Within this multi-disciplinary group, based in the parent office in Preston, Ingham was distinguished by his commitment to the supremacy of design and visual considerations.Ingham shared his generation's commitment to Modernism. Although he later came to acknowledge some of its weaknesses, he wrote in 1977, "I still have a (now secret) love of the pure white (when white) hard peopleless forms of the Modern Movement, perhaps in future to become an erotic indulgence of consenting intellectuals in private."Keith Ingham was the son and grandson of builders in Lytham St Anne's and retained a strong loyalty to Lancashire. He was educated at the Leys School, Cambridge, and studied architecture at University College London, under Professor Hector Corfiato, against whose traditional regime he rebelled. He spent the year of 1954 working in Lytham for the late Tom Mellor, whose attention to detail in doors and windows he much admired.At BDP, Ingham rose rapidly to associateship and enhanced the firm's prestige with design awards, such as the RIBA Ideal Home House competition in 1962. Some prototype houses were built to his pitch-roofed winning design in Blackpool Road, Lytham, and were followed by many repeats of this versatile standard design all over Britain. Domestic work gave him scope for his attention to detail and confident handling of space and he designed two houses for his family, the second, at 10 Regent Drive, Lytham, 1965-66, being a strongly articulated geometric composition, now sadly altered. He also designed the Methodist Church at Poulton-le-Fylde, 1965-66, another work using bold forms.Ingham was involved in a large number of national and local bodies concerned with art and the environment.

He had plenty to say in committees, but also gave solid practical help in graphic design and other activities. He was President of the North Lancashire Society of Architects in 1972 and Chairman of the RIBA North-West region in 1975. In 1976 he was elected RIBA Vice-President for Membership and Public Affairs and grasped the importance of communicating architecture to a wider public, something that has taken nearly 20 more years for the RIBA to manifest outwardly. In this role he commissioned four wallsheets illustrated by David Gentleman showing the vernacular and industrial buildings he liked himself.Always dedicated to the job rather than to personal advancement, Ingham still did not achieve partnership in BDP after 20 years, perhaps because of his single-mindedness in a practice built on team work. When younger men were promoted over him he left in 1978 and set up his own practice; but the end of his marriage and a move from Lytham at the same time meant a still greater upheaval.During his solo practice he altered and refurbished Joseph Emberton's 1939 Casino at Blackpool Pleasure Beach with a creative sympathy for the original style. He set up Woodscape, a company marketing timber street furniture to his designs when he found none existing to his liking.

In 1985 he designed a substantial house with a barn-like, red-tiled, pitched roof, near Blackpool, having persuaded the client that his desire for a symmetrical Georgian house could not be made to work on the site. He continued to serve on Civic Trust juries, having been the recipient of 10 Civic Trust awards for his work and set up a North-West group of the Thirties Society (now Twentieth Century Society).Recently, Ingham had been studying the scope for a trans-Pennine waterway, a project combining his visionary idealism, love of transport systems and devotion to the North-West, which could by this scheme see continental barges via Hull passing through the Manchester Ship canal on their way to Dublin.Alan PowersJohn Keith Ingham, architect: born 9 July 1932; married 1956 Margaret Dearden (three sons two daughters; marriage dissolved 1979); died Manchester 23 April 1995.. As a historian, Jennifer Loach was in the front rank of those who revised the traditional picture of mid-Tudor England. Her scholarly interests found their focus in the political history of 16th-century England and in the history of religion, in which politics were then inextricably involved, but they also embraced architecture and art history. Her intellectual gifts won the respect of all who knew her, and her vitality and warm personality their affection. As Jennifer Baines, from King Edward VI School for Girls, Birmingham, she entered St Hilda's College, Oxford, with an Open Scholarship in 1964.

At St Hilda's, she became a pupil of Menna Prestwich, whose influence on her as teacher and scholar was to be profound and enduring. In 1967, having taken a First of legendary distinction, she embarked on a thesis on the reign of Mary Tudor, under the supervision of Penry Williams. After a year as a Senior Scholar of St Hugh's College, she became a Research Fellow and Lecturer of Somerville College, and in 1974 a Tutorial Fellow of Somerville and a University Lecturer. For several years she also held a Lecturership at Corpus Christ College.