Bury Street

 

Bury Street

Railway station. At one time that a rail station was proposed at Bury Street, between Lower Edmonton and Southbury but information on this is very scant.

Bury street

St.Michael Bassishaw. Funded by sale of the City church with that name.  1901 by W.D. Caroe. Made redundant in 1982 and converted into flats, sensitively: the chief external alteration is a tactful lowering of the aisle windows. A substantial building of red brick with tall sweeping roofs and details characteristic of Caroe's Gothic. Big nine-light window above porch and baptistery. Deeply inset doors, flanked by a playful turret. A larger tower has windows to light the shallow chancel. The wide nave had passage aisles and a roof of hammerbeam type. The bay remains undivided. Foundation stone by Eric Gill. Caroe's Rood of 1912 is now at St Alban, Ilford. Vicarage c19 style, 1901, also by Caroe. In other use.

The picture above left shows the level crossing at Bury Street before there was a road bridge. The crossing building managed to survive until the 1960s. The road bridge appears on the 1894 OS Map where it is clear that the embankment and bridge run to the north of the level crossing and the peculiar layout at the ends of Croyland Road and Chichester Road and the casually placed garages (now redeveloped on the Croyland Road side) suddenly make sense as highlighting the old line of Bury Street. There is no obvious trace of the level crossing in the modern photo of the area (right

 

Galliard Road

Primary School 1937. The expanding suburbs of between the wars demanded a stream of schools from the MCC. Quite Baroque, a formal composition of one-storey pavilions. Centre with hipped roof and cupola

Hertford Road

St.Alphege. Quiet pale.  1957-8 by Edward Maufe. Quiet, brick, a tall portal-framed centre with overhanging eaves and bell-turret with sculpture of St Alphege. E wall with crucifixion against a circular window; aisle windows with 30s- looking stepped heads. Traditional long nave originally made more interesting by a sunken choir area. Chapel with folding screen; hall enlarged from the original one in the aisle. Font with wavy line decoration. Pulpit neatly built out on the wall. Paintings: Crucifixion and two smaller paintings C. Pearson, given in the 1970s.

Vicarage Maufe, groups nicely with the church, with a pedimented gable

St.Edmund. RC 1903 founded by Redemtionist priests. Eclectic Gothic. 1905-7 by E. Doran Webb. Eclectic Gothic, coursed with low lean-to aisles and squat crossing tower. A dark clerestory-less interior. Altar by David Stokes, carved by Bernard Dotliff 1957. Worth a special visit for the two abstract stained glass windows of 1982 by Mark Angus: s transept, with a strong vertical red band and blue-green around the chancel s window, symbolizing water and baptism, is blue and green.

Presbytery former monastery gabled, with tall chimneys,

School 1912 in the same white stone as the church.

308a Forest Primary Care Centre.  One of the first of new type of primary care centre. Glass and steel building. Landscaped roof with natural lighting. Dransfield Owens de Silva 2006

Houndsfield Road

The Cock 1900 exuberant gross Jacobean

Houndsfield Road Centre. Library and school feeding centre 1937 by T.A. Wilkinson of the Borough Architect's Department, two storeys, plain but dignified, of dark brick with stone portal.

Railway Line

Bury Street Junction built by the Great Eastern Railway c.1890 for the loop to Southbury.

Tramway Avenue

Edmonton bus garage

Edmonton Empire designed by Cecil Masey and Theodore Komisarjevsi and completed in 1933. Its site was that the old Edmonton Empire Music Hall which had only been built as recently as 1908, a clear indication of the swift change in allegiance of the general public. Seating 2,500 people, the 'Empire' was remarkable for its 'fog-catching' ventilation system, reminding us that the Victorian 'pea-souper' lasted until after the Clean Air Act of 1956. Komisarjevsky's work on the ultra-modern interior had something in common with the contemporary Dutch de Stiji movement. The organ grills on either side of the proscenium were finished in aluminium. The disappearing organ was considered to be one of the most elaborate in the country when new.

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