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Summary

Description

Thomas S Cordiner, opened 1962. Modern movement crematorium with Beaux Arts inspiration. Sited on falling ground by sheltering bank, landscaped policies. Principal block irregular square in plan with bowed S elevation and antenna like cantileverd, canopied cloisters extending S. Brick with concrete dressings, columns and canopies, metal framed windows. PRINCIPAL BLOCK: S elevation to park; 5-bay concrete centrepiece, breaking eaves, fronting atrium, comprised of glazed tripartite panels at ground, canopy above and tall, decoratively latticed grid above. Lower brick flanking bays largely blank, with projecting canopies at ground, sheltering glazed entrances. 1 small office (?) window above each side, grouped towards centre. Fyrther, taller cantilevered canopies extending beyond principal block and returning to enclose courtyards to rear. Flat roof with large, off-centre stack. INTERIOR: not seen (1991). CANOPIES: splayed cantilevered concrete canopies extending from S elevation, stepped down at intervals, with flanged piers and part glazed 4-light exterior bays, terminating in obtusely angled, shallow quadrants cradling swathed forecourt. Paved walkways.

GATEPIERS AND RAILINGS: coped brick gatepiers; distinctive contemporary wrought-iron gates and central reservations with pierced sheet metal panels below. Two sets, flanking pedestrian and carriage entrances, are sited by S approach (1 set adjoined to lodges) and continued by contrasting boundary railings.

LODGES: two single storey, quadrant plan, en suite lodges to S of Crematorium deflecting traffic at right angles; materials as above. Flat roofed with taller, glazed bays flanked by staircases with decorative matal railings and with small windows to lower, brick flanking bays (echoing principal block).

Statement of Special Interest

Cordiner was a major architect of the post second World War period in Glasgow, known particularly for his Roman Catholic commissions. Dr Walker identifies the probable source of inspiration for the expressive de sign in Tait's earlier work for the War Graves Commission. Cordiner's training with Burnet, Son and Dick may account for the Beaux Arts bravado of the design.

References

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