On the same day as its architects Liverpool Masterpiece Commonly known as Paddy’s Wigwam is upgraded to a Grade 1 listin,
Historic England has enhanced the existing Grade II listing for Hopwood Hall Chapel in Middleton
Built in 1964-1965 to Gibberd’s designs and executed by Reynolds and Scott, this smaller chapel shares design features with its more famous Liverpool counterpart, including a centralised sanctuary lit by a lantern tower of concrete and coloured glass.
Sir Frederick Gibberd (1908-1984), who was knighted in 1967, was a leading figure in the emergence of Modern architecture in Britain.
He made major contributions to Britain’s post-war reconstruction and civic design, including Harlow New Town, the first Heathrow terminal buildings, and several power stations.
The cathedral, previously Grade II* listed, is now nationally recognised as a building of the highest architectural and historical interest.
Built between 1962 and 1967, the cathedral represents the greatest Roman Catholic post-war architectural commission in Britain. It was built over an earlier Sir Edwin Lutyens-designed crypt, intended to be part of a grand classical-style Catholic cathedral in Liverpool that began in the 1930s, but construction was halted, largely due to financial constraints and the outbreak of the Second World War.
The upgrade of the cathedral’s listing status reflects a deeper understanding of Sir Frederick Gibberd’s architectural vision and the cathedral’s significance as an international example of progressive Roman Catholic architecture during the mid-20th century.
A revolution in cathedral design
The cathedral’s revolutionary design features make it an architectural landmark of the highest order. Gibberd’s centralised plan with a unified worship space was unprecedented in British cathedral design, allowing congregations to participate more fully in the visual drama of the Mass.
The striking central lantern or ‘corona’ filled with coloured glass by John Piper and Patrick Reyntiens uses an innovative technique of cementing glass with epoxy resin pre-cast within tracery of thin concrete ribs – a method invented specifically for this building.
The cathedral also features numerous artistic collaborations of exceptional quality, including William Mitchell’s Evangelist entrance doors and carving to the bell tower, Elizabeth Frink’s crucifix, David Atkins’ geometrical floor pattern, Ceri Richards’ work in the Chapel of the Blessed Sacrament, and coloured glass by Margaret Traherne in multiple chapels.
This fusion of modern architecture with fine art epitomises the progressive shift following the Second Vatican Council (1962–1965), which emphasised the full, conscious, and active participation of the congregation in Catholic worship.
Sarah Charlesworth, Historic England’s Listing Team Leader North, said:
“Liverpool Metropolitan Cathedral transformed British cathedral design with its revolutionary centralised plan, representing a radical departure from traditional designs. Sir Frederick Gibberd’s masterpiece, built upon Lutyens’ earlier crypt, showcases extraordinary artistic collaboration and stands as one of Britain’s most significant post-war architectural achievements.”
