasn’t in London. The music industry has been mostly based in London – it still is. But in the mid-sixties, a visionary group of people wanted to set up a studio in the north.

The driving force was Peter Tattersall and Eric Stewart. It was named after Eric’s favourite song, Strawberry Field, which was released in 1967.

It originally started in another location but moved to an industrial building on Waterloo Road in 1968. Incidentally this is just by the location of the Stockport air disaster of 1967.

They wanted to provide a recording facility to match those in London, but close to Manchester. They offered cheaper rates at night so that local bands could afford to record there. They made full use of the latest recording technology.

Strawberry Studios exhibition

The band 10cc were closely involved in the studios and they recorded many classic songs there, the most famous of which is “I’m Not In Love”, which featured groundbreaking use of tape loops to create rich layered vocals. It was a number one UK hit in 1975 and reached number two in the US. Many other artists recorded at Strawberry, including Paul McCartney, Neil Sedaka, the Bay City Rollers and most notably, Joy Division.

Despite the success of I’m Not In Love, 10cc split in 1976, continuing as two separate entities. The studio sadly closed in 1993, but the name survives both as a legend of music and as the name of the building.

In the seventies I lived just 10 minutes from Strawberry Studios and though I was active in music in the eighties, I never had any involvement there. The achievements of 10cc and Strawberry Studios are a source of local pride in Stockport and so in the year of the 50th anniversary of the setting up of the studio, it was natural that there should be a commemoration and exhibition.

It opened on 27 January, 2017 and though I couldn’t make the opening, I attended in late February. It’s housed in Staircase House in Stockport’s historic Market Place. The house contains exhibits about the history of Stockport on five levels and I can highly recommend it.

For me, the high point of my visit was entering the 10cc exhibition in the basement exhibition area. The two adjoining rooms are packed with many fascinating objects, musical instruments, photographs, videos and audio recordings.

Strawberry Studios exhibition Eric Stewart's Semi acoustic guitar

Eric Stewart’s Gibson ES 335 semi-acoustic guitar is proudly placed in a display cabinet. The guitar was used on all four 10cc albums.

The exhibition is packed with lots more artifacts, including 45 rpm discs, badges, amplifiers, music cassettes, brochures, post cards and the original sound equipment used by producer Martin Hannett.

Strawberry Studios exhibition

I was intrigued to see an original Marshall Time Modulator, and another piece of equipment which had the name ‘Martin Hannett’ inside the case. There was also an example of the ‘gizmo’ a device invented by Kevin Godley and Lol Creme. An electronic copy of the studio bookings diary from 1980 to 1981 contains many famous names.

I was overwhelmed by just how many fascinating items of memorabilia have been crammed into such a relatively small space. I found it all fascinating and absorbing.

I was lucky enough to meet the curator of the exhibition, music historian Peter Wadsworth. He told me that the exhibition was an extension of his PhD thesis, which is on the subject of Strawberry Studios.

For anyone who is interested in the history of music in the Manchester area, this exhibition is a must-see. And if like me, you lived through the Strawberry Studios era, and remember the artists and songs of that time, it will bring back many happy musical memories.

I am in Love – runs from 27th January 2017 until 29th January 2018. Stockport Museum is open Tuesday-Saturday 10am-5pm and Sunday 11am-5pm. Entry to the exhibition is free. Stockport Museum is located at 30 Market Place, Stockport, SK1 1ES.  

Stockport Story / Stockport Museum

StoStrawberryExhib

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Why the Bootle St plans (St Michael’s) must be rejected

Bootle St police station facade

Following criticisms of the 2016 proposals, a redesign was produced in mid-2017 by Hodder Architects. Read my initial reactions in this article.

After the police moved out of the 1930s Bootle St station, the property was purchased. Initially the impression was given that the old police building was to be converted into a hotel. In 2016 the present plans were announced. They are shocking in their scale, destructiveness and lack of respect for the surrounding area and must be rejected. Here are the reasons why.

1) The area doesn’t ‘urgently’ need redevelopment.
It’s said the site needs to be redeveloped. This is not true. The site is one of countless parts of the city centre where a building has been vacated. The urgency lies with the developers, who obviously are keen to see a financial return on their investment. It’s perfectly okay for the site to remain as it is for the time being. Better to wait a few years for a better development that suits the location than to rush ahead with an inappropriate one like this.

 

The Abercromby pub July 2015

2) The Abercromby pub will be destroyed
Pubs have a special status, especially when they are of historical significance. They are often the only buildings to survive from the earlier city. That’s certainly true of the Abercromby, which was first built in the early 1800s. It has connections to the 1819 Peterloo massacre, a key development in history. Not only that, it is a successful business and a well-loved watering hole in the city. 4152 names are on a petition to save the Abercromby. People come to Manchester for its uniqueness and historic character. That aspect will be degraded if the pub is destroyed. The developers have tried to downgrade the value of the pub by saying that some parts were built in the 20th century. That argument is not valid as other parts of the pub are original. It’s the name, significance and role in the history of Manchester that’s important. If the development goes ahead, people will never forget that a well-loved pub was destroyed to make way for it.

Manchester Central Synagogue

3) The Reform Synagogue will be demolished.
There’s an attitude among planners that dictates ‘If it’s in our way and not listed, demolish it.’ The result of this tendency is for scores of interesting buildings in the second and third category to be lost. It’s not just the highest grade of historic buildings that help to define the character of the city. Many less remarkable ones do as well, and they should be kept wherever possible. The Reform Synagogue may not be in the highest category as regards architectural merit, but it is still a place of worship and deserves respect. It was one of the first buildings to be constructed in Manchester city centre after the war (completed 1953). Just imagine the significance of a new synagogue in Manchester after what happened in Europe only 10 years previously. It must have encapsulated a sense of hope, rebirth and optimism. And now it is to be demolished. I’ve been aware of it for many years and have photographed it quite a few times. It has an austere elegance that’s far superior to the architecture the planners want to replace it with. They say a new place of worship will be provided – along the lines of Cross St Chapel – but a new facility can never replace the history and aura of the original. The building is certainly run down and in need of renovation, and so it should be renovated. And in passing, the developers have chosen the name “St Michael’s” as he is the patron saint of police officers, whose former building they are going to demolish. But co-incidentally St Michael is also protector of the Jewish religion.

ManPoliceStnSouthmill-F710

4) Bootle Street police station façade will be destroyed.
The police station was built in the 1930s and served the city through the war years and the decades that followed. It was in use for around seventy years. By the end of the period it had become unsuitable for a modern police force. It’s said it was like working on the set of Life on Mars. The police have moved out, but that should not be the end of the story for this building. I wouldn’t advocate keeping the brick built part, but the white stone eastern façade is a striking piece of architecture: stolid, traditional, neo-classical and not fashionable with today’s planners and architects. One of the superb aspects of the façade is how it fits in with the streetscape. Looking along Southmill Street, the Victorian brick-built façades alternate with the white stone facade, followed by 19th century façades leading to Albert Square. The interplay of styles, colours and materials is an essential aspect of the area. All that will all be lost if the planners get their wish and the façade is wrecked. And there’s another aspect to keep in mind. Now that the police have gone, the façade functions as a monument to their work over the decades. In this sense the façade functions as a memorial, and memorials should be kept. Some people criticise ‘façadism’ but there are many successful examples of it in Manchester.

5) Development is inappropriate in a ‘quiet zone’.
Cities don’t have to have to be ‘developed to death’. Cities should have light and shade. They should have busy parts, quiet parts and this is a quiet area. Bounded by two community assets: the synagogue and the pub. They are close to a historic concert hall façade – the Free Trade Hall – a superb piece of ‘façadism’, and the site of a memorable event in history – the Peterloo Massacre. It is already designated as a conservation area. The construction of a brash, destructive, materialistic commercial development like this is completely out of character with the area. The Friends Meeting House dates from the early 19th century and is a place of quiet contemplation. The new development with its towering blocks, bars and restaurants will just a few feet across the street from the rear of the Quakers meeting house.

6) Towers too high, too close to the town hall
One of the most damaging aspects of the plan is the imposition of two massive towers. They stand too close to the town hall. From the town hall balcony they will screen a significant part of the view to the south west. Viewed from the south west they will obscure the town hall clock tower. They will diminish and encroach upon the character and atmosphere of the mid-Victorian square. It would appear that the developers have had to resort to oversized towers in order to fully realise the commercial potential of this rather limited site. I’m a fan of tall buildings but not in a location like this. Make Architects already have a controversial development in their portfolio. 5 Broadgate in London was nominated for the Carbuncle Cup. An article on BDOnline states: “Make’s building arrogantly ignores the existing urban context.” The same looks to be true of this proposal. The black shiny exterior gives them a high-tech quality, reminiscent of a science fiction film and totally out of character in the Victorian setting.

7) It adds nothing new to Manchester
The development just adds more bars, offices and apartments to the city. There is no new cultural offering, no new significant piece of architecture, no new community benefit. It offers more of what Manchester already has an abundance of. Just one block away, the Great Northern and Bar 38 have provided the same type of amenities since 2000. Spinningfields offers something very similar just across Deansgate.

Bar 38 20 July 2000 Bar 38 and the Great Northern Piazza 20 July 2000 about 200 yards from the proposed development.

If the plan is approved, it will send out a negative message, further eroding the already tarnished reputation of Manchester City Council as regards planning decisions. The popular voice will be very harsh on St Michael’s: ‘They knocked down three buildings to make way for that? How could they do that? What on earth is wrong with them?’

If the development were located on a different site, further out of the city centre, and without the need for demolition of heritage buildings, I would have no particular objection to it.

But in this location, the development is inappropriate and harmful. I believe most local citizens will agree with me and for this reason, planning permission must be refused.

PLEASE NOTE: Since I wrote this article in 2016, a revised proposal has been produced. Read my initial reaction to it here.

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Why Manchester’s Smith’s Arms pub should be saved

ArtSmithsArms-G831
 
There are few things more important in our lives than buildings. New buildings, old buildings, they make our world, they are a reflection of us as human beings. We live in them, work in them, shop in them and do practically everything else in them.

We travel the world to see them. We look at them in awe, pay a fortune to view them stay in them. Often we hate them and complain about them. Personally, I love to draw them (see image above).

The buildings people most appreciate are old buildings and not just the big, famous ones.

So why are we knocking so many of them down? In summer 2016 several significant, arguably iconic Manchester buildings are to be destroyed.

The Smith's Arms pub, Ancoats August 2016

The Smith’s Arms pub, Ancoats August 2016


 
One of the most significant among them is a former pub, The Smiths Arms in Ancoats. It’s over 200 years old and predates many of the industrial buildings Ancoats is famous for. It was in use through the 19th and 20th centuries, surviving many upheavals, including the industrial revolution, war and industrial decline.

Like many buildings in Ancoats, it’s been out of use but has great potential for reuse. All around are stunning examples of how old buildings can be given a new lease of life, most notably Halle St Peters, which stands next to it.

Restored Halle St Peters  Ancoats

Restored Halle St Peters Ancoats


 
Although run down due to neglect, the Smith’s Arms could still easily be restored.

So why has Manchester City Council decided it must be demolished?

For this article I am not interested in the design of the new development, its background, or the fact that it’s a consortium of Manchester City Council and a company based in Abu Dhabi, where I worked for four years.

I am only interested in the building with its façade reminiscent of an age so different to our own. I can hear the hammers of the construction workers who put it up in the late 18th century, the proud owner welcoming customers, the echoes of the people who went in there down years.

The Smith's Arms pub, Ancoats Manchester. Ornamental detail.

The Smiths Arms pub, Ancoats Manchester. Ornamental detail.


 
I can see the changing scene around it, in time lapse, at first open spaces and then a growing number of factories and commercial buildings, then dwellings and places of worship.

You can learn so much by focusing the bricks, the ornamentation, the typeface of “Smith’s Arms” lettering above the main door.

And there is an additional aspect. The Smiths is the name of one of Manchester’s most famous bands, although to my knowledge they didn’t have any connection with the pub.

The drummer of the Smiths, Mike Joyce, took part in protests to save the pub.

Now let’s move from the past into the future and let’s assume that good sense will prevail and the building is saved.

Scaffolding goes up, the builders get to work and when the covers come down there is a pristine building, unique, fashionable, a place to go and visit, hang out, contributing to the community spirit of the area. Inside much of it is new but there are some original features. It’s surrounded by a variety of other complimentary, a stimulating mix of old and new, quirky and imaginative. The new owners have made a connection with the name and there is a theme of ‘The Smiths’ inside, with photographs and memorabilia. It has become a magnet for fans of the Smiths.

Now let’s explore the alternative scenario. Manchester City Council gets its way and building is destroyed.

What’s there? Nothing. No bricks that have survived two centuries, no quirky designed lettering. It’s gone. It doesn’t exist. It never existed, or so it seems. And in its place?
Concrete, or maybe glass or maybe those awful terracotta tiles that can be seen on numerous other buildings nearby.

The Smith’s Arms and all its history, all the memories it contains, the associations it conjures up, has been destroyed to make way for an apartment building that may not last more than a few decades.

One less reason to visit Ancoats and Manchester.

The Smith's Arms pub, Ancoats 8 August 2016

The Smith’s Arms pub, Ancoats 8 August 2016


 
That’s the reason why we must preserve old buildings, not just the big, Grade 1 listed buildings but also the smaller less noticeable ones, like the Smith’s Arms. Because they are rich in memories and associations, because they have a power to fascinate, and that’s what most people like, both residents and visitors. Because they look good and add interest and quirkiness to the street scene.

Because they are better than anything that present day architecture can build.

And so to answer my question above, why did Manchester City Council decide it had to be demolished? I believe that the people taking the decisions don’t fully appreciate old buildings. They move within the corridors of city-based power, less visible and accountable than at the national level. The council is constantly short of money and is always looking for any means to increase its income. A crumbling old pub is just a minor barrier to be removed, and the people campaigning for it to be saved are standing in the way of progress, causing the inconvenience and expense.

The Smith's Arms frontage and lettering

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If the Smith’s Arms is destroyed, Manchester City Council will in my opinion have committed yet another act of civic vandalism against the city it is supposed to be caring for. People will complain about it in strong words. They will become further alienated from local democracy and how we rebuild and renew our cities.The damage will be irreversible and yet another piece of the mosaic of Manchester will have been ripped out.

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