LIME 7 Damp room to wet room 12 Three important products for building conservation from the Anglia Lime Company
COVER: St Astier Limes celebrate 160 years of lime production – Page 4-5
In this issue... 13
Recreating the historic Kent Peg Tile
Lifting the Melingriffith pump back into place
An impressive history of restoration expertise
St Botolph’s Priory Colchester – restoration inspires tributes
DRU Installers rise to heating challenge at Leeds church
Heritage Craft Alliance – dedicated to our built heritage
Master bellfounders with a 700 year history operate world’s largest bell foundry
The preservation professionals
Historic buildings face a great challenge
The hallmark of excellence in furniture restoration
Further accolade for Northern Viaduct Trust
Organs’ rich history echoes down the centuries
Challenging project adds new sparkle to architectural ‘gem’
From pumping station to old masters – Selectaglaze helps secure the UK’s museums
STONE 14 Natural Stone Awards 2010 CLOCKS 25 Time to look to the experts 25 Three cheers for Canterbury Council
WOOD AWARDS 26 Practice scoops prestigious national award for inspirational design LPOC SHOW 2011 32 Listed property goes on show GUILD OF MASTER CRAFTSMEN 35 Choosing a craftsman or tradesman 37 Roofing master craftsman is unique in the UK
LEAD 38 Northwest Lead scoop 2010 Murdoch Award 39 Z-Led offers flash of inspiration to combat lead theft 40 1990’s failed design results in 2010 Murdoch Award winner!
Chris Thornley Advertising Manager Tel: 0161 850 1684 Mob: 07913 740380 Email: firstname.lastname@example.org All other enquiries: Tel: 0161 850 1680 Fax: 0161 834 0077 3rd Floor, Blenheim Court, Carrs Road, Cheadle, Cheshire SK8 2JY Copyright Ecclesiastical & Heritage World. All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Ecclesiastical & Heritage World. Views expressed in this magazine are not necessarily those of the publisher. 1DHH
Mike Wye & Associates are specialists in the repair of, and the supply of materials for, traditional buildings. Paul Watts from the company writes about one room of a 17c property that received a make-over whilst avoiding some of the common pitfalls.
When it comes to improvements in buildings constructed before 1919, when just about all were made without a cavity, extra special thought needs to be put into planning the materials and what affect any changes may have. Perhaps around a quarter of all UK dwellings need this special consideration due to the lack of a cavity and the need for ‘breathability’. The construction industry in the UK is almost totally geared up for modern methods of construction and supplying the materials used in creating them. Generally, these huge businesses have little interest in offering the correct advice for the owner of a period property as their products rarely provide an appropriate and sympathetic option. Trying to decide on what materials to use and who’s advice to heed when upgrading or renovating is not easy. Life can be a little more straight forward if the building is listed, in a conservation area or a scheduled ancient monument as you are likely to get a lot of guidance from professionals, whether you want it or not. For those buildings not protected by one of these statutes, the owner is free to make their own decisions and mistakes with little more than Building Regulation legislation, based on modern construction methods and materials, to guide them. Currently, there is a get out clause that allows for certain regulations to be ignored if they can cause damage to the building. Of course, as the builder, architect or owner you need to understand what damage may occur and then argue the case with the building control officer. When the owners of Tyrella House, a mid to late 17c Devon cob and stone dwelling, needed to refurbish one room into a wet room, they chose to take a sympathetic approach to the needs of the building as well as the inhabitants. This article tells of the materials used and how they created a warm, modern condensation free facility that is in perfect harmony with the building. The room in question already had services such as drainage due to the many uses it had seen over the years. It had last been used Graham and Bob preparing the as a store when the building was room by removing the cement the village shop and had cement, plaster and flooring – the lintel over gypsum and modern paints the window can now be seen to be failing applied to the internal walls. The
result was a cold, dank and uninviting environment that needed to be made dryer and warmer for use as a wet room. The first job was to hack off all the inappropriate materials to get it back to the bare walls and allow them to dry out. Exposed holes were then filled using lime putty mortars and a couple of wooden lintels replaced. As it was going to be a wet room, it was clearly necessary to create a non-breathable floor. Before committing to this an assessment was made as to whether it would create problems. The existing floor was a cement screed that had limited breathability and would also push moisture into the walls. Once the cement was removed from the walls, they were left for a couple of weeks to allow them to dry out. As the work was being carried out during winter months the water table was fairly high, so when the walls were perfectly dry after a few days it was clear that a wet room floor would not create any problems. If excessive amounts of moisture were still in evidence then the plans may well have had to be altered to have a limecrete floor and a shower tray instead as this would not push so much moisture into the walls. Xtratherm, a modern petrol-chemical based insulation, was laid in the dug out floor as, due to its good thermal performance, less thickness is required and there is less chance of undermining the structure’s limited foundations.
Damp room to wet room
being spread by a small rake. A small part of the ceiling then had new hand riven laths fitted before a haired lime putty mortar applied and then lime putty plaster skim to finish it off. The roomâ€™s two outer walls were insulated on the inside of the room. Xtratherm or similar was never an option for these areas as they need to be vapour permeable. Not only do the walls need to allow rising moisture to escape but, as this is an area of very high humidity, the ability for the room to absorb moisture vapour cuts down considerably on condensation and resultant health and building problems. Breathable insulation, lime plasters and breathable paints play an important role in the success or failure of this improvement. Pavandentro, a special wood fibre insulation board made by Pavatex, was used on the flattest wall. Pavadentro has an excellent natural humidity control but also has a vapour control built in as a layer so as to reduce
the amount of moisture vapour passing through. The benefit of this is that the chances of interstitial condensation (water droplets forming within the wall) are much reduced which is better for the building as this can lead to premature rot in timbers and poorer insulation. Pavadentro offers a thermal conductivity K value of 0.045W/mk and can provide good thermal performance. The wall was first levelled by applying a mix of hydraulic lime, sand, horse hair and perlite. The Pavadentro was then mechanically fixed, the joints scrimmed and a backing coat of Kreidezeit Lime Wall Finish fine applied before a couple to coats of Mike Wye Regency lime putty plaster provided an extra smooth finish. Although it is not ideal to cut into the insulation, a wall light was needed and so a wooden base was cut, routed and then stained by the owner so that the wall light could be fixed. The other outside wall was not as level as the first and Reedboard was used instead. This is a little less thermally efficient with a K value of 0.054W/mk but it can follow the contours of the wall better and thus retains more of the original character. All too often a make over of this kind can totally lose the character of the room and an important part of the philosophy of this renovation was that it would not look like just any other modern wet room. Hence not all choices were based on maximising the insulation properties of the room. The labour involved in fitting reedboard can be greater than the wood fibre board and, as there is less suction, the initial plaster backing needs to be left longer before the lime skim coats are applied. With the outside walls dealt with, the internal partition walls were next to receive the make-over treatment. Much of the remaining wall space was to be used for the shower area. Insulation is still a good idea around the shower but a natural, breathable insulation is not required or necessarily desirable. The wall however, is still without a damp proof course and has the potential to draw dampness up from the ground and build up problems behind the insulation and tiles. In this instance, a stud partition was erected a few inches away from the wall. This allowed services to be run behind and moisture vapour to vent away up the wall and be removed via the mechanical extraction system.
Shower complete with marble tiles and splash panel
The shower area studwork fitted away from the stone wall with modern insulation between the studs
The window was really beyond repair but the style was recreated in oak by a local specialist joiner, Woodpecker Joinery. A lovely job was made of the window and cylinder glass was sourced to give it a hint of age. This glass is difficult to obtain but has blemishes from manufacture that create a shimmer not present in modern glass. Consideration to this type of detail should always be given if character is to be retained in an old building. There was some damage to the lath and plaster ceiling but it was never an option to replace this with plasterboard. The void between the ceiling and the room above was filled with Warmcell Cellulose Fibre loose lay insulation. This is recycled newspaper New lintel and bespoke window fitted â€“ reed that is ideal for placing insulation being fitted with lime mortar backing in hard to get to places
Washstand with marble tile to match shower area Xtratherm was used between the studs and a cementitious, insulating Wedi board fixed to the front of the studs before the marble tiles were fixed with adhesive and sealed. The remaining walls were pretty much treated the same as the outer walls with an amount of reedboard being used on the return of the wall. If insulation isn’t used on the return, condensation may develop in the corners where the walls may get cold spots. The ceiling was decorated with Earthborn breathable claypaint after lime putty filler was used on minor historic cracking. The walls were decorated with good old traditional, breathable and inexpensive limewash. The colour chosen was magnolia, a subtle and warm colour. A heated towel rail was added Completed room showing Victorian to the central heating system copy cistern cover and magnolia limewashed walls and electrical underfloor heating
added to ensure a cosy warm shower during those long winter months. The owners wanted to add a little more individuality to the room, so once more Woodpecker Joinery made a bespoke oak wash stand and a pine cistern box was made to house a rubber cistern picked from the local recycle centre for £10. All the wood was finished with Kreidezeit Base Oil and then Hard Oil. The result is that Tyrella House now has an individual and characterful wet room that works well with the needs of the building, the owners and the various organisations encouraging us all to reduce our carbon use. Some Government quangos and green lobbyists have been known to urge the use of insulation inappropriate for a traditional property in an effort to meet UK targets for reducing our carbon footprint. Some extremists have even called on our historic housing stock to be bulldozed and replaced with modern homes that are more thermally efficient. Hopefully, this project shows a way that can please all views as well as the planet. q • Mike Wye & Associates is a specialist supplier of natural building and decorating products and one of the UK’s leading lime specialists. They have been training people in the techniques needed to maintain and conserve traditional buildings for many years. For more information visit their website at www.mikewye.co.uk or call 01409 281644 during office hours.
Three important products for building conservation
from the Anglia Lime Company • Bespoke readymix mortar Caring for our built heritage is not a responsibility that Anglia Lime take lightly and preparing a mortar for conservation or new-build is treated with the same attention to detail that a good chef would apply to preparing a dish. A good mortar, just like a good meal, needs the best available ingredients and, fortunately for Anglia Lime, there are generally only two. A mortar consists of binder and aggregate and it is therefore essential to ensure that both components are of the highest standard possible to achieve the best potential mechanical performance. Anglia Lime only blend mortars made with lime putty matured for no less than 6 months or naturally hydraulic lime produced by St. Astier, who have been producing continuously since 1851. The other component is, of course, the aggregate and in East Anglia they are blessed with some of the best sands for use with lime in the country. A poor quality sand may mean a financial saving, but this is a false economy when measured against the longevity of the work being carried out. All the company’s sands are first tested to ensure that the gradings are suitable for blending with a lime binder, the void ratio is then determined in order to achieve the correct binder ratio. Using the St. Astier range of binders, they are able to offer a large choice of potential mortars that are suitable for any job, from re-pointing historic church masonry to new build extensions. For new-build they are able to provide full technical data backup, including 28 day measurements for compressive and flexural strength as well as moduli of elasticity. They can also provide results for mortar shrinkage, vapour permeability and capillarity.
It cannot be overstated how critical the quality of the mortar is to the overall longevity and durability of the project. • Haired Chalk Plaster – the only specification over a timber frame or ceiling It became apparent to Anglia Lime about 14 years ago that the standard specification for a lime plaster – putty & sand usually at 1:3, hair in varying quantities, 2 or 3 coat – was not the mix used in East Anglia on timber framed buildings and is basically a Georgian and Victorian plaster specification. Tradesmen 200 years ago and beyond knew exactly how to mix sand and lime. They used it to lay the plinth and build the chimney stack, but importantly they did not use it to plaster over a timber frame. The samples of medieval plaster Haired Chalk being applied 20mm that are still commonly found in thick in one coat East Anglia are white in colour and can be rolled up like a carpet. At the time Scottish Lime carried out full analysis of the material. The results were fascinating, it was still a 1:3 mix but the aggregate is crushed chalk, the hair content was exclusively bovine and at ratios up 20 kg per cubic metre. The resulting mix is lightweight and extremely flexible, exactly what is required over a background structure that is prone to potentially large movement. Haired Chalk is therefore the obvious choice for ceilings, especially over timber lath. As a mix it can be applied in one coat up to 20mm thick, it can be polished if required or pargetted/patterned. Once up and set, no amount of flex in the supporting timbers will trouble it. • Distempers – soft and bound This year Anglia Lime are proud to launch a range of traditional internal paints for building conservation. A traditional soft distemper, titanium free and with a touch of size, it is perfect for fine cornicing, moulded plaster and ceilings. The lack of binder in the paint enables the complete removal by sponge and water when redecorating, thereby avoiding the build up of paint layers and obliteration of fine detail. A bound distemper gives a traditional breathable internal paint, able to cope with medium traffic and very easy to apply. q • All of the above are available in practically any colour, please call 01787 373974 for details.
Recreating the historic Kent Peg Tile by Paul Lythgoe, Managing Director of Tudor Roof Tile Co Ltd
Kent Peg Tiles hold a special place in the English architectural landscape – particularly in the South East of England, where they were once seen on nearly every town house, country residence, barn, oast house, church and farm property. Dating back as far as the 12th and 13th centuries, the name ‘peg tile’, originally came from the softwood pegs, which were driven through two square holes in the top edge of the tiles, attaching them to the laths or battens. They were usually smaller than tiles found in other parts of the country and, despite the Royal Charter of 1477 decreeing that plain tiles should be standardised to 10½” x 6¼” countrywide, Kent Peg Tiles remained typically 10” x 6”. As they were originally made by local or travelling craftsmen, who relied on hand moulding and simple firing techniques, they inevitably had a wide variation of texture, camber and colour ranging from pale orange to dark red. Unfortunately, the widespread use of traditional peg tiles gradually declined with the availablility of cheaper, mass produced, machine made
clay and concrete tiles in the 1900s. However, in recent years, tighter planning regulations and recognition of the need to conserve our churches and historic buildings with sustainable and more visually sympathetic materials has led to a remarkable comeback. Although second hand peg tiles have often been favoured for heritage buildings, particularly if only a few tiles are damaged, the shortage and expense of obtaining good quality reclaimed peg tiles from legitimate sources has meant that conservationists have increasingly looked to modern handmade substitutes. Authentic looking peg tiles are undoubtedly very difficult to replicate using modern manufacturing methods and machine made tiles are still far too dull, flat and uniform in appearance to be a convincing alternative. Although there is still a small number of ‘studio potters’, who will painstakingly form each individual tile, such meticulous detailing can be as costly as sourcing expensive reclaimed tiles - particularly where large sections, or indeed entire roofs, need to be covered. With its ‘conservation range’ of peg tiles, Tudor Roof Tile Co has developed a practical and economic compromise, that combines the best of both traditional and modern tile making techniques. Each tile is pressed, moulded and trimmed, by hand at the company’s factory in Lydd, Kent, in order to recreate the gentle camber, subtle colour variation and ‘time weathered’ appearance of the original Kent Peg Tile. Then, highly advanced firing techniques ensure exceptional performance and durability in compliance with British Standards. Standard colour options cover most eventualities and bespokes sizes, with either square or round peg holes, can be made on request to suit each individual project, in keeping with the local vernacular. Hand made ‘nibbed’ versions are also available, which are more suited to modern construction methods. For architects, roofers and conservationists looking for historically sympathetic hand crafted peg tiles, made from fine quality English clay, Tudor’s ‘conservation range’ is proving to be a practical, popular and ultimately cost effective solution. q • Tudor roof tiles are available from leading roofing and builders merchants. For more information, contact Tudor Roof Tile Co. Ltd, Dengemarsh Road, Lydd, Kent, TN29 9JH. Tel: 01797 320202 Fax 01797 320700 E-mail: email@example.com Website: www.tudorrooftiles.co.uk.
Natural Stone Awards n
describe it as some of the finest carving in the country. It was a Projects at the Victoria and Albert Museum, Norwich great thrill. Cathedral, Yorkshire’s Selby Abbey and on the Leeds“It was two year’s work for a fair-sized team and then we had to Liverpool canal link in Liverpool are among schemes that have wait for building work to proceed before we could actually fix them. won top honours in this year’s Natural Stone Awards, organised “I have won at these awards before but working for someone else. by Stone Federation Great Britain. Work on buildings in London’s This is the first in my own name although my colleagues Martin Tottenham Court Road and Regent Park also won top awards. Foot, Matthew Simmonds and Harry Brockway share this honour The awards are the ‘Oscars’ of the natural stone industry and this with me.” is the 15th occasion they have been held, with over 100 entries for Praising him the judges – all stone industry experts – said “This is this year's competition. as good as anything you will ever see. Winners were named at a ceremony It is some of the best carving anywhere attended by industry representatives in London. There is so much life in the at Lord's cricket ground in London friezes and the workmanship sings out. last month.They received their awards “This is the work of someone who from former British Lions and England grabbed the opportunity and poured all rugby captain Billy Beaumont and Stone his skills into it. The results of his labours Federation President David Ellis. are stunning.” Stone contractor Timothy Lees, from Wandsworth company Stone Stourton in Wiltshire, won the top prize Productions Limited won the top award for craftsmanship for his work in creating in the interiors section for their work at new chimney pieces for Hanover Lodge the medieval and renaissance galleries within London’s Regent’s Park. in London’s Victoria and Albert Museum. He said afterwards “I was rather The project was for the recovery and hoping we might win. I knew it was a reinstatement of a number of existing very prestigious project and I knew we Grade l listed galleries and back of had worked very hard on it so yes, I was The award winning work at London’s Victoria and house spaces to provide the museum hoping we might win. Albert Museum by Stone Productions Limited with an appropriate range of galleries “I was very pleased to hear the judges
Stone Two more examples of award winning projects: Ketton Stone’s work at Tottenham Court Road, London (left), and Liverpool City Council’s work on the Liverpool canal link and pier head in which to display some 2,000 objects of its medieval renaissance collection. Liverpool City Council won the award for landscaping for its work on the Liverpool canal link and pier head. The project involved the extension of the Leeds-Liverpool Canal into the heart of Liverpool, together with a reconfiguration of the pier head to form a truly world class space worthy of its historic location at the heart of Liverpool's World Heritage Site. The London-based firm of Hopkins Architects won the award in the new-build, modern section for a project at Norwich Cathedral Hostry. This is the second building in a two-phase project to create a new hostry on the site of its medieval origin and to complete the original historic ensemble of hostry and refectory. It supports the cathedral and cloisters with a greatly improved range of facilities for the cathedral and visitors. Stamford stone contractors Ketton Stone won in the new build (traditional) section for a project in London’s Tottenham Court Road. The building concerned sits next to the Dominion Theatre at the exit to the central line and northern line tube station. York architects Purcell Miller Tritton won the repair and restoration section. The award was for their work on repairs to choir bays at Selby Abbey which is one of the largest parish churches in the country. The Chairman of the judges John Burton said he was particularly pleased to see that local authorities were making greater use of natural stone in streetscape projects. He added that while travelling the country the judges had noticed many small developments using
natural stone. He revealed that Stone Federation Great Britain was considering the addition of a category for this type of scheme in the 2012 awards. He also praised industry doyen John Bysouth who, the previous night, had been named as the first winner of the new Duke of Gloucester Gold Medal for services to the natural stone industry. Stone Federation Chief Executive Jane Buxey said “Even in these difficult financial times we received not only a very high number of entries but a high level of top-quality entries, which demonstrates the supreme craftsmanship existing within the natural stone industry. “As a body we will continue to invest in the training of young people to maintain this level of craftsmanship and we will also continue to do everything we can to encourage responsible sourcing in the use of this wonderful natural material.” q
Lifting the Melingriffith pump back into place n
Back in March it was announced that the Melingriffith Water Pump in Whitchurch would be restored to its former glory, with the pump being carefully dismantled so that its timber and metalwork could be refurbished. The refurbishment work took place off site and in October work began to put the pump back into place. Larger and heavier components, including the rocker beams and frame, were lifted into position by a crane. Cardiff Council’s Executive Member for Environment Cllr Margaret Jones was in attendance to see the pump being lifted back and for the next two weeks work continued to reassemble the pump and balance it. Cardiff Council and Cadw have jointly funded the restoration of this nationally protected scheduled ancient monument, which has the support of local community group ‘Friends of Melingriffith Water Pump’. The 200 year old pump stands as a reminder of the former Glamorganshire Canal and Melingriffith Tin Plate Works, one of the earliest and most important works of its kind. For 135 years it was this pump that ensured there was a continuous water supply principally for the canal. When this part of the canal closed in 1942 it was no longer needed – the pump became redundant and has remained idle ever since. Executive member for Sport, Leisure & Culture, Councillor Nigel Howells, said at the time: “I am delighted to see work progressing on the Melingriffith pump restoration. The pump is a great link to Cardiff’s industrial past and helps to mark a time in history and continue to showcase the industrial legacy of the city. Finally I would like to thank Cadw, who along with the Council has supported this restoration work.” Welsh Assembly Government Minister for Heritage, Alun Ffred Jones, said “I am delighted that the Assembly Government, through our historic environment service Cadw, has been able to support this restoration. Our industrial legacy is a key component of the rich and diverse heritage of Wales and it is vitally important that it should be protected, preserved and promoted for the benefit of present and future generations.” q
An impressive history of
restoration expertise n
Restoration and property maintenance experts Duncan Mason Bespoke Joinery Ltd specialise in carrying out works to older, historic and listed buildings, with particular emphasis on restoration craftsmanship. Manufacture and fitting is the company’s forté. Thanks to their time-served skills in traditional carpentry and woodworking, they can copy virtually anything in timber at their workshops at Woodmancote, Hants. Their ability to produce bespoke fitted furniture and heritage joinery such as curved box sash windows, staircases and custom-made architectural timber mouldings, demonstrates just one small aspect of the company’s ability to overcome the challenges set by the many heritage buildings from all eras of this country’s rich architectural history. One project demonstrating the high level of knowledge, skill and painstaking attention to detail, which has earned them considerable recognition and respect in the industry, is a development at the 900-year-old St Nicholas Church at Thorney Island, Emsworth, Hampshire. The company were called on to design and manufacture a four-door, oak panelled, framed partition to form a cupboard and changing area in the church’s vestry. This was to complement new oak flooring and was seen as an almost conclusive part of the church’s long-term restoration plan. It soon became a ‘live’ project involving many hours of discussions between the company’s joinery draughtsman and designer Les Parvin, (company founder Duncan’s Mason’s brother-in-law), and Church Parish Warder Andy Walkley. Stipulations and specifications were met and the timber chosen from local sawmill, West & Sons, near Petworth, West Sussex. Every stage of the project, from choosing the air-dried oak timber in its sawn, stacked position, to the finished, fitted article has been well documented and photographed. Carving detail was carried out by Richard Vardon, a local Guild of Master Craftsmen member, who skilfully blended in the new timber using photos of an old Saxon carving in a timber screen at the rear of the pew area. The church, dating back to 1100, had posed a challenging, time-consuming but satisfying project for all involved. “We are creating a historical legacy for the next 10 generations and are very proud to be a part of this exciting project,” said Duncan Mason, adding “Indeed, out of the many projects we have completed over the past few years, this has been the most satisfying and gratifying.” The future bodes well for the company, due to it’s sound reputation with local surveyors and architects and the helpful and professional ethos of Les and Duncan. q
DRU Installers rise to heating challenge at Leeds church n
The recently launched DRU Installer Group has achieved a successful heating installation at a large church in Leeds. LGL Commercial Heating Services, based in Lancashire, specialises in heating systems for churches, schools and other public buildings. It has recently joined the DRU Installer Group, a national network of Gas Safe registered heating companies dedicated to installing and servicing DRU heating appliances. One of its first projects was to design and commission a new heating system at Ashwood Centre, home of City Church Leeds. This is a large and thriving independent church that occupies a traditional former Congregational church building in the Headingley area of Leeds. The Grade II listed building is currently undergoing a major restoration programme, all paid for by private donations. Inefficient overhead gas heaters were replaced by eight new DRU Kamara 16 powered flue gas wall heaters. These models are specially designed for vast internal space heating. They are quiet and efficient to operate, and have the advantage of being able to warm up a large building very quickly, even in the depths of winter. The heaters also blend unobtrusively with their surroundings and can be operated separately or by a central time switch. They have â€˜cool touchâ€™ casings for added safety. In addition, the outer cases can be easily removed for routine servicing and maintenance. The church leaders and members have expressed their delight at the comfort and efficiency of the new DRU heating system and the expertise and courtesy of the LGL engineers. q
Dedicated to our built heritage Heritage Craft Alliance Ltd is a C Skills accredited training and assessment provider, who are dedicated to our built heritage.
Established in 2009 the company has grown and expanded its client base to include such businesses as British Waterways, The National Trust, The Princes Foundation for the Built Environment, The Heritage Building Bursary Scheme, local authorities and the NHS. They have assessed over 100 heritage skills level 3 qualifications across a range of disciplines and are continuing to expand their network across the UK. Their main business is the training and assessment for the adult heritage skills workforce. They understand that it is critical to the wellbeing of the sector to improve the status of our heritage workforce through accreditation and also to ensure that the traditional skills are understood and maintained. The long term survival of our historic buildings is in the hands of a shrinking number of expert craftsmen and conservators. The availability of these skills is statistically decreasing year on year due to retirement of traditional craftspeople. There has been a skills gap developing over a 25 year period from the 1970s which has led to a major deficit in the heritage skills workforce.
Meeting the needs of the heritage craft sector Much of the companyâ€™s recent work has been re-dressing the balance of training which has led to the side-lining of traditional skills and materials. They have achieved this in many instances by adding to contemporary craft training qualifications and by up-skilling craftsmen with heritage skills training and education workshops. This work can be bespoke or delivered to meet accredited standards and qualifications. Whichever approach is taken, they set out to achieve the very best results from the most appropriate interventions. This strategy has proved to be very successful for learners of all ages.
CSCS cards Many of the craftsmen and contractors they work with require the heritage CSCS card in order to be able to contract with owners of historic properties. The demand for this endorsement of skills is on the increase where contractors, property owners, English Heritage and others are becoming more
stringent with their contractor engagement strategies. Through assessment for heritage skills level 3 diplomas and conservation supervision and management qualifications, Heritage Craft Alliance are able to prepare craftsmen and managers to apply for the card. Once you have the appropriate qualification and have sat your health and safety on line GOLA test, your application for a heritage CSCS card is accepted.
Working with schools The company believes that it has to address the needs of our younger aspiring craftspeople and with this in mind they work with schools, meeting some of their needs in relation to history, design and technology and vocational interventions â€“ all highlighted in the National Curriculum. This is becoming an increasingly popular activity, where they deliver hands on educational days for schools and colleges. The students never fail to show great interest and all seem to have fun learning in this way. q
Master bellfounders with a 700 year history operate world’s largest bell foundry n
Continuing an eminent and historic line of bellfounding, bellhanging and carillon building, unbroken since the middle of the 14th Century, John Taylor & Company operate the world’s largest bell foundry and founded Britain’s largest bell – ‘Great Paul’, in St Paul’ Cathedral, London. The business, which settled in Loughborough in 1839, has been in the hands of the Taylor family since 1784. The company cast ‘Great Paul’, a massive Bourdon bell weighing 37,483 lbs (17,002 kgs), in 1881. Centuries of experience, combined with up to the minute advances in technology, have put Taylors at the forefront of the design and manufacture of bells, their fittings and frameworks for all methods of sounding bells.
Creating a new Taylor bell A new Taylor bell is cast from a mould which is painstakingly hand-crafted in two parts – the core, which gives the inner profile of the bell, and the case which gives the outer profile. The bell can be beautifully decorated and carry a commemorative inscription to customer's requirements. The decoration, inscription and founder’s mark are carefully impressed into the case, thus producing the decoration on the outside surface of the bell. The core and case are then brought together, clamped and sealed to form the completed mould. The mould is placed in a sand pit and sand placed around it. The molten metal is degassed and properly alloyed, before being poured into a header box on top of the mould. It is then allowed to flow under control to fill the space between the two parts of the mould. After a few days, the casting is cool enough to be removed from the mould and is thoroughly wire brushed. The mould is destroyed in removing the bell casting, which
means every bell is unique. The bell casting is then taken to the tuning shop where it is placed, mouth upwards, on a large vertical lathe which has a revolving turntable. The bell is struck with special mallets to vibrate the metal in the areas which produce the main harmonics. After assessment by the bell master, the bell tuner removes small chips of metal uniformly from the inside of the bell, until the vibrations of each of the main harmonics reach the correct frequency. Taylors introduced their five tone principle of bell tuning in 1896. This produces the purity and sweetness of tone and allows the bell to sound with the full and rich mellowness which gives Taylor bells their special characteristic and sets them apart from all other cast bronze bells. The bell master and bell tuner work on five principle harmonics – the hum, fundamental, tierce, quint and nominal – but these in turn influence and affect many others. When the correct frequency for each of these harmonics has been achieved, the bell is in tune with itself. In a set of bells, each bell is tuned using the same standards applied to its own frequencies, and thus each bell in the set is not only in tune with itself, but also with each bell in the set.
Current projects At The Guildhall, Kingston upon Hull, eight
‘Great Paul’ – Britain's largest bell new 1¾cwt bells are being cast and tuned to fit in the Guildhall chime. At the Church of of St Cynbryd in Llanddulus, Clwyd, a near derelict chime of eight tubular bells is being completely refurbished, including casting new hammer parts that have been lost. In Truro, Cornwall, at the Cathedral Church and Parish of St Mary, a classic Taylor ring of 10 is being augmented to 12. Two additional bells are to be provided to give a light 10. All bells are having new fittings and the frame rearranged and extended. Moving further afield, at Thellippalai Thurkadevi Thevasthankam Temple in Sri Lanka, a new 18 cwt 3' 9.5" bell has been cast and supplied with new slow swinging fittings, whilst at the University of Michigan, USA, the whole transmission has been stripped out for overhaul, with every bell being removed from its headstock to allow the build up of rust to be removed. Each bell will have new bell bolts, new isolation pads and a new clapper. q
Work on the bells at the University of Michigan
Time to look to the experts n
Offering unparalleled expertise in the sale, repair and restoration of clocks and watches, City Clocks was founded in the 19th century by the grandfather of Jeffrey Rosson, who now heads the company. Jeffrey Rosson, who became a Fellow of The British Horological Institute in November 1981 and is a third generation horologist, carefully chooses every clock and watch for sale at City Clocks, after checking quality, style and reliability. Each repair is carried out either by Mr Rosson, or under his direction. His team of dedicated, qualified craftsmen are thorough and all their work is fully guaranteed. The company’s expert team includes three qualified, experienced clock repair craftsmen; two skilled watch repairers (one Rolex trained); one specialist cabinet maker who restores clock cases as well as small pieces of furniture, and one Bule specialist who is one of the finest craftsmen in the country doing this specialised work. The company also has their own dial restorer who will clean and revive even the most dilapidated of dials. Working from London, Shrewsbury and Ludlow, City Clocks make sure that their clients all over the United Kingdom are looked after. They attend to clocks in public buildings, museums, boardrooms, wine bars, stately homes, farmhouses, town houses and small apartments. As a craftsman, Jeffrey Rosson has ventured throughout Europe, USA, Australia and Scandinavia, although Shropshire, Cheshire, London and the Home Counties hold the company’s main client base. English longcase or ‘grandfather’ clocks and fusee bracket clocks are the company’s speciality, although almost all clocks and watches are cared for. These include: carriage clocks; granddaughter clocks; grandfather clocks; grandmother clocks; long case clocks; mantel and table clocks; skeleton clocks; wall clocks; ship clocks and barometers and mercury barometers. Clients appreciate the care and attention their valued time pieces receive
from qualified craftsmen. From robust school clocks to rare musical grandfathers – all share the same traditional care and attention to detail, including home or office visits. Many home visits are carried our personally by Jeffrey Rosson who sometimes spends several days working on a clock collection on site. Over 100 years of craftsmanship back up City Clocks’ range of traditional hand built clocks available to mark any special occasion. A magnificent longcase clock will provide dignity for hallways or boardrooms. A bracket clock will enhance a dining room, while a traditional dial clock adds style to a family kitchen, and a carriage clock gives a romantic touch to any bedroom. For something very special, the company is even able to design and build clocks for individual clients. q
Three cheers for Canterbury Council n
The Drum Clock attached to St George’s Chapel Tower in Canterbury has seen many changes over the years. When Canterbury was bombed during WW2 the chapel was destroyed, however the tower and clock, although badly damaged, remained standing. The clock has been restored and maintained by Canterbury Council ever since. The bombing severely damaged the original skeleton dials, and these were replaced with a plainer style of painted copper convex. This year, when they were once again in need of refurbishment, it was decided that returning the clock dials to their original illuminated skeleton design would be the right thing to do. Archive photographs were sourced to determine the original Victorian design of the dials, and the 7ft cast iron drum, weighing just under a ton, was craned to the ground and brought into the workshops of Slough based Public Clocks Ltd to be refurbished. A bespoke steel frame was constructed to support the drum whilst it was stripped back to its original form, and all rusty sections repaired and repainted. This process revealed the shrapnel damage sustained during the bombing,
along with the names of the craftsmen who had worked on the clock both before and after the war. Using the archive photographs a number of designs were drawn up, with the one closest to the original being chosen by Canterbury Council. The size of the dials proved to be problematic when it came to re-casting, so the alternative was to have the new dials water jet cut and powder coated. The clock had continually suffered damage from vandals, the previous copper dials showing dents caused by pellets and missiles, so the new dials were glazed using Opal Repsol, and the minute markers and dial centres gilded using 24 carat English gold leaf. The unique cast iron decorative bats on the outer rim of the case, and the flame finial on the top were restored and gilded, and the clock craned back into position. q
Practice scoops prestigious national award for inspirational design n
Scooping a top national prize for outstanding work in the design of a project at the St Peter’s Centre in Peterchurch, Herefordshire, Communion Design was a winner at the Wood Awards 2010. The Wood Awards were launched more than 30 years ago as the Carpenters’ Award and are now Britain’s premier award for wood in buildings and furniture. The aim of the Wood Awards is to recognise, encourage and promote outstanding design, craftsmanship and installation in wood, the world’s most naturally sustainable material. Now in its eighth year, the Wood Awards are the most respected awards for building and design in wood. After being shortlisted for the award, the St Peter’s Centre scheme competed for the prestigious prize against entrants from all over the UK, before being announced as the winner in the Private/Best Small Project category. The prize was presented
at a ceremony held at the Carpenters’ Hall, London. Herefordshire Council and St Peter’s Church commissioned Communion Design to transform the 12th Century Grade 1 listed church into a sustainable multi-use community building. Using oak as the primary medium, Communion Design had to take on board the sensitive nature of the site in heritage and religious terms, and create a facility where a community library, children’s centre, community events space and a worship space for Anglican services could all be accommodated. The result is outstanding. All facilities were designed to be contained within freestanding timber boxes which, when opened, allow the existing spaces to be transformed from 12th century patterns of worship to more
contemporary uses almost instantly. Once the activities have finished the boxes are closed and the space returns to sacred silence. “We are all very proud of this project,” said Carole Amos of Herefordshire Council. “It took a lot to get if off the ground, trying to take on board all partner requirements and turn it into a community facility without compromising its historic background and religious foundations. “Since the refurbished centre opened in January 2010, the children’s centre has flourished with a full timetable of events for
families, such as parent and toddler sessions, adult learning courses and a postnatal clinic to name a few. Alex Coppock, director of Communion Architects, said: “We’re delighted with this endorsement of St Peter’s Centre and are thrilled for our client and all the team involved. To see the centre recognised in this way, scooping a prestigious national award for both the design and the quality of the workmanship, is deeply gratifying. Delivering St Peter’s was a team effort - it was a pleasure to work alongside other local companies including William Powell, Darby & Carr and Border Archaeology.” The Revd Simon Lockett, Rector of St Peter’s, said: “This project has built deeper relationships amongst and between the church community and the wider community
and both are flourishing as a result.” The Wood Awards judges noted on the project, “This has clearly been a labour of love and care. The design and craftsmanship is excellent throughout, making the overall result appear effortless.” The project is an overwhelming success. It is operating as a hugely popular lending library. The Sure Start centre is achieving its full service delivery outcomes and more. The church is continuing to be used as a place of worship for midweek and Sunday services and is being regularly hired by many community groups, from Tai Chi to Voluntary Action Workers, and for conferences. The project has also been highlighted as an example of best practice in a Government White Paper and has featured on BBC Radio 4, BBC’s Countryfile and ITV’s Countrywise. q
The preservation professionals n
Specialising in heritage projects, Benham Preservation has all the necessary skill and experience to carry out a wide variety of timber repair and treatment to all types of properties – from historic buildings to new builds. Repairing and replacing soleplates, timber framework, floorboards, floor plates and joists, using a variety of hardwoods and softwoods, such as oak and pine, are part of the company’s day-to-day work schedule. Timber treatment is carried out using insecticide and fungicide solutions or wood pastes. Depending on the property requirements and stipulations given, either traditional methods of wattle and daub and lime and mortar, or modern methods of waterproof render and wall boarding can be used for finishing. When surveying a property for the first time, a report and recommendation will be compiled. An assessment of the problem, together with the cause, if possible, will be included and a recommended solution will be suggested, using the correct methods and materials in keeping with the property. Projects on historic buildings carried out by the company include wood treatment at Stambridge Church which dates back to Saxon times, and the installation of a damp proof course to a 15th century restaurant near Tiptree. A project at Rochford Hall involved the installation of a damp proof course into stone, brick and random earth work walls. This was achieved with the use of extra long drill bits and injection mortar. At Barnes Mill, Chelmsford, Benham Preservation carried out timber treatment to main timbers of over three feet in diameter, using injection and deep preservative gel treatment. Other projects include those at the White Horse Pub in Mundon, a 400 year old cottage in Rattlesden, a 200 year old house in Bradfield Combust and a number of theatres including the Prince of Wales Theatre London. q
Historic buildings face a great challenge by Henry Russell OBE MA(Cantab) DipBldgCons FRICS FSA IHBC
The great challenge for historic buildings now is to respond to sustainability and climate change. The easy option is to hide behind the heritage protection legislation and say, ‘Hands off – nothing can be changed’. I believe the historic environment is under a duty to mitigate its energy consumption, and it has to be aware of the consequences of climate change, which is already affecting us: more violent weather patterns, and higher rainfall leading to more frequent flooding. In my role as chairman of Gloucester Diocesan Advisory Committee we have seen two schemes which have responded positively to these issues. St Michael and All Angels, Withington, has become the first zerocarbon church (a medieval Grade I listed church) with a new biomass boiler inside and photovoltaic cells concealed on the nave roof. They are mounted on rubber pads so as not to damage the roof. The other is St Michael, Tirley, which is close to the River Severn and often flooded. Works have been carried out to make it more flood resilient, including paving the floor, routing services above flood level and creating a west end gallery to house the organ above flood level. q • Henry Russell is Course Director, MSc in Conservation of the Historic Environment
The hallmark of excellence Further accolade for in furniture restoration Northern Viaduct Trust n
A professional furniture restorer is highly skilled in performing delicate repairs, touch-up refinishing work and complete overhauls on antique furniture – usually with outstanding results. Depending on the item and the client’s wishes, a restorer might spend anywhere from a few hours to several months working on a single piece. Most professionals are highly-skilled woodworkers and upholsterers who are capable of refinishing a wide variety of items. Founded to safeguard the interests of owners and buyers of antique furniture and the antique trade, The British Antique Furniture Restorers’ Association (BAFRA) is the foremost national organisation of craftsmen engaged in furniture conservation and restoration. All full members of BAFRA must demonstrate at least five years as a conservation-restoration professional – the average member today has 23 years experience – and pass exacting assessment of their skills, knowledge and business credentials. They must demonstrate high achievement in cabinet making and finishing skills, and equally high standards in some of the more specialist techniques such as gilding, boullework, pietra dure or lacquerwork. A thorough knowledge of furniture history is also expected. A BAFRA assessor visits applicants in their workshops to examine their skills and knowledge. The assessor will also look at their business competence and integrity because a high standard of service to the public is mandatory. BAFRA is one of only three professional bodies in the conservationrestoration profession to accredit its members, and takes this responsibility very seriously. q
Organs’ rich history echoes down the centuries
The works by the Northern Viaduct Trust to provide a car park and new access to the ‘Northern Viaducts Round’ walk, just south of Kirkby Stephen, were recognised by the National Railway Heritage Awards 2010 at a recent ceremony in London. Two strongly positive reports by judges ensured that the project won a place on a short list of two for The London Underground Accessibility Award, the competing bid being works at Settle station to improve facilities and provide a disabled toilet. On the day it was the Settle project which received the main award and plaque, while the Northern Viaduct Trust was presented with a Highly Commended certificate. The Viaduct Trust project entailed the provision of a new car park, with space for about ten cars, which is linked to the existing walk from Stenkrith to Hartley by a ramped and landscaped path which conducts walkers under the road via the former bridge over the railway south of Kirkby Stephen. This development has much improved local amenity and enabled safer parking for visitors. q
Pipe organs have a history that stretches back to centuries B.C. The complexity of these instruments has kept them at the intersection of music and engineering. Ctesibius of Alexandria, who lived about 200 BC and is variously described as a musician and an engineer, is generally credited with building the first pipe organ, the hydraulis. By the 6th or 7th century AD, bellows were used to supply organs with wind and in the 12th century the organ began to evolve into a complex instrument capable of producing different timbres. By the 17th century, most of the sounds available on the modern classical organ had been developed and from that time, the pipe organ was the most complex man-made device – a distinction it retained until it was displaced by the telephone exchange in the late 19th century! A pipe organ may have one or several keyboards (called manuals) played by the hands, and a pedalboard played by the feet. The organ’s continuous supply of wind allows it to sustain notes for as long as the corresponding keys are depressed, unlike the piano and harpsichord, whose sounds begin to decay the longer the keys are held. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest may have over 20,000 pipes and many manuals. The leading society for craft qualified organ builders worldwide, the Incorporated Society of Organ Builders (ISOB) was formed in 1947. It has three main aims: to advance the science and practice of organ building; to provide a central organization for organ builders; and to provide for the better definition and protection of the profession through a system of examinations and the issue of certificates and distinctions. q
Challenging project n
Successfully completing a challenging restoration project at a church acclaimed as one of the nation’s architectural ‘gems’ are main contractors Lloyd and Smith Ltd, who undertook the scheme in conjunction with Overton Architects. The works were carried out at Saltaire United Reformed Church – a unique example of Italianate religious architecture – located in the village of Shipley, West Yorkshire. The project, which was completed on time and within budget in November 2010, was undertaken as part of a phased programme of renovation. The contract included re-roofing of the radius drum elevation above the main entrance, using a fully enclosed scaffold with a temporary roof system. The replacement roof covering was in sandcast lead on a traditional timber structure. The works also included the complete removal and renewal of all existing timber and lead work; the re-aligning of all the radius steps to the main entrance; major stone indentation work; re-pointing and the installation of a new access lighting system. The project proved to be extremely challenging due to the fact that the church – a popular visitor attraction – had to remain open throughout the project as it brings in great revenue to assist with restoration work. The church is situated in the centre of a historic village constructed by Sir Titus Salt – who also built the church – with tour parties including schoolchildren, college students and local and international visitors arriving throughout each day. In addition, the installation of the new £70,000 roofing system required heightened security, implemented through the main contractors installing hydraulic bollards, five metre high scaffold hoarding and an alarm system, as well as the employment of a night watchman. These measures worked extremely well and the contract ran smoothly throughout.
adds new sparkle to architectural ‘gem’ The contract was carried out under the very watchful eye of English Heritage and the meticulous supervision of the architect Mr Bill Glaister of Overton Architects. The client, architect and many visitors have all expressed their delight at seeing this phase of the building being restored to its former glory. Built in 1859, the Grade I listed church – in the same category as Hampton Court Palace and Salisbury Cathedral – lies in the valley of the River Aire, at the foot of the Pennine Moors and the entrance to the Yorkshire Dales. It boasts many architecturally and historically important features and has been described as a classic ‘cathedral of congregationalism’. Personally funded by Sir Titus Salt, the church is a focal point of his ‘model’ village of Saltaire, which he constructed for the workers at his huge mill to ensure that their spiritual needs were catered for. Sir Titus commissioned architects Lockwood and Mawson to design the building, as they had designed a number of other important Italianate buildings in Bradford city centre. The entrance is via six steps under a portico supported by six unfluted Corinthian columns and topped by a fretted tower with cupola. Fittingly, the mausoleum built onto the church contains the remains of Sir Titus Salt himself. Inside are hollow Corinthian columns with beautiful Scagliola exteriors, an Italian technique implemented by Mr. Dolan of Manchester. Two ornate chandeliers of ormolu and cut glass hang from the ceiling, and are of such great weight that additional roof trusses had to be inserted to support them. q
From pumping station to old masters – Selectaglaze helps secure the UK’s museums n
Security of exhibits is an important consideration for museums and well protected windows are high on the list for compliance with the Government Indemnity Scheme. As most museums are in traditional buildings that cannot alter or change windows Selectaglaze has developed a range of secure secondary units that have been rigorously tested against physical intrusion using the BS7950 standard and the Loss Prevention Standard LPS1175. They are also accredited to ‘Secured by Design’. Many historic properties, including a London sewage treatment works and pumping station and the former home of 19th Century classical painter and President of The Royal Academy of Art – Frederic, Lord Leighton, have been transformed into museums and benefited from Selectaglaze’s expertise.
Leighton House Museum Built between 1864 and 1879 the house was opened as a museum in 1925. About two years ago a decision was taken to restore the house to its former glory. As part of this restoration it was decided to improve the security of selected The Drawing Room at Leighton windows to SBD standards by House Museum using secondary glazing. It was important to respect the sight lines of the traditional sash windows and each window has been treated with a single hinged casement close coupled and finished in matt black to match the existing paintwork. The inclusion of anti bandit glass and multi-point locking ensures discreet protection.
The Beam Engine Museum Built in 1850, this Grade 2 listed pumping house contains what is believed to be the last surviving eight-column steam beam pumping engine in its original location. In its heyday, this remarkable engine discharged 4 million gallons of effluent every 24 hours. Now a working museum, it offers members of the public firsthand experience of the The Beam Engine engine in operation. But, to get to this stage, the monumental windows – which had previously been bricked up to avoid vandalism to the beam engine – had to be opened up and fitted with protective screens following the lines of the arched windows. Selectaglaze provided a system of panels glazed with an antivandal polycarbonate sheet fixed to the outside of the window and finished in a dark green to match the window frame. Security secondary glazing will also markedly reduce external noise and significantly improve the thermal performance of the window, thus reducing heating costs. q • Established since 1966 and a Royal Warrant Holder since 2004, St Albans based Selectaglaze is at the forefront of product development and design. Their extensive range of systems have undergone rigorous third party testing and are certified for acoustics, thermal efficiency and for enhanced protection against intruders and the effects of blast. For further information call 01727 837271 or visit www.selectaglaze.co.uk.
LPOC Show 2011
Listed property goes on show Date for the diary – February 19th to the 20th 2011 – Olympia London
The Listed Property Show, which takes place at Olympia in London in February, will be bigger and better for its fifth annual
event. The exhibition, organised by the Listed Property Owners Club (LPOC), provides practical advice, tips and information for homeowners looking to restore or refurbish their properties and will feature close to 200 specialist suppliers showcasing their products and services. Kellymarie Smith, Director of The Listed Property Owners Club, says: “We are delighted with the response to the previous shows and bookings are already ahead for the 2011 event. “As with the last four years the show will feature an array of
demonstrations and seminars offering a host of practical solutions and vital resources for owners of listed properties and period homes. It also allows owners to have a hands on experience with some of the major specialist products for their home including lime. “Attendance has grown significantly year on year since our first event in 2007 and we are hoping for an increase on the 5,743 people who attended earlier this year,” added Kelly.
LPOC Show 2011
Demonstrations at the show include Lead Contractors Association, Master Carvers Association, Simon Keeley Stone Carver & Sculptor and RM Eaton as well as stone carving, Stuart Preece plasterwork, furniture polishing by Barbe & Bald and Henley Salt Landscapes offering free garden design advice. q
LISTING THE LISTINGSâ€Ś TEN QUICK FACTS & FIGURES: 1. There are just under 373,000 listed properties in England.1 2. In England and Wales the authority for listing is granted by the Planning (Listed Buildings & Conservation Areas) Act 1990 and administered by English Heritage, its Welsh equivalent CADW and, for Scotland, Heritage Scotland. 3. Of the total number of listed buildings 92% are grade II listed (of special interest), 5.5% are grade II* listed (particularly important buildings) with 2.5% grade I listed (exceptionally important buildings). 4. A total of 38% of listed properties are domestic dwellings. 5. 15% of listed buildings are pre-1600 with just 0.2% of listed buildings built since the end of World War 2. 6. Just 14% of period property owners claimed recently in a magazineÂ˛ survey that they had been affected by the economic downturn. 7. The same survey revealed that 77% of period property owners are planning to undertake a restoration project. 8. The Listed Property Owners Club has over 19,000 members and was founded in 1993. 9. The 2009 Listed Property Show attracted 4,217 visitors which represented a 84% increase on 2007. 10. Both Northern Ireland and Scotland have their own grading systems in place. 1
According to English Heritage
Period Living magazine
Guild of Master Craftsmen
Choosing a Craftsman or Tradesman
Your guide on how to choose a tradesman
Choosing the right company to carry out work for you can be a big decision. Scams and fraud are on the increase and are getting more and more sophisticated and harder to detect. But don’t worry, by following the guidelines suggested by The Guild of Matster Craftsmen you will greatly reduce the risk of potential pitfalls.
Before choosing a tradesman Here are a few things that you should consider and some questions you need to ask: Are they members of a trade association like The Guild of Master Craftsmen? Check their credentials. The Guild, for example, provides a free checking service for customers to validate a tradesman’s claim to membership and you can check this at www.findacraftsman.com. Using a Guild member gives you access to a free conciliation service if problems arise. Contact: Does your chosen craftsman have an address and landline telephone or simply a mobile number? You should be very careful of employing a workman of any sort that is unable to provide a home or business address and a landline. What work exactly do you want doing? Write down a description of what work you want undertaking in as detailed a way as you can. The more you have straight in your mind about the work you want done, the more likely that you will be able to describe it to your chosen tradesman. Obtain a specification and drawings of the planned work. How much will it cost? Get at least two, preferably three, written quotations from different firms for the job. An estimate is different and is simply often a rough guess on how much something will cost. A quotation will give you a fixed price which you have in writing. If you provide a specification and drawings for the work, you can be sure the quotes you receive will be on a like for like basis. Is VAT included? Ask whether VAT has been included or not. This can often
be a nasty shock if not planned for. Changes: Make sure all changes in the brief are in writing and the new quotation received and approved before work starts. Are Local Authority approvals required? Such as Planning Permission and Building Regulation approval. Neighbours: Does the work you are planning affect neighbouring properties? If so it can save an awful lot of problems if you speak to them about what you are doing before any work starts, especially if the ‘party wall act’ is an issue with the work planned. Is your chosen company qualified and capable of carrying out the work? Make sure you check the company’s qualifications and experience of carrying out similar work. Ask to see references from other satisfied customers.
• Check whether a deposit is required and when final payment is due. • It is always preferable to leave money outstanding until the job has • been completed. Be sure to obtain written receipts for all payments.
When work starts If any changes are required to the original specification, discuss it with the tradesman and give written instructions. Request a revised quotation. Log on to www.findacraftsman.com to check for free if your craftsman is a current member of The Guild of Master Craftsmen. All members have passed rigorous assessment and have been recommended by their previous customers. q
When you accept the quotation • Agree in writing when the work is to be carried out • Check again how long it will take, what time they will arrive and • leave and if they will come every day until the job is complete • If the work is inside your home, check whether you need to remove • any furniture or carpets and curtains. Ask what safeguards the • company will make to protect your home. Do they have public • liability cover and for how much?
Roofing master craftsman is unique in the UK n
Backed by over 17 years of national and international experience – particularly on heritage projects - Ian Emson Meister Roofer of Weymouth is believed to be the only person in the UK to hold a german Meister qualification as a master craftsman in roofing. Ian first started working on roofs at the age of 15 before going on to achieve his City & Guilds qualifications in roof sheeting and cladding. After working throughout Europe and learning many new techniques, he was advised to study for a Meister qualification in roofing. This he did, undertaking a further four years of training in roof tiles, slates, single ply, built-up felt roofing, and zinc and copper work. He is also now qualified to teach on the subject, Ian has worked on many prestigious heritage projects including
cathedrals and castles. A project he particularly enjoyed was at Wasserschloss Klaffenbach, a ‘water castle’ near Chemnitz, Germany, where he worked on 20 eyebrow dormer windows. He also spent a year carrying out random slating and laced valleys on a church tower working at a height of 78m This work required the type of traditional skills that few roofers have today. Ian now spends his time running his company, travelling to various worksites throughout the country to supervise the work of his skilled team – and sometimes even carrying out particularly intricate work himself. He is especially keen to carry out heritage projects due to the vast amount of national and international experience which he has gained in this field over the years. q
Guild of Master Craftsmen
How long should the work take and when can they start? If it is a big job, make sure you get start and completion dates in writing. Do they give any guarantees? Ask if the work is covered by a guarantee, how long the guarantee lasts and whether it is backed by insurance so that, should the company cease trading, any defects will still be remedied. An insurance-backed warranty is desirable, especially if the job is a big one. Do they give you confidence? Think about how a company responds to your enquiry. Did they turn up on time, how well did they listen to find out what you need to have done, how carefully did they survey and measure? Ask when you can expect the quotation and check whether it arrives on time. Is the price acceptable? If the quotation from your preferred company seems high it is worth talking to them to see if there is any way the price could be reduced. Ask for any revised price and specification in writing. Never pay the whole amount up front: Always keep a percentage of the cost back until it’s finished and you are happy. Always pay the company, never an individual: It is important that you make any payments for the work to the company and NOT to any individual person. Get an invoice that includes the VAT: Make sure your invoices are accurate and itemise the VAT separately. Always get a receipt for every payment you make: Getting a receipt is fundamental, without receipts you have no proof of payment.
Northwest Lead Scoop 2010 Murdoch Award and M & I Lead take the 2010 Sponsors Award back to Ireland The Murdoch Award presentation photo features (L-R) Dick Murdoch, David Martin (LCA Chairman), Steve Hempstock (NW Lead), Graham Hudson (Associated Lead Mills)
The winners of the 2010 Murdoch Awards â€“ the ultimate accolade for excellence in leadwork - have just been announced by the Lead Contractors Association. Guests were able to preview photographs of the 21 entries for this
yearâ€™s Murdoch Award and Murdoch Sponsors Award at a pre-dinner reception, hosted by Jamestown Metals, which traditionally marks the end of the LCA Annual Conference. The Award was launched in 1996 on the retirement of Richard
Leadwork at Oakfield Park, Co. Donegal, which won the Murdoch Sponsors Award for M & I Lead
Z-Led offers flash of inspiration to combat lead theft
Murdoch, Senior Technical Officer of the Lead Sheet Association and author of The Lead Sheet Manuals. The Murdoch Award, which since 2005 has been sponsored by Associated Lead Mills, is an annual competition among members of the Lead Contractors Association to determine the best leadwork project of the year – effectively the best of the best in leadwork. In 2006 Associated Lead Mills also introduced the Murdoch Sponsors Award for the smaller projects (less than 5 tonnes). A panel of judges view entries from all over the country – and beyond – in the most minute detail before determining the winner of the Sponsors Award and the three finalists of the Murdoch Award from whom the eventual winner is selected. Guest of Honour at the 2010 Conference Dinner was Richard Murdoch himself, who announced that the judges had decided the winners of the 2010 Murdoch Sponsors Award were M & I Lead of Dublin for their leadwork at Oakfield Park, County Donegal. Ian Whelan and David Best received the Sponsors Award from Graham Hudson, Managing Director of Associated Lead, and were delighted to receive such early recognition for the quality standards of their workmanship, having only joined the LCA the previous year. Richard then welcomed representatives from the three Murdoch Award finalists of the 2010 competition, D Blake & Co (Greenlaw Community Pavilion, Scotland), Northwest Lead (Dewsbury Town Hall) and Richardson Roofing (Cardiff Museum). He provided a brief insight into each project before announcing that the winner of the 2010 Murdoch Award was Northwest Lead for their work at Dewsbury Town Hall. Receiving the Award, Managing Director Steve Hempstock said how proud he was to have won the Murdoch Award for the first time and paid tribute to the efforts of his on-site team, for whom he was delighted that they had been rewarded with the ultimate accolade for leadwork. q
Custodians of historic and sacred buildings are being offered an innovative, sustainable and cost-effective solution to the problem of lead theft, which has grown over 16,000%* in five years, and which often is not fully covered by insurance! Z-Led, one of the UK’s leading suppliers of damp proofing solutions, has developed AluFlash, a corrosion-resistant aluminium sheet which provides a viable, practical and aesthetic alternative to lead flashing. It is already proven in practice and accepted for use on churches and listed buildings. Kelly Phipps of Z-Led elaborates, “The price of lead is currently at a record high, encouraging its theft. Research shows that many historic or religious building insurance policies limit claims for replacement to £5,000 a year, yet the cost of replacing and repairing damage caused by theft of even a comparatively small quantity of lead from a roof can easily exceed that in just one incident!” Aluflash can be used wherever lead flashing would traditionally be employed – and beyond. Its non-toxic construction means it is suitable for use with rainwater harvesting installations, and prevents oxidisation over time. The surface finish can be simply wiped clean to remove site dirt and debris such as cement mortar, and comes in a traditional ‘lead grey’ to complement the building aesthetics. It has been specifically developed to enable easy moulding in both simple and complex planes, to ensure a watertight seal above windows, into gutters and roof valleys, achieve roll joints and similar detailing replicating traditional lead details. In addition, it is AA fire rated, enabling unrestricted use regardless of the proximity of adjacent buildings. It is unaffected by temperature, can be laid effectively in hot or cold conditions and is compatible with all common roof materials – concrete, clay, slate and metal. The material is supplied in manageable 5m rolls, in widths from 150mm-600mm in 50mm increments, minimising wastage. As it requires no specialist tools or skills to install, and will not be stolen like lead, it is also delivers enhanced lifetime costings. Aluflash is just part of Z-Led’s comprehensive range of materials to defend buildings against damp and gas penetration, and optimise fire protection. Part of the Building Product Design Group, Z-Led specialises in developing innovative yet practical solutions to meet changing demands in its specific markets. q For further information contact Nottingham based Z-Led on 0161 905 5700 or visit www.z-led.com.
* % based on figures from Ecclesiastical Insurance; in 2002 it received just 14 claims for lead theft, rising to 2,300 claims in 2007.
1990’s failed design results in 2010 Murdoch Award winner! n
Celebrating winning the 2010 Murdoch Award, Northwest Lead Managing Director Steve Hempstock paid tribute to the knowledge and skill of his senior staff in overcoming the inherent design faults which had caused the early failure of the existing roof at Dewsbury Town Hall. The Town Hall in West Yorkshire dates from 1886 when Yorkshire mill towns were the economic powerhouses of the industrial revolution. Built with an extremely complex lead covered clock tower to the front elevation and four individual turret roofs to both the front and main side elevations, there were very few straight forward details to be found on this building. “The original leadwork to the Town Hall had been replaced some 10-15 years ago and because of the poor design and setting out of the installation, it started to fail almost from day one” said Steve. “What many people fail to realise is that it doesn’t matter how good the leadworkers’ hands-on skills are, if they don’t know how to set the lead out, how to fix it and what sizes to use, the lead will undoubtedly fail.” Steve recalled that during the initial inspection, vertical cladding panels of around 6m long by 1m wide were found, installed in one piece and fixed with 65 mm solid lead dots screwed through the cladding and set 400mm apart. “Of course these panels had been failing for years and this lack of design knowledge was a common theme throughout the project” he said. Initially Northwest Lead’s senior supervisors Paul Hempstock, Rick Walker and Andy Challinor all contributed to ensure that the detailing in all the areas of this complex installation were designed to conform with BS6915 (the current Code of Practice). Not only that, but their detailing was also required to show no significant visual changes, so as not to compromise the appearance of the original architectural features of this proud building. In this respect the cladding to the clock tower was the most testing area to detail. Originally there were seven bands of panels from the lower concave band up to the cupola balustrade. By the time the project was finished there were twelve, with the extra five being required to ensure the Town Hall’s ‘Top Hat’ remains intact without failure for generations to come. Some 45 tonnes of lead sheet were used in the project, with the gutters, flat roof and dormer areas completed in Code 8, the clock tower, cornices and turret cladding completed in Code 7 and the cornice, parapet cladding to the main building and stepped and straight flashings completed in Code 6. All the lead sheet was supplied by Calder Industrial Materials. The finished article is testimony to the breadth of knowledge, skill and dedication of Northwest Lead’s craftsmen who painstakingly completed the installation.
The main areas of leadwork included not only the clock tower and the turrets, but also parapet gutters (curved and straight), parapet walls and cornices which followed the intricate contours of the building, as well as curved dormers and pediments. “This project has given much valuable experience to our trainees as well as the more experienced craftsmen” said Steve. “We have found that trainees progress in leaps and bounds when given their own small section of leadwork to carry out under the supervision of more senior craftsmen working close by and this was a wonderful learning opportunity for them.” Steve paid full tribute to his team “For us to win the Murdoch Award for the first time with this project is a tribute to the care that was taken in the redesign and the skills of the team responsible for carrying out the installation. I am incredibly proud of all those who worked on Dewsbury Town Hall, who are a credit to Northwest Lead as well as the leadwork specialist sector in winning the ultimate accolade for their craft” q
Although only established in 2004, I-roof (a derivative of Intelligent Restorations) have an ethos that is unsuited to the age, we understand what can be achieved with hard work, planning and good communication. With an exciting blend of old skills, innovative products and creative thinking we take pride in our work, a selection of which we are proud to showcase here...
LANCASTER HOUSE We recently celebrated another government building contract in Lancaster House, the Georgian award winning restoration project completed during the summer of 2010. Instructed as the specialist roofing contractor we designed and implemented the new roof covering. These works were meticulously planned – factoring in vibration, weight and period building consent – due to the rooms below housing a £400k gold leaf ornamental ceiling and priceless vase. The project was completed on time and within budget and we were entered into the prestigious Murdoch Awards. Although not winning the award we were fortunate to be named as the specialist roof contractor for the next phase of works.
FOREIGN AND COMMONWEALTH OFFICE
Recently started works include the arches at the Foreign and Commonwealth Office. On our second phase we have been instructed to carry out the replacement of lead to the projecting cornices. Given the current economic climate, we work closely with specialist main contractors to deliver high quality finishes within budget and time constraints.
www.igroup.me.uk SUPER HOME!
Currently regarded as the largest new build project in the Borough of Bromley, we aided design and installed the natural slate, single ply membrane and lead roof coverings to this grand ‘Super Home’. The works involved were extensive and varied, including 16 barrelled dormers, a slated turret with hand crafted lead finial and a 210m perimeter cornice.
UNIVERSITY OF EAST LONDON Back for our 3rd phase at the UEL, we recently designed and carried out the installation of a code 8 decorative cladding, cornice and internal lead box gutter to meet unique specifications. Having been prone to constant blockages and excessive water retention, meticulous planning – including future rainwater calculations – went into designing the new system. We also advised and designed a stainless steel leaf guard and overflow system to minimize the blockage of debris and to indicate from ground level when the gutters were full.
ENVIRONMENTAL AWARENESS With an ever increasing need for environmental awareness, we require our products to be ethically sourced and our waste to be recycled or disposed of correctly. We also install green and bio-diverse brown roofs. Weathered using a Decothane, cold-applied, seamless membrane system this low maintenance, eco friendly method is sometimes overlooked when it would make an interesting focal point on the most unlikely of buildings. 43
Published on Dec 20, 2010