SPAB Magazine Summer 2023

REGULARS

5 Welcome

SPAB Director, Matthew Slocombe, on the importance of consultation and debate

6 News and views

22 Member repair project

Craig Fabian details the transformative conservation project undertaken on his Georgian house in Kircudbright

24 Events

Booking online now

62 Book review

The latest reads reviewed

65 Technical notes Information and advice

72 Building in focus

The Free Public Library, Stoke-on-Trent

Welcome

Morris & Co. designs are comfortably familiar. They can be found on just about every high street in furniture and stationery shops. By association, Morris himself has become a fixture and fitting – a national treasure of soft furnishings. Morris, though, was a complex man and, in his lifetime, was as likely to be shouting about wrongs and injustices as designing textiles for curtains. At the end of his life, he told a biographer that he considered the SPAB to be among his greatest life achievements. On SPAB business, he did a lot of shouting and was eloquent in anger.

Today, the SPAB is more measured in its responses, but still with that original zeal and wish to make a difference. Morris’ hard campaigning, and that of his successors, eventually won the SPAB a formal place in the planning system. We must be told about applications in England and Wales that involve some degree of demolition to a listed building. We do not make the final decision, but this position gives us the opportunity to offer well-informed comment that assists the planning process. This is a privilege to be used judiciously, but also a right to be defended.

In the case of the Willoughby Almshouses at Cossall in Nottinghamshire (see p6), we were denied the opportunity to comment by Broxtowe Council’s failure to notify. Although failure to notify properly is sadly not uncommon among councils, the Cossall case was an extreme example because the council ultimately made its decision in the knowledge of their notification failure. Given the blatancy of this failing, the SPAB has felt it necessary to take legal action.

We may be an old and venerable organisation, but the SPAB must still be prepared to campaign for proper debate over the treatment of historic buildings.

SPAB STAFF

Matthew Slocombe Director

Douglas Kent Head of technical & research

Elaine Byrne Head of education & training

Christina Emerson Head of casework

Kate Streeter Head of development & communications

Richard Mullis Head of operations

Margaret Daly Office manager

Shahina Begum IT manager

Jonathan Garlick Special Operations (projects & working parties)

Michael Nelles Membership manager

Rachel Stoplar Communications manager

Skye Stevenson Education officer

Catherine Rose Training officer

Pip Soodeen Fellowship officer

Catharine Bull Scholarship officer

Rohwana Ogunbiyi Archive officer

Mary Henn Technical officer

David John Technical advisor

Catherine Peacock Technical & research administrator

Joanne Needham Casework officer

Elgan Jones Casework officer

Rachel Broomfield Casework officer

Merlin Lewis Casework support officer

Lucy Stewart SPAB Scotland officer

Deirdre Keeley SPAB Ireland officer

Sophie Clay Membership assistant

Louise Simson Properties list officer

Neil Faulks IT advisor

Chi-Wei Clifford-Frith Director & projects team assistant

Silvia McMenamin Mills Section administrator

EDITORIAL

Tessa Wild Editor

Douglas Kent, Matthew Slocombe, Rachel Stoplar

Denise Burrows Editorial assistance

SPAB

The Society for the Protection of Ancient Buildings, 37 Spital Square, London, E1 6DY T. 020 7377 1644 E. info@spab.org.uk

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Matthew Slocombe, Director

This position gives us the opportunity to offer well-informed comment that assists the planning process. This is a privilege to be used judiciously, but also a right to be defended

SPAB IRELAND

New grant funding for 2023

initiatives

SPAB Ireland is delighted to have received a grant of €40,000 from the Heritage Council under the Heritage Capacity Funding 2023.

The grant funding supports a number of initiatives for our 2023 programme of works, which is entitled Sustainable Reuse of Historic Buildings.

We began this programme with a May event celebrating mills in Ireland, coinciding with SPAB’s National Mills Weekend. We visited refurbished, adaptively re-used and vacant historic mills that are considering adaptive re-use and discussed industrial heritage, sustainable conservation and refurbishment.Our programme includes the return of our summer lecture series and our podcast, Heart to Hearth – Chats about Irish Vernacular Heritage. Continuing

CAMPAIGNING

our discussions on adaptive reuse of historic mills, we also have an exciting SPAB Ireland Working Party planned at a former mill site to coincide with Heritage Week. This opportunity for growth gives us an excellent platform to build on the successes of the Vernacular Buildings

Campaign 2021, and the Sustainability and Vernacular Built Heritage Campaign in 2022, which were both sponsored by the Heritage Council under the Heritage Sector Support Fund and Heritage Capacity Fund. We look forward to presenting our full 2023 programme of events in the coming months.

Willoughby Almshouses: A campaign update

A big thank you to all of you who joined the campaign about Broxtowe Council’s failure to consult the SPAB on listed building consent for the Grade II*listed Willougby Almshouses in Cossall, Nottinghamshire.

Following the SPAB’s campaign and legal challenge, Broxtowe Council has acknowledged that the listed building consent it granted is legally invalid due to its failure to consult us as the relevant National Amenity Society.

Planning officials at local councils have a legal duty to notify the relevant National Amenity Society of any planning applications that involve the total or partial demolition of a listed building. We hope this case will act as a reminder to other councils not to skip this important step in the planning process.

In this case, many of the internal walls and other original features would be removed in order to turn the seven small

almshouses into four larger homes. While we welcome the buildings being brought back into use, we would like to see this done in a much more sensitive way. Fortunately, the original design of the almshouses as small homes for individuals would lend themselves to the creation of smaller units – something still urgently needed today. We hope we will now have the opportunity to work

HERITAGE RESOURCE

Scottish churches – a community asset?

Churches Scotland and Heritage Trust Network joined forces with the Development Trust Association Scotland’s Community Ownership Support Service to provide the missing information needed in the face of mass church disposal by the Church of Scotland.

with the developers and the council to progress a sensitive scheme that meets the needs of the community in Cossall while conserving these unique historic buildings.

We now await final confirmation from the courts that this unlawful listed building consent has been withdrawn. Thank you again to all of you who wrote to the council or spread the word.

A new resource, Your Church, Your Community, has recently launched in Scotland. The document is designed to help communities considering taking ownership of their church by working through a series of stages and signposting further sources of support. Crucially, the guidance aims to set local desire to ‘save our church’ within the broader context of other buildings that the community already has responsibility for or which might become available in the future: the village hall, school, shop or pub. If difficult choices have

Left The Acorn Centre, Inverurie – a well-established community facility created within Inverurie West Parish Church, Category B listed and completed in 1877. The building is still owned by the Church of Scotland and offers space for worship, events and a café, and serves as a model for future community-led projects

to be made and community assets prioritised, where do church buildings fit? And are they the right places to support the community’s needs and ambitions? The resource also reminds groups of key considerations when reusing the existing buildings in their local area, particularly the positive environmental impact of doing so, but it also highlights the challenges this can bring.

Developed by a trio of partners who have experienced an unprecedented surge in requests for advice, Historic

Expanding on the unique situation facing communities in Scotland, at the 2019 Church of Scotland General Assembly, the then Chair of the Church of Scotland General Trustees (the property-holding arm of the Church) told the Assembly it was time for the Church to “get real”. He said: “There are some very good spaces in the Church, but we have too many, and many are not fit for purpose. Nor is the Church a building preservation organisation. Church buildings should be managed, changed and developed in such a way that they are not a distraction from the call ‘Follow me’.”

Approved at the Church of Scotland General Assembly in May 2021, the Presbytery Mission Plan Act required all presbyteries to prepare plans to determine which buildings they required to achieve their primary purpose of worship and mission. Those buildings found wanting in the assessment process were deemed to be surplus to the worshipping congregation’s requirements.

Many in the heritage sector and, indeed, many within communities throughout Scotland believe that these buildings serve purposes other than purely religious and remain relevant for many reasons. Therefore, the response to the disposal of these buildings has been a wave of communities seeking support to secure the future of their church and they need help to do so.

Find out more at heritagetrustnetwork. org.uk/a-future-for-your-church or contact Sarah Pearce, Development Officer for Scotland, Heritage Trust Network, at sarah.pearce@ heritagetrustnetwork.org.uk or Lucy Stewart, SPAB Scotland Officer, at lucy.stewart@spab.org.uk

Photos Heritage Trust Network

Photo Dermot O’Halloran

Rhu (or Rocket) Church, Isle of Canna, Small Isles – Category B listed and completed 1914. Previous repairs and choice of roofing material have left this building with a challenging damp problem. The community are considering taking ownership

Location of the 2022 Working Party at Macreary, Co. Tipperary

Photo Gavin Gillespie

Willoughby Almshouses, Cossall

Specialis tConservator s

Architectur al Stone work

Statuaryand Monuments

Architectur al Cer amics

Mosaics

SKILL IN GTONS

PROJECT UPDATE

Old House Project: Summer 2023

In 2018, when the SPAB first acquired St Andrew’s, its walls were overgrown with ivy and overshadowed by trees. Some areas of walling were bowed and others neglected and decayed. Over the last four years, since the beginning of the Old House Project, this situation has been gradually remedied. The walls have been slowly mended and, from the outside, the house is now looking as good as it did in the 1930s – the last period in which it flourished.

The work we’ve done is repair not renewal. The project aims to demonstrate the SPAB Approach to building conservation: an approach based on the protection of building fabric and its careful and considered repair. Had we scrubbed, straightened and renewed St Andrew’s, our objectives would have failed. Instead, the eroded contours of the ragstone and sarsen walls have been retained. Problems have been remedied but the blemishes and blunted corners remain. This gentle-handed approach creates its own unique beauty, one that so many people appreciate and enjoy. St Andrew’s will keep its ancientness intact – albeit in a form that can be used and enjoyed for centuries to come.

Work on the building’s walls has been carried out by a number of skilled and sympathetic craftspeople from Owlsworth IJP. All have enjoyed the building and the chance to work on it and this care and understanding has been displayed in the quality of their work.

Although a few new stones will be introduced where the decay has been severe or there is structural need, much of the work has involved selective repointing, mortar repairs and shelter coating of friable surfaces. In all these applications, the lime we have produced from local chalk, burnt on site, has been crucial. This lime is feebly hydraulic but eminently suitable for the work, being closely based on the limes used at the site since the Middle Ages. Our lime is subtly different to those from the past, incorporating local ragstone dust as well

The ne wlyres tored Shrine of St Amphibalus at St Albans Cathedr al. Recons tructed from sections of the original 14thcentury one withnew carving to fill thegaps, by Skillingtons team 2019-21.

Jim Whitbread from Owlsworth IJP carefully preparing the remains of the original 15th century timber jetty for repair

Education is crucial to the SPAB and to the Old House Project, and we have woven in training opportunities throughout the repair works. Together with Owlsworth IJP, we have organised several masterclasses on skills such as lime mixing, plastering, stonemasonry and, more recently, window glazing repair

Left SPAB tile repair isn’t only applicable for missing stonework

as sand, but the mix – at close to 1:1 lime binder to aggregate – is little different to the historic mortars in all areas of Boxley Abbey.

Although our lime-based materials have been based firmly on local precedent, the SPAB has brought something of its own to the project in the form of tile repairs. This technique has a very long tradition of use within SPAB circles. It involves layers of clay plain tiles laid within beds of mortar. Its advantage is in allowing the tiles to be shaped to the worn contours of the building. It also allows the repair work to be additive and easily ‘read’. Tile repairs have been used on the building’s masonry and timber framing and have worked well where something more than mortar consolidation is required.

Education is crucial to the SPAB and to the Old House Project, and we have woven in training opportunities throughout the repair works. Together with Owlsworth IJP, we have organised several masterclasses on skills such as lime mixing, plastering, stonemasonry and, more recently, window glazing repair. On Wednesdays we open the site between 10am and 1pm to allow visitors and groups who have booked for free to enjoy a presentation of the project’s progress to date. The OHP has been an exceptional education tool for the SPAB. It welcomes anyone interested in visiting and provides unlimited access to our annual training courses, including a week when the Scholars and Fellows visit and its use as an exemplar Repair Course case study.

We are now seeking a new owner to purchase the freehold of the house. It would be good if the next custodian could be a SPAB member who will appreciate the building’s fascinating history and sensitive repair. We hope to work with a buyer who will help make decisions about the building’s internal treatment. Could this be you? Expressions of interest, even if only very tentative, can be made to Director, Matthew Slocombe (director@ spab.org.uk) or Special Operations Manager, Jonny Garlick.

OHP: A Year in Review 2022 https://youtu.be/2z67SPOqcNg

Photo Matthew Slocombe

Find your next project

Our online property list is a curated selection of the most interesting houses on the market in need of a sympathetic new owner. Included in the list you’ll find some special buildings including Bunksland (Bungsland) Farm, East Anstey, North Devon. This is a wonderful late 14th century, Grade II*listed farmhouse in rural north Devon, which lay untouched for centuries. It is constructed of cob walls on a stone plinth with a timber roof structure comprising timbers felled in 1396-97. It was originally thatched.

The Society held a working party there in January 2018, where we propped the building to try and avoid further deterioration. Since then, it has been acquired by sensitive owners who undertook further research into the farmhouse’s history and appointed architects to begin stabilising the buildings while they developed

proposals to create a family home (it featured in the Spring 2023 issue of The SPAB Magazine).

The house is now back on the market with Stags Estate Agents, South Molton, Devon – https://www.stags.co.uk/ properties/17038554/sales – and in need

Meet your new membership team

A warm welcome to our new Membership Manager, Dr Michael Nelles, who will be with us on a full-time basis from July. Michael is a historian with many years’ experience in the heritage sector, campaigning to save historic buildings. He joins us from ICON, The Institute of Conservation where he was Head of Membership for almost a decade.

We would also like to introduce our part-time Membership Assistant, Sophie Clay, who started in November. On her non-SPAB days, Sophie’s a talented leatherworker, crafting handmade leather goods at her studio. She’ll continue to be on hand on Mondays and Tuesdays for help and support with your membership.

Many of you will wish to join us in thanking our former Membership Manager, Lucy Jacobs, for so ably managing the SPAB membership scheme for the last five years, and in wishing her all the best in her new role.

of a sympathetic new champion. Could this be you?

Access to the online property list is a benefit of SPAB membership. You can find it in the members’ area of the SPAB website. We hope that you will find the property list interesting and inspiring.

Sophie Clay Michael Nelles

Front elevation with the medieval farmhouse to the right and the Victorian hay barns to the left

Photo S PAB

Photo Sam Nelson, TYPE Studio

Photo SPAB

Could you be a SPAB Guardian in 2024?

Guardians are the SPAB’s super-volunteers. Could you be one? Guardians bring time and expertise to support the work of the organisation’s staff. They do not merely sit on committees but form the primary pool of voluntary expertise from which help is drawn. This may be for casework, on courses, at events or through external representation. Guardianship offers the chance to ‘give back’ but also brings its own rewards. As a Guardian, you will meet like-minded people, share experience that can help with professional development and have the satisfaction of assisting a worthwhile charitable cause. If you can spare some time and want to help, please stand for a place in this year’s Guardianship elections. The SPAB can only flourish with your assistance and support.

GUARDIAN VACANCIES –HOW TO APPLY

Guardians can serve for a maximum of two consecutive three-year terms, followed by a one-year gap after which re-election is possible. Interested candidates should put themselves forward now. The deadline for applications is Monday 14 August 2023 Voting by the SPAB membership occurs each autumn with results announced at the end of the calendar year.

Vacancies for 2024 will arise on the following committees: Advocacy (1); Casework (2); Education & Training (2); Ireland (3); Technical & Research (2); Scotland (2); and Mills (4).

Guardians must be SPAB members when elected and be supported by a nominee and two seconders from the membership. If you need help with nominations, please contact us for suggestions.

For further information or to apply, please visit https://www.spab.org.uk/ content/apply-become-2024-guardian

You can also visit the ‘Governance’ section of the members’ area on the SPAB website. For questions about the election process, contact director@spab. org.uk or call 0207 377 1644. If you have trouble accessing the members’ area or

wide and varied – ranging from specific topics such as the issues around thatch materials, natural hydraulic limes and hot limes – to the challenges of climate action and retrofit. It’s great to be part of a passionate group of like-minded people who are trying to promote sensitive and considered conservation work, based on best practice and new learnings.”

John Copping, engineer and retired business executive, now a SPAB Guardian on the Mills Committee, says:

“Newly qualified in heritage and appreciating and enjoying craft skills, I first attended a summer workshop at Croxley Great Barn in 2014 and have been to many since then. Booked on a course for caseworkers, cancelled because of Covid, I was invited to do casework for the Mills section, an activity I now lead. Accepting an invitation to join the committee, I was delighted also to become a Guardian. My career gave me a multi-functional interest in industrial archaeology, starting aged 13 with canals, then moving gradually to mills – my grandfather’s grandfather was apparently a miller, but lost his windmill by fire. I am pleased now to be able to contribute a largely external perspective for a review of the forward strategy for the Mills Section.”

would like to request accessibility accommodations for the application process, please contact the membership team membership@spab.org.uk. Voting papers will be issued in The SPAB Magazine Autumn 2023.

Three of our Guardians tell us more about their experiences on our Committees.

Fleur Gordon, Head of Skills & Craft at the National Trust and SPAB Guardian on the Technical & Research Committee, says:

“I joined the Technical & Research Committee about halfway through 2022 and have been made to feel very welcome and that my contribution to the committee is valued. Discussions are

Katie Hood, Senior Project Engineer at Narro Associates, 2022 SPAB Scholar and SPAB Guardian on the Scotland Committee, says:

“As a recent recruit to SPAB Guardianship in Scotland, I feel lucky to be part of a dynamic committee full of interesting people who care about and are fascinated by our built heritage. It is great to feel I can contribute to this committee and its work to improve the care of historic buildings across the country. The team is currently investigating how we can support the soon-to-be new owners of the many historic churches that will be sold off by the Church of Scotland and what we can do to make sure the community heritage held in these buildings survives their transition to their new life.”

Katie Hood

John Copping

Fleur Gordon

Photo John Copping

Photo Serena Gildea

Photo Fleur Gordon

A PA SS IO N FOR HER ITAG E

Sally Strachey Historic Conservation Ltd

Award-winning, Icon-accredited specialists in the conservation of historic buildings, monuments, sculpture and decorative surfaces.

We provide a full range of services – from survey and consultancy to the delivery of complete projects as a specialist main contractor.

SCHOLARS AND FELLOWS

Introducing our 2023 Scholars and Fellows

Our renowned training schemes nurture talented conservation professionals and craftspeople. Meet this year’s cohort

SCHOLARS

Laura Brain is an architectural assistant from Nottingham. Laura’s career in the built environment has spanned many disciplines; her architectural training acting as a springboard for freelance creative roles and later for developing and leading retrofit projects in the charity sector. She loves using her hands to create beautiful things, particularly working with natural materials. Her passion for building conservation is matched by a dedication to sustainability – and a conviction that the two fields are fundamentally interdependent.

Genevieve Gorham is an Oxford-based architect who’s been working in a conservation practice for the past five years. Alongside practice projects, Genevieve is engaging with a more global view of cultural heritage and joins the Scholarship from an internship with the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) focusing on the ongoing restoration works in Mosul, Iraq. Genevieve enjoys conversations across a breadth of topics, and is hoping to further her comprehension through continual hands-on learning. Genevieve enjoys the outdoors and is aiming to complete her first ultramarathon this summer.

Lewis Hobbs is an architectural assistant from Dudley. Lewis’ current experience involves working on listed buildings, churches and cathedrals across the country with Stephen Oliver. Based in Birmingham’s Jewellery Quarter, he has a keen interest in lettering/letter cutting and timber framing, and the traditional skills associated with this. Outside of work Lewis is an avid kayaker, swimmer and runner, who enjoys the great outdoors. He also likes bookbinding in his spare time.

Photo Ralph Hodgson

Above Catharine Bull, Scholarship officer (top right) and Pip Soodeen, Fellowship officer with the 2023 Scholars and Fellows (from top to bottom) Lewis Hobbs, Laura Brain, Genevieve Gorham, Dan Cheetham, Fred Palmer, Jack Buchanan, James (Oz) Osborne and Kate Longworth

T+44 (0)1458 832441

Detail from The Colquhoun Chapel, Brookwood Cemetery: During 2019 SSHC undertook a full programme of conservation cleaning, repairs, replacement masonry, re-plastering and fabrications – internal and external.

Fred Palmer is an architectural assistant from Dudley. He has a passion for old buildings, the outdoors and drawing. Throughout his studies and architectural work, Fred has been able to learn practical skills by working alongside skilled tradespeople on construction sites, his last place of work being at design & build architect’s practice. He has studied sustainability and is interested in the ecological challenges we face. He also likes cooking all kinds of food.

FELLOWS

Jack Buchanan is a stonemason from Glasgow. His 14 years working in stonemasonry – and more broadly in conservation – have demonstrated a steady and conscientious approach to the craft, and his all-round capability. As well as respecting the need for conservation and maintenance of the historic, Jack can be trusted to have a sympathetic light touch where repairs are required. Now, still curious to engage in a life-long learning curve, he’d like to raise the profile of the built environment, particularly to younger cohorts.

Kate Longworth is a bricklayer from Hull. Kate made a radical change of career in 2018 and began a brickwork apprenticeship with the Canal and River

SPAB SCOTLAND

Trust. Totally falling for the craft and with a desire to develop her knowledge and skills further, she then undertook the Prince’s Foundation’s Building Craft Programme. For the past year Kate has been a self-employed bricklayer, working predominantly for Simpson Brickwork Conservation Ltd on projects at Hampton Court Palace and Kensington Palace Orangery.

Daniel Cheetham is a carpenter and millwright from Market Rasen. He describes his interests as multifaceted – carpentry, stonework, ironwork and engineering. Daniel has worked and volunteered on a number of heritage building projects, pursuing further

understanding of ancient crafts while he was employed in the Fire Service. Now his vision is to fuse his interests and experience to work on mills and local vernacular buildings.

James Osborne (known as Oz) is a conservation blacksmith whose career has found him working all over the country. He is now settled in Shropshire, heading his own blacksmithing conservation business. Oz is always looking to learn new skills that can help him develop his role. He applied for the Fellowship programme because it is the perfect opportunity to gain the experience to further his career in conservation.

Could you be a Scholar or Fellow in 2024?

We’re recruiting! The Scholarship is a nine-month, hands-on training scheme for conservation professionals, usually architects, surveyors and engineers (though other disciplines in the repair of old buildings may be considered). The Fellowship is a six-month training scheme, in three blocks of two months, for craftspeople. Both courses are undertaken on site through visits guided by experts. There are no essay submissions or formal assessments. The deadline for Fellowship applications is Wednesday 27 September and Scholarship applications close on Tuesday 10 October.

Find full details on our website or email education@spab.org.uk to contact the programme organisers.

A secure future for the Laidhay Cruck Barn?

SPAB Scotland was very sad to learn of the collapse of the Laidhay Cruck Barn in Caithness in the far north of Scotland. The rush thatched roof collapsed overnight in late March, with the cruck frames pushing outward and falling into the main space of the barn. Part of a wall has also collapsed, though the gables remain secure for now.

The Laidhay Croft Museum incorporates the modified longhouse of the main building – the dwelling, with the stable and byre at each end, the detached

barn with the original cruck roof and a cart shed to the south. We were contacted by the museum asking for advice about who might be able to assist with repairs which we gladly gave. In cases such as this, it is important to engage a conservation accredited professional team as early as possible, to avoid any unnecessary loss of fabric. We hope that the Society will be able to help in other ways and are in close contact with the group about their repairs, but understandably the conversation remains with the insurers at the time of going to press.

We are one of the oldest and most trusted companies in Cambridge employing and direc ted by S.P.A.B fellows. Pride and qualit y is in ever ything we do.

Traditional stonemasonr y sk ills passed down through nine generations in the craf t, are combined with cutting edge technology to better enable us to carry on look ing af ter the masonr y fabrics of our historic buildings.

Proud to have helped restore and conserve Ancient Buildings and Monuments for over 130 Years

Hibbitt & Sons (Masonr y) Ltd was established in 1890

Covering Cambridgeshire, Suffolk , Nor folk Essex, Bedfordshire, Lincolnshire, Rutland, Nor th & East London

Above The Laidhay Cruck Barn after its recent roof collapse

Photo Stewart Cameron

PROJECT UPDATE

Windsor Castle anniversary

After the recent focus on the King’s Coronation at Westminster Abbey, we reflect on the remarkable reconstruction of Windsor Castle undertaken just over 25 years ago for the late Queen.

20 November 2022 was the 25th anniversary of the successful completion of the post-fire repairs programme at Windsor Castle, reported at the time as the ‘conservation task of the century’.

Sir Donald Insall recalls the cause and story of the fire and the project his firm, Donald Insall Associates, directed as Co-ordinating Architects:

“On 20 November 1992, a portable and powerful electric light was set down too near to a curtain which took alight, smouldered and then flamed into the roof space above, spreading rapidly along others which it adjoined and sending down flaming timbers to the stately rooms below.

The only-slightly delayed arrival of a fire tender from a training exercise elsewhere enabled rapid attention, but fire is greedy in its all-engaging appetite and rapidly spread. Fortunately, the skill and bravery of the firefighters enabled its containment by the equivalent of an indoor waterfall, but whose results were in turn a major additional problem in dealing with repairs. More than a million gallons of water were needed which involved months of careful drying out, with protracted monitoring and use of dehumidifying equipment, for water is ever the enemy of buildings.

An important aspect of the programme was the way in which decisions were guided by painstaking initial research.

The storage, recording and analysis of features, such as fallen decorative plasterwork, served as valuable evidence of interiors otherwise lost and enabled their accurate restoration incorporating much of original work. This in turn was followed by reliance upon respected and trustworthy repair principles, and the careful onsite management of a very wide range of specialist trades and crafts.

The work was happily completed in exactly five years and within budget, just in time for the Golden Wedding anniversary of the Queen and HRH the Duke of Edinburgh. Today one and a half million people visit the castle each year to enjoy the outcome of this remarkable restoration project.”

Above left The Grand Reception Room after the fire Left The Grand Reception Room following restoration

Above Post-fire devastation

Above Surviving plaster fragments re-incorporated by hand into new plaster ceiling Photos Donald Insall Associates

Appreciating the Aesthetic

Craig Fabian recounts the painstaking conservation work he and his wife, Alison, have undertaken to create a much-loved family home in Kircudbright, Scotland

THE HIGH STREET IN THE heart of the small harbour town of Kirkcudbright in Dumfries and Galloway sits on a well-drained gravel ridge in a small triangle of land enclosed by a bend in the River Dee and a tributary creek. It has seen many layers of settlement since at least medieval times but is today dominated by the 17th century Tolbooth and surrounded by a jumbled streetscape of mostly Georgian and Victorian town houses.

We felt lucky to buy No 27 because at the time houses rarely came up for sale in the street. The surveyor described the dwelling as a “tired little house”, adding that only the window frames were holding the lintols up and we should only buy it if we were prepared to replace the roof. Despite its poor exterior condition and several phases of internal alterations, much of its original character remained unspoiled. Daunted but determined, our journey began.

TIME IS OUR FRIEND

In a bounce of serendipity, I worked near to the SPAB office in Clerkenwell at this time and often called in during lunch breaks to gather information and talk to their experts about the care and conservation of old buildings. Realising now just how naïve we were, we soon decided we would need professional help if we were going to give our house the stewardship it deserved. This is how we found our architect, Bob Heath, who became our mentor. His very first piece of advice: treat time as a friend and not an enemy. Despite its sad condition, No 27 had already survived more than two centuries. It wasn’t going to fall down any time soon.

Bob’s belief in doing as little as possible but as much as necessary became our mantra for the first few years. We made a few repairs –replacement slates here, a bit of leadwork and painting there – but not much else. And then we just enjoyed the house. We learned its character through the seasons: following the sun around and watching how it played into different

rooms. We observed the thermal performance of all the spaces; thought about how we might use each room; what furniture might suit; where we would place modern equipment like the TV and audio for the best acoustics. We took joy in discovering how each season changed things: the front of the house is cosy in the winter and cool in the summer, the front dormers are flooded with sunshine until late in the day.

RESCUING THOMAS’ HOUSE

Built in 1755 by Thomas Reid, a Baillie of Kirkcudbright, the classic doublefronted design would have been one of the grander houses on the High Street, reflecting his status. But as demand for housing grew in this finite parcel of land, the house’s stature diminished. Split into two houses in 1830, a new front door was punched through and rooms were divided up to make more accommodation. Each half of the building developed to the taste of separate owners: one half painted yellow, the other in exposed whinstone; one side with sash windows intact, the other with astragals removed. Dormers were added in 1939 and a rear lean-to coal store

in the 1970s. This was our sad ‘before’ picture.

Our plan was to restore the house to its original Georgian layout and rescue its true character, especially the front elevation. Following the SPAB philosophy, however, we recognised that the later developments were part of the house’s story. They were added for a reason in the past, and they could suit our needs in a family home for modern living in the future. So, we kept them. One dormer room became a study, the other a guest room. The coal store could serve as a utility room to keep noisy white goods behind closed doors away from

Left Kitchen

Hand-pigmented limewash provides a backdrop to a contemporary kitchen design

Below left Snug

Hand-pigmented limewash creates a sense of warmth in a rear scullery remodelled as a snug

Below Study

Dormers are an ugly visual adjunct to the front elevation but provide ample space and light for a study

the dining area. The original square plan of the master bedchamber could optimise the experience of watching TV and listening to music – the acoustics were perfect. This in turn liberated the original dining room to start a new life as a sitting room, sometimes for conversation and sometimes for peace and quiet. It all fell into place, and so we could begin to make our ‘after’ picture.

LEAP OF FAITH

Kirkcudbright is known today as The Artists’ Town and many of the older houses are painted in bright and varied colours to reflect this heritage. In

the Scottish tradition, ours had been lime-harled but now stood bare in the Victorian fashion of exposed rubble stone. After a great deal of deliberation and angst, we decided to make the greatest leap of faith in the whole project: Thomas harled his house and so we must do the same.

Lime work had a reputation for being messy, difficult and unreliable. But after searching far and wide, with help from the SPAB, we found a man who could do it: Dr Tim Meek. With Bob’s encouragement and Tim’s experience, backed up by a seriously impressive portfolio of past projects going back many years – all still looking good – we jumped into ‘the great lime experiment’. Tim created a sand-coloured limewash over the harl and we painted the woodwork in a traditional pea-ish green. Thomas might not have recognised this colour scheme, but it contributed to The Artists’ Town aesthetic. Excited and encouraged by the results, we carried limewash through to all of the interior rooms we had remodelled. We feel we have weaved a connection between the character of the house that Thomas knew, the accumulated heritage of Kirkcudbright’s streetscape and a fully-functioning modern family home. From start to finish, we’ve loved the whole thing.

Photos Craig Fabian

Above Exterior before: Classic double-fronted Georgian design split into two houses in 1830 with over-sized dormers added in 1939

Top Exterior after:

Scottish harl and hand-pigmented limewash contribute to The Artists’ Town aesthetic

COURSES & EVENTS

We’re adding new courses and events all the time so visit the What’s On section of our website for more information. To receive regular updates about our new courses and events direct to your inbox, sign up:

Research, Repairs and Restrictions at the Old House Project

ONLINE TALK

Date: 29 June 2023

Time: 13:00-14:00 (BST)

Price: £6 per person - SPAB member £7 per person - non-member

In November 2018, the SPAB bought a Grade II*-listed building at risk in Kent and embarked on a repair project bigger than any it has attempted for many decades. The third in a collection of online talks celebrating our Old House Project, this lecture will highlight how the SPAB made progress on the project during the height of the Covid pandemic and overcame other early problems and restrictions.

When the SPAB purchased former St Andrew’s Chapel, it had been unoccupied for 50 years and was hidden behind an overgrown garden. Vandal damage had left the site vulnerable, and parts of the roof were leaking. Special Operations Manager, Jonny Garlick, and Matthew Slocombe, SPAB Director, will discuss our approach to tackling the vital roof and chimney repairs to this unique building, as well as the structural stabilisation of the west wall. They will also introduce the

The Repair of Old Buildings Course

ONLINE COURSE

Date: 13 - 17 November 2023

Price: £805 per person

The SPAB’s flagship course, run since the 1950s, will be taking place online once again this autumn. During the coronavirus pandemic it was held virtually and shortlisted in 2022 for the Museums + Heritage Awards Best Use of Digital (UK) category. Following the ongoing popularity of the online course, and in keeping with the SPAB’s commitment to sustainability and inclusivity, we will continue to hold it in this format each year. Run over five days, the course offers a combination of recorded and live

presentations, virtual site visits, live speaker Q&As and downloadable resources.

Presented by leading building conservation professionals, this popular course considers British and international approaches to the conservation of old buildings. The SPAB

philosophy of repair and maintenance – established by William Morris in 1877 –underpins its programme of case studies, presentations and site visits. We welcome students and professionals interested in deepening their understanding of old buildings, and who may be interested in developing work in this area.

“IdolikethattheQ&Asessionsandlectures arerecordedsoIcangraspandlearnmore inmyownpace.Icanenjoyandabsorbthem allwithouttheworryofslownessintaking notes.There’ssomuchinterestingstuffto takeinandlearn,andIreallyappreciatethatI cangobacktothemagain...ThankyouSPAB foragreatcourseinconservationandwell doneforthisonlineplatform.”Online Repair Course delegate (2021)

Lime Plastering Courses at the Heritage Skills Centre, Coleshill

We are delighted to return to the Heritage Skills Centre, Coleshill, for our third year of popular lime-themed courses in association with the National Trust.

An Introduction to Ornamental Lime Plastering

Date: 9 - 10 June 2023

Venue: Heritage Skills Centre (National Trust), Coleshill Home Farm, near Swindon Price: £495 per person

This course is ideal for people with plastering experience, and particularly working plasterers who are keen to expand their skill base. Working in a small group with three experienced tutors, this two-day course will include a demonstration of making a running mould and provide a practical introduction to running a cornice in situ and forming external and internal mitres. There will also be

instruction on casting and fixing enrichments as well as running fibrous plasterwork formed ‘on the bench’.

“Itwasexcellent,suchapositiveexperience. Ireallyappreciateallthetimegivenbythe tutorsandeveryoneinvolvedinmakingthe coursehappen.Itwasperfectlyorganisedand welltimed.”Course participant (2022)

An Introduction to Plain Lime Plastering

Date: 6 - 7 October 2023

Venue: Heritage Skills Centre (National Trust), Coleshill Home Farm, near Swindon Price: £495 per person

Bursaries available

This popular, practical course covers the mixing and application of lime plaster to lath, masonry and modern substrates, which includes pricking up and base coats, float coats and setting coats. It provides a brief introduction to running a cornice in situ.

Photographing Old Buildings:

An appreciation of textures, details, space and light

ONLINE WORKSHOP

Date: July - September 2023

Price: £105 per person

Our popular old building photography online workshop returns this year. Whether you photograph old buildings for work projects or leisure, this four-step workshop is an opportunity to receive professional guidance on techniques and composition to develop your appreciation of the space and light of old buildings and to boost your confidence in photographing their textures, details and

Ideally, course participants should have practical plastering skills, and experienced plasterers used to working in gypsum will particularly benefit from the course. We also welcome anyone interested in learning about plain lime plastering for their home or old building(s) under their care. The tutors are knowledgeable lime plasterers with decades of onsite experience.

features. Spaces on this workshop are limited to allow for small group discussion. The workshop assumes familiarity with a digital SLR or mirrorless camera and photography basics. Certificates of attendance for CPD purposes are available on request.

“Thecourseexceededmyexpectations, helpingmetobetterunderstandsome ofthegeneralprincipalsofarchitectural photography,butalsohowtobemore criticaloftheimagesIcreateanduse. Itwasverygoodvalueandwell-paced, givingtimetoabsorbtheinformation andapplyitpractically.” Online workshop participant (2022).

Photo Christian Montez

Photo Ralph Hodgson

Photo Christin Hume, Unsplash

Photo Abigail Lloyd

Photo SPAB

research applied by the project team to better understand local lime, ragstone and septaria, which was used in the early repairs to the site.

If you cannot make the live talk, but wish to watch it on demand, advance booking is required.

CASEWORK CAMPAIGNING

In its casework the SPAB gives advice to planning authorities, owners and professionals. Cases arise from information received about neglected buildings or planning proposals. Councils in England and Wales are obliged to notify the SPAB of applications involving demolition work to listed buildings. We also hear from parishes, dioceses and cathedrals when certain works to listed churches are proposed. Casework is one the key ways the SPAB campaigns for the future of historic buildings.

KING’S COLLEGE CHAPEL CAMBRIDGE

Christina Emerson

There are few nowadays who would call into question the overwhelming evidence of global warming, or the need to reduce carbon emissions if we are to address the climate emergency. But should sustainability considerations trump all others? Even if it would mean changes to one of the most iconic buildings in the land? Or is there a balance to be struck, and if so, how does one go about assessing harm versus benefit?

These were the difficult issues that the SPAB casework team had to wrestle with recently when we were asked to comment on proposals to install solar panels on the roof of King’s College Chapel, Cambridge.

The Grade I-listed chapel is of international significance as an outstanding example of the craftsmanship of the late Perpendicular period. Built between 1446 and 1515, its lead roofs have been renewed a number of times, and it was the need to replace the current roof and carry out essential repairs to the roof structure which prompted the college to consider the possibility of installing solar panels as part of the works.

The proposal was for an array of panels that would occupy the entire surface area of both the north and south roof slopes and so the impact on the roof, the building as a whole and the wider college estate was a key consideration from the outset. The Society was able to satisfy itself at a fairly early stage that there would be minimal harm to the historic fabric of the building thanks to a carefully designed fixing arrangement.

Assessing the visual impact was less straightforward, with opinions varying widely as to the extent of harm that would result. We asked for details of the panel fixings and the panels themselves, and advised that a mock-up installation would be essential. Commendably, the college carried out a considerable amount of work to both minimise the visual impact of the installation and facilitate assessment of that impact.

The panel specification is one that seeks to minimise impact by employing an all-black panel and frame and a panel with low reflectivity. The array has been moved further down the roof slope than originally proposed in order not to obstruct the view of the ridge line. The provision of in situ mock-ups was helpful and we were able to visit to view these. We concluded that the panels will be slightly visible through the perforations of the parapet, but that this will not be obvious to most taking in a general view of the building. We also noted that, as the panels would cover the whole of the slope, there would be no contrast between the lead and the Photovoltaic (PV) panels, a factor which may help to reduce the visual impact.

We were, however, struck by the way that the reflective

surface of the panels changes as clouds pass overhead, showing as white with cloud cover and black when the sky cleared. While there has been some debate as to the extent of reflectivity of the panels, this would seem to be primarily around the technical definition of reflectivity. When observed on site, it was beyond doubt that they are reflective of the changing weather conditions overhead, and that this would give them a dynamic nature that is very different to the more static and recessive nature of a lead roof. With arrays in place, the roof would become a more prominent feature of the building. We considered that this alteration of the balance of architectural composition would result in a measure of harm to the architectural significance of the building. However, in our

view, the level of harm would be less than substantial and might therefore be acceptable if a clear and convincing justification can be provided.

In examining proposals for listed buildings where the justification is framed primarily in terms of carbon reduction, we aim for a balanced approach. We recognise and support the need to improve the sustainability of buildings of all ages. Where there are clear and convincing public benefits in terms of sustainability, we accept that a measure of harm may sometimes be justifiable to achieve this. Equally, if an applicant seeks to justify harm to the significance of a designated heritage asset on the basis of sustainability improvements, the public benefits in terms of carbon reduction must be clearly demonstrated.

The next step in the process was therefore to scrutinise the information provided by the college in respect of potential carbon reduction. Our casework team met with the applicant’s agents alongside the Society’s sustainability expert to discuss this aspect of the application in detail.

The technical dimensions of the application alone could fill many pages, but the key consideration here was the absence of evidence that the college had an adopted and funded sustainability strategy. While we recognised that the college has carried out a number of actions in this respect, we felt that more evidence was needed of a holistic approach explaining what other actions the college intends to take to reduce carbon emissions. We thought this was particularly important given that the reduction in emissions that would result from the solar panels is in the order of 1.4% of the college’s total consumption. We would have wished to hear what other measures involving lesser harm the college intended to take. Examples of this type of action might be better draught proofing, using LED lightbulbs and installing thermostatic valves on radiators. A further concern related to the benefit of the north side array, which we felt had not been demonstrated clearly enough.

Ultimately, having undertaken a very thorough review, we concluded that, while we were supportive of the principle of the proposal, we did not consider the justification for the harm caused to be sufficiently robust in this case. The chapel is an iconic building of international importance and a destination for many visitors to the city. The justification for any harm must therefore be of the highest standard and the balance in favour of public benefit over harm must be significant and beyond doubt. Were the building in question less important and prominent then it might perhaps have been possible to accept a finer balance.

Despite a recommendation to the contrary by planning officers, Cambridge City Council recently consented to the scheme, as did the Chancellor of the Diocese of Ely.

In examining proposals for listed buildings where the justification is framed primarily in terms of carbon reduction, the Society aims for a balanced approach. We recognise and support the need to improve the sustainability of buildings of all ages

Photo Jean-Christophe Benoist, via Wikimedia Commons

King’s College Chapel, Cambridge

21-23 LOWER TOWN SAMPFORD PEVERELL, DEVON

Rachel Broomfield

The two properties at 21-23 Lower Town form two-thirds of a 15th/16th century open hall house, the other third at No 19 being in separate ownership. The property was subdivided into three cottages in the early 19th century but now houses two dwellings and was recently listed Grade II as the surviving fabric indicates it was of high status.

The new owners want to undertake a variety of works including the improvement of the fire and sound separation between the properties. However, it is proving to be difficult to find a way this can be done sensitively and ideally reversibly, with the minimum level of harm while providing both properties with one hour’s fire protection.

At present the property is divided along the line of the 16th century plank and muntin screen on the ground floor, which is visible in No 19 but mostly hidden by a lath and plaster wall in Nos 21-23 (although it can be seen in an understairs cupboard). On the first floor the party wall consists of late 18th/early 19th century lath and plaster, and there is a party wall in the attic on the line of the cross-passage chimney.

The proposals are to remove the 19th century staircase in

the living room that sits against the screen on the ground floor and the associated partitions on the first floor. A new 215mm thick dense brick or block fire wall would then be built running from the ground floor to the ridge of the roof. This would sit on a new concrete foundation (the ground floor in this area is already concrete) and there would be a 50mm gap between the new wall and the screen. The existing 17th century floor joists will be retained but wrapped in intumescent fire resisting material where they pass through the new wall.

Although the SPAB and Historic England fully support improving fire and sound separation, we wanted to see if there were less harmful ways of achieving this. Following our initial comments, the architects helpfully provided details of all the options they had considered. We have sought further advice and Historic England has discussed the matter with its National Fire Adviser. We have encouraged the architects to consult a fire assessor who is experienced with historic buildings. Historic England has suggested looking at a framed fire wall and possibly combining this with a sprinkler/misting system. We have both advised that a discussion with their neighbours at No 19 would be beneficial as it may be less harmful to make smaller adjustments to both properties.

This is a wonderful house and we support the proposed sensitive repairs. We hope that an experienced fire assessor will be able to suggest alternative options for fire and sound separation and look forward to working with the applicant to find an appropriate solution.

Front elevation of the 15th/16th century 21-23 Lower Town, Sampford Peverell, Devon

Photo Tim Green, via Wikimedia Commons

2 HOYLE HOUSE SOWERBY BRIDGE, WEST YORKSHIRE

In any circumstances, a proposal to replace an entire historic first floor and roof structure of a listed building represents a significant and harmful intervention. A recent listed building consent application for a Grade II-listed house in the Calder Valley proposed to do just that, and more, as part of a proposed scheme of refurbishment and repair.

No 2 Hoyle House is one of four dwellings created when a fine farmhouse, believed to date from the early 17th century, was subdivided in the 19th century. The proposed scheme also included extension and alterations to the rear, demolition of the staircase and internal walls, and thermal renovation and damp proofing works, including lifting the ground floor.

The Society advised that the proposed works would have a harmful impact on the building’s significance and special interest, its structural integrity and fabric health. We also pointed out that the potential impact of the proposals should be considered in the wider context of the listed group of dwellings as a whole.

In addition, we raised concerns about the quality of the documentation accompanying the application. While a Heritage Statement had been included, it did not provide

an assessment of the building’s significance and did not properly address the potential impact of the proposals thereon. The accompanying Visual Structural Survey was insufficient both in terms of providing the necessary understanding of the structure and a clear and convincing justification for the proposed works. No independent analysis of the timbers and the reported damp problems had been provided and the application lacked a comprehensive suite of drawings.

While we warmly welcomed the principle of repairing and refurbishing the building, we advised that the proposed scheme would not be consistent with its conservation and that the works would cause substantial harm to and loss of the building’s significance and special interest. In our view, the applicant had not been able to demonstrate a clear and convincing justification for the intervention, or that there would be a substantial public benefit that would outweigh the harm.

The Society strongly advised that the applicant consider withdrawing the application, or that it be refused if it was not withdrawn. We also advised that the applicant seek the advice of the Council’s Conservation Officer, and that a detailed Heritage Statement, a detailed Structural Report (by a Conservation Accreditation Register of Engineers accredited structural engineer) and independent timber and damp reports be commissioned to help inform a revised scheme. We are pleased to report that the application has now been withdrawn.

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FALERONE

Falerone, an Italian town located in the central region of Marche, suffered heavily from a series of earthquakes which hit Italy in 2016–17. Its problems, however, started long before the recent natural disaster. From gradual depopulation, through economic decline to loss of artisanal traditions, Falerone can serve as a case study of the relationship of earthquakes to other signs of decline. There is a pressing need to help rural communities regain their self-confidence, and this research and design project explores whether external models can serve as an inspiration for Falerone.

Yet one ought to remain cautious of any strategies imposed from the outside – the process of rural revival should be conducted through careful rediscovery of local heritage, with cultural sensitivity, in order to connect any new architecture to its age-old context. The unique local heritage forms the basis for speculation about the years ahead. Could a new crafts school be established in Falerone, allowing local craftspeople to pass their skills on to new generations, stimulate the local economy (starting at the micro level) and generate tourism activities grounded in local culture? If so, what skills are needed there?

the earthquakes are an inherent part?

Perhaps some of the scars and cracks should be preserved to serve as a poignant reminder of the past, becoming a living memorial? And perhaps there is a potential to develop a new language of additive, ‘surgical’ architecture, where the contemporary timber frames serve a protective function, supporting and bracing the damaged medieval walls – but at the same time can be inhabited, framing new uses and reprogramming internal spaces.

Reflecting on the reconstruction of Merola tower in Puig-reig, Spain – a highly accomplished example of 21st century seismic architecture – Aoi Phillips noted that, “it is at once a restoration and a reinvention, adding an entirely new character to this local monument” (The Architectural Review, November 2020). There is a similar ambition behind this project, which additionally aims to explore the tension between high and low-tech solutions. It builds on the potential to create a modular timber frame system, easily modified, replicated and recycled, with various elements prefabricated and quickly assembled on site.

Recovery and Regeneration: Crafting Falerone’s earthquake-resistant future

How to live with earthquakes?

This project focuses on the future of Falerone, a medieval Italian town damaged by a series of tragic seismic shakes in 2016-17. This strategy for resilient conservation and its gradual re-inhabitation has been developed in close dialogue with the local community, authorities, architects and engineers. A new, experimental crafts school is proposed to allow local craftsmen to pass their skills on to new generations and to stimulate the local economy based on sustainable know-how.

It is proposed to readapt the damaged medieval San Francesco monastery to become a new educational institution that will be an experimental hotbed to develop earthquake-resistant construction techniques. To facilitate this the architect has to move beyond the boundaries of conventional practice and become not just a designer, but a civic leader – a mediator between the citizens and authorities and a catalyst for moving projects from concept to completion. In a context as complex and delicate as this one, the architect has to find ways of engaging communities in the process of reconstruction – physical reconstruction of urban fabric, but also symbolic reconstruction of place identity.

HERITAGE CONSERVATION

How do we insert new fabric into the old and respect layers of history, of which

With the new structures woven into the ancient fabric and extending it, reconfiguring internal spaces, binding the damaged fragments but leaving the whole ‘incomplete’ and open for future adaptations, Falerone’s craft school would clearly manifest its new function and identity, becoming an ever-evolving work in progress. According to Cornelius Holtorf, “cultural heritage management [should] be about managing change in an effort to protect value and significance rather than [be] about preventing change in a struggle to preserve the existing material heritage” (International Journal of Heritage Studies , 21:4).

This project therefore treats the reconstruction as a process rather than a product – hoping that architecture can initiate a deeper societal change, helping traumatised communities discover new meanings and values in their heritage.

In November 2022, the SPAB’s Philip Webb Award was given to the architect Michal Saniewski from the University of Cambridge. Michal introduces his prize winning project here

Above Damage in the Italian town of Falerone after the 2016-17 earthquakes

All photos Michal Saniewski

SUSTAINABILITY

Adaptive reuse forms the basis of not just architectural strategy but also the environmental design strategy behind this project. Retrofitting the historic structure will give it a new lease of life and recover the monastery for the local community. Most probably, there had been times in its history when the building was depopulated, repaired and populated again. The most sensible and sustainable way forward is to continue this cycle and keep mending its fabric. The design can be realised with locally available natural materials, primarily timber, bricks and straw.

This intervention would be implemented using sustainable strategies and reusing much of the original fabric whenever possible. New layers of straw insulation panels would be inserted between the existing walls to

form a fully insulated whole and increase the standard of thermal performance. Daylight would filter into the interior through the junction between the existing and added structures, emphasising the junction between the old fabric and new insertions. A ground source heat pump and solar panels on the south-facing pitched roof would provide energy. The building would be naturally ventilated using ventilation stack effects to the maximum. In this way, the existing and found structures on the site would be retained to their greatest extents.

Importantly, the project responds to three themes of the New European Bauhaus which supports such local initiatives, paving a way for future development and funding opportunities: Renovation of existing buildings and public spaces in a spirit of circularity

opportunity to restart, should be the starting point of any new urban plan in this delicate context.

At the Triennale di Milano, Stefano Boeri rightly emphasised the importance of “a unitary and shared vision of what is being built and an interdisciplinary approach that integrates architecture, engineering, urban planning, scientific research, university knowledge and skills related to the specificities of the territory” (Ricostruzioni. Architettura, città, paesaggio nell’epoca delle distruzioni, 2018).

An open and creative exchange of skills and knowledge between generations could form a basis of a new perception of heritage as a resource –heritage which is constantly ‘in use’. In the spirit of Giancarlo De Carlo’s philosophy of participatory design, the new educational institution could become a platform for regenerative

urban experiments, “encouraging the public to be urbanism’s ‘protagonists’ rather than its objects”, reframing “planning as a civic process, not the pursuit of ideal or functional forms” and calling “for ‘self-realising plans’ that emerge like ‘chain reactions’”. (The Architectural Review, January 2014).

FIELDWORK

Between July 2021 and January 2022, I conducted intensive fieldwork which was a key phase of this project. For six months I had been living and working in Marche, doing on-site research and performing a series of experiments in collaboration with the local community, municipal authorities and Italian universities. From interviews, debates, craft workshops with Italian artisans, through various kinds of structural, urban and social surveys and mapping studies, to material prototyping, it had

Below San Francesco section

and carbon neutrality; Preservation and transformation of cultural heritage; and Regeneration of urban or rural spaces.

COHESION

While it remains clear that reconstruction of monuments and architectural symbols linked to the collective memory of the place is crucial; one first has to ensure the safety of the town, taking into account all hydrogeological and territorial conditions. Equally essential for reconstruction and in some ways complementary to the theme of security, is to ask where daily life can start to flow again, creating opportunities to reconcile communities with those territories that have been a source of suffering. Living with the trauma, transforming it into an

Equally essential for reconstruction and in some ways complementary to the theme of security, is to ask where daily life can start to flow again?

Left San Francesco plan

been an exciting time of discovering what is often invisible to the eye.

As a postgraduate student at the University of Cambridge and a Visiting Research Fellow at Università Politecnica delle Marche, I have been collaborating with Professor Antonello Alici and a group of young PhD students. Together we organised a conference and workshops as well as summer schools in Falerone under the Living with Earthquakes title. As a result of these initiatives, an offcial Heritage Community was established in Falerone and the town prepares to join the European Faro Convention Network which seeks creative ways of developing and managing cultural heritage with active involvement of local citizens.

Any sustainable regeneration scheme needs to begin with a participatory planning process – a community map can be a good starting point, prompting people to re-evaluate their everyday environment. There is a lesson to be learnt from Giancarlo De Carlo’s experiments – methodologies developed in the 1960s were often more radical and innovative than those used today. Such processes bring communities together and can help facilitate recovery from a collective trauma, such as the effects after the 2016 earthquake when two and a half minutes during the night changed the life of whole towns.

COMMUNITY INVOLVEMENT

Designing in post-disaster contexts, architects can’t forget that public spaces can be vital in increasing social cohesion and a low budget is not an excuse for not realising the potential. Through anthropological field research, I discovered how much pride Italians take in their civic life, exhibited at festivals, carnivals, markets and communal dinners. Historic towns always provide space for their communities to gather. In a village of isolated temporary houses, without a piazza, they will never feel at home. The reconstruction process should be used as an opportunity to add value beyond what existed before the earthquake, as this project aims to do.

Exploring possible new functions and uses of currently empty spaces and damaged buildings in Falerone, I invited the local community to participate in the act of psychogeographic mapping and thus rediscovering and re-

evaluating the town on different levels. The first step was to look closely at the materiality of the place and to draw together selected fragments of Falerone in 1:1 scale on A1 paper. Simultaneously, to discover what is invisible to the eye, we recorded the sounds of the town and graphically analysed the play of shadows in between medieval walls, providing relief in the summer heat. Another interesting exercise was mapping seismic damage of buildings –the wounds of Falerone. The climax and most exhilarating experience was the creation of the ‘mappa di comunità’. As the community gathered around the giant (6x4m) map laid on the floor, they were asked to mark places which have

played important roles in their lives, and to write down or draw memories related to them. This artefact sparked discussions about the past and the future of Falerone lasting the whole day, connecting the local community in a very special way. Soon, the citizens who previously had not seen much hope for their town, started discovering the hidden potential and suggested many new ideas for reinvigorating neglected urban spaces, among them the symbol of Falerone, San Francesco.

LOCAL SOLUTIONS TO GLOBAL CHALLENGES

“It’s the forefront of modernisation – something that we thought the city

covered by marginalised inner territories. However, this process has to be driven by a deep rethinking of productive models and lifestyles. Hopefully, this project can become one of many voices in this discussion.

was. The countryside is still the place where new ideas and experimentation actually take place” (Countryside: The Future, Guggenheim Museum, 2020).

It is clear that Italy needs to rethink its rural regeneration on a national level. Is it possible to develop a systematic approach in the aftermath of earthquakes and the pandemic? Are earthquake survivors going to return to their towns? Will city-dwellers of today become the villagers of tomorrow? As the European and national funds are flowing in and people are waiting for answers, it seems that Italian politicians are in a unique, almost historic position to redefine their vision for the future of the Apennine peninsula – largely

The Italian countryside, perhaps more diverse than in any other European country due to its tangled history, has plenty of cultural richness to offer. Yet to keep the heritage alive, local communities have to be continuously involved in its management. When heritage is not in use, it dies. This project aims to show that, once the inhabitants are offered an opportunity to voice their needs and play a role in shaping the future of their towns, the sense of attachment to place grows stronger and they are willing to dedicate time and effort to develop their local economy. Could Falerone become an experimental hotbed, an example of sustainable, community-driven reconstruction of urban fabric and place identity? The new crafts school could be an opportunity to achieve just that, stimulating collaboration not just with other towns and universities, but with regional authorities and even with the EU. I very much hope that members of the new Heritage Community will soon become protagonists designing a future they wish for.

The Philip Webb Award First awarded in 1993, the Philip Webb Award sets early-career architects a brief to design a scheme which sympathetically revitalises an historic building for reuse through careful repair of existing fabric and a significant element of new construction in a contemporary design. It is named after the architect, designer and co-founder of the SPAB, Philip Webb. Applications for the 2024 Award will open in spring 2024.

Photo Francesco Paci

Could Falerone become an experimental hotbed, an example of sustainable, community-driven reconstruction of urban fabric and place identity?

Top 1 to 20 scale model of San Francesco

Above Palimpsest collage

Left The ‘mappa di communità’ with members of the community and Michal Saniewski (second from left)

Below left Seismic protective devices/ timber woven vault

Inspiration Personified: Remembering a remarkable architect

Penelope Adamson was a fine conservation architect, and with roots stretching back to the early SPAB and a knack for practical solutions, she inspired generations of young people to work with old buildings.

Nicola Westbury celebrates her life

THERE ARE FEW PEOPLE WHO might truly claim to sustain a lifelong passion. For Penelope Adamson, who died on 21 March 2023, her involvement with old buildings was just that. This article is an update of one published in 2011 when she celebrated her 90th birthday and her long connection with the SPAB. Penelope continued to support the Society enthusiastically and encourage the interest of so many people. With typical reticence, she had agreed to talk about her life only once she was persuaded that this might be helpful to others who care for old buildings.

The SPAB connection with Penelope was longstanding for her father was the

architect John Macgregor who practised with Thackeray Turner and A R Powys, both SPAB Secretaries in the early part of the 20th century. Penelope was born on 24 July 1921 in London, the second eldest of four daughters. John was a practical, hands-on architect with an Arts & Crafts background – his father was the Pre-Raphaelite artist and sculptor Archie Macgregor. As a young girl, her mother, Janet, ran away to work in a munitions factory during the First World War, but was found by her father and sent to boarding school to learn to be a lady.

Penelope spent her childhood in St Peter’s Square, Hammersmith, and at Shalford Mill, Surrey, repaired by her

father for the National Trust. Early memories include visiting Montacute House, Somerset, with her father for the SPAB before it was presented to the National Trust in 1931. Penelope remembered her father showing and explaining architectural drawings to her. Her first schools, chosen by her free-thinking mother, were disastrous although her education improved later at Kensington High School.

In 1939, just as the Second World War began, she went to the Bartlett School of Architecture, London, which then joined the Cambridge School. Lectures by A R Richardson and visits in his Austin Seven car gave to Penelope her deep appreciation of the restful atmosphere of ancient churches. At Newnham College, she and fellow architect Barbara Auld became lifelong friends. Looking back on a time when there were even fewer women architects than there are now, Penelope reflected that she was the only one in her group who ended up practising for herself.

On joining the Auxiliary Territorial Services (ATS), Penelope used her great energy and determination to teach physical education and travel with

exhibitions and she became an excellent rifle shot. This was all to avoid designing drainage schemes needed for the war effort. The horrific conditions that Penelope saw in back-to-back housing and a visit down a mine gave her some insight into lives less fortunate than her own. On VJ night, she hitchhiked home on a steamroller and later returned to London to complete her architectural studies.

After qualifying as an architect, Penelope’s first job was in Ebury Street, Pimlico, central London. There she met Hamish Adamson, an architect just starting his own practice. From 1948, Penelope practised next to the SPAB offices – which were then in Great Ormond Street, Bloomsbury - with her father, eventually becoming a partner in the firm. Penelope recalled, still with obvious delight, her work with buildings such as Maltby-le-Marsh church and Doddington Hall, Lincolnshire. She felt that it was a privilege to meet high on a church roof the first SPAB Scholars after the war ended.

Meanwhile, in 1950, Penelope and Hamish had married and lived in Portman Street, London, where their

daughter, Kirstie, was born in 1953 and son, Alistair, in 1957. A year later, Hamish ceased practising and went to Cork, Ireland, to work for management consultants where Penelope and children joined him. In 1960, having moved for his work and with his family to a house outside Helensborough, Scotland, Hamish was killed in a car accident.

At this tragedy, Penelope rejected her mother’s urgings to return to practice in London. Instead, she chose to move to Shalford, near Guildford, and bought Watermill Cottage beside Shalford Mill. By then her sister Joanna, her architect husband Brian Bagnall and their children were living at the mill. Penelope combined single parenthood with architecture, forming her own practice Bagnall & Adamson. Back in the 1960s, women did not lead practices and, with a hint of frustration, Penelope recalled the situation which she saw as ridiculous, given that Brian much preferred being a cartoonist to working as an architect.

From 1968, a large variety of old buildings were repaired by the straightforward, practical methods

Above Penelope and Sonia Rolt in Italy

Top right Penelope with Philip Hughes (left) and Matthew Slocombe at the Greatham Working Party, 2016

SPAB Annual Repair Course visit to Houghton Regis in 1951, with Penelope (centre), her father John Macgregor (far left), the Earl of Euston (3rd from right) and Scholars

Penelope on her 80th birthday

Photo Alistair Adamson

Photo SPAB Photo SPAB

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employed by Penelope, aided by her habitual supply of coffee for all. For the SPAB, burnt out cottages at Sturminster Marshall were rebuilt and at Compton Abbas, Dorset, the church tower was repaired a little at a time, as funds permitted. Penelope also served on the SPAB Main Committee and the Technical Panel. Work for the National Trust included repairs to the River Wey bridges at Eashing, Surrey, and she recalled fondly repairs to several buildings in West Wycombe, Buckinghamshire.

Penelope began projects in the early years of the Churches Conservation Trust at around the same time as Catherine Cullis, later the SPAB’s churches officer. Penelope imparted to Catherine knowledge and practical advice. At Potsgrove church, Bedfordshire, a leaning wall was dramatically righted and at Albury, Surrey, the chancel was somewhat daringly reroofed. Penelope was palpably pleased at the eventual return

of Didmarton church, Gloucestershire, to the local community. At Edlesborough church, Buckinghamshire, Penelope introduced Philip Hughes, a former SPAB technical advisor, to succeed her. In the late 1980s, Sonia Rolt, then a SPAB Education Committee member, arranged for the current Scholars to repair to her Gloucestershire garden privy. Inspired by this, Penelope developed practical, hands on, useful projects for the Scholars and Fellows to carry out together whilst staying with her in Shalford. In this way, the Ockley ice house, Peper Harow cistern and Compton cartshed, all in Surrey, were repaired over several years. Much was learnt by those involved, enhanced by a swim in the mill stream, good company and discussions that went on well into the evenings.

Whilst characteristically altruistic, Penelope clearly appreciated the SPAB Esher Award she received in 1996. In her wish to help people, Penelope took after her father, John Macgregor, who was also

given the same award. Well into her retirement as an architect, she continued to enjoy seeing the Scholars and Fellows, keen to hear their news. Penelope was still taking people to see old buildings and enlivened their histories with recollections of her life. Many people reading this will have met Penelope and will be unsurprised that, whilst she slowed down into her 10th decade, her enthusiasm for old buildings remained unbounded.

Above Winterborne Tomson church west door, conserved by Penelope for over 25 years

Photo Philip Hughes

Above Penelope at the SPAB AGM 2011 with ‘Green’, the SPAB’s archivist

Penelope was important to many people at the SPAB and in the wider conservation world and made strong personal and professional friendships. Here, four colleagues and friends reflect on her myriad talents and achievements:

PHILIP HUGHES, PHILIP HUGHES ASSOCIATES HISTORIC BUILDING CONSERVATION CONSULTANTS

Penelope was dynamic, extremely enthusiastic, wonderfully warm hearted, and great fun. As an architect she was both inspiring and self-effacing. She worked at great speed, in fact she did almost everything at a pace that few of us could match.

Whilst I was on the SPAB Scholarship with Ian Angus and Shawn Kholucy, we spent two extraordinary days with Penelope, staying at her lovely cottage at Shalford, Surrey. On the first morning, 23 April 1981, Penelope announced that we would be visiting “a few local churches”. There followed an astonishing number of visits:

n Walminghurst church, Sussex, re-shingling the spire.

n St Andrew’s, Winterborne Tomson, Dorset (the church repaired by A R Powys in the 1930s and where he and his wife, Faith, are buried). Coffee standing around a table tomb.

n Lodge Farm, Pamphill, Dorset (a medieval hall house), being repaired and re-roofed in phases.

n Fiddleford Manor and Mill, Dorset, major carpentry repairs underway to the medieval, arch-braced roof structure (a project being undertaken by the Department for the Environment).

n Sturminster Newton Mill, overall repairs (Penelope’s very light touch approach made an interesting contrast with the work at Fiddleford).

n St Lawrence, Didmarton, Gloucestershire, meeting builder, Philip Gerrish.

n St. Nicholas, Ozleworth, Gloucestershire.

According to the AA that is 318 miles and over 5hrs 30 minutes driving time. There was barely time to take notes, but the day remains etched in my memory. We returned to Shalford and were ‘instructed’ to swim in the river whilst Penelope made supper. We protested that we did not have swimming trunks with us, and Penelope replied; “Never mind about that!”

ALAN GARDNER, NATIONAL SENIOR BUILDINGS CONSERVATION MANAGER, NATIONAL TRUST AND FORMER SPAB TECHNICAL DIRECTOR

I first met Penelope in 1995 when undertaking the SPAB Scholarship. She was the most extraordinarily enthusiastic life-force and whilst her 60 mph driving down single-track country lanes scared the “living daylights out of me”, her sensitive approach to historic building repair particularly of churches in the care of the Churches Conservation Trust, was truly inspirational. But, now knowing something of her personal history, I should not have been surprised at both her energy levels, skill and anarchic spirit. Her character was undoubtedly informed by her links to the National Trust (NT) as she lived in the cottage adjacent to the NT owned Shalford Mill, Nr Guilford (her sister living in the Mill itself). Her father was the remarkably influential SPAB architect, John Macgregor who was a close associate of the ‘Ferguson’s Gang’. The exploits of the latter, using Shalford Mill as their base, in the history of raising the profile of buildings at risk and fundraising for the NT are well described in The

Ferguson’s Gang: the remarkable story of the National Trust Gangsters by Polly Bagnall and Sally Beck. Whilst Penelope was too young to be a formal member of Ferguson’s gang, I have no doubt she would have been immersed in their activities and her personality informed by their antics.

I saw Penelope on many occasions after those first 1995 meetings, including at SPAB Technical events, but will always particularly cherish memories of swimming in the mill stream, followed by picnics and conversations on conservation philosophy. At a large 100th birthday celebration a few years ago, at her beloved Shalford Mill, we saw her being driven around in an open top Bugatti - the same model that she used for her project site visits in the 1950s and 1960s. At a time when women were largely alien on building sites it makes me smile to think about how her strong personality undoubtedly generated the respect of site teams. Penelope was a remarkable character whom I feel privileged to have shared time with.

Above Penelope and Philip Hughes at Edlesborough Church, 1991

Left Lodge Farm, Pamphill, 23 April 1981

Photos Philip Hughes

A few years later, Penelope introduced me to work on churches, initially shadowing and then assisting her. In this way she gradually passed appointments to several buildings on to me (as she did to others as well). This helped hugely in the early years of my career and ensured continuity for the buildings, passing on the baton. This was part of the process of transferring received wisdom from one generation to the next, a process which was very much encouraged by the SPAB.

From the projects we worked on, the things that stand out were; her speed of decision making, aiming to do the least amount of work possible in order to retain historic fabric and ‘keep it going’, being inventive but practical in her repair solutions, keeping written documentation concise and communicating directly with those undertaking the work. She had a knack of persuading craftsmen to do things that they were not familiar with “You can do that can’t you? Could you have a go?” She almost invariably got her way.

In contrast to her rapid decision making on site there were some thorny conservation problems that Penelope would just keep an eye on (sometimes for years) before embarking on a repair. One of these was the repair of the door to Winterborne Tomson church, beautifully weathered yet beginning to get to the point where repair was needed to remain functional. This would have been a minor repair but one which could have had a major visual impact. Penelope kept this under review and, with a few holding repairs, managed to keep it going. She achieved another 25 years for the door before a sensitive piecing-in repair became essential.

When reflecting on how to deal with some tricky conservation problem, her words and approach remain with me and continue to guide me. She was astonishing in so many ways and was very much a mentor to me.

NICOLA WESTBURY, ARCHITECT

I first met Penelope Adamson in 1990, when I was a SPAB Scholar and worked on the Ockley ice house. In 1998, I moved with my family to live in Shalford, Surrey, and asked Penelope to look over the house we were buying and from that moment a firm friendship developed.

Penelope showed me, through her own recollections and by her own example, that I could practice as an architect and that I could be a sole practitioner. She was the architect who enabled me to return to work after a three-year break living abroad and having my own children. Perhaps more accurately, Penelope left little room for doubt that I could be both a mother and an architect.

Penelope’s interest in old buildings was infectious. In a way typical of her, she made sure that I maintained my interest in the SPAB and that I was involved in the visits to her by the Scholars and Fellows. I found our discussions about historic buildings and her travels so very supportive when my children were young, and my husband was often away from home travelling for work. And this all happened whilst we had tea with the

children playing in her garden beside the stream. Her ability to gather likeminded people together, coupled with her reluctance to cook, started my own hospitality for my SPAB connections.

Although religious worship was not part of either of our lives, it was Penelope who instigated my work with old churches no longer in regular use. I am fortunate to have been one of the people whom she generously encouraged to continue her work on churches to which she had been appointed as architect for many decades. Early on in my solo career, she supported my appointment to a church whose repair stretched and challenged me to grow as an architect.

I enjoyed working with Penelope as volunteers for a local community group and later, following her introduction, on the local diocesan advisory committee. She showed me ways to listen to people and to consider other views whilst still finding ways to express one’s own opinion in context. I value the way in which she presented her old buildings knowledge, to the point and always practical. I am thankful for all that Penelope did to help me.

CATHERINE CULLIS, SPAB TRUSTEE

I first met Penelope on a trustees’ tour in the early 1980s at Chislehampton Church where she was supervising the repair of the bellcote for the Redundant Churches Fund (now the Churches Conservation Trust). It was her first meeting with the seven trustees, and she immediately gained their trust and confidence. As staff we all loved working with her, though sometimes we struggled to keep up.

Within a few years she had been entrusted with the care of over a 10th of the Trust’s estate, looking after a swathe of country churches that she could visit in a day from her home in Shalford. Ever practical, she declined churches in Kent and East Sussex explaining that she would be driving into the sun on her return journey.

Penelope was an incredibly generous, warm, kind and loving friend, fiercely loyal and great fun

Ireland, we drove straight to the front door, rang the doorbell somewhat peremptorily, and were greeted by an elderly gentleman, the owner. He was instantly charmed by Penelope, and we were rewarded by a memorable tour of his house, followed by hefty glasses of gin (there were no convenient aspidistras).

She was an intrepid traveller with a wonderful sense of adventure. She joined a group trip to Russia in 1984 looking at icons and old churches and she became, with her good friend, Sonia Rolt, twin poles of the annual Landmark weekends for Scholars and friends organised by Louise Bainbridge and Robert Williams.

Top

A natural and generous teacher, it was not only knowledge, experience and enjoyment that Penelope brought to her church repair projects, she seemed to be powered by an instinctive understanding and sympathy with the buildings and the people who created and repaired them. It was the first time that I saw the principles and philosophy articulated in the SPAB Manifesto put into action, in Penelope they were innate. At Formula One speed she would inspect, understand, diagnose and briefly specify appropriate repair solutions. But it was the site visits that she enjoyed most and working closely – often hands on – with craftspeople she knew exactly when to encourage, when to coax and when to instruct to achieve the sensitive and beautiful repairs which were a hallmark

of her work. Although she nurtured and enjoyed collaborative partnerships with local, often family builders, no one was left in doubt who was in charge.

Penelope never neglected the local church supporters who were charmed and fired-up by her enthusiasm, energy and fun. She had a wonderful ability with people of all ages and backgrounds, but she had an especial affinity with young people, recognised by the citation for the SPAB Esher Award given to her in 1996, “particularly for her continuing devotion to the Scholars and Fellows”.

Penelope soon became a friend and together we would explore the country looking at old buildings, walking and occasionally diving into antique shops. A glimpse of a beautiful house was an invitation to Penelope. At Emo Court, a handsome neo-Classical building in

In her busy, active life she was never distracted from her love and care for her immediate and wider family, her children Kirstie and Alistair, in whom she took the greatest interest and pride. Penelope’s first car was a Bugatti, and Kirstie and Alistair arranged for her to arrive in another for her entrance to her 100th birthday party. It was a wonderful day.

Penelope was an incredibly generous, warm, kind and loving friend, fiercely loyal and great fun. Was it a coincidence that Penelope received her Esher Award at the 1996 AGM not only on the centenary of William Morris’ death but when the speaker was another fiery, passionate and independent woman, Barbara Castle, the former Cabinet Minister? Although she would never have recognised the description of herself Penelope was exceptional and inspirational… and a terrible driver.

When reflecting on how to deal with some tricky conservation problem, her words and approach remain with me and continue to guide me

Above On a trip with SPAB Scholars and friends to Venice in 2003

Nicola Westbury and Penelope at Gurney Manor, Cannington

Photo Robert Kilgour

Photo Nicola Westbury

Left Arriving by Bugatti to her 100th birthday party

Below Penelope travelling abroad with Catherine Cullis

Photos Catherine Cullis

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A Roof above the Rest

Keymer Tiles sponsored the SPAB’s inaugural Sustainable Heritage Award last year.

Christine Leadbeater, Heritage Manager, explores the ethos of the firm, its continuing tradition of quality and expert craftsmanship and strong links to the Society

There is something mesmerising about watching building materials being handmade. At Keymer, the oldest UK roofing brand, every tile is mixed, moulded, cut and shaped by hand. The makers use exacting combinations of sand and clay to bring out variations of colour and texture within each tile, using methods that have been handed down from generation to generation with skill that takes years to fully master.

It is this passion for craftsmanship and dedication to preserving history that drew our team to start working closely with the SPAB over the past few years. From hosting visits of Scholars

and Fellows at our works in Ewhurst, Surrey, to exhibiting at The Old House Show in Greenwich, and more recently to sponsoring the Sustainable Heritage Award at the 2022 SPAB Heritage Awards.

Our shared points of interest are instantly obvious to anyone who has ever visited our factories and seen our makers at work, whether it’s handmaking a Keymer Peg Tile at Ewhurst, or reverse engineering and hand carving an old Roman tile at our dedicated heritage factory at Broomfleet. While making a roof tile by hand may not be as recognisable a skill as perhaps stonemasonry or carpentry,

All photos Keymer Tiles

The Vyne in Hampshire after re-roofing

the craftsmanship and work that goes into handmaking and replicating roof tiles, to use as authentic replacement on historical buildings, is just as impressive a skill.

DRAWING ON THE UK’S RICH NATURAL RESOURCES

When approached to help restore any old building to its former glory the first thing we look at are the existing tiles, to establish the quality of them, and then the area within the UK where the building lies. The area is as important as the quality because it gives us an indication of where the tiles may have

originally been produced. Our expert craftsmen have a wealth of knowledge of historical roofing manufacturers that are no longer in existence and the methods they used to produce the tiles in the first place.

Along with the methods used, the raw clay is also of utmost importance. Under our feet is one of the most amazingly rich resources to be found anywhere in the world. From beautiful natural slate in Cornwall, Wales and Scotland to rich veins of varied and fantastic clay spread out across the UK, namely the deep reds, browns and oranges, the plum-coloured hues of

heather, the muted blues of the Staffordshire tiles, the buff-coloured gault clay of Cambridge and of course, the natural red of Weald Clay, found only in a vein in the South of England and the clay we have been handmaking our tiles in since 1588.

CREATING THE TILES

When we are looking at reproducing historical tiles for conservation work, the clay is the starting point. If we don’t have access to the clay the original tile would have been made from, we can replicate this by a number of methods. The first is to control the kiln

atmosphere during firing. The iron content which occurs naturally in clay undergoes a chemical change, which can produce a wide spectrum of natural colours. Other methods include adding sand, pigment or spray, or even to rough up the surface of each tile with a wire brush. Whilst some of the methods used to recreate shade and tone are high-tech, many of the methods we use are simple, for instance throwing stones at the tiles or using a paint roller to mottle the surface. I’ve attended many interesting brainstorming meetings on this topic with some very interesting outcomes.

NATURAL MATERIALS SUPPORTING BIODIVERSITY

The use of natural and sustainable materials is always forefront in our minds, to ensure that the tiles we produce not only replicate the originals but will last for at least 100 years and fit beautifully within the environment for which they are made. Natural clay weathers down and settles into its new home, it will naturally become one with nature.

Many of the projects we work on, both with the SPAB and with other heritage organisations, rely on this as we face a real and present danger to

Last year sponsoring the Sustainable Heritage Award at the SPAB was such a natural opportunity for us to support an organisation with which we feel a close alignment

Above SPAB Scholars visit the Keymer factory in 2022

Above The handmade tile created for the SPAB Heritage Awards in 2022

It

our biodiversity. Bats, swifts, sparrows and starlings are all in a rapid state of decline and ensuring we provide suitable habitats for wildlife is imperative. Natural clay products, such as our tiles and clay bricks made by our parent company Wienerberger, provide a suitable raw material to produce such habitats. From swift boxes to bat tiles and bee boxes, we also make a range of habitats as diverse as the wildlife it helps to sustain, to suit both our standard and bespoke historical tiles and bricks.

RECENT PROJECTS

We are always keen to work on important regeneration projects, such as the re-roofing of Queen’s College in Cambridge, alongside smaller and equally critical projects such as Jane Austen’s House in Hampshire. Who is to say which is more important in terms of historical significance – to us they are equally important. For us and for the SPAB what matters most is that these beautiful old buildings are conserved and used without compromising the history and the character of the buildings. This can be challenging. An old building with no insulation and bats in the roof is far more difficult to work on than an entire estate of new-build homes.

Working within the confines of the

conservation and preservation industry is not a quick process and I’ve come across many a listed property owner who, even after a couple of years in their listed home, still resembles a rabbit in the headlights! But it is this dedication to preserve and restore history that drives us to hand make beautiful products, to work with architects, engineers, conservation officers and historical bodies and to showcase our skilled craftsmanship at events and on training days. What we do and what we love most isn’t selling tiles. Whilst that may sound like an oxymoron because we are a commercial business, it is not our primary focus. Helping architects find specification solutions for their projects is what we love to do.

We also gain a great sense of purpose

Hand making tiles at Ewhurst

is a dedication to preserve and restore history that drives us to handmake beautiful products

Left New Keymer peg tiles on an old Vicarage in Suffolk

Below left The Vyne, Hampshire

from working with communities to involve them in the conservation of a building in their area, like The Vyne in Hampshire, or taking clay and sand and getting visitors to have a go at the traditional skill of hand making a tile at The Weald & Downland Museum. We show people just what a wonderful thing it is to get your hands dirty and play with the clay, and hey presto, you’ve also just made your own roof tile! That’s the tile you want on your roof, surely?

SPONSORING THE SPAB SUSTAINABLE HERITAGE AWARD

Last year sponsoring the Sustainable Heritage Award at the SPAB was such a natural opportunity for us to support an organisation with which we feel a close alignment. It was such an honour and a privilege to present the award to the winner, No 4 Black Bull Close, Dunbar, Scotland. What an amazing and impressive project and a very well-deserved win. This 18th-century house has been repaired from a roofless ruin to a beautiful, functional and warm building by the communitybased charity, Ridge. They employed sustainable materials, traditional skills and techniques that directly align with what we do every day at Keymer and are a natural fit with us in every way possible.

All of this is passion, dedication, hard work and skill comes down to one thing – people. It is people who make a difference, who take pride in their work and who make sure that everything they do somehow leaves a positive impression on the world. We have people who have been working in our Keymer Heritage factories for over 30 years and who are committed to their craft and the business. Their care and quiet dedication show in the products they produce day in and day out. In the same way that people power is what the SPAB is – without people who care, where would any of us be?

Chris jackson.

Historic Windows: A holistic approach

Marianne Suhr discusses ways to reduce heat loss and eco proof your home without detriment to the heritage of your listed building or the climate

HISTORIC WINDOWS ARE THE jewel in the crown of an old house. If removed, the building instantly loses so much of its character, beauty and historic interest. Yet there is a problem – old windows are also the principal cause of heat loss in many old buildings.

The push to insulate our homes, not only due to rising energy costs but also the challenge of climate change, is shining a spotlight on draughty sashes and casements. Not only are they responsible for large amounts of air leakage, but they also lose heat via conduction through single glazing. When it comes to old windows, doing nothing is no longer an affordable, or socially responsible option in the collective battle against global warming. For some years now, there has been a coming together of the sustainable building fraternity and the historic building world. This is demonstrated in the success of the Sustainable and Traditional Building Alliance (STBA) where representatives of both camps regularly share ideas. Many of the products used in eco construction are also used for retrofitting old buildings, such as earth plasters, woodfibre boards and natural insulation quilts. Both sectors share the concept of ‘breathability’ as being central to the design solution.

The SPAB has been ahead of the curve when it comes to matters of energy efficiency, commissioning several years of research through its

Far left Very few old windows are beyond repair

Left Once repaired and redecorated, old windows sing

U-value report project, sponsorship of the Old House Eco Handbook and provision of nationwide retrofit courses, to name just a few of its initiatives. Yet when it comes to new windows, there is a disconnect between these two branches of conservation. Of course, there can be no excuse for removing an old window with historic significance, but what do you put back when you replace a window that is genuinely beyond repair? Many historic building professionals remain fixed on the idea of single glazing, secured with traditional linseed oil putty, as the only option for an old building. Conversely, the ‘green’ lobby, in pursuit of passivhaus standards, has long since moved on to triple glazing in their quest for carbon neutral housing.

TO SAVE OR REPLACE?

I regularly work with homeowners to help retrofit their houses. Windows are high up on the list of ‘quick wins’. But there is no ‘one size fits all’ solution to the problem. We need to look at each individual sash and casement – its age and ‘significance’, its orientation, condition and crucially, its pattern of use. Only from this level of understanding can we develop a sensible strategy to reduce heat loss.

A good starting point is inspecting and photographing every window, trying to ascertain its age based on style, construction, ironmongery and number of paints layers (if possible). The presence of ‘wobbly’ glass is always a good indicator of age but very often this has been replaced so modern flat glass is not necessarily the sign of a modern window. I develop my notes into a window schedule, including estimated date, construction, condition and proposed treatment. This forms part of the listed building application.

Dating a window and understanding how it fits within the evolution of each individual house is the first step towards assessing significance, and this should be the

The push to insulate our homes, not only due to rising energy costs but also the challenge of climate change, is shining a spotlight on draughty sashes and casements

Photos Marianne Suhr

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basis upon which other decisions are made. As a rule of thumb, any window before the First World War, particularly those with good glass and original ironmongery, is usually worth saving.

There is a strong case for replacing post-war 20th century windows that are single glazed, in poor repair or just plain ‘ugly’, although there is a dilemma when it comes to an energy efficient uPVC window that slipped through the conservation officer’s net. Given that they are probably doing a pretty good job, have oodles of embodied energy and are impossible to recycle, it is not really responsible to replace them purely on grounds of taste.

There is often a window that falls into the grey area of ‘oldish’, with flat glass and a frame that could be anywhere between 1920 and 1960. Of course, the wonderful Charles Brooking, architectural historian and founder of the Brooking Museum of Architectural Detail, would be able to date it quicker than most of us could say ‘fenestration’, but unfortunately not many of us (including me) are so able.

PRESERVING THE

OF A BUILDING

Repairing and retrofitting an old window brings with it many challenges. Finding a skilled carpenter who can carry out careful in situ repairs without breaking any old glass is enough to drive even the most ardent ‘SPABer’ to despair. Once you have successfully completed these challenges, then getting a decorator to properly remove all the flaky paint to give the new paint layer a reasonable chance of longevity is also, it seems, a big ask.

All of this also has to happen before any secondary glazing system can be installed. No wonder so many people give up and contact a replacement window salesman. My doormat is littered with special offers and deals for maintenance-free windows that ‘look like the real thing’. Yet no one has ever dropped a flyer through the letterbox offering joinery services for in situ repair!

Occasionally I encounter homeowners with little interest in the historic fabric of the listed building

that they have bought and the view that ownership and wealth entitles them to do whatever they wish. They don’t want draughty old windows, but they also don’t want secondary glazing as it is perceived to be ugly and awkward. With money to spend, they think the answer is simply to replace the windows with energy efficient, double-glazed alternatives in a ‘sympathetic’ design. They regard their conservation officer as the ‘aspic Police’, who is unreasonably withholding consent.

There is no excuse for removing an old window with historic significance, but what do you put back when you replace a window that is genuinely beyond repair?

Above Historic glass gives an old window its special interest and beauty but is fragile and easily lost

Photo Marianne Suhr

This is a growing problem, and if we as an industry are going to push the case for retaining old windows, we need a good argument for doing so, and some practical advice for making them energy efficient. As for the unsympathetic homeowners, if all other powers of persuasion fail, we simply must ask the question, “why did you buy a listed house, rather than a modern, well-insulated one?”.

GLAZING SOLUTIONS

As a homeowner with a mixed bag of old windows, each one loved and cared for, I am a massive fan of secondary glazing. The thought of going through a winter without it makes me shiver. But I have also come to realise that even this is complicated, and there is no

Top Plastic, magnetic panels are an economical and reversible way to insulate old windows that remain closed in the colder months

Bottom Draught-proofing alone is no longer adequate when upgrading an old window as it does not address loss of heat via conduction through the glass

single solution that can be applied to every window.

When it comes to secondary glazing, I believe there are three main options, all based on window use. Firstly, do you open the window throughout the warmer months, but keep it permanently shut during the winter? If this is the case, then I would generally recommend a clear plastic sheet (PETG-UV) with a magnetic border, fixed to a magnetic strip around the window frame. Lift it off in the spring, store it under the bed in an old duvet cover and forget about it until the chilly weather returns. This is an inexpensive, reversible, relatively discreet solution that works brilliantly and provides some acoustic benefits too. The plastic panel has a lower conductivity than glass, providing extra insulation, and if fitted well, there should be little condensation in the cavity.

This is usually a DIY solution, yet fitting the panel is not always straightforward. Often the existing frame needs adjusting to create a flat plane or brought forward so the plastic panel clears any protruding window furniture. Rather than order plastic panels for your entire house, start by ordering just one to begin with, preferably well before winter takes hold. Tall narrow sashes are not necessarily suited to this solution, as they tend to buckle under their own weight, although with a bit of jiggery pokery they can usually be made to work. If using magnetic plastic panels on large draughty windows, they do sometimes blow off on really windy days, so may need a little additional help to secure them in place.

If you never open the window, maybe it faces a busy road or is sealed shut, then consider a toughened glass magnetic panel. This is fitted in a slim track which is attached to the frame and can be powder coated in any

Photo Max Varvill

Photo Marianne Suhr

When it comes to old windows, doing nothing is no longer an affordable, or socially responsible option in the collective battle against global warming

Top This dilapidated building in Wantage is vulnerable to loss of historic windows

Bottom Old windows give individuality: this shop window in Blewbury, Oxfordshire, has buckled over the decades as the timber framed wall shifted

colour. The glass has much better clarity than the plastic, so if it’s a permanent feature, and if you can afford it, then it is worth the extra spend. As well as excellent insulation and draught proofing, this also gives the best acoustic insulation, which is sometimes a key driver, particularly if you are on a main road.

Finally, for windows that need opening all year round, maybe in a bathroom or kitchen, or for windows that form a fire escape, then an opening system of secondary glazing is required. The frame for the sliding mechanism is chunkier than that of the magnetic system and will have a meeting rail midway across the window making it far less discreet, so shop around and choose the ‘least worst’ option. Even kitchens and bathrooms only usually need one opening window per room during the winter, so think through your pattern of use and maybe opt for magnetic lift-off panels on the other windows.

Old windows are without doubt a hot topic and there is a growing urgency to resolve some of the most pressing issues. With this in mind, I have teamed up with a diverse group of historic building professionals to organise a not for profit, two-day conference on the subject. We have lined up a fantastic range of speakers from across the UK to present a range of views and options and have built into the programme plenty of time for audience discussion. The goal is to agree a collaborative approach for ensuring the right result which is neither detrimental to either the heritage asset or the climate. We hope you will be able to join us.

Through the Looking Glass – A Future for Historic Windows Conference 22-23 September 2023, Warwick University https://www.tickettailor.com/events/ subopheventsltd/873461

The Medieval Stained Glass of Herefordshire and Shropshire

By Robert Walker Logaston Press, £25

This new book is in the typical Logaston Press-style of softback with double thickness card covers. At 287 pages and describing glass in 104 churches along with fragments in the collections of Hereford Museum and the Hereford Cathedral Archives, it is a dense read. The text is supported by 197 superb illustrations, most of which are crisp and high-quality colour photographs of the stained glass, others reproductions of archival documents and the odd early black and white photograph of windows prior to restoration.

The book begins with a useful glossary of terms. A key to the window reference numbering system follows; this is used both in brackets where a single window is described but also in the grey inset boxes used to describe complete windows and larger surviving glazing schemes.

Part one covers the history and iconography of stained glass in the Diocese of Hereford, including the manufacturing processes, the use of cartoons to lay out the pattern and how glass was cut and shaped before the invention of the glass cutter. The evolution of styles is discussed in depth including that of the Master of the Madley Mouth – a 14th century artist who drew mouths “like a stretched letter H, with lips either side of the bar”. Twenty thumbnail images over two pages demonstrate the evolution in portrayal of faces from the 13th to 15th centuries.

Although entitled Medieval Stained Glass , the book in fact covers stained glass from as early as 1180 up to 1700. The author explains that other published surveys of stained glass tend to be on a county basis but that this fails to recognise the administrative boundaries in place when the glass was originally commissioned. Connections between glass artists and patrons and the present-day boundaries of Diocesan Advisory Committees (DAC) who deal with consents to work on

this material are therefore, sometimes overlooked. This book opts instead to approach the gazeteers by diocese and provides comprehensive coverage of all known surviving stained glass up to 1700. Thus whilst the book covers Herefordshire and Shropshire, the first gazetteer is of churches in Herefordshire and the Diocese of Hereford (ie Herefordshire, southern Shropshire and a few outliers) and the second gazetteer covers the northern part of Shropshire that is not part of Hereford Diocese. A list of important medieval glass within about a 50 mile radius is also given and an appendix provides a useful history of conservators and restorers. Whilst space does not allow for every fragment to be illustrated, the clarity of descriptions makes up for this. In many cases, in addition to describing the imagery and its sources, the entries include detailed further research. This comprises details of the commissioning, antiquarian and more recent recording of glass; comparisons and cross-references of the styles to glass illustrated elsewhere in the book and the restorations and repairs undertaken, all backed up by comprehensive references.

This will be an invaluable source for parishes writing statements of significance; DAC and Church Buildings Council members considering faculty applications and indeed anyone looking for an accessible reference to pre-1700 stained glass. Church heritage enthusiasts will enjoy the illumination it provides to the wealth of fine medieval glass in churches of the Welsh Marches in a form that is easily portable to supplement a trusty Pevsner.

Although entitled Medieval Stained Glass, the book in fact covers stained glass from as early as 1180 up to 1700… whilst space does not allow for every fragment to be illustrated, the clarity of descriptions makes up for this

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KATE ANDREW MSC BSC FMA ACR ASSISTANT CHURCH BUILDING OFFICER, DIOCESE OF WORCESTER AND FREELANCE HERITAGE CONSULTANT

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Conservation Protection

NOTES

The SPAB’s technical activities are at the heart of its work to protect old buildings. These activities embrace, amongst much else, telephone advice, publications and courses of a technical nature, as well as our supporting research. Douglas Kent, SPAB Technical and Research Director, highlights our technical and related news

CONSERVATION OF CARVED TIMBER SOFFIT TO ORIEL WINDOW

A combination of traditional and modern strategies has been suggested by the SPAB for addressing an Essex homeowner’s concerns about the condition of a wonderful carved soffit below a first-floor oriel window on his house.

The window is in the northern portion of Grade II*-listed Monks’ Barn House in Newport, which is of ‘Wealden’-type construction dendrochronologically (tree-ring) dated to the 15th century. The subject of the carved soffit is the Virgin Mary crowned as Queen of Heaven holding the infant Jesus, with an angel on either side of them. One is playing a portative organ, the other a harp. The current poor appearance of the carving appears to be due to a failing surface coating(s) rather than deterioration of the oak below. The SPAB archives indicate that in the autumn of 1921 ‘the [then] owner had a brown coat of stain put on all the exterior oak including the oriel window & carving’. By as early as June 1922, though, it was already reported that: ‘Some [stain] has already peeled off & the oak exposed (parts of figures) looks more weatherworn and decayed than before.’ The appearance today is not helped either by apparent crude past repairs using some type of filler, as on the Virgin Mary’s nose

and right-hand angel’s head. Before measures to conserve the soffit are decided, we have advised that investigations be undertaken by a timber conservator into the detailed condition of the carving and the causes of its poor appearance.

The investigations would be likely to include:

n Inspection during heavy rain to ensure that no rainwater paths are adversely affecting the soffit by causing active decay. Any defects associated with rainwater disposal should be corrected as soon as possible (for example, with carefully detailed leadwork).

n Sampling the finish(es) on the timber to establish the nature of the most recent coating(s) and possible survival of traces of any historic painted finishes underneath.

n A trial removal of the failing modern coating(s).

Conservation measures might involve:

n Wholesale removal of the modern coating(s).

n Repair of any defective areas of carving and, where details are missing, the use of conservative methods that assist with reading the carving at a broad level but avoid conjecture/attempted recreation of

intricate detailing.

n 3D laser scanning/ photogrammetry after removal of the failing modern coating(s). The soffit in its current form could then perhaps be compared digitally with its past state if good quality historic photos survive. 3D laser scanning might then be repeated in the future to monitor for significant ongoing timber decay.

n In the medium term, repointing the joints of the brick infill panels using a lime-based mortar. The present, relatively modern cement mortar will not be helping with good moisture dissipation.

Above Carved timber soffit to oriel window, Monks’ Barn

Photo Douglas Kent

Breathing

•Traditional

•Wood

•Lath

•Restoration

We

Glass for period windows

CALL FOR EVIDENCE: BUILDINGS THAT HAVE RECEIVED COLOURLESS WATER-REPELLENT TREATMENTS

Manufacturers promote colourless water-repellent treatments with the claim that they help to keep brick and stone walls dry and more insulating. Such products must never be used as a substitute for good maintenance, however. They began to appear in the 1950s and the SPAB has long held concerns over cases where these treatments are thought to have accelerated frost and salt damage. While manufacturers have progressively modified their chemicals and recommendations over the years, the SPAB still strongly advises against the use of these products on historic walls in most situations.

Additionally, we are co-sponsoring PhD research at University College London (UCL) to investigate whether such treatments influence the risk of damage to historic masonry surfaces, and the semi-sacrificial behaviour of traditional lime-rich mortars.

The SPAB is currently seeking sites for the researcher to visit where colourless, hydrophobic treatments have been applied, either with apparent success or where subsequent problems may have been identified. The inspections will be strictly non-intrusive, involving visual observations, photography and collating documentary and verbal evidence. The study also includes desk, laboratory and modelling work.

Potential case study buildings must have:

1. Masonry walls and be in the UK.

2. Received a treatment (either generally or locally) with a colourless, water-repellent (hydrophobic) treatment, preferably within the past 30 years or so.

3. An owner who agrees to be contacted.

Ideally, buildings would also have:

4. Walls with a traditional or otherwise lime-rich mortar.

5. Clear records regarding the

treatment – its date, producer and type; amount applied and by whom; and where possible any reports, recommendations or other documents involved in the specification, and any other relevant information.

Data from the visits are likely to be published as part of a PhD thesis and in scientific papers. Site locations will be anonymised (for example, ‘1750s house in a Kent village’) but photographs may be included. All research and conference papers from this study will be available to participants upon request. Personal information will be kept strictly confidential in line with UCL data protection policies.

Readers are invited to contact Douglas Kent at douglas.kent@spab. org.uk with relevant examples by 30 June 2023.

The views expressed on these pages should be seen as contributions to ongoing debates and we welcome comments. Please email any feedback on the technical issues covered to Douglas Kent at douglas.kent@spab.org.uk.

To contact us about other, unrelated technical matters, please call our dedicated free advice line. This operates between 9.30am to 12.30pm, Mondays to Fridays, on 020 7456 0916. The number is sometimes subject to change. We are grateful to Historic England for its generous financial assistance to help us run this service.

Photo Toby Cambray

Water droplet on a hydrophobized brick

BUILDING IN FOCUS

On the Shelf – Stoke’s Free Public Library

SPAB Scholar and architect, Kristian Foster, uncovers the ‘tale of the tiles’ in Stoke’s old library as it seeks new ownership within the community

Any trace of a bookshelf was long ripped out of the former Free Public Library and Shakespeare Institute on London Road, Stoke-on-Trent. The architecture of this remarkable building unmistakably celebrates the gift of literature. Amidst a heritage crisis in its city, the former library finds itself yet again on the shelf and, at the time of writing, empty and up for sale for £295,000.

A decade ago, the local authority considered the building outdated and the cost of disabled access prohibitive. They built a new library and in 2014 auctioned off the library with a £85,000 guide price. It has since passed through several owners and less maintenance.

Within its walls, I spent hours reading local history reference books and delighting in historic maps as I drafted a school essay on Wedgwoods’

Palladian styled Etruria works of 1769.

Italianate stylings rippled through the potteries for over a century. By the mid 19th century, Venetian Gothic, popularised by Ruskin, was at its best here. The six towns of the Potteries were not united at this time and exhibited a competitive rivalry. The canal and growth of Empire and intellect helped to make the Potteries the centre of the world for ceramics.

The successful Minton’s Pottery factory, founded in 1793, lined London Road in Stoke. The Minton family had long had a close partnership with Augustus Pugin and their medievalstyle encaustic tiles adorned the Houses of Parliament, churches, homes and buildings internationally. Pugin’s son Edward, designed Stoke’s 1853 School of Science and Art as the Herbert Minton Memorial building, in a modest Venetian Gothic style, as a celebration of the town’s successful master potter and philanthropist.

Neighbouring Burslem, ‘The Mother

Right Exterior view with mosaic of William Shakespeare

Below Uncovering tiles as part of Ceramic City Stories event

Below right Wall of newly uncovered tiles

that the building had a great value to the community and thought it would be the perfect museum for the Minton Archive which the Arts Council had recently helped the city acquire. The library interior was being stripped out by the new owner when tiles were discovered lining the walls of the former canteen beneath later layers of wallpaper. Aware of Danny’s expertise, the owner contacted him to assess the discovery. This yielded the opportunity for us to run a series of temporary events in the basement.

Town’, responded with their Wedgwood Memorial Institute, opened in 1869 to celebrate their master potter. Burslem built a library in 1870, then Stoke adopted the Public Free Libraries Act in 1875 and commissioned the accomplished local architect Charles Lynam to design the Free Public Library. Herbert’s nephew, Colin Minton Campbell, donated the site next to the Herbert Minton Memorial building and the Stoke-upon-Trent Athenaeum Club donated its 3000-volume library and museum collection.

LITERARY TILES UNCOVERED

In contrast to the Venetian Gothic of the adjacent Memorial building and Wedgwood Institute, Lynam’s design takes a more classical tone. Stoke’s polychromatic library has a handsome heavy plinth under large oculi and gauged red brick pilasters which lead the eye up past decorative tile and mosaic panels towards stone cornices. Over this, a continuous band of casement windows floods the two-storey galleried library with light, capped off with a satisfyingly Italianate deep overhanging eaves and shallow pitch.

When the local authority first put the library up for auction, I met with Danny Callaghan who runs Ceramic City Stories and the Potteries Tile Trail, which connects, records and champions Potteries-made architectural tiles worldwide. We were united in the belief

Ceramic City Stories led the reopening weekend with an ‘unveiling of the tiles’ which were still mostly papered over. It encouraged the public to visit and play a part in rediscovering the heritage of their former library. There was delight in seeing local adults and children diligently remove areas of wallpaper with water and flexible plastic scrapers, revealing hundreds of different tile prints. Each tile is individual and part of a literary theme with subjects from the Old and New Testaments, Aesop’s fables, Tennyson’s, Idylls of the King, nursery rhymes and Shakespeare’s plays. All the tiles were designed by John Moyr Smith.

OLD BUILDING SEEKING NEW BUYER

For us, a critical and moving moment was when children and adults proudly pointed out “their tiles” that they had carefully uncovered. The library was adding to its social narrative and reembedding itself as an important part of the community. Many older visitors returned to reminisce and enjoy a building they had last visited as a library or when it was temporarily used as changing rooms to the long demolished public baths nearby. Decades on, I would love to return to use the building to learn more about local culture and history. As the current estate agents promote its potential as a bar, the £295,000 price tag may mean I must turn the page on thoughts of seeing the library repaired and open to the public, with the Minton Archive and a gift of culture. Nonetheless, I’m still hopeful for the involvement of an independent heritage trust for the Potteries and I’m keen to hear from anyone else interested.

KRISTIAN

All photos Kristian Foster

FOSTER, SPAB SCHOLAR AND ARCHITECT

The Free Public Library

1910 postcard view

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