Church of All Saints

The Church of All Saints is a parish church built between 1955 and 1956 by the architectural firm Curtis Green, Son and Lloyd. It is constructed of handmade brick in a Flemish bond pattern, topped with a sweeping tile roof, and features a rendered interior. The church has a square nave supported by four columns, a western baptistry, and an eastern choir and sanctuary beneath a low tower. To the north, there are vestries, and to the south, a long Lady chapel. The building is adorned with long lancet windows, and there are low windows beneath the large roofs of the Lady chapel and vestries, a design echoed in the dormers of the roof. The tower is topped with a spirelet.

The church has large porches that extend low over the entrances, with two porches on the north and south sides of the nave, which is designed with projecting gables resembling true transepts. The south-western porch contains glass depicting St George, salvaged from St George's Church in Canterbury, which was bombed in 1942, and the compensation from this event funded the construction of All Saints.

Inside, the church features stone columns that support narrow arched vaults in the main space, with similar arcading in the low aisles. The rafters are exposed in the star-shaped central roof space. The interior includes bench seating, a stone font, and hanging lights. The choir area is raised by two steps and includes a screen, pulpit, choir stalls, and an organ. Another step leads to the altar rails and organ. The Lady chapel is defined by fluted stone columns arranged in two central pairs, with a third column forming a pilaster around the altar. The curved plaster ceiling follows the shape of the rendered walls. The east window is triangular and features glass by Frederick Cole of Wippells of Exeter, dedicated to Lieutenant Ralph Stebbing RA. The forward altar is set on a single step.

All Saints is notable as the only post-war church designed by this important firm, which skillfully blends traditional elements with modern, simple forms, resulting in a high-quality composition that stands out alongside their listed works from the 1930s.