Ecclesiastical & Heritage World Issue No. 73

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COVER STORY

CONTENTS Mr Lead’s legacy gets the key to the door!

The front cover of this issue features the magnificent Chatsworth House in Derbyshire which is currently being reroofed by contractors NDM Metal Roofing & Cladding Ltd. The job has won them this year’s Murdoch Award, the premier prize for leadwork – which is now in its 21st year.

The award is sponsored by rolled lead sheet distributors ALM, together with the Murdoch Sponsors Award, which they initiated. The winners of both were announced in November.

The full story of who won and who came runners up can be found on page 10

5 Reflections

LIME 25

NEWS 6 At Risk Register offers reasons to be cheerful 8 A warm church gives a warm welcome!

8 Updated guide helps parishes open their doors 9 Architects name Scotland’s best new building 9 Museums review accepts on-going funding dearth LEAD 16 16 18

Lead leads the way in skills development Lead: it looks grey, but it’s really green!

Leading manufacturers team up to launch new tool range

ROOFING 19 Armistice Day service marred by lead theft discovery

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Leaking roof caused by WWII strafing, investigation finds Handmade clay tiles create historic style new build Can aluminium guttering ever replace cast iron guttering?

The search is on for UK’s best roofing projects Scotland names its roofing winners Handmade tiles help recreate a traditional Kentish feature

Traditional lime brings Essex gem back to life

CHRISTIAN RESOURCES EXHIBITION 26 CRE has an ‘emotional homecoming’

CASTLE STUDIES TRUST 38 Charity helps understand the grandeur of castles 39 Surveys help reveal castle’s secrets LIGHTING 41 Consistency can involve an ability to adapt to change ENERGY CONSERVATION 42 State-of-the-art spray insulation seals the deal DAMP PROOFING 44 Damp remedy continues to prove its worth in listed buildings

CHURCH FURNITURE 27 New designs help transform the vision into reality for the Creations Project 28 New church seating: guidance note explains the when, how and which 29 Flexible seating – how One Church created an adaptable and comfortable community space SOUND AND AV SYSTEMS 30 Innovate and integrate: they’re the watchwords for AV 30 Discretion is the better part of good design 31 Patience is a virtue with some AV installations 32 Now tour guides can speak your language – clearly 32 All the expertise you need – on the doorstep 33 Trinity Wimbledon goes for the double

BRICKS 46 Awards showcase the best in brick 46 Traditional quarry tiles form the bedrock of historic college’s new facility LIGHTNING PROTECTION 48 There’s more to lightning protection than Franklin could have imagined 49 Lightning shows no favour to heritage buildings IRONWORK & METALWORK 50 Ironwork survives in its many forms

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51 NATIONAL TRUST PROPERTIES 34 Trust pulls out the stops to conserve our heritage 35 How to view collections in the best (but not too much) light 37 Be proactive with your passive fire protection

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Ironwork group promotes good practice Design and the blacksmith WWI memento is ready to face its public

CHURCH & HERITAGE SUPPLIES 54 Classified Section

Richard Shepherd – Business Development Manager Advertising enquiries: Tel: 07429 516265 Email: richard@dmmonline.co.uk 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.

Printed in the UK by The Magazine Printing Company Plc www.magprint.co.uk

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AS WE APPROACH CHRISTMAS and the turn of the New Year, many industries look back over the previous 12 months and make an assessment of what stands out. The many trades involved in the heritage sector are no exception and awards are the order of the day.

One of the major announcements is that of the winners of the Murdoch Award and Murdoch Sponsors Award for leadwork.

It is fitting, then, that the Murdoch Award should go to a project to reroof one of the country’s most cherished country houses: Chatsworth House in Derbyshire. That grand edifice graces this issue’s front cover.

The Murdoch Sponsors Award, for projects using up to 5 tonnes of lead, was also given for work on a great national institution – Sotheby’s in London. Both awards have been supported by industry-leading distributer of rolled lead sheet ALM for over a decade.

• For almost as long as lead has been used in building, we have been making bricks. Examples of brickwork that have been discovered date back to around 3,000 BC and the magnificent blue bricks of Babylon’s Ishtar Gate feature in a reproduction in Berlin.

All that history culminated in the craftsmanship still seen in brick manufacture today, as celebrated in the Brick Awards. The brickwork on Lady Margaret Hall in Oxford won the Craftsmanship category, with the new Chapel and Cloister of the Royal Artillery Regiment also attracting attention in two categories.

• Another set of awards to be announced in November was the Scottish Roofing Awards. The awards feature a specific Heritage category, which was won by B & D Roofing for Dalmeny House near Edinburgh. It will go on to compete for the national prize in the UK Roofing Awards, entries for which opened in September.

• The review of the way in which museums are funded, carried out by Neil Mendoza, was published on 14 November. On that same day the national media and political establishment was distracted by the debate on the EU Withdrawal Bill.

The two documents are connected in a way: Brexit will close the door to much of the collaborative effort in conserving heritage, while the weakness of the pound puts even more pressure on resources.

Mr Mendoza’s call for a strategic approach to the use of resources, given that there is unlikely to be an increase in funding any time soon, was broadly welcomed by professions in the sector.

• One organisation that has been redoubling its efforts to conserve the heritage that it is responsible for is the National Trust.

It is committing more and more investment into a wealth of conservation and restoration projects around the country. It is also going to great lengths to open up to its visitors the nuts and bolts of the work being done – work that hitherto has been carried out behind closed doors.

• Promoting an appreciation of castles and furthering public knowledge on the subject is the mission of the Castle Studies Trust, and they are funding some very modern ways of doing it.

One of the projects they have supported is the development of a 3D animated ‘fly-through’ of Holt Castle in Wrexham, as it would have looked at the end of the 15th century. The castle, one of Edward I’s chain of Marches defences, is now a ruin, but can be visualised thanks to the application of new technology. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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At Risk Register offers reasons [ to be cheerful

The Accumulator Tower. Photo by Fin Fahey CC BY-SA 2.5

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HISTORIC ENGLAND HAS published its Heritage at Risk Register 2017.

The register, launched on 26 October, provides an annual snapshot of the state of England’s most valued vulnerable historic places. It also brings attention to the sites across England that are at risk of being lost as a result of neglect, decay or inappropriate development.

More encouragingly, it also chronicles those sites that have been saved and are no longer at risk. A total of 328 new entries were added to the register this year, while 387 have been removed – more than one per day. That gives a ‘net saving’ of 59 important historic sites over the past year.

Further good news is that Historic England has reached its target to rescue 15% of the sites that were on the 2015 register a year early.

Duncan Wilson, chief executive of Historic England, said: “The Heritage at Risk Register is an annual health-check of the country’s most special and vulnerable historic places. We can celebrate the fact that 387 historic sites have been saved this year across England by organisations and communities working with Historic England and I want to thank all those who have cared for at-risk places, bringing them back into life and into use. From the volunteer bracken-bashers at prehistoric sites to the apprentices learning and applying traditional craft-skills to medieval buildings, this is a huge, collective labour of love and it is well worth it.

“But across England, thousands of fascinating buildings and places full of history are still at risk and in need of rescue. There is much work to do to secure their future. The historic environment has a profound impact on our culture and identity as well as our economy, both locally and nationally, and it’s irreplaceable.”

Among the sites added this year are two in London’s Limehouse district – within sight of each other. They are the Accumulator Tower and St Anne’s Parish Church.

The Accumulator Tower is a distinctive octagonal tower and chimney stack built in 1869 by William Armstrong, inventor of the hydraulic crane. It is the last surviving accumulator tower of three built in Regent’s Canal Dock, now known as Limehouse Basin. All three were once connected to a pumping station which fed water under high pressure into a hydraulic main that powered coal cranes around the dock.

St Anne’s Limehouse Parish Church was designed by Nicholas Hawksmoor and completed in 1730. It was named for Queen Anne, who raised the money to build it and several others from a tax on coal coming up the Thames. The golden ball at the top of its mast was for many years a navigational mark and its clock – the highest church clock in London – was designed to chime every 15 minutes, guiding the thousands of ships which moored in the docks every day. The interior is suffering from water damage, leading to its addition to the register.

On a happier note, a toll house, a former atomic bomb store, a bombed-out church, J M W Turner’s retreat and an entire conservation area in Derby have been saved and removed from the register. q

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A warm church gives a warm welcome!

[THAT IS THE message to church managers from Essex-based

Argonaut Heating Ltd, a company with over 40 years experience in the industrial and commercial heating sector.

Specialising in church heating systems, they can provide costeffective and efficient design, installation, repair and maintenance services and understand the problems involved in heating churches, community centres, halls and other places of worship.

A company spokesman explained: “Churches with heating problems are more common than warm churches – and cold churches often discourage regular attendance. The main problem in heating a church is the age of the building. Since the majority of church buildings are well established, they have a mixture of heating systems dating back to a time when fuel was relatively cheap. These old systems still try to heat buildings once a week but are slow to respond – often requiring boilers to be turned on well in advance. Despite that, the church can still be cold.”

“More modern churches, many built in the 1960s, often had electric heating systems installed which are expensive to run. The church is usually heated once a week for Sunday services, but there are always occasions in midweek when the church is used at fairly short notice for services such as funerals, baptisms and the like.”

One cost effective and efficient solution to that problem is the use of Rinnai heaters which provide a quick heat-up time.

Argonaut is an approved Rinnai installer and fitted such a system at St Alban’s Church in Dagenham (pictured).

Alternatively, where it is not practical to install Rinnai heaters because of the nature of the building, for example if it is a listed building, they can also offer the traditional solution using a highefficiency, condensing boiler and radiators, providing savings in fuel costs.

In addition to the installation of new systems, Argonaut provides a range of church heating services, including boiler replacements, boiler repairs and maintenance services.

All members of the Argonaut Heating team are fully qualified and committed to excellence in health and safety, thus ensuring that all installations and repairs are carried out in compliance with latest regulations. They can offer a free site visit, giving clients advice and a free quote on the most efficient and cost-effective heating solutions for their church.

The company operate throughout East Anglia and the South East of England, including the capital where a high-profile project was carried out at Wren’s masterpiece, St Mary-le-Bow. q

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Updated guide helps parishes open their doors [ THE DIOCESE OF HEREFORD and the Historic Building

Alliance have launched a new, updated and extended version of the toolkit: Crossing the Threshold: a step-by-step guide to developing your place of worship for wider community use and managing a successful building project. Its development is in response to a growth in the numbers of church communities wanting to adapt and improve their space so that it can be opened up to other community groups.

The toolkit offers step-by-step guidance for parishes beginning to consider making changes to their buildings, and who wish to open up their church buildings for wider community use. It sets out a process to ensure that the historic and liturgical requirements of a place of worship are balanced with community use.

Becky Clark, director of ChurchCare, the Cathedrals and Church Buildings Division for the Church of England, welcomed the toolkit.

She said: “This excellent grassroots initiative is set to become national guidance and I commend it to parishes across the country.

Our churches are the hub of their communities in times of joy, grief and for those on the margins who are in need of our support.

“Offering a welcoming, safe and sustainable environment is really important. This advice is both practical and accessible and will help churches looking to develop their buildings for the benefits of all in their communities.”

The publication has been funded by a grant of £12,000 from Allchurches Trust to the Historic Religious Buildings Alliance, with the Diocese of Hereford contributing £2,000 towards the updating work.

It is available to download from www.hereford.anglican.org/ documents/crossing-threshold-toolkit. q

Architects name Scotland’s best new building [

THE Dunfermline Carnegie Library & Galleries in Fife, by Richard Murphy Architects, has been named as the winner of the Royal Incorporated Architects in Scotland’s Andrew Doolan Best Building in Scotland Award for 2017. The award is made from a shortlist of the 12 projects named as winners of RIAS Awards for the year.

The award was presented at a ceremony on 7 November at the National Museum of Scotland – itself a Doolan Award winner in 2011 – by the Cabinet Secretary for Culture, Tourism and External Affairs Fiona Hyslop MSP. She was accompanied by Margaret Doolan Hon FRIAS, the late Andrew Doolan’s mother.

The winner of the Andrew Doolan Best Building in Scotland Award receives a gold medal, cast by internationally renowned Scottish goldsmith James Brent Ward, and a cheque for £25,000. That makes it the richest architectural prize in the UK and one of the most significant architecture awards in Europe. The award is supported by the late Andrew Doolan’s family and by the Scottish Government.

Ms Hyslop said: “Last year the RIAS-led National Festival of Architecture focused international attention on Scottish architecture and the quality of the shortlist for this year’s Andrew Doolan Award illustrates again the continuing excellence of new architecture in Scotland.

“I am always delighted to announce the winner of this award, and in this Year of History, Heritage and Archaeology the quality of the winner and of all the shortlisted projects illustrate that we are building a future heritage in Scotland that we can truly be proud of.”

The judges’ citation for the project reads: “In 2007 Richard Murphy Architects won a competition for a major new cultural hub in

Dunfermline’s historic centre. The new building is organised along a top-lit internal street, criss-crossed by bridges. To provide access an adjacent car park was redesigned as a walled garden leading to an entrance courtyard. External materials are sandstone, oak and Corten steel, acknowledging the town’s industrial heritage and the steel magnate Andrew Carnegie, after whom the building is named.

“Internally, the new spaces connect with the existing library reference rooms, repurposed as events spaces. At the lower level the local history reading room is organised in three tiers. The children’s library opens directly onto the garden. On the floor above, the café’s terraces offer views over the abbey. Above is a double-level, barrel-vaulted museum and three flexible art galleries. The circulation ‘architectural promenade’ offers key views of significant historic buildings, culminating in a cube window framing views of the abbey.” q

Museums review accepts on-going funding dearth [THE MUSEUMS ASSOCIATION has responded to the publication

by DCMS of The Mendoza Review: An independent review of museums in England. The report was published on 14 November and was led by Neil Mendoza, a former banker and non-executive board member of the department. It was commissioned by the government in response to the 2016 Culture White Paper, which called for ‘a wide-ranging review of national, local and regional museums, working closely with Arts Council England and the Heritage Lottery Fund’.

In his introduction to the report, Mendoza writes: “It is unlikely that there will be significant additional money available for the sector in the immediate future. The main thrust of our recommendations is, therefore, to ensure that we use existing funding in the best way possible.”

The review, the first of England’s museum sector in more than a decade, recommends that funding should be distributed in a more strategic and joined-up way. The report calls for the creation a Museums Action Plan by September 2018 that would be designed to ‘help England’s museums and galleries to thrive and grow’.

Responding to the review, Museums Association director Sharon Heal said: “We welcome the review and are pleased to see government recognition of many of the issues that the Museums Association raised during the consultation period. In particular, DCMS has accepted the need for a strategic funding approach to ensure that funding bodies work together.

“We are also pleased to see recognition of the opportunities that we identified for the sector relating to the social impact of museums, particularly in supporting placemaking, wellbeing and spaces for debate, and would be happy to work with government and agencies to take forward recommendations in particular around workforce, diversity and collections.”

Commenting on the continuing cutbacks in museum funding, she said: “The report recognises the severe funding difficulties experienced by many museums; therefore, it is disappointing that the government has failed to identify any new resources or capacity to improve the sustainability of the sector. The government’s own figures show that local authority funding for museums in England in 2016 was 31% lower in real terms than in 2010. This dramatic reduction in core funding has resulted in museum closures, reduced opening hours, the loss of museum expertise and low morale.” q

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COVER STORY

Mr Lead’s legacy gets the key to the door!

The Murdoch Sponsors Award winning project at Sotheby’s, St George Street by Leadwork Contracts Ltd

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IT IS HARD TO believe that it’s 21 years since members and associates of the Lead Contractors Association (LCA) came together to celebrate the announcement of the first Murdoch Award. The award was presented in 1996 in honour of Dick Murdoch – ‘Mr Lead’ – on his retirement. They were founded to mark his tireless efforts and success in raising quality standards in lead sheet work, part of which led to the founding of the LCA in 1984.

A decade later the Murdoch Sponsors Award was added. That featured the smaller installations that used less than five tonnes of lead sheet, but which could be equally as demanding of the leadworker’s skills as the larger, more eye-catching projects.

The two awards represent the highest accolade in the lead sheet industry, when specialist leadworkers are recognised by their peers as achieving excellence in their craft. In the 21 years that have passed since that first award was presented, the industry has seen many changes, developments and improvements, and these prestigious awards reflect that on-going progress, attracting many entries of an excellent calibre.

The judging of this year’s entries took place in August, by a panel of highly-respected professionals in the sector. As usual, it was with eager anticipation that LCA members, associates and their guests attended the gala dinner – held this year at the Manor House Hotel in Castle Combe, Wiltshire – to learn who had taken the top honours.

In his welcoming speech, LCA chairman Mike Hempstock thanked all delegates and their guests for taking part in the evening’s celebration of the Murdoch Awards. He then handed proceedings over to general manager Nigel Johnston, who in turn introduced the national sales manager of Associated Lead Mills (ALM), Alan Barker. ALM has sponsored the Murdoch Award since 2005 and created the Sponsors Award the following year.

Alan spoke about the background and importance of the awards, before introducing Dick Murdoch. Dick took the opportunity to summarise the technical comments of the judging panel before

announcing the results of the Sponsors Award.

In third place was Norfolk Lead Sheet (UK) Ltd, for their work on the porch of a private dwelling in Winford, Norfolk. It exemplified the value of encouraging entries from contractors for projects in which less than five tonnes of lead have been used.

Just pipping them into second came Webb Roofing Solutions Ltd, for their work on Lewis Crescent in Brighton. Being in one of the town’s conservation areas, the restoration was undertaken with intense scrutiny

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COVER STORY and provides a reminder of how the quality of product is of equal importance to its installation.

However, in the judges’ opinion the winner of the award was in no doubt: Leadwork Contracts Ltd for their work at Sotheby’s on St George Street, London. Ian Harvey stepped forward to receive the award on behalf of Leadwork Contracts director Ben Herbert, who was unable to attend the presentation.

Speaking later, a delighted Ben Herbert explained the background to the project and some of the challenges faced along the way.

“The crown roof at Sotheby’s, at 1-2 St George Street, was in dire need of renewal and we had repaired it many times over the last 20 years,” he said. “The old lead was code 6 and laid in bays that were too wide and therefore oversized. In addition, the timber substrate was poor, so we overlaid with 18mm WPB-ply, laid to new falls with increased drip heights. There were also a few bays that were restricted due to tapering and breaks in the brickwork, which created additional design issues.”

Leadwork Contracts used rolled lead to BSEN 12588, which was supplied by ALM. Codes 5, 6, 7 and 8 were used on the project, which equated to 4.5 tonnes of lead.

One challenge which was unique to this project was the value of the items inside Sotheby’s premises. As Ben explained: “Keeping the roof watertight was critical, as there were some extremely rare and expensive items just feet below. Because of that we only stripped areas of roof that we could put back in a day, leaving minimal sheeting overnight.”

Ben added that the project is also covered under the 25-year guarantee scheme.

On to the Murdoch Award itself: as with the Sponsors Award, the judging was extremely close. Norfolk Lead Sheet (UK) Ltd took third place again – this time for their work on New Manor House in Hales, Norfolk. Runner-up was Full Metal Jacket Ltd for their work on the Islamic Galleries at the British Museum in London.

However, the outright award went to NDM Metal Roofing & Cladding Ltd for their work on Chatsworth House in Derbyshire. NDM’s managing director Nigel Miles explained that they won the prestigious £1.8m contract after considerable negotiations had taken place by his commercial director Brian Shepherd.

Awards recognition for metal roofing company

[ THE RUNNER-UP for the Murdoch Award this year was Full

Metal Jacket for their work on the roof of the Islamic Galleries at the British Museum in London. The company’s leadwork division worked closely with the client to replace the existing copper roof and return it to its original lead, installing new lead bays, gutters, cladding and bespoke rainwater pipes which were handcrafted in their workshops.

The company’s founder and director Paul Rawlinson commented: “We continually strive to produce excellent work, mixing traditional lead roofing with up-to-date ventilation and expansion methods – and in doing so we continue to achieve the standards envisaged by the Murdoch Award, which we also won in 2004.”

FMJ also install hard metal roofing and cladding, and have recently completed projects to replace the zinc roof of the Royal Victoria Pavilion in Ramsgate (pictured) and to install a zinc roof on the new RNLI Lifeboat Station in Swanage.

Paul Rawlinson continued: “Our entire company works as a team to ensure excellent workmanship, great customer service and value for money, while developing innovative and up-to-date techniques for clients looking to see diverse shapes and colours created with the great new ranges of zinc and copper available today.”

FMJ offers expertise in lead, zinc, copper and stainless steel and are part of the TOR Coatings partnership. q

Murdoch Award Runner-up was Full Metal Jacket Ltd for their work on the Islamic Galleries at the British Museum in London www.ecclesiasticalandheritageworld.co.uk

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COVER STORY alongside Chatsworth’s own resident team and Stephen Gee – a knowledgeable architect with a keen eye for correct detailing and workmanship.

“Predominantly the work consists of large code 8 gutters with code 9/10 roofing sheets of varying pitches. There are approximately 25 roofs that have been stripped and recovered, varying in size from 10m2 up to 850m2.”

He added that this project involved a first for a Grade One-listed building, with the introduction of stainless steel gutters to overcome some awkward gutter substrate details.

Nevertheless, the most challenging aspect of the project so far has to be the re-roofing of the dining hall, attached to the main house and housing possibly one of the world’s most expensive paintings. The hall did not have a temporary roof over it and Nigel admitted that the entire workforce became concerned – even paranoid – about night-time protection.

“We were all greatly relieved when the house declared that the main contractor was going to be responsible for that!” he declared.

He was proud to confirm that throughout the period on site NDM have maintained the same workforce, enabling The work on Chatsworth House earned NDM Metal Roofing & Cladding Ltd the 2017 Murdoch Award all of the work to be consistent in its appearance.

“In my estimation, other than St Paul’s Cathedral, Chatsworth House has to be the ultimate lead roof to re-roof,” he said. q The works are still on-going and will eventually have taken more than a year: they began in January this year and are programmed to end • The search is already underway for next year’s award winners; so next March. The job involved stripping some 230 tonnes and replacing it any LCA member, client or architect that has used an LCA member can with 320 tonnes of lead sheet. enter a project by contacting the LCA at its office at East Grinstead on Nigel explained: “Our project manager Wayne Hall has been on site 01342 317888 or email info@leadcontractors.co.uk since the start of the project and has overseen a superb installation,

Award sponsors celebrate with the winners [

FOR MORE THAN a decade the Murdoch Awards have been sponsored

by Associated Lead Mills (ALM), who take immense pride in continuing to sponsor them. Indeed, it was ALM who initiated the Murdoch Sponsors Award in 1996.

ALM’s managing director Barry Smith put the company’s association with them into perspective: “As one of the UK’s leading distributors of rolled lead sheet we are glad to continue with our sponsorship of the Murdoch Awards, which do so much to enhance the profile Murdoch Sponsors Award winners Leadwork Contracts Ltd receiving their award for the Sotheby’s projejct of lead, along with those involved in its use and our industry as a whole.” in supplying Codes 5, 6, 7 and 8 to Leadwork Contracts Ltd via Speaking of ALM’s role in the winning projects, national sales their nominated merchant. The contrast between the 4.5 tonnes manager Alan Barker explained: “As the distributor of rolled lead supplied and the 320 tonnes required by NDM for Chatsworth sheet chosen for the Sotheby’s project, we took considerable pride House couldn’t be greater; however the same craftsmanship is a feature common to both. Ultimately, the quality of installation and material will play a pivotal part in securing the future of the two buildings.”

In making one final point, Alan went on to say: “The awards also provided an ideal opportunity to thank Lead Contractors Association secretary Ray Robertson, who is now in his final year at the association. His unstinting work over the past 21 years in co-ordinating the promotion of lead and his members has been invaluable to us and the industry as NDM Metal Roofing & Cladding Ltd were Murdoch Award winners for their work on Chatsworth House a whole.” q www.ecclesiasticalandheritageworld.co.uk

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Lead leads the way in skills development [

OVER THE PAST few issues we have been looking at the Leadworker Register, administered by the Lead Sheet Association (LSA) and the Lead Contractors’ Association (LCA) on behalf of the Lead & Hard Metals Roof Training Group. In this issue we examine some of the main issues covered.

The two main benefits of the Leadworker Register are that leadworkers are able to demonstrate their level of skill when promoting their businesses and potential employers or specifiers can ensure their leadworker has the right level of competence. The register is equally as useful for small, domestic jobs as it is for large contracts.

The register has four levels of competence, depending on the qualifications gained by each leadworker. The four levels help support career development – allowing people to develop their skills and progress through the different levels as they gain more experience.

Those skill levels are: Level 1 - Basic skills: those who are likely to be new to the industry and have undertaken induction and training in the basic levels of leadwork design and installation.

Level 2 - Secondary skills: those who have worked in the sector for more than a year and have progressed through experience and on-site development of their skills, in addition to formal training and assessment.

Level 3 - High skills: leadworkers who have been working in the sector regularly for at least three years and have gained sufficient practical skill and design knowledge to be able to work almost entirely without supervision or require technical guidance, except on the most complex detailing.

Level 4 - Advanced skills: widely experienced and competent in all aspects of detailing and installing lead sheet for roofing and cladding.

They should be able to work completely unsupervised and should be able to supervise and provide guidance to others, even for complex or non-routine applications.

Experienced leadworkers who don’t have a formal qualification can still apply to be on the Leadworker Register. Depending on their level of experience they will have to formally work towards the relevant qualification.

In addition to jointly administering the Leadworker Register, the Lead Sheet Association provides a wealth of technical information via its website at leadsheet.co.uk. They include the LSA Pocket Guide, AutoCad

drawings for flashings, gutters, cladding and roofing as well as health and safety information. The association also publishes Rolled Lead Sheet – The Complete Manual, which is the comprehensive reference tool for leadworkers and specifiers. LSA technical officers are also available for consultation on specific projects and a new app is in the process of development.

The LSA offers a number of training courses at its East Grinstead headquarters, as well as on site. They range from basic courses catering for those who have little or no experience, to those that are more advanced and looking for a formal qualification such as a Specialist Applied-Skills Programme (SAP) or City and Guilds.

The association is also a part of the RIBA CPD Network and can arrange a CPD at an architect’s practice or other organisation. CPDs help make participants aware of how to inspect and detail and specify leadwork, assist in identifying problem areas, and whether repair or renewal of lead sheet is required.

The LSA recently took its CPD on the road with the RIBA Roadshow in Edinburgh, providing an introduction to manufacturing methods and the technical, life cycle and sustainability characteristics of lead sheet.

Real-life case studies demonstrated the best way to specify lead, including examples of correctly designed and detailed installations.

This seminar explored the main uses of rolled lead sheet for flashings and weatherings, roofing and cladding, dormers, parapets, cornices and guttering.

The Lead & Hard Metals Roof Training Group, on whose behalf the Leadwork Register is administered by the LSA and LCA, oversees the continuous professional development of operatives in all the traditional metal roofing skills. It describes itself thus: “It is our simple aim to provide all the information needed with regard to the content and availability of training in the lead sheet and traditional hard metals roofing disciplines. Our main function is to provide the only recognised gateway for lead and hard metals roof training and CPD courses in the UK.” q

Lead: it looks grey, but it’s really green!

[ALTHOUGH LEAD HAS been around in building for

thousands of years, it can also now be described as being a ‘new’ eco-material, as it is now included in the BRE Green Guide to Specification. In fact, in most standard lead roofing and vertical cladding installations lead has a BRE rating of A or A+.

According to the LSA, when used in vertical cladding applications, lead has a carbon footprint of 30-76kgCO2 per kg of material. When used on flat or sloping roof installations, that falls to between 4-58kgCO2. That figure is considerably lower than similar installations using copper, zinc and stainless steel.

There are very few statistics available for man-made materials but they will undoubtedly have even higher carbon footprints where they are made from hydrocarbon products.

Lead also scores well when measuring Eco points – the

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degree to which a material contributes to the environmental performance of a building. Depending on the form of roof or cladding system adopted, lead will only generate between 0.50.66 Eco points. Those figures mean that the effect of using lead on a project is of minimal impact on its environment credentials.

That is also because rolled lead sheet to BS EN 12588 offers a number of additional environmental benefits. It is 100% recyclable and can be used repeatedly without any loss of performance, meaning there is no need for disposal to landfill.

Lead’s relatively low melting point also means that less fuel is burned during its manufacture: it has the lowest carbon footprint of all roofing metals. And lead’s long life makes it a great choice if you are considering the wider environmental impact of a building. q

The following leadworkers are listed on The Leadworker Register: Tim Fuge Leadwork

Southdowns Builders Ltd

1 Stantons Row, Tremar, Liskeard, Cornwall PL14 5HL

Wellesley House, 204 London Road, Waterlooville, Hampshire PO7 7AN

Prospect Roofing Ltd

L.J. Randall

151 Prospect Road, Woodford Green, Essex IG8 7ND

130 Gunville Road, Newport, Isle of Wight PO30 5LH

MW Roofing (NW) Ltd

M P Hare Ltd

488 Bury Road, Rochdale OL11 4DG

The Shaw, Kiln Barn Road, East Malling, Kent ME19 6BG

DW Specialist Leadwork & Roofing Ltd

MYLeadworks

Unit 1, Hanover House, Greg Street, Stockport SK5 7NR

9 Meadow Way, Bracknell, Berkshire RG42 1UE

Nova Contracts Limited

C & L Lead Sheet Fabrication Ltd

T: 07792 022630 E: tfleadwork@yahoo.co.uk W: www.tfleadwork.co.uk

T: 0800 335 7179 M: 07889 140051 E: info@prospectroofing.co.uk W: www.prospectroofing.co.uk

T: 01706 564185 E: info@mwroofingltd.co.uk W: www.mwroofingltd.co.uk

T: 07584 123212 E: info@dwleadworkandroofing.co.uk W: www.dwleadworkandroofing.co.uk

T: 01563 526942 M: 07739 750617 E: info@novacontracts.co.uk W: www.novacontracts.co.uk

T: 01730 267869 M: 07767 792825 E: contact@southdownsbuilders.co.uk W: www.southdownsbuilders.co.uk

Leadwork Specialists M: 07894 792760 E: ljrandall1@btinternet.com

T: 01732 842655 M: 07971 902631 E: marc@mphareheritageworks.com W: www.mphareheritageworks.com

T: 01344 310 912 M: 07793 653 434 E: info@myleadworks.co.uk W: www.myleadworks.co.uk

T: 01446 700002 E: sales@candl-leadfab.co.uk W: www.cavitytrayswales.co.uk Unit 6 Priority Workshops, Ty Verlon Industrial Estate,

10 Leadhills Road, Kilmarnock, East Ayrshire KA1 3UF

Cardiff Road, Barry, South Glamorgan CF63 2BE

Black Dog Roofing

K & M Leadwork Ltd

Landsdowne Close, Calne, Wiltshire SN11 9DR

2 Lincoln Close, Standlake, Witney, Oxfordshire OX29 7SJ

Glenbuild Roofing Contracts Limited

Timby Traditional Roofing Specialist

21 Littlemill Road, Drongan, Ayrshire KA6 7BP

22 Tooley Street, Gainsborough, Lincolnshire DN21 2AN

T: 01249 321969 M: 07808 840491 E: blackdogroofing1@outlook.com

T: 01292 590440 E: glenbuildroofing@yahoo.co.uk W: www.glenbuild.com

T: 01865 301866 M: 07900 640046 E: info@kmleadwork.co.uk W: www.kmleadwork.co.uk

T: 01427 617272 M: 07702 720152 E: matt@timbyroofing.co.uk W: www.timbyroofing.co.uk

www.ecclesiasticalandheritageworld.co.uk

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Leading manufacturers team up to launch new tool range [ A UNIQUE COLLABORATION between BLM British Lead

– the UK’s leading manufacturer of BS rolled lead sheet – and world-leading roofing tool manufacturer and distributor Monument Tools has led to the launch of BLM Roofing Tools, a new specialist tool range.

Both companies have worked together to create a brand that replicates their respective traditions and core values, bringing to the market the best in British-made leadwork and roofing tools.

They share a rich history and heritage in their respective industries, dating back over 85 and 130 years respectively, and aim to build on their existing strong reputations for product quality, outstanding service, knowledge and expertise.

BLM Roofing Tools strives to provide a comprehensive range of leadworking tools, including lead dressers and shaping sticks, bossing mallets, chase wedges, seaming pliers and a Quick Flash tool. The range caters for all construction professionals, whether they are installing occasional flashings or carrying out complex leadwork detail. The new company is also looking to invest time in a continuous research programme to develop new, high-quality specialist tools for the leadwork and roofing sector.

BLM Roofing Tools have been tried, tested and approved by the Lead Sheet Association and come with a lifetime material defects warranty. q

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Armistice Day service marred by lead theft discovery [ WHEN WORSHIPPERS AT the Church of St John the Divine in

Elmswell, Suffolk, arrived for a prayer meeting on the morning of Armistice Day, 11 November, they discovered that major damage had been caused by the theft of lead from the roof.

“Even worse,” said the rector, Rev Peter Goodridge “the thieves kicked down stone sections of the roof into our Remembrance Garden, desecrating it. This is particularly disgraceful behaviour on Remembrance Day.” When the assembly saw the damage they thought at first it was storm damage. “However,” Rev Goodridge told local press, “upon walking inside the church, we saw daylight coming in through a

Leaking roof caused

by WWII strafing, investigation finds [

RESTORATION WORK being carried out to the fleche of St Peter’s Church in Folkestone includes repairs of a somewhat unusual kind.

Investigation work carried out as part of a HLF-funded programme revealed a number of bullet holes in the roof, now dated to a raid on Folkestone by German fighter planes on 27 March 1941. The discovery is thought to explain why the roof has leaked ever since.

The church, which was consecrated in 1868, is perched on cliffs above Folkestone Harbour and formed part of the last view of England by many soldiers departing during World War One. It was also a welcoming view for those who returned, and for the passengers coming into Folkestone Harbour in the days of the ferries.

Its clifftop position left the church exposed to storms, winds and rain over the past 150 years. It also put it directly in the firing line during World War Two. It is now on the Heritage at Risk Register of Historic England.

The first of the panels from the fleche with the now-famous bullet hole is currently propped up against the wall in the Sacred Heart Chapel. It will be joined shortly by a second panel with the bullet exit hole. The plan is to turn them into some sort of memorial object in the church. q

part of the roof I knew to be the main area of lead. I suddenly realised I was standing in pools of water.”

The church paid tribute to the local fire brigade, who worked hard to make it watertight.

In a post on the church website, Rev Goodridge declared: “Please be assured that this incident will not distract us from our ministry of making known the gospel and compassion of Jesus Christ to Elmswell…it will be business as usual.”

The main Remembrance Sunday service took place as planned. q

www.ecclesiasticalandheritageworld.co.uk

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Handmade clay tiles

create historic-style new build [

CANTERBURY HANDMADE clay plain tiles from leading roof systems manufacturer Marley Eternit have been used to create an authentic roof for a new build historic-style cottage in the Denham Conservation Area.

The self build project, in the picturesque old English village of Denham, had to adhere to strict planning guidelines for roof height and use of materials, due to the number of listed buildings along the same road. The homeowner consulted independent roofing merchant Skyline Roofing Centres, who recommended the Canterbury clay tiles in Loxleigh to give a premium rustic aesthetic and complement the cottage’s Welsh oak timber frame.

The homeowner explains: “Denham village dates back to the Doomsday Book and has 46 listed buildings, the majority of which are along Village Road where our new house has been built. These historic properties are largely vernacular with a mix of brick and timber frames and many of them have handmade clay tiles on the roof.

“We chose the Marley Eternit handmade tiles because they achieved the traditional, heritage look demanded by local planning and blended in well with the rafters and open eaves on the roof. They also complemented the copper gutters and downpipes, which also needed to comply with planning requirements.

“We have been aspiring to build our own home for over five years, so we had a clear image of what we wanted it to look like and had even built a model of it. The handmade tiles have helped us to achieve our dream picturesque cottage, which sits perfectly in this idyllic village and is a welcome break from the busy city.”

Marley Eternit’s range of Canterbury tiles are handmade by skilled craftsmen, using locally sourced Etruria Marl, generally accepted to be the finest clay for strength and durability. The tiles are available in three colours – Chailey (orange), Loxleigh (antique) and Burford (brown) – with their own handmade fittings range.

Daniel Redfern, product manager at Marley Eternit, commented: “We developed the Canterbury range specifically for projects like this, giving architects and self builders more choice when only genuine handmade clay plain tiles may be specified to meet planning requirements. The traditional hand making process brings random undulations and variations that give each tile its unique appearance, creating a distinct rustic style roof that is ideal for conservation or aesthetic purposes.” q • For more information, literature and samples, please call 01283 722588 or visit www.marleyeternit.co.uk/handmade www.ecclesiasticalandheritageworld.co.uk

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Can aluminium guttering ever replace cast iron guttering? [

THE ANSWER TO that question is, of course, no! Aluminium guttering will never completely replace cast iron. Cast iron is often obligatory on our oldest buildings – and with good reason. It offers an unmistakable appearance and has been proven to last up to 100 years with sensible maintenance. Cast iron is generally the more expensive system to purchase, but it still represents great lifetime value when you factor in longevity.

Geraint Jones is the managing director of Rainclear Systems, the UK’s leading stockist of metal guttering, and a huge fan of cast iron.

Said Geraint: “As well as its strength and efficiency, the wonderful thing about a modern cast iron system is that it’s now available in a pre-painted factory applied finish ready to install, which takes away all the hassle and concerns of on-site painting.

“That said, our Heritage Cast Aluminium gutters can be supplied to resemble cast iron in a ‘textured’ black: making them ideal to use on traditional, historic and restoration projects where cast iron is not specified.”

Geraint went on to explain that cast aluminium is lighter than cast iron, making it easier to handle and fix. It offers all the benefits of aluminium’s resistance to corrosion, plus a factory-applied polyester powder coating finish, which gives it a life expectancy of 40 years.

It has minimal maintenance requirements while, as SPAB’s technical and research director Douglas Kent observed in LPOC’s Listed Heritage magazine: “Iron work corrodes without regular decoration.”

Both cast iron and aluminium offer unrivalled versatility. If there are any specific design requirements for a restoration or renovation project,

Rainclear work closely with the UK’s most established and experienced foundries to match any feature, however ornate.

The Heritage Cast Aluminium system is highperforming, durable and requires minimal maintenance. It has a life expectancy of up to 40 years in rural/suburban areas and up to 25 years in industrial areas.

Moreover, the UK-manufactured system can be supplied in any RAL or BS colour reference for bespoke projects. Guttering and downpipes can be matched with windows or the original, perished cast iron rainwater system. In addition, aluminium is 100% recyclable at the end of its life and has a monetary scrap value – giving it an exceptionally low lifetime cost.

A project at Chicklade Farm in Salisbury (pictured above) involved the renovation of a 19th-century farmhouse. It was situated in a prominent conservation area, so the right product was essential.

The Heritage Cast Aluminium gutters and downpipes were finished in RAL 9017 black to maintain the authenticity of the beautiful, traditional property.

Rainclear also designed and manufactured a series of completely bespoke aluminium rainwater diverters for the environmentallyconscious client, allowing them to divert and recycle rainwater to help maintain the beautifully restored cottage garden.

A Heritage Cast Aluminium rainwater system, with bespoke hoppers and finish, helped retain the architectural integrity of the Grade B1listed Riddel Hall in Belfast (below). The £10m project was Highly Commended in the Conservation category of both the RICS 2012 Awards and the RSUA Design Awards.

The architects provided a sample of original components from the building and 45 replica hoppers, together with downpipes, ear-belts and bracketry, were replicated – all in a special RAL 8004M finish in copper brown to match the colour of the original rainwater system.

The old system had perished and the Heritage Cast Aluminium system was specified for its ability to replicate the look of the original cast iron system, while offering modern performance, longevity and low maintenance requirements. q • Visit the website www.rainclear.co.uk now for massive savings across all the metal ranges. To get in touch with the friendly, knowledgeable team at Rainclear call 0800 644 44 26 or email sales@rainclear.co.uk

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The search is on for UK’s best roofing projects [

ENTRIES OPENED IN September for the 2018 UK Roofing Awards. The awards recognise the most outstanding roofing projects in the UK, as well as individuals who have demonstrated excellence across the roofing industry.

The event is hosted by the National Federation of Roofing Contractors. Its chief executive James Talman commented: “The UK Roofing Awards have become an established and eagerly-anticipated highlight of the roofing industry calendar, celebrating businesses and individuals who consistently deliver superb workmanship, innovation and quality in the built environment.

“This event promises to be as spectacular as ever, with more categories to enter and a glittering awards ceremony bringing together clients, architects, suppliers, contractors and other partners under one roof.”

Three new categories have been added this year, bringing the total to 14. The new awards are for Innovation, Large-scale Project Over

Scotland names its roofing winners [

ON 10 NOVEMBER all eyes in the roofing industry were on the Grand Central Hotel in Glasgow for the Scottish Roofing Awards.

The lunchtime event was hosted by Scottish rugby union legend John Beatty, who entertained the audience with stories of his playing days before presenting the awards.

Among the categories was the traditional Heritage Roofing category. The three finalists in that category were Archibald McCorquodale & Son Ltd for 243 St Vincent Street in Glasgow, Nova Contracts Ltd for Aiket Castle in East Ayrshire and B & D Roofing and Building Ltd for the stables at Dalmeny House in South Queensferry.

And it was B & D Roofing who came out on top on the day. Dalmeny House is a Gothic revival mansion – the first in Scotland to be built in the Tudor Revival style. It was designed by William Wilkins and completed in 1817. The home of the Earl and Countess of Roseberry, it is described as ‘very much a family home’, although it is open to the public for viewings and corporate events. q

£250,000 and Small Project Under £25,000. The 14 categories can be entered online using a simple and user-friendly form.

They also include the well-established Heritage category – although in past years a number of other categories have been won for heritage or ecclesiastical projects. Such was the case earlier this year, when K&M Leadwork Ltd won in the Lead Roofing category for the replacement of the existing 90-year old clock tower roof at Goring Clock Tower in Oxfordshire (pictured).

The Heritage category is for projects where existing and/or reclaimed roof coverings have been used, and which are in line with the NFRC National Heritage Register roof types.

The awards ceremony will be held on 11 May next year, at Park Plaza Westminster Bridge, London. At the ceremony the winner will also be announced of the Roof of the Year Awards, which is drawn from the category winners.

The event will also see the LCA formally present the Murdoch and Murdoch Sponsors Award and announce its Young Leadworker of the Year. q

The following companies are listed on The National Heritage Roofing Contractors Register: Exeter Roofing Ltd

T: 01392 243000 E: exeterroofing@gmail.com W: www.exeterroofingltd.com 18 School Lane, Tedburn St. Mary, Exeter, Devon EX6 6AA

Broadstairs Roofing

T: 01843 600 106 M: 07932 633 628 E: broadstairsroofing@live.co.uk W: www.broadstairsroofing.co.uk 5 Bridleway Gardens, Broadstairs, Kent CT10 2LG

Martin-Brooks (Roofing Specialists) Ltd T: 0114 244 7720 E: mb@allroofing.co.uk W: www.martin-brooks.co.uk

Ross Street, Darnall, Sheffield, South Yorkshire S9 4PU

J Wright Roofing Ltd

T: 0115 9717 591 E: info@jwrightroofing.co.uk W: www.jwrightroofing.co.uk Unit 1, 4 Dabell Avenue, Bleinheim Ind Est, Bulwell, Nottingham NG6 8WA

Heritage Roofing Contractors Ltd

T: 01432 830586 M: 07977 922442 E: heritageroofingcontractors@gmail.com W: www.roofing-contractor.co.uk Unit 10 Aydon Industrial Park, Hereford HR4 9UN

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Handmade tiles help recreate a traditional Kentish feature

The Oast House before, during and after its restoration

[A FORMER OAST HOUSE – once a derelict ruin in the curtilage

of a Grade Two-listed farmhouse near the village of Hever in Kent – has been carefully restored and converted into a characterful family home.

Appropriately named The Oast House, it now blends in with the rural landscape of the High Weald Area of Outstanding Natural Beauty.

Dating from the 19th century, the buildings had originally consisted of a rectangular, two-storey brick barn with two different-sized circular kilns for drying the locally-grown hops. As they had not been used for many years the buildings had fallen into disrepair and then suffered massive damage during the storm of 1987.

With the roofs completely destroyed, half of the brickwork on the larger south kiln missing and the brick walls and top courses on the barn and east kiln incomplete, there was a real danger that the remaining structure would collapse and ultimately be lost.

Despite its dilapidated state, Richard and Jane Horobin saw the potential of the building as a unique family home. “We immediately fell in love with the beauty of the location and, as we had previously taken on restoration projects, we felt we could enhance the charm and character of the building while preserving its distinctive historical features,” said Jane.

After four years of detailed discussions with the local council’s planning department, planning permission was granted in February 2014. As the

oast house was curtilage listed, the new structure could not be enlarged beyond the footprint or envelope of the remaining buildings.

Significant rebuilding work was undertaken, using a mixture of traditional and modern materials in order to respect and complement local historic building methods rather than exactly replicate the original structure. Richard and Jane project managed the £750,000 restoration themselves, using local joiners, bricklayers and other tradesmen and local manufacturers where possible.

The original timbers, which had completely rotted away, were replaced with locally-sourced oak beams and doors and window frames which were also made from oak.

In the absence of any reclaimed materials, the brickwork that could not be repaired was rebuilt with modern metric bricks, laid in a Flemish garden wall bond.

Traditional roofs The oast house’s iconic conical roofs were completely rebuilt and tiled with traditional clay Kent peg tiles, which were manufactured by handmade clay tile specialists Tudor Roof Tiles to complement those on the adjacent buildings, both within the farm complex and a nearby converted barn.

Specialist contractors Dude and Arnette, chosen for their experience in restoring historic Kent hop kilns, calculated the original heights of the two different-sized roundels based on the circumference of the bases. They recommended Tudor Roof Tiles as the most sympathetic handmade peg tiles still manufactured in the Kent area. They were installed in a traditional mix of 75% red antique and 25% dark antique.

“The importance of choosing the right roof tiles on this kind of project cannot be overstated,” said Darren Hole from Dude and Arnette. “They should have a genuine handmade quality, with a natural variation of tone and texture, while being practical to handle and peg. Tudor’s peg tiles have a gentle camber, and the oast tiles are manufactured with tapered sides specifically for roundels.”

The top of the roundel roofs were then fitted with new bespoke timber oast cowls.

After six years from the initial planning application to completion, Richard and Jane Horobin have created a unique family home, which retains the natural and rural appearance of the original oast house and its setting.

“While not without its challenges and frustrations, The Oast House has been a true labour of love,” said Jane. “We are proud to have preserved this heritage asset, not just for ourselves and our family but also for future generations.” q • For further information call 01797 320202 or visit the website at www.tudorrooftiles.co.uk

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Traditional lime brings Essex gem back to life

A fire in 1940 left Felix Hall severely damaged (top right). The exterior has now been fully rendered using ALC’s Thermalime insulating lime plaster

[

FELIX HALL in Kelvedon, north Essex, is an 18th-century manor house built in 1715 for Sir Anthony Abdy. It did not stay like that for long, before being ‘extended’ for Charles Callis Western in 1750. He commissioned the addition of wings to flank the main house.

The wings were relatively temporary, as the property was reduced in size again by their removal in 1939 by the then owners. It is still possible to see in the internal brickwork the points where the doorways were positioned between the main house and the wings.

The house was severely damaged by fire in 1940, leaving it completely gutted and without a roof. And it was not just the inside that suffered; the red brick in Flemish bond – which was formerly stuccoed – was left mainly exposed. That is how it remained until late 2015, when renovation work began in earnest masterminded by the new owners, City & Country.

The first priority was to make the building watertight. A new roof was erected and bespoke traditional wooden sash windows were installed.

Instantly the magnificent house was hinting at its former glory.

Specialist plasterers Parkington Properties contacted Anglia Lime Company (ALC) at the beginning of this year to discuss options for the replacement of the external render. Following site visits and the production of sample panels it was decided that ALC’s Thermalime insulating lime plaster would be ideal.

Not only does Thermalime have all the benefits one would associate with a lime render – breathable, lightweight etc – it contains a natural insulating ingredient to help maintain heat within a building. With a property of that size

and age it was particularly important to find ways to give a better U-value.

To fit in with other buildings of its era the owner was keen to have a smooth finish to the plaster, particularly on the six formidable columns on the façade of the house. To achieve that, ALC’s FineLime finishing lime plaster was applied and finished by the expert team of plasterers, who painstaking polished up every inch. The result was a striking marble-smooth finish.

The once battle-weary building, which looked so forlorn for so long, now sits proudly on its slightly elevated position in the Essex countryside, easily viewed from its surrounding fields: a fitting tribute to the work of, among others, the Anglia Lime Company and Parkington Properties. q

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CRE has an ‘emotional homecoming’ [ FROM A LIVELY opening featuring

Eurovision winner Dana to a solemn ending – when former hostage Terry Waite spoke of his five years imprisonment – Christian Resources Exhibition's return to Sandown Park touched all the emotions.

A total of 4,061 visitors attended the show during its three days and so enthusiastic were the 200-or-so exhibitors, that more than 30 have already booked stands for next year.

CRE’s new owner Steve Goddard had been its public relations consultant for many years and together with his wife Allison took ownership of the event late last year. They appointed Brett Pitchfork, who had managed the exhibition in the early 2000s, as event director. Based in St Helens on Merseyside, Steve was delighted with response to the first CRE under his control.

“Many local church leaders – lay and ordained – rely on it for fresh ideas for ministry, mission and maintenance,” said Steve. “Taking the event back to Sandown Park after two years at ExCeL in London proved an emotional homecoming.”

The exhibitors displayed everything from pulpits to puppets; sound systems to stained glass; charities to children's work. A

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55-strong choir from Notre Dame School in nearby Cobham (pictured) sang a reworded version of Dana’s Eurovision-winning song, All Kinds of Everything, ending it with “for your church and you”.

Visibly moved, Dana told the girls: “I am so glad you were not singing in Eurovision: I would have faced stiff competition!”

Terry Waite’s visit was made more emotional by the presence of 59-yearold Andrew Coleman. Andrew is the son of the late Canon John Coleman and his wife Audrey, whose freedom Terry had negotiated in Iran while acting as special

envoy to the Archbishop of Canterbury, prior to his own capture in the Lebanon.

“It was wonderful to meet Terry again after all he did for my parents,” said Mr Coleman.

Other guests included musicians Bryn Haworth and Jonathan Veira. Some 40 seminars covered such subjects as evangelism, social media, sound systems and church building projects. Among the speakers were world mission veteran George Verwer, who founded Operation Mobilisation, and Steve Clifford, general director of the Evangelical Alliance.

While one in four of the visitors to CRE came from Surrey and more than one in 10 from London, others came from all over the UK, including Cornwall and the Scottish Highlands. Three people travelled to Sandown Park from Japan! Most traditional denominations were represented on the visitors list, with 43% belonging to Anglican churches and 16% to Baptist churches.

“Response was so positive that we have re-booked Sandown Park for the same week in 2018,” said Brett Pitchfork. “CRE will run for three days again, from Oct 16 to 18. We are also considering more regional exhibitions, too.” q

New designs help transform the vision into reality for the Creations Project [PICTURE A RATHER tired 1950’s brick built church in Downend, Bristol. Add a congregation with a vision to improve the site and provide a church that is better equipped to welcome and serve the local community – and you have an idea of the Creations Project.

Badminton Road Church was always very much part of the local community, with regular weekly activities for people of all ages. Plans to update the interior of the building came to fruition this year following the sale of land alongside the church to a housing developer, and the Creations Project became a reality. The intention was to provide a permanent worship area in the building and a new prayer chapel, plus play areas and a café.

The church approached Fullers Finer Furniture with a view to creating new pieces.

A site visit was arranged with the architects, building contractor and church members, and subsequently plans for a dais, lectern and a cross were drawn up, discussed and finalised.

The dais is unusual in that it is two tiered, with a curved lower level and an elliptical second level. The specification was for the dais to include an access ramp at one side. This was incorporated into the right side of the dais and

includes a hand rail. Fullers’ design skills and experience meant that the full brief could be met without compromise on either functionality or aesthetics. The dais was finished with solid oak nosings and fascias to match the other furniture.

Fullers Finer Furniture also supplied a York Lectern. It incorporates a monitor for viewing the information the congregation sees and a tablet lip for easy use of new technology. The lectern is finished in natural oak and decorated with a cross to match the new cross on the wall, as well as to co-ordinate with the furniture being retained.

The wall cross, also finished in oak, was decorated with contrasting darker lattice crosses, made from mahogany reclaimed from the old communion rail. The cross displayed at the front of the church is a stunning symbol and reminder of what lies at its heart.

The ‘new look’ church was officially re-opened on 15 October with a service of rededication.

Fullers Finer Furniture expressed how privileged they were to be a part of the Creations Project, providing a beautiful modern building that is uniquely designed and equipped to meet the needs of future generations. q

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New church seating: guidance note explains the when, how and which [ONE OF THE MOST frequent changes

made to churches today will involve seating in some way. Changing the seating inside a church can have a significant impact upon the interior, so the process of changing furniture – as well as choosing a suitable alternative – requires careful consideration.

ChurchCare, the Cathedral and Church Buildings Division of the Church of England, publishes a document intended to guide parishes through the planning stages and the decisions involved. As with most ChurchCare documents, it is of value to all denominations.

On the issue of removing pews to replace them with chairs, the document states: “The decision to remove pews should be made on a case-by-case basis, following careful assessment of significance, needs and impacts. If the decision is taken to replace existing seating in a historic church building, then the Church Buildings Council aspires to seeing replacement chairs or benches of the highest quality of design.”

In the case of the Church of England, changes will require a faculty. There is a presumption against any change that will adversely affect the character of the church as a building of special architectural or historic interest, so applicants are ‘required to demonstrate sufficient need for change’.

In particular the guidance notes that chancel stalls arranged collegiate-wise – that is, facing each other north and south – are often of higher quality and significance than nave pews, so their retention is often desirable.

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“Doing so,” the document states, “not only facilitates the retention of some of the original character of the church, but also retains a formality at the east end of the church and preserves interior views. Even though there may no longer be a robed choir using the stalls, the pews can be used for smaller midweek services and as a quiet worship area.”

The guidance recommends a seven-stage approach to the process of replacing seating: • Evaluate current situation: Analyse the significance and date of the current seating and it there are any private rights to pews – this has been known.

• Assess and define needs: Consider what the parish wishes to achieve with new seating and why the existing seating is unable to provide this. Bear in mind that a change from pews to chairs will reduce the seating capacity.

• Consider the available options and decide what to do: A number of options are usually available, from replacement with chairs or new pews to working with existing pews to add flexibility.

• Assess impact: A number of statements of significance and need should enable a full impact assessment to be made. The guidance states: “It may also be necessary to commission an archaeological evaluation, particularly if work is likely to disturb the floor and pew platforms.”

• Consult experts: That should hardly need stating. Both the inspecting architect and the DAC should be involved at an early stage.

• Select new seating: A number of considerations have to be taken into account, such as the type of seating, cost and how the project will be funded.

• Finally – consult and gain approval: Involve the DAC in helping to complete and submit a faculty application. That’s when the fundraising starts in earnest.

The full guidance document is available to download from the ChurchCare website at www.churchcare.co.uk/images/Guidance_Notes/ Seating.pdf. q

Flexible seating – how One Church created an adaptable and comfortable community space [

A LIVELY AND ENTHUSIASTIC church in Gloucester, One Church has been serving the community since 1924. In a bid to provide more comfortable and adaptable seating for services and events, One Church chose to upgrade their metal framed stacking chairs for something that offered a little more flexibility.

Storage, storage, storage One Church’s lack of space required them to think very carefully about where and how they would store their chairs. Stacking chairs stack easily away when not in use, but they do take up considerable space around the hall. Organisers at One Church also found the stacks of chairs attracted stacks of attention from little ones who saw them as an inviting climbing challenge!

For these reasons, they opted for a folding chair along with storage trolleys, meaning minimum floor space is needed for storage and the trolleys can be wheeled away out of reach of little ones when not in use.

The comfort factor One Church’s metal framed stacking chairs had served them well for nearly 20 years, but organisers were looking for something with a little extra softness and comfort.

The church opted, therefore,

for a folding chair that has a deep padded seat and back – the Comfort Deluxe folding chair. A relatively new chair to the market, the Comfort Deluxe is a response to the growing demand by churches and community centres for chairs that fold away compactly for storage, but also offer a level of comfort normally only associated with heavier and more permanent visitor chairs.

Your flexible friend One Church sets out their chairs at least once a week for two services, and they are also often set out several times a week for various other events. In addition to this, the chairs are always stored away once a week for cleaning purposes. With such frequent setting up of chairs, weight and ease of handling were crucial considerations.

While plastic chairs – like the popular Smart folding chair – are particularly lightweight and easy to handle, especially with its built-in hand hold, One Church ultimately opted for the padded Comfort Deluxe chair which is light enough to lift and handle, but still offers the extra comfort and softness they were seeking. q • For more information call Mogo Direct on 01442 233384 or visit www.mogodirect.co.uk www.ecclesiasticalandheritageworld.co.uk

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Innovate and integrate: they’re the watchwords for AV [NOWHERE IS THE EMBRACE of technological advance in the

delivery of ministry more evident to the average churchgoer than in the sound and vision equipment that is installed. New technology is allowing the message to be delivered in ways that would have been unthinkable only a decade or so ago. New microphone technology allows the minister to move about, while he controls images to illustrate his words wirelessly on large flat screens.

What has also changed is the integration of the systems into the fabric of the church. Not too long ago a microphone on a stand would be placed in the centre of the chancel, with maybe another poking above the pulpit. They would deliver their muffled message via large wooden boxes strapped to pillars.

Now the entire systems are designed to blend with the existing aesthetic, avoiding interfering with often cherished features, some centuries old.

That principal, of combining the historic with the innovative, can be seen in the new system installed in St John’s in Kenilworth by NoiseBoys. Every feature is designed to fit in its surroundings, while

allowing the use of the latest technology.

Allowing time for the design of the system to evolve can bring rewards, too, as the congregation of St Michael’s in Alphington, Exeter, discovered. In the two years the new system has been developing, advances in camera technology have enabled further innovation to be incorporated by designers APi Communications.

The pace of change can also be seen in the installation at Trinity United Reformed Church in Wimbledon. The sound system was installed by Cunnings Recording Associates in 2014. When the church approached the company to add vision to the system, modern screen technology again allowed the system to blend in to the décor of the church.

Whether a national installer or a local expert is used is another consideration. For many churches in the South West and Wales the local touch of Audio Visual Direct is the answer.

As to the future – Tourtalk wireless units are now available to allow tour guides to convey their own message while on the move, and in any language! q

Discretion is the better part of good design [

WHEN DESIGNING sound and lighting systems for churches and historic buildings, sound engineering specialists NoiseBoys Technologies believe in designs that blend in when not in use, yet stand out when required.

That philosophy has been put into practice while installing various systems into St John’s Church in Kenilworth, which has undergone a

significant and extensive reordering process over several months. Always wanting to combine the historic with the innovative and cutting edge, NoiseBoys installed several speakers, allowing for various orientations of the church. They were colour-matched to the stonework and discreetly installed. Control is delivered via a digital system that allows the users to switch from one orientation to another with the push of a button, and also accommodates worship being led by a full band and mixed accordingly by the volunteer team.

As part of the reordering the floor of the church was relaid, which allowed the unusual opportunity to custom-design a hearing induction loop for the church.

Phill Beynon of NoiseBoys commented: “Normally, in historic buildings there aren’t many opportunities to install a properly-designed AFILS loop system due to the restrictions of flooring and layout. Often the only option is to install a loop of cable around the edge of the room, which leaves hearing aid users with a system that is unpredictable and patchy.

Happily, at St John’s we were able to design and install a bespoke loop system, which covers the floor perfectly wherever you are, leaving only one corner intentionally uncovered for the band to play in.”

With full training delivered over several evenings, the sound and projection systems are set up to take St John’s into the next phase of its life serving Kenilworth and the surrounding areas. q • NoiseBoys love to chat and advise on projects. Please feel free to contact them on 01455 550800 or email info@noiseboys.co.uk

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Patience is a virtue with some AV installations [

SOMETIMES IT TAKES a little longer to finish the job, but the end result is worth it. That was the case with the longest-running project to date for AV specialists APi Communications.

Back in April 2012 they were approached by St Michael’s Church in Alphington, Exeter, to specify a sound and projection system as part of an upcoming reordering project. That included many other elements such as a new gallery area, offices, removal of the pews and a new floor.

The construction phase of the gallery and offices duly went ahead in 2015 and APi Communications installed the projector and much of the cabling. However, due to an on-going issue over the removal of pews and the replacement flooring, there was a period of two years where the church used a temporary version of the sound system and trolleymounted screens for the side aisles.

In September this year APi Communications was able to proceed with the final phase of installation. That involved the creation of a bespoke loudspeaker mounting system, using post-mounted units that sit in front of the pillars and plug into the new floor – to avoid making fixing holes in the architecturally-significant pillars.

The HK Audio loudspeakers have the advantage of being slim and scalable in use. They can be stacked to create the necessary throw and power handling for most environments and are available to order in standard RAL colours as well as black and white. A separate, hidden subwoofer creates a discrete full-range system well capable of handling live music, in addition to recorded content and excellent speech. The sound system is completed by a well-featured but simple-to-operate digital mixer and iPad remote control app, with a stage box and a range of Audio Technica radio microphones.

Since its inception the visual system has changed, as the passage of time has led to widescreen becoming affordable and the format of

choice. The projector – a 4:3 unit – is almost three years old, so until that is retired the system will be a mix of 4:3 and 16:9 for the side aisle trolley-mounted flat screens, which have been retained as part of the final installation.

A remote pan/tilt zoom camera was in the mix from the beginning, but like the projector there has been a lot of movement in that area.

At the start of the project the only cameras that fitted the budget were from the CCTV stable. Now, for a similar price, full HD units with HDMI and SDI are available. That created a potential problem as the original camera cabling was for a unit with a composite video output.

Fortunately APi Communications were able to repurpose the coaxial cable for the SDI camera output and some spare cores in the original CAT5 network camera control cable were used to send a composite signal to the video monitor on the camera remote control.

Vision switching is taken care of by a capable Blustream switcher/ scaler, offering four HDMI inputs plus VGA. That allowed the inclusion of sources from the front of the church and the AV desk, including Apple Airplay for wireless presenting.

All-in-all the sound and projection systems provide a bespoke solution to meet the requirements of St Michael’s Church, meaning it is now a church suitable for 21st century worship as well as community events. q • For further information visit the website at www.churchsoundsystems.co www.ecclesiasticalandheritageworld.co.uk

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Now tour guides can speak your language – clearly [

WIRELESS TECHNOLOGY IS transforming the way speakers in churches and historic buildings address their audiences. Tourtalk is a portable short-range wireless system used to transmit an audio message using a radio microphone and lightweight receivers and headphones. It is used by places of worship and heritage sites around the UK and abroad – particularly for guided tours – and even offers simultaneous interpretation.

The system requires no installation, can be set up within minutes and has no impact on a building’s aesthetics.

The guide can speak at a comfortable level and listeners can adjust the volume individually. A smartphone can be connected to the transmitter to play a pre-recorded commentary.

The Tourtalk system can also be used to assist hard-of-hearing people.

The audio output feeds a stationary transmitter and the lightweight bodypack receiver is fitted with a neck loop, to work in conjunction with a hearing aid on the ‘T’ setting, or an earphone.

The Tourtalk TT 40 system has 40 channels, up to 12 of which can operate simultaneously, with a range of up to 120m. The new Tourtalk TT 100 system (pictured) has 100 channels, up to 20 of which can operate simultaneously. It can accommodate up to two presenters with a transmission range of up to 30m. q • For more information call 01686 628012 or visit www.tourtalksystem.com

All the expertise you need – on the doorstep [CHURCHES, HISTORIC BUILDINGS AND MUSEUMS in the

South West of England and South Wales need go no further afield for the full range of AV equipment than Audio Visual Direct – a professional and specialist provider of audio visual equipment and services.

The range of services on offer includes the supply, installation and hire of projectors and projection screens, TVs and monitors, sound systems – including microphones and speakers – and hearing loop systems.

Their extensive product knowledge and many years of experience have given them the expertise to think outside the box and offer unique solutions, which is why more and more places of worship are using Audio Visual Direct to help get the message across.

The company offers a free, no obligation consultation where they review current systems, bring you up-to-date with new technology and then present a cost-effective solution, whatever the size of the project.

During the consultation they even check the loop system to see if it is working effectively; and if not can advise if it’s best to repair or replace.

Again, that is entirely free.

They can provide everything from radio microphones to full reordering or new build projects involving sound, projection, TV displays, stage lighting and even CCTV. q • AV Direct have recently launched their new website at www.audiovisualdirectuk.co.uk and invite people to ‘like’ their Facebook page or follow them on Twitter @audiovisualsw.

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Trinity Wimbledon goes for the double

[JUST A SHORT lob from the iconic All England Lawn Tennis

Club in SW19 stands Trinity United Reformed Church in the centre of Wimbledon Village. Originally known as Trinity Presbyterian Church, the current building – including the tower and spire – was built in 1890 to accommodate a growing congregation. The foundation stone was laid in June of that year by local MP Samuel Smith. The walls of the church were of natural yellow brick with red brick trimmings and there were no carpets or stained glass windows.

The first general amplification system was gifted to the church and installed in 1955 and in the years following has been improved and upgraded through generous donations. More recently, in 2014, they approached specialist church audio and visual installation company Cunnings Recording Associates to improve the quality of the existing system.

This upgrade included the addition of new speakers for the gallery, choir and organist, re-programming of the audio control system and a bespoke wooden cabinet to house all the equipment.

The church naturally approached Cunnings once again when considering the installation of a visual system and worked with the company’s Daniel Cunnings to explore a number of options. Daniel explained: “The most important aspect of this project was to ensure that any visual screen could be clearly seen by all of the congregation without detracting from the architecture of the building. The design of the side aisles with their restricted view and the light from the large side windows made this more challenging than it first appeared.”

To overcome these issues Cunnings recommended a pair of screens mounted to the walls either side of the central arch and using the latest high brightness projectors from NEC to provide a bright and clear image. The screens were mounted at an angle, away from the windows, to reduce glare and improve the viewing angles for the congregation.

A pair of LCD screens, mounted below the projectors and hidden from the view of the congregation, enables the choir, organist and service leaders to clearly see what is displayed on the main screens without turning round.

Furthermore, a controllable camera means the whole congregation can now see baptisms at the font as well as views of the choir, organist, lectern, pulpit and stage – all controlled by the simple press of a button.

The visual system tied in with the existing audio system, fitting seamlessly within the bespoke wooden equipment cabinet and control enclosure. The whole audio and visual system can be operated simply from two control panels which have been custom programmed to suit the requirements of the church. A dedicated visual switcher provides selection of the laptop connections at the front or rear of the church together with the camera and DVD player.

The adjoining Mansel Road Centre (below), which plays host to a wide range of church and outside activities throughout the week, has also benefited from a visual upgrade. A new digital signage screen in the entrance foyer, supplied and installed by Cunnings, is seen by all those who use the centre and details of the latest church events can be easily managed and scheduled on or off site.

Daniel Cunnings concludes: “We have been pleased to build on the legacy of the past to bring the church audio and visual system up to date with equipment which will provide many years of service.” q

www.ecclesiasticalandheritageworld.co.uk

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Trust pulls out the stops to conserve our heritage [TO THE general population, any reference to historic

buildings will lead them to think of the National Trust. So ingrained in the national psyche has that organisation become that many think of it as an official body, alongside the actual official bodies that are tasked with preserving our heritage – rather than the independent charity that it is.

What those bodies and the National Trust do have in common is a series of programmes of restoration work to the properties in their care that is truly mindboggling. In the case of the National Trust those projects can run into tens of millions of pounds and are being carried out across the country – in England, Scotland, Wales and Northern Ireland.

One high-profile example is Knole House in Kent, where the property and its collections are being rescued from centuries of damp and decay.

The £20m project reached a major milestone this year as its state-of-the-art Conservation Studio opened to the public.

Project curator Emma Slocombe said: “I have had the chance of a lifetime, being part of a conservation team working to rescue the house from centuries of damp and decay, to transform it into a place where its history can be celebrated and enjoyed.”

In the Cartoon Gallery, named after the Raphael cartoons that hang in the longest of Knole’s galleries, bespoke chandeliers have been manufactured by Dernier & Hamlyn to designs by the lighting designers, Sutton Vane Associates. They were cast in solid brass, hand finished in silver in a traditional Knole style and adapted to include LED spotlights fitted to the baluster which are used to highlight artworks. The chandeliers (below) replicate those that previously hung there, evidenced by historic photographs and archival material.

Helen Fawbert, house and collections manager at Knole, said: “We love these chandeliers and it’s great to see them back in the space where they belong.

Visitors who know about their history are impressed by the improvement. While for those who don’t, they are part of the interior décor as if they’ve always been there - which means we’ve done a good job.”

Mark Sutton Vane of Sutton Vane Associates says: “We have been specifying chandeliers from Dernier & Hamlyn for many years. Their chandeliers always look superb and are very well made. Like Knole itself, they stand the test of time.”

The National Trust is certainly in it for the long haul. In the case of Ightham Mote (top photo), also in Kent, the conservation project lasted for 15 years. It is often referred to as the Trust’s biggest conservation project to date having been undertaken from 1988 to 2013.

In Wales the Trust is embarking on a programme of conservation projects to safeguard the future of its beloved 17th-century Tredegar House in Newport. Lifting the Lid will see the repair and redevelopment of a number of areas of the property, including the mansion house roof, chimneys and windows, with possible developments to the glasshouses and bothies and the stable block, among many other areas.

In Northern Ireland work has included multimillion-pound projects at historic houses such as The Argory in Dungannon and the on-going protection of coastlines and national treasures like the Giant's Causeway.

The loss of traditional building skills has been rued for many years now and the National Trust is keen to ensure heritage crafts and techniques don't die out. It is also using a novel method of allowing the public to see those skills in action.

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The Vyne in Hampshire, whose visitors have included Henry VIII and Jane Austen, is undergoing an ambitious 18 month project to repair its leaking roof and crumbling chimneys, severely damaged in the storms of recent years. Visitors can now watch the conservation work as it progresses, from an all-access, 360° rooftop walkway. Protected by a huge weatherproof ‘shell’, the walkway looks down on dramatic views of The Vyne’s rooftops.

The installation follows on from a similar, pioneering project at Dyrham Park in Gloucestershire in 2015.

The National Trust stresses that it protects historic buildings in the ‘wider landscape’. Many of their conservation efforts involve the natural environment and protecting wildlife. Whatever the context, their teams work hard to ensure they are preserved using traditional conservation techniques, and in the words of its motto: for ever and for everyone. q • For further information, membership or to donate, visit the website at www.nationaltrust.org.uk

How to view collections in the best (but not too much) light [

THE DAILY OPENING of the shutters at Mompesson House in Salisbury floods the house with light – but how does that affect the collection? Kate Vince is a National Trust conservation assistant at the house. She described the different ways that light is monitored to protect the collection, while still creating a wonderful experience for visitors.

“My first job in the morning is to open the shutters of the house,” said Kate. “This lets the light flood the rooms and brings the house to life. I do a room at a time; clean it, then shut the shutters back down and plunge the house into darkness once more.

That stops light from damaging the collection.

“Light is an agent of deterioration and as such is monitored throughout the house.

Viewing the collection in daylight is a joy but it has been well understood for centuries that light, particularly daylight, can cause objects to deteriorate. This damage is irreversible and cannot be rectified by conservation treatments.”

Kate and her colleagues monitor the different light sources, such as ultraviolet (UV) and natural daylight, and how they come into the house. UV light, in particular, is extremely destructive. To combat it the windows of the house have UV filters fitted. That is a completely unobtrusive way of filtering UV and it cuts levels by around 98%.

The filter films deteriorate over the years, so each pane of glass is monitored every few months using an Elsec hand-held environmental monitor (pictured). Elsec monitors are manufactured by Dorset-based Littlemore Scientific. Designed primarily for museums and art galleries, the units measure the environment, helping to ensure sensitive objects are not damaged. In addition to UV, the Elsec monitors visible light, humidity and temperature.

In addition to the UV filters, a number of more traditional methods are used to protect the collection from light. For example, Holland blinds are used during the day to change the light levels depending on what the weather is doing.

As Kate explained: “We have them on the south-facing rooms at the front of the house.

The north-facing rooms don’t have any direct sunlight, so blinds are not needed there. The aim is not to have any direct sunlight falling on the furniture or too much light coming into the room. I regularly take readings to measure the visible light with the blinds at different levels.

Our room guides are very good at helping with this task by raising and lowering the blinds as appropriate. With our changeable weather some days it’s a full time job!”

Covers are another good way of protecting objects when the house is open, for example to protect items such as the miniature portraits in a vitrine in the large drawing room.

Said Kate: “They are exquisite watercolours, but also very prone to deterioration under strong light. The cotton cover over the vitrine can be removed by visitors when they want to view the items while allowing these beautiful paintings to be kept safe at all times.”

The dose of light is calculated by the amount of light an object is exposed to, multiplied by the duration in hours. That can be monitored by a device called a ‘blue wool dosimeter’, which monitors the annual light exposure. They can be used for a room or put on individual pieces of the collection.

Kate explained: “You can spot these throughout the house. They are a very simple device and are based on a dyed piece of wool cloth and a little frame of cardboard. Some of the cloth is exposed to light and some is hidden under the frame of cardboard. After a year of being in the house the dosimeters are sent off and looked at by a conservator who monitors the degree of fading. This then tells us if the room or object has been exposed to the right amount of light over the year.

“Some of the most light-sensitive pieces in our collection are our stumpwork embroideries. These have a dosimeter all to themselves. They are hung on a north facing wall so that no direct sunlight can fall on any part of them, which keeps the UV levels down too, and the room is kept completely dark for as long as we can.”

There are three levels of light exposure that the National Trust works to. One is for highly light-sensitive material such as fabrics and watercolours; the second level is for moderately light-sensitive materials such as paintings in oil and lacquered or japanned items. Finally, there are materials that are insensitive to light, such as metalwork, glass and stone. Mompesson House runs to moderately sensitive hours, although there are a couple of items that are highly sensitive and which are treated differently.

Kate concluded: “Light plays such an important part in viewing the collection here at Mompesson, and we work hard to keep the collection safe while allowing visitors the enjoyment of seeing it in its best possible light.” q www.ecclesiasticalandheritageworld.co.uk

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Be proactive with your passive fire protection

[

THE FIRE THAT DEVASTATED the National Trust’s 18th-century Clandon Park in April 2015 was accidental and was probably caused by a fire in the electrical consumer unit. The blaze completely destroyed the building, reducing it to a charred shell.

A report by the Surrey Fire and Rescue Service concluded that a lack of fire protection in the fuse cupboard and the historic nature of the stately home contributed to the rapid spread of the fire.

Rapidly spreading fires constitute one of the biggest dangers to heritage properties.

However, according to Envirograf – a world leader in passive fire protection – with the help of passive fire protection products, building owners can minimise that risk.

Of course, there is a cost involved in all these projects, but many Envirograf products do not need specialist tradespeople and can be applied or fitted by caretakers or handymen. By working on specific areas, Envirograf products can stop the fire happening or reduce the damage to just one room or one area – potentially saving the property.

Envirograf have been designing and developing passive fire products for 36 years, while managing director Derek Ward has been developing them for over 45 years. All products have been tested to either British Standard or EN European Standards.

Solutions Envirograf’s solutions for passive fire protection problems include the Enviroburst Tube – offering protection for plastic and metal consumer units – and Intumescent Coating which can be for clear or white application.

Existing plastic consumer units may be in use for many years, and keep catching fire. Where there is insufficient room to fit a consumer unit cover, Enviroburst can be deployed – and it is simple to install. As soon as flames touch the tube it bursts, extinguishing the fire. In large fuse boxes, two or three tubes may be required, but they are easy to fit and the unit does what it is meant to do – put out the fire.

Corridors, passageways and entrance halls are all means of escape and any wood panelling in those areas needs to have either 30 or 60 minutes fire protection. Envirograf’s

intumescent coating product – in clear or white – can be applied over existing polish, varnish, paint or French polish.

The application of the HW02/N clear product would be as follows: • Coat HWAP clear water-based primer – • which is odourless – at 12m² per litre. The • product dries in 10 minutes • Two coats of HW02/N clear at 8m2 per • litre per coat. This product dries in 20 • minutes and is also odourless.

• Finally one coat of HW Excel clear top coat • in matt, satin or gloss For the HW01 white coating the process is: • One coat of HWAP clear primer • Two coats of HW01 white intumescent • coating – which again is odourless – at • 8m2 per litre per coat.

• One coat of HW04/S white undercoat.

• Then any type of top coat can be applied.

Either application gives timber panelling up to 30 or 60 minutes protection, according to thickness and type. Tests carried out in the UK on open joists and floorboards gave 60 minutes, while 9mm panelling gave 43 minutes of fire protection. q

www.ecclesiasticalandheritageworld.co.uk

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Charity helps understand the grandeur of castles [ALONGSIDE THE magnificent medieval cathedrals that form

a backdrop to this country’s heritage, our many castles define the turbulent past that forged what is now the United Kingdom.

While the basis for medieval castle construction lay with The Conqueror and his immediate successors, it is to Edward I that we

owe the legacy of fortresses that define the conquest of Wales.

A number of these fortresses survive in visible form, enough to act as visitor attractions. Others crumbled into ruins and exist now only as memories – until now.

The Castle Studies Trust was founded in 2012 to promote the study of castles and bring information about them into the broader public gaze.

The expressed aim of the Trust is: “The advancement of public education for public benefit by promoting the study of and research into the history and archaeology of castles and dissemination of all useful results of such research.”

The Trust awards grants of up to £7,500 initially, to fund or co-fund new pieces of research, such as site based research or other projects that increase public understanding of those sites. It also works closely with leading experts in castle studies to ensure grants are targeted, so maximum returns are achieved.

In line with many other recent developments in bringing the past to life for modern audiences, the Trust has embraced new technology.

A recent example was the 3D reconstruction of Holt Castle near Wrexham. One of Edward I’s less-known structures, the castle had fallen to Prince Llewellyn during the Welsh uprising before being retaken. During the Civil War Holt was occupied in turn by Loyalist and Parliamentarian forces. It subsequently fell into decay and was plundered for its stone in the following centuries.

Now the castle can be explored virtually once more, thanks to a grant from the Castle Studies Trust. The 3D model was created by celebrated illustrator Chris Jones-Jenkins. Following the creation of the model, the task of lighting and texturing the scene was carried out by video effects specialists Mint Motion Ltd. Mint also produced an animation and and ‘flythrough’ of the impressive castle (above).

The project combines 21st-century CAD technology with traditional historical research skills. The result is possibly the closest it is possible to get to seeing the castle as it was at the end of the 15th century.

The Holt project is just one of the projects supported by the Castle Studies Trust, which is entirely funded by the public. The Trust is currently developing a programme of exclusive site visits for donors to the projects they have helped to fund, with an opportunity to find out about the results prior to their publication.

• To find out more, or to donate, visit www.castlestudiestrust.org

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Surveys help reveal castle’s secrets

[THIS SUMMER SAW three detailed

geophysical surveys being carried out within the bailey of Bungay Castle in Suffolk. The surveys were undertaken by Suffolk Archaeology at the request of Historic England and the Bungay Castle Trust.

The aim of the project was to identify potential archaeological features or former buildings relating to the occupation of the castle in an area of lawn of a quarter of a hectare, and to compare the results obtained from modern equipment with those from a previous geophysical survey carried out in 1990.

Bungay Castle was built in 1100 by Roger Bigod, a Norman invader who assisted King William in conquering England in 1066. He was rewarded for his loyalty by being given a large area of East Anglia.

Originally a motte-and-bailey castle of earth surrounded by wooden palisades, the castle was the family's stronghold on the River Waveney. In around 1165 Roger’s second son Hugh Bigod added an impressive stone keep

– which had walls of between 5-7m thick and stood to a height of 33m – and a curtain wall around the bailey.

Hugh was a rather interesting and ambitious character. He captured Norwich Castle in 1136, resulting in King Stephen marching on Bungay in 1140. The result was rather surprising, however: Hugh was awarded the title of Earl of Suffolk to help with the negotiations!

In 1173, along with the Earl of Leicester, he once again decided to defy the crown and captured Haughley Castle, forcing King Henry II to march against and defeat him. This time, though, he was declared a traitor and eventually left Britain to fight in Syria, dying around 1178.

Bungay Castle remained uninhabited until 1269, when Roger Bigod inherited the title and built the gatehouse and octagonal curtain wall around the keep. He died shortly after the castle was completed in 1297 and it subsequently fell into disrepair. By 1382 it was described as ‘old and ruinous’.

In 1934 the local reeve, a Dr Leonard Cane, started a programme of excavation and repair on the site. The Duke of Norfolk presented the castle to the town in 1987 with an endowment to help towards its preservation and today it is owned and administered by the Bungay Castle Trust.

An earth resistance meter and fluxgate gradiometer survey were undertaken on the bailey by Geophysical Surveys of Bradford in 1990. That project identified subtle anomalies that were noted by the authors as including a wall and layers of made ground, although their archaeological significance could not be determined.

The current project by Suffolk Archaeology involved three separate surveys using different techniques and equipment: fluxgate gradiometer (magnetometry), an earth resistance meter and ground penetrating radar. The results for each survey were seen to vary depending on the instrument, allowing the production of a combined interpretation plan which highlights a range of geophysical anomalies. These have significant archaeological potential, broadly falling within five types: in-situ structural remains including walls, floors and a potential well; robbed-out wall footings or service trench runs; rubbish pits; demolition/levelling deposits; and extant modern furniture.

Suffolk Archaeology offer a comprehensive range of professional heritage services to clients in both the private and public sector – ranging from desk-based assessments and historic building surveys to field investigation such as geophysical surveys, archaeological evaluation or full excavation.

The company now regularly carries out over 150 projects a year and has a dedicated team of around 30 permanent staff, many of whom have transferred their skills and experience from long periods of service at the county council.

As a Community Interest Company, Suffolk Archaeology has a strong commitment to promoting the heritage and archaeology of Suffolk to the public. q www.ecclesiasticalandheritageworld.co.uk

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Consistency can involve an ability to adapt to change JEREMY QUANTRILL, managing director of Dernier & Hamlyn, offers some enlightening advice for owners and managers of ecclesiastical and heritage buildings.

Two of the prestigious projects completed by Dernier & Hamlyn include the Tower of London chapel (left) and Knole in Kent

[AS A COMPANY that has been around

since 1888, we at Dernier & Hamlyn have accumulated a great deal of knowledge and expertise about designing, manufacturing and installing bespoke lighting. However, we are never complacent and make it our business to continue learning and finding out about new technologies and techniques as requirements constantly change.

In the case of the ecclesiastical and heritage sectors, outsiders may gain the perception that things remain as they are for decades and even centuries. In some areas that may be true, but in lighting things are always evolving.

For example, with ecclesiastical buildings formerly the requirements were primarily about providing lighting that ‘did the job’.

That meant that as long as it illuminated the main areas so they were bright enough for worship – and perhaps highlighted major architectural features – that was sufficient.

Nowadays, though, there are all sorts of added considerations that take into account sensitivity to the building and its contents.

There is also a need to think about the flows of visitors; and these days it’s not just about the flow of congregants and clerics. As places of worship are increasingly used for other purposes it can equally be about usability for performers, their audiences and other users. The National Churches Trust recently stated that 90% of churches are used for community purposes: which is great for local people and potentially for the churches’ funds too, but brings with it a

range of other challenges to be overcome when considering lighting.

Bruce Kirk, director of lighting consultants and project managers Light Perceptions, says: “The most important factor in achieving successful lighting schemes for ecclesiastical and heritage buildings is to start with a thorough assessment of the building, its uses and its users. For example, if a building is listed that may impact on the type of lighting used; and if it is used every day and by young and old people, that will all impact on the most appropriate lighting solutions.”

The chandeliers in the main body of St Paul’s Cathedral, designed by Dernier & Hamlyn

Our work usually means that we are involved in both the technical and aesthetic sides of the process. For example, our work at the Tower of London brought with it unique challenges that had to be overcome in order to provide adequate light levels and design integrity, while optimising historically important features. The beams in the Tower’s chapel were part of the original fabric of the famous Tudor building and the four large chandeliers in the main nave of the chapel had to be fixed to those beams.

That needed to be done in a way that allowed the energy-efficient LED lamps to highlight important architectural features without damaging the ancient timbers. So we designed support cradles that fixed around the beams, working with existing fixing holes, and positioned the LED lamps so that their effect was maximised throughout the chapel.

At Knole in Kent, as part of the £19.8m National Trust conservation project, our vast online collection gave lighting designers Sutton Vane a wide choice of styles and finishes, allowing them to select exactly the style and finish they wanted to suit the house’s interiors and their brief.

However, perhaps the ultimate testimony to our expertise in lighting for historic buildings is our Royal Warrant, bestowed on us by HM The Queen for Bespoke Lighting Manufacturer and Restoration and which has seen us work in a wide range of royal residences, including Buckingham Palace, Windsor Castle, Balmoral and St James’s Palace. q www.ecclesiasticalandheritageworld.co.uk

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State-of-the-art spray insulation

seals the deal

[WHEN THE DESIGNERS of a new community Baptist church in

Dumfries encountered a complex insulation challenge, they turned to sprayapplied insulation specialists Icynene to solve it.

The church is a 2,000m2, multi-purpose building designed by Glasgowbased McLean Architects. Construction began early this year and it is scheduled for completion next Easter.

The building was conceived as a flexible-use community hub comprising worship, conference and youth facilities, together with a full-specification games hall and multi-use games area.

For the games hall McLean Architects designed an 18 x 18-metre structure, 8 metres high, comprising a 140mm-thick internal leaf of concrete blockwork with an external steel frame, supporting fibre-cement, rainscreen cladding.

The placement of insulation between the blockwork and the cladding system of the hall proved problematic. Project architect Kirsty Wilson explained: “The complex latticework of steel frame for the cladding made it extremely difficult to install conventional rigid board insulation. It would have been a hugely labour-intensive and expensive process; and achieving the required airtightness standards would have been pretty much impossible” Specialist insulation contractors JSJ Foam Insulation Ltd, who were brought in by main contractors Ashleigh Building of Dumfries, recommended Icynene – a high-performance spray foam insulation system, which would be applied directly to the outer face of the blockwork, then covered by the cladding.

Icynene is a predominantly water-blown insulation, which is applied using a pressurised gun system. Foam is applied as a two-component mixture that comes together at the tip of a gun, forming a foam that expands 100-fold within seconds of application. It seals all gaps, service holes and hard-toreach spaces, virtually eliminating cold bridging and air leakage.

Air leakage can cause up to 40% of heat loss from a building and traditional forms of insulation are relatively inefficient in sealing the box, as they cannot completely fill all voids or seal the interface between the insulation and the building structure. Nor can they cope with small structural movements which will often lead to air gaps, particularly in difficult-to-treat situations where access is poor and when voids are of complex geometry.

Jim Shearer of JSJ Foam Insulation takes up the story: “Icynene is nothing like the urethane foams of 20 years ago. Icynene uses water as the blowing agent, so the reaction between the two components

Icynene expands 100-fold within seconds of application, sealing all gaps, service holes and hard to reach spaces

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Icynene was sprayed directly onto the blockwork and over the concealed sections of cladding framework produces CO2, which makes the foam expand.

“We sprayed Icynene directly onto the blockwork and over the concealed sections of cladding framework. We had free access to the existing scaffolding platforms, so the spraying process was quick and straightforward. We had the job done in under a week.”

The complex latticework of steel frame for the cladding made it extremely difficult to install conventional rigid board insulation

The games hall comprising an internal leaf of concrete blockwork with an insulated external steel frame and fibre-cement rainscreen cladding

Open or closed-cell Spray foam insulation can be either open or closed-cell in composition.

Open-cell is extremely vapour open and will allow moisture vapour to pass freely through it, allowing the building to breathe naturally.

For the Dumfries Baptist Church project, Icynene MDC-200 HFO was used: a closed-cell foam that uses hydrofluoro olovine (HFO) as a blowing agent. HFO is an environmentally-friendly material with a global warming potential of only two and an ozone depletion rating of zero.

Closed-cell foams tend to be much less vapour permeable than opencell and are considerably more rigid and hard. They resist the passage of liquid water and are ideal for use in conjunction with the rainscreen cladding system specified. Closed-cell foams also have a greater thermal resistance than open-cell foams.

Icynene MDC-200 foam insulation was applied to the entire outer

The 2,000m2, multi-purpose complex is due for completion in early 2018. Image courtesy of McLean Architects, Glasgow leaf of the games hall – an area of approximately 550m2 – to a thickness of 150mm. The work was completed in four days.

Icynene spray-applied insulation is broadly comparable in cost to conventional fibre-based and rigid board type insulation materials; however, its speed of installation, minimal waste and ability to perform in difficult-to-treat applications means spray foam can be an extremely costeffective solution for a variety of projects, up to and including those built to Passivhaus standards. q • Icynene provides a 25-year warranty for all its insulation products and as well as carrying EST Approval, Icynene Foamlite is also BBA Certified. A video can be viewed at https://youtu.be/xn4ZHQJLWHM. For more information on Icynene Spray Applied Insulation products visit www.icynene.co.uk

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Damp remedy continues to prove [

AT THE END of last year we reported on the progress of a damp remedy system installed in Legerwood Kirk in the former county of Berwickshire, Scotland. Dating back to 1127, it is an ancient and historic Church of Scotland kirk, situated half-a-mile east of the hamlet of Legerwood and six-and-a-half miles south east of Lauder, in the Scottish Borders. The building had been suffering from dampness issues for a number of years.

In a damp climate such as the UK, dampness represents a major threat to old buildings. One of the most challenging problems for old and listed buildings is dealing with problems related to rising damp.

Legerwood Kirk is a Grade A-listed building, so invasive dehydration

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its worth in listed buildings technologies were not an option. Upon a detailed inspection of the building several sources of moisture were identified, including rising damp and condensation.

Just over two years ago, in July 2015, the Aquapol system was installed.

The Aquapol masonry dehydration system is a self-contained rising damp remedy system. It is the latest technical development in the handling of rising damp. The heart of the system is a small, lampshade-like device which is installed onto the ceiling. The system uses wireless technology to dry out the walls, and being completely non-invasive it is suitable for even Grade One/A-listed buildings.

Results During the first six months after installation – from summer to winter 201516 – and despite the bad weather, the moisture content of the walls dropped by about 25%. The dehydration continued consistently throughout the next one-and-ahalf years and since the installation of the system the moisture levels have decreased by about 75%. Nothing else has been done to the building.

A detailed salt analysis has also been performed, indicating that the decay of the stonework was due to nitrate and sulphate salts. Now, this church is well on its way to becoming permanently free of rising damp, as shown on the dehydration chart (below left) and two year summary chart (right).

During the past year the Aquapol system has been installed in several other churches – including one former chapel that is now a private dwelling – and the Aquapol team and conservation architects are closely monitoring the dehydration of those buildings. q

Before (left) and after the Aquapol dehydration system was installed

• For more information visit the website at www.aquapol.co.uk. To request a free professional dampness survey of any old building call 0131 661 9068 or 0750 746 8303.

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Awards showcase the best in brick [

THE HILTON on London’s Park Lane was the venue for the 41st annual Brick Awards, held on the evening of 9 November. Around 600 guests witnessed the announcement of the 16 category winners of the coveted industry award.

The Brick Awards showcase the very best projects using bricks manufactured by UK members of the Brick Development Association, which hosts and manages the event.

Championing the traditional use of brick in building is the Craftsmanship Award, which this year went to Lady Margaret Hall in Oxford. Designed

by John Simpson Architects, the project was carried out by Lee Marley Brickwork Ltd using Ibstock Grosvenor Light Red. The project helped Lee Marley Brickwork to success in the Specialist Brickwork Contractor award.

In their citation the judges said: “The development sits easily within the college, making a positive contribution to the whole. The workmanship is first class. The brick is laid with care and precision and the combination with the stone is well handled.”

Traditionally made bricks also featured in a double award-winning project. Victoria Gate Arcade in Leeds was named winner in both the Commercial and the Innovative Use of Brick and Clay Products categories.

The project features Staffordshire Red from Ketley Brick.

A project that figured on the shortlists of both the Craftsmanship and the Outdoor Space categories was the new Royal Artillery Tercentenary Chapel and Cloister at Larkhill Camp on Salisbury Plain, featured on the facing page. q

Traditional quarry tiles form the bedrock of historic college’s new facility

[ ON 10 OCTOBER HRH The Earl of Wessex officially opened

the new West Court development at Jesus College, Cambridge, of which he is an alumnus. During a tour of the new facilities The Earl met college students, academics and staff members who will study and work there, as well as the architects and builders who have worked on the scheme over the past three years.

The development is the largest addition to the historic, Grade Two-listed site in modern times and includes a 180-seat lecture theatre, medical teaching suite, guest and conference accommodation, a café bar, research space and student social

areas. The extension also restores the site to its original footprint.

The project was masterminded by award-winning architects Niall McLaughlin – a practice that puts a strong emphasis on the inventive use of building materials, the qualities of light and the relationship between a building and its surroundings. At Jesus College, staying within the historic footprint of the building was a key requirement.

The architects chose quarry tiles from Ketley Brick for the floors of the new build: red square quarry tiles internally and multi-coloured rectangular quarry tiles outside.

Project architect Tom McGlinn explained: “There were already old terracotta square quarry tiles in use internally in the existing circulation areas, and there was a considerable amount of brick used within the building. Internally, we wanted to use a robust material for the floors in the circulation areas – a material that could even be external – and Ketley red square quarry tiles fitted this brief, while also paying homage to the existing square quarries and the brick lined walls in the new design.”

The brick-sized quarry tiles in light ‘multi’ used externally also sit perfectly with the existing language of the adjacent listed buildings. q

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47

There’s more to lightning protection than Franklin could have imagined [IN THIS SERIES of features on lightning protection we have mainly

been looking at lightning protection in churches. As we reported in the first article in the series, most churches still rely on the traditional ‘tower only’ system of lightning protection, using a conductor mounted on the highest point of the church – the tower or steeple.

Protection against lightning is also an essential element of the electrical installation of historic buildings of all kinds, many with large and complex structures. The ‘tower only’ system is unlikely to be appropriate and, indeed, the new British Standard BS6651 recommends the more sophisticated Faraday cage system.

Described as ‘a mesh of conductors at intervals laid over the roof and down the walls of the building, and connected to earth by earth electrodes’, the Faraday cage allows a large area of a building to be protected.

Whatever kind of system is installed in a historic building, it is essential it is designed to be unobtrusive. The stated policy of Historic England is: “The installation of a lightning conductor implies in most cases the fixing of equipment to the fabric of a building. Historic England seeks to ensure that any works to a historic building do not unnecessarily disturb or destroy historic fabric.”

Midlands-based installers Lightning Strike Ltd describe the criteria thus:

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“The material must do an effective job, while not impacting on the historical appearance of the building. With this in mind, an 8mm circular copper conductor is popularly used on historic buildings. This can be sheathed with coloured PVC so that it blends in with its surroundings. The aim is to make the conductor appear to be part of the building, instead of contrasting with it.”

Other parts of the system can also be concealed or disguised, such as behind the walls of parapets or turrets. ‘Hiding in plain sight’ can be an effective ploy, persuading the viewer to look at a building feature and ignore the lightning conductor.

Whatever the design and installation, a lightning protection system should be inspected and tested regularly. In its guidance notes – aimed at churches particularly, but relevant to all heritage buildings – Historic England quotes BS6651 as recommending testing on an annual basis, but concedes that the rugged nature of lightning protection systems may mean that a longer timescale may be appropriate.

However, it adds a note of caution, stating: “By attracting a strike and then being unable to discharge it safely, a poorly-maintained installation (which usually means a high-resistance path to earth) could put a church with lightning protection at greater risk of damage than a church with no protection at all.”

One specialist contractor, South West Lightning Protection, refers to the fact that many heritage buildings are also workplaces. It quotes Section 5 of the Electricity at Work Act 1989, which states that “…all lightning conductors and earth grounding installations should be visually inspected and tested at regularly fixed intervals, preferably not exceeding 12 months.”

Interestingly, the company recommends a slightly shorter interval to vary over time the season in which testing takes. That counters the effect of ambient temperature and other seasonal factors on readings from the installation.

One thing that all experts agree on is that the design, installation, maintenance and testing of any lightning protection system in a historic building should be carried out by an accredited engineer or installer.

Historic England and its counterparts in the other devolved administrations should be consulted for advice. q

Lightning shows no favour to heritage buildings [MANY FAMOUS heritage buildings have been struck by lightning

over the years. One of the most viewed was the hit on Tower Bridge on the River Thames in January 2014. That was because an amateur photographer, Daoud Fakhri, captured the amazing sight of a flurry of lightning bolts hitting the landmark while out testing a new camera. The image has been used by press and social media ever since.

Similarly, social media proved the medium for the dissemination of a strike on the iconic Tyne Bridge in Newcastle in June 2012. Bathers on holiday in Mediterranean resorts were treated to views of what was happening at home.

Further back, in July 1996, lightning struck Buckingham Palace during a garden party. Two women guests standing just 50 yards from The Queen were injured.

One of the national heritage buildings struck more than most is, not surprisingly, the giant 1891 cast iron structure that is Blackpool Tower. It was struck most recently in July 2016, following a direct hit at the top of the tower in the 1950s. q

The following companies are all specialists in Lightning Protection Systems: Wiltshire Steeplejacks

and Lightning Conductor Engineers Trading for over 40 years, we specialise in: • Lightning protection systems • BS EN 62305 & BS 6651 • Earthing and resistivity testing • High maintenance work • Bird control • All rope access work • Full architectural surveys & cover meter surveys T: 01225 761330 M: 07973 397770 E: wiltssteeplejack@aol.com W: www.wiltshiresteeplejacks.co.uk The Coach House, 5 Court Street, Trowbridge, Wiltshire BA14 8BR

A. Harfield Ltd

T: 01903 770664 E: aharfieldltd@btconnect.com W: www.aharfield.co.uk 35a Sea Road, East Preston, Littlehampton, West Sussex BN16 1JN

Syntex Engineering Services Ltd T: 01642 454016 E: admin@syntex-chimney.co.uk W: www.syntex-chimney.com

32-33 Brewsdale Road, Middlesbrough, Cleveland TS3 6LJ

Horizon Specialist Contracting Ltd

G & S Steeplejacks Ltd

Horizon House, Criftin Enterprise Centre, Oxton Rd, Nottinghamshire NG14 6AT

Unit 3, Bath Business Park, Peasedown St John, Somerset BA2 8SF

Facit Testing

LSP Contractors Ltd

225 Yarmouth Road, Norwich, Norfolk NR7 0SW

Millside, 67 Buchanan Road, Upper Arncott, Bicester, Oxfordshire OX25 1PE

South West Lightning Protection

Lightning Strike Ltd

Airport Business Centre, 10 Thornbury Road, Estover, Plymouth PL6 7PP

Unit 3, Pottery Court, Pottery Way, Nottingham NG8 8YM

Osborne Delta Lightning Conductors Ltd

Harrison Lightning Protection & Earthing Ltd

30 Greenacres Road, Oldham, Lancs OL4 1HB

2 Lakeland Estate, Faverdale North, Darlington, County Durham DL3 0PX

Lightning Protection Services

Direct Strike

T: 0115 965 7400 F: 0115 965 7429 E: sales@horizonsc.co.uk W: www.horizonsc.co.uk

T: 01761 437796 M: 07974 184449 E: graham@gnssteeplejacks.co.uk W: www.gnssteeplejacks.co.uk

T: 01603 700995 or 0845 130 8338 E: admin@facit-testing.co.uk W: www.facit-testing.co.uk

T: 07816 494285 E: julian@lspcontractors.co.uk W: www.lspcontractors.co.uk

T: 07807 334441 E: south@lightningconductor.org W: www.lightningconductor.org

T: 01158 752686 M: 07581 266493 E: info@lightningstrikeltd.co.uk W: www.lightningstrikeltd.co.uk

T: 0161 785 4940 F: 0161 785 4950 E: info@osbornedelta.co.uk W: www.osbornedelta.co.uk

T: 0113 248 8026 M: 07899 700138 E: lpservices@live.co.uk W: www.lightningprotectionleeds.co.uk 10, Oak Tree Drive, Leeds, West Yorkshire LS8 3LJ

TESTING & DESIGN SPECIALISTS

T: 01325 337111 E: contact@harrisonlp.co.uk W: www.harrisonlp.co.uk

T: 01461 337951 E: enquiries@directstrike.co.uk W: www.directstrike.co.uk 18 Canberra Road, Gretna, Dumfriesshire, Scotland DG16 5DP

Ecclesiastical Steeplejacks

Bailey International

Unit 7, 29b Mary Vale Road, Birmingham, West Midlands B30 2DA

Bailey Business Park, Grimshaw Lane, Bollington, Cheshire SK10 5NY

T: 0121 486 1810 M: 07831 490114 E: bill@ecclesiasticalsteeplejacks.co.uk W: www.ecclesiasticalsteeplejacks.co.uk

T: 01625 576243 E: enquiries@baileysteeplejacks.com W: www.baileysteeplejacks.com

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Ironwork survives in its many forms

The Iron Duke restored by Dorothea Restorations (left) and Halifax Market’s wrought iron gates restored by TOPP & Co.

[

IN THE PAST two issues we have been looking at the development of iron smelting in the UK and Europe over the centuries. The period known as the Iron Age began in Britain around 800BC and lasted up to the Roman invasion.

Frustratingly, because of iron’s propensity to corrode more quickly than many other materials, iron objects are relatively rare among the artefacts found at Iron Age sites, although many museums contain small collections of tools, weapons and other items. One of the most significant collections is the Llyn Cerrig Bach hoard found on Anglesey during World War Two. Later, Anglo Saxon finds are more often preserved. Perhaps the most famous of them all is the Sutton Hoo helmet, which has been reconstructed in the British Museum. It has been described as a symbol ‘…of archaeology in general’.

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The medieval period has left us much more in the way of ironwork.

Churches in particular have in them examples of wrought iron hinges, latches, drop handles and, later, window catches. They include the celebrated decorative ironwork on the door of St Helen’s Church at Stillingfleet in Yorkshire.

Following the development of larger-scale iron production in the 17th and 18th centuries and the advent of the Industrial Revolution, many wonderful iron machines and structures began to fill the landscape.

Many, fortunately, survive, and more are being restored as a wider public begin to appreciate the complex engineering involved.

A typical example is the restoration of The Iron Duke of Bradford-onAvon by Dorothea Restorations. Named after the Duke of Wellington, it was the first machine in the UK to roll sheet rubber and cotton together, and vulcanise them to make them into a waterproof fabric.

At around the same time, the many country houses and larger town houses began sporting elaborate wrought iron gates and railings. These have become an iconic feature of our towns.

Although many were lost to the search for metal for the war effort – including the symbolic removal of some railings at Buckingham Palace – many are now being restored.

Later, public buildings boasted similar structures, such as those at Halifax Market, which were restored by TOPP & Co. The Victorians also pioneered the concept of public health and civic pride. While that could be expressed in the form of lavish public buildings and parks, small-scale features also cropped Victoria Park’s drinking fountain up on the streets. Drinking in Manchester restored by fountains have become admired Heritage Project Contracts recently, including the grand affair in Victoria Park, Manchester. It was restored in 2014 by Heritage Project Contracts, who have also undertaken the task of restoring the city’s Victorian lamp posts.

Although the 20th century saw the decline of wrought and cast iron as a material of mass production, it endures as a crafts material for highquality structures such as memorials. q • In the next issue we will be looking at some of the techniques used to conserve and restore historic ironwork.

Ironwork group promotes good practice [

THE NATIONAL HERITAGE IRONWORK GROUP was established in 2009 to raise public awareness about historic ironwork and provide guidance to professionals involved in its restoration.

NHIG promotes good conservation practice and high standards of workmanship. They also champion practitioners of traditional ironworking skills and aim to inspire emerging professionals to develop traditional skills.

All members ascribe, as part of their membership, to the NHIG Conservation Principles, which in 2014 received formal endorsement from the Institute of Conservation (ICON).

The group is currently involved in compiling a glossary of terms in the sector, supported by The Foyle Foundation. It is an on-going project, began in 2014, and for which contributions are is still being sought.

Throughout the year the group organises seminars and CPD courses.

Events in 2017 have included a seminar on ferrous metals at the National Maritime Museum in February and a taster talk in Bath – whose iron railings are among the features that define its character – aimed at conservation officers.

In June Worcestershire was the venue for a seminar on surveying and recording before a return to London for the final seminar of the year, followed by the group’s AGM. To find out more visit nhig.org.uk/events. q

The following companies are all specialists in ironwork and metalwork: David Cooper Blacksmiths Ltd

T: 01262 401498 E: dcblacksmiths@gmail.com W: www.dcblacksmiths.co.uk The Forge, Unit 2 Pinfold Lane, Bridlington, East Yorkshire YO16 6XS

Restoration Ironwork

• Historic Ironwork Renovation • Reproduction of Traditional Ironwork

T: 01535 669233 M: 07973 204595 mark@restoration-ironwork.co.uk www.restoration-ironwork.co.uk

Wrought Iron Sussex

T: 07879 280857 E: matthew@wroughtironsussex.co.uk W: www.wroughtironsussex.co.uk Stane Street, Chichester, West Sussex PO18 0PB

TSB Ironcraft

T: 01282 779523 M: 07946 559212 E: timbirbeck@btinternet.com W: www.tsbironcraft.co.uk Spring Street Works, Spring Street, Rishton, Lancashire BB1 4LL

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51

Design and the blacksmith

By DAVID TUCKER, award-winning designer and master blacksmith

[WHEN I VISIT an old building, it is often

the small details which catch my eye, rather than the grand visual statements. It raises the spirits to see that some ancient craftsman thought to add a decorative flourish to an otherwise utilitarian and often hidden structural detail, showing both mastery and pride in his craft and great respect for the building.

In a time when everyday artefacts are becoming increasingly standardised, it is a great privilege to work in a medium in which craftsmanship and personal expression are still Some of David’s designs (l-r) Leaf Gate, Card Hart’s Tongue Fern and Repton Sculpture uppermost. Most modern ironwork is sadly made up of standard machine-made components, bought from a catalogue and simply welded together, and perhaps connect the piece to its surroundings and provide continuity. Even the because of this, there is a growing thirst for the unique, the hand-made thickness and weight of the metal is important – so often an otherwise and traditional craftsmanship. well-designed artefact is let down by its flimsy construction. Iron is not an A door handle, a bracket, a gate or candelabra is an opportunity to easy material to shape, but when hot and in the hands of a blacksmith, create a moment of joy and interaction with the building. Primarily, any can be coaxed into exciting and beautiful forms. Craftsmanship is the key; functional item must do its job well, but this function can also provide only a designer who is also a master of his or her craft understands the beauty. A jet aircraft or a blacksmith’s anvil wasn’t designed primarily to possibilities of the medium in which they work. It is a case of working with be beautiful, but their grace and beauty come from the fact that they both the material, rather than trying to inflict your will upon it. do their job extremely well and are the result of many years of gradual My designs harness structure, the essential skeletal framework of development and refinement. a piece, to create interesting detail. Joints and intersections become Any new ‘intrusion’ in a historic building should take a design cue from possibilities, hinges and latches a continuum, rather than an afterthought. what is already there. The materials, the processes and the forms can My ironwork is individually designed in response to the purpose, character and history of the setting. All projects start with a site visit, to meet the client and discuss their aspirations and ideas, to get a ‘feel’ for the building or situation and to carry out research. It might be an architectural detail, natural form or historical fact which ignites my imagination. It is then back to my forge and the drawing board for design development and experiment. I use my camera a lot to record as much detail as possible. A small project, such as a door handle or hinge, will receive the same care and attention to detail as a large pair of gates.

I try to link my work to its intended setting, a sometimes subtle design detail which gives the environment ‘ownership’ of this new intrusion. I like to think that sensitively designed ironwork can add something special to any location, or at least draw attention to the beauty that is already there. Do we look at a gate, or through it to the view beyond?

Iron is an infinitely practical material, capable of being formed into large, monolithic structures, but it can also be worked into very fine, Woodcock Hall Sundial delicate and expressive forms. One of the great pleasures of being a blacksmith today is that we can turn our attention to a very broad range of artefacts, from gates and railings to sculptural and decorative features.

My motto is ‘anything is possible’ – and it pretty much is. Hand forged contemporary ironwork brings grace, life and human connection to any project. Every hammer blow coaxes the metal into new forms and leaves behind the tell-tale patterns and textures which are the story of its making. q

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WWI memento is ready to face its public

The Princess Mary Gift Fund Box before (above) and after the conservation work

[REDFERN’S COTTAGE in Uttoxeter is the home of The Museum

of Uttoxeter Life, which documents much of the social history of the Staffordshire town. Amongst its collections is a Princess Mary Gift Fund Box, owned by the Uttoxeter Heritage Trust and displayed in a glazed wooden wall case. The museum is currently in the process of being redeveloped and the Gift Fund Box has been selected for display.

The box was formed from polished brass with an embossed lid that included a depiction of the head of Princess Mary. The boxes were presented to soldiers serving in World War One at Christmas 1914 and were paid for by a public fund backed by the Princess. Each box contained a packet of tobacco, a pipe, a packet of cigarettes, a small photograph of Princess Mary and a written message. There was also a non-smoker’s gift that contained a packet of acid tablets, a khaki writing case with pencil, paper and envelopes, and the photograph and message.

The origin of the museum’s Gift Fund Box is unknown, but it had been laid out in a display case made by a local picture framer, whose paper label was adhered to the backboard. Over time the animal glue securing the objects to the green card background had begun to fail.

As a result the tobacco, pipe and packet of cigarettes had become detached and fallen. The wooden case was dirty and also had some minor physical damage due to previous opening up. The green card backing was also damaged.

The museum engaged the Historic Metalwork Conservation Company to carry out conservation work on the case ready for the new displays. The case was carefully opened and the contents removed by softening the remaining animal glue with moisture and separating them with a sharp knife.

The Princess’s message and her photograph were mounted on pieces of cardboard that had yellowed considerably with age due to their acid content. These were all replaced with new mounts made from archival grade acid-free cardboard. The surface of the message and photograph were lightly cleaned by gently rolling Groom/Stick rubber over the surface to lift off the dirt. The cigarette and tobacco packets were both dry cleaned using the same rubber.

The pipe had been fixed to a cardboard backing with cotton threads that had broken. It was replaced with a replica made from acid-free card and the pipe re-attached using fine nylon fishing line.

The box itself was lightly cleaned using Bar Keeper’s Friend – a very fine abrasive powder applied with a damp cloth to remove tarnish. It was then protected with Renaissance microcrystalline wax.

The wooden display case was carefully cleaned using Absorene – a special book and paper cleaner with the consistency of plasticene.

Damaged areas of cardboard were consolidated with Bookbinder’s PVA,

diluted in water and applied with a syringe. Areas of damage to the wood of the case were re-attached using Paraloid B72 adhesive.

Once the contents of the display case had been conserved they were all re-fitted inside. The cardboard mounts were fixed using archival quality starch paste and the tobacco and cigarette packets with Paraloid B72. The glass front was cleaned inside and out before the front cover was re-fitted using the original nails. q

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ANTIQUE FURNITURE RESTORATION

BAFRA

ARBORICULTURAL CONSULTANTS

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ARCHIVE STORAGE BOXES

BELLS

BUILDING SERVICES

BOOK & PAPER CONSERVATION MASTER CARVERS ASSOCIATION

BUILDING CONSERVATION & RESTORATION

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CHURCH HEATING & INSULATION

CHURCH TEXTILES & CLERICAL CLOTHING

DAMP SPECIALISTS

DISABLED ACCESS

DISASTER RECOVERY CLOCKS

ENVIRONMENTAL MONITORING

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EXHUMATION SERVICES

FIREPLACES

LANDSCAPING

FURNITURE

LEADED LIGHTS

GILDERS

HYMNODY

JOINERY

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LEADWORK

LCA

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LECTERNS

LIGHTING & SOUND

LIME & LIME PLASTERERS

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METALWORK

ORGANS

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PAINTING CONSERVATION & RESTORATION

PICTURE FRAMING

RAINWATER SYSTEMS

PAINT STRIPPERS

ROOFING

62

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63

FTMRC

ROOF TILES

SASH WINDOWS

SOUND, AUDIO VISUAL & LOOP SYSTEMS

64

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ISCE

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65

STAINED GLASS

66

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TERRACOTTA & FAIENCE

TRAINING

TRANSPORT & STORAGE

STEEPLEJACKS

STONE & STONE SUPPLY

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67

68

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