ACCESS 7 Inclusion of disabled people is not up for discussion 8 Leading the world to safety 9 About Access is building a history of helping properties to operate safely 10 Breaking down barriers – Improving access to museums and galleries for people with sight loss SECURITY 11 Thefts from museums on the increase
In this issue... 4
One cog in a very big machine
Grants announced for town centres
The advantages of being accredited
A ‘dummy pass’ for avoiding VAT relief?
HMG Adhesives help preserve our cultural heritage
Classified Section p34
RIPON 14 14 15 16
ROOFING 20 Award-winning roofers are ‘on top of the world’ 21 Richard Soan Roofing Services scoops major industry award 23 Federation launches 2nd edition of Good Practice Guide LIME 31 31 31
CATHEDRAL – NARTHEX PROJECT Open door policy at Ripon Cathedral Timbers show their age, but with a certain polish Experience and accreditations ensure quality craftmanship Creating the glass panels
PROJECTS 18 Mirfield Church and College resurrected by Anelay 25 Ornate Interiors complete stable preservation at Nostell 26 Historic village church has heaters powered from underground LPG tank 33 Ventrolla step in to save Cheshire church’s windows
Limewash finds a new mode of expression Castle acts as resource for students Specialisation leads to quality of service
FIRE SYSTEMS 32 New FIRERAY® 3000 Optical Beam Smoke Detector provides wide area fire detection in heritage buildings
COVER STORY: Stannah – a moving service in Liverpool Cathedral – Page 5
CHESTER 12 Transforming the City of the Legions 12 Roman Gardens open to the public as extensive improvement works are completed 13 Castle Drive’s historic gates carefully restored as entrance is opened to the public
Richard Shepherd – Business Development Manager Tel: 07429 516265 Email: firstname.lastname@example.org All other enquiries: Tel: 0161 710 3880 Fax: 0161 710 3879 61 Lower Hillgate, Stockport, Cheshire SK1 3AW Copyright Ecclesiastical & Heritage World. All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Ecclesiastical & Heritage World. Views expressed in this magazine are not necessarily those of the publisher.
One cog in a very big machine OThe construction of a ‘silver sundial’ in the Olympic Park has been a tiny cog in the huge machine that has been working away since 2008 to build the Olympic venues and surrounding facilities in east London. The project has demonstrated in miniature the kind of co-operation between different companies – offering different skills, expertise and experience – that has characterised the way the enterprise as a whole has developed. The sundial came about as a result of a competition launched by the Royal Horticultural Society in 2009 to design parts of a ‘Great British Garden’ in the park. The winners were amateur garden enthusiast Rachel Reid and 12year-old Hannah Clegg, who won the opportunity to work with the professional garden designer Sarah Price. The garden comprises ‘gold’, ‘silver’ and ‘bronze’ sectors and Hannah’s sundial is incorporated into the ‘silver’ sector. The overall design for the parkland was by LDA Design and US landscape specialists Hargreaves Associates. David Brown Sundials of Somerton, Somerset, was appointed as sundial specialist and supplier of the components for the project. The professional team on the site also included Arup Landscape, Skanska and Willerby Landscapes. The design is for what is known as an ‘analemmatic’ sundial, which is built flat on the ground, with two sets of hour points laid out around
an ellipse (one for GMT and one for BST). The user stands on a date scale in the centre of the dial, which shows the correct place to stand throughout the year. Additional markers explain how to use the sundial, also where and at what time the sun rises and sets. As this was to be a ‘silver sundial’, in the ‘silver’ sector of the garden, it was decided that the hour points and instruction plates should be made of stainless steel. This sundial – like all others – had to be designed for the latitude and longitude of the site and orientated correctly. In this case, and almost uniquely, the Prime Meridian (0 degrees) passes almost directly through the Olympic Park, originating as it does at the Royal Observatory, Greenwich, about four miles to the south. Nevertheless, a true north/ south line is needed at the site for getting the orientation of the dial correct. David Brown visited the Olympic Park in June last year to establish that north/south line and lay out the correct positions for all the components, working with the team from Willerby’s. An interesting divergence of readings emerged between the high-tech ‘satnav’ method of the Skanska surveyors and David’s low-tech method using a board, set square, pencil and the shadow cast by the sun. The discrepancy would have meant a difference in time of 15 minutes on the finished dial. Following an amicable discussion it was decided to go with the sun reading – after all it was to be a sundial! David also took azimuth readings on site to ensure there would be a clear path through the trees and over the stadium for the sun to shine on the dial. Meanwhile the components were sourced, manufactured and delivered from all over the country. The central date scale of the dial was made from a fine piece of monumental-quality Welsh blue-black slate, which was transported to Knutsford in Cheshire to have the stainless steel for the markings bonded into it. At the other end of the country, stainless-steel discs and rectangles were being cut in Lyme Regis in Dorset. In David’s home town of Somerton, local engineering company Fisher’s was precision drilling the countersinks in the dial for them to be installed. Installation of the sundial was completed in January. It will come alive during the games and afterwards, when visitors to the Great British Garden will pass through the gold, silver and bronze ‘rings’ and experience the colour, fun and discovery which was built into the original vision and realised through the contribution of just some of the vast number of contractors who took part in this great endeavour. R
Stannah – a moving service in
Liverpool Cathedral n The installation of a Stannah bespoke glass, 8-person, 2-stop, through-car, MRL (machine room-less) passenger lift in Liverpool’s Anglican Cathedral by the North West England & North Wales branch of Stannah Lift Services is bringing access for all to the beautiful lower-level Lady Chapel. With the bespoke passenger lift’s assistance, people of all mobility levels can access this tranquil haven to sit for a period of quietness, prayer or reflective contemplation. They can also view the reredos and principal windows from a balcony directly opposite the altar, and
the newly restored window depicting the Presentation of Christ in the Temple. Working in partnership with the Cathedral’s building company, the bespoke passenger lift was supplied, installed, tested and commissioned by the Stannah Lift Services team to a specification by international consulting services company, Lerch Bates. This specification demanded that: the centre line of the top floor door is central to the point of the existing stone arch; the rear of the top serving entrance is cladded in plaster board; the lower level is fully glazed – to include a glass landing door – in order to minimise impact on the surrounding architecture and maximise the sense of space. The lift’s motor room-less feature economically houses the operational elements in the lift structure itself and, by positioning the lift counterweight to the rear of the shaft, persons on the lower level corridor can see through the glass lift shaft when the lift is on the upper landing. The lift is programmed to relocate to the upper landing after a period of inactivity. Stuart Haynes, Media Manager for Liverpool Cathedral, comments: “Before the arrival of our Stannah bespoke passenger lift, access to the Lady Chapel was by stairs only, so many of our visitors missed out on its valued presence in this magnificent Cathedral. Not only has the lift brought democratic access to the Chapel, it is sympathetic to the Gothic Revival architecture, complementing the ecclesiastical environment to become an integral part of the building.” The Stannah bespoke passenger lift is serviced by the North West England & North Wales branch of Stannah Lift Services, part of a nationwide network providing 24 hour, 365 days a year support. q
telephone 01264 364311 email: email@example.com
Inclusion of disabled people is not up for discussion by CHRIS STOKES
Whitby Abbey Visitor Centre
O“This thing is marvellous; without it we’d be stuck.” The ‘thing’ is question was an ambulift, the mobile scissors lift that transports people with mobility problems on and off aeroplanes at airports. It is part of the service offered to disabled people when travelling in or out of major airports across the world. Access to air travel is just one of the many issues disabled people can now expect as part of everyday living. It goes alongside access to buildings, computers and all the other facets of life in the 21st century. That includes, of course, access to churches and
other cultural facilities, including heritage buildings. The Disability Discrimination Act brought into law the obligation to ensure disabled people have access to all premises and services, as far as is ‘reasonably’ possible. Therefore, shops and other services must adapt their premises to allow access to wheelchair-users, and the installation of induction loops allows people with hearing difficulties to partake of services requiring interaction such as speech. While incorporating modes of disabled access into new buildings is relatively straightforward, adapting existing buildings – especially those listed buildings with protected exteriors – requires more imagination and specialist attention. In terms of wheelchair access, there are many options, both permanent and temporary. At the most basic, a simple fold-away ramp can be put in place in a matter of seconds to allow entry or exit. More permanent solutions can involve the installation of modular systems which, although they are a permanent structure, do not impinge on the building design and are removable. Sometimes, changes can be made to the structure that do not affect its historic integrity but can accommodate a significant permanent access facility. In its guidance document English Heritage cites Whitby Abbey Visitor Centre, which has
a permanent passenger lift installed into the 17th century Mansion alongside, from which a bridge connects to the Abbey ruins. Of course, legislation should not be needed for any service provider or facility manager to realise that providing access to disabled people is a sound commercial decision. In the case of historic buildings, that means a continuing raison d’être for the building. In that same guidance document, Easy Access to Historic Buildings, English Heritage states: “The survival of most historic buildings depends upon their continued, viable use. Changes to improve access may well contribute to a building’s continued viability. Decisions reached in collaboration with users about alterations to improve access must balance these very real benefits against the potential damage those same alterations might cause to the significance of the building itself.” Access doesn’t just mean physical access to the building itself, however. Many disabilities do not manifest themselves in terms of mobility problems. The Royal National Institute for the Blind (RNIB) has a cultural inclusion department that offers advice, runs training courses and publishes guidance documents for all kinds of cultural service providers, including running a oneday course aimed specifically at museums, galleries and heritage collections. Issues
addressed include tactile displays, multisensory visitor experiences and descriptive tours. A particular problem often expressed by blind and partially-sighted people is not having any prior knowledge of the layout and topography of a site. One participant on the course is quoted as saying: “I found it really useful to learn that to talk about a museum or gallery building and environment can be an important part of the visit rather than just to describe the artwork or objects.” Fortunately, there is now a body of professionals working both within disability charities and in independent consultancies who can advise on access provision of all kinds, whether it be in the design of a building or collection or as an adaptation. Its representative body is the National Register of Access Consultants. The register also carries listings for access auditors, who assess where and what the barriers to access are. • For more information contact: RNIB – www.rnib.org.uk/ professionalssolutionsforbusiness/leisure/ museumsgalleries National Register of Access Consultants – www.nrac.org.uk. English Heritage – www.english-heritage. org.uk/publications/easy-access-to-historicbuildings.
Leading the world to safety n Evac+Chair International is the original manufacturer and the world’s leading supplier of evacuation chairs, designed to allow people who are mobility impaired to safely descend staircases in the event of an emergency, without the need for lifting or great physical strength. The company has more than 30 distributors worldwide, including in the USA, Germany, India and South Africa. The chair can be used in all nondomestic and commercial buildings to assist organisations in complying with health and safety regulations. Evac+Chair International has over 20 years’ experience in supplying organisations and worldwide distributors alike and continuously strives to maintain its existing reputation. As well as supplying quality products and training, they are also experts in responsible evacuation planning. It is no longer the responsibility of the Fire and Rescue Service to evacuate persons from a building, and organisations should not rely on their intervention. In the UK, the Equality Act 2010 reiterates key elements of the Regulatory Reform (Fire Safety) Order 2005 which places a legal duty on those with ‘responsibility’ over the management and operation of premises to provide adequate means for emergency escape in the event of a fire for all a building’s occupants. q
About Access is building a history of helping properties to operate safely n About Access is now established as the perfect partner for organisations who want to make sure their historic sites don’t become tourist traps. Based in Yorkshire and operating nationwide, the company has developed an impressive portfolio of work with churches, castles, stately homes and other heritage properties to help them look after their visitors and staff – and to make sure they keep within the law. Most recently, About Access completed an audit for English Heritage of five famous sites – Tintagel Castle and Pendennis Castle in Cornwall, Battle Abbey in Sussex, Kenilworth Castle in Warwickshire and Witley Court in Worcestershire. The company was founded in 2006 by Ian Streets, now managing director. As a member of the National Register of Access Consultants and the Access Association, Ian works with BSI Standards, the UK’s national standards body, to advise on appropriate designs for buildings and their surrounding areas. About Access has worked for blue-chip clients – the company completed a major project last year for Virgin Atlantic airline and for Virgin Holidays – and offers a rare expertise embracing modern and heritage properties. At the heart of the company’s activities is Ian’s experience, and his recognition that there is more to access issues than meets the eye. He said: “Sometimes it is not about physical barriers but has more to do with procedures and policies. Our work ranges from assessing the physical features of a building to reviewing customer service. “The sort of access improvements that benefit a disabled person will also really help older people and families with young children. “You can help visitors plan their day out, and make them feel more welcome, by indicating in advance the presence or absence of such facilities as lifts, ramps and handrails and of such potential hazards as steps, slippery floors and uneven ground.” So, in addition to helping a property operate within the requirements of the Equality Act, About Access will help owner organisations
Modern additions to historic properties include a wheelchair lift alongside steps at Kenilworth Castle (top) and a ramp and handrail outside the visitors’ centre at Tintagel Castle
take a pro-active approach to developing their sites carefully as attractions which can be enjoyed in comfort and safety by as many people as possible. It is a process that also involves helping a management team plan budgets for any work that may be required. Ian said: “Our input starts from the drawing board, which is important because even historic sites have to add modern facilities. “But our work for English Heritage was on
buildings dating back to the 13th century and beyond. They were constructed in the days when disabled access really wasn’t a priority, and even though they’re much older now they’re definitely much safer!” q • For further information on how About Access can help you and your properties please contact Ian Streets, Managing Director, telephone: 01482 651101, email: firstname.lastname@example.org website: www.aboutaccess.co.uk.
Breaking down barriers Improving access to museums and galleries for people with sight loss by EMMA LINCOLN, RNIB Arts Development Officer - Cultural Inclusion Services n RNIB supports almost two million people living in the UK with sight loss, and works to break down barriers experienced in daily life by blind and partially sighted people. RNIB’s Cultural Inclusion Service has developed CultureLink, a project designed to address the intellectual and physical barriers which blind and partially sighted people face when accessing heritage collections, museums and galleries. Following a successful pilot project in Wales, CultureLink West Midlands was established as a twelve month project funded by the Museums, Libraries and Archives Council (MLA). The remit was to work towards the Cultural Olympiad and study key areas and venues where people with sight loss access arts and culture. A CultureLink participant said: “When you go into these places you often can’t touch – particularly in art galleries. You want to get up nearer to the paintings to see them and they send you back. I’ve been told off time and time again!” The CultureLink legacy aims to go beyond 2012 and the Cultural Olympiad and create inclusion in all aspects of the museum and gallery sector, including venues, collections, websites, workshops, employment and staff attitudes. Working collaboratively to address and understand the needs of this select group has had some surprising results. Having opened up their collections to remove barriers and discriminatory practice, several partners found that they not only enhanced their venues for all visitors but also allayed fears and negative assumptions the staff may have had. RNIB provided training to staff across all seven project partners, which gave them a greater understanding of sight loss and the positive impact of skill sharing. Staff learned how audio description can provide visitors with key information about the building, facilities and exhibits and how to set up activity days for blind and partially sighted visitors. Valuable feedback from those participating in the activity days ensured that improvements could be made for future visits. The Hereford Museum and Art Gallery also had the opportunity to work with digital technology to develop a mobile phone application which would be accessible for blind and partially sighted visitors. This is part of a growing area where modern technology can enhance visits to museums and galleries for blind and partially sighted people – an area RNIB’s work is currently focusing on. Other more simple and person centred ideas are equally effective. Dominic Harbour, Head of Communications at Hereford Cathedral and Museum project stated: “For a long time we’ve had this idea that we’d like to create an exhibition which told the history of the cathedral and the development of artistic style. We wanted to give people a flavour of the building and create something that would be of interest to blind and partially sighted visitors. “We’ve got a brilliant focus group who represent young people, older people, people who have experience of creative work, whether it’s students in ceramics or those who have been painters previously. And all have varying levels of sight loss. We want them to tell us what’s working, and throw up some ideas about different ways that we might be able to present information. We want to know how we might convey things that are truly difficult to interpret, like the size of the cathedral, what it’s like to be in it and how you can present that in a tactile way.” CultureLink is keen to encourage museums to use the expertise of
people with sight loss, especially as volunteers. One such volunteer leads group tours around Hereford Cathedral, introducing blind and partially sighted visitors to the range of ornate carvings and tactile objects. One tour member told us: “I taught art for 26 years and lost my sight almost five years ago. It felt like I was losing sustenance for life itself. To touch things is always a privilege and touching those ancient chests and the facsimile of the chained books is a lovely way to experience the library that you can’t access totally through sight.” The project’s work has allowed blind and partially sighted people to access collections and venues that were never accessible previously, and staff were empowered to look at ways in which to make this possible. It has enabled them to find new solutions to access and take on an alternative perspective in their work which is of benefit to everyone. RNIB will strive to develop CultureLink in other regions across the UK. q • RNIB’s new publication, Shifting Perspectives, reflects the work of the project and offers an insight into the learning, experiences and sharing of all participants. Priced £7.99. To order call 0303 123 9999, email email@example.com or visit rnib.org.uk/shop.
Thefts from museums on the increase n This year, 2012, has been “characterised by a spate of museum thefts throughout England”. That statement was from a report into security arrangements at Norfolk’s museums following the theft of a number of items of Lord Nelson memorabilia in February. A plethora of treasures have gone missing from museums and galleries across the country: the latest incidence was the theft of a Henry Moore sculpture, valued at around £500,000, from the grounds of the Henry Moore Foundation in Hertfordshire between 10-11 July. Other high-value objects to have been targeted include the unique medieval Wenlock Jug, taken from a museum in Luton, stone axes from the Yorkshire Museum, two Chinese Qing dynasty art works valued at £1.8m from the Oriental Museum at Durham University and no fewer than 18 Chinese carvings, with an estimated collective value of £18m, which were stolen from the Fitzwillian Museum in Cambridge. A number of people have been arrested and charged in connection with the latter two thefts
and the two items stolen from Durham have been recovered. The theft of Nelson memorabilia from Norwich was one of a number of instances targeting military items. The Redoubt Fortress and Military Museum in Eastbourne has appealed to the museum and heritage community for help tracking down war artefacts valued at around £16,000, which were stolen during a night-time raid on the museum on 3 July, according to a report in the Museums Journal. It appears that the whole of Europe has seen an upsurge in raids. Museums in Greece, the Netherlands and Switzerland have suffered losses. The recession and budget cuts have been blamed, a view challenged by museums security expert Ton Cremers, founder of the Museum Security Network. Writing in the Museums Journal, Cremers says: “So far, official police statistics do not substantiate these claims – statistics are always a bit late, and per annum, and 2011 figures are not yet available. It is quite possible there has been a rise in reporting rather than a rise in incidents.
The stolen sculpture is a 56cm-high working model of Sundial 1965. Photo by Jonty Wilde, courtesy of the Henry Moore Foundation “The link between the present economic crisis and thefts from museums is impossible to prove. Only a very small percentage of art crimes are solved, so our knowledge is based on anecdotes rather than facts.” q
Transforming the City of the Legions n The ancient city of Chester – City of the Legions, as it is known – is embarking on a bold plan to bring itself into the 21st century: and its unrivalled built heritage is at the forefront of the effort. Renaissance Chester is one of prime movers in the utilisation of a blueprint ‘One City Plan’ to give Chester the prominence it had as a centre of Roman influence in Britain. The plan was adopted unanimously by Cheshire West and Chester Council in May.
According to the council: “Over two years in the making, One City Plan answers the findings of Urban Land Institute’s first study on a UK city which concluded that Chester – ‘a city of immense and unrealised potential’ – lacked a comprehensive strategy for the future.” Now, a series of public exhibitions is bringing the strategy to the people of the city. Professor Steven Broomhead, chairman of
Chester Renaissance, said: “The launch of the One City Plan is a significant milestone heralding a new direction for a 15-year journey to transform Chester into a worldclass city.” The plan includes renovating whole areas of the city, including the Roman walls and the cathedral quarter. The following pages give a flavour of some of the historic building projects that will form part of the transformation. q
Roman Gardens open to the public as extensive improvement works are completed n Chester’s popular Roman Gardens were officially re-opened in May following an extensive programme of improvements at the historic city centre site. The works, which include a new path to access the base of the city walls, high quality planting of Roman origin and topiary and a new York stone sitting and display area, follow on from the installation of Roman-themed floor mosaics last year. Designed by Cheshire West and Chester Council’s landscaping
team and project managed by Chester Renaissance, overgrown shrubs have been replaced with a new sculptured grass area, improvements have been made to the display of Roman artefacts and masonry and new litter bins have been installed. Executive Member for Culture and Recreation, Councillor Stuart Parker, said: “The Roman Gardens are one of Chester’s great historic assets and the improvement works have made a great difference to their overall appearance for both residents and visitors alike. “I am delighted the works were completed in time for the summer season – I’m sure all visitors to the gardens will be as impressed with the improvements as I am and, as the sun begins to shine, make the most of what is a much-loved local amenity.” Investing in the Roman Gardens is the first step in safeguarding the city’s rich history, a priority highlighted in the One City Plan (OCP). The OCP highlights the importance of Chester’s historic buildings and attractions – adding to the city’s character, individuality and unique identity. The entrance to the Roman Gardens from the Groves has also been remodelled helping to improve the connection to the River Dee from the city centre. Local councillor and Chester Renaissance board member, Samantha Dixon said: “The Roman Gardens are an important attraction and also provide a popular and enjoyable pedestrian route to the Groves and the River Dee. The improvements have helped to highlight a significant aspect of Chester’s Roman history, heritage and architecture within the gardens.” q
The Roman Garden group
Castle Drive’s historic gates carefully restored as entrance is opened to the public
(left to right) Chester Renaissance board member Eric Langton, Councillor Samantha Dixon, resident David Leedham and project manager Magnus Theobald OGrade I-listed, wrought-iron gates, on Castle Drive have been carefully refurbished by Chester Renaissance in partnership with Cheshire West and Chester Council with aspirations for public access via the gates. Dating back to 1885, the gates stand under the arch which leads to the entrance of Castle Square, now home to the University of Chester and Chester Crown Court and where the County Gaol once stood. The gates have benefitted from intensive works by local blacksmith, Flintshire Fabrications Ltd to bring them back to their former glory and visitors to the city can now walk through the renovated gateway and walk alongside the castle. Executive Member for Culture and Recreation, Councillor Stuart Parker, said: “The recently launched One City Plan highlights a clear vision for rejuvenating the castle area of Chester and maximising its historical relevance to our rich past. “The castle complex is of great importance to the city and the refurbishment works not only bring protected gates back into use but will allow local people and visitors to get a close up view of this once-mighty fortress. “The opening of the gates will also greatly improve pedestrian access between the Grosvenor Bridge and Little Roodee car park and the city centre, helping to make more of the city easier for pedestrians.” Fencing to the side of the City Walls path, which leads visitors past the castle, has also been refurbished with overgrown vegetation cut back, allowing visitors walking along the Roman walls a clear view of the castle. Local councillor and Chester Renaissance board member, Samantha Dixon, said: “The ambition set out for the Castle Gateway site in the One City Plan is to strengthen this distinctive part of the city by making far more use and promotion of the castle complex and its surroundings. “The refurbishment and opening of the Castle Drive gates and
maintenance works to improve the view unlocks the site’s potential, and I am pleased the gates’ restoration marks the start of the process.” Local resident David Leedham, who attended the official opening of the gates after working with Chester Renaissance on the project, said: “Concerns about the area surrounding the castle, which are shared by Chester Renaissance and the Council, have resulted in this magnificent improvement which I hope will result in a much more dramatic entrance to the city for tourists and visitors alike. “This historical area of the city is full of amazing possibilities and it is so encouraging to see these now being realised. No one opposed Chester Renaissance at the start more than I did. Now I am genuinely appreciative and full of praise. Come and have a look!” R
Open door policy at n Ripon Cathedral in North Yorkshire has opened its doors to a bright new future following the recent completion of the Narthex Project. The traditional Palm Sunday procession on 1st April saw the new West Front in use for the first time after a three month programme of works which involved the
installation of new glass porches, with engravings by artist Sally Scott, depicting scenes from the life of St Wilfrid, founder of Ripon Cathedral. The privately funded project, delivered by York-based restoration firm William Anelay Ltd in conjunction with a number of local sub contractors and London-based Caroe
Architecture, will be officially opened later this year. The Dean of Ripon, The Very Revd Keith Jukes, explained: “The Narthex Project has created a more welcoming entrance to the Cathedral and will allow us to keep the doors permanently open during the daytime for the first time in almost 150 years. “The new entrance area is now one of the most eye-catching of any Cathedral in the country. It will let in the light as well as allowing tourists and the local community to witness the true majesty of the Cathedral’s interior from outside. “Our motto is ‘here for us all’ and this latest pioneering development will truly add to the experience for the 100,000 people who visit the Cathedral annually,” added The Dean. Vernon Carter, MD of William Anelay Ltd, commented: “We are tremendously honoured
Timbers show their age, but with a certain polish n York restorers and conservators Andrew G Podmore & Son were delighted to be entrusted with the conservation of the great west doors at Ripon Cathedral. The work was carried out under the expert guidance of architect Oliver Caroe, As with all restoration, it was paramount that the evidence of the timber’s age on the doors’ surface be conserved and this involved careful cleaning of the internal surfaces which can be seen as a matrix frame construction in a harlequin pattern. When the frame was cleaned and the accumulated soot and dust removed, remnants of an original waxed finish were found. Conserving this finish with new applications of a beeswax polish gave the interior face a very attractive appearance, whilst retaining the all-important aged patina. The external door surfaces, constructed from inch and a half oak boards, were extremely dirty and weathered by prolonged exposure to the elements and pollution. After cleaning with a dry method, traces of an old reddish pigmented paint layer were discovered in the higher, more sheltered parts of the door and it was decided to preserve this and protect the ancient timbers with a traditional oil finish. Subsequent coats will be applied as part of an on-going maintenance programme The final magnificent appearance of the six west doors truly compliments the superb craftsmanship of the entire Narthex project and the visionary blend of ancient woodwork with modern bronze glazing is a tribute to the cathedral and the architect. Other important work carried out this year by Podmores include Manchester Town Hall, Newcastle St Nicholas and Christchurch gate at Canterbury Cathedral. q • For further information visit www.agpodmore.co.uk, call 01904 799800 or email firstname.lastname@example.org.
Ripon Cathedral to have worked once again on this iconic building and we are proud to continue the rich tradition of quality craftsmanship that is reflected throughout the Cathedral. “The end result is a Cathedral entrance that will be enjoyed by visitors for generations to come,” he added. Ripon Cathedral was founded by St Wilfrid (c 634 to 709) who brought craftsmen from Europe to build a new stone church on the site. It was dedicated to St Peter in 672 although only the Saxon crypt survives from this period. The present building dates back to the
1100’s with a number of modifications and additions made in the centuries that followed. St Wilfrid was one of the most influential and controversial figures in the early English church. Born in 634 into an aristocratic Northumbrian family, he joined the monks of Lindisfarne before making the first of three trips to Rome. In 658 Wilfrid became the Abbot of Ripon and he immediately set about building a new stone church. q • For more details visit www.riponcathedral. org.uk and the Cathedral’s own Facebook page.
Experience and accreditations ensure quality craftmanship n Established in 1918, Hare & Ransome have remained a family business, operating from their workshops and offices in the City of York, through five generations of joiners. The company’s current staff of eleven craftsmen has a combined experience of over 250 years and continue to produce quality work for all aspects of the joinery trade. From ecclesiastical and architectural restorations to bespoke items for domestic refurbishments, their work has taken them throughout Yorkshire and around the UK. Hare & Ransome are proud to serve many distinguished clients at some of the most illustrious properties and ecclesiastical buildings, most recently at Ripon Cathedral, Bradford Cathedral and Stewart Park, Middlesborough. All of the comapny’s operatives hold CSCS cards with the new Heritage Skills accreditations, a requirement by English Heritage for working on Listed Properties. q • For further information visit their website, www.hareandransome.com, and follow them on facebook for more up to date news.
Creating the glass panels by SALLY SCOTT The glass panels above each of the three doors were embellished with etchings by well-known glass artist Sally Scott, depicting scenes from the life of St Wilfrid. Here she gives us an insight into the detailed nature of the work. n In 2009 I was invited to submit designs in a competition for the engraved glass for the new Narthex project at Ripon Cathedral. It consisted of three large transom panels over the entrance doors and the brief was ‘St Wilfrid and pilgrimage.’ I was commissioned to produce my designs following various presentations and meetings and I then developed them with drawings at full size in my London studio. The decoration of the glass was carried out at Nero Designs, who have worked with me on several large-scale glass commissions since 1998. I work closely with Dave Blackwell, their senior artist, using various techniques as described below. The central panel had to be divided into three, as it is five metres wide by two metres high and therefore too large to do in one piece. These panels show St Wilfrid as a Bishop flanked by two Angels with the ‘St. Wilfrid stars’ above his head to indicate light. During my research into his life and how to depict him I found his ‘stars’ on the base of his statue in the Cathedral and so decided to use these for continuity. Each time I use the image of St Wilfrid his mitre and cope are made with a specific acid texture, which defines him from the other figures in the scene. The two Angels are created entirely from layers of tonal sandblast; their heads and hands are treated as a linear drawing, which differentiates them from the way I have treated the human figures.
The left hand panel shows St Wilfrid, as a Bishop, in a boat on rough seas in the middle of a storm. In the course of his pilgrimage he was shipwrecked off the coast of Sussex, which is why I have illustrated the Seven Sisters cliffs in the background. He taught local men how to fish, hence the two men casting nets into the sea with fish under the waves. I used the mediaeval imagery of a large man in a small boat with no perspective and out of scale. Traditionally the large size emphasises the importance of the figure. We have used many different acid effects, sandblasting and engraving techniques to bring freedom into the drawing and to enable us to explore the variations of the sea and landscape. The fishing nets were engraved with a drill over the top of the sea textures. The clouds are created with soft layers of freehand sandblast with the rain engraved over the top. The right hand panel shows St Wilfrid as a pilgrim Bishop on horseback travelling towards Ripon Cathedral from a mediaeval city, possibly Rome. Between the two are shown the Alps which become the Yorkshire hills as he approaches Ripon. He is followed by a group of pilgrims on foot. The ground and hills in the foreground are depicted with sandblasted textures whereas the cathedral and mediaeval town are acid etched with layers of sandblast. We hope this work provides enjoyment and interest in this historic setting to people over many years. q
Images from the top: The two Angel panels after sandblast; the sandblasted boat and clouds; Sally working on the designs; the stars used represent those found on base of St. Wilfredâ€™s statue in the Cathedral
Mirfield Church and College n An Anglican monastic community based in Mirfield, West Yorkshire, has a new look home following the recent completion of a £2 million restoration project at the Church of the Community of the Resurrection. The 39 week long refurbishment, which focused predominantly on the removal and levelling of stone flooring, has been carried out by York and Manchester based William Anelay, a 247 year old building restoration and conservation business, operating under the auspices of architects Harris McMillan and quantity surveyors Randall Simmonds LLP on behalf of clients the Community of the Resurrection. Inspired by the rule of St Benedict, the Community is part of the Anglican Church of England and its brethren work closely with a wide variety of people around the world. Founded in 1892 by the Reverend Charles Gore, the Community moved to Mirfield in 1898, then one of Britain’s most thriving industrial centres. The Grade II Listed church, which acts as the principal place of worship for the community, was built in 1912 from local quarried stone and is topped off with distinctive copper roofs in the Byzantine
style. Patrons of the rebuilding appeal include Archbishop Desmond Tutu and Dr Rowan Williams, the current Archbishop of Canterbury who lectured at the venue in the 1970s. Anelay site manager Andy Gabel took up the story: “The principal objective when we arrived on site in April 2011 was to remove the 1,000m² of existing stone flooring and then level it out within the main area of the church. The same process was carried out on the 400m² ground floor with ceramic tiles providing the new surface. “We have also introduced a lift shaft at
ground floor level that will provide ‘access for all’ conforming to the latest DDA stipulations as well as installing underfloor heating covered over by ceramic tiles. “The church also required extensive refurbishment of its heating, lighting and plumbing systems and the incorporation of a modern acoustic system. “Externally, defective roof tiles were repaired and damaged rainwater goods have been replaced. A number of the church’s windows also required attention and we have carried out repairs to the stained glass and stone mullions. “This has been a major challenge, especially given the access issues, and we’ve had to be creative in our choice of plant machinery! We’ve used the smallest and most powerful diggers available for the floor removal and have utilised a stone crushing machine within the church which has allowed us to recycle the stone. “When we arrived on site everything had been taken out of the church apart from two tombs which were protected before works commenced. All of the plaques within the interior of the church were also covered. “A new font, crafted in Italy from solid
Resurrected by Anelay marble, has been installed together with attractive mahogany and beech benches built at a local prison! “Father George, operating on behalf of the client, has adopted a real hands on approach to the ongoing work and he’s been involved constructively and decisively within every phase of work carried out,” added Andy. Father George commented: “We are absolutely delighted with the quality of the work carried out on the church. In the centenary year of the church’s construction it has given us a wonderful environment for prayer and worship, for the activities of the educational institutions on the site and for our work with the thousands of people who come here.” Barry Ennis of Harris McMillan Architects said: “The passion across the teams involved has enabled solutions to complex challenges. There is now a fresh ambience which compliments the rich heritage of the church. We are delighted that the vision for transformed and revitalised spaces has been so well executed.” Operations director Tony Townend said: “William Anelay has helped to refurbish hundreds of churches and places of worship and we take a great pride in the expertise and skills that we can bring to such projects. “The Church of the Resurrection has been a major development and I’m delighted that the work is now complete and the venue can resume providing religious education to members of the community here,” he added. The Church of the Community of the Resurrection can now face its centenary with a renewed confidence and vigour within a building that is fit for purpose in every way. q • For more details visit www.williamanelay. co.uk.
Award-winning roofers are ‘on top of the world’ nOn 18 May, in Birmingham, the roofing industry came together to celebrate the 2012 NFRC Roofing Awards. Now in their seventh year, they were once again hosted by TV presenter and consumer champion Matt Allwright. Among the awards were a number with strong heritage elements, including the Heritage Roofing Awards itself. That was won by Fulwood Roofing Services North West, working with Worthington’s Roofcrafts of Bolton, for the reroofing of the Crewe Municipal Building. The project was covered in some detail in the May issue of Ecclesiastical and Heritage World. The award for Roof Slating in the Pitched Roofing section went to Richard Soan Roofing Services of Lewes in East Sussex for Folkington Manor, a 19th-century country house in the county, which is currently undergoing an extensive restoration project. A project which is set to become a heritage building for many generations is the Olympic Stadium in east London. That project won the Liquid Applied Roofing award for Stirling Lloyd Construction. In addition to the 12 categories in the Roofing Awards and the NFRC training and health and safety awards, the event saw the presentation of the 2011 Murdoch Award and the Murdoch Sponsor’s Award by the Lead Contractors’ Association. Both awards are sponsored by Hertfordshire based Associated Lead Mills. q
Pictured left to right: Stephen Burgess, Anthony Donaldson, Graeme Miller (NFRC President), Richard Soan, Matt Allwright, Jack Camp (NFRC Past President), Colin Kemp
Richard Soan Roofing Services scoops major industry award
nWell regarded roofing company, Lewes based Richard Soan Roofing Services, have recently been awarded a major industry accolade for their work on a Grade II Listed Property. The works involved the re-slating and associated works at Folkington Manor, East Sussex and was voted Best Project in the Roof Slating category at the Roofing Awards 2012 held in May at the Hilton Birmingham Metropole Hotel. This was the first time the company has won an award at the Roofing Awards – an industry wide competition which recognises and rewards outstanding standards of workmanship and safety within the roofing industry nationwide. This year Richard Soan Roofing Services were honoured to be shortlisted for 2 categories, the other being for Reinforced Bituminous Membrane (Built-up Felt Roofing) for the refurbishment of several roof areas at Bishop Bell School, Eastbourne. Competition in all categories for the awards was extremely high and a record number of entries were received covering projects undertaken throughout the United Kingdom. Managing director Richard Soan stated: “This was a major honour for the company, just being nominated to receive an award is a remarkable achievement but to have two projects short-listed to the final four in their category was incredible – and then to be voted the overall winner in the Roof Slating category is just a fantastic achievement! “This award would not have been achieved without the dedicated on-site team of local company employees, led by heritage craftsman Colin Kemp and contracts manager Stephen Burgess, who ensured the highest standard of workmanship was achieved at all times”. The awards were hosted by Matt Allwright who is the popular TV presenter of the programme Rogue Traders. The company has also recently received the Gold Award from the National Federation of Roofing Contractors for its attention to health and safety, this being the highest possible award achievable. Richard Soan Roofing Services was founded in 1988 and undertakes all forms of pitched and flat roofing – working for numerous local authorities, housing associations, property management organisations, general building contractors as well as the general public. Much of the work is secured on recommendation, which is a wonderful testament to the company’s overall performance. q • For further information on the Roofing Awards please visit www.nfrc.co.uk.
Federation launches 2nd edition of Good Practice Guide OIt has taken more than a year for the Federation of Traditional Metal Roofing Contractors to compile the second edition of their UK Guide to Good Practice in Fully Supported Metal Roofing and Cladding, which was launched at their Summer Technical Seminar in London last month. Containing 96 pages of technical information, including over 100 detailed drawings, plus tables, charts and photographs, the publication of this second edition fulfils a major commitment made by the officers of the FTMRC to produce a single technical reference document that covered the design and installation recommendations for all hard metals used in traditional UK roofing and cladding. According to FTMRC Secretary, Ray Robertson: “The Guide addresses a long standing and in our view critical gap in the information provided to designers, specifiers and installers of aluminium, copper, galvanised and stainless steel and zinc. “Most significantly, the Guide to Good Practice will provide an essential training aid to those just starting out in this sector of construction, an area which is again part of the quality standards commitment of the FTMRC. “Formed in 2006, the Federation has grown rapidly and has a membership core of specialist contractors who between them cover the UK, with new members joining all the time. We are supported by manufacturing and distribution Associate Members, including all the major European manufacturers of the metals used in traditional
roofing and cladding whose input has been essential in drawing up the Guide to Good Practice. “Together we have developed and established a co-ordinated and progressive training programme, delivered in partnership with the Lead Sheet Association (LSA) at their customised roof training facility in Kent. We have worked closely with the LSA and our Manufacturing Associates, notably VM Zinc and KME, have developed the training staff to the point where national qualifications can be offered in hard metals as part of the NVQ/ QCF framework. “Throughout these endeavours the FTMRC has been encouraged and supported by ConstructionSkills and the funding they have provided has enabled us to achieve many of our objectives, including the Guide to Good Practice, far more quickly than would otherwise have been possible.
The copper curve at the Bomber Command Memorial in London. This important project by Martin (UK) Roofing Systems Ltd will be covered in detail in our next issue
“This commitment from ConstructionSkills has been welcomed as recognition of the progress achieved by the FTMRC as an organisation dedicated to quality standards and which has become the voice of the specialist contractor in this sector. “This recognition is also evident in other areas, with an increasing number of manufacturers offering extended warranties on their products when installed by a Federation members. There is a justified confidence in FTMRC standards of workmanship, which is regularly verified through a vetting programme that requires members to provide on-site rooftop access to their work for inspectors nominated by the FTMRC Council.” FTMRC technical seminars are well supported by both members and associates and the annual Directory is distributed free of charge to 16,000 architects and surveyors. The directory, together with the FTMRC web site at www.ftmrc.co.uk, contains all members
details and a gallery of photographs of their workmanship.q • For more information about the Federation of Traditional Metal Roofing Contractors contact the Secretary at Centurion House, 36 London Road, East Grinstead, West Sussex, RH19 1AB; tel 01342 301627; fax 01342 303200; email email@example.com. Copies of the UK Guide to Good Practice in Fully Supported Metal Roofing and Cladding are available at £45 + £5 P&P) (hardback) and £40 +£5 P&P (laminated flexible cover) from the FTMRC at the address above. • FTMRC members are specialists, committed to maintaining the skills and traditions of the craft, and a selection of members can be found in the classified section of this magazine under the FTMRC logo.
Two projects by member comapny JTC Roofing Contractors Ltd – the roof at Dog Care 9 (left) and a round batten roll from Bakewell Church (right)
Ornate Interiors complete stable preservation at Nostell OAs one of Yorkshire’s most popular historical locations, National Trust property Nostell Priory, near Wakefield in West Yorkshire, deserves the very best in restoration craftsmanship – and that is exactly what happened recently as part of a major refurbishment programme to its stable block. The Priory has recently undergone a comprehensive makeover with the specialist craftsmen of Ornate Interiors adding a stylish finishing touch to many of the venue’s outbuildings. The award-winning Pudsey-based firm has been working under the auspices of contractor William Birch and architects Rodney Melville & Partners of Leamington Spa. Built on the site of a medieval priory, Grade I Listed Nostell was commissioned by Sir Rowland Winn in 1733 with James Paine building the house. Later additions were added by eminent 18th Century Scottish architect Robert Adam. It is now a popular tourist destination and the
“Firstly we have carried out a number of running repairs to existing plasterwork in order to conserve it for generations to come. Damaged plaster was initially hacked off and removed throughout the interior spaces to allow for the application of a new lime haired plaster finish. “We have also applied the traditional lath and plaster work to a number of areas within the interior of the stables and this will preserve the integrity and breathability of the buildings moving forward,” he said. “Internally there were a range of features that required urgent attention. Within the main visitor entrance to the stables courtyard there is an arched barrelled ceiling which we paid specific attention to. “The existing plaster soffit and the decayed oak rib structure beyond was taken down and reformed and then finished with softwood lathing and a three coat lime hair render lined out to match existing and plaster and lath materials.
stunning backdrop for a whole range of live, outdoor entertainment events. Ornate Interiors have been engaged in a £175,000 sub-contract that has covered a range of works around the stables including lime plastering, repair and renewal of plaster mouldings and specialist rendering to the exterior of the buildings. Ornate Interiors carries out traditional lime plastering and manufactures and installs highly decorative fibrous plaster mouldings principally for stately homes, listed buildings, hotels, churches, homes and theatres across the UK, Ireland and mainland Europe. They have picked up a number of major industry accolades for their work in recent years. The 22-year-old company also works on behalf of municipal bodies, architects, contractors and surveyors in compiling restoration surveys of buildings that require repairs and is also currently recruiting for a range of plastering courses to be run over the next year. Ornate Interiors managing director Ronnie Clifford explained: “This has been a complex and challenging project that has involved a number of key elements as part of the scope of works.
“Within three rooms on the ground floor we removed the entire ceiling fabric and replaced it with a combination of modern plasterboard and lime plaster. “Within the Riding House, which is located within the south range of the stables overlooking the adjacent Rose Garden, we were involved in the retention and protection of the surviving cornice in-situ. “Sections here were recorded, referenced and carefully cut out and removed and new cornice produced from moulds taken directly from the primary material. Around 70% of the room’s perimeter required attention. “Conservation repairs were made to the existing decorative cornice in the Green Room, in particular to the north face adjacent to the existing rooflight and around the heads of the columns on the south wall. We also made good all ceilings and walls within the Green Room using a three coat lime haired plaster,” added Ronnie. Repairs were also made to about half of the damaged vaulted plaster ceiling in the store room and a significant number of cornices in rooms above the Green Room were replaced and lime plastered.
Externally, Ornate Interiors utilised an ashlar render, a traditional finishing technique to imitate the stone and fine mortar joints of real ashlar masonry, to key elevations. There were a number of tricky issues associated with the external aspects that Ronnie and his team overcame with a touch of ingenuity! Ronnie continued: “Some of the upper moulding was missing and needed to be rerun in situ with hydraulic lime render gauged with natural cement to match the existing moulding. “We also repaired damaged and missing sections of moulding by pinning or inserting armatures to form a framework for material to be poured in so that new mouldings could be cast in situ,” he added.
The external wall of the Riding House includes a number of curved sections that proved to be a surmountable challenge by running in situ. “These tricky sections curved both left to right as well as top to bottom and at the base of each arch were impost moulds which linked the arches together,” added Ronnie. Another major focus of attention were the repairs carried out on a number of the ceilings and cornices, with fibrous plaster used for internal dental cornices. Many of these were originally run in situ. Damage to an existing vaulted ceiling was repaired using a three coat haired lime plaster. A premixed mortar, based on natural (Roman) cement and sand, was applied to selected external mouldings. The end result is a fully refurbished stable block that does justice to the heritage of this spectacular venue with Ornate Interiors helping to preserve the buildings with a finish that will last for years to come. R • For more details visit www.ornateinteriors. co.uk and www.nationaltrust.org.uk/nostell.
Historic village church has heaters powered from underground LPG tank
DRU Kamara heaters powered by LPG are heating the historic St Peter’s church in Hixon, Staffordshire
DRU Kamara heater in St Peter’s church
n St Peter’s in Hixon, Staffordshire is a Grade 2 listed rural church dating from 1849. It was designed by the renowned Victorian architect Gilbert Scott and is part of the Mid-Trent diocese. As part of a major refurbishment programme, DRU has supplied Kamara powered flue gas wall heaters, replacing old and inefficient overhead electric heaters. They are powered by LPG from a 2,000 litre storage tank which has been buried in the ground adjoining the church graveyard – a tricky operation due to the proximity of several yew trees.
The Kamara heaters were installed in discreet locations throughout the church, with minimal disturbance to its historic features. DRU Kamara heaters are designed for large space heating in churches, schools and other public buildings. They have a forced air heating system that can heat a church in one hour. Air is drawn from outside the building for combustion, resulting in safe, comfortable and effective heating. The system is ideal for St Peter’s church, which only has one service per week, together with weddings and other events. In addition, the heaters
Church exterior showing underground LPG tank
Grants announced for town centres
DRU Kamara heater in St Peter’s church are over 90% efficient, making them cheaper to install and run than an equivalent central heating system. The installation of this unique LPG heating system was carried out by WT Morton and Son, commercial heating engineers of Stoke-on-Trent. The Reverend Steve Abram has expressed his delight with the comfort and efficiency of the heaters and praised the expertise of the installers. q
n In May the Heritage Lottery Fund (HLF) announced earmarked support totalling £15.9m for the regeneration of 12 city and town centres around the country. The investment will be made via the HLF’s Townscape Heritage Initiative (THI) programme, which fosters partnerships between local organisations, to enable repairs and other essential works to take place in historic but often run-down areas. The latest funding will also help provide employment and training opportunities. Falkirk in Stirlingshire and Dewsbury in West Yorkshire top the list of funding amounts. Each has been awarded a first-round pass of £2m. A first-round pass means the money has been made available provided more detailed plans progress suitably. A number of other projects have received first-round passes of over £1m. They are: Peckham in London (£1.7m), Tredegar in South Wales (£1.6m), Bacup in Lancashire (£1.5m), Folkestone Old Town, Kent (£1.3m), Haverfordwest, Pembrokeshire (£1.2m), Donaghadee, County Down (£1.043m) and Burslem in Staffordshire (£1.013m). The list is completed by Southgate Street in Gloucester (£926,700), Derby (£736,500) and Whitehaven Old Town in Cumbria (£707,300). HLF chief executive Carole Souter said: “Our town centres deserve to be at the heart of community life and the Heritage Lottery Fund believes that even small changes, such as improving shop fronts or restoring a building’s historic features, can make a difference.” q
• For further information, visit www.drugasar.com or contact Kevin Piggott at Drugasar Ltd on Tel: 0161 793 8700, mobile: 07767 795220, email: firstname.lastname@example.org.
Bacup – one of the towns to benefit from the HLF’s Townscape Heritage Initiative programme
The advantages of being accredited by M C HALL FRICS IHBC Pg Dip Cons: Historic Buildings. RICS Accredited. Problems associated with leaking parapet gutter – note also damage caused by cement repointing OAfter lobbying by a group of forward thinking surveyors, accreditation was introduced for chartered surveyors as well as architects. Surveyors have now been recognised by the ecclesiastical bodies in England for about 20 years. Being accredited enables surveyors to compete with architects for heritage works on churches and to carry out quinquennial inspections. The Heritage Lottery Fund recognises that these specialists are necessary to support applications for funding where works are being undertaken to listed buildings or ancient monuments. What advantage is there in accreditation for the secular sector where the prospective or current owner of a listed building seeks to engage a surveyor for advice on property or building works? I suppose the easy answer is that this recognition fits all circumstances. It ensures that the necessarily qualified surveyor has a good working knowledge of conservation issues and has a tried and tested knowledge of the constructional techniques found in old and listed buildings together with the current methods of repair and conservation. With the general economic situation hitting the construction industry particularly hard, many contractors and surveyors are looking to the heritage and conservation sector to fill the shortfall in their usual line of work. Accreditation ensures there is a good level of skill and expertise and that the surveyor has been vetted by a group of his peers. He will have demonstrated a level of skill in a number of conservation projects to prove he can give clients the correct advice when purchasing Relined parapet gutter over existing property. The right advice at the poor lead and repaired coping outset of any building project is stones with lime mortar to joints. Gutter not replaced in lead, as no vital. steps and length far exceeded LDA Clients generally just want to guidelines. know whether a house is in good order. A typical project starts with a pre-purchase survey or an owner asking for advice on maintenance issues. Damp, in all its forms, is the enemy of any property but especially old and listed buildings because they are not built in the same way as modern ones. Some would say modern houses won’t stay the test of time – a different matter! A typical issue concerns parapet walls. Many of the Cotswold houses I see are 16c or 17c buildings which were gentrified with new facades by the Georgians in the 1760s to 1820s to show off with their newly found wool wealth. Away went the roof gutters and in came upstand parapets with hidden gutters and hidden rainwater pipes. Often these are inaccessible and out of the minds of the owners, and so it is difficult to carry out even simple maintenance. Hidden gutters are often lead
lined and, although lead is a very durable material, they often leak after many years of good service. Lead is susceptible to metal fatigue and the gutters crack across their width and then leak - see photographs. Water then penetrates into the house rather than running down the outside of the wall which would be the case with a gutter. As these walls are built without damp proof courses this causes serious problems. Water therefore has to be stopped at the first line of defence – there is no second line owing to the construction used. The usual solution is to re-line with lead or to overlay with other materials. Even in listed buildings this is sometimes acceptable where the greater interest is in the preservation of the interior. At best, water ingress leads to staining of finishes and at worst to outbreaks of brown rot (dry rot), all for the sake of a lack of maintenance. This is just one example of the special issues facing historic buildings which require in – depth knowledge of all the issues and the best ways to rectify the situation. R
A ‘dummy pass’ for avoiding VAT relief? OHeritage property experts at Smith & Garratt, the Borders-based firm of conservation accredited surveyors, are united with the great majority of those with interests in our built heritage in asking the Chancellor to re-think his proposal to apply standard-rate VAT to approved alterations to protected buildings. The proposal, announced in details released following the budget speech in May, is to remove the VAT relief that is given in respect of approved alterations to protected buildings, with effect from 1st October unless one of the transitional arrangements applies. Transitional arrangements are in place for projects where a written contract for the supply of materials or certain services was entered into prior to 21st March 2012, or where 10% of a substantial reconstruction was complete by then – with the cut off a year later. This means any project for substantial reconstruction followed by a zero-rated sale or long lease must be sold or leased by 21st March 2013 for zero-rating to apply. The effect of removing the zero-rate is to introduce a tax of 20% on approved alterations. This matters because although a number of special buildings belong to wealthy individuals who are thought by HMRC to be able to afford the extra, many do not. The majority of listed building owners are ordinary folk or charitable concerns with the usual range of financial issues, so they cut their coats to fit their cloth. Following the change less work will be done, or it will be done less well, or it will be done by non VAT registered contractors. This last point – taking work away from VAT registered contractors – is an important one because only the larger craft-based firms take on apprentices, so this measure will result in fewer young craftsmen being properly trained to look after the fabric of our most special buildings. HMRC’s pre-budget consultation paper criticised the zero-rating of alterations, saying that it incentivised changes to listed buildings where it might have been more appropriate to support repairs. This missed the entire point of zero-rating – that the best way to look after buildings is to have them in beneficial use, attracting private sector funding, which often involves a degree of alteration, so by giving VAT relief on approved alterations the Government helps to safeguard our rich built heritage. To cure this perceived anomaly, and to help our best buildings to have both new uses and aftercare, it would be better if both repairs and alterations were zero-rated. So Smith & Garratt support the Heritage Alliance in lobbying Finance Ministers and others to drop this budget proposal. They are, however, suspicious that the Government might make a dummy pass. The Autumn Statement (11th November 2011) included the Department for Business Information and Skills’ implementation of the Penfold Review. The aim of the Review is to simplify planning regimes in order to stimulate economic activity. In relation to listed buildings the Statement says: “Developers must apply for Listed Building Consent if they wish to undertake works that would impact on the special historic or architectural interest of a listed building. Given there are 375,000 listed buildings in England this is one of the most regularly appliedfor development consents. To reduce the number of unnecessary applications, the Government will enable the extent of a listed building’s special interest to be legally defined in its list entry – so only those parts of a building that contribute to its special interest are protected by regulation, removing the requirement to apply for a consent for works that impact other parts of the building.” The Statement is to be codified when a legislative opportunity arises, so we can expect it to take effect in England soon; the position under devolved administrations is less clear. And what will it do? Principal Surveyor Hugh Garratt, who oversees
heritage projects in the northern counties of England and throughout Scotland, says, “Call me a cynic if you like, but I think the Penfold proposals are, at least in part, revenue-driven. If it becomes unnecessary to submit a Listed Building Application to seek approval unless your project will affect a building’s characteristic of special interest, many proposals will not require Listed Building Consent, and will therefore not fall within the definition of an approved alteration to a protected building… and so will not qualify for zero-rating whatever the Heritage Alliance achieves in respect of the recent budget. The Autumn Statement contains some good ideas for simplifying planning procedures, but I’m afraid there’s no good news on the cost of works.” R
HMG Adhesives help preserve our cultural heritage OIt’s the nature of all materials to degrade and deteriorate over time. But specialist products from British surface coatings manufacturer HMG are dedicated to preserving these materials at both ends of the natural cycle. Its anti-corrosive primers, preservative wood treatments, weather-resistant masonry paints and high performance coatings help protect them against abrasion, wear, chemical and environmental attack; while its historical vehicle colours, extensive library of heritage paints and conservation-grade adhesives help restore culturally significant structures and artefacts for future generations. “People know that paints and adhesives contain solvents and other chemicals and wrongly assume that they are environmentally unfriendly,” says HMG’s managing director, John Falder. “But our technology can extend the working life of many man-made objects, saving the raw materials otherwise needed to replace them, and help restore and preserve damaged, corroded or fragmented objects without affecting their historical importance, whether it’s a vintage vehicle or an archaeological find.” The company’s conservation-grade glues are represented by HMG Heat & Waterproof Adhesive and HMG B72 Restoration Adhesive, which are renowned in archaeological circles worldwide and prized by museums, galleries, conservators and restorers for their technical performance. One of the guiding principles of interventive conservation is that of ‘reversibility’, whereby the object should be capable of being returned to its original state prior to intervention. Both of HMG’s museum-grade adhesives are formulated to be permanently reversible and resealable in solvents, so that artefacts can be subsequently unglued for correcting mistakes, minor realignment or adding newly-found fragments. They also possess the correct levels of plasticity and viscosity necessary for good workability, desirable water-white transparency and nonyellowing characteristics, as well as excellent physical and chemical stability. One unsolicited endorsement, highlighting these technical properties, came recently from restorer Nick King, who has been using HMG Heat & Waterproof Adhesive in the reconstruction of late iron age storage pots, discovered during an archaeological dig at the village of Corfe Castle in Dorset. An ancient settlement site, Corfe Castle is home to a range of archaeological sites from the stone, bronze and iron ages, as well as a Grade 1
listed castle overlooking the village, and these pottery finds are believed to be from an early grain storage pit. The pots, seven in total, are probably black burnished ware, a type of pottery once widely produced around Poole Harbour during the Roman period, using local clays and traditional techniques and production methods. “HMG Heat & Waterproof Adhesive has allowed me to rebuild the pots, which really are of an ‘industrial size’, by not setting immediately and allowing the curvature to be varied prior to fully setting,” says Nick. “Of course, there are times when errors have been made and, by using acetone, I have been able to disassemble and rebuild, without harming what can be very delicate material. “As an amateur restorer, I have consulted with experts and am always asked which adhesive I am using to reconstruct the pottery,” he adds. “When I reply ‘HMG Heat & Waterproof Adhesive’, there’s a definite look of relief, as they had surmised that I had been using a less friendly type of adhesive.” Whereas HMG’s adhesives are designed to maintain the principles of reversibility, many of today’s epoxy resins and cyanoacrylate ‘super glues’ are virtually irreversible after use and their later removal can actually damage the object itself or even prevent future treatment. Widely used by the British Museum and the highly respected York Archaeological Trust, and their overseas counterparts, HMG
adhesives are especially formulated for precision restoration and repair work and are equally prized for modelmaking and as arrow fletching glue. Their easy-to-control nozzles enable the exact amount to be dispensed and there is good all-round adhesion to most common materials, including ceramics, metal, wood, paper, leather and cloth. The traditional favourite, HMG Heat & Waterproof Adhesive is a single-pack, clear product, which is touch dry in 5 minutes and hard dry in 10 minutes, resisting temperatures up to 100°C. In contrast, HMG B72 Acrylic Adhesive offers longer working times, being touch dry in 3 – 5 minutes, surface dry in 1 hour and hard dry in around 6 hours; not having instant grab, the glue allows fragments to be easily readjusted and surplus adhesive removed with acetone, for virtually invisible joins. R • HMG conservation-grade adhesives are available from specialist stockists, model and art shops, or direct from HMG Paints, Riverside Works, Collyhurst Road, Manchester M40 7RU, telephone 0161 205 7631, email sales@ hmgpaint.com, www.hmgpaint.com.
Limewash finds a new mode of expression OLimewash has been used to cover and protect the walls of buildings for centuries. It differs from lime plaster and render in that it is essentially a paint, used on interior walls to create a clean and bright surface. Like paint it can be created in a myriad of colours, although unlike paint it has its own
vibrancy of colour. Also like paint, limewash is now being used to create works of art. The artist in question is Lizzie Induni, who is a member of the Purbeck Collective of artists on Dorset’s Jurassic Coast. Lizzie worked as an archaeological
Castle acts as resource for students OHaving a castle on your doorstep can be a valuable asset when learning about traditional building techniques, as students at Banff and Buchan College have been discovering recently. Earlier this year, for example, Banff Castle was used by students on the Intermediate Level 2 General Building course for source material for a two-day course on Lime Mortar in Traditional Wall Repair. The course was organised and co-ordinated by Marc Ellington and Pauline Brown of The Scottish Traditional Skills Training Centre. The instructor was George Gunn. One of the students, Scott Simpson, exemplified the practical advantages of working on a genuine historic building. He said: “I actually did not realise how the process of lime and its overall use can lead to better environmental benefits and better moisture abilities. “The architecture of Banff Castle was really detailed and I was shown some handy
techniques which I will be able to use when I have my own house someday.” What is now called Banff Castle is actually a John Adam-designed mansion built in the 18th century on the site of the medieval castle. As such it presents a perfect opportunity for studying the use of lime in building. Even tutor Errol Watt demonstrated that you are never too old to learn: “It benefited us all to get a chance of carrying out the work outdoors in a realistic environment,” he said. “Marc was a great host and we valued George’s expert knowledge of the subject. I was really happy to see the guys take pride in their work and what they accomplished over two days and it will hopefully improve their career prospects in the near future.” The event was just one offered by the STSTC at a Scottish castle. A series of two-day courses have taken place at the centre’s headquarters at Fyvie Castle in Aberdeenshire. The last one was in June. R
illustrator, having studied at Dartington College of Art. Extensive experience of working on the repair and restoration of ancient buildings gave her the inspiration for using lime as an artist’s material. She says of the medium: “The main reasons for using limewash are its beauty and individuality. Unlike modern paints, limewash does not produce flat, standardised mass-produced colours. Your paint will be individual and not shared with half a million other ‘magnolia’ users. At its best limewash has depth, translucence and warmth of colour.” R
A detail from a painting in limewash by Lizzie Induni
Specialisation leads to quality of service OEstablished in 1956, Essex based J.E. Putney & Sons are a well established and highly respected family run business specialising in all forms of commercial plastering.
The business was founded by the late Joseph Putney and has been owned and managed by his eldest son Kevin since 1997. They are proud of their reputation for quality and excellence, built up over years of professional service to both business partners and customers alike. The company offer competitive pricing for quality workmanship and always work hard to ensure projects are completed on time and within budget. To make certain that this happens, all projects are managed by either Kevin or his brother Darren, the company’s contract manager. The company are able to offer expertise and quality because they specialise in plastering associated services only - they have always felt that to diversify into other areas of the building trade could potentially affect the quality of any specialist tradesman’s work. The plasterers employed are all well known to the company over many years and you can therefore be assured of their reliability and skills. Although they mainly work in the Essex/London area they are also able to consider contracts in any part of the UK. R • For further information visit www.putneyandsons.co.uk.
New FIRERAY® 3000 Optical Beam Smoke Detector provides wide area fire detection in heritage buildings n Fire Fighting Enterprises Ltd., the leader in beam-type fire detection, has introduced the new FIRERAY® 3000 end to end infrared optical beam smoke detector. The detector offers particularly cost effective protection of large, open spaces and in situations where ceiling-mounting is difficult or inappropriate, such as in churches and historic buildings. The FIRERAY® 3000 is the latest addition to a family of beam detection systems that can provide wide area protection for most buildings, only requiring small numbers of units to cover very large areas. A single FIRERAY® beam system can protect an area up to 1500m2 – offering drastically reduced wiring and installation requirements compared to other fire detection methods for covering such a space, as well as minimising the aesthetic impact. The FIRERAY® 3000 is ideal for applications where line of sight for the IR beam path is narrow, or where the building structure uses especially reflective surfaces which may cause complications for reflective beam system installation. Each element of the package has also been designed to be both discreet and aesthetically pleasing, helping them to fit well into every environment from modern architectural buildings to ornately-decorated heritage sites. As with many of the systems in the family, the FIRERAY® 3000 includes a low-level controller unit, which instantly makes the initial setup and continued maintenance of the system much easier, cutting out much of the need for work at height. Installation is quick and easy, and can be completed by a single operator thanks to a variety of aids and features. A visible targeting laser housed in the
receiver head aids initial placement and setup, showing clearly the beam path and therefore the necessary positioning for the units. During commissioning the LEDs on the heads also light up to help fine-tune the alignment path, showing the installer in which direction adjustment is needed. Both of the detector heads have integrated alignment thumbwheels for simple, intuitive and repeatable targeting adjustment, with up to 10 degrees of motion available on both horizontal and vertical axes (90 degrees with an extra accessory bracket). q • For more informaiton call 01462 444 740, fax 01462 444 789 or • Email email@example.com.
Ventrolla step in to save Cheshire church’s windows OVentrolla Lancashire has successfully completed a renovation project at St Vincent de Paul’s church in Altrincham, Cheshire. Two casement bay windows and 32 sash windows were restored at the presbytery, home to the church’s three priests and the main location for the running of the parish. The bay windows of the Cheshire church building were suffering from wet rot and Ventrolla used its expertise to repair the wood, ensuring the original aesthetics of the windows were not lost. Before the restoration, the windows also had operational issues with some stuck permanently shut and others draughty. Ventrolla installed its unique Perimeter Sealing System (VPSS) to draught proof the windows, making them more energy efficient and less prone to leaks. Canon John Rafferty commented: “The renovations at the presbytery have made a huge difference to the building. The windows are now fully operable and there are no draughts! We were delighted to be able to renovate the existing windows and the results are fantastic. “As both our home and a busy parish office, we were really grateful to the Ventrolla team for fitting in with the presbytery schedule and ensuring there was minimum disruption.” St. Vincent de Paul Catholic Church, part of the Diocese of Shrewsbury, is a Roman Catholic church in the heart of Altrincham, Cheshire. R • Ventrolla offers a bespoke renovation service for timber sliding sash and casement windows, as well as timber doors. The company has its central office in Harrogate, North Yorkshire, with additional locations throughout the UK and Ireland. For further information contact Alan Bell or Charlie Glover at Ventrolla Limited on 01423 859323 or visit www.ventrolla.co.uk.
ANTIQUE FURNITURE RESTORATION
BAFRA ARCHITECTURAL METALWORK
BUILDING CONSERVATION & RESTORATION
CHURCH HEATING MASTER CARVERS ASSOCIATION
YORK CONSORTIUM FOR CONSERVATION AND CRAFTSMANSHIP DISABLED ACCESS
GUILD OF MASTERCRAFTSMEN
LEADED LIGHTS FIREPLACES
LIGHTING & SOUND
THE STEEPLEJACK AND LIGHTNING PROTECTION TRAINING GROUP
PAINTING & DECORATING
ROOFING PAPER CONSERVATORS
STONE SUPPLY STONE
TESTING AND CONSULTANCY
TREE SURGERY & CONSULTANCY
TRANSPORT & STORAGE