sign in sign up
<<
Home , Anfield, Bill Tidy, Cunard Building, Exchange Flags, Geoffrey Hughes (actor), Goodison Park

LAYERS OF Mapping a sense of place

Written by Laura Davis and Fiona Shaw

Edited by Inge Panneels and Jeffrey Sarmiento Layers of Liverpool: Mapping a sense of place Written by Laura Davis and Fiona Shaw Edited by Inge Panneels and Jeffrey Sarmiento Graphic design by Małgorzata A. Rudnik Copy editor: Caroline Russell Printed and bound by Lulu.com ISBN: 978-0-9566344-5-0

© Wordscapes 2013 Laura Davis and Fiona Shaw are hereby identified as the authors of this work in accordance with Section 77 of the Copyright, Design and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or other- wise, without prior written permission of the publisher. Whilst eve- ry effort has been made to verify the text and images, the author and publishers cannot accept liability for any omissions or errone- ous statements.

First published in April 2013 by Wordscapes Metal @ Edge Hill Station Tunnel Road, Liverpool L7 6ND www.wordscape.org.uk A note from the artists

The Liverpool Map is a technically ambitious sculpture that embraces 800 years of history that have shaped this city. Seventeen layers of fused glass encapsulate its heritage and identity into a snapshot of the city of Liv- erpool in 2008, its year as European of Culture.

The Liverpool Map project was a true team effort. It could not have taken shape without the the contributions of content and opinion of the people of Liverpool, the generous support and knowledge of the National Muse- ums Liverpool staff, Phil and Alexis Redmond, the unwavering guidance from Open Culture through this long project, the dedicated labour of a small army of staff and students at the National Glass at the University of Sunderland who made Liverpool Map a reality, and finally the commitment from publisher Wordscapes and de- signer Małgorzata Rudnik to bringing the Liverpool Map to a new audience in print.

Needless to say, our families have provided huge amounts of support and encouragement throughout the mak- ing of both the sculpture and the book. We couldn’t have done either without them...

Inge Panneels and Jeffrey Sarmiento Contents

PART ONE – BACKGROUND AND CONTEXT 6

An introduction, Professor Phil Redmond 8

Liverpool – a potted history 10 regeneration and the Capital of Culture bid 12

2007: 800 years 14

2008: Capital of Culture 18

Creating a Legacy for Liverpool 24

The Peoples’ Choice 26

The Work Begins 30 PART TWO – PART THREE – THE MAP’S LAYERS 32 Emotional boundaries 54 TECHNICAL ACHIEVEMENTS 76 People’s city 56

An introduction, Charlotte Corrie 34 New York of Europe 58 An Introduction, Barbara P. Beadman 78

History 36 Post-war Liverpool 60 The task ahead … 80

The lie of the land 38 City of learning 62 The evolving map 82

From seven streets 40 Community 64 The installation 92

Transport drives growth 42 Culture 66 Thanks … 94

Liverpool around the world 44 Lifeblood: sport 68 Photo Credits 96

Shifting boundaries 46 Lifeblood: music 70

Liverpool spreads out 48 Lifeblood: Liverpool people 72

Sights that say ‘Liverpool’ 50 Lifeblood: the arts 74 5 PART ONE -

6 BACKGROUND AND CONTEXT

The Liverpool Map didn’t just happen of its own accord; it is not a piece of art for art’s sake. Its creation marks a spe- cific time and place in Liverpool’s recent history. It is part of the legacy of 2007 – the city’s 800th birthday year – and of its triumphant reign as European Capital of Culture in 2008. But it also symbolises a renaissance – a city that has plumbed the depths since its 1930s heyday; bombed more heavily than any other English city outside during WWII; inner - city housing clearance; the mechanisation of its famous docks with containerisation in the 1970s; unem- ployment, civil unrest, footballing triumph and tragedy – all have shaped this unique west coast city in the post-war years,shifting communities, accents and allegiances. If Cap- ital of Culture year was a chance to invigorate the city physically, the Liverpool Map was a prime op- portunity to investigate past emotions and fu- ture aspirations.

7 Introduction to part one - Phil Redmond - (Capital of Culture and context) PHOTO: Phil with Liverpool Map; generic L’pool shot?

Remembering, through our shared in Liverpool, but how they in fact see culture. Remembering who and what the boundaries of their state. Of place we were as much as we are. Remem- and mind. bering what had helped shape us. Re- membering that we have some of the Not merely an accepted administra- best in the world. Remem- tive boundary drawn for bureaucratic bering that without our museums we neatness, but where are the real city cannot remember. Remembering that boundaries that encompass the ac- memories are made today and held in cent and state of mind that it is to be trust to help shape our future. a Scouser? The identity that defines the real people of Liverpool? You will have heard of Liverpool. That is what the Liverpool Map You will have heard of Scousers. You symbolises. An identity shaped by the winds and may have heard of Capital of Culture tides of fortune and adversity that 2008. The first two have been around Commissioned as part of the Open have ebbed and flowed, like the great for over 800 years and are likely nev- Culture: People’s Projects, the map river on which bank the city sits. er to be forgotten. 2008 may become along with the Liverpool Saga, the Song Since the granting of its Letters Pat- a distant memory and risks fading and the Capital of Culture Bench, ent in 1207 and the building of the from our collective consciousness. used the power of the media to har- world’s first wet dock in 1715, trade, But we must not let it. It was a time ness the thoughts ideas and sugges- wealth, fortune, infamy and fame of revival, renewal, regeneration and tions of the people of the city to not have flowed to and from the city as remembering. only try and define what it is to live it stood, once at the centre of Em- 8 Introduction to part one - Phil Redmond - (Capital of Culture and context) PHOTO: Phil with Liverpool Map; generic L’pool shot?

pire, but always on the edge of glob- er by the involvement of the Liverpool grand vision of Liverpool stood out, al change. Daily Post and BBC Radio , fusing as it does more than glass, en- to make sure this was truly a piece of twining old and new, past glories and 2008 then, seemed like a suitable op- public art. deep pain, our living and breathing portunity to stop, take stock and cultural icons, beloved buildings; lan- mark this moment in time. History The Liverpool Map is not just a multi guage, literature and landscape. To- cannot be captured, remembered or - layered collection of the city’s past. gether, through their research, and shape our shared culture without the Nor just the collected thoughts of its the contributions of Merseyside’s artefacts that act as our guides and citizens; it is also intriguing as a piece public, they painstakingly built up the interpretative tools. The Liverpool Map of art. Its technical achievements sur- multi - layered persona that defines is such an artefact. pass anything attempted in its field what it is to come not from the city, before, while its physical qualities are but the state of place and mind that It links our 800th Anniversary and distinctive, vibrant, and enchantingly Scousers call, home. Capital of Culture year; it links the attractive. new of Liverpool, its home, So read on, learn more, recall lost to its founding streets and traditional The commission brief included the memories, discover new things, but boundaries; and it links our collective need to create ‘a reminder in years above all, come and have a look for consciousness to established views of to come of how people in Merseyside yourselves. the city. Alexis and I pledged financial saw themselves, culturally, geograph-

support to allow Open Culture and ically and historically’. We saw a wide Professor Phil Redmond

National Museums Liverpool to com- variety of approaches and ideas, but Chair, National Museums Liverpool and

mission this project, brought togeth- Inge Panneels and Jeffrey Sarmiento’s originator of the Liverpool Map project 9 A potted history

Though ‘Liverpool’ brings echoes of The city we know was founded in trial Revolution saw ships import and a romantic, distant past, most of the 1207, when John – now King – signed export goods around the world from city you see now has appeared in lit- the town’s charter. But growth was Liverpool; the world’s first passenger tle over 100 years; the Liver Buildings, slow, and it wasn’t until 1880 that train line ran between Liverpool and of Liverpool and Cunard build- made Liverpool a city. and the city thrived in the ings, two cathedrals and Albert Dock 18th and 19th centuries, becoming the are all relatively recent additions. Liverpool’s estuary drove its growth: second city of the British Empire. Elizabeth I granted letters of marque The neolithic Calder Stones – in the to sailors, giving them privateer sta- Liverpool’s pre-eminent position as a park of the same name – are older tus – sanctioned piracy – which gen- port also made it a hub for passen- than Stonehenge. And while Bronze erated great wealth. Trade with the gers. Millions of travellers converged and Iron Age remains suggest long US grew, driving the city’s role in the on Liverpool on their way to new lives habitation, Liverpool remained a tiny slave trade. The first ship to sail was in America, Canada, Australia and village before the area’s dominant the Liverpool Merchant in 1699; the New Zealand. Some stayed by choice; Roman port, Chester, fell into de- Kitty Amelia, the last slaver to leave some, on reaching Liverpool, were in- cline. And while Smithdown, Liverpool, set sail in 1807. famously told that they were in New and West Derby get a mention in the York. Thousands of immigrants came Domesday Book, it’s not until 1190 The world’s first commercial wet dock in the opposite direction – notably the that Liverpool is first mentioned by in 1715 provided a harbour for sail- Irish in the 1830s and 1840s – but the name, in a deed by Prince John. ing vessels, and the boom of Indus- city is also home to the oldest Black 10 African community in the UK and the ported thousands oldest Chinese community in Europe. of families, but was largely wiped out by Post-war, Liverpool’s exports were containerisation; un- more cultural than commercial; Mer- employment soared, seybeat – and – Dixie , and thousands left , and Ian the city in search of Rush. But although the city remained jobs and opportuni- one of the world’s most famous cul- ties, while those who tural brands – Ginsberg’s ‘centre of the stayed fought for human consciousness’ – opportunities every opening. for people who lived here were fading. But Liverpool is nothing if not a city nomic growth, while by the new mil- A major west coast port, Liverpool was with spirit. A combination of dedi- lennium Liverpool was again a city on bombed heavily in WWII; bomb dam- cated local leaders, passionate com- the up, with cranes on the horizon, age, planning law and housing renew- munity groups and – depending on international cultural events, and a al ideals conspired to break up some your view – direct government inter- renewed sense of pride. of the most close-knit communities, vention, slowly began to turn things shipping them to new estates and out- around. The 1990s saw a gradual im- lying suburbs. Dock labour had sup- provement in job prospects and eco- 11 BACKGROUND & CONTEXT - Recent regeneration & Capital - of Culture bid/ award - PHOTO: my Liverpool BACKGROUND & CONTEXT - Recent regeneration & Capital - of Culture bid/ award - PHOTO: my Liverpool waterfront; generic modern images TBC waterfront; generic modern images TBC

21st century Liverpool

Its year as European Capital of Cul- Objective One allocated £700m to Early regeneration projects focused ture, in 2008, was the culmination of Merseyside in 1994, and European on the Albert Dock and Internation- nearly 15 years’ regeneration in the funding has played a part in nearly al Garden Festival at Otterspool, in city. From its precarious position in every major development in the city the wake of the 1981 riots in Liver- the late 1980s, European Objective since. pool 8, and were designed to revi- One money – which confirmed Liver- talise the city as a tourist destina- pool as one of the poorest regions in From the Airport to the Arena, Eu- tion. Nearly three and a half million Europe – saw £3 billion ploughed into ropean cash contributed to more people visited the Garden Festival, the local economy in a bid to create than 1,802 projects in the city be- while the Albert Dock’s first phase jobs, learning, new housing, business- tween 2000 and 2008. It was quite a of regeneration opened in the same es and opportunities. turnaround. year, and remains a key landmark

12 BACKGROUND & CONTEXT - Recent regeneration & Capital - of Culture bid/ award - PHOTO: my Liverpool BACKGROUND & CONTEXT - Recent regeneration & Capital - of Culture bid/ award - PHOTO: my Liverpool waterfront; generic modern images TBC waterfront; generic modern images TBC

and contributor to the city’s econo- it onto a shortlist of six cities from Year of Performance, 2007 as a herit- my to this day. the original 12 contenders, and on 4 age year (marked by the city’s 800th June 2003, it was announced that the birthday); 2009 was to be the Year of opened at the Dock in city of Liverpool had beaten Newcas- the Environment, and 2010 Year of 1988, while a second round of regen- tle - Gateshead, Bristol, , Health and Wellbeing. eration focused on the areas like the Cardiff and Oxford to the crown of Ropewalks, as a string of private in- European Capital of Culture 2008. The year after Liverpool was award- vestors took the initiative in bringing ed Capital of Culture status, proper- city centre living back to Liverpool, The years building up to culture year ty developer Grosvenor started work and transforming its former ware- saw a significant shift in momentum, on the Paradise Project, a £920 million houses and factories, decades after with an ambitious programme of pub- remodelling of the city centre area the last round of city centre dwellers lic realm works – largely defined by the between Paradise Street, Church/ had been moved out. local population as roadworks – or ‘the Lord Street and the waterfront, which big dig’, as the council would have it. involved the most significant changes By the turn of the millennium, and to the city centre since its post - war with the duo of David Henshaw (the Preparations for Capital of Culture in- reconstruction. Renamed ‘Liverpool council’s chief exec) and Mike Storey cluding themed years for each of the One’ the shopping and leisure centre (council leader) in charge at the Town preceding years, including 2003 as opened in May 2008. In little over five Hall, the city decided to bid for Capi- Year of Learning, 2004 as the Year of years, the face of the city centre had tal of Culture status in 2000. It made Faith, 2005 as Year of the Sea, 2006 as changed completely. 13 BACKGROUND & CONTEXT - 2007: and charter - etc. - PHOTO: Liverpool castle; King John and BACKGROUND & CONTEXT - 2007: King John and charter - etc. - PHOTO: Liverpool castle; charter image King John and charter image

Beginnings

King John granted Liverpool’s charter in 1207, beginning the transformation that would see a once - small village on the murky grow into one of the greatest of the British Empire, and trading hub of the Indus- trial North.

‘Liuerpul’ – as appears on the charter – was made up of just seven streets at the time (see page 40); Dale Street, Castle Street, Chapel Street, Moor Street (now Tithebarn), Bancke Street (now Water Street), Peppard Street (Old Hall Street) and Juggler Street (High Street). King John saw Liver- pool as an ideal base for his ships to invade and – he built a castle at the end of what we now call Castle Street, although there were 14 BACKGROUND & CONTEXT - 2007: King John and charter - etc. - PHOTO: Liverpool castle; King John and BACKGROUND & CONTEXT - 2007: King John and charter - etc. - PHOTO: Liverpool castle; charter image King John and charter image

only between 100 and 200 residents of load cargo, and trade from the West Wealth from the slave trade, along- the village at the time. Indies, Ireland and Europe fuelled side financial and insurance exper- Liverpool’s expansion. The city was tise, saw Liverpool become the second It remained a small fishing village un- booming; the old ‘Pool of Liverpool’ – city of the British Empire. Prosper- til the building of a harbour in 1635 which is pretty much under the Liv- ity oozed through its architecture: created a safe area for ships to un- erpool One complex these days – had from St George’s Hall and the Cunard load. In the early 1700s the village fi- long been surpassed by Jesse Hart- Building; Albert Dock, Central Library nally began to grow into a town, with ley’s tidal dock system; by the early and the to the Ly- a population of about 7,000 peo- 19th century, 40 % of the world’s trade ceum, Athenaeum, and merchants’ ple, and buildings like the Bluecoat passed through the town’s docks. houses that ring the Victorian parks. Chambers popped up. Liverpool’s later seafaring histo- It has more than 2,500 listed build- The 1660s onwards saw a expansion ry has been well documented as it – ings, with a variety and flamboyance of trade with America, but it wasn’t along with Bristol – made up one of of architectural styles that led English until the 18th century that the town the three shameful points of the Slav- Heritage to call it ‘’s finest really started to grow; the construc- ery Triangle, transporting British - Victorian city’. Liverpool’s ‘Maritime tion of the world’s first dock system made goods to Africa, in exchange for Mercantile City’ – which stretches in 1715 allowed ships safe haven from slaves who then crossed the Atlantic from the waterfront to William Brown the strong tides of the Mersey, for con- to be sold in the cotton plantations of Street – was also awarded UNESCO struction, repair and to load and un- America’s south. World Heritage Site status in 2004. 15 BACKGROUND & CONTEXT - 2007: events; warm - up - for ‘08 etc. - PHOTO: Chinese New Year - image (FS); - TBC

Liverpool’s 800th birthday in 2007 took the shape of a Year of Heritage, and al- lowed the city the opportunity to start building up a programme of events to celebrate its rich cultural traditions.

The city’s 800th birthday – which marked the signing of its charter – on the 28 August 2007, was domi- nated by a procession celebrating 800 years of local history, alongside a civic service. But the entire year was punctuated by events drawing attention to Liverpool’s long histo- ry of achievement and innovation. A church service at the city’s parish church, St Nicholas, was attended by a civic delegation, with representa- tives from Liverpool’s twin cities, in- cluding Dublin, Cologne and Shang- 16 BACKGROUND & CONTEXT - 2007: events; warm - up - for ‘08 etc. - PHOTO: Chinese New Year - image (FS); - TBC

800 years

hai, before a spectacular fireworks Liverpool’s 800th birthday coincided by local poets Dave Ward and Sylvia display over the city’s Mersey drew with the 200th anniversary of the ab- Hikins. McGough said at the time of the birthday celebrations to an end. olition of slavery, in 1807, to which its his opening lines: ‘There were no pro- fortunes had been irretrievably tied. cessors in those days, no electric- The service was followed by a histor- Recognition was another key theme ity – it would have been a quill pen ical pageant and procession – involv- of the year, with National Museums or something started the whole thing ing more than 1500 people represent- Liverpool opening its £10m Interna- and then 800 years later people work- ing achievements in public health, tional Slavery Museum at the Albert ing on a computer so it’s that mo- medicine and transport through to Dock on August 23rd. ment of time and all that length of the invention of Meccano and the rise time.’ You can see more of the verse of Beatlemania, and echoing the 700th Public contributions came in the on page 65. anniversary celebrations in 1907. form of the Liverpool Saga, an 800-line poem written by local people, which The 3,000 lines submitted for the The mood was one of celebration, was also used in the community sec- Saga covered subjects like the riv- but also recognition: 74,000 pupils in tion of the Liverpool Map (see page er, factories, sport, families, disasters Liverpool’s primary and secondary 64). Roger McGough wrote the open- and music across 800 years of Liv- schools received a commemorative ing and finishing two lines, before erpool history. The sheer depth and 2007 coin, while 145 schools held par- the remaining 792 lines were craft- breadth of entries gives you some ties of their own, celebrating the city’s ed from over 3,000 lines sent in by lo- idea just how much content there history, birthday and achievements. cal people, and whittled into shaped was to fit into theLiverpool Map. 17 BACKGROUND & CONTEXT - 2008: Capital of Culture - year: events & celebrations - PHOTO: Opening ceremony (FS) - or cathedral; spider image; - Walker Art Gallery (Rhian)

18 BACKGROUND & CONTEXT - 2008: Capital of Culture - year: events & celebrations - PHOTO: Opening ceremony (FS) - or cathedral; spider image; - Walker Art Gallery (Rhian)

European Capital of Culture

Capital of Culture focused the eyes cially commissioned 2008 events run ists into the city centre – and beyond. – and ears – of the world on Liver- by the city’s Culture Company. pool. It was a year - long celebration of It was unquestionably a catalyst for everything good about the city, with Events took place across the city; physical regeneration, and brought a string of events, from Ringo Starr the art world descended on Ben John- people back to the city who had not drumming on the roof of St George’s son’s Liverpool Panorama (which is also visited for years – and plenty who had Hall for the opening ceremony , Liver- on display in the Museum of Liver- never been before either … The city pool the Musical, La Machine’s spider, pool), Manet, Monet, Tissot and Hop- centre not only looked different, but to Go (see pic) and per at the Walker Art Gallery’s Art in felt different too. While you can read Paul McCartney’s Sound gig at . the Age of Steam, and Gustav Klimt at all about the economic effects of the Tate Liverpool; Power Plant in Calde- year on the next page, the mood at Research on the year’s impact shows rstones Park and The Emperor and the the time was –perhaps tinged with a that two thirds of the city’s residents Tiger in Newsham took people out of little relief – but celebratory and fear- attended at least one Capital of Cul- the city centre for performances in somely proud. Liverpool had remem- ture event, as established festivals the parks. It was a year of both small bered – after years of fearing and like the Biennial and Mathew Street and spectacular; unique one-offs and hearing the worst, and being the ex- Festival were woven in with one-offs large-scale crowd-pleasers. The Spider ample to avoid – what it was great at. like Tate Liverpool’s Klimt exhibition and the It was, in the words of Professor Phil – the first retrospective of the Austri- as captured the public imagination, Redmond, a time of ‘revival, renewal, an artist in this country – and spe- bringing droves of residents and tour- regeneration and remembering.’ 19 Changing times

Liverpool underwent massive physi- erpool One, the resurgence of the Al- Liverpool and John Moores University cal regeneration on a wave of invest- bert Dock and the new arena at Kings report, it brought an income of £130 ment and optimism that culminated Dock; progress continued in the after- million in to the city over six years, in the award of European Capital of math of 2008, with Lime Street station the highest of any European Capital Culture. The city centre has changed again revealing its original facade, the of Culture to date. dramatically in just ten years, with development of Central Village, fur- its physical centre shifting towards ther growth of and, of Capital of Culture events account- the river with the development of Liv- course, the opening of the new Mu- ed for 35 % of all visits to the city, and seum of Liverpool at of the 2.6 million European and glob- the . al visitors in 2008, 97 % of them were first timers, propelling Liverpool to the But it wasn’t just sixth most-visited city in the UK. the skyline that saw something of a Dr Beatriz Garcia, director of the re- transformation. The search programme, Impacts 08, said: year had a huge im- ‘We found that general opinion of pact both national- Liverpool was informed by very dat- ly and internation- ed images of the city, which ranged ally. According to a from positive but fixed associations joint University of with the Beatles in the 1960s to more 20 negative views of social deprivation special place in the world, but af- One of the cornerstones of the Liver- in the 1980s.’ ter its nomination in 2003, national pool bid – legacy – remained some- and local media coverage more than thing the council was keen to ce- Nearly 10 million visitors to the city doubled, and started to focus on the ment in the years after 2008. The and the wider region – an increase of city’s cultural assets, rather than the award in 2003 begun the first of a se- 34 % – spent over £750 million dur- traditional emphasis on negative so- ries of themed years, designed to run ing their visits to Liverpool, help- cial issues. The study found that me- up and finally succeed Capital of Cul- ing support 15,000 jobs. And, despite dia representation became less polar- ture. 2003 became the city’s Year of widespread scepticism that the pos- ised, with a wealth of stories about Learning, 2004 the Year of Faith, 2005 itive effects of the Capital of Culture the city’s cultural offer and econom- the Year of the Sea, and 2006 the Year award wouldn’t be felt outside the ic change: in 2007 - 2008, positive sto- of Performance. The city celebrated its city centre, a five-year research pro- ries about Liverpool in the national 800th birthday – the anniversary of ject into the impact of Capital of Cul- press grew by 71 %. King John signing its charter – in 2007, ture found that 85 % of Liverpool res- before the year of Culture in 2008 it- idents agreed that it was a better And the recognition followed; Liver- self. In the aftermath, 2009 became place to live than before. pool was named the country’s friend- the Year of the Environment, and 2010 liest city, best city for nightlife, fast- - 2020 the year, and then decade, of It was not just locally that opinions of est growing economy outside London health and wellbeing. Only time will Liverpool changed, as Liverpool was and the second safest city to live in tell how lasting the impact will be already pretty confident of its own the UK. when the themed years finish in 2020. 21 BACKGROUND & CONTEXT - 2008 legacy: Open Culture; - genesis of the project; the - proposal - PHOTO: SLBs image; map from above - (5 panels) in studio; Jeff, Inge & Phil; - block image from design concept

What next?

One of the major concerns of 2008 ture. Not just creating it for them to was its ‘legacy’; this was not to be a attend, and then leave, but encourag- year of money being pumped into the ing them to set up their own projects, city and just to shows and events, businesess – and let the visitors helping them communicate about and their mon- what was going on in general. ey leave on the 31st of Decem- Handily, Professor Phil Redmond – ber 2008 and culture supremo of Capital of Culture let the city slip year, and creator of Open Culture, back to darker was also the chair of National Muse- times. So Capital ums Liverpool. Open Culture became of Culture had the facilitators of the Liverpool Map, to create some- ensuring Merseyside’s general public thing sustainable – past and present – had their chance in the city. Open to say their piece on the city’s icons, Culture, which geography and culture. was part of the ’08 team, was creat- ed with the specific remit of involv- On 30 April 2008 the commission was ing people across Merseyside in cul- announced, and Belgian artist Inge 22 BACKGROUND & CONTEXT - 2008 legacy: Open Culture; - genesis of the project; the - proposal - PHOTO: SLBs image; map from above - (5 panels) in studio; Jeff, Inge & Phil; - block image from design concept

Panneels and American sculptor Jef- making process. ‘Although the project frey Sarmiento put forward the idea had always been called the Liverpool from the blog of a very large glass map, to stand two Map, we didn’t specify that the artists This story starts in June 2008 with a small advert in the artist magazine A - N. The advert sound- metres high. It would be made up of used an actual map in the final piece, ed intriguing; artists were sought to submit an outline proposal for a cultural map of Liverpool sheet glass, fused together during fir- so it was interesting that Jeff and Inge to celebrate its City of Culture 2008 with a per- manent piece of sculpture that was to be sited in ing. The layering of colour and printed proposed to use the properties of dif- the new . glass would build a distinctive, three ferent types of glass to incorporate 31 July 2008 - dimensional piece of art – you can physical maps,’ she says. ‘Glass as Jeff and I are both sent a letter to tell us our pro- posal has made a shortlist of two from a nation- read more about their proposal in the a medium was perfect to translate wide call for submissions and invite us for in- terview. We are very excited; Jeff in particular. technical section, on page 82. the many layers of the project – geo- We both work with glass but work in very dif- ferent ways. I predominantly work to commis- graphically, historically and cultural- sion, which involves submitting applications, do- Charlotte Corrie, a director at Open ly – and there was obviously the at- ing speculative proposals, going for interviews, meeting client groups, discussions with archi- Culture, who was on the judging pan- traction because they’d never made a tects, working with contractors … Jeff works very differently as a gallery artist. He works mostly by el, says that the artists stood out im- piece so big, so it was the chance to himself in the studio producing world - class glass sculptures and he’s a technical maverick. As such mediately as two very obviously inter- create a real first. It also offered an we combined our experiences in the proposal. national, talented and hardworking opportunity to incorporate the com- artists, and the opportunity to work munity and the Liverpool Saga into the closely with a unique partner like the piece, which fitted in with the Open National Glass Centre in Sunderland Culture and National Museums Liver- was also a factor in their decision- pool ethos …’ 23 BACKGROUND & CONTEXT - Museum of Liverpool: - pull - together newfound/ - strong sense of - identity; house exhibit - PHOTO: outside shot of new - museum (large)?; map in situ

Construction facts • T he building’s footprint is 110 metres long by 60 metres wide and is 26 metres high its tall- est point, making it longer than the pitches at either Anfield or Goodison, more than twice as wide as the , and as tall as five Liver Build- ing Liver birds placed end to end • The museum is powered using state - of - the - art renewable and energy efficient technol- ogies. Its combined heat and power (CHP) sys- tem reduces carbon emissions by 884 tonnes each year – equivalent to the environmental benefit of 88,400 trees. • T wo picture windows, at either end of the build- ing, measure eight metres high by 28 metres wide – part of 1,500 square metres of glazing overlooking the city • The museum is clad in 5,700 square metres of natural Jura stone – enough to cover a football pitch if laid flat • 2 0,000 cubic metres of soil – equivalent to eight Olympic swimming pools – were excavated from the site and is 26 metres high at its tallest point

24 BACKGROUND & CONTEXT - Museum of Liverpool: - pull - together newfound/ - strong sense of - identity; house exhibit - PHOTO: outside shot of new - museum (large)?; map in situ

A new museum for Liverpool

Of course, the Liverpool Map would opened in July 2011, when galleries from the blog need a home. As early as 2001 plans Global City, Wondrous Place, and the had begun to create a Museum of Liv- People’s Republic – where the map June 2009 erpool on the waterfront, channelling now stands – opened their doors. Because the MoL team are so impressed with our proposal, they’ve moved it from its initial site in Liverpool’s passions and cultural pur- the lobby to one of the main gallery spaces. The new MoL will have two main galleries – we will suits into one showcase building. The X - shaped museum is the larg- be in the gallery with an eight metre - tall win- dow, overlooking the Mersey and the Liver Build- est newly - built national museum ing. A great spot indeed. This does mean that Preparation for the new museum be- in the UK for more than 100 years. there will be a LOT more light flooding the piece. Originally it was to be sited against a wall with no gan in 2006, when the Museum of Liv- With 8,000 square metres of public backlighting and we’d proposed to use very lit- tle coloured glass, instead bringing in colour with erpool Life closed to be replaced with space across three floors, it’s home the opaque glass enamels. We’re now bringing in strong colours that can withstand this barrage of a larger, purpose - built museum. to around 6,000 objects collected by light; bright red, yellow, blue and sea blue. This density of colour is traditionally used in stained National Museums Liverpool, many glass windows. We are combining this with print- Funded by a number of different of which have never been displayed ed imagery. The Map will now also be viewed from both sides so the printing will be placed agencies and institutions, including before. so as to be able to be interpreted both from the front and back. the Northwest Regional Development Agency, European Regional Develop- The museum won the Council of Eu- ment Fund, Heritage Lottery Fund, rope Museum Prize for 2013, and has Department for Culture, Media and been shortlisted for the 2013 Europe- Sport and the Garfield Weston Foun- an Museum of the Year (still to be an- dation, amongst others, the museum nounced as we published). 25 BACKGROUND & CONTEXT - Daily Post: voting & polls; - colelcted interviews & - articles, eg. Marc Almond - PHOTO: cuttings from fea- tures? - Daily Post globe icon

The peoples’ choice

Billed as giving everyone in Liverpool itor Laura Davis collated informa- the chance to ‘leave their legacy in tion, opinions and updates about the the form of a piece of art’, the public map to prompt responses and inter- was invited to vote for a series of peo- action with the voting public. Talking ple, places and icons to include in the about places that should or shouldn’t map on the Liv- be included, Jon erpool Daily Post ‘The Map should embrace local, Culshaw, the website. national and international Ormskirk - born areas, highlighting Liverpool’s TV impressionist, The Daily Post global influences; it will be a said: ‘Ormskirk was involved in legacy for the museum that has and Liverpool are the map pro- truly been directed by the people neighbours and ject from an ear- of Liverpool,’ said the brief. they work with ly stage, launch- each other. Eve- ing the project in November 2007 and ryone who lives there regularly hops generating a series of articles through- on the train to spend time in the city out Capital of Culture year. and many people have moved out to Ormskirk from there, increasing the In a series of features on the map influence. Ormskirk is in Liverpool’s during its research phase, arts ed- field of gravity and when a city has 26 BACKGROUND & CONTEXT - Daily Post: voting & polls; - colelcted interviews & - articles, eg. Marc Almond - PHOTO: cuttings from fea- tures? - Daily Post globe icon

such a strong personality its influence torical statement, but to be a cul- ical icons, and the people who would spreads to the areas around it.’ David tural snapshot of Liverpool in 2008.’ be represent Liverpool’s music scene, Cobham, however ­– a Daily Post read- Suggestions for areas to include, writers, performers, visual arts, sport- er – felt strongly the opposite: ‘I nom- global links and significant people ing history, and ‘significant others’. inate the whole of Southport to be ex- and places were collected via emails cluded from the Liverpool Map, as it and forums, and the results present- The results of the polls were trans- has its own unique identity.’ ed in an online survey for the pub- lated into the design, embedding the lic vote. They were asked to choose city’s heritage and cultural icons into As artist Inge Panneels explains, ‘the which places would fall within Liver- each layer of glass. brief was not for it to just be a his- pool’s boundary lines, the city’s phys-

You can see the icons : 60.6 % Crosby: 51.6 % Hale Village: 36.2 % Runcorn: 20.9 % Ashton - in - Makerfield: chosen on each of the : 60.6 % Netherton: 46.9 % : 35 % Southport: 20.9 % 9.4 % layers on the next sec- West Derby: 60.2 % : 46.1 % Thornton: 33.5 % : 20.5 % Isle of Mann: 9.4 % tion, but these are the : 9.4 % public responses to the Allerton: 59.8 % Eldonian Village: 45.3 % Ince Blundell: 30.3 % Ellesmere Port: 16.9 % areas that should fall in- Walton: 56.7 % Knowsley Hall: 44.1 % Rainhill: 30.3 % St Helens: 16.9 % Wigan: 8.3 % side the city’s boundary Halewood: 55.9 % Fairfield: 42.5 % Wirral: 30.3 % Newton - le - Willows: Bache: 7.9 % lines, based on nomina- 13 . 8 % Flintshire: 7.9 % tions received (as you’ll : 55.5 % National Wildflower Freshfield: 29.5 % see from the percentag- Edge Hill: 54.7 % Centre (Knowsley): 39.4 % Skelmersdale: 25.6 % Frodsham: 11.8 % Hindley: 7.9 % es, people could vote for Litherland: 52.4 % Blundellsands: 39 % Orrell: 22.8 % Garswood: 10.6 % Wrexham: 7.9 % more than one area): Waterloo: 52.4 % Melling: 37 % Ormskirk: 21.3 % Chester: 9.8 %

27 BACKGROUND & CONTEXT - Daily Post: workshops and - public participation - PHOTO: TBC

28 BACKGROUND & CONTEXT - Daily Post: workshops and - public participation - PHOTO: TBC

The peoples’ choice

The Liverpool Map had to represent the The saga had been created by Radio in the map’s design. Devised and writ- people of the city; it fired the feelings, Merseyside listeners as part of the ten by the people of Liverpool, it re- ideas and aspirations of the people of Open Culture project, to celebrate flects the heart and history of the city Liverpool in 2008 in six-foot glass col- the city’s 800th anniversary in 2007; and their impact on its past, present umns. Thousands of votes were cast it numbers 800 lines of poetry, cho- and future. The finished glass piece across the Daily Post’s online poll, sen from more than 3,000 submitted should say something about, and and National Museums Liverpool’s lines, and topped and tailed by Mer- mean something to the people of Liv- community workshops. sey Sound poet and Scaffold singer, erpool. Their involvement in defining Roger McGough. Acclaimed local po- the map’s geographical, historical and To include a very personal link with ets Dave Ward and Sylvia Hikins, who cultural boundaries means that it can the map’s ‘community’ feeling, mem- both attended the community hand- truly reflect the city’s perception of bers of the public from across the re- writing sessions in April 2008, whit- itself.’ gion were invited to attend hand- tled the final lines of the saga down writing sessions at the Merseyside from more than 3,000. Professor Phil Redmond, chair of Na- Maritime Museum and BBC Radio tional Museums Liverpool, (and Open Merseyside, where they were asked Georgina Young, a curator at the Mu- Culture), added: ‘Culture isn’t just to write creatively about the city, and seum of Liverpool, which houses the about attending or creating events, it chose their favourite sections from Liverpool Map, said: ‘It’s fantastic that is also about artefacts and how those the Liverpool Saga to copy out in their the artists have chosen to include the artefacts form part of our collective own handwriting for the layer. Liverpool Saga as a community layer and inherited culture.’ 29 BACKGROUND & CONTEXT - Inge & Jeff: research - 12 - months; who? where? - what? etc. - PHOTO: TBC

Mapping a sense of place

‘The principle was what Liverpudlians glass, architectural glass and ceram- an ideal medium for such a com- see as their city, not the physical ics. Its studio includes one of the larg- plex amount of information to be in- boundary,’ Redmond said at the time: est kilns in Europe, which was used to tegrated into one piece of work. Mer- ‘The Liverpool Map will be a lasting fire the Liverpool Map. seyside’s strong position within the legacy for the city and is a great op- history of the glass industry – with St portunity for an artist to leave their Panneels is a Belgian artist who has Helens being one of the most famous work as a reminder in years to come dedicated the last 15 years to creating glassmaking centres in the world – of how people in Merseyside saw architectural glass projects including made the choice of material even themselves, culturally, geographically the NHS, Belgian Radio, Lloyds TSB more appropriate.’ and historically.’ and the Scottish Executive with work in public collections in Denmark, Bel- Jeff and Inge’s proposal for the Liv- Artists Inge Panneels and Jeff Sarm- gium and the UK. American artist erpool Map called for a ‘monumen- iento began their creative journey Sarmiento is a Reader at the Univer- tal multilayered glass monolith’. But after meeting at the National Glass sity of Sunderland, and has exhibit- with a plan to build up stacks of sheet Centre, at the University of Sunder- ed widely across the globe. His work glass, printed with imagery, and in- land, where they would design and is found in public collections in Den- cluding coloured segments and cut - fire the Liverpool Map. The depart- mark, Belgium, the UK and US outs, researching the content of those ment is one of the largest in Europe, layers would be a major task … enjoying international status and is Both work exclusively in glass, sug- a centre for excellence in the field of gesting in their proposal: ‘Glass is 30 BACKGROUND & CONTEXT - Inge & Jeff: research - 12 - months; who? where? - what? etc. - PHOTO: TBC

Inge and Jeff began their research by Research continued apace, using ››A content summary for the Liver- reviewing historic maps of Liverpool books and internet resources, con- pool Story, an audio-visual history and working their way through the sulting staff at NML, more work in- that features in the new museum choices and winners of the Daily Post terpreting the Daily Post’s findings, as ››Images showing the features voted vote, before heading to Liverpool on a well as insights they’d gained on visits for by Daily Post readers. research trip in November 2008.

In her blog, Inge explained the difficul- ty interpreting the votes, and pinning down the area the ‘emotional bounda- ry’ should cover: ‘December 2008: The Daily Post is the media partner of the project and has been conducting polls enquiring where people feel the bound- to the city. Museum of Liverpool staff Finally, after nine months of work, ary of Liverpool is, and what they feel also gathered a research collection, they were ready to start … is Liverpool? The poll results prove to which included: be difficult to interpret into concrete ››A copy of Liverpool 800, a history of boundary lines and lead to some excit- the city ed discussions around the table with ››A copy of Garlic Press’ Liverpool the Phil Redmond and the team.’ 1st 1000 years 31 INTRODUCTION SPREAD - - PART TWO - (the map’s layers) - DPS photo with column text - explanation - PHOTO: Large shot of the - map, either in situ, or - displayed on floor

PART TWO –

32 INTRODUCTION SPREAD - - PART TWO - (the map’s layers) - DPS photo with column text - explanation - PHOTO: Large shot of the - map, either in situ, or - displayed on floor

THE MAP’S LAYERS

Liverpool’s strong sense of identity is based on a complex, adventurous history, built from layers of emigra- tion, immigration, suburbanisation and adventures on the high seas. So the intricacy of 17 layers of glass proved a perfect way to encapsulate its rich and varied sense of self. Po- litical, philanthropic, ground-break- ing, hard working, fun - and always passionate - the city’s many sides are encapsulated in the people it gave to the world, and the people it took to its heart, the buildings, places and mu- sic and memories it reveres. Weav- ing threads of history, geography, arts, culture, community, sport and sociol- ogy, these are the places, people and things that best represent Liverpool, chosen by the people of Liverpool. 33 Introduction to part two - Janet Dugdale - (NML; the proposal and - the project) - PHOTO: internal shots from - thew new museum?

34 Introduction to part two - Janet Dugdale - (NML; the proposal and - the project) - PHOTO: internal shots from - thew new museum?

PART TWO – THE MAP’S LAYERS

The Liverpool Map is just one of a se- Working with the Daily Post, Radio The map’s home, in the new Museum ries of public responses to our year Merseyside and National Museums of Liverpool, also informed its aims. as European Capital of Culture that Liverpool gave us huge reach across The museum’s galleries – Wondrous Open Culture was involved in. Our Merseyside, and the range of opinions, Place, People’s Republic, Global City – role, as a part of the Culture Com- ideas and interpretations we had was framed some of the themes that cap- pany, was to make sure that people broad, challenging – and gave Inge ture the public imagination; culture, across the city got the chance to get and Jeff a few headaches, I’m sure. sport, music, history and politics were involved in culture locally – not just always going to be vital things to in- going along to events and watching, How to best represent what was im- clude. And still I’m sure there’s so but giving them a real chance to feel portant to the public was the chal- much of Liverpool that remains out- involved, and make their voice heard. lenge, but, again one of the strengths side the scope of the map. Never- of the map. Liverpool has such a theless, we hope that this book goes The problem, as ever with commis- strong storytelling tradition – through some way to showing the range, di- sioning a piece of art, is that it’s just salty sea dog tales, music, and poetry versity, pride and passions of the city one person, or one team’s interpreta- – and having 16 layers to tell the city’s that the Liverpool Map has captured tion. The beauty of Inge and Jeff’s pro- story – to add colour, opinion, and va- so vividly. posal was its inclusivity – glass was riety – undoubtedly made life easier. the perfect medium to show many Although the arguments over Liver-

different views of Liverpool, and the pool’s boundaries will no doubt rum- Charlotte Corrie, director

city is nothing if not many-layered. ble on for generations. Open Culture 35 2.1 - HISTORY - DPS photo with column text - explanation - PHOTO: have we got a shot of - a/ some history layers in isolation?

36 2.1 - HISTORY - DPS photo with column text - explanation - PHOTO: have we got a shot of - a/ some history layers in isolation?

History

Connections Maritime Links on Liverpool Map The Mersey River A. Liverpool, Nova Scotia, Canada Local Roads B. Liverpool, New York, USA Regional Rails C. Liverpool, Ohio, USA A International Sea and Air D. Liverpool, Illinois, USA So, what’s in a place? Liverpool’s X E. Liverpool, Pennsylvania, USA Y F. Liverpool, Texas, USA G. B H. Dublin C I. Cork charter was signed by King John in D W T J. Galway V K. West Indies U E L. North Africa S M. Liverpool, NSW, Australia R F N. Penzance, London Q 1207, making 2007 its 800th birthday; G O. Holyhead P. H Q. Halton R. Isle of Man I O P S. Whitehaven but its defining history is much more T. Twinned with Cologne, Germany Slave Ship U. Manchester Canal diagram N V. Ayr First seven streets J W. X. Stromness recent, from the growth of the docks, K Y. Twinned with Shanghai, China Liverpool Castle L King John M signs charter the slave trade, immigration and em- Charter, 1207 igration, to a hub handling 40 % of

Plane at Airport world trade. The map’s history sec-

Ships in Harbor tion captures its origins and growth to second city of the Empire.

37 2.1 - HISTORY - natural site - PHOTO: blue section of map

Layer 1:

Liverpool has geography on its side. let of which few people had ever If it weren’t for the city’s position on heard. Yet, ‘Liverpool’ is a name that’s the north western coast, making it a known across the world, spread in the words of sea shanties, mar- itime literature and the chants of football fans,

However, if some 9,000 years ago, you were to have visited the spot where the city stands today, it would have looked very different. Geographers believe the sea level at that time was around 20m lower than it is now, so Liverpool was not convenient spot for launching ships on the coast at all but surrounded by first to Ireland under King John and, land. The coastline would have lain centuries later, to the New World, it a lot further to the west, somewhere would have remained a small ham- around Anglesey in . 38 2.1 - HISTORY - natural site - PHOTO: blue section of map

The lie of the land

Mixed forests of hazel, lime, elm and analysing grains of pollen trapped in erpool, where visitors can literally find oak trees covered the land and bog- the peat, archaeologists were able to out what it is like to step into the foot- gy fen, such as those you still find in discover that the area was covered in steps of people living in Merseyside Norfolk today, lay further inland. dense woodland, providing timber for 4,000 years ago. people to build shelter and fires. Although the name Liverpool, or rather Thousands of years later, the area ‘Liuerpul’ meaning ‘muddy pool’, does In are standing where the city stands today was sim- not appear in written documentation stones left behind by druids, and some ply a small inlet of the River Mersey. until around 1190, there is evidence to 25 miles north along the coastline at Before Liverpool existed, the farms of prove the area was inhabited for many Formby beach, where every so often West Derby were being recorded in thousands of years before this. waves wash away the protective lay- the Domesday Book of 1086 as villag- ers of silt and sand covering prehistor- es in their own right rather than part An archaeological dig of farmland ic footprints, it’s possible to see trac- of the city’s urban sprawl. And so it in Croxteth Park revealed signs of es of life 4,000 years ago for yourself. remained throughout the medieval life from the late Mesolithic period, The footprints are usually visible for period, a small fishing hamlet over- somewhere around 4,000 to 5,000BC. just a short period of time until they shadowed by nearby Preston, Wigan Just like several other sites within a are eroded forever by the , but and the international port of Ches- radius of a few miles, it is believed to 3D reproductions, created by Nation- ter, until King John saw fit to grant his have been used as a campsite by pre- al Museums Liverpool conservators, Letters Patent, allowing Liverpool to historic tribes during hunting trips. By are on display at the Museum of Liv- become a centre for trade, in 1207. 39 Layer 2:

ries its people were forced to submit A grid of six streets was laid out, and to the control of authorities in Ches- a seventh, Castle Street, was added ter, an international port with a supe- around 1235 when the town’s castle rior customs office. was built. Standing on a construct- ed plateau over a moat cut from sol- Then on August 28, 1207, King John id rock, on what is now Derby Square, granted a letters patent and in a sin- the sandstone edifice was surrounded gle gesture transformed Liverpool’s on three sides by water, making it an future. This document allowed the excellent defensive position. Two tow- town to develop commercially, out- ers flanked its gatehouse, while a fur- Our great city was born insignificant side the control of the lords of Ches- ther three round towers stood at each - an unimpressive inlet of the Mer- ter. Settlers were encouraged to move of its other corners. To its East side sey River given the unromantic name to Liverpool and for 12d rent would was an orchard, while inside it had Liuerpul or “muddy pool”. Its assets receive a plot of land known as a bur- a hall, a chapel, its own brewery and proved no temptation for the con- gage. The letters patent also con- bakehouse. quering Romans and was not impor- veyed the right to hold weekly mar- tant enough to be recorded in the kets and an annual fair. In return, Castle Street led down from the Domesday Book of 1086 although King John had established an embar- gatehouse and continued on to Jug- West Derby, Toxteth, Childwall and kation point for Ireland, over which gler Street (now High Street) at the Walton were all included. For centu- he claimed sovereignty. point where 40 From seven streets now stands. To the left of this cross- es that had been planted to mark top of Water Street where a later ver- roads was Water Street and to the the boundaries of each plot were sion of St Nicholas’ Church stands to- right Dale Street, both still in exist- overgrown. day. Taxation lists from the late 16th ence. Juggler Street continued on century show that the wealthier in- to Whiteacre Street (now Old Hall And the stink! Refuse was dumped in habitants lived on this road, while Street), with Chapel Street to the the drinking wells: unfenced middens Castle and Dale streets were home left and Moor Street (now Tithebarn built in front of people’s homes; ani- to a mixture of the well off and those Street) to the right. Today, this area of mals kept in the town, chamber pots who paid lower than average taxes. the city centre has many more roads emptied into the street; leather work- but they are based around the origi- ers soaking bark; weavers washing Today, the seven streets are the heart nal medieval street plan. yarn and soaking flax; butchers hang- of Liverpool’s business district, home ing up their meat. to shops, restaurants, law firms, ac- By Tudor times the seven streets countancy firms and other commer- were dishevelled. The once formida- In 1515, a meeting and courthouse was cial ventures. They may be almost ble Liverpool castle was a sorry sight established in a new thatched house unrecognisable from the original sev- – crumbling walls, the gatehouse and on Juggler Street, its lower floor desig- en streets of the 13th century, but its towers roofless. The burgages were nated as a warehouse and town gaol. traces of their history can be found if already being split up, with cottages you are prepared to look closely. built behind the rows of single timber Worship took place in the stone chap- and daub houses. The trees and hedg- els of St Nicholas and St Mary, at the 41 2.1 - HISTORY - transport connections - PHOTO: Hutchinson plaque - (FS); ferry routes; sea routes/ - trade routes sketch

Layer 3:

The first landmark a sailor arriving in Of course, it’s impossible to talk about ter railway. Politician William Huskis- Liverpool would encounter was the Liverpool’s great maritime age with- son had lobbied for the city’s railway rows of warehouses lining the Mersey. out mentioning its shameful connec- bill in Parliament. Stephenson’s Rock- Wooden masts jabbed the skyline tion to the transatlantic slave trade. et knocked Huskisson down after and the narrow streets near the port Much of the city’s wealth came from he left his carriage onboard another swarmed with sailors of all nation- its ships travelling to the west coast train to speak with the Duke of Wel- alities. The 19th century’s great age of Africa, exchanging their goods for lington, the prime minister, during a of sail saw the city expand its reach people and transporting them un- brief stop. One of his legs was badly across the globe, linking Africa, the der horrific conditions to the Ameri- mangled and he died later the same West Indies and North America – with cas, where they were sold as slaves in day. Despite a tragic beginning for the their raw materials – to the manufac- return for sugar, coffee, tobacco, rice rail link, it would not marr its fortune. turing centres of . and cotton. Between 1695 and slav- ery’s abolition in 1807, ships connect- The idea for the line came from en- Steam allowed faster journey times, ed to the trade made 5,300 journeys gineer Henry Booth, to speed up the further growing the port. Liner com- from Liverpool. transport of goods from Liverpool to panies including Manchester – a journey he claimed and Cunard established headquar- On September 15, 1840, the world’s sometimes took longer than their 21- ters here and mass immigration to first rail fatality occurred on what day trip from New York. An Act of Par- the New World saw some nine million should have been a jubilous day – the liament in 1826 secured the under- people leave via Liverpool’s docks. opening of the Liverpool to Manches- taking, with mechanical engineer 42 2.1 - HISTORY - transport connections - PHOTO: Hutchinson plaque - (FS); ferry routes; sea routes/ - trade routes sketch

Transport drives the town forward

George Stephenson helping Booth. As Long before the railway, the city’s ca- cutting of the Sankey Canal in 1755 well as the tracks, 63 bridges, cuttings, nal links allowed it to take advantage provided a direct link between Liv- embankments, a tunnel, stations and of the Industrial Revolution. Thom- erpool and the St Helens coalfields warehouses were constructed. as Steers, Liverpool’s first dock mas- – when it opened in 1758 it was the ter, oversaw improvements to the first major artificial waterway to be In 1829, Stephenson’s Rocket, won the Rainhill Trials competition to find an engine that could pull both passen- gers and freight, leading a line of sev- en of Stephenson’s locomotives on the inaugural journey. Despite the tragedy of that first day, the railway was a great success. In subsequent months the number of stagecoaches carrying passengers between the cit- River Weaver so that salt could be constructed in England since Roman ies fell from 30 to one. A single engine more easily transported from mines times and the world’s first true canal. could pull some 164 tons of freight in . In the mid - 1700s, the Canal building began again, connect- from Liverpool to Manchester in 2½ Mersey was widened to allow boats ing Liverpool to over 127 miles. hours – a load that, before steam, to take cotton to Manchester, but it would have taken 70 horses to draw. wasn’t enough to meet demand. The 43 Layer 4:

Settlers in the New World often the new entrance to Lime Street Sta- Ohio, US named their homes after the places tion as a work of public art. Dubbed ‘the pottery capital of the they’d left behind and those from Liv- world’ and ‘crockery city’, East Liver- erpool were no exception. The Liver- New York, US pool once produced over half of the ce- pool Map features seven : When the New York state surveyor ramics in the US, but has declined due general relaid the streets of Little Ire- to cheaper production costs in coun- Nova Scotia, Canada land in Onondaga County, he took the tries like China and Taiwan. It is also Founded as a fishing port in 1759 opportunity to changd the village’s known for a less savoury reason – as by some of the 2,000 families who name to Liverpool. It was incorporat- the place the notorious bank robber moved to the Canadian maritime ed in April 1830 and was home to a Charles Arthur ‘Pretty Boy’ Floyd was provinces from New England dur- major salt manufacturer, a saw mill, taken for embalming in 1934 after be- ing the 18th century, this Liverpool a sash, blind and casket factory and a ing killed in a nearby apple orchard, lies on its own river Mersey. In the cigar manufacturer. From the 1870s pursued by the FBI and local police. summer of 2008, artist Simon Faith- its main industry was willow weav- ful sketched scenes of his 3,000-mile ing, with around 360,000 baskets ex- Illinois, US journey between the two Liverpools, ported across the country at its peak The smallest Liverpool on the map is taken by container ship, train and in 1892. It has a population of around in Fulton County, Illinois. It has a pop- ferry. Many of his pictures have been 2,300 people but attracts more than ulation of just over 100 people and sandblasted into the paving stones one million visitors per year drawn to takes up 0.1 squares miles of land. and etched into the glass windows at the shores of Onodaga Lake. Despite its size, it has its own mayor. 44 Liverpool around the world

Pennsylvania, US neer Robert Kleberg, his family and Settled in 1808 and incorporated in their Mexican prisoners landed there 1832, this Liverpool is found on the by boat having abandoned his home banks of the Susquehanna River in on Galveston Island, on the Texan Perry County, Pennsylvania, and was gulf, due to terrible conditions includ- once one of the busiest towns on ing a lack of food and alligator attacks. the Pennsylvania canal route. Today, Today, its main employer is the Equistar some 400 families live there, on an Chemicals plant. At the last count the area of land just under one square city had a population of 404. Twin cities mile in size. The surrounding forests Since the 1950s, Liverpool has been proactive in forging links with cities all over the world in the are considered exceptional hunting New South Wales, Australia form of twinnings and friendship agreements – European twinning arrangements were en- areas, particularly for whitetail deer, A suburb of south west Sydney, Liver- couraged by the British government as part of the peace process after the Second World War. turkey and squirrel. pool is one of the oldest urban settle- Although they’re put in place by local authori- ments in Australia. Founded in 1810, ties, the relationships also involve local people through artist exchanges, school link - ups and Texas, US it was named in honour of Earl of Liv- community projects. Liverpool’s twin cities are Cologne, Germany One of the oldest ‘cities’ in Brazo- erpool Robert Banks Jenkinson, Sec- (1952); Dublin, Ireland (1997); Shanghai, China (1999) and Rio de Janeiro, Brazil (2003). The city nia County, Texas, Liverpool was set- retary of State for the Colonies and also has friendship links with Havana, Cuba; New tled in 1834 and named by British man later a British prime minister. An agri- Orleans, US; Halifax, Canada; La Plata, Argentina; Memphis, US; Minamitame - Cho, Japan; Ponsac- Commodore Nelson in memory of his cultural centre until the 1950s, it has co, ; Ramnicu Valcea, Romania; and Valparai- so, Chile. home. Two years later, German pio- now been drawn into Sydney’s sprawl. 45 46 Shifting boundaries

From its early 20th century heyday to post - WWII decline, Liverpool has changed as dramatically in the last 50 years as it grew in the previous cen- tury. But this is a proud city of pas- sionate people, whose identity as ‘Liverpudlians’ extends beyond the geographic, to the emotional ties that bind us and stretch the city’s physical boundaries.

Boundaries The ‘Redmond’ Boundary Daily Post Survey Boundary Shankley Gates Municipal Boundary Metropolitan Cathedral Beatles at Cavern St. Georges Hall

Radio City Tower Welcome to Knowsley Hall The Cavern Stanley Park Liver Building Georges Dock Philharmonic Hall Liver Bird

Albert Dock Ships in , 1890s

Speke Hall Superlambanana

47 2.2 - SHIFTING BOUNDARIES - dispersal of city dwellers - PHOTO: New Kirkby estates; corporation - flats (both LRO)

Layer 5:

Between around 1700 and 1801, Liv- erpool’s population grew from 5,000 to 80,000 - mostly due to immigra- tion. As the second city of the Brit- ish Empire, it attracted those looking for work either at sea or in industries connected to the port, such as sail making or shipbuilding.

During the following century, the in- flux continued, with many people who had intended to pass through Liver- pool to the New World settling in the city, either out of choice or because they simply ran out of money. At the height of the Irish potato famine in the 1840s for instance, around 580,000 people passed through the port, many of whom stayed to grow the city to more nearly 80.000 inhabitants. 48 2.2 - SHIFTING BOUNDARIES - dispersal of city dwellers - PHOTO: New Kirkby estates; corporation - flats (both LRO)

Liverpool spreads outwards

The 1801 census shows an average vertree had not yet been swept up in its boundaries and therefore its shape of 6.6 people living in a single dwell- the urban sprawl. With the appoint- on the map. The council would con- ing, but in the worst places – usually ment of the nation’s first Medical Of- struct satellite housing estates on the close to the docks – it was even more ficer for Health in 1848, Dr William outskirts of the city and move those than that, often with whole fami- Henry Duncan, Liverpool led the way living in the more unfit areas to their lies living in dank, unhygienic cel- in improving living conditions for its new homes en masse. lars. Two or three families would share poorest residents. A programme of se- two bedrooms, a living room and a vere slum clearance was begun and, in These estates included Cantril Farm cellar in a common type of housing, the 1860’s the city built the country’s (now called Stockbridge Village), known as court housing, construct- first council houses. Speke, Netherley and Croxteth as ed from the early 1700s to shelter the well as Kirkby, Huyton and Halewood city’s increasing population. A num- Liverpool’s population peaked in 1931, (now in the metropolitan borough of ber of small houses were built around at more than 855,000 people (com- Knowsley) and Skelmersdale (West unsanitary courtyards, which held an pared to today’s 445,000). Although ). While their residents open cess pool and a privy. Sickness there had been some improvement may no longer live in the city centre, was common and mortality rates high. in housing conditions, there was still or in some cases even within Liverpool overcrowding and something more City Council’s designated area, many At the time the city was still relatively drastic had to be done and the deci- maintain a strong allegiance to Liver- compact, and overcrowding was com- sion was made that would change Liv- pool and consider being Liverpudlian mon. Areas such as Woolton and Wa- erpool’s geography forever, expanding as a key element of their own identity. 49 Layer 7:

Albert Dock the group on the path to fame. It was original hall was built c.1575 by the Designed by Jesse Hartley, the Al- opened on January 16, 1957, by Alan Molyneux family and was expanded bert Dock is Britain’s largest group Sytner who named it after the Paris to show a mixture of Tudor, Georgian of Grade I listed buildings. Official- jazz club, Le Caveau De La Huchette. and Queen Anne styles. It remained ly opened by Prince Albert on 30 July, It was the Mersey Beat explosion that their ancestral seat until the death of 1846, it was the country’s first struc- put The Cavern on the map howev- Hugh William Osbert Molyneux, the ture built entirely of cast iron, brick er. The Beatles played their first gig 7th and last Earl Sefton, in 1972; he and stone – preventing the common there on February 9, 1961, with the bequeathed it to the city of Liverpool. problem of fire in wooden warehous- line-up of John Lennon, Paul McCart- es. As sailing ships declined, the dock ney, George Harrison and Stuart Sut- Cunard Building fell out of use and was closed in 1972. cliffe with Pete Best on drums. The Built in 1914-17 as the headquarters Symbolic of Liverpool’s degradation, current Cavern is located next door and main passenger terminal for the in 1984 the first phase of its redevel- to the original cellar, which was filled Cunard Company, the Cu- opment was opened in time for the with rubble during British Rail’s crea- nard Building contained offices and arrival of the Tall Ships Race. tion of an underground network. ship designing facilities on its upper floors, while the lower floors provided The Cavern Croxteth Hall passenger waiting rooms and luggage Thousands of Beatles fans visit Once a great country estate stretch- storage for passengers and Cunard Mathew Street every year to pay trib- ing for hundreds of miles, Croxteth employees. Although Cunard relocat- ute to the underground club that set Park has a 900 year-old history. The ed to in the 1960s, the 50 The sights that say ‘Liverpool’ building remains one of Liverpool’s at Goodison Park was on September Since 1994, it has been owned by the most famous landmarks. 2, 1892 – they beat 4-2. The present Lord and Lady Derby, who ground’s original incarnation cost have made it their life’s work to re- Georges Dock Ventilation £3,000 to lay out and build stands to store the hall to its former glory. Tower three sides of the pitch. In the centu- This fine example of art deco archi- ry since, stands have been rebuilt and Liver Bird tecture has a practical use; it provides standing terraces have been adapt- Legend has it that if fly the ventilation for the Kingsway tun- ed to seating-only. Renovated, refur- away, Liverpool will fall. What a sight nel under the River Mersey. Designed bished, relocated – Goodison Park re- that would be – hundreds of them by Herbert J Rowse in the 1930s’, it mains one of the city’s most loved taking off from their perches all over was rebuilt by the architect in the icons. the city. They are on football clubs, 1950’s after war damage. The tower schools, weather vanes, universities, is decorated by sculptures created by Knowsley Hall cathedrals, rubbish bins and door - Edmund S Thompson – a figure wear- The earliest part of Merseyside’s knockers. The best known examples ing a helmet and goggles symbolis- only stately home dates from around perch on the roof of the Liver Building, es speed, and black basalt of 1500, with a Georgian façade and designed by German wood-carver and Night and Day. Jacobean, Baroque and Victorian in- sculptor Carl Bernard Bartels. In fact, teriors. Originally a medieval hunt- they date back centuries – believed to Goodison Park ing lodge, it was owned by the first be a combination of the seal on King Everton Football Club’s first game Earl of Derby, Lord Thomas Stanley. John’s letter patent and a cormorant. 51 Liver Building er flanked by twin . From the day in which Sir Thomas Beecham For many the sight of the Liver Build- top, you can see North Wales, Black- conducted a programme of music by ing, viewed from the deck of a ship, pool and Cheshire. Elgar, Weber, Handel, Tchaikovsky, was a symbol of home. Designed by Beethoven and Grieg. Constructed on Tranmere, born Walter Aubrey Thom- Metropolitan Cathedral the site of the Liverpool Philharmonic as, for the Royal Liver assurance com- Visible from most parts of the city, the Orchestra’s original home, destroyed pany, it opened on July 19, 1911. One unusual design of the Catholic cathe- by fire in 1933, it includes features of the world’s first concreteframed dral makes it an architectural icon. Its said to have been based on decora- buildings, it is best known for the two tapering lantern tower is surmounted tion in Tutankhamen’s tomb. liver birds that perch on its roof. Their by 16 pinnacles, encircled by a lattice- designer, Carl Bernard Bartels, was in- work crown inset with coloured glass, Port of Liverpool Building terned in the Knockaloe prison camp creating a kaleidoscopic effect. The Completed in 1907 as the head of- on the Isle of Man during Metropolitan Cathedral was designed fice of the Mersey Docks and Harbour in a wave of anti - German sentiment. by Frederick Gibberd and built above Board, the Port of Liverpool Building an existing crypt – the only section of was the first of the Pier Head’s Three Liverpool Cathedral ’s earlier and more ex- Graces (the Liver and Cunard build- Constructed in sandstone between travagant design for the building to ings complete the set). Created in Ed- 1904 and 1978, to the designs of Sir have been completed. wardian Baroque style, it is decorated , Liverpool Cathe- by 3m-high classically draped female dral is the largest in the UK (in square Philharmonic Hall figures, representing Commerce and metres), and the fifth biggest in the Herbert Rowse’s beautiful art deco Industry, which were created by sculp- world. Its original design was revised concert hall was opened on 19 June tor Charles John Allen. in 1910, creating a single central tow- 1939, followed by a concert the next 52 Tower ute to Bill Shankly, the straight-talking Boasting a grand with expan- The 138m-tall tower was built as a Glaswegian who was Liverpool Foot- sive bedding schemes once adorned ventilation shaft for St John’s Market, ball Club’s manager from 1959 - 1973. by fountains, it features the 1899 with a revolving restaurant and ob- They are topped with the words You’ll Gladstone Conservatory, which was servation platform at its top. The res- Never Walk Alone, the song from the recently restored and re-opened. taurant closed in 1977 and apart from musical Carousel, which became LFC’s a brief period, the tower remained anthem. Superlambanana! shut until refurbishment in 1999. It Half - banana, half - lamb, Japanese re-opened the following year as the sculptor Taro Chiezo’s creation drew headquarters for Radio City. This rare Tudor timber-framed man- mostly negative reactions when it or house was built by the Norrises, was unveiled back in 1998. Many Salthouse Dock a family of devout catholics. In the thought it would clash with its back- Designed by Thomas Steers and com- 18th and 19th centuries it fell into de- drop – too abstract for Liverpool’s pleted after his death by Henry Ber- cay, even being used as a cow shed at fine Victorian architecture and too vi- ry, Salthouse Dock opened in 1753 as some point, but was restored during brant and quirky for the drab 60s of- an important transit terminal for the Victorian times. It is now owned by fice blocks. But it grew on people and, salt industry. Vessels would be un- the National Trust. in 2008, we celebrated its idiosyncra- loaded at the Albert Dock and moved sy with Go! Superlambananas, a pub- on to Salthouse Dock for loading. Stanley Park lic art project that saw 124 specially Now marking the dividing line be- decorated 2m - high versions of the Shankly Gates tween Everton and Liverpool foot- sculpture placed on streets across the Unveiled outside Anfield on ball clubs, Stanley Park was designed city. August 26, 1982, the gates pay trib- by Edward Kemp and opened in 1870. 53 Layers 7 and 8:

Which places would you include or cross-river Parliamentary seat with hall and family have always been in- leave out of a definitive map of Liv- and Everton illustrated the extricably linked to Liverpool’s his- erpool? From November 2007 to Feb- strength of opposition against Wirral tory. Many Liverpool charities raise ruary 2008, read- merging with Liverpool, a view shared funds through dinners or balls here, ers were given the chance to answer on both sides of the Mersey.’ and Knowsley Safari Park is the big- just that question. The full list of gest paying tourist attraction in the nominated locations was put to the George Pringle, Daily Post Liverpool area. Need I go on?’ vote, with the resulting boundary line, reader forming layer seven in the completed ‘I’m not writing to you concerning James Samples, Daily Post artwork. Here are some readers’ sug- a town inclusion in your Liverpool reader gestions alongside those of some fa- Map project but to ensure my town ‘I live in Halewood in the phoney bor- mous names. of Bootle is not included. Though our ough of Knowsley. Most (90 %) of the town borders on the edge of Liver- inhabitants are Scousers. We shop, Al Wills, Daily Post reader pool, we have always regarded our- are entertained, we support football ‘Wirral has never embraced Mersey- selves as Bootleans and not Scousers.’ clubs... and call Liverpool our town side as ours; we were undemocratical- centre.’ ly dumped in it by bureaucrats who Lord Derby didn’t realise the Mersey was a much ‘I’m certain that Knowsley Hall Trevor Skempton, Daily Post wider boundary river than it appeared should be on your map. It is the Liv- reader on the map. The attempt to create a erpool area’s only stately home – the ‘I lived in Chester and Ellesmere Port 54 Setting the boundaries as a child, went to school in Birken- Marc Almond, Southport-born Cherie Booth QC, who grew up head, studied and worked in Liverpool member of 80s pop duo Soft Cell in Crosby city centre and have lived in North ‘Of course Southport is a town in its ‘I wish to nominate Waterloo to be in- Wales. In my opinion it is all Greater own right, with its own unique iden- cluded. It’s a great community in the Liverpool.’ tity, much more than just a Liverpool heart of Merseyside, halfway between suburb by the sea. Yet it remains an Liverpool and Southport. It is in a Olympic medallist Steve Parry integral part of Merseyside and holds beautiful spot, facing the sea. I have learned to swim in South onto a strong connection to Liverpool. very many happy memories of grow- Liverpool As a teenager, I went to Liverpool al- ing up there, it is very special and def- ‘I would definitely like to see Allerton most every week, taking the short initely part of Liverpool as a city.’ on the map. I don’t think people from train journey back and forth to see South Liverpool see themselves as any concerts by the stars of the time, or less than our friends in the even just to walk around and feel like North. Whenever you drive through I’m part of a big city. Liverpudlians Allerton, you see children and young have always visited Southport, to people playing football, basketball, spend a day by the sea, even though it cricket – and this is important in such rarely comes in.’ a sporty city. It is also very pictur- esque and offers people a bit of green- ery, compared to the city centre.’ 55 2.3 - PEOPLE’S CITY - DPS photo with column text - explanation - PHOTO: montage of some of - the faces section/ places eg. - Palm House (FS

56 2.3 - PEOPLE’S CITY - DPS photo with column text - explanation - PHOTO: montage of some of - the faces section/ places eg. - Palm House (FS

People’s city

Liverpool’s distinctive personality – cosmopolitan, community – oriented, passionate and proud – is as much the result of its people, drawn in and out on the Mersey tide, as its physical make - up.

Pier Head Landing Stage Plate 6.1 from Liverpool 800 Overhead Rail at Pier Head ‘Cosmopolitan Liverpool’

Kirkby Estate Pleasant View houses Opens, 1952 Kirkdale, 1957

Albert Dock Silted over, 1981

Unknown Queue Victoria

Meccano Factory

New Corporation Flats Food and Betterment Association Toxteth Riots

The Cotton Exchange

Trucking sugar at King’s Dock Avoidable Infant Mortality detail School of Hygeine image (NML) No. 2 Court Blenheim Street Sir John and Cecil Moores

57 Layer 9:

It was to Italy that Liverpool’s design- ies across the Atlantic with much in ers and architects had looked before common with Liverpool. the dawn of the 20th century, com- paring behind the Although it may not seem so today, Town Hall (since replaced) to Ven- when our tallest buildings are recent- ly constructed towers that threaten to dwarf the 100 - year-old buildings but, like American cities, Liver- pool was built tall. When it was being constructed in 1908-11, the press de- scribed the Liver Building as a skyscraper. Eight sto- reys high, with the top of ice’s Rialto and desiring the city to be its clock towers standing 90m above a British Florence, where culture and the ground, it was the tallest building learning was as important as com- of its date. Its concrete frame was re- merce. Now however, a newer civ- inforced with steel in a style that was ilisation was beckoning - great cit- later used for many New York sky- 58 Liverpool, New York of Europe scrapers - inspiration crossed the At- ships out of Liverpool - among them ion from New York back home where lantic in both directions. Anchor, Bibby, Cunard, Canadian Pacif- it inspired the foundations of Mer- ic, Elder Dempster and Pacific Steam seybeat. From the mid - 1940s to the Classicism, favoured by many US ar- Navigation - American cultural influ- end of the 1960s, thousands of ordi- chitects, influenced those design- ences reached the city long before it nary Liverpool men worked their way ing buildings in Liverpool. The Cu- began infiltrating the rest of Europe. It across the Atlantic and back as chefs, nard, for example, which housed the began with the pre - war , stewards, kitchen porters, waiters and shipping line’s headquarters and adorned with country house style pantry men. Inspired by the vibrant from where thousands of passengers of wood panelling and brass fittings, city that was so unlike the grey post - would board liners bound for New which were replaced after the Second war Britain they had left behind, they York, has a palazzo shape favoured by World War with flashier, bigger and brought back little pieces of this new companies such as Mead and White, faster vessels, some of which were exciting world. They returned with which designed the Manhattan Mu- built at Cammell Laird shipyard in everything from the first movie cam- nicipal Building and Washington Arch such as Cunard’s 1939 art eras to denim jeans to sharp suits and, in Greenwich Village. deco Mauretania. Although jazz music most significantly, electric guitars and and blues travelled across the Atlan- records by musicians such as Frank Liverpool’s cosmopolitan feel tic from the 1920s onwards, it was the Sinatra and Nat King Cole - music that stretched beyond its physical ap- ‘Cunard Yanks’ of the 1950s who are would influence the Merseybeat revo- pearance, deep into its culture. With credited for Liverpool’s cultural revo- lution and ultimately lead to the crea- so many cruise companies operating lution, bringing pop music and fash- tion of The Beatles. 59 2.3 - PEOPLE’S CITY - Liverpool: changing post - war - city - PHOTO: Toxteth riots; Victoria - monument bombs (both NML) - + 1

Layer 10:

Merseyside played a prominent part in tioning finally came to an end in 1954 ated ships carrying meat from its vast the Second World War - its munitions and Harold Macmillan was observing Argentinian ranch interests. Until 1957, factories churned out supplies, the ‘you’ve never had it so good’, the peo- the dock workers travelled along the Battle of the Atlantic was mastermind- ple of Liverpool were still working to Dock Road on the Liverpool Overhead ed from an underground bunker near rebuild their lives and their city. Railway, which was as much a part of the city’s skyscape as the Three Graces. Despite the British Em- pire being broken up, Responding to shipowners’ demand heralding an end to for larger vessels, the Mersey Docks the city’s internation- & Harbour Company began building al maritime impor- larger docks, and so the city’s dock- tance, its docks contin- lands moved northwards to the riv- ued to boom. The Pacific er mouth and deeper waters. Mean- Steam Navigation Co’s while, passenger ships, ocean liners ships travelled from Liv- and ferries moored at Liverpool Land- erpool to the Caribbean, ing Stage, the world’s largest floating Liverpool Town Hall - and suffered through the Panama Canal and along structure at a quarter of a mile long. great losses, both in terms of lives and eastern South America, while Booth buildings at home during the Blitz and Line sailed 1,000 miles up the Amazon But the boomtime wasn’t to last and, its servicemen fighting abroad. As ra- and Blue Star Line operated refriger- as passengers began buying airline 60 2.3 - PEOPLE’S CITY - Liverpool: changing post - war - city - PHOTO: Toxteth riots; Victoria - monument bombs (both NML) - + 1

Liverpool after the war

tickets rather than cruises and con- year and, in 1980, it was followed by After the trouble died down, the gov- tainerisation took over from tradi- the Tate & Lyle refinery in Kirkdale. ernment appointed Lord Scarman to tional cargo ships, Liverpool took a conduct an inquiry into the causes hit. Its residents could no longer rely With such devastating levels of unem- of the 1981 troubles in Britain’s black on the River Mersey, which had been ployment came social unrest. In July communities and national and local at the centre of their lives for genera- 1981, police arrested 20 - year - old authorities began tackling the com- tions, for work. Leroy Cooper on police assault charg- plex political, social and economic es after he intervened when police fol- factors that he concluded had creat- Other industries also suffered as Liv- lowed a young motorcyclist into the ed a ‘disposition towards violent pro- erpool’s fortunes hit an all time low. Toxteth area. A crowd gathered and in test’. This included the appointment, During the 1970s, more than 92,000 the fracas that followed three police of- by Prime Minister Margaret Thatch- redundancies were declared on Mer- ficers were injured. This was the touch er, of environment minister Michael seyside across all industries. In 1978, paper that sparked the nine - day Tox- Heseltine as minister for Merseyside. the British Leyland TR7 sports car teth Riots during which nearly 1,000 po- He played a major part in the regen- plant was closed with the loss of lice officers were injured, 500 arrests eration and rehabilitation of Liver- 3,000 jobs; in 1979, Dunlop closed its were made, 70 buildings were destroyed pool, including the restoration of tyre factory in Speke when an appeal by fire, there was massive looting and, the Albert Dock and the creation of for £50m from the Government was for the first time in mainland Britain, the Garden Festival at Otterspool in turned down; the Meccano factory police had fired CS gas canisters in an 1984, which was restored as a public on Binns Road closed down the same attempt to disperse the crowds. park in 2012. 61 Layer 11:

Ironically, it was inside the building Merchants, rich from profits made of a former lunatic asylum that Liv- through the nearby port, valued erpool’s first university was born. Uni- learning as highly as they did success versity College, as it was then known, in business and were keen to finan- was situated behind what cially support the new university. The later became the Universi- following 100 years saw new build- ty of Liverpool’s striking red ings spring up around Brownlow Hill brick Victoria Building (now as the institution expanded. In 1904, the Victoria Gallery and a veterinary college relocated from Museum) on Brownlow Hill. Edinburgh to Liverpool and the fac- ulty of engineering gained the Harri- Established by principal son Hughes Laboratories. Two months founding fathers James before the outbreak of World War I, a Campbell Brown, Charles new arts building was completed. Beard and William Rath- bone, it did not originally have the The two world wars took their toll on power to confer its own degrees the , both in which were awarded by Manchester’s terms of lives lost and funding for ex- Victoria University until 1903, when it pansion and salaries. However, again was granted its own charter . generous benefactors stepped in to 62 Learning in Liverpool support the institution. Among them erpool city area to China, where the teaches more than 24,000 students were prominent university officer and Xi’an Jiaotong-Liverpool Universi- from all over the world. ship owner C. Sydney Jones, who do- ty welcomed its first students in 2006 nated property in and aims to be educating 10,000 stu- Liverpool Hope University also has to be used as the department of ed- dents every year by 2015. a long history, made up of found- ucation; Sir T Harrison Hughes, who ing colleges the ’s gave £25,000 for the purchase of an Liverpool John Moores University’s or- Warrington Training College, or St athletic field to commemorate his igins date back even further - to 1825, Katharine’s, established in 1844, and brother, Geoffrey Hughes; and Harold when a small mechanics institution the Sisters of Notre Dame’s Our La- L. Cohen, who presented the universi- was founded. Over the following dec- dy’s Training College, opened in 1856, ty with its largest gift - £100,000 for a ades, this merged with other organisa- which both trained women to become new library - he died on the day the tions to eventually become Liverpool teachers. In 1965, Christ’s College was foundation stone was due to be laid. Polytechnic, which was renamed Liv- built on the site now known as Hope erpool John Moores University in 1992 Park, in Childwall. Today, there are 27,000 students at when it was transformed into one of the University of Liverpool study- the UK’s new generation universities. By 1980, the three colleges were ing more than 400 programmes in 54 Named after the founder of the Little- joined as an ecumenical federation subject areas. In 1903, there were just woods empire, the institution aims to and later became a single institution, 638. The institution’s most recent ex- provide paths into education for peo- renamed Liverpool Hope. It was made pansion takes it far outside the Liv- ple of all ages and backgrounds and a university in 2005. 63 64 Layer 12: Community

When BBC Radio Merseyside an- 500 - plus individual submissions to nounced it was compiling an 800-line fit the 792 - line space in between. poem to mark Liverpool’s 800th birth- day in 2007 the response was stagger- The finished piece covered a vast ing. More than 3,000 lines were sub- range of subjects including the River mitted by the Mersey, factories, station’s listen- From the first tentative scratch of sport, families, ers - some hu- the pen To the keyboard’s disasters and morous, some final breathless amen, One poem. music across sad, but all of A patchwork of laughter and the 800 years of them a heart- tears. Eight hundred lines. Liverpool’s his- felt expression Eight hundred years. tory. Open Cul- of their beloved Liverpool Saga. 2007 ture and Radio home. Merseyside held sessions for local people to copy out Roger McGough wrote a pair of vers- lines of the saga in their own hand- es that would bookend the Liverpool writing, which would later form the Saga, while local poets Sylvia Hikins community layer of the Liverpool and Dave Ward whittled down the Map.

65 Roger McGough Jimmy McGovern

Elvis Costello

Teardrop Explodes

Billy Fury

The Beatles

Frankie Goes to Hollywood

Archbishop Derek Warlock

Bill Tidy

Willy Russell

Steven Gerrard

Pete Wylie Arthur Dooley

Kenny Dalglish Phil Redmond Glenda Jackson

Leonard Rossiter Alan Bleasdale

The Lightning Seeds John Conteh and the Bunnymen Brian Epstein Bessie Braddock

Adrian Henri Paul O’Grady

66 Culture

The lifeblood of the city, Liverpool has always prided itself on its cultur- al capital, from Beat poet Alan Gins- berg’s ‘centre of the human con- sciousness’ to European Capital of Culture 2008. Invited to vote through- out 2007, Daily Post readers decid- ed these are the musicians, artists, sports stars and people who’ve stood up and spoken out for the city ...

67 2.4 - CULTURE - sports - PHOTO: Liverpool Istanbul - victory parade (FS); Grand National (FS); - need something from Everton

Layer 13:

Steven Gerrard Dixie Dean the Croxteth-born striker joined Ever- The Whiston-born footballer has so Fondly remembered by Everton fans ton at the age of nine, making his de- far spent his entire career playing to this day, William Ralph ‘Dixie’ Dean but with the professional team in for Liverpool FC, making his debut was signed from Tranmere Rovers for 2002. Five days before his 17th birth- in 1998. He became captain in 2003, £3,000 in 1925. He scored 32 league day, he scored his first and has made more than 400 Pre- goals in his first full season at Good- goal – a 25-yard strike against Arsenal mier League appearances. In 2001, he ison and, in 1928, set an individu- at Goodison. Despite being an Everton scored his first international goal in al record of 60 league goals in a sin- fan since he was a boy, Rooney spent England’s 5-1 victory over Germany. gle season. Under his captaincy in the just two seasons with the club before 1930s, Everton won the Second Divi- signing with Manchester United for Regarded by many as one of the sion, First Division and FA Cup. Born £25.6m in 2004. greatest English midfielders in histo- in Birkenhead in 1907, he practised ry, in 2005 he came third in the voting football as a boy by throwing a ball John Conteh for the prestigious Ballon d’Or award, on to the roof of his local chapel and Such was the Kirby-born boxer’s tal- which is given to the best player in heading it as it bounced off. A ent that he was once touted as a pos- Europe. The highlight of his career of Dean was unveiled outside Goodi- sible contender for Muhammed Ali. to date is lifting the European Cup son Park in May 2001. Conteh began boxing at the age of 10, as club captain following Liverpool’s winning the gold medal dramatic triumph over AC Milan in Is- Wayne Rooney at the British tanbul in 2005. England’s youngest ever goal scorer, in 1970 and the World Boxing Coun- 68 2.4 - CULTURE - sports - PHOTO: Liverpool Istanbul - victory parade (FS); Grand National (FS); - need something from Everton

Lifeblood – Sporting passions

cil’s light crown in 1974, borough disaster in 1989, in which land District League before joining a title he held until 1977. He retired 96 LFC supporters lost their lives, the club’s youth team at the age of 16. from the sport in 1980 and is now an he attended many of their funerals. He made his professional debut with after dinner speaker. Following Liverpool manager Rafael Liverpool during the 1996 - 97 season, Benitez’s departure from the club and winning a treble of the FA, League its subsequent lack of success under and UEFA Cups in 2001. In May 2011, Born in Dalmarnock, East Glasgow, , Dalglish began his sec- he moved up to second on LFC’s all - Dalglish signed to Liverpool FC from ond stint in charge as caretaker man- time appearance list with 666 appear- Celtic in 1977, where he was a pro- ager in January 2011; he signed a ances, beaten only by Ian Callaghan lific goal scorer during one of the three - year contract in May 2011, but (857 games). In February 2013 he an- club’s most successful periods, win- despite winning the League Cup in nounced he would retire at the end of ning seven league titles, three Euro- February 2012 he left the club for the the season. pean Cups and five domestic cups. second time in May the same year af- Nicknamed ‘King Kenny’, he became ter ‘disappointing’ league results. In 2009, he set up the 23 Foundation player - manager of Liverpool in 1985, to help Merseyside children achieve winning three league titles and two Jamie Carragher their dreams, and has received the FA Cups before resigning as man- One of Liverpool FC’s longest-serv- Freedom of Sefton for his charity ager in 1991. His support for Liver- ing players, Bootle-born Carragher be- work. pool FC fans went beyond the pitch gan playing football for Merton Villa and in the aftermath of the Hills- in the under - 11s Bootle and Lither- 69 2.4 - CULTURE - music - PHOTO: The Beatles (NML); - (FS) - small; face - image

Layer 14:

Elvis Costello psychedelia to mainstream 80s rock died in 1983 due to weakened heart The Grammy Award - winning singer and pop music, Teardrop Explodes valves from rheumatic fever he suf- - songwriter behind such hits as Ali- was formed in 1978 with a line - up fered as a child. son, Shipbuilding and Oliver’s Army including frontman , Paul was born in London but moved to Simpson and (later to become) lead- The Beatles Birkenhead as a teenager in 1971. His ing British artist . They Surely John Lennon, Paul McCartney, split in 1983 but were awarded an In- George Harrison and Ringo Starr need spiration Award by music magazine no introduction? Beatlemania explod- Mojo in 2010 after the re - release of ed in the late 1960s – cue crowds of albums Kilimanjaro and Wilder. screaming female fans, 20 number ones, seven Grammies, 15 Ivor Nov- Billy Fury ello Awards and Lennon claiming to Dingle - born Ronald Wycherley, aka be ‘more popular than ’ - but for sixties pop star Billy Fury, may nev- many they will remain just four lads band Elvis Costello & the Attractions er have had a number one single but from Liverpool who changed music was inducted into the Rock and Roll he did spend more than 300 weeks in forever. Hall of Fame in 2003. the UK charts. Known as ‘the British Elvis’, his hits included Jealousy, Last Frankie Goes to Hollywood Teardrop Explodes Night Was Made for Love and his sig- Emerging from the 70s punk scene, Credited with heralding the return of nature tune, Halfway to Paradise. He the dance - pop band was formed in 70 2.4 - CULTURE - music - PHOTO: The Beatles (NML); - Penny Lane (FS) - small; face - image

Lifeblood – Musical heroes

1980 by lead singer . In has written the soundtracks for films and the Bunnymen won critical ac- 1984, their top 40 hit single Relax was including Alex Cox’s I’m a Juvenile claim with their first album Croco- banned from the BBC for its overt- Delinquent and Under The Mud. dile (with drummer ). ly sexual nature; it flew to the top of Despite De Freitas’s death in a mo- the UK charts and stayed there for Brian Epstein torbike accident in 1989 and the tem- five weeks. Later singles Two Tribes The man who discovered The Beatles porary loss of charismatic lead sing- and The Power of Love also reached also managed Gerry and The Pace- er McCulloch to a solo career the year number one, making Frankie Goes makers, Billy J Kramer and The Da- before, the band has continued in to Hollywood the second band to top kotas and as well as run- various line - ups ever since. the charts with its first three releases. ning his family’s business, North End Liverpool’s Music Stores. Sadly, a combination of was the first. work pressure, recreational drug use Formed by in 1989, fes- and depression, possibly linked to his tival favourites The Lightning Seeds homosexuality (then illegal), took its have had 12 top 20 UK hits includ- Best known as leader of post - punk toll and Epstein died of an overdose in ing Pure, Sugar Coated Iceberg and band The Mighty Wah!, which gained 1967 at the age of 32. Change. , a collabora- critical acclaim in the early - 80s, tion with comedians their biggest hit The Story of the Echo and the Bunnymen and , was the official Blues reached number three in 1982. Formed in 1978 by Ian McCulloch, anthem of the England team for the Wylie now pursues a solo career and and , Echo 1996 European Championships. 71 Layer 15:

John Peel Paul O’Grady Phil Redmond The Heswall-born DJ and Liverpool FC Birkenhead-born Paul O’Grady shot to Best known as the creator of three of fan championed countless musicians fame as the flamboyant, mini-skirt- Britain’s longest- running drama pro- over his 40-year career, including Da- ed character Lily Savage before re- grammes, , and vid Bowie, Marc Bolan, inventing himself as a TV chat show , Phil Redmond has also and the White Stripes In Merseyside, host. The youngest of three children, written extensively for radio, televi- Echo and The Bunnymen, Pete Wylie, he grew up in Tranmere, attending St sion and stage. He served on Liver- , Half Man Half Anselm’s College, Manor Hill. While pool’s Capital of Culture Board from Biscuit and The La’s all say they were living in London in 1978 he developed November 2006, becoming creative inspired and supported by the fa- his drag act, based on some of the director in September 2007, and is ther-of-four. When Beatlemania hit women in his family, and took it to credited with turning plans for the the States, Peel was working as a DJ the Edinburgh Festival where he won year around after a catalogue of dis- in Dallas, Texas, where he was able to a Perrier Award. Savage won spots on asters. He is chair of National Muse- take advantage of his Liverpool con- This Morning and The Big Breakfast ums Liverpool. nections. On returning to England in before presenting game show Blan- 1967, he joined the pirate station Ra- kety Blank. O’Grady has won a Bafta Archbishop Derek Warlock dio London before transferring to Ra- Award for his chat show, also named Appointed in dio 1 where he remained as its last most popular daytime programme at 1976, the prelate worked closely with original presenter until his death, the National Television Awards, and Anglican Bishop David Sheppard to aged 65, in 2004. was given an MBE in 2008. foster unity and harmony in Liver- 72 Lifeblood – Our people pool in the wake of the Toxteth riots. before turning away from his sport- served a long apprenticeship in pol- He welcomed Pope John Paul II to the ing career to dedicate his life to the itics. As a child she ran errands for Metropolitan Cathedral in 1982 and church. Converted to evangelical her socialist parents – distributing played an important part in consol- Christianity whilst at Cambridge Uni- handbills, counting voters at polling ing the public in the aftermath of the versity, he was ordained in 1955 but booths and making tea for canvass- Heysel and Hillsborough football sta- continued to play test cricket until ers. Her ardent political beliefs at- dium tragedies. He and Bishop Shep- 1963. While working with Archbish- tracted her to her husband and part- pard were awarded the Freedom of op Warlock to reconcile Liverpool af- ner John Braddock, a socialist wagon the City of Liverpool in January 1994 ter the 1981 riots and promote the repainter on the Cheshire Lines rail- and the Archbishop was made Com- city’s regeneration, he was an outspo- way, who would later become twice panion of Honour in the 1996 New ken critic of Conservative prime min- leader of . “Bat- Year Honours; he died of cancer two ister Margaret Thatcher. He was made tling Bessie” was famous for her fiery days after his 76th birthday, a week a life peer in 1998. On his death from speeches and battles for the under- before he was due to collect the cancer in 2005, more than 2,000 peo- dog, once pulling out a pair of air award. ple gathered to pay their respects. guns in the House of Commons and placing them in front of the Home Bishop David Sheppard Bessie Braddock Secretary to make the point that guns from 1975 - 1997, Although it was not until the age of should not be sold without a licence. Lord Sheppard was an internation- 46 that she became Labour MP for She died in 1970, seven years after al cricketer who captained England Liverpool Exchange, Bessie Braddock her husband. 73 Layer 16:

Jimmy McGovern acclaimed painter as well as a poet; pire Theatre in 1954 and he contin- Powerful social issues drive screen- he died in 2000 after a long illness. ues to perform his notoriously long writer Jimmy McGovern’s dramas, Litherland-born Roger McGough was stand-up shows into his 80s. Along- which include the acclaimed 90s se- also a member of anarchic group The side comedy success, Dodd had 19 ries Cracker, starring Scaffold, with John Gorman and Mike top 40 hits including Tears – number as alcoholic criminal psychologist McGear (Mike McCartney), reaching one for five weeks in 1965, which sold Fitz. Jimmy McGovern’s career began number one in the UK singles chart in more than a million copies. on Liverpool-based soap Brookside; 1968 with Lily The Pink. He was made his creations include The Lakes, The Poetry Society president in December Willy Russell Street, Priest and Hillsborough. 2011. Brian Pattern grew up in Wa- The award-winning writer of Blood vertree, meeting McGough and Hen- Brothers, Educating Rita and Shirley Roger McGough, Brian Patten ri while writing an article about them Valentine’s big break came in 1974 and for the Bootle Times. He writes exten- when the Liverpool Everyman pro- Known collectively as the Liverpool sively for both children and adults. duction of his musical John, Paul, Poets, the trio performed their work George, Ringo and... Bert was taken in the Everyman Bistro during the Ken Dodd to the West End. His plays have been 1960s. They published a joint anthol- Liverpool’s most famous comedian produced all over the world as well as ogy, The Mersey Sound, in 1967, which played his first gigs at an orphanage being made into films. His novel The sold more than 500,000 copies. Born in Knotty Ash. His first professional Wrong Boy has been translated into in Birkenhead, Adrian Henri was an booking came at ’s Em- 15 languages. 74 Lifeblood – Artistic inspiration

Alan Bleasdale for Hampstead and Kilburn since Leonard Rossiter The TV dramatist started his career 1992. Born in Birkenhead, she attend- The actor’s plans to study at Liver- writing radio dramas; Scully, about ed West Kirby Grammar School for pool University were dashed after his a football mad teenager, was later Girls before studying acting at RADA, father, a voluntary ambulance man, made into a television series. Among winning two Best Actress Academy died during an air raid in 1942 and his best-known work is Boys From the Awards for Women in Love in 1969 he was forced to get a job to support Black Stuff, about unemployment in and A Touch of Class in 1973. his mother. Rossiter’s TV roles includ- 80s Liverpool, and G.B.H. about Mil- ed the lecherous landlord Rigsby in itant Labour councillors. In 2011, his Arthur Dooley and the lead in The Fall two-part film The Sinking of the Laco- Born in Liverpool in 1929, Dooley and Rise of Reginald Perrin. He died in nia was shown on BBC2. He and Wil- sculpted mainly religious works, October 1984. ly Russell were members of the Gang working in scrap metal and bronze. of Four management at the Liverpool Prominent pieces include Redemp- Bill Tidy Playhouse theatre in the 1970s, where tion, created with Ann McTavish, for The Tranmere-born cartoonist began they premiered much of their writing. Liverpool Cathedral; The Resurrec- drawing adverts for the Radio Times. tion of Christ at Princes Park Meth- A prolific artist, Tidy drew many of Glenda Jackson odist Church and his Beatles tribute his cartoons for satirical magazine A professional actress before be- Four Lads Who Shook the World, on Punch. He has also designed board coming a politician, Glenda Jack- Mathew Street. His studio remains games, stage sets and trophies and is son has been Member of Parliament untouched since his death in 1994. a popular after-dinner speaker. 75 76 The technical feat

Looking at the map in its new home, and the firing of so many layers rep- painstaking creation of the map’s blazing with colour in the window of resents something of a coup for the tiny details, and the meticulous piec- the Museum of Liverpool, it’s hard to artists, and there are few places in ing together of its curves and con- comprehend what a technical feat Europe that would have been able tours to create a picture of the city, it represents, but everything about to create a glass sculpture of this in 2007, that is mind-blowing not is creation is ground-breaking. The size. Its firing was the culmination just in its height and width, but in its sheer size and scope of the glass, of years of work, of research, of the depth and detail. 77 Introduction to part three Barbara P. Beadman Worshipful Company of Glass Sellers of London PHOTO: internal shots from new museum?

PART THREE –

Glass is a wonderful substance, cur usually resulting in cracking. Dif- beautiful to behold and fabulous to ferent colours heat up and cool over touch. An oxymoron of sensations varying lengths of time; the thick- as it can be silky and rough; sharp ness of the material increases the pro- and smooth. It is both a dream and a pensity to fail; the sheer weight of nightmare. When it is heated it moves the glass (100kgs per panel) is a chal- of its own accord, when cold it can be lenge for handling, manipulating, fus- tough, protective, twisted into coils, ing and annealing. This Liverpool Map broken and reformed, cut, polished, is therefore a major technical achieve- laminated, toughened, water jet cut, ment to fuse a 17 - layered artwork, in laser cut, screen printed, painted, six separate sections. transparent, milky or opaque. Designing and making the panels, uti- Many of the techniques have been uti- lising UK facilities sends out strong lised within and as layers; the whole global messages that iconic glass art fused together. At each stage there work is being designed, made and in- is an opportunity for disaster. All the stalled in this country. It is a remind- materials need to be compatible and er that the UK has the skills and the should they be at the opposite ends of technical ability to embrace and use the given tolerances, problems can oc- new technology in a holistic manner. 78 Introduction to part three Barbara P. Beadman Worshipful Company of Glass Sellers of London PHOTO: internal shots from new museum?

TECHNICAL ACHIEVEMENTS

My first impression was of one large The work unites two traditional are- A new museum – a new map epito- glass map, silhouetted against the as of glass making. Made in Sunder- mising man and ‘machine’ in harmo- Liver birds on the top of the Liver land; sited in Lancashire. The two ny. A spectacular achievement. Building. Moving closer, the large in- areas have centuries of history, cre-

dividual panels are skilfully angled to ativity and innovation in glass. It re- Barbara P. Beadman

give a dappled vista of the waterfront. minds us that the UK glass industry Assistant to the Court, Worshipful Company of

The size is deceptive because of the has been through turbulent times, Glass Sellers of London

height of the windows which allows has been at the forefront of industri- Director, Plowden & Thompson light to flow and change the depth of al philanthropy, has managed, gen- colour as you move. erally speaking, for both sides of the management divide to work togeth- It is a map for the people of Liverpool; er, has enabled space exploration, the geography is clear, boundaries improved cotton manufacture, given identify sections whilst making it feel us oven ware, laboratory ware, drink- inclusive, the part that water plays in ing vessels and is still evolving and the city, the hand written notes that restructuring using or inventing the make you want to learn more of the most appropriate methods of manu- writer – their age, their experience, facture. Glass does not have inbuilt their outlook. Even the ‘back’ has fac- obsolescence; it promises new fu- es that you are sure you know. tures and horizons. 79 Making the map:

The Liverpool Map was commissioned gibles – emotional boundaries, ac- While the artists were interested for the People’s Gallery at the new Mu- cent, past, present and future – to the in depicting a cultural landscape, seum of Liverpool, depicting the city process leading to its creation. Whilst the structure of the map is literal- as defined by culture and heritage, the techniques used aren’t new, the ly a portrait of Merseyside. The art- rather than geography and politics. combination of cutting edge technol- ists started their research by com- ogy, traditional craftsmanship, inno- piling a puzzle of Liverpool pictures, Its technical achievements are as vation and problem-solving – and the poetry, historical landscapes, ephem- unique as its location: dominating a sheer scale of this monumental kiln- era and handwriting, scanning them huge glass window, overlooking the formed glass sculpture is breathtak- into a computer. Before the sculpture Three Graces and the river Mersey. ing stuff. ever existed physically, it began as a The sculpture’s visible part stands map of digital layers. This mass of in- nearly two metres tall and is divided The world-class facilities in the Na- formation was then organised within into six slab-shaped columns, each tional Glass Centre at the Universi- the boundaries of a digital version of measuring 33cm wide and 5cm thick. ty of Sunderland, which houses one an Ordnance Survey (OS) map of Liv- Every column is made up of 17 layers of Europe’s biggest kilns, inspired the’ erpool, including the Mersey and the of sheet glass, fused into a solid block. proposal for the Liverpool Map. Blend- city’s roads, railways and boundaries. ing ancient glassmaking techniques The ideas behind the Liverpool Map with modern machinery, there is per- Contours from the OS map were used are ground-breaking: from the desire haps no other place in the UK where to construct the core of the artwork. to physically capture the city’s intan- such a sculpture could be made. On Liverpool Map, these contours are 80 Technical achievements

rendered in waterjet cut glass, pro- with a collage of images. Local land- viding thick, brightly coloured layers marks and cultural icons from the deep inside the clear glass columns. city’s archives, the National Museums They’re accurate enough that a view- Liverpool collection and the Daily er can recognise and pick out geo- Post’s records were chosen by voters graphical details – there’s the network to represent their city, with handwrit- of streets in dense white glass, the ten text and hand - drawn patterns transparent sea blue Mersey coast- adding detail. Using the tradition- line, and a bright blue line indicating al silkscreening process, these imag- Liverpool’s city limits. Two addition- es were transferred by hand to large al boundaries were added: a bound- sheets of glass. ary line in yellow glass voted on by Daily Post readers, and a line in red, A combination of waterjet cut con- ‘Weaving’ the columns what became known as the ‘Redmond tours and screenprinted images was The visible parts of the Liverpool Map’s columns are just shy of two metres. Each slab measures Line’, showing Phil Redmond’s inclu- used to construct a layered ‘portrait’, 225 cm, with the rest of the glass hidden in the base as a sturdy anchor. But the type of glass sive depiction of Liverpool’s emotion- providing an accurate depiction of the used was manufactured only in 205 cm lengths, al border (see pages 54 to 55). map of Liverpool as well as a local ex- so additional glass had to be fused to the ends of each column to make the full height. These pression of the many sides to Liver- extra pieces and the 17 layers of glass were wo- ven together in an overlay pattern, to create the The clear spaces in between the pool’s story. strongest bond possible. streets and the Mersey were filled 81 Responding to the brief:

Open Culture’s brief called for a map Reading the brief, artist Inge Pan- that conveyed Liverpool’s complicat- neels said: ‘I thought glass would be a ed geographical identity, but ‘which beautiful medium to interpret a mul- could embrace local, national and in- ti - layered cultural snapshot of Liv- ternational areas, highlighting Liver- erpool in 2008. My University of Sun- pool’s global influences’. Votes and derland colleague Jeffrey Sarmiento’s contributions were gathered from work often consists of many layers of readers of the Daily Post, and given to printed glass stacked and fused to- the artists to interpret. gether, allowing a depth of visual in- formation to be built up. He agreed to put in a joint application. Little did he – or I, for that matter – know what we were letting ourselves in for!’

The artists proposed the creation of a Liverpool Map that’s more than carto- graphically correct; it would be con- structed from stacks of sheet glass, fused together into a solid block, en- capsulating an array of Liverpool’s ge- 82 A proposal ography and culture. Beyond the city’s tional memories, natural features, from the blog physical boundaries, each layer repre- economic topography, demographics, sents local identity through images of language, history, local imagery and 25 September 2008 cultural icons, people and places, in- links with other places. So, off we go to Liverpool to be interviewed. We go with the idea that it’s an honour to get to this ternational links and trading routes, stage, whatever happens. We use the train jour- ney to brief ourselves and prepare for the inter- past and present. Glass – with its historical associa- view, and arrive armed with a PowerPoint pres- entation and a glass sample and 3D rendering. tion with the city through St Helens’ Called for interview, we’re nervous but excit- Familiar geographical features were glassworks – is a fitting material, and ed. It’s clear that we each bring different exper- tise to this project. The interview panel consists assembled from coloured glass us- proved the ideal medium to integrate of members from NML, Open Culture, the Dai- ly Post and Phil and Alexis Redmond, who are ing delicate, high - precision waterjet complex information into a single sponsoring the project. cut - outs and intricate screen prints. artwork. As daylight shines through, Clearly we impressed them, as on Friday I re- ceive a phone call from George, from NML, to say Layer by layer, these individual details you can see subtle changes in colour we’ve won the contract and ask would we like to make the Liverpool Map! formed a three - dimensional map, over the course of a day. It makes the I call Jeff – we’re both a bit gobsmacked! We’re dense with images. Liverpool Map far more dynamic than delighted and worried at the same time – now we have to deliver this. It’s a complicated piece, a traditional opaque sculpture, while both in content proposal and technical delivery. I am however confident that with a good team we At first glance, theLiverpool Map has also doing justice to the museum’s can do this. Hurrah! the look of a ‘traditional’ map. But huge window, in front of which the deeper inspection reveals the many map stands. layers within its geography. The re- sponses of the public include emo- 83 Waterjet cutting

The process used to create the con- cuts through the glass, which is sup- geography. From the resulting vectors, tours of the Liverpool Map’s 17 layers ported by a metal grid in a large pool drawings of the map’s features were was, literally, cutting edge. Liverpool’s of water, needed to stop the glass produced, which were then grouped familiar details – like the Mersey Riv- from getting hot enough to melt or by colour, and cut on the waterjet. er, road network and boundary lines crack. The waterjet machine at the in red, blue and yellow – were shaped National Glass Centre in Sunderland The map’s features were made more by waterjet cutting, creating three (one of a only a handful in university distinctive by using contrasting col- - dimensional, brightly coloured art schools worldwide) was used for ours – so a network of streets cut shapes, and a depth in the map that its ability to produce precise shapes in dense white glass represents the you don’t see in the printed layers. that wouldn’t be possible through tra- ‘heart’ of the city, while the area be- ditional glass cutting methods. tween the streets was filled with Using an industrial manufacturing bright blue glass, cut precisely to technique, high - pressure water is A CAD (computer aided design) file match. Composed of positive and neg- mixed with sand to produce a pow- from Ordnance Survey was used to ative spaces, the map’s bright palette erful stream of water. The water ‘jet’ create an accurate image of Liverpool’s of colours was built up gradually, add-

84 ing boundary lines in red, yellow and tiny pieces, which were falling through ant jigsaw puzzle. The final work in- blue, and a dazzling sea blue colour to the grid of the cutter and into the cludes three waterjet layers, fused with represent the river. Once cut, the col- sandy water below. To solve the prob- printed elements of the map and reg- oured parts were assembled and fused lem, Jeff adapted the toy kit idea – the istered (see box) to fit with each other. together to create a complete layer. tiny parts stayed attached by a delicate spoke, which kept them from breaking Registration The scale of the project forced Jeff and away from the glass sheet. This also Registration is a traditional printing term, but it applies equally Inge to invent and adapt established had the dual benefit of making the tiny to layers of glass as it does to inks printed onto paper. Registra- tion involves the alignment of different colours – and shapes, techniques. Borrowing concepts based parts much easier to put back togeth- in the case of the Liverpool Map – in a very precise way, to on jigsaw puzzles and model toy kits, er again when constructing the layers. make sure that everything stays in the right place once the layers are stacked up. You can tell when colour layers are poor- they painstakingly created the multi - ly registered – usually on things that are printed quickly like newspapers – because it produces a blurred effect called a coloured glass details, all designed to The individual components were then moiré pattern. It’s especially important when printing multiple sections of one image, which have to match in order to read fit each other perfectly. assembled in a kiln. To keep the sheet well. The advantage to registering stacks of glass, as opposed to paper, is that glass is transparent, so you can see how things a consistent shape while the glass was line up. However, because the glass in the Liverpool Map is Their blog shows that while cutting melting, a heat - proof dam was laid at thick, and there is space between layers of print and water- jet cutting, perfect registration is only visible from directly in the complex edges of the Mersey estu- the edges of the glass. The waterjet lay- front of the artwork. The alignment appears to be slightly dis- torted from an angle. ary, the pair struggled with losing the ers were fused into full sheets like a gi-

85 Screen printing

More than 140 graphic elements fea- printed on acetate film to match the Once completed, the images were ture in the Liverpool Map, including shape of the glass. printed onto transparent paper and photos of the city’s living and breath- tightly pressed tightly to the printing ing icons, fond- Not all of the images are photographs screen (a nylon mesh strecthed over Halftone: A technique that ly remembered – some of the map’s finest features a wooden frame) and exposed to UV many will recognise from old newspapers. A photograph is faces, and fa- are hand-drawn. The ‘community’ light, producing the stencils. No mean transformed into a grid of tiny dots (just black in the case of vourite buildings. layer – a collage of handwritten text feat – nearly 100 individual stencils old photographs, and cyan, magenta, yellow and black for The images are made by local people – was scanned, were produced to create the densely colour images). These dots vary in size and space between each printed in multi- resized and placed, to reflect memo- layered imagery of the Liverpool Map. other to produce the illusion of ple colours, over- ries of particular locations in the city. continuous tone or gradations. laid to resemble Finally, hand-drawn maps of Liver- Printing enamel onto glass isn’t usu- a topographical terrain, but allowing pool from the 1800s inspired the larg- ally difficult, but this was an unusu- viewers to pick out important people est and most detailed drawings. In a al project, simply because of its sheer and places in Liverpool. tribute to historical mapmaking, the scale. Neither was the print bed long artists’ interns used dip pens and ink enough to accommodate the two-me- The artists used screen printing to to recreate the fine contour lines of tre-long thin sheets of glass, nor were create the graphics on large sheets of the Mersey. This massive line drawing the screens big enough to match the glass. Halftone versions of the pho- took nearly a week to make, but gives transparencies. To solve the problem, tographs (see information in the box, a hand-made quality that would be Inge and Jeff built a bespoke wood- above), were made in Photoshop and impossible to achieve on a computer. en table on a steel frame, to wheel 86 the huge layers of glass from the used to withstand the high tempera- print area to the kiln with the least tures of the kiln. Each layer of imag- amount of risk. es was printed in different enamels, mimicking the colour palette of a map Finally, the transparencies were split – portraits of cultural heroes in two to fit onto screens no longer than a shades of green, historical moments metre; this way they could be print- in two browns, iconic buildings in ed individually, and the image as- black, the river in a transparent blue, sembled on a single sheet. Printing on and the community layer text in red. clear glass was a definite advantage; they were able to register the screen In total, 52 sheets of glass were print- images (see page 85) to a paper copy ed, usually more than once, and fired laid onto the table underneath the in a kiln at a low temperature to ‘fix’ glass and, because the glass is trans- the enamel. Registered precisely on parent, it was easy to position. their custom-built table, Inge, Jeff and their team were able to print the Ceramic enamels were applied to deeply layered graphics to the glass, each screen and squegeed through giving the viewer so much to see in the mesh thus depositing the enam- front of, behind and through the Liv- el on the glass. Ceramic enamels were erpool Map. 87 The kiln

With the 17 layers completed, the building a fireproof framework of high- glass was stacked in order and placed temperature ceramic bricks, boards as in a large electric kiln, to be fused in a mould to shape the final columns. a process known as kilnforming. The kiln at the National Glass Centre – one Again, the kilnforming of the Liver- of the biggest in Europe – is designed pool Map called for custom solutions, to fire huge pieces like theLiverpool because none of the materials were Map, which require long firing sched- made for work of this scale. To create ules and precise temperature control. a flat surface in the kiln, three long, ceramic shelves were laid end-to-end Each of the six firings contained 100kg and shimmed with small steel plates, of glass. Once molten, the glass takes to make it as level as possible, with a on any detail of the surfaces it touch- wet mix of plaster and molochite fill- es. Mistakes could leave blemishes ing the seams. To stop the glass stick- that would require extensive polish- ing, and leave the cleanest possible ing, or distortions that would result in surface, the kiln floor and glass sheet the loss of months of work. The glass edges were covered in a ceramic fibre can also move at full firing tempera- sheet, painted with a ‘kiln-wash’ re- ture, so Jeff and Inge’s first job was to lease and topped with a piece of Thin- find a way of containing it when hot, fire, a paper-like ceramic material. 88 The artists chose to make the Liver- annealing, alleviates stress from the Removing the solid blocks of glass pool Map from Bullseye Glass, manu- glass, making it safe to display. Despite from the kiln was no mean feat either. factured specifically for kilnforming. the large amount of glass, the anneal- Each column had to be carefully man- Bullseye is renowned for a wide range ing of the columns took only six days – handled out, with four industrial suc- of colours that can be fused togeth- no longer than the small test samples tion cups attached to the face of the er without cracking (known as com- – because the length of firing depends glass and steel bars inserted in the patibility), but also for the technical on thickness, rather than length. handles. It took eight people to lift out know-how of its research and edu- each sheet, place it on a table and roll cation staff – it developed a system One of the complications in fusing it out to make way for the next firing. of vermiculite ‘sleds’ in 2008 to sup- large slabs of glass is thermal expan- port the fusing of large glass panels sion – the glass grows slightly bigger After a six day wait while the kiln re- for ceramic sculptor Jun Kaneko, and in extreme heat. On smaller work, an turned to room temperature, Jeff and the mould for the Liverpool Map was expansion of 0.7 % is pretty insignifi- Inge were filled with relief and excite- adapted from this framework. cant. But, heated to full fusing tem- ment that accompanied the first, and perature, the 225 cm slab of glass ex- every, opening of the kiln. But the re- In the kiln, the glass was gently heat- pands by 1.6 cm, with enough force to sult was worth the planning, the wait, ed to full fusing temperature of 830˚C shift the sleds supporting its ends. Fi- and the nerves. All six columns fired (considered a ‘warm’ glassmaking tem- nally, a system was devised with slid- beautifully and were stored in tempo- perature), then very slowly cooled. This ing supports at both tall ends, allow- rary crates, awaiting the final process process of controlled cooling, called ing the glass to expand and contract. – coldworking. 89 Polishing and packing

The six columns emerged unscathed Inge and Jeff’s careful calculation polishing stage when the friction of from the kiln, ready for their finishing of firing schedules kept the glass at the felt disc spinning rapidly against touches. Coldworking is the process a high fusing temperature for the the glass makes it warm to the touch. of grinding and polishing glass – a shortest possible time during the kil- noisy, messy and grueling job, but the nforming stage, preserving a natural- This left the top, left and right edg- end product shows off the best quali- ly glossy finish. Their intense prep- es of each column to be finished. The ties of the material. aration of the kiln floor left the rear glass was not only heavy but also surfaces with a lightly textured finish cumbersome – two to three strong There were two phases to coldwork- through which the printed images in men were needed every time a col- ing the Liverpool Map. Grinding the the ‘culture’ layer are fully legible. umn was moved, so the goal was to glass with coarse diamond abrasives minimise the number of times it had removed the sharp edges and cor- The success of the fired glass came as to be lifted or turned over. A purpose - rected areas that came out of shape a massive relief – polishing huge ex- built jig was constructed, so the glass in the firing. But it also left a rough, panses of the front and back surfaces could be set securely on its edge and cloudy finish. Polishing with felt discs would have presented a considerable easily polished. Mounted on wheels, and fine powders restored its opti- risk. Although the tools used in cold- the glass was rolled from the kiln to cal clarity, allowing viewers to see working are designed to spray water the coldworking area, a wet room through the glass and pick out the and prevent overheating and cracking equipped with drains and compressed individual layers within the solid (hence its name), it’s always possible air for two water - fed angle grinders, fusing. to lose a piece – especially at the final one pneumatic and one electric. 90 From the blog Though only the narrow faces of the ly brought the glass from a bumpy 9 July 2010 sculpture were brought to a full pol- matt surface to a perfectly see - Today we are packing the very first completed column. John, another member of our little team, has made us ish (less than a square metre in total), through polished edge. six bespoke crates. Each one is constructed of a stur- dy timber frame and lined with heavy - duty plywood. the coldwork process lasted 20 days The inside is lined with a polystyrene outer casing and a foam inner casing. The glass is lifted into place manual- for the six columns. Armed with an Finally, each column was packed into ly by Jeff and Tim. assortment of diamond - embedded a wooden crate, lined with polysty- It’s satisfying to write the details on the closed crate; this makes the column ready for its journey to its final resin discs and clad in aprons and rene and furniture foam, ready for destination. It will now be kept in storage in the univer- sity until the Museum of Liverpool is ready to install it. wellies, Inge, Jeff and their team slow- freighting to Liverpool.

91 Installation

With the museum nearing completion, lifted each column out of the crates, the Liverpool Map is twice as big as the map travelled to Liverpool. The tilting it vertically into the base. The any piece I’ve made before – but I’m museum drivers had spent the last glass slabs were designed to be set relieved it’s up. It looks extremely few months collecting things from all closely together, leaving little room to close to how we envisaged it’. over the country to display at the new manoeuvre and no margin for error. Museum of Liverpool; the Liverpool Map The map is set in a custom - made was one of the last items to be picked It was the first time Jeff and Inge had structure bolted to the gallery floor. up, because of its fragile nature. seen their creation standing upright, An engineer calculated the weight of with light streaming through the someone pushing on the glass, and Taking over four hours, the installa- huge window behind it. ‘I hadn’t ini- the structure is designed to protect the tion required a delicate balance of tially planned on coming, because I glass from toppling should anyone fall brute strength and finesse. The artists find installs relatively terrifying,’ Jeff against it. Six steel sleeves are welded watched – and winced – as three men admitted. ‘One single section from to the base, each lined with a thick lay-

92 er of neoprene, an industrial rubber, to over the glass. The plinth was drawn The Liverpool Map had reached its fi- make sure that the glass and steel nev- by Redman Design and made from nal home in the People’s Repub- er touch. Beacon Display’s Jim Birch Corian, a composite of stone and res- lic Gallery, opposite the Liver Build- supplied the technical data, using the in, also often used as kitchen or bath- ing and with spectacular views of the half scale sample to test the structural room countertops. Mersey. The map, though dwarfed by support, prior to installation. the size of the window, is anchored The installation complete, the artists firmly against the cityscape, which is Once each column was in place, the showed the team behind the map de- fundamental to the concept and the neoprene sleeves were pushed in and tails on the glass. At the press launch content of the sculpture. any gaps packed tight with slivers of later that day, patron Phil Redmond hard plastic board, to make sure the saw the completed map for the first glass can’t move. Bolts in the steel time, and was delighted with the re- From the blog sleeves were tightened by hand, as sult. Inge described how the gathered 27th January 2010 using tools would apply too much press and staff tried to ‘find their way Whilst Jeff keeps the kilns going, I travel down to Liver- pool to meet up with Jen at Liverpool Museum, and her pressure and crack the glass. home, and traced routes on the map team. I’m introduced to Becky from Redman Design, who has been appointed to design the plinths in the gallery. of their familiar routes and places’. The map will be housed in a specially designed and en- With all six columns in place, the She said, ‘It showed us that the Liver- gineered steel plinth. Becky will liaise with me on the de- sign of the plinth and will involve an engineer to calculate plinth, which has cut-out holes for pool Map had achieved its aim: to pro- the loading and support needed to keep six tall slim glass blocks upright and safe! It’s nice to be involved and feel the columns, was raised into the air vide a sense of place for the people supported within a larger team; usually I would have to do all this by myself! and gently brought down into place and visitors to city of Liverpool’. 93 94 Thanks

It wouldn’t have been possible to put this book - and indeed the Liverpool Map - together, without the help of the following people, to whom we’re very grateful:

National Liverpool Museum University of Sunderland Liverpool Record Office Georgina Young Tim Betterton Zelda Baveystock Robert Winter Also thanks to Jen McCarthy Raili Velt Theresa Easton Justina Heslop Helen Ankudinova Bettina Nissen NML photo archive Matilda Kästel Crispian Heath Dr Janet Dugdale, Emma Garnham Bullseye Glass Lucy Cattell Robyn Townsend Pearsons Glass Jenna Barcroft Stewart Bale Open Culture Erin Dickson  The Worshipful Company Charlotte Corrie Marian Brenes of Glass Sellers of London Christina Grogan Christine Keers

Liverpool Post Liza Williams Laura Davis

95 INDEX

Photo credits

BBC Radio Merseyside for permission to use extracts from the Liverpool Saga David Williams Fiona Shaw Inge Panneels Jeffrey Sarmiento Liverpool Post and Echo Archive Liverpool Record Office National Museums Liverpool Photographic Archivel Open Culture: Charlotte Corrie Christina Grogan Simon Bruntnell Stewart Bale

96