Sheldon - St Thomas More
I had been planning to visit St Thomas More's Catholic church in Sheldon for some time since seeing an image of it in a book on Birmingham Archdiocese parishes. It is the sort of building that people have been quite disparaging about in the last few decades, exhibiting that bold sense of optimism in new forms and materials that was prevalent in the 1960s, infused with the spirit and successes of Coventry and Liverpool. I could see this was an unusually bold modernist church, but was even more tempted to discover more about what appeared to be walls of abstract stained glass, in itself an unusually large scheme at a time when many other modern church buildings (presumably for budgetary reasons) were sadly left with colourless glazing.
The church is built entirely of concrete in a kind of semi-circular 'fan' layout and crowned by two fins forming a central fleche. It is the work of Richard Gilbert Scott (latest of that great dynasty of architects) and was opened in 1967.
The church is built entirely of concrete in a kind of semi-circular 'fan' layout and crowned by two fins forming a central fleche. It is the work of Richard Gilbert Scott (latest of that great dynasty of architects) and was opened in 1967.
I found the interior
quite stunning, covered by a sweeping layered roof and enclosed by walls of
coloured glass in almost every direction, with rich blues and oranges casting strips of coloured light onto the floor. The glazing is the work of John Chrestien and is almost entirely abstract. It appears that much of this may have originally been executed in glass applique (with the pieces resin-bonded to a backing plate) as one or two sections retain this format but look rather sorry for themselves. Thus I can only assume that much more of the glass originally followed this configuration and has more recently been reworked in the more traditional method, with a leaded matrix that will stand the test of time far better.
The plainest section of the interior is ironically the central focus, with the sanctuary directly beneath the fleche (and top lit by it) marked by a plain wall in shades of blue bearing a Crucifix. On either side of tthis are sequences of staggered colimns opening into the two sude chapels, above which are clerestories filled with an odd sequence of symbolic applique windows with coloured glass granules (some coming apart), some suggesting symbolic images with birds and all-seeing eyes. The two separate chapels beyond contain further abstract glazing, the larger Lady Chapel with an especially bold composition in blue and white, whilst the much smaller baptismal chapel that corresponds to it has a stylised composition depicting a fish and plant forms. The plain cylindrical font stands here.
quite stunning, covered by a sweeping layered roof and enclosed by walls of
coloured glass in almost every direction, with rich blues and oranges casting strips of coloured light onto the floor. The glazing is the work of John Chrestien and is almost entirely abstract. It appears that much of this may have originally been executed in glass applique (with the pieces resin-bonded to a backing plate) as one or two sections retain this format but look rather sorry for themselves. Thus I can only assume that much more of the glass originally followed this configuration and has more recently been reworked in the more traditional method, with a leaded matrix that will stand the test of time far better.
The plainest section of the interior is ironically the central focus, with the sanctuary directly beneath the fleche (and top lit by it) marked by a plain wall in shades of blue bearing a Crucifix. On either side of tthis are sequences of staggered colimns opening into the two sude chapels, above which are clerestories filled with an odd sequence of symbolic applique windows with coloured glass granules (some coming apart), some suggesting symbolic images with birds and all-seeing eyes. The two separate chapels beyond contain further abstract glazing, the larger Lady Chapel with an especially bold composition in blue and white, whilst the much smaller baptismal chapel that corresponds to it has a stylised composition depicting a fish and plant forms. The plain cylindrical font stands here.
The architecture of the church is quite dynamic and lifts this building some way above most of it's contemporaries. What finishes the effect so beautifully for me is the full complement of stained glass that makes this striking interior all the more memorable. Whilst in itself the glass says relatively little, with it's designs being largely devoid of readable content, the effect these swathes of colour has on the building is remarkable, especially on a sunny day when whole areas of the floor and pews are bathed in coloured light.
It is a wonderfully successful synthesis of art and architecture, with the windows treated more for their overall contribution to the building rather than individual expressions competing for attention. If more churches of the 1960s had been appointed as well as this one the architecture of this time might be somewhat better regarded today.
It is a wonderfully successful synthesis of art and architecture, with the windows treated more for their overall contribution to the building rather than individual expressions competing for attention. If more churches of the 1960s had been appointed as well as this one the architecture of this time might be somewhat better regarded today.
St Thomas More's is a real modernist gem, little known despite being one of the most striking buildings of it's age in the Midands. I am not sure what normal opening arrangements are as I found the main doors locked tight but salvation was offered by a side door further away from the main street which yielded. I thoroughly recommend this church to anyone with an interest in the modern movement and the impact of post-Vatican II church design.
Aidan McRae Thomson 2013
Aidan McRae Thomson 2013