Sts Mary and Joseph

Introduction

Sts Mary and Joseph in Poplar, London, was built between 1951 and 1954 by Adrian Gilbert Scott as part of the 'Live' architecture exhibition of the Festival of Britain.

History

In 1946 Father (later Canon) John Wright was appointed Parish Priest and given responsibility for rebuilding the war-torn parish and its church. The new church was first used on 13th June 1954. The church stands on a site enclosed by part of the south side of Canton Street, Upper North Street and Pekin Street.

The church was regarded as old fashioned when built, but can be appreciated for the handsome quality of its workmanship, materials and design. In 1981 Lord Esher confessed that 'the fortress like Catholic church that once seemed so old-fashioned is now so functional' and recognised the building as an important local landmark. The church could originally seat 850, but after adaptations for a forward facing Altar it seats nearer 550.

Architecture and furnishings

The church is of steel girder and brick construction, cruciform in shape, 120 feet by 120 feet. The lantern tower, based on Ely Cathedral, is supported on parabolic arches 35 feet wide and 50 feet high, rising internally to 100 feet and externally to 140 feet with the copper cupola.

The sanctuary is paved in marble and has a baldacchino. The pulpit of Hornton stone is placed across one of the splayed angles of the central space and raised about 3.7m above floor level. The altar to Our Lady is a memorial to Canon Bartholomew O'Doherty, parish priest 1920-1946, with a life-size statue of the Madonna and timber reredos. The octagonal font is in Hornton stone at the liturgical west end.

The stained glass is by William Wilson of Edinburgh. Scott himself donated the light pendants, which were to the same pattern as those he designed for the rebuilding of the House of Commons. The church has a Greek cross plan with central lantern, and the liturgical east end with forward baldacchino faces west. The church has a stepped profile with moulded brick banding to cornices at each of the three main levels, and strong eaves or parapet mouldings.

The church has tall aluminium windows, most distinctive of which are those placed in the splays of the composition. The church has a projecting porch to Upper North Street with camel arch opening, behind it a bellcote over narthex within. The interior has narthex/nave, transepts and sanctuary of equal length with splayed sides to high central crossing. Pews have been reorganised to reflect liturgical changes, though the lack of alteration required shows how liturgically advanced was Scott's Greek cross plan.

Around the inside walls is a dado of Blue Hornton stone, which incorporates stone reliefs of the Stations of the Cross by Peter Watts. The interior walls of the church are plastered, with an 8 foot Dadoe of Blue Horton Stone.

Music and liturgy

The church has been described as 'Jazz Moderne Byzantine'. The church's original plan-form was intended to bring all the congregation close to the altar, anticipating ideas of De Sacra Liturgica in 1963. The parish runs groups for prayer, social action, Sacramental preparation, youth work, and mutual support.