The Church of St Mary and St Joseph is a 20th-century Roman Catholic parish church in Tower Hamlets, London, England.
| St Mary and St Joseph | |
|---|---|
| Church of St Mary and St Joseph | |
 Church of St Mary and St Joseph | |
  St Mary and St Joseph Location of church within Tower Hamlets, London | |
| 51°30′43.3″N 0°1′14.26″W / 51.512028°N 0.0206278°W | |
| Location | Tower Hamlets, London |
| Country | United Kingdom |
| Denomination | Roman Catholic |
| Website | parish |
| History | |
| Status | Active |
| Consecrated | October 1960 |
| Architecture | |
| Functional status | Parish church |
| Heritage designation | Grade II |
| Designated | 5 March 1998[1] |
| Architect(s) | Adrian Gilbert Scott |
| Style | Art Deco / Jazz modern Byzantine Revival |
| Completed | July 1954 |
| Administration | |
| Province | Westminster |
| Archdiocese | Westminster |
| Clergy | |
| Archbishop | Vincent Nichols |
| Priest(s) | Fr Andrew Bowden |
History
editThe modern church was built in 1951-1954, as part of the Festival of Britain's Lansbury Estate Live Architecture Exhibition, and was consecrated by Cardinal Godfrey in October 1960.[2] It replaced an earlier church of the 1850s by William Wardell that was destroyed in the Second World War.[3][4]
Architecture
editThe building is listed Grade II.[5] Its architect was Adrian Gilbert Scott, who specialised in ecclesiastical buildings.
On a Greek Cross plan, it is built of steel girders and brick, with a reinforced concrete spire.[6] On the outside, the plan becomes a series of rectangular blocks.[7]
It is notable for its elongated and tapered round parabolic arches (described as 'camel vaulted' at the time of its listing).[1] Its mixed or transitional style combines Art Deco or Jazz Modern with elements suggesting Hispanic Moorish, ancient Persian or Egyptian.[8] Gavin Stamp's descriptive phrase 'Jazz Modern Byzantine' was used in the church's listing.[9]
The design has similarities to work by Giles Gilbert Scott[2] and to Adrian Gilbert Scott's own earlier St. James Anglican Church (Vancouver), and its parabolic arches informed his later work on St Leonard's Church, St Leonards-on-Sea.[10]
The interior contains stone reliefs of the Stations of the Cross by Peter Watts. The stained glass is by William Wilson of Edinburgh.[11]
External links
edit- Official website
- 'Poplar – St Mary and St Joseph, Upper North Street, London E14' in Taking Stock: Catholic Churches of England & Wales
- 'William Wilson: Print | Paint | Glass: 8 October - 13 November 2022', Royal Scottish Academy
- 'Church of the Month', Londonosaurus
- Oliver Wainwright, 'Architects hark back to Festival of Britain with "vertical carnival"', The Guardian
References
edit- ^ a b "Church of St Mary and St Joseph: A Grade II Listed Building in Mile End, London". British Listed Buildings. Retrieved 5 February 2023.
- ^ a b "The Lansbury Estate: Gazetteer of permanent developments, Survey of London: Volumes 43 and 44, Poplar, Blackwall and Isle of Dogs. Originally published by London County Council, London, 1994". Retrieved 6 February 2023.
- ^ "About the Parish". Roman Catholic Parish of Poplar. Retrieved 6 February 2023.
- ^ de Jong, Ursula (26 April 2021). "William Wardell's Ladye Chapel, St Patrick's Cathedral, Melbourne, Victoria". Australian Catholic Liturgical Art: A Work of the National Liturgical Architecture and Art Council. Retrieved 6 February 2023.
- ^ "C20 Churches: St Mary and St Joseph". Twentieth Century Society. Retrieved 6 February 2023.
- ^ Harwood, Elain. "The Use of Reinforced Concrete in Early 20th Century Churches". buildingconservation.com. Retrieved 6 February 2023.
In the immediate post-war period, reinforced concrete was the natural material to use due to its cheapness and availability. Bricks and steel remained in short supply even after the end of building restrictions in November 1954, allowing church building to resume. It is possible to pick out only the most striking examples here. Sir Giles and Adrian Gilbert Scott turned to the parabolic arch as a basis of construction, Sir Giles initially with his rejected designs for the rebuilding of Coventry Cathedral in 1944, and Adrian at St Leonard's, St Leonard's on Sea, Hastings, of 1953-61 and at SS Mary and Joseph, Lansbury. The latter, was part of the Festival of Britain's 'Live Architecture' show at Lansbury, belatedly built in 1951-4.
- ^ Walker, Paul D. (1985). "Developments in Catholic Churchbuilding in the British Isles, 1945-1980" (PDF) (PhD diss., University of Sheffield). Quoting Ian Nairn ( 'Lansbury Centrepiece', Architectural Review, October 1954, p.263-4). p. 340. Retrieved 6 February 2023.
"Pretentious and timid" and "aggressive and flaccid" was how Ian Nairn described it, with a grandiose conceit asserted from far and near. The coffin-shaped windows, and the Egyptian-arched main portal, served only to endorse Nairn's view of this massively centralised pile of brick as being a "free standing crushing bathos".
- ^ "The Lansbury Estate: Gazetteer of permanent developments, Survey of London: Volumes 43 and 44, Poplar, Blackwall and Isle of Dogs. Originally published by London County Council, London, 1994". Retrieved 6 February 2023.
The style is not easily defined, but is best described as 'Jazz-Modern Byzantine', although it also has a suggestion of Hispanic Moorish, while the tapered roundheaded arches have been described as 'Egyptian', as well as being likened to those found at Ctesiphan in Ancient Persia. The design is very much transitional. It is reminiscent of Clemens Holzmeister's Vienna Crematorium of 1922...)
- ^ Geoffrey Fisher, Gavin Stamp, et al., Catalogue of the Drawings Collection of the Royal Institute of British Architects: The Scott Family, ed. Joanna Heseltine, 1981, p.185
- ^ Harwood, Elain (2000). England: a Guide to Post-War Listed Buildings. London: Ellipsis London Ltd (under licence from English Heritage). pp. 7.16–7.17. ISBN 1-84166-037-X. Retrieved 6 February 2023.
- ^ Pevsner, Sir Nikolaus; Cherry, Bridget (2005). The Buildings of England: London, Volume 5. p. 643.
