IMAGES TAKEN NEAR TO
Headland Close, WARRINGTON, WA3 1HH

Traffic lights at Lane Head junction.

Along the A580 and beyond the village of Astley and St Stephen, one shortly arrives at St Catherine of Siena. This Roman Catholic church, built between 1957-59, was intended to serve housing estates proposed to the north and west of Lowton. In the 1950s, a combination of population migration, urban development, and relatively high attendances saw the Roman Catholic Church invest heavily in developing urban areas such as Lowton. However, the subsequent decline in religious observance has left many dioceses oversupplied with places of worship. Rationalising such an extensive property portfolio tends to favour older, more traditional churches, placing others, like St Catherine, at risk: despite being well-attended and well-maintained, this church closed 2011 and is facing imminent demolition. St Catherine’s hexagonal nave (described below) anticipated the ‘church in the round’ configuration seen in later churches such as Metropolitan Cathedral of Christ the King, Liverpool (1967), and is critical to our understanding of the evolution of post-war ecclesiastical building types. Designed by Weightman & Bullen, a north-west firm of architects established in the nineteenth century, the practice’s pre-war churches were fairly traditional. However, by the 1950s, the firm was employing graduates schooled in Modernist principles: Patricia Brown, an alumna of the Liverpool School of Architecture, was the architect responsible for St Catherine and, as Robert Proctor, author of Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975, states: ‘St Catherine’s seems to be the earliest of the firm’s churches in which a fully-fledged interest in modernism is seen.’ The nave and sanctuary of St Catherine are housed within a hexagonal form whose reinforced concrete frame is expressed externally – each side of the hexagon divided into three structural bays. The lower portion of this double-height structure is infilled with red-brown brickwork with abutting structures, including a single-storey flat roofed narthex, in matching brick with decorative features. The upper portion is generally clear-glazed to eaves level, although a band of alternating blue and clear glazing sits immediately above the brickwork. The sidewalls of the sanctuary also include vertical panels of coloured glass.