Ecclesiastical &I Heritage World Issue No. 74

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COVER STORY

CONTENTS Lighting upgrade illuminates the full majesty of Worksop Priory’s interior The project to bring to life the magnificent interior of Worksop Priory again provides us with a stunning front cover. Lighting Dynamics UK have now completed the upgrade of the lighting for the complete interior, following a similar upgrade in the beautiful Lady Chapel.

The latest in luminaires, accessories and control equipment have come together to allow the treasures of the priory to be seen in their full pomp.

Read the full story on page 6

5 Reflections NEWS 9 UK nominates Jodrell Bank for World Heritage status 9 C of E report calls for makeover of cathedral governance 9 HLF consults on its five-year plan 11 Report identifies climate change risk to Scotland’s heritage 11 First crowd-funding appeal hits its target 12 Former brewery to form centrepiece of new university building

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CHRISTIAN RESOURCES EXHIBITION 18 CRE to take to the road again with journey to its Northern roots 19 CRE confirms return to Sandown with 2018 show

LEAD 20 20 20 21 22 22

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Ancient stones are replicated by new monument New cross sits atop forces’ restored cathedral Bring historic mills back to life as housing, says Historic England

2018: A YEAR OF CENTENARIES 14 A century after the guns fell silent, the bells will ring out 14 Sikh memorial attracts government backing 15 Brontë bicentenary sparks controversy 15 Centenary celebrations mark gift to nation of Stonehenge 15 Historic England looks to promote HerStory during suffrage centenary LIGHTING 16 Reggiani keeps the faith at Victorian Chapel CHURCH FURNITURE 17 Old and New Testaments sit together on bespoke lectern

BLM announces photo competition winner New app has all the gen on lead sheet LSA adds to its clutch of C&G courses Leadworker Register allows an informed choice Heritage sector mourns the passing of ‘Mr Lead’ Guarantee scheme reflects contractors’ confidence

ROOFING 23 Drones: NFRC offers guidance on their use 23 New Year rings in with yet more lead thefts 25 Craft programme takes traditional roofing skills into the classroom 26 New roof tiles allow new life for former church 27 New Year, new ranges from Rainclear LIGHTNING PROTECTION 28 When the bolt comes, it’s rarely from the blue 28 Historic Town Hall to get lightning upgrade 29 New standard addresses problems of surges IRONWORK & METALWORK 31 Heritage city to host heritage ironwork festival 31 Seminar takes in tour of St Paul’s 32 School’s light shines forth once more

CHURCH HEATING 33 Heating breakdowns require prompt action STAINED GLASS 34 Stained glass commission draws admiring comments 35 Titanic memorial window set for spring completion SOUND AND AV SYSTEMS 36 ISCEx 2018: full details announced 36 Charity offers advice on hearing loops 37 Enhancing worship in the Heart of England 38 College’s award-winning auditorium gets a performance makeover 39 Now you see it… Discreet AV system hides away when not in uses CARVING 40 6 fears and myths about the woodcarving industry

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LIME 43 44

Masons’ lost Ark recreated for tercentenary celebrations

From cart sheds to cathedrals: a decade of Limecrete production Suffolk farmhouse sees its period plasterwork restored

CHURCH & HERITAGE SUPPLIES 46 Classified Section

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[AS I WRITE THIS COLUMN the snow is swirling down and settling on the leaves of the evergreen trees outside, creating a

winter wonderland scene. The past few weeks have seen the most protracted period of wintry weather in this part of the Pennines for many a year. Elsewhere it has brought only anguish for some tasked with the upkeep of churches and historic buildings, as the New Year was celebrated by lead thieves with a spate of raids, leaving behind leaky buildings and big repair bills.

• The start of 2018 has prompted a survey of what is in store during the next 12 months. The answer, in terms of heritage events, is quite a lot. This year is set to be a year of anniversaries, and centenaries in particular. Remembering events of World War One has been a preoccupation during all of the four centenary years of its duration. This year we can look forward to remembering a more welcome event – its end. Other, more upbeat centenaries include the gifting of Stonehenge to the nation and the beginning of the road to women’s suffrage. There’s a bicentenary, too – that of Emily Brontë.

• The centre for commemorating the Brontës is in Haworth, West Yorkshire: just over a dozen miles from the small Lancashire former mill town I call home. The mills were ubiquitous throughout the area until the demise of the cotton industry in the 1970s. Many have disappeared and a study by the University of Salford has found that two thirds of the mill buildings in that city have been lost. Now, Historic England is calling for those remaining to be preserved by converting them into housing or community uses.

• The North West does seem to be the place to be for heritage stories at the moment. When the Christian Resources Exhibition brand was taken over by its long-term PR consultant Stephen Goddard, we wondered whether we might see its return to Steve’s North West base. That wish has been granted, with news that next year will see the revival of CRE North at Manchester’s Event City.

• All this activity might attract the attention of passing aliens. If so, they would be intrigued to learn that the UK’s bid for World Heritage Site status will be the Jodrell Bank complex of radio telescopes – part of the University of Manchester. A world leader in the middle of the 20th century, the complex – under its director Sir Bernard Lovell – was instrumental in bringing the mysteries of the universe to public attention.

• Technology has moved on from the 1940s, when Lovell pioneered radio astronomy, and churches are taking full advantage of the opportunities the communications revolution has to offer. Not only can sound reproduction be controlled precisely from modern smart phones, even the heating system can be turned on or off remotely when needed.

• Nowhere is the use of technology more evident in bringing our heritage to life than in the stunning lighting systems that show them off to full advantage. One such graces the front cover of this issue. It shows the work carried out at Worksop Priory to upgrade the lighting of the complete interior, showing what a magnificent building it truly is.

• We end on a sad note. After years of covering the Lead Contractors Association’s Murdoch Awards, we have to report that Dick Murdoch – after whom they are named – passed away in January, at the age of 86. Our condolences go to his family and friends.

We will of course continue to report on the awards that are his legacy. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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COVER STORY

Lighting upgrade illuminates the full majesty of Worksop Priory’s interior

[THE SECOND PHASE of a project to completely upgrade the

interior lighting at Worksop Priory in Nottinghamshire has recently been completed by Lighting Dynamics UK, one of the country’s foremost specialist church lighting companies. This latest phase, the upgrade of the lighting for the complete interior, follows completion by the company

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of a previous phase in the beautiful Lady Chapel which also featured in Ecclesiastical and Heritage World.

Worksop Priory is a Church of England parish church in a former priory in the market town of Worksop. Its formal title is the Priory Church of Our Lady and St Cuthbert, Worksop. The church is Grade I listed and recognised as a building of outstanding architectural and historic interest.

The initial land grant and monies to establish the Augustinian Priory were made by William de Lovetot in 1103. The priory was dissolved on the orders of Henry VIII on 15 November 1539 and the property granted to Francis Talbot, 5th Earl of Shrewsbury, on condition that the Earls should provide a glove for the right hand of the sovereign at their coronation – a tradition that continues to this day.

Over time most of the former monastic buildings were plundered for their stone, but the nave of the church was saved for use as a parish church and the early 14th-century gatehouse was used as a school. Extensive restoration and enlargements of the church began in the mid-19th century and continued through the 20th century.

The overall lighting design, supply of equipment and electrical installation package was completed to a time schedule agreed and planned with

very experienced, NIC EIC-registered ecclesiastical buildings team from A J Electrics (Coleshill) Ltd. The anticipated complete transformation of the interior of the priory via the new lighting was eagerly awaited by all associated with the project.

Everybody is extremely pleased and delighted with the final outcome provided by the finished lighting upgrade project.

Gerry Browne expressed his special thanks to all those involved in the project. He said: “At Lighting Dynamics UK we continue to offer a totally independent and unbiased lighting design and consultancy service. Where required we can supply all of the associated and specified commercial-grade lighting equipment and modern dimming and lighting control systems.” q • Client: Fr. Nicolas Spicer, Fr. Stephen Parker and the PCC of Worksop Priory • Lighting Design: Gerry Browne, Lighting Dynamics UK • Project Architect: Jeffrey Keays of Jeffrey Keays Associates • Electrical Contractors: A J Electrics (Coleshill) Ltd • Photography: Neil James, Neil James Photography

the vicar, PCC and their church architect. The overall lighting design for both phases of the upgrade was by Lighting Dynamics UK’s principal Gerry Browne and incorporates the very latest ranges of the company’s own specialist, commercial-grade LED luminaires and lighting accessories.

This extensive range of luminaires has been developed for their light output performance, diverse selection of optics, long life, low maintenance, heat dissipation and numerous other advantages. The new lighting upgrade throughout the priory also allows for the very latest techniques in both fixed and remote lighting controls and the many associated benefits.

One of the key principles behind the lighting design for both projects was to create a flexible, yet very comprehensive upgrade of the complete interior of the priory. Included within the design brief were the three major essential requirements of hugely improving the overall lighting levels while demonstrating reductions in both on-going maintenance and overall energy running costs.

The new lighting design had to encompass both the magnificent, tiered-level nave and the more modern, forward extensions of the priory.

It was also deemed essential by the lighting designer to highlight and make a feature of the building’s various unique internal architectural elements. The electrical installation for the project was carried out by the

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UK nominates Jodrell Bank for World Heritage status [ JODRELL BANK OBSERVATORY has been chosen as the

UK’s nomination for World Heritage Site status in 2019, DCMS has announced.

The observatory is part of the University of Manchester and is home to the Grade One-listed Lovell Telescope. Founded in 1945, it is the earliest radio astronomy observatory in the world still in existence and pioneered the exploration of the universe using radio waves.

The nomination will now be formally assessed by the International Council of Sites and Monuments before the World Heritage Committee decides whether it will join the likes of the Great Barrier Reef, the Taj Mahal and the Great Wall of China as a designated World Heritage Site.

As well as the Lovell Telescope, Jodrell Bank includes the Grade One-listed Mark II Telescope and the Park Royal building, which was the control room for the Transit Telescope – whose detection of radio waves from the Andromeda Galaxy confirmed that the universe extends beyond our own galaxy.

Professor Teresa Anderson, director of

Jodrell Bank Discovery Centre, said: “The Jodrell Bank Observatory, and Lovell Telescope in particular, have become icons of science and engineering around the world and we’re delighted to reach this milestone. We have been preparing the case for nomination for inclusion of Jodrell Bank on the World Heritage list for several years now and we look forward to showcasing its rich scientific heritage on the international stage.”

Professor Tim O’Brien, associate director of the Jodrell Bank Centre for Astrophysics, added: “Jodrell Bank really is an iconic site and institution, not just here in the North West of England but to people around the world.

“It is the one remaining site worldwide which has been a working observatory from the very first days of radio astronomy to the present day. It’s important that we protect its rich heritage as we celebrate its current and future work.”

Last year the government announced an award of £4m to help fund Jodrell Bank’s new interpretation centre project, promoting the historically significant scientific work. q

C of E report calls for makeover of cathedral governance [A REPORT BY the Church of England’s

Cathedrals Working Group, published in January, has called for a fresh look at how England’s historic cathedrals are managed, governed and funded, outlining a number of changes that could be made.

The proposals, emerging from seven months of meetings and discussions, aim to recognise and enhance the vital role that cathedrals play, while building a robust framework for the future.

They range from recommendations on how the structure of Chapter – a cathedral’s traditional governing body – could be reformed to new financial auditing processes.

A consultation on the recommendations, at www.churchofengland.org, closes on 28 February.

The Working Group was set up by the Archbishops of Canterbury and York after a number of cathedrals highlighted challenges in governance and management. The working group consulted with people from all parts of the cathedral sector and elsewhere, including charities and wider civil society, to develop the proposals.

Adrian Newman, Bishop of Stepney and chair of the Cathedrals Working Group, said: “England’s cathedrals are an immense gift to Church and nation, and we hope that our report can help to form a better understanding of how this gift can be nurtured and protected, celebrated and safeguarded long in to the future.”

Adrian Dorber, chair of the Association of English Cathedrals and Dean of Lichfield, said: “Cathedrals are the nation’s treasures – from

protecting invaluable heritage such as Magna Carta and ancient shrines, to supporting social enterprises helping the homeless and the vulnerable, offering inspirational daily worship to lift the spirits and providing a place for the nation to come to be healed at times of mourning or national crisis.

“Surely no-one would argue with a fresh look

at the way we are run and financed, so we are excited about where this report may take us and look forward to the responses the consultation may bring and the final report.

“Our cathedrals have been here for hundreds of years – vibrant seats of mission, of learning, of heritage and of love; let’s ensure they are here for hundreds more.” q

HLF consults on its five-year plan [ THE HERITAGE LOTTERY FUND is currently running a public consultation on the

direction its role, vision and funding priorities will take for the next five years. Comments are being invited on a proposed new approach. Issues under discussion include targeted funding campaigns, repayable loans and public involvement in decision-making.

All of these initiatives could have a role, says the HLF, in ensuring the most effective use of National Lottery money to support the UK’s heritage.

Chief executive Ros Kerslake said: “Since 1994 HLF has distributed £7.8bn to over 40,000 heritage projects – an unparalleled legacy that has transformed neighbourhoods, communities, visitor attractions and people’s lives across the length and breadth of the nation.

“We now hold a unique position as the largest dedicated funder of the UK’s heritage; and at a time of increased competition and reduced budgets, want to be sure we are using every pound of National Lottery players’ money in the best way possible.

“We see our future role as inspiring, leading and resourcing our heritage to create positive and lasting change for people and communities, now and in the future.”

HLF says it still expects to fund a full range of heritage projects, including landscapes, places of worship, parks, townscapes, buildings at risk and heritage skills.

The consultation follows in-depth research carried out with people who play the National Lottery, who say they value the fact that HLF takes an inclusive approach, doesn’t define heritage and supports the full breadth of heritage across the UK. q

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Report identifies climate change risk to Scotland’s heritage [

A GROUNDBREAKING REPORT outlining the risk to Scotland’s historic sites of climate change has been published by Historic Environment Scotland (HES). The report also outlines the steps that can be taken to manage the risk via in-depth assessment and investment. The Climate Change Risk Assessment Report is described as ‘a major step forward in a comprehensive and ongoing exercise to understand, monitor and manage environmental risk to HES’s diverse estate’.

The assessment has identified the sites that are most ‘at-risk’ from the over 300 in the care of HES. This information will be used to prioritise investment through conservation and maintenance programmes to manage the climate change risk to these historic places.

It is the first time that a heritage-focused organisation has collaborated to use a combination of datasets from other public bodies – including the British Geological Survey and the Scottish Environment Protection Agency – to inform management of climate change risk.

Ewan Hyslop, head of technical research and science at HES, said: “Climate change poses a number of very real threats to Scotland’s historic environment, from an increased frequency of extreme and unpredictable weather events to rising sea-levels. As well as

that, average rainfall in Scotland has risen by more than 20% since the 1960s, with historic buildings particularly susceptible to the accelerated decay this can cause.

“It is important we’re well equipped to deal with these challenges, and the Climate Change Risk Assessment Report enables us to better understand the risks we face and enhance the knowledge we have to help protect and preserve Scotland’s historic environment for future generations.”

One of four case studies featured in the report is Blackness Castle, which provides an example of how the risk assessment data and methodology can be used to mitigate specific risks. The fortress on the Firth of Forth (pictured) has been determined to be at high risk from a number of natural hazards, including coastal erosion and flooding. To protect against those hazards HES has implemented the construction of a retaining shore-front wall to prevent damaging wave action.

The Climate Change Risk Assessment Report represents the most in depth study to date of the historic sites in the care of HES. The results of the initial risk assessment will provide the strategic basis for existing maintenance work programmes, as well as the allocation of funds for future works. q

First crowd-funding appeal hits its target [ENGLISH HERITAGE'S first crowd-funding campaign has

raised £47,545 from 911 people to support conservation of the Iron Bridge in Shropshire. The campaign was launched on 13 November and had achieved its initial target within 48 hours. The money will support Project Iron Bridge, an ambitious conservation programme to repair and restore Shropshire's symbol of the Industrial Revolution.

It has been complemented by a €1m donation from the Hermann Reemtsma Foundation.

Morgan Cowles, head of conservation maintenance at English Heritage, said: “The response has been truly overwhelming. We are in awe of all those who have given so generously to support our vital conservation project on the Iron Bridge. This is English Heritage's first ever crowd-funding campaign and all the money raised goes directly to the project, which is why we are so grateful to everyone who has stepped up to help make this possible. I'd like to offer my sincere thanks on behalf of English Heritage to everyone who has made this possible.”

Project Iron Bridge has called on the public to help fund the repairs necessary to save the iconic structure. The bridge was under threat from cracking caused by stresses in the ironwork, which have been impacting on the bridge since it was built. Ground movement over the centuries and an earthquake at the end of the 19th century have also contributed to the damage. The £3.6m project is now underway. q www.ecclesiasticalandheritageworld.co.uk

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Former brewery to form centrepiece of new university building [ PLANS SUBMITTED by the University of Wolverhampton for a new

building at its £100m Springfield Campus development will centre on the iconic clock tower of the famous William Butler brewery.

The new design for the university’s School of Architecture and the Built Environment aims to keep as much heritage as possible, while adding stunning new buildings which reflect the site's historic industrial surroundings. Designers from Associated Architects have worked closely with conservation specialists, planners and Historic England.

An original design to retain more of the historic fabric of the building had to be altered after pre-construction works on the site discovered that structures of some of the original buildings were not viable so could not be incorporated into the plans.

CORNWALL HAS BECOME the site of a new ‘ancient monument’ – the first stone circle to be Under the new plans the clock tower will built there for 2,000 years. The new stone circle is a modern folly, built in the grounds of Pentillie be restored and a new building wrapped Castle – a Georgian country house overlooking the Tamar Valley, Dartmoor and Plymouth Sound. around it. At its heart will be a naturally lit Pentillie’s owner, Ted Coryton, has always been fascinated by the history of the standing stones, open atrium spanning three floors, covered stone circles and other ancient monuments on Dartmoor and Bodmin Moor. by a glass roof lantern.

“They obviously must have had great significance to the people who built them, because of the Deputy vice-chancellor Jackie Dunne, time and effort required to erect them at a time when survival must have been the primary concern who is the university's project lead for and occupation of most people,” he explained. the Springfield site, said: “We felt it was The position of the Pentillie circle follows the tradition of being in line of sight with important local important to retain as much of the site’s features. “It started as a mad idea,” said Ted, “but then we thought it would actually be worthwhile heritage as we possibly could and have – an opportunity to build something really simple out of natural unworked local material that would sought to retain, protect and celebrate the last for centuries.” q character of key existing buildings.” q

Ancient stones are replicated by new monument [

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New cross sits atop forces’ restored cathedral [ ON 4 JANUARY a new cross was

blessed and installed at Aldershot Catholic Cathedral, the Roman Catholic cathedral for the Bishopric of the Armed Forces. It marked the end of a major roof restoration project funded by Aspire Defence Limited and delivered by Aspire Defence Services Limited.

Roof replacement works began last summer at the Cathedral of St Michael and St George. Extensive surveys had revealed that the existing roof tiles were worn and the building was at risk of damage from rainwater ingress to the roof space.

More than 60,000 nails, 48 tonnes of slate and 3.5 miles of roofing batten were

Bring historic mills back to life as housing, says Historic England [

A REPORT BY the University of Salford, funded by Historic England and published on 20 November, has revealed that nearly half of the historic mill buildings in Greater Manchester have been destroyed since the 1980s. Salford is the borough which has lost the most, with 66% having gone over the past 30 years.

Historic England has called for the buildings to be brought back into use for residential or commercial purposes, in preference to new buildings. It is a view it claims is shared by a large majority of the population – particularly in the North.

Greater Manchester’s Mayor, Andy Burnham, commented: “It’s a real shame that half of Paragon Mill conversion in Manchester Greater Manchester’s historic mills have been lost. These buildings are an important part of our industrial legacy – the original Northern Powerhouse. But equally, they are an important part of our future – whether that’s creating new jobs for local people by investing in the industries of the future, providing much-needed affordable housing or transforming these unique spaces into cultural destinations. I fully support Historic England’s plea to ensure our remaining mills have a key place in the developing fabric of our region.”

Norman Redhead, director of the Greater Manchester Archaeological Advisory Service, said: “The historic textile mill is the iconic symbol of the region’s rich industrial heritage. It epitomises the successful introduction of the factory-based system for the production of textile goods, which from the late 18th century transformed the Greater Manchester area into one of the world’s leading manufacturing centres.” q

used to restore the entire roof. Bespoke Westmorland slate tiles were sourced from a quarry in Cumbria to retain the building’s unique original design, making the 300mile trip to Aldershot. During works, the site team also discovered that the cross on the roof was cracked and water damaged.

A replica cross was therefore commissioned and carved by stonemason Darren Hill.

Mark Bassett, project manager for ADSL, explained: “This was a complex project which took two years to plan. Each tile had to be drilled by hand on site and we’ve also undertaken conservation work to safeguard the swifts and house martins found nesting in the eaves of the cathedral.

“We refurbished the spire in 2009, so bringing the rest of the roof up to standard was timely and very satisfying. The whole team is thrilled with the end result and the building looks really smart.”

The new cross was blessed by Father Nick Gosnell, administrator for St Michael’s and St George’s, at a topping-out ceremony attended by parishioners, Aspire Defence contractors and representatives of Aldershot Garrison and the Defence Infrastructure Organisation. It was then carried up the scaffolding and placed at the highest point on the roof, on the same spigot where the old cross was located. q

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A century after the guns fell silent, the bells will ring out [

ON 11 NOVEMBER – 100 years since the Armistice that ended World War One – bells will ring out in unison from churches and cathedrals in villages, towns and cities across the country. Big Ben will also strike at 11am to mark the centenary of the 11th hour of the 11th day of the 11th month.

As part of the commemoration, 1,400 new bell ringers will be recruited in honour of the 1,400 that lost their lives during the Great War. The campaign to recruit the ringers – Ringing Remembers – will keep this traditional British art alive in memory of those who fell.

The campaign is being run by the Department of Communities and Local Government, in collaboration with Big Ideas Community Interest Company and the Central Council of Church Bell Ringers.

Communities Secretary Sajid Javid said: “The Ringing Remembers campaign will be a fitting end to our projects, events and activities that have marked the end of the First World War and a tribute to the heroic men and women who sacrificed so much for the freedoms we enjoy today.”

Karen Bradley, Secretary of State for Digital, Culture, Media and Sport, declared: “On 11 November 1918 the ringing of church bells erupted spontaneously across the country, as an outpouring of relief that four years of war had come to an end. I am pleased that, to honour that moment and the 1,400 bell ringers who died in the war, we will be

recruiting 1,400 new bell ringers to take part in the commemorations.”

A full programme of commemorative events will take place during the year that culminates in the centenary of the Armistice.

Six cities are to host the Tower of London Poppies in the last year of their UK tour marking the centenary. Destinations for the tour of the two exhibitions – Wave and Weeping Window – include Stoke-on-Trent,

Sikh memorial attracts government backing [THE GOVERNMENT HAS declared its support for a campaign to erect a Sikh war

memorial in London, commemorating the contribution made by Sikh soldiers to Britain and its allies.

Communities Secretary Sajid Javid said: “We are indebted to all those servicemen who volunteered to serve and fought to defend the freedoms we enjoy today. That’s why a Sikh war memorial in our nation’s capital will honour their sacrifice and ensure that this part of our shared history is never forgotten. So I’m delighted to get behind this campaign and ensure its success.”

Sikh soldiers from the Punjab and surrounding states saw action in Europe, Africa and the Middle East, most notably on the Western Front and at Gallipoli.

The campaign is being led by Slough MP Tanmanjeet Singh Dhesi. Once an appropriate site has been identified and a memorial agreed on, the government has agreed to provide funding towards the project. q

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where many of the ceramic poppies were made. Middleport Pottery will host Weeping Window during August and September.

Prior to that, Hereford Cathedral will be the venue for Weeping Window in March and April, while Fort Nelson in Portsmouth will host Wave from April to June and Weeping Window will be installed at Carlisle Castle from May to July.

Journey’s end for the two exhibitions will be two Imperial War Museum sites: the museum's historic Lambeth Road home in London, which will be the venue for Weeping Window from 6 October to 18 November, and IWM North in Manchester, where Wave will be on display from 8 September to 25 November.

Karen Bradley said: “I am delighted that the poppies will be preserved for future generations to act as a lasting memorial not only to those who lost their lives during the war but also to highlight how the country came together to commemorate the centenary.”

Two major musical enterprises will set the tone for the commemoration. The Great War Symphony is a new choral work specially written by British composer Patrick Hawes.

Dedicated as ‘a monument in music’ to all those who gave their lives in 1914-18, the symphony will receive its world première at London’s Royal Albert Hall on 9 October.

On the centenary of the Armistice itself, 11 November, singers are being invited to take part in the first US performance of the symphony at another of the world’s great music venues, Carnegie Hall in New York.

Patrick Hawes has drawn on the World War One experiences of his own forebears and the words of war poets both well-known and less familiar for a work that brings together the combined forces of the Royal Philharmonic Orchestra, youth choirs and military bands.

Meanwhile, more than 70 military wives choirs, located at British forces bases in the UK and overseas, are planning to unite with military bands from all three services to record a new album commemorating the centenary.

According to centenary information site centenarynews.com: “Classical, pop and film music composers have been working with choir members to write songs embracing themes of remembrance, commemoration, patriotism and military life.”

Throughout the country the centenary of the ending of the war will be marked by local and national events. Ecclesiastical and Heritage World will be bringing news of those events as the year unfolds. q

Brontë bicentenary sparks controversy [

AMONG THE centenaries this year is one remarkable bicentenary that forms part of a series of its own. Emily Brontë was born on 30 July 1818 and the bicentenary of her birth will be marked by a year of celebrations in Haworth, West Yorkshire.

The event created a certain controversy when writer Nick Holland resigned from the Brontë Society over the appointment of actress and social entrepreneur Lily Cole to the role of creative partner for the celebrations at the Brontë Parsonage Museum (pictured).

Ms Cole, who has a double first in Art History from Cambridge, said of her appointment: “Wuthering Heights is one of my favourite books and I have long been fascinated by its enigmatic writer, Emily Brontë. The fact that Emily had to change her name – to Ellis Bell – in order to publish the novel intrigues and inspires me. I am excited and honoured to be given the opportunity to work on a project to commemorate the legacy of one of England’s most important, and mysterious, writers.”

The bicentenary of Emily’s birth follows that of sister Charlotte in 2016 and comes ahead of that of the third of the sisters, Anne, in 2020. q

Centenary celebrations mark gift to nation of Stonehenge [

THIS YEAR SEES the centenary of the year Stonehenge was gifted to the nation. Local landowners Cecil and Mary Chubb gave the world’s most famous prehistoric monument to the country in October 1918. It marked a turning point in the way the ancient stones are looked after.

With a history spanning 4,500 years, Stonehenge has many different meanings to people today. It is a wonder of the world, a spiritual place and a source of inspiration. The stone circle itself is a masterpiece of engineering and building it would have taken huge effort from hundreds of well-organised people using only simple tools and technologies. From March, English Heritage will be hosting a programme of events and exhibitions at Stonehenge to mark the anniversary.

As well as recreating how the stones may have been lifted, English Heritage will partner with the British Museum to launch a new exhibition featuring Neolithic and Bronze Age objects. It will highlight the craftsmanship of the people living in the period and show the connections Stonehenge had with other ancient sites across Britain and Europe.

Anna Eavis, English Heritage’s curatorial director, said: “This year is an important centenary for Stonehenge. Looking at the ancient stones today it is easy to assume that their future was always secure, but at the beginning of the 20th century that was far from the case – our most important pre-historic monument was at risk of collapse. 2018 marks a hundred years of Stonehenge belonging to us all and the monument getting the care it deserves.” q

Historic England looks to promote HerStory during suffrage centenary [HISTORIC ENGLAND HAS launched its

own campaign to mark the centenary of the Representation of the People Act, which gave the first British women the right to vote. HerStories – a title which reflects the continuing under-representation of women in history – will research, highlight and list places that played a part in the struggle for suffrage and subsequent gender equality.

As part of a programme of activities throughout the year, on 10 June Historic England will be taking part in PROCESSIONS – a mass participation artwork which will invite women and girls to come together on the streets of London, Belfast, Cardiff and Edinburgh to mark the centenary in a living, moving portrait of women in the 21st century.

PROCESSIONS is produced by Artichoke, the UK’s largest producer of art in the public realm, as part of 14-18 NOW, the UK’s official arts programme for the World War One centenary.

Appropriately, 100 women artists are being commissioned to work with groups and communities across the UK to create banners for PROCESSIONS. Historic England has commissioned artist Lucy Orta and the London College of Fashion to work with former inmates of Holloway Prison to produce one of these banners.

Holloway was one of the most notorious sites associated with the suffrage movement in London. It became a women’s prison in 1902 and remained the largest of its kind in Europe until its closure in 2016. Over

1,000 suffragettes were imprisoned there, including Emmeline and Christabel Pankurst.

Suffragettes were initially incarcerated at Holloway as criminal, rather than political prisoners, leading many to go on hunger strike in protest at the government’s refusal to acknowledge their crimes as political acts.

Celia Richardson, director of communications at Historic England, said: “We’re so happy to be celebrating this amazing arc of history in a way that will have a real impact on women and their communities across the nation. The story of the struggle for women’s suffrage belongs to all of us and still resonates today.

“We are working with the London College of Fashion, Lucy Orta and the women from Making for Change, some of whom were the last residents of Holloway Prison, to create a banner for the march.

During the struggle, hunger striking prisoners created the Holloway Prison banner, and we are proud to be a part of carrying on their legacy.”

Suffragettes waged destructive campaigns upon public property across the country to protest against women’s lack of rights. They burned train stations and tea houses, destroyed shop windows, cut telegraph and telephone wires and vandalised pillar boxes.

Through HerStories, Historic England will be working with partners to highlight the places that witnessed the hard-fought suffrage campaign. q www.ecclesiasticalandheritageworld.co.uk

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Reggiani keeps the faith at Victorian Chapel

[

LIGHTING FROM REGGIANI UK has been included in the restoration of the Victorian Chapel at the University of Winchester, to provide an energy-efficient, uniform lighting scheme. The project, by Winchester-based Design Engine Architects, has seen the restoration and renovation of the existing chapel with an additional new extension created to be used as a side chapel.

Originally built in 1880 and extended in 1927, the university chapel has been restored and extended as part of Design Engine’s masterplan for the university to create a small but precious ‘jewel’ in the heart of the King Alfred Campus.

Reggiani’s light fittings were specified by M&E and acoustic consultants Chris Reading & Associates, working with lighting equipment consultants M&S Lighting Services Ltd, to provide a lighting scheme that would meet all the architectural constraints of the Victorian building. The scheme also had to set off the ‘old meets new’ section so that the lighting didn’t just blend in with, but actually added to the new 200 sq m side chapel created on the north side of the existing building.

Installed by Burrows Electrical of Havant, the lighting scheme in the old chapel combined a mixture of Reggiani’s ROLL-IOS and surface mounted Varios fittings. The ROLL-IOS downlight luminaires were used in 30W and 46W LED variants with a black finish and 12 degree angles. These fittings

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create a dramatic injection of light between the arched window frames and pure white walls. Reggiani’s small black surface mounted Varios 13W fittings were used on the chapel perimeter to produce uplighting to illuminate the ceiling and timber rafters. Both fittings are dimmable to allow for scene setting as and when required.

Small 30W LED ZeroZeroUno adjustable projectors with barn doors were fixed at each end of the wooden rafters to highlight the contemporary Purbeck stone altar and stained glass window beyond.

The same fittings were used to highlight the stylish reflective font made from highly polished stainless steel and contained on a cylindrical Purbeck stone plinth.

The new chapel has a timber frame set within a perforated aluminium panel anodized to give a reflective gold finish. Chris Reading & Associates chose a mixture of Reggiani’s Low LED comfort 10W downlights in white finish, LED 54W Linea Luce slim fitting and IP65 emergency downlights with 10W LED light source in metallised grey for this area.

The chapel plays a pivotal role in university life and is used for worship, social gatherings, meetings and concerts, as well as a place of quiet contemplation. q • For further information visit the website at www.reggiani.net

Old and New Testaments sit together on bespoke lectern “We are delighted with the outcome – a magnificent creation!”

[THOSE WERE THE WORDS used by

the elders of Busby Parish Church in Glasgow to describe the unique double-sided lectern supplied to the church by Fullers Finer Furniture last October.

In 2010 Busby Parish Church celebrated the passing of 175 years since the formation of the first church there in 1835. It is, therefore, a church with a significant history; and it was that history – together with the fabric of the current building and its future needs – which played a part in the design and specification of the lectern.

The requirement was for a double-sided, swivel-top lectern, so that the New Testament and Old Testament readings could be accommodated together. Hence, the lectern top can be easily turned to present the requisite Bible to the reader.

Busby Parish Church’s patrons had a close connection with the Isle of Iona and tribute was paid to that with the incorporation of a handcarved Iona-style cross on each end panel of the lectern. Time and care were taken during the discussion and drawing stage to ensure the finished design met the specification and had the approval of all concerned.

The choir seats in the church were also of significance, in that each chair was finished with a decorative pattern. That pattern was

recreated with a hand carving on each side of the lectern, underneath the cross. The tiered base of the lectern was chosen to blend in with the design of the existing font and flower stand in use at the church.

The end result was a piece of furniture designed to serve the church community for the future, while blending beautifully with the rich history of its surroundings. Complimentary customer feedback, such as that quoted at the top of the story, is something Fullers Finer Furniture thrives on and strives for – but would never take for granted.

Said company principle Paul Fuller: “The aim of Fullers Finer Furniture is to provide exemplary customer service as it maximises experience and expertise to custom build for the future.” q • Call Fullers Finer Furniture on 01934 618111 and they will be delighted to discuss your own unique project.

www.ecclesiasticalandheritageworld.co.uk

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CRE to take to the road again

[ CHRISTIAN RESOURCES EXHIBITION will return to

Manchester in 2019, it has been revealed. The show will take place from 13-14 March of that year at Event City, part of the Trafford Centre complex.

CRE North had established itself as a mainstay of the decentralised series of exhibitions in the 1990s and 2000s. From

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its beginnings at the former GMEX – now Manchester Central – it moved to Event City in 2012.

Last year the brand was taken over by St Helens-based Stephen Goddard, who had acted as its PR consultant for many years. The return to the North West will be a kind of homecoming for Steve and his wife Allison.

with journey to its Northern roots The Bishop of Manchester, Rt Rev David Walker, has welcomed the return of CRE to Manchester. “Manchester is world famous as a place where the best is showcased and creative ideas and technologies are quickly adopted,” said the bishop.

“I’m delighted that CRE is returning and hope many relevant local and national organisations will exhibit at Event City. Here is an opportunity for 150 organisations to bring their skills, services, ideas and resources back to the North West and for members of all church traditions to come and draw inspiration from them. We look forward to welcoming CRE again in 2019.”

Everything from computers to communion wine and from chair manufacturers to children’s charities are expected to be on display at CRE North 2019. A series of seminars, given by both regional and national experts, will cover issues of vital concern to local church leaders and members of all kinds – from parish magazine editors to treasurers, youth workers to worship leaders.

“Event City offers great transport links and thousands of free parking places in a friendly, welcoming atmosphere,” said event director Brett Pitchfork, who was also involved in the previous series of CRE North events, “and its location next to the Trafford Centre makes it easy to find.”

CRE North will be opened by Irish singer and former MEP Dana, who also opened CRE 2017 at Sandown Park in Esher, Surrey. Her rendition of her Eurovision-winning song All Kinds of Everything was specially adapted for the return of CRE to Sandown Park to form the new slogan for the show: All Kinds of Everything, for Your Church and You! q

CRE confirms return to Sandown with 2018 show

[CRE WILL ONCE MORE revisit its spiritual home at Sandown Park

in Surrey from 16-18 October this year, following a triumphant return to the venue last October.

Described as an ‘emotional homecoming’, last year’s event touched all the emotions, from a lively opening featuring Eurovision-winner Dana to a solemn ending – when former special envoy to the Archbishop of Canterbury, Terry Waite (pictured), spoke of his five years’ imprisonment.

A total of 4,061 people visited the show during its three days and some 200 exhibitors displayed everything from pulpits to puppets; sound systems to stained glass; charities to children’s work. More than 30 have already booked stands for next year.

Visitors came from all over the UK, including Cornwall and the Scottish Highlands. Three people even travelled to Sandown Park from Japan.

Most traditional denominations were represented, with 43% belonging to Anglican churches and 16% to Baptist churches.

New owner Steve Goddard said: “Many local church leaders, lay and ordained, rely on it for fresh ideas for ministry, mission and maintenance.

Taking the event back to Sandown Park, after two years at ExCeL in London, proved an emotional homecoming.”

Some 40 seminars covered subjects like evangelism, social media, sound systems and church building projects. Among the speakers were George Verwer – veteran of world mission and founder of Operation Mobilisation – and Evangelical Alliance director Steve Clifford. q www.ecclesiasticalandheritageworld.co.uk

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BLM announces photo New app has all the gen on lead sheet competition winner

[ THE LEAD SHEET ASSOCIATION has launched a new app, drawing

[

BLM HAS ANNOUNCED the winner of its inaugural photo competition held to discover the most authentic and diverse aspects of lead in situ.

The competition invited roofing and leadwork contractors to submit images of lead sheet used in a variety of roofing applications from impressive and inspiring projects.

Kevin Bennett from K&M Leadwork Ltd was awarded first prize for his restoration of the village hall clock tower in Goring-on-Thames (pictured).

Kevin was appointed by the trustees of Goring-on-Thames Parish Council to undertake the replacement of the iconic local landmark and work to remove the original lead roof began in April 2016. The roof had lasted well but some of the lead detailing required altering to prevent its earlier failure, where the post arms meet the clock tower, from reoccurring. It took Kevin a total of 47 days spread over three months to finish the job due to the fact that the village hall was in use and there were times when no noise was permitted.

“It was a privilege for me to be a part of the restoration project of the clock tower, which also won the NFRC UK Roofing Awards 2017 Lead Roofing Category,” said Kevin.

Kevin is pictured receiving an LSA training gift voucher worth £250. He also won a set of BLM roofing tools and toolbag and a copy of the latest LSA Manual.

Two runners-up prizes were also awarded – Paul Brent for his triangular down pipes with hoppers project and Craig McCamley for the restoration of the gothic tower on the Aberdeen Town House. Both received a set of BLM roofing tools and toolbag and the LSA Manual.

The winner and the two runners-up were picked by a panel of BLM employees together with independent judges from the Lead Sheet Association – the foremost independent authority on the design, specification and application of rolled lead sheet for the construction industry. q • Find out more about the winning projects at www.britishlead.co.uk/ blm-photo-competition-winners

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on the many years of technical expertise gathered by its staff, to enable leadworkers, contractors and specifiers to access key information at the tap of a screen.

Using the information contained in the traditional Rolled Lead Sheet Manual, the app allows users to quickly find the details they need to help with a range of technical issues.

It also includes a handy dual-purpose ‘lap calculator’ for pitched roofs and cladding in varying circumstances.

The information covers all the basics that might be needed for leadwork installation. It is based on the application of rolled lead sheet to BS EN 12588 and conforms to the installation standard of BS 6915.

The LSA app costs £4.99 and is available from the App Store for Apple or on Google Play for Android, where there are more details about the app as well as download instructions. Search for LSApp. The app adds to the suite of resources available for leadworkers to complement the Rolled Lead Sheet Manual, which is the comprehensive reference guide for information on lead sheet. q • For more information on all the resources available from the Lead Sheet Association visit leadsheet.co.uk.

LSA adds to its clutch of C&G courses [THE LEAD SHEET ASSOCIATION is now offering a total of six

training programmes accredited by City & Guilds (C&G) as meeting that organisation’s quality assurance criteria. The Accredited Programme status has been awarded following successful evaluation by City & Guilds of the LSA’s training capability and processes. The programme replaces some existing awards and introduces some new ones.

The replacement courses are: • Traditional Basic Leadwork Craftwork (which replaces the LSA Basic • Bossing and Welding Course) • Traditional Intermediate Leadwork Craftwork (which replaces the • former C&G 6055 Modules 1-4 Course) • Traditional Advanced Leadwork Craftwork (which replaces the • former C&G 6055 Module 5 Course) • Traditional Basic Hard Metal Craftwork (which replaces the LSA • Basic Hard Metal Course) The course content, duration and competencies that successful candidates will acquire are unchanged from the previous courses.

Existing candidates undertaking C&G 6055 will complete their courses and receive appropriate awards.

The new courses are: • Traditional Intermediate Hard Metal • Traditional Advanced Hard Metal In addition, LSA continues to offer specialist applied-skills programmes and specialist upskilling programmes in both leadwork and hard metals. All of these courses are approved for grant funding for contractors registered with CITB. q • For more information about the courses or to book places, call 01622 872 432.

Leadworker Register allows an informed choice [OVER THE past few issues we have

been highlighting the role played by the Leadworker Register in providing information for those looking to engage craftspeople to carry out leadwork – whether that is on a notable public building or their own home.

The register is maintained by the Lead Sheet Association and the Lead Contractors Association on behalf of the Lead and Hard Metals Roof Training Group.

Entry to the register is available to anyone that meets the required criteria and those listed pay a small annual subscription to have their names included in the register.

However, registration only takes place

if their details – including training courses attended, qualifications received and assessments they have been subjected to – have been independently verified.

The Leadworker Register is provided to assist prospective employers wishing to verify the credentials of a potential employee, main contractors wishing to confirm the credentials of a leadworker before allowing site access, or even a householder considering their own small building project involving lead that they wish to be installed by a person who has been trained to the appropriate level.

The list has been compiled based solely on

the information and evidence provided by each individual and it should be noted that such evidence may not necessarily be current.

There are various levels of skills reflected in the register, ranging from Level One: Basic Skills to Level Four: Advanced Skills.

If a person wishes to be included in the Leadworker Register but is unable to provide evidence of any qualification achieved or other testimony to their level of skill, they can apply to be assessed by the training staff at the Lead Sheet Association at their National Roof Training Centre in Kent, or through one of the registered satellite centres around the country. q

Nova Contracts Limited

The following leadworkers are listed on The Leadworker Register: M P Hare Ltd

Nova Contracts specialise in heritage roofing work with a real focus on heritage leadwork Flat lead roofs, flashing repairs and welding all undertaken Nova Contracts are affiliated and approved by the Leadworkers Register with skill levels 1,2,3 and 4 obtained

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

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

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

10 Leadhills Road, Kilmarnock, East Ayrshire KA1 3UF

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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Guarantee scheme reflects contractors’ confidence [ THE DURABILITY of lead as a building material,

Heritage sector mourns the passing of ‘Mr Lead’ [ IN EARLY JANUARY it was reported that Dick Murdoch had passed away

after a short illness. The news was greeted with great sadness throughout the lead sheet industry – and, indeed, both the roofing and heritage sectors.

For decades Dick had acted as technical officer and consultant to the lead roofing sector and given his name to the two principal awards in that industry – the Murdoch Award and more recently the Murdoch Sponsors Award.

His death was reported by the Lead Contractors Association with the following tribute.

“Dick was responsible for the creation of the LCA in 1984 and leaves behind many friends that he has helped (and berated!) over the years. ‘Mr Lead’ was 86 and with wife June had enjoyed an active retirement since leaving the lead industry in 1996 after 20 years with the Lead Development/Lead Sheet Association, many of which were also spent acting as technical consultant to the LCA and its members.” q

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and the confidence those working in lead have of their workmanship, are illustrated by the 25 Year Guarantee Scheme offered by members of the Lead Contractors Association: the first in the construction industry to give such a long guarantee.

Moreover, the scheme is supported by all the major lead sheet manufacturers, providing an effective warranty for both labour and materials.

Under the scheme, on completion of two years membership of the LCA, a member is required to offer a 25-year guarantee of workmanship and material for leadwork projects over a value of £2,500. The work must conform to the BS6915 Code of Practice and non-conforming details must be rectified before the installation is approved.

If a problem occurs within the guarantee period, the LCA will contact the original installer to return to site to investigate. If they are no longer trading, no longer a member of the LCA or otherwise unable to return to site, then another LCA member is instructed to investigate.

All the costs are covered by an insurance-backed trust fund, underwritten through Lloyds of London. q

Drones: NFRC offers guidance on their use [ A FORMAL MEMORANDUM

of understanding – the culmination of a year’s work – has been agreed between the Association of Remotely Piloted Aircraft Systems (ARPAS-UK) and the National Federation of Roofing Contractors (NFRC) concerning the use of so-called drones in roofing work.

In recent years, ARPAS-UK and the NFRC have seen a rapid growth in the use of remotely piloted aircraft systems – also known as UAVs – across the construction industry. In particular, they are used as a safe alternative to human access when surveying or assessing necessary work on church or cathedral roofs or towers.

According to ARPAS: “ARPAS-UK and NFRC believe that drones can be used effectively within the roofing industry and that such use can help to make that industry safer.”

The two trade bodies have therefore entered into a partnership to ensure the use of drone technology in the roofing industry is safe and legal. The two organisations have agreed an exclusive arrangement whereby ARPAS-UK provides a support package to NFRC, including production of a guidance document for NFRC members, and NFRC will promote ARPAS-UK member services to its membership. It is anticipated that the relationship between ARPAS-UK and NFRC will continue to strengthen as the two organisations work together.

The two trade associations believe that this collaboration will

assist in safe and professional operations and growth of both industries and provide benefits to its respective members, the construction industry and the general public.

In a statement, the NFRC said: “The law requires that anyone operating a drone commercially is appropriately licensed and there are moves to require licensing of all drones. As a benefit to our members, we have provided guidance produced by ARPAS-UK which includes an exclusive training offers, details of which can be found within the members’ site.” q

New Year rings in with yet more lead thefts [THE ON-GOING SAGA of scaffolding erected for repairs being

used to access church roofs to steal lead continued this year with a story from Swadlincote in Derbyshire.

A thief escaped police when he stole £1,000 worth of lead from the roof of the 171-year-old Emmanuel Church, having been been spotted on scaffolding next to the building by officers in the area.

The church is undergoing work to make its roof watertight following a £143,900 grant from the Heritage Lottery Fund. The total cost of this work is £195,044.

Reverend Alison Redshaw, focal minister for Emmanuel, said: "The church fellowship is very upset at the damage that has been done to the roof. We have worked to raise funds and get a grant from the Heritage Lottery Fund to enable us to make the church watertight and this damage will cost us more than £1,000 to repair.

“We would like to thank the police for halting the theft in progress and would ask anyone who has any information to contact Derbyshire Police.”

Already, 2018 is providing a number of stories of lead theft from listed buildings. Around £2,500 worth of lead was stripped from the roof of Stretford Public Halls in Greater Manchester – during a break in work to repair damage to the roof caused by heavy rain.

Fortunately for the volunteers who had worked to raise funds for the repairs to the Grade Two-listed building, the roofing contractors spotted the damage upon their return and acted quickly to repair it. It means, however, that money raised for other work has had to be diverted to restore the roof. q

www.ecclesiasticalandheritageworld.co.uk

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Craft programme takes traditional roofing skills into the classroom

[

THE LATEST IN a programme to introduce school pupils to building craft skills took place at schools in the Forth Valley area of Scotland in December. Funding was provided by Historic Environment Scotland to pilot the pioneering course.

The Roofing in the Classroom course was developed by leading NFRC member Rooftec (Scotland) Ltd in collaboration with Concrete Scotland and the Scottish Traditional Building Forum. It follows the pattern set by the Concrete in the Classroom programme.

Roofing in the Classroom is a community engagement resource following Curriculum for Excellence principles which delivers cross curriculum learning through five roofing related lessons and culminating in a site visit to a site to contextualise the learning. It engages students in a practical way to introduce them to the skills required to carry out slate installations, while looking at the wider connections between health and safety, science, technology, engineering and mathematics.

The course was premiered at St Mungo’s High School in Falkirk and was broken down into five sections. These cover: • A general overview of roofing and the various types of roofs and roofing materials used, to highlight the difference between manufactured and natural products, with an end focus on slate • Understanding how natural slate occurs and why it varies from quarry to quarry and country to country; gaining the ability to hand-cut slate and make a shaped coaster to take away • Understanding the importance of and responsibility towards health and safety, with a focus on working at heights • Understanding how slates are fixed to a roof structure to ensure the building will remain watertight; how correct slate overlap is essential to a well-performing roof and how it differs depending on the roof pitch, measured in degrees; how to use a measuring tape.

The lesson ends with a slate roof design having been created, to carry forward to the next lesson • Following the drawing plan from lesson four to create a completed slate roof jig, emulating a real-life scenario from concept to creation through the use of measuring tapes and methodical thinking.

The classroom-based course is followed by a visit to The Engine Shed in Stirling, Scotland’s first building conservation hub.

Subsequent courses took place at Graeme, St Modan’s and Denny High Schools, before a final session at Larbert High School on 31 January. 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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New roof tiles allow new life for former church

St James’s Church in its derelict state (left) prior to being restored and brought back into use

[ A GRADE TWO*-LISTED neo-Gothic former church in

Birmingham has proved to be a shining example of how sensitive restoration and conversion can allow treasured buildings to be brought back into use.

St James’s Church in Edgbaston was built in 1852 to a design by the eminent Victorian architect SS Teulon. It had been unused since 1975, becoming derelict and subject to vandalism, theft and decay.

It had been regarded as uneconomical to develop as a residential building until the recent considerable rise in property values. However, in the early years of this decade it was reconfigured into 12 luxury apartments by Gloucestershire-based developer Astley Towne. The development has been welcomed by both the Victorian Society and Birmingham City Council’s planners and conservation officer, all of whom were delighted to see it restored for a new purpose.

The design was by DLG Architects. Their design principle was to

regard the original building as totally empty volume and to erect a new independent frame inside, so that the walls carry no additional load. In theory the new internal work could be removed by future generations and the building restored to its original state.

The challenge was to retain and restore the original features of the church, while providing a series of modern spaces in a contemporary style that complement the original elements.

The original specification for the roof was to strip and reuse as many tiles as possible and make up with second-hand. However, the impossibility of finding matching second-hand ornamental tiles and fittings in such quantities was evident to the contractor Lewis Roofing.

They contacted traditional clay tile manufacturer Dreadnought to investigate whether new tile alternatives could be produced.

The solution Victorian plain tiles were generally smooth-faced and of natural burnt clay colours. Dreadnought tiles met that description fully and were accepted as representative of the original material. The chosen tiles were Dreadnought’s Brown Antique smooth-faced plain clay tiles and Brown Antique ornamentals.

The resulting conversion attracted considerable interest in the press both nationally and locally – not merely for its architectural and technical merit but because the problem of maintenance of ecclesiastical architecture becomes ever bigger as society becomes increasingly secular. It was also Highly Commended in the Best Ecclesiastical Redevelopment category of the Clay Roof Tile Council’s awards.

The scheme represents a sensible solution and the conservation bodies involved are rightly pleased with the result. q

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New Year, new ranges from Rainclear [ RAINCLEAR’S TAKE-OFF SERVICE from architects’ drawings

ensures that their customers receive components with the right flowcapacity for their home and the level of rainfall locally.

Requesting a short length sample of any of the ranges, or a metal colour swatch, helps customers choose the right range and colour for a project. Rainclear will always try to beat any like-forlike quote, while ensuring that they offer the best quality system for the customer’s budget and project. In addition, the company have considerably increased the ranges they stock for next day delivery over the past 12 months, including: • Even larger stocks of primed and factory-painted black cast • iron • Galvanised steel rainwater goods stocked in six colours and • steel fascias and soffits in three colours • Aluminium coping in 26 colours for delivery in 10 days • Zinc edge coping • Real copper and zinc rainwater goods Zinc is proving to be a popular building material. The ‘Quartz Zinc’ rainwater system stocked by Rainclear has a pre-weathered appearance – when exposed to the elements zinc forms a thin layer called a ‘patina’ that protects it. The other advantages of zinc are: • Sustainability – it is not a scarce resource and is 100% • recyclable at end of life • Aesthetics – a striking appearance, similar to lead but without • the toxic run off. It is great for rainwater harvesting and will not • stain adjacent materials • Durability – zinc is non-corrodible and has a lifespan of around • 100 years generally and around 50 years in coastal and more • testing environments • Low maintenance – no painting and only regular removal of • debris is required • It is lightweight and easy to install • Value for money – over the life of a building, zinc becomes one • of the most competitive materials Rainclear will continue to offer customers a wider choice of ranges, profiles and colours in 2018. q • For further information visit the website www.rainclear.co.uk, email sales@rainclear.co.uk or call the friendly, knowledgeable team on 0800 644 44 26. www.ecclesiasticalandheritageworld.co.uk

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When the bolt comes, it’s rarely from the blue [ IN THE PAST few issues we have been looking at some of the issues

surrounding protection of churches and other historic buildings from the effects of lightning strikes. In particular we have outlined the development of lightning protection devices since the pivotal moment when Benjamin Franklin flew his kite in a storm. It seems perverse to modern minds that historically – and even into the 19th century – it was thought by some that lightning protection was in some way defying God. The more modern approach is the Faraday cage: a system that almost embraces the building it is protecting. It is this system that is favoured by the guidance documents we have been outlining in previous issues, produced by Historic England, the Church of England and Ecclesiastical Insurance.

Another major church insurer, Methodist Insurance, describes the system thus: “Some churches, particularly more modern ones, have what is known as a Faraday cage system. This is a mesh of conductors laid at intervals over the roof and down the walls of the church, and connected to the ground by earth electrodes.”

All insurance companies are keen to point out the advantages of effective lightning protection, although the major church insurers do not insist on a system, and it is not a legal requirement.

The Diocese of London, however, is forthright on the risks of not having protection: “…a Church Council or other body could be held to blame for not having considered the need for protection or having considered the need, nonetheless not having installed protection where it was shown to be necessary, especially for the protection of people.”

Recent estimates suggest that around 20% of Anglican churches have no form of lightning protection, and a church with no lightning protection is five times more likely to suffer structural damage as the result of a strike than a church with a conductor fitted.

The message seems to be clear: lightning protection needs to be up to date. It also needs to be regularly inspected and maintained by a competent contractor.

The final word rests with Methodist Insurance: “They say that lightning never strikes twice. But let’s face it – we don’t even want it to strike once!” q

Historic Town Hall to get lightning upgrade [

THE HISTORIC Town Hall in Newbury, Berkshire, is to have an updated lightning protection system installed, following a lightning strike in 2016.

A council committee was told in September that, following an inspection of the current system, they had been advised that a new, Faraday cage-type system was needed, at a cost of between £10,000-£20,000, to ensure compliance with BS EN 62305.

A council official told local press: “Our current lightning conductor didn’t comply with the current British Standards. A single rod running down the side of the building is not adequate protection from a severe lightning strike.

“The new lightning protection has a network of wires that they fit to the building, dissipating the energy more effectively. This

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offers a much better level of protection for the whole building.

“Fitting this system fully complies with our insurers’ requirements and British Standards. It offers full protection against a worstcase scenario. It’s like the flood protection recommended by the Environment Agency ensuring that the areas of high risk are fully covered during a once-in-100-years event.”

In September 2016 the Town Hall was hit by what was described by an ‘extreme bolt of lightning’. While the building’s iconic clock tower was protected by a Franklin rod-type conductor, the lightning struck the nearby lead roof protection, leaving a three-inch hole in the roof. Fortunately, no-one was injured, although the resultant voltage surge brought the building’s power down. q

New standard addresses problems of surges [ THE 18TH EDITION of the British

Standard setting out the UK’s wiring regulations – BS 7671:2018 – is due to be published on 1 July and will come into full effect on 1 January 2019.

Co-published by the Institution of Engineering and Technology (IET) and the British Standards Institution, BS 7671:2018 is based primarily on an International Electrotechnical Committee standard and European CENELEC harmonised documents.

According to the IET: “Whilst this new edition inevitably refreshes some of the existing content to align with international and European standards development, it also introduces some new areas of coverage including, notably, requirements relating to energy efficiency.”

In particular, the amendments in the 18th edition will have an important impact on the lightning protection industry, as they will require the use of surge protection

devices in most installations where the consequences caused by overvoltages could cause significant losses through damage and disruption leading to downtime.

A new simplified risk assessment is required for other installations such as home offices. Typical residential homes will not require protection as the consequential losses are tolerable.

Some further changes in the 18th edition have been identified by trade body ATLAS. They include: • Protecting against electric shock • Protecting against electromagnetic • disturbances and voltage disturbance • Selection and erection of wiring systems A new feature of the 18th edition is the inclusion of standards for energy efficiency within electrical installations.

As noted in previous articles in this series on lightning protection, many churches now make use of sophisticated electronic

The following companies are all specialists in Lightning Protection Systems: Horizon Specialist Contracting Ltd T: 0115 965 7400 F: 0115 965 7429 E: sales@horizonsc.co.uk W: www.horizonsc.co.uk

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

equipment that is at risk from overvoltages.

Protection against such events can prevent the loss of data from computers or damage to fire alarms, PA systems or organ blowers.

It can also mitigate the health and safety risks associated with electrical overvoltages.

Historic England states: “As electronic systems pervade almost every aspect of life today, protection against electromagnetic interference that may cause malfunction or disruption is vital.”

Electrical contractors and electricians will be given a six month transition period to get up to speed with the changes. From January 2019, it will then be a requirement that all electrical installations designed after this date comply with BS 7671:2018.

According to ATLAS: “Demonstrating a level of understanding and awareness of the changes should be a priority for everyone involved in the electro-technical industry.” q

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

South West Lightning Protection

G & S Steeplejacks Ltd

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

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

Osborne Delta Lightning Conductors Ltd

Lightning Strike Ltd

30 Greenacres Road, Oldham, Lancs OL4 1HB

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

Lightning Protection Services

Harrison Lightning Protection & Earthing Ltd

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

T: 01761 437796 M: 07974 184449 E: graham@gnssteeplejacks.co.uk W: www.gnssteeplejacks.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: 01158 752686 M: 07581 266493 E: info@lightningstrikeltd.co.uk W: www.lightningstrikeltd.co.uk

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

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

Bailey International (Steeplejacks & Lightning Conductor Engineers)

Direct Strike

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

18 Canberra Road, Gretna, Dumfriesshire, Scotland DG16 5DP

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

T: 01461 337951 E: enquiries@directstrike.co.uk W: www.directstrike.co.uk

www.ecclesiasticalandheritageworld.co.uk

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Heritage city to host heritage ironwork festival [

IN JUNE A major festival celebrating traditional ironwork will be taking to the streets of Bath. The event – BathIRON – will be held on 14-17 June and is a joint venture by the National Heritage Ironwork Group (NHIG), the British Artist Blacksmiths Association and the Institute of Conservation.

BathIRON will offer an exciting opportunity to witness master blacksmiths at work. The festival will centre on the city’s Parade Gardens (right) as a new balustrade is forged for the bandstand.

It will be based on the score of Hammer and Anvil, an original composition by a graduate of Bath Spa University.

Members of the public will also have the chance to have a go at forging for themselves, and there will be demonstrations, exhibitions, storytelling, craft stalls, street food and live music from the Bath Folk Festival team. For those who can’t make it to the gardens there will be ‘pop-up’ forging activities around the city, bringing live demonstrations of ancient ironworking skills to all corners of Bath.

For professionals and those with more than a passing interest in the blacksmith’s art, the Grade One-listed Guildhall will host the Annual Conference of the Metals Group of the Institute of Conservation on 15 June.

Seminar takes in tour of St Paul’s

Those whose work involves ironwork conservation, who own an example of heritage ironwork, or who simply have an interest in the subject will find the conference of importance.

It will be preceded the day before by one of the NHIG’s celebrated seminars, taking as its subject the questions: What is heritage ironwork?

Why is it important? How is it threatened? and What can we do about it?

The two days will provide both introductory and in-depth sessions aimed at stimulating discussion and sharing knowledge.

The principal aim of the unique celebration is to raise the profile of one of our neglected national treasures – the country’s wealth of heritage ironwork. 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,

[THE LATEST SEMINAR to be held by the National Heritage

Ironwork Group took place in the august setting of St Paul’s on 17 November. It was the group’s 5th seminar and featured a wide range of talks on a number of projects. The focus of the seminar was the specifying, tendering and procurement process.

Among the speakers were delegates from Hall Conservation and The Regeneration Practice, who dealt with the practical aspects of procurement. Case studies included the SS Great Britain and the Concrete House in Dulwich.

Other presentations were from Martin Ashley Architects, explaining the process involved in restoration of the Tijou Gates at Hampton Court Palace, and Donald Insall Associates on the restoration work to the Temperate House at Kew Gardens.

Mark Hammond of Caroe Architecture, which oversees work at St Paul’s, took delegates on a guided tour of the cathedral, pointing out some of the upgrades that aim to make it accessible to all.

The NHIG’s Jessica Renison reflected: “There were some incisive questions from the audience throughout, who fully engaged with the subject in hand and were able to offer insights from their own varied experience, too. Our thanks to the speakers for sharing their expertise and to the delegates who made it such an inspiring day.” q

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

www.ecclesiasticalandheritageworld.co.uk

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School’s light shines forth once more

One of the wall lamps before conservation (left), composition repair fitted prior to filling and decoration, and the repairs to the decorative ribbon using composition to fill larger cracks (right)

[

HATHEROP CASTLE, near Cirencester in Gloucestershire, dates from the late-16th or early-17th century. The present building was partially rebuilt by the architect Henry Clutton between 1850-1856 for the Baron de Mauley.

At the end of World War Two it was leased from then-owners the Bazley family by the Owlstone Croft School of Cambridgeshire – becoming the Hatherop Castle School. The buildings were subsequently purchased from the family in 1972. The school remains a private boarding school for 2-13 year olds.

Inside the main school building is the Dr Moorhead Room: a grand space named after a former headmistress. Fitted to the end walls of the room were two pairs of Victorian wall lamps. They had become in need of some conservation treatment, so were removed during a

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recent programme of renovation work to the room.

The Historic Metalwork Conservation Company was engaged by the school to carry out the conservation work on the wall lights. They were made up of an iron armature, with central wooden boss and curved copper tubes forming the lighting arms. Each was decorated with leaves and flowers made from composition – a traditional mouldable resin made principally from pearl glue, whiting powder, linseed oil and rosin.

The lights were then finished with a thick white coating, which may have been whitewash.

Each wall light was carefully removed following disconnection from the electrical supply and transferred to a workshop for treatment. All were in a poor condition, with cracks in the composition and a number of decorative pieces missing. The decorative arms were also bent out of shape.

The fittings were in the form of a candle made from cardboard tubes and many of those were missing. A number of the light fittings were no longer working as the old electrical wiring had failed.

First of all, each light was taken apart to allow the removal of the old wiring. New three-core electrical cables were drawn through the original copper tubes.

The wall lights were then carefully re-built and the armatures and One of the lamps during lighting tubes straightened. conservation (top) and after Areas of missing decoration were conservation, prior to being replaced by making moulds of refitted on site surviving decorative elements using a two-part, silicon/rubber-based putty. That could be mixed by hand and carefully pressed onto pieces that needed to be copied.

Once cured, replica decorative pieces were made using a traditional composition material, which is available to buy commercially. The composition was first gently warmed for a few seconds in a microwave oven to soften it and then pressed into the moulds. Once cooled and hardened the replacement pieces were trimmed to shape. The new pieces were attached using stainless steel pins and adhesive.

Before re-finishing with an oil-based paint coating, cracks and minor areas of damage were filled using a plaster mixture. New light bulb holders and candle covers were sourced and fitted.

The conserved wall lights were then returned to Hatherop Castle School for re-fitting and connection by a qualified electrician. q

Heating breakdowns require prompt action [

WHEN THE HEATING BOILER at the Greek Orthodox Cathedral in Birmingham failed a few days before Christmas, the cathedral authorities called on Stoke-on-Trent heating specialists Mellor and Mottram to carry out the installation of a replacement.

The Greek Orthodox Cathedral in Birmingham was established in 1980 in a former Catholic church, designed by J A Chatwin in 1873. It is dedicated to the Dormition of the Theotokos – the ‘falling asleep’ of the Mother of God – and to St Andrew.

The unit chosen to replace the boiler in the cathedral is a Remeha Gas 220 Ace – a freestanding, high-efficiency condensing boiler designed for commercial use. At the heart of the control system is a specially-designed microprocessor, with time and temperature controls supplied as standard and set and controlled by the end user.

The project is on-going, with repairs to the pipework and its reconfiguration for the new installation.

Earlier in the year Mellor and Mottram had responded to another boiler failure – even closer to home this time at St Chad’s in Longsdon, Staffordshire.

Mellor and Mottram installed a new boiler at St Chad’s in Longsdon after their old boiler had failed and caught fire

The Remeha Gas 220 Ace was chosen to replace the old boiler at the Greek Orthodox Cathedral in Birmingham

St Chad’s is a Grade Two*-listed building in the small village of Longsdon, between Stoke-on-Trent and Leek. It was built between 1903 and 1905, to a design by Gerald Horsley.

Around Easter the boiler had failed and caught fire, melting the control panel and associated wiring. The replacement is an oil-fired Remeha boiler with 120kW output, together with the appropriate control system. The flue has been lined to avoid condensation in the listed building.

Fans of the fictional medieval sleuth Cadfael will be familiar with their hero’s connection with Shrewsbury Abbey. There has been a place of worship on the site since Saxon times, with the Benedictine monastery being founded in 1083. The current building – what remained after the Dissolution of the Monasteries – is now a thriving parish church and a magnet for visitors.

In addition to the restoration of the fabric of the Abbey Church, involving around £400,000 of stonework repairs, a new boiler and pipework has been installed by Mellor and Mottram. The installation included two new Viessmann balanced flue boilers to replace the old Ideal Concord models.

The new boilers are in the organ loft, above the toilet areas. The sensitive installation had to avoid impinging on the fabric of the church and is discreetly sited away from lines of sight.

In a modern innovation that would have had the approval of the monastic detective, the system is controlled remotely via smart phone!

These three disparate projects demonstrate the range of expertise that Mellor and Mottram can call on – particularly when urgent action is required. The company has been providing heating solutions for churches and listed buildings for more than four decades. With over 600 installations behind them they can provide the most appropriate solution, whether that be traditional systems with efficient modern controls or renewable systems.

Last year they moved to new premises in their home town of Stokeon-Trent, setting the stage for the next few decades of serving the ecclesiastical community. q • For further information call 0800 644 6240 or 07836 622439 or visit the website at www.mellorandmottram.com www.ecclesiasticalandheritageworld.co.uk

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Stained glass commission draws admiring comments When Bristol-based stained glass artist WAYNE RICKETTS was commissioned to produce a bespoke piece for a private customer, the result was certainly striking.

[

THE COMMISSION WAS for a four-light composition comprising two full-length doors and two full-length sidelights that form a screen dividing a large room into two. The screen had been previously glazed in some rather unattractive and dated textured glass from the 1970s.

Wayne commented: “The customers wanted to make a feature of the large expanse of glass and, having previously commissioned me to provide stained glass for their front door, decided to ask me to design a glazing scheme for this project.

“During our initial consultation it became clear they had a definite idea of the kind of imagery they wanted, with a large tree filling most of the space. A degree of symmetry was required and they also liked the idea of the tree having exposed roots – plenty to work with there.”

First of all Wayne worked some rough sketches into designs, until he had a design that fulfilled all the requirements. Once accepted, it was worked up into a full-size cartoon (top left) to act as a guide for the later glass painting. The customers were then invited to view the cartoon for their approval, and to select the glass that was to be used. With some guidance from Wayne they selected a rich variety of streaky cathedral glasses, antique cathedrals and 'confetti' art glass.

Said Wayne: “From the cartoon, cutlines were drawn up and the glass cut to shape and laid out on the light table, to ensure a good colour balance and distribution. Once we were happy with the overall look the long process of glass painting began.

“Each piece was painted with an undercoat, then lines were traced and strengthened, highlights picked out and softened and shadows added before it was fired in the kiln.

The purpose of the painting is to give texture, tone and fine detail to the work. The paint is permanent once fired.”

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When all the pieces had been painted and fired, each section was laid out in turn on the light table to assess the overall effect. Certain pieces were then removed and enhanced with silver stain – a silver nitrate powder which is mixed into a paste and painted onto the back of the glass where required. When fired in the kiln the stain causes a molecular change in the glass, ‘staining’ it yellow.

Wayne explained: “This was used to make some of the blues green, to make cool greens warmer and, in the landscape sections, to make the purple/blue streaky glass into green/ brown, helping to differentiate between mid and distant landscape.”

Next the individual sections were leaded up, the joints soldered and the panels cemented with leaded light cement – a quick drying putty mix. When the cement had hardened completely, the panels were polished and copper ties were soldered on in the appropriate places. They were now ready for fixing.

After carefully removing the old glass and hacking out the bedding putty, new putty was applied and the stained glass was put in

place. Prepared steel saddlebars were inserted into the door and sidelight frames, and wood beading was pinned into place. Finally the panels were attached to the saddlebars with copper ties.

Wayne concluded: “The only thing left was to stand back and see the full impact of the glass for the first time. Thankfully the customers were as pleased with the final result as I was.”

In fact, so pleased were the customers they took to social media to express their delight at: “A fantastic creation in stained glass by the very talented Wayne Ricketts. Truly a work of art that we are honoured to live with.”

They described how he was able to reproduce ‘a vague idea’ they started with.

The piece even drew this comment from a respected former stained glass colleague: “Fantastic piece of work. Looks amazing as a whole and then when you look at each piece of glass, the textures and depth you‘ve brought out is incredible. Nice work Wayne.” q • For further information call 0117 955 5390 or visit www.waynerickettsstainedglass.com

Titanic memorial window set for spring completion [IN APRIL LAST YEAR, members of the

British Titanic Society and visitors to their 30th Anniversary Convention were the first to view the design for a memorial window, to be installed in St Mary’s Church in Southampton.

Designed by stained glass artist Louise Hemmings of Ark Stained Glass & Leaded Lights Ltd, the design was originally part of the Worshipful Company of Glaziers’ Stevens Competition for 2016. The brief was to design a window for St Mary’s to commemorate the crew of The Titanic who perished that night, most of whom came from Southampton.

The church was the venue for a memorial service for those who died in the disaster, held shortly after the sinking. Louise Hemmings’ design was chosen by the church and the British Titanic Society for the window. The installation has been funded by a special fundraising campaign.

Entrants of the competition were asked to incorporate in their work a quotation from the Old Testament Song of Songs, ‘Many Waters Cannot Quench Love’, together with the emblem of the White Star Line – the company that owned the ship.

Louise Hemmings’s design features an angel holding the stern post and flag, together with a long ribbon with the words The Crew.

“The intention was to convey the significance of the sheer magnitude of the number of crew who perished and this is illustrated by the 687 orbs: one for each member of the crew,” said Louise. “This number is hard to visualise until you see the window and all those orbs together.

“But I also wanted to give the audience reassurance by including the angel, guiding the orbs up through the window. The angel represents hope and that these souls are being looked after and are at peace.”

The design is a combination of traditional stained glass painting and contemporary techniques. That symbolises the fact that the church was bombed during World War Two. Only one corner of the tower survived, with some of the original stained glass, while the rest of the church is new with modern stained glass.

It is anticipated that the window will be ready for installation in late March. q • For further information call Ark Stained Glass & Leaded Lights Ltd on 01981 540330 or visit www.arkstainedglass.co.uk www.ecclesiasticalandheritageworld.co.uk

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ISCEx 2018: full details announced [DETAILS HAVE been released of the

programme for this year’s ISCEx – the annual exhibition and networking event hosted by the Institute of Sound and Communications Engineers.

ISCEx 2018 will be held on 6-7 March at Coombe Abbey in Warwickshire and will provide excellent opportunities to learn, engage and discuss commercial audio solutions in an intimate, non-imposing environment.

The main event on day one is a networking dinner. Guests will be invited to enjoy fine dining with entertainment and mingle in the company of industry friends and colleagues, as well as being introduced to some new business contacts.

The following day sees the main exhibition and three lectures by industry luminaries.

The Hopkins-Baldwin Lecture will be delivered by Dr Chris Cocking, senior lecturer at the School of Health Sciences of the University of Brighton.

The seminar will focus on research carried out by Dr Cocking and his colleagues into crowd behaviour during emergencies and the implications for crowd safety management during mass evacuations.

Research has indicated that it is best practice to provide as much relevant information as possible on how to evacuate effectively and safely. Voice alarm systems integrated into

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sound systems in public buildings have a clear role to play in the process.

Following that, in the Warren-Barnett Memorial Lecture, Sam Wise, design director at Venue Strategies, will highlight contentions between the brain’s speech decoding capabilities and the direction of audio arriving at our ears, using examples and demonstrations taken from underground transport loudspeakers. He also takes a look at how our brain reacts to lip sync.

Finally, Matthew Archer, technical product specialist at Audio-Technica Ltd, will investigate the steps involved in successfully utilising high volumes of wireless microphones in audiocritical situations such as sports venues.

During the day the exhibition area will showcase the latest technology in sound and AV systems, ending at 4pm. q • For more information visit the website at www.isce.org.uk/iscex.

Charity offers advice on hearing loops [

INFORMATION ON the installation of hearing loop systems is available to download from Action on Hearing Loss (formerly RNID).

According to the charity: “Loop systems in public buildings should be installed to the British Standard Code of Practice for Audio Frequency Induction Loop Systems BS 7594. If your installer confirms that the work is to this standard, it should mean that your induction loop system is designed and installed to professional standards, works properly, and meets regulations.”

A booklet explaining the legal requirements and solutions available can be downloaded from www.actiononhearingloss.org.uk. q

Enhancing worship in the Heart of England

[

NESTLED IN THE Parish of Salford Priors in the Heart of England, midway between the towns of Evesham, Stratford-upon-Avon and Redditch, stands St Matthew’s Anglican Church. Mentioned in William the Conqueror’s great survey of 1086, more commonly known as the Domesday Book, the Norman influence can be clearly seen in the architecture of the original church. The south side of the church features an unusual semi octagonal tower which may have been a beacon tower to guide travellers across the often flooded meadows and the rivers Arrow and Avon.

The church continues to be a beacon to the local community and beyond through various activities and services held throughout the week.

Recent refurbishments have seen the south aisle pews replaced with chairs to provide a flexible, inviting space and the platform area has been extended with ramped access included.

In addition the church was keen to upgrade their existing AV system to better suit their future needs and naturally chose church AV specialist

Cunnings Recording Associates to carry out this work. The new audio system benefits from slim column speakers for the nave and south aisle with a single bass unit to provide full-range sound. A pair of smaller speakers provide a consistent sound coverage in the chancel with a second pair providing in-fill for the front few rows of the congregation.

Control of the system is provided by a 24-channel digital mixer which handles the lectern microphone, wireless handheld and lapel microphones and takes the input from the digital stage box which, with 16 inputs, provides more than sufficient connectivity for the growing music group.

Musicians can easily control their own foldback mix from a smartphone or tablet with settings conveniently stored and recalled for the next service. The new system copes equally well with smaller services where, at the touch of a button, the automatic microphone mixer replaces the need for an operator.

The visual system is no less impressive. The nave screen is cleverly suspended behind the chancel arch and automatically lowers into position when the projector is turned on from the main control panel. Similarly the south aisle screen is discreetly hidden on top of a new wooden screen – another addition of the refurbishments – and automatically raises up when required. The use of high brightness projectors and long throw lenses means the projectors can be installed out of view behind the congregation yet still provide a pleasing image on the screens.

Musicians and service leaders haven’t been forgotten as a 23” LCD screen mounted on the front pillar means they can clearly see what is being displayed on the main screen. Inputs from a computer, DVD player or one of the two cameras installed in the church are switched using a dedicated switcher scaler.

The equipment has been tastefully housed within a bespoke wooden cabinet which allows operators to easily access the mixer, laptop, audio recorder and other major components. At the end of the service the cabinet can be closed and locked to look like a quality piece of church furniture. The attention to detail can be seen in the side panel of the cabinet which has been finished to match the pew ends.

The end result is a comprehensive audio and visual system which enhances worship services without detracting from the architecture of the building. q • Cunnings Recording Associates provides design and installation of quality audio, visual and induction loop systems for churches and prestigious buildings. Call 020 8767 3533 or email info@cunnings.co.uk to arrange a consultation. www.ecclesiasticalandheritageworld.co.uk

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College’s award-winning auditorium gets a performance makeover [

THE College of St John the Baptist at the University of Oxford was founded in 1555, in order to secure a supply of clergy for the Catholic Church. Its growth over the centuries has centred on a theme of quadrangles: the first – the Canterbury Quadrangle – is a masterpiece of 17th century architecture and a further four have been added since 1795.

The Garden Quadrangle Auditorium provides a lecture hall/theatre underneath a roof garden. It was designed by McCormack Jamieson Pritchard and when opened in 1994 received many architectural awards for its modern interpretation of classical architecture.

Although architecturally rigorous, the relationship between the stage and the auditorium lacked intimacy and the retractable seating had not been used to its full potential. The college wanted an auditorium with increased seating capacity and better access for wheelchairs both to the front of the audience and to the stage. They also wanted an increased music programme to include recitals and chamber orchestra performances. Theatre and acoustics specialists Sound Space Vision (SSV) were tasked with producing a design to realise those goals.

SSV approached the challenge in a holistic way and, while respectful of the skilful architecture, focused on remodelling the seating layout to be an embracing form, with increased capacity, better sightlines and

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ramped access to the stage. Working with Alan Berman and then Marion Brereton of BGS architects, SSV evolved the room form and materials to match the acoustic needs of the client.

The acoustical goals included maintaining excellent intelligibility for amplified speech; strengthening intelligibility for unamplified speech; increasing acoustical performance for unamplified music; improving on-stage communication for ensembles; and improving isolation from incoming noise. The acoustical design incorporates physical changes in the form of a new orchestra shell and a toroidal sound reflecting surface under the dome, augmented by an ACS electroacoustic system to increase resonance and presence of music.

The theatrical and performance goals included improving the production lighting positions and introducing LED lighting and sound facilities for regular drama and musical productions; an electro–acoustic system for events needing a longer reverberation time; and a surround sound system for student film work.

A mechanised forestage extends the area of the stage and provides a more immediate connection between performers, lecturers and audience. On stage a new screen with back projection and the existing front screen and projector can both be used. Chamber music ensembles will be supported by mobile acoustic reflectors.

When the forestage is not in use the seat count is increased to 206 from 171, and can accommodate standing positions and up to eight wheelchairs. The SSV team developed an integrated open control position at the rear of the audience to maintain the view of the art glass screen at the back of the auditorium.

Due to open in the spring, the refurbished auditorium is designed with acoustics and technical improvements to support a much improved function. The success of the changes reflects SSV’s measured and elegant approach to balancing the alterations, and integrating them into the existing exceptional architecture within a heritage background. q

Now you see it…

Discreet AV system hides away when not in use

[

ST MARY MAGDALENE’S CHURCH in the historic village of Woodstock in Oxfordshire has recently undergone a major reordering project, both to preserve its historic value and to increase its current function as a living church.

As part of that reordering, Church Sound Systems – part of the APi group of sound system specialist companies – were engaged to provide a low-profile sound and projection system capable of excellent speech and recorded music reproduction.

It was to be delivered without any visible cabling, and control had to be intuitive and clear for users with a minimum of required technical skills.

The solution was a projection system featuring a 2.4m winched electric screen. When not in use, it sits inconspicuously above the chancel.

Simple remote control manages the screen operation, a four-button wall-mounted remote controls the projector. The sound system offers excellent speech and recorded music reproduction, combined with ease of use and wireless remote control by an iPad customised for the church.

A 16-channel digital mixer features a simple, integrated touch panel and pre-programmed shortcut keys.

All functions can be locked at various levels by password, thus securing the system. The mixer also offers a simple record-to-USB function for audio recording of services.

Professional, rechargeable wireless microphones include a unit in the lectern unit. The loudspeakers are all slimline array ‘column types’, offering near full-range sound in discrete cabinets, with an added hidden subwoofer for a rounded sound.

The result is that, on entering the church, you are not immediately aware of the presence of a sound and vision system at all. The only visible loudspeakers are slim column units on each side of the chancel arch, the projector is sited neatly on the sidewall of the nave above eyeline and the screen is hidden behind the chancel arch.

Sound is effortlessly delivered, giving clear speech intelligibility without the impression of being obviously amplified. The church declared itself a very satisfied customer – moreover, no after-sales visits were required and APi’s three-year warranty gives total peace of mind. q

www.ecclesiasticalandheritageworld.co.uk

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6 fears and myths about

By IAN AGRELL, Master Carver and principal at Agrell Architectural Carving

[ AFTER THE MODERNISM that

followed the war, no one expected we’d see hand-carved ornamentation in our architecture again. Yet here it is.

We’re enjoying a resurgence in classical decoration – whether it’s the restoration of a 400-year-old church, a brand-new chapel with a Gothic organ case or a Louis XIV-style library for a billionaire’s London penthouse.

Large architectural firms are increasingly winning projects requiring hand-carved woodwork. However, many of these companies – especially those more experienced in modern styles – know little about classical decoration or the ornamentation industry as a whole.

They might not know that woodcarving workshops still exist. Worryingly, they might tell their client that a Gothic organ case can’t be done because they themselves don’t know it can be done. Or, they might assume that a carving workshop that employs centuries-old tools and techniques is unable meet the modern demands of a large-scale project.

However, there are woodcarving companies and individuals who have the experience to tackle large ornamentation projects. And it’s our job, as an industry, to convince these architects that we woodcarvers can do the work efficiently, professionally and to the highest possible standard. So, let’s start by allaying a few myths – and fears – about our industry by giving an idea of what you can expect from an experienced classical carving firm.

No one knows how to carve by hand anymore, surely they use machines Many woodcarvers still use hand tools exclusively – and they don’t do it because it’s cute. They do it because it’s still the most efficient way to create the most beautiful and historically accurate decoration. Finding someone who makes a living as a classical carver can difficult, but they are out there. The City & Guilds of London Art School, where I studied many years ago, continues to teach young people how to carve by hand.

In some cases you’ll find furniture makers who can do it. But be careful – a woodworker might know how to use mallet and chisel, but without the proper training, he or she won’t have sufficient knowledge of the classical styles. It takes years of study to understand the nuances of high-quality carved decoration; some of the best carvers I know worked for at least seven years before they really felt comfortable communicating these subtleties.

If you’re looking for woodcarvers who still use hand tools and can produce the highest-caliber work, start by contacting the Master Carvers Association, a network of around 40 highly experienced carvers who work in wood, stone or both. You can find a selection of MCA members in this magazine’s ‘Church & Heritage Supplies’ classified listing – look for the MCA logo.

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The carver won’t have the historical knowledge to fully understand the style He or she may not, unfortunately. And some of these people write books on woodcarving. Before you hire a carver, first spend some time educating yourself. Study exceptional examples of handcarved decoration, such as Luke Lightfoot’s work at Claydon House and, of course, anything at Versailles. Attend workshops hosted by organisations such as the Royal Institute of British Architects (RIBA) in the UK and Institute of Classical Architecture & Art (ICAA) in the USA. Then take a good look at your carver’s previous work. A quality woodcarver should be well versed in all the styles and, at the very least, be able to tell the difference between Rococo and French Baroque, or Gothic and Renaissance, or Art Nouveau and Art Deco.

The carver won’t understand our complicated technical drawings Most carvers are not old men holed up in a barn with a gas lamp. Modern architectural carving companies, whether large firms or individuals, are not only adept at understanding an architect’s language but also willing to make recommendations on what they see in the drawings.

Often an architect’s plans illustrate decoration as little more than a few squiggly lines. It’s the carver’s job to interpret the design and to offer options that fit the budget. Again, look at the carver’s work

the woodcarving industry history to see how much experience he or she has working on large, complicated projects.

They won’t know how to work with others on the project Experienced carving companies operate just like any reputable plumbing or electrical firm: they know how to integrate with the rest of the team and they understand their role on a project; they know how to conduct themselves on a busy job site; they understand the timing of a project and exactly when they’ll be needed. Perhaps most importantly, they have experience of working directly with joinery companies, mill shops and carpenters.

It’s going to cost a lot – far too much for our budget There’s no escaping the fact that hand-carved decoration can be expensive. Keep in mind, though, that most carvers charge less per hour than your local car mechanic. It’s just that carving takes many hours to produce. As mentioned above, we use the same tools and techniques as those employed centuries ago.

But carving doesn’t have to be cost prohibitive. The key is figuring out as early as possible what your clients really want – and what they’re willing to spend. It’s no good getting two years into a project before realising the carving is out of the budget. I’ve seen this scenario before. The client panics and then settles for poor-quality decoration that fits the budget. But guess what? That bad decoration still costs a lot of money.

Instead, budgeting issues can be solved early in the design stage by reducing the volume of decoration while maintaining its complexity, or by reducing its complexity and maintaining the volume. Notice I never mentioned quality. Never sacrifice quality – you can still have carving that isn’t complex but that is well-executed and true to the design intent.

Finally, put the value of the carving in perspective. Ask yourself, how much is being spent on the plaster work?

The painting? The stonework?

The entertainment system? Then consider that high-quality carved decoration will be around forever and survive as a historical heirloom.

necessarily mean you have to find a company with lots of carvers on staff. In many cases, an individual carver might collaborate with other independents in order to handle the workload. q • Ian Agrell is a Master Carver and the principal at Agrell Architectural Carving, a woodcarving company with a capacity to produce 50,000 hours of hand-carved decoration annually. Together with his team of highly trained woodcarvers, Ian Agrell has created a world-renowned workshop with a reputation for exceptional craftsmanship. Visit the Agrell website at www.agrellcarving.co.uk.

They won’t have the capacity to manage the workload and won’t deliver on time A large project could include a dozen Corinthian capitals that take 200 hours apiece to carve. Luckily, there are companies that have the capacity to produce hundreds of carving hours a week.

When getting bids, it’s an important question to ask – after all, delivery is almost always as important as quality. On large projects, with dozens of subcontractors and overlapping timelines, the last thing an architect wants to worry about is whether the carved decoration will be delivered on time.

So it’s important that the carving company can guarantee a high capacity of carving hours in order to deliver on time. That doesn’t www.ecclesiasticalandheritageworld.co.uk

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Masons’ lost Ark recreated for tercentenary celebrations [

A STUNNING RECREATION of Sir John Soane’s Ark of the Masonic Covenant – carried out by the highly-skilled team of craftspeople at Houghtons of York – has recently been on display at the museum in London that bears his name.

Using Soane’s original half-scale drawings of 1813, along with a variety of other drawings and images depicting the Ark, they have produced the most accurate possible reconstruction of the piece. The images had been researched by the Factum Foundation and the Library and Museum of Freemasonry.

Made from mahogany, the Ark is organised on a triangular plan, with one of the three classical orders of columns at the apex of each point: the Ionic, Doric and Corinthian. These are representative in Masonic symbolism of wisdom, strength of purpose and beauty.

Mounted on a three-stepped base, the columns hold up an entablature and dome, which in turn is surmounted by a lantern and flame. The column centres are 2ft apart and in overall height the Ark measures approximately 6’6’’. When viewed from the front elevation, studded double doors give access to its interior, with the remaining elevations imitating ashlar stonework.

The dome and supporting carved brackets can be removed to provide a flat base or lectern – evidence of it being used for that purpose can be seen in some of the historic images that were uncovered.

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The original Ark of the Masonic Covenant stood in the centre of the Great Hall at Freemasons Hall, also designed by Sir John Soane. The ritual piece of furniture was built in honour of the unification of the ‘Ancient’ and ‘Modern’ Grand Lodges. At a Grand Assembly

on 27 December 1813 the two Grand Masters placed inside it ‘The Articles of Act of Union’.

On the night of 3 May 1883 a disastrous fire broke out in Freemasons Hall, resulting in the almost entire destruction of the Temple – the term traditionally used to describe the Masons’ meeting place – and the loss of the Ark. While the Temple was rebuilt, the board considered that the Ark was ‘irreplaceable’ and so it was never replaced.

As part of events last year to mark the tercentenary of the official founding of Freemasonry in London, Houghtons of York were commissioned by the United Grand Lodge of England to re-create the Ark. The level of craftsmanship displayed by the team’s joiners and woodcarvers in the reconstruction of the Ark is of the very highest order, with immense care and attention being given to every detail. The scale of the Ark itself demanded work of intricate modelmaking proportions to achieve the accurate detail of a full-size equivalent. The project was Highly Commended in the 2017 Georgian Architectural Awards, sponsored by Savills.

Commenting on the project and the award, Houghtons’ managing director Roger Silk said: “This has been a unique project of immense interest to all those involved; commissions such as these allow us to keep alive the quality skills with which we are synonymous.” q

From cart sheds to cathedrals: a decade of Limecrete production

[THE IDEA OF using traditional materials with modern construction

methodologies to restore historical buildings in a sympathetic manner was the driving passion behind the birth of the Limecrete Company. Now, 10 years on, the company has been instrumental in the development of the most widely specified lime-based floor system which works with the fabric of old buildings.

Two cathedrals, numerous churches and a variety of cottages, heritage buildings and ecobuilds across the UK and on mainland Europe have benefitted from the Limecrete Company’s experience. From high-density

foundation mix designs to lightweight lime concretes and screeds, materials can either be delivered by Limecrete direct, using a fleet of specialist on-site batching trucks, or installed by one of the company’s experienced teams.

The Limecrete Company is always happy to create a bespoke solution for any renovation or building requirements. q

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Suffolk farmhouse sees its period plasterwork restored

[

A SENSITIVE PROJECT to restore the plasterwork on a substantial, Grade Two-listed former farmhouse in Suffolk has been carried out by Rickards Period Plastering Ltd. The property was constructed in the 16th century, with subsequent remodelling in the 17th and 19th centuries, and is primarily of oak timber frame with a number of notable features.

The double-jettied gable at first floor level and above includes brick noggin, exposed in Flemish bond, and the ground floor oriel window is flanked by pargeted render panels. The outshot had been rendered and partial pargework is visible on the gable.

The defect In recent years the exposed timbers and brickwork on the gable had been re-pointed and painted with heavy modern paint. Those areas were showing sign of distress and exhibited a sorry appearance.

In addition, the render on the gable, the return wall and the outshot had been patch-repaired over the past century with heavy, impervious cement render and various forms of filler, along with modern paint – all of which was leading to the degradation of the structure.

During exposure work, extensive decay of the supporting laths and delamination of render coats were revealed. Some was the result of water penetration, while previous repairs had resulted in The former farmhouse prior to the start of work render being removed.

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The property was prepared (left), then cleaned and repointed. Some of the continuous rope pargework (right)

The works Careful measuring and recording of the remaining detail and the dimensions of the pargework was undertaken, so that templates and tools could be manufactured by a local engineer to replicate the previous design and layout.

The heavy paint on the exposed timber gable was removed with chemical strip, supplied by Strippers Paint Removers. The cement pointing on the brick nogging was carefully removed and repointing was carried out with a blended lime mortar mix supplied by the Anglia Lime Company, along with localised brick repairs with reclaimed Tudor reds.

When the external cement render was removed the period render was found to be in a friable condition, with supporting laths affected by rot and the fixing nails corroded.

The previously rendered walls were then re-lathed and covered with Fibrechalk by Anglia Lime, laid to a smooth finish. The gable end wall of the outshot was re-dressed with pargework consisting of a continuous rope in borders, while the panels on each side of the ground-floor oriel window of the main gable were stamped with a pricked indent with a beaded surround, to match the existing profile.

The whole was then painted with Anglia Lime limewash. 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

CHURCH HEATING & INSULATION

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CHURCH TEXTILES & CLERICAL CLOTHING

DISABLED ACCESS

DISASTER RECOVERY

ENVIRONMENTAL MONITORING

CLOCKS EXHUMATION SERVICES

FIREPLACES

FURNITURE

DAMP SPECIALISTS

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GILDERS

LEADED LIGHTS

HYMNODY

JOINERY

LANDSCAPING

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LCA

LEADWORK

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LECTERNS

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LIGHTING & SOUND

LIME & LIME PLASTERERS

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ORGANS

PAINTING CONSERVATION & RESTORATION

PAINT STRIPPERS

METALWORK

PEST CONTROL

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PICTURE FRAMING

RAINWATER SYSTEMS

ROOFING

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FTMRC

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ROOF TILES

SOUND, AUDIO VISUAL & LOOP SYSTEMS

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ISCE

STAINED GLASS

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STONE & STONE SUPPLY

TERRACOTTA & FAIENCE

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TRAINING

TRANSPORT & STORAGE

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