Reasons for Designation
The Holy Family Church, Pontefract, is designated at Grade II for the following principal reasons:
* It was designed by the nationally significant architect, Derek Walker, who was Chief Architect and Planner for Milton Keynes from 1970 -74
* Its design anticipates the liturgical changes of the Second Vatican Council and was the first church in the diocese to conform to the new principles
* It survives virtually intact internally, with an integrated ensemble of original fixtures and fittings reflecting the strong design principles of its conception
* It incorporates a number of high quality works of art, including a stained glass window and Lady Chapel reredos, bronze sculptural insets, and two large ceramic sculptures.
Details
1282/0/10005 CHEQUERFIELD ROAD
27-AUG-08 Holy Family R.C Church
II
Roman Catholic church, 1964, by Derek Walker, in ivory coloured bricks with exposed concrete. There is no externally defined nave or chancel etc, and the central area is flanked by a lower section to the front and left side, and a taller block the right side to the rear with lower sections extending further out to the right. The taller block has a pent roof; the rest is flat roofed.
EXTERIOR: The south facing front has large double doors offest to the left, within the lower block. The doors and panels to either side are in stained orinoko wood and glass in a rectilinear pattern, with large rectangular handles in bronze containing a shattered cross image by Ray Arnatt. A continuous line of narrow windows over extends to the left around the side of the block, with a concrete lintel over. The main body of the church rises behind the entrance block and extends to the right, broken by a double pillar with a full height narrow window between, rising above the roof height of the rest. Beyond to the right is a low section, with a recessed area adjacent to the main building containing a ceramic sculpture of the Holy Family by Robert Brumby in the facing wall. Behind is the end of the taller block with a mono-pitch roof. The right side above the low block has 4 tall narrow windows divided by brick pillars and topped with concrete lintels. The low block has a door towards the left end and a window towards the right. The tall block is blank apart from a narrow window at the right hand end. On the left side the projecting entrance block continues, with a second entrance in similar style, and a continuation of the windows and concrete lintel. A brick wall extends out from the side around half way along, separating the rear section. Above are 6 windows separated by brick pillars in the same style as those on the right side, with a further window towards the rear matching that on the other side. A former lantern tower in the centre has been replaced by an elliptical rooflight in plastic.
INTERIOR: The main doors lead to a narthex with glazed double doors to the main body of the church. The nave is rectangular with pre-cast concrete floors and exposed brick walls painted white. The sanctuary occupies the rear part of the nave and is defined by low steps on all four sides. The rear wall contains a large ceramic sculpture of Christ in Majesty by Robert Brumby, made of over 3400 individually crafted mosaic pieces. At its feet is the tabernacle on a shelf. The altar is in Portland stone with a pierced terrazzo block containing a ceramic sculpture of the last supper. The altar is lit from above by the plastic dome and a suspended baldachino with original lights. Along the rear wall is a low wooden shelf, with an integral chair to the right of the altar. The altar rail is in afromosia wood, as are the original pews and other furniture. The nave is lit by clerestory windows to either side and original light fittings above. A decorative cast concrete frieze around the walls has been painted in pale pink. To the right of the entrance are two small recessed granite altars within the brick pillars, with a full height stained glass window between depicting the Creation, by Roy Lewis. The right hand wall of the nave contains two confessionals with doors matching the main entrance door, and two ground floor windows alongside. To the rear is a transept containing pews facing the sanctuary and a door, in the same style as others, leading to service rooms and stairs. Above is a stepped gallery fronted by a glass and wood screen and lit by clerestory windows to the front. Wooden, cross shaped pillars to either side of the sanctuary area contain concealed speakers. On the left side of the main hall is a shallow, single storey transept facing the gallery, with the remainder of the side wall divided by openings between the brick pillars. One of these leads to the Lady Chapel with a granite altar table backed by a glass mosaic reredos by Roy Lewis. The outer wall is floor to ceiling glass, and the space looks out onto a small enclosed garden area. Further openings towards the entrance of the main hall are into a meeting room, formerly a baptistery and repository. It contains an original light fitting from the baptistery. The font, to the right of the entrance, is a terrazzo block with a cross shaped recess containing a bronze by Ray Arnatt. The sacristies and vestry areas to the right have some original fitted cupboards.
HISTORY: the parish was created in 1957 and mass originally offered in a presbytery alongside the current church, to serve the new Chequerfield estate in Pontefract. The priest, Fr John Hudson, commissioned Derek Walker of Walker & Biggin in 1961, with the intent of producing a modern building reflecting the "functional Catholic architecture" that was emerging. The building cost £43,000 and the furnishings and works of art £400. Derek Walker designed several churchese in the 1960s before becoming the Chief Architect and Planner of Milton Keynes (1970-74). He was later the Head of Architecture at the Royal College of Art and designed the Royal Armouries at Leeds.
The earlier presbytery, originally linked to the church by the service areas, was demolished c.1993 because of subsidence problems. The former baptistery, originally with a sunken floor, and repository were subsequently altered to form a meeting room, and the font moved into the main hall. The central lantern tower was taken down some years later as a result of damage from vandals and problems with leakage, and the lower parts of the full height windows to the rear were also blocked to avoid damage. A fire during the course of the replacement of the heating system led to the walls of the hall being blackened: they have subsequently been painted.
SETTING: the church stands in its own grounds, set back from the road with a curved approach drive leading to parking spaces to the right. It is in the heart of the contemporary estate.
SOURCES:
D. Walker, Church of the Holy Family, 1964
E.H. Report on RC churches in Leeds diocese, 2008 (unpub)
REASONS FOR DESIGNATION DECISION
The Holy Family Church, Pontefract, is designated at Grade II for the following principal reasons:
* It was designed by the nationally significant architect, Derek Walker, who was Chief Architect and Planner for Milton Keynes from 1970 -74
* Its design anticipates the liturgical changes of the Second Vatican Council and was the first church in the diocese to conform to the new principles
* It survives virtually intact internally, with an integrated ensemble of original fixtures and fittings reflecting the strong design principles of its conception
* It incorporates a number of high quality works of art, including a stained glass window and Lady Chapel reredos, bronze sculptural insets, and two large ceramic sculptures.
