Ecclesiastical & Heritage World Issue No. 63 by DMMonline

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COVER STORY

CONTENTS The Church of St Andrew breathes anew The front cover of this issue shows work done on the reordering of St Andrew’s Church in Epworth, Lincolnshire. It is principally known as the church whose rector was Samuel Wesley, father of John Wesley, founder of Methodism, and his brother Charles, writer of many favourite hymns. The reordering was carried out by Stockport-based Aura Conservation and is one of a number of high-profile projects the company has been involved in.

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5 Reflections NEWS 9 10 10 11

Work begins on iconic new archive building Fellows and Scholars embark on a journey of learning Museum bodies threaten action over unethical sales Baptist chapel refurbishment awarded HLF grant

TRAINING 23 Award recognises firm’s role in developing the North East’s young talent

CRE INTERNATIONAL 24 CRE set to break records at new London venue

National Heritage Memorial Fund’s new chair announced

ROOFING 13 Heritage roofing projects head for the spotlight 14 Holy roof intact again – thanks to Martin-Brooks 15 Keeping a roof longer 16 Tudor urges the importance of using sympathetic roof tiles 16 Roof fund announces first recipients 17 Winchester Cathedral’s ‘Big Lift’ sees scaffolding placed on roof 17 Cornwall’s finest scoops top roofing award 18 Specialist roofing companies prove their mettle LEAD 19 21 21 22

Leicester looks to its own for leadwork fit for a king For longevity and quality, look no further than lead LSA publishes updated lead manual Trace-in-Metal undertakes pilot installations at ten churches

25 26 27 28 29 29 31 32 33 33

Taking church lighting to the next level of innovation Vestry re-fit is a replay for Somerset furniture specialist Entertainment and worship figure in equal measure New lighting for St Mary’s Church, Brixton Learning is an inspirational experience Sound system control – keeping it simple Vicar’s long memory leads to a successful trio for heating firm Chance meeting at first CRE leads to permanent presence Continuous growth and development are the show’s hallmarks Hi-tech AV company returns to CRE

CHURCH SUPPLIES & SERVICES 34 Suppliers that are in a world of their own 34 Crompton Lamps help Leeds Minster reduce its carbon footprint 35 This plastic really is fantastic 35 How accessible is your church? 37 Buying the right folding chairs for your church PROJECTS 38 Renovation to High School Yard Steps 39 Landmark planning permission granted for Auckland Castle £17 million restoration 40 Special bricks bring an ‘Ice House’ back to life SOUND SYSTEMS 45 Church architecture, music and acoustics: a tangled history 42 ISCEx2015 reports record attendance 43 Overseas work for Kernow AV Installations STAINED GLASS 45 Glass art flourishes both in the church and elsewhere 46 The craftsman whose work has been viewed around the world

Finchley’s rose window blossoms once more

CHURCH & HERITAGE SUPPLIES 48 Classified Section

Richard Shepherd – Business Development Manager Advertising enquiries: Tel: 07429 516265 Email: richard@dmmonline.co.uk All other enquiries: Tel: 0161 710 3880 Fax: 0161 710 3879 • 61 Lower Hillgate, Stockport, Cheshire SK1 3AW Copyright Ecclesiastical & Heritage World. All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Ecclesiastical & Heritage World. Views expressed in this magazine are not necessarily those of the publisher. Printed in the UK by The Magazine Printing Company Plc www.magprint.co.uk

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‹ MAY IS A busy month for those involved in the ecclesiastical and heritage sectors. From 19th to 22nd the ever-

expanding Christian Resources Exhibition is mounting its first show at ExCeL London. Having met with increasing success at its former spiritual home of Sandown Park the capital beckoned, as did the need for a purpose-built venue. In coming to London the show is, in a way, coming home. The first show was staged at the Royal Horticultural Halls and was attended by a much younger Richard Chartres, then Rector of St Stephens in Rochester Row. This year, as Bishop of London, he will open the momentous first CRE International at ExCeL. • By then we will know who has won the Heritage category in this year’s Roofing Awards, as well as whether any of the churches or heritage projects nominated in other categories have scooped gongs. Last year was a bumper one for the sector, with five heritage projects and a crematorium joining Claude N Smith Ltd as category winners. The Collyweston-based company is going for the double this year in the Heritage category, with Bain and Irvine Ltd, Clarke Roofing Southern Ltd and Jordan Heritage Roofing Ltd out to thwart them. We will also know who has won the Lead Contractors’ Association’s Murdoch Award and Murdoch Sponsors Award – named after Richard Murdoch, a leading light behind the formation of the LCA and former technical officer of the Lead Sheet Association, and sponsored by Associated Lead Mills. • Lead of a different kind – or at least with a different function – was a component in the pomp and ceremony that accompanied the re-interment of the remains of Richard III, last of the Plantagenet kings, in Leicester Cathedral. Local leadwork company Norman and Underwood descended from their usual rooftop vantage point to produce the lead ossuary that lined the king’s wooden casket. Their efforts were rewarded by the invitation for their chairman to perform the sealing of the coffin. There had been centuries of controversy about the physical appearance of Richard, particularly whether Shakespeare had dreamed up the evil hunchback as a sop to the political leanings of his time. With the discovery of the body, the truth was revealed: Richard suffered from scoliosis, a curvature of the spine. What we can’t learn from the discovery, of course, is what kind of person he was. • Another controversial subject in the heritage world these days is the suspicion that museums are sometimes being forced to sell parts of their collections to balance the books. A group of funding and professional bodies in the sector have issued a joint statement condemning the practice and hinting at dire consequences if it continues. • In the heart of the North Lincolnshire countryside is the charming small town of Epworth in the Isle of Axholme. Epworth was the birthplace of the Wesley brothers: John, founder of Methodism and Charles, the hymn-writer. Their father was rector of the local church, St Andrew’s, the subject of this issue’s front cover. It has undergone a reordering recently, involving the replacement of a concrete floor with limestone paving over an underfloor heating system. During the excavations the foundations of a long-suspected Saxon church were found, adding further to the historic credentials of the church. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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COVER STORY

Anglican church that saw the founding of Methodism breathes anew ‹ THE CHURCH OF ST ANDREW in Epworth, North Lincolnshire, is a building with a long history.

It is a Grade One-listed church in the Diocese of Lincoln, with elements dating from the 12th century, built on the site of a Saxon predecessor. It was, however, at the beginning of the 18th century that St Andrew’s found its place in history, when two sons of the rector, Samuel Wesley, were born in the village. They were John Wesley, father of the Methodist Church, and his brother Charles, now known principally as the composer many of our favourite hymns. The site is now one of national and international significance, attracting many visitors. Restoration work had been on-going at the church for some 13 years in various phases when, in 2012, Aura Conservation Ltd of Stockport were awarded a contract as principal contractor for the reordering of the interior – a project named Conserving and Sharing St Andrew’s Church. They would work with the PCC of St Andrew’s and Brian Foxley Architects on the £500,000 project. The floor of the church had been replaced in the past with concrete. This did not allow the ancient fabric to ‘breathe’ properly, giving rise to problems of damp. The concrete floor was removed during the reordering project and replaced with Lincolnshire limestone paving on a breathable limecrete subbase. Underfloor heating has been installed and the mechanical and electrical services renewed. That has included new lighting and sound systems, along with new kitchen and toilet facilities. A major new feature in the church is the creation of a new oak bell ringers’ gallery, with a room underneath for meetings and heritage interpretation. Architect Brian Foxley said: “It was a complex project involving considerable conservation and management skills, requiring the close involvement of an archaeologist and other conservation professionals. The high-profile nature of the site and the necessity for careful yet timely progress puts a high demand on any contractor.” The excavations unearthed the foundations of the earlier Saxon church, which had been suspected but not hitherto found. The archaeologist involved said: “It was known that there was something down there but no-one knew what or where it was.” Also discovered was a 19th century tomb below the altar, containing two lead coffins. They appear to be a married couple, possibly linked to a local resident who may well be a descendent. The whole programme of works required careful management to bring it to completion on time, while accommodating the many archaeological and structural investigations necessary as layers and sometimes further defects in the historic fabric were revealed. Brian Foxley continued: “From initial marketing enquiry, through the tendering process and now on to site the customer services have been attentive, proactive and informative. Aura Conservation Ltd‘s operatives are clearly skilled and bring experience and expertise to the complex nature of conservation projects.” q Images courtesy of Rowland Fawcett Photography and Melvyn Rose

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Restoration specialist helps to secure a future for the past

‹ THE RE-ORDERING PROJECT at Epworth is just one of a

number of high-profile contracts carried out by Aura Conservation. With over 40 years experience of conserving the UK’s built heritage the company continues to develop as a principal contractor and progress from strength to strength in the ecclesiastical and heritage sectors. Last year saw Aura secure further contracts for internal re-ordering schemes in churches across the UK. These include projects currently on-site at Winterton in Lincolnshire and Hamilton in Scotland – churches soon to be transformed into multi-use community spaces. Aura’s current prestigious project is the £1.5m contract to restore the intricately detailed terracotta façades and complex roof domes of the Victoria Quarter, Briggate in Leeds. The flamboyant and beautiful, luxury retail shopping arcade was designed by Frank Matcham in 1898-1904 and is now a Grade Two-listed retail and office complex. Befitting of the quality of the project, Aura had the hoardings constructed to replicate the shop fronts and fascias, and the external face of the scaffolding is covered by a wrap depicting the original façade (main picture). The overall aim of this is to minimise the impact on the retail establishments and the public. The works are scheduled to last 18 months, with completion in July 2016. Another recent project to attract attention, where Aura acted as sub contractors, was the restoration of historic features within Grosvenor Park in Chester, which was nominated in no fewer than three categories at the RICS North West Awards. The 20acre Grade Two-listed park overlooking the River Dee is regarded as one of the finest examples of a Victorian park in the North West. The project was nominated in the Regeneration, Community Benefit and Tourism & Leisure categories. Indeed, Aura has worked on many historical parks – the Grade Twolisted Roberts Park (above), situated in the world heritage site of Saltaire near Bradford, being one such example.

By combining modern techniques with traditional skills, Aura Conservation is committed to providing a quality service across the conservation, restoration and new build sectors, achieved by managing contracts from inception to conclusion. The management team at Aura is a highly-skilled, qualified and experienced team of individuals with the flexibility to carry out principal and sub-contractor roles on both lower-value projects and high-value, large, complex renovation or refurbishment schemes. The company’s expertise encompasses: • Conservation advice, surveys and reports • CAD drawings in-house • Masonry cleaning techniques approved by English Heritage • Stone masonry repairs, consolidation, stabilisation and • replacement • Terracotta repair • Brick replacement and consolidation • Cathodic protection • Lime re-pointing and rendering • Structural works – crack stitching, skew stitching and Cintec • stabilisation • Re-roofing, rainwater goods renewal • Window repair and decoration • Joinery Aura provides the client and their professional team with consultancy, surveys, condition reports and advice on design, best use of materials and budget. Additional services offered pre-contract include surveys, recording, opening up, trials, samples and cost assessments. The company’s specialists are on hand to offer their experience and knowledge to the client and, where appropriate, can assist professional design teams, local authorities, development companies, individual owners and custodians of historic property with advice or consultancy. Aura’s in-house master craftsmen all hold current Heritage Skills CSCS Gold cards and offer a wide range of specialist trades, enabling Aura to manage projects on time and within budget. Where specialist skills are required outside of the present team, Aura can call upon its wealth of longstanding relationships with highly-experienced, time-served individuals and companies, where teamwork and trust have been built up over many years. q • For further information visit the website at www.auraltd.co.uk. www.ecclesiasticalandheritageworld.co.uk

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Work begins on iconic new archive building

‹ CONSTRUCTION HAS STARTED on

a multimillion-pound archive building in Wakefield which will house historical records of regional, national and international significance. The £6.4m West Yorkshire Archive Building has been designed by architecture, urbanism and design practice Broadway Malyan and is being constructed by Leeds-based Bardsley Construction. The three storey archive facility will contain ground floor offices, along with communal and exhibition space to enable a widereaching programme of events, courses and opportunities to connect people with local and family history. Together with two further floors of dedicated archive space it will provide over 2,000m2 of secure and stable environment to store over 10 million records. The project is being jointly funded by the five West Yorkshire Councils, West Yorkshire Joint Services and the Heritage Lottery Fund (HLF) which awarded a £3.9m grant to the project to create a new permanent home for the region’s archives.

To celebrate the commencement of the development, a groundbreaking event was held in March. The building is a key project in a wider master plan for the area, and the start signifies the rejuvenation of the Kirkgate area of the city. Tim Brown, director of architecture in Broadway Malyan’s Manchester studio, said: “The start of construction is a major milestone in the development of this important scheme. Our expert design team now looks forward to partnering with the client to deliver a home for the region’s archives and a place where people can research the records for generations to come.” The iconic building design features a perforated metal mesh wrap, which will be back-lit in the evening to provide a dramatic changing façade. The archive storage areas on the upper floors will be carefully controlled using state of the art equipment to ensure that the unique items remain in excellent condition.

Broadway Malyan won the design appointment through an open competition in late 2013. The collections are currently held in the old Registry of Deeds building in Newstead Road, Wakefield, which is no longer fit for purpose. They include all the court proceedings of the former county of the West Riding which was the third largest and most populous county in England, and a large collection of the National Coal Board’s mining records. Former miners are already helping to conserve, catalogue and care for the archives. Among the records to be stored at the new facility are the files of the Stanley Royd Mental Health Hospital – also known as the West Yorkshire Pauper Asylum – where thousands of local men, women and children received treatment between 1841 and 1991. This collection has a pivotal role in the nation’s history as it documents changes in the treatment of mental illness. West Yorkshire Archive Service received an award from UNESCO for the collection last year. q www.ecclesiasticalandheritageworld.co.uk

Fellows and Scholars embark on a journey of learning ‹ THREE CRAFTSPEOPLE ARE the latest to

be honoured by the Society for the Protection of Ancient Buildings (SPAB) as its William Morris Craft Fellows. Blacksmith Joe Coombes-Jackman, carpenter Ben Hornberger and stone conservator Emma Teale are the latest recruits to a unique educational scheme designed to nurture and develop the hands-on skills needed to care for old buildings. The talented trio have now begun their countrywide conservation ‘grand tour’. Since 1987 the SPAB has organised the William Morris Craft Fellowship to foster a new generation of outstanding craftspeople with the knowledge and expertise to pass on essential skills for working with historic materials. The aim is for the Fellows to gain broad, practical experience and knowledge to enable them to bring a strong awareness of craft diversity to their future professional roles. The Fellowship also equips them with the skills necessary to manage historic building contracts, while deepening their understanding of the importance of gentle

repair – the keystone of the SPAB approach. The prestigious scheme runs in parallel with the SPAB’s Scholarship programme for architectural/building professionals. The SPAB Lethaby Scholarship is awarded annually to up to four young architects, building surveyors or structural engineers who have completed their college-based training and have a demonstrable enthusiasm for historic building conservation. After spending the first six months as a close-knit group, they separate for the last three months of the programme, developing their own specific areas of interest relating to the life and culture of the British country house. The four latest recruits to this long-established training scheme are architects David Burdon, Niall Bird, Joanna Daykin and Oliver Wilson, who are now engaged in a nine-month programme of site, workshop and studio visits across the UK. The aim is for SPAB’s Scholars to gain hands-on experience of building conservation in action guided by experts in the field and to use this knowledge to inform their own approach in their working lives. q

Pictured outside the SPAB headquarters in Spitalfields, London are (left to right) Fellows Joe Coombes-Jackman, Emma Teale and Ben Hornberger

Museum bodies threaten action over unethical sales ‹ IN LATE MARCH a group of 10 bodies involved in the funding and

running of museums issued a joint statement on ‘unethical sale from museum collections’, in which they expressed serious concern about the practice. The bodies involved were the Museums Association, the National Museum Directors’ Council (NMDC), the Art Fund, the Heritage Lottery Fund, the National Archives and the Association of Independent Museums, together with Arts Council England (ACE), Museums Galleries Scotland (MGS), the Northern Ireland Museums Council (NIMC) and Federation of Museums and Art Galleries of Wales. The statement said: “As a group of the key funding, development and membership bodies for the museums sector, we are seriously concerned about cases of unethical sale from museum collections and the targeting of collections as a source of income. We believe this will erode the long-held and hard won trust that the public have in museums and will cause irreversible damage to the UK’s cultural inheritance.

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“Museum collections, founded on civic conviction, public investment, and the goodwill and support of donors, represent an extraordinary act of generosity from one generation to another. It is clear that even when legally owned by museum governing bodies, they are primarily held in trust as cultural, not financial, assets. It is also clear that those responsible for them have a responsibility to protect and use these collections for the benefit of the public.” The group of organisations recognised, they said, that in the current financial climate the management of museums can be difficult, but that financially motivated sales from collections was ethical only in “rare and exceptional circumstances”. Even then they should be “determined on a caseby-case basis under the independent oversight of the Museums Association Ethics Committee and Arts Council England’s National Accreditation Panel”. The statement went on to express the consequences such sales might have: “Organisations that choose to act outside of the widely adopted standards for managing and caring for public collections will find that it has a direct impact on their relationships with development bodies and funders and the ability to access support.” Examples quoted include the removal by Arts Council England of accreditation from the museums in question. That would affect the ability to access Arts Council England museum funding. It would have a similar effect in accessing funding from the Welsh Museums Federation and NIMC. “Museums Galleries Scotland, as Scotland’s National Development Body, if not already in dialogue with the organisation in question will seek to enter into one. Any organisation/governing body that has been excluded from Accreditation will be ineligible for any MGS funding streams that use Accreditation as one of the criteria and, if it holds a Recognised Collection, will also be removed from the Recognition Scheme.” All the other signatories to the statement expressed similar intentions. The statement concluded: “We very much want to work with museums to find the most effective ways to develop, protect and engage with our public collections so that we can meet our collective responsibility to pass on this precious legacy to the next generation.” q

Baptist chapel refurbishment awarded HLF grant

‹ THE HERITAGE LOTTERY FUND

has awarded a grant of £189,500 for the refurbishment of the Old Baptist Chapel in Tewkesbury, a Grade Two*-listed building which is believed to be the earliest Baptist meeting house in the UK. The project, which will cost £250,000 in total, is expected to start within the month and is due to run until May 2018. The Old Baptist Chapel in managed by the John Moore Museum as part of the Abbey Lawn Trust. Curator Simon Lawton said: “The chapel is such a beautiful building and in its way as vital to our local heritage as our abbey. The

Heritage Lottery Fund grant will enable us to give the building a facelift and make it much more user friendly. We’ll also be opening it up for hire to local groups so that the town gets full use of this important, yet hidden, architectural gem.” The project has taken over two years of planning and consultation with the local community, including the Tewkesbury Baptist Church who own the building and Tewkesbury Borough Council, who were the former lease holders. The chapel will have new interpretation facilities, including an exciting computergenerated reconstruction of a coded minute

book, as well as a bespoke kitchen and accessible toilet. New heating and lighting will also be installed. Later in the year a full programme of educational events will begin. The John Moore Museum and the Old Baptist Chapel are run by the Abbey Lawn Trust, a registered charity with 70 years experience of preserving historic buildings in Tewkesbury. The trust owns 23 properties in the precincts of Tewkesbury Abbey which, with one exception, are all listed by English Heritage – most as Grade One. They include one of only two surviving English ranges of medieval timber framed houses and former shops dating from the 15th century. R

National Heritage Memorial Fund’s new chair announced ‹ SIR PETER LUFF has become the new chair of the board that runs both the

National Heritage Memorial Fund (NHMF) and the Heritage Lottery Fund. The appointment, made by the Prime Minister, will run for a term of three years. Sir Peter was MP for Mid-Worcestershire and previously for Worcester from 1992 and has stood at this year’s General Election. Since 2013 he has been the Commons cochair of the Speaker’s Advisory Committee on the 800th anniversary of Magna Carta and the 750th anniversary of the De Montfort Parliament. He was Minister for Defence Equipment, Support and Technology from 2010-2012 and chair of two House of Commons Select Committees. He was knighted last year for political and public service. The NHMF is the nation’s grant-in-aid fund of last resort for heritage. It was set up in 1980 to save the most outstanding parts of our national heritage, in memory of those who have given their lives for the UK. In 1994 the NHMF and its trustees took on the role of distributing the heritage share of National Lottery money for good causes, which it operates through the HLF. R www.ecclesiasticalandheritageworld.co.uk

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Heritage roofing projects head for the spotlight ‹ ON 15 MAY the winners of the 2015 UK Roofing Awards will be announced at a prestigious Awards Luncheon at the Hilton London Metropole on Edgware Road. This year’s host is the BBC's Louise Minchin. The Roofing Awards cover the full spectrum of roofing disciplines and run from September to January every year. A range of criteria were taken into consideration by the judging panel when selecting the finalists, including degree of difficulty, aesthetics, problemsolving, health and safety, workmanship and environmental qualities. There is a specific Heritage category, which includes among its finalists some of the cream of heritage building projects. This year’s finalists in that category are Bain and Irvine Ltd for the Scotch Whisky Experience Edinburgh, Clarke Roofing Southern Ltd for Ratton Renovations, Eastbourne, Claude N Smith Ltd for the Church of the Holy Sepulchre – or Round Church – in Cambridge and Jordan Heritage Roofing Ltd for Penmaen Cottage in the Snowdonia National Park. A number of ecclesiastical and heritage projects also figure among the finalists in other categories. Clarke Roofing Southern Ltd feature again, this time in the Sustainable Roofs (Shingles and Shakes) category for the spire of Wadhurst Church in East Sussex, while Hamilton Baptist Church in Scotland has earned Archibald McCorquodale Ltd a place in the final of the Double Lap Slating category. Bauder Ltd, with Byford Roofing Services, are mentioned in despatches for the Battle of Britain Memorial in Kent, in the Single Ply Roofing category, while a number of projects on 19th-century houses and public buildings are to be found in some of the other categories. At the awards ceremony in May the winners of a number of individual awards for safety and training will also be presented, and the Lead Contractors’ Association will formerly present its Murdoch Award and Murdoch Sponsors Award. The winner of the Heritage category last year is going for the double in May: Claude N Smith won the gong for their work on a private house in Stilton, Cambridgeshire in 2014. This year the company is bidding for glory with the roof of the Church of the Holy Sepulchre, or Round Church (pictured), in Cambridge itself. Dating from around 1130, it is one of the oldest buildings in Cambridge and was founded by the Norman Fraternity of the Holy Sepulchre, who arrived in England with William the Conqueror. It was modelled on the early Romanesque style of churches in the Holy Land, epitomised by the 4th-century Church of the Holy

Sepulchre in Jerusalem, built by the Emperor Constantine. The design was brought to Europe following the First Crusade at the end of the 11th century. The Cambridge Round Church is one of just four surviving medieval churches in that style in Britain. Today, the slating of a roof refers to the use of grey Welsh slates, which became prevalent in the 19th century when Welsh slates could easily be transported around the country by boat, train and lorry. However, in earlier times the cost of transporting stone building materials was so high that any appropriate local stone was used. The nearest ‘slates’ to Cambridge were not slates in the true geological sense but limestones, which could be split into slabs thin enough to be used on a roof. In the early Medieval period the nearest building and roofing stones had to be brought from limestone quarries in the Jurassic hills of Oxfordshire, Lincolnshire and Northamptonshire. The roof of the Round Church was originally covered in Collyweston ‘slate’, named after the village in Northamptonshire where it was produced. In the 1960s, however, those slates were removed and, because of a shortage of Collyweston slate, the dry-bedded Oxfordshire ‘slate’ or Stonesfield was used as a replacement. This is another Jurassic limestone that has the same visual appeal as Collyweston slate and is more readily available. Claude N Smith Ltd began work on the replacement of that roof in December 2013 and the project was named a finalist in the Roofing Awards in March. q

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Holy roof intact again – thanks to Martin-Brooks ‹ HERITAGE EXPERTS AT Sheffield

roofing specialists, Martin-Brooks, are putting the finishing touches to the latest renovation project to enhance their home city’s skyline. The firm is breathing new life into a tired roof at the grade II listed Saint Mary’s Church in Walkley, to improve conditions for all who gather there. Martin-Brooks has removed old roofs on the nave, chancel and lady chapel and is recovering the Victorian era, early English style church using Penrhyn heather blue

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Welsh slate. New, insulated foil underlay and cast iron rainwater goods are also being installed to equip the 150 year-old building for many more years of service. Commissioned by Bakewell architects, Smith and Roper, the English Heritage/ Lottery funded project was completed by Martin-Brooks in approximately six months. Contracts director, Dale Wright said: “Saint Mary’s 90-foot spire is a landmark on the north west side of Sheffield and the church has played a key role in the local community since its construction in 1867. Ensuring listed

buildings are fit for modern use requires skill and patience, but it is a pleasure to be contributing to the preservation of our local heritage by bringing this fine example of Victorian ecclesiastical architecture back to its former glory.” q • Martin Brooks is listed on the National Federation of Roofing Contractors’ (NFRC) heritage register. For more information about its work on historic building, telephone 0114 244 7720 or visit www.martin-brooks.co.uk.

Keeping a roof longer By FRANCOIS MOAL of Thames Valley Specialist Products Ltd

‹ WHEN LOOKING AT an old building,

few people cast a critical eye at the state of the roof, and it is almost invariably unkempt. Black moulds hide it’s colour and moss slowly mats itself in the bonds – so slowly that few take notice. The encroachment of grime and moss has its effects – beyond the architectural downgrade the fabric of the building is at risk. Doing nothing is ultimately the expensive option. The risk varies with the nature of the roofing material, but the permanent presence of a biofilm is deleterious to all of them. As the biofilm becomes established, the moistures are more permanent and the cycle accelerates. There is no easy answer to the return of nature – excessive moss has to be removed by hand as jetting causes irremediable erosion to the surface. After clearing the roof of the bulky growth the next and final step is to decontaminate the area with a dedicated high purity biocide. Algoclear Pro will kill the remaining biological life at the surface and, most importantly, in laps and interstices. The dead bio film will soon loosen under diurnal cycles, helped by the wind, rain, heat and frost.

The roof will become cleaner with the change of seasons and reveal its original colour and texture. The return of the biofilm is slow and a roof treatment is to be regarded as decennial maintenance. Further treatments will not be as heavy as the first clean, if carried out before the moss becomes abundant. Algoclear Pro is a modern biocide with an environmental footprint limited in scope and time. The active ingredient breaks down in contact with biomass. It interacts with live

organisms but not with the substrate. High purity quaternary ammoniums have been used in the conservation of prehistoric paintings, when endangered by moulds, since the 1980’s. Their use is well understood. q • For further information contact Thames Valley Specialist Products Ltd, email info@ algoclear.com, phone 01628 687 022 or visit the websites www.softwashireland.ie and www.roofclean.co.uk.

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Tudor urges the importance of using sympathetic roof tiles ‹ TUDOR ROOF TILES, one of the few UKbased manufacturers of genuine handmade clay peg and plain tiles with a traditional sand-faced rustic look, is encouraging the use of historically sympathetic clay tiles for the repair and restoration of church roofs. In its latest downloadable information leaflet, Chapels to Cathedrals, the company sets out some of the key issues involved when considering replacement peg and plain tiles in older ecclesiastical properties. The leaflet covers the importance of traditional manufacturing techniques, the specification of sympathetic tones, texture and camber as well as the importance of using like-for-like bespoke sizes. “As many of our historic ecclesiastical buildings are in urgent need of repair and restoration, it is important not to economise or compromise on good practice when it comes

to specifying the most appropriate clay roof tile replacement,” said Paul Lythgoe, managing director of Tudor Roof Tile Co Ltd. “Carefully chosen and high quality English handmade peg and plain tiles, with an authentic time weathered appearance, can be a more reliable, performance guaranteed alternative to sourcing expensive second hand reclaim tiles, particularly when replacing large sections of a roof.” Tudor uses traditional craftsmanship in order to meticulously re-create the texture, colour and detailing of historic peg and plain tiles. Each tile is hand pressed, moulded and trimmed, and then strengthened by advanced firing techniques to give the final product exceptional performance and durability, which is guaranteed for many years to come. Manufactured in both bespoke and standard sizes to complement historic and regional variations, they are also available with round or square peg holes or with nibs on the underside to suit traditional or modern construction methods. All Tudor roof tiles are CE marked to EN 1304 standards for frost resistance, water impermeability and flexural strength. R

• For more information on Tudor’s range of peg and plain clay tiles download the leaflet Chapels to Cathedrals from the website at www.tudorrooftiles.co.uk. Tudor roof tiles are available from leading roofing and builders merchants.Contact Tudor Roof Tile Co. Ltd, Dengemarsh Road, Lydd, Kent TN29 9JH. Tel 01797 320202, fax 01797 320700 or email info@tudorrooftiles.co.uk.

Roof fund announces first recipients ‹ IN HIS AUTUMN

Statement last December the Chancellor of the Exchequer announced funding of £15m for a new Listed Places of Worship: Roof Repair Fund. Organisations, trusts and congregations of all faiths and denominations were invited to apply for grants of between £10,000 and £100,000 to meet the costs of urgent repairs to roofs and rainwater disposal systems. Limited funding was provided for structural investigations, specialist reports and bat surveys. According to the fund administrators, damage from rainwater is often the main reason why historic places of worship are at risk. They explain: “Securing roofs helps to maintain the building for future generations – if done properly, for up to 100 years. A secure roof ensures that these types of buildings continue to provide a suitable environment for worship as well as wider, community activities including local social outreach and support services. A well-roofed building will not only ensure the longevity of the

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building but also maintain the effective integration of the place of worship with its local community.” After the programme opened for applications, the significant demand resulted in the Chancellor committing a further £40m to the fund in this year’s Budget, bringing the total funding available to £55m. The first round of applications closed in January and the first awards have been made. A total of 502 places of worship across all four corners of the UK will now be made weathertight, safe and open for use. The grants announced account for £30m of the allocated funding. The fund will re-open to new applications later this year and successful applicants will be announced in 2016. All those who were unsuccessful in the first round of awards will be able to reapply. The Fund is administered by the National Heritage Memorial Fund on behalf of the Department for Culture Media and Sport. R

Winchester Cathedral’s ‘Big Lift’ sees scaffolding placed on roof ‹ LAST MONTH A crowd of onlookers

saw a 300-tonne crane – one of the largest of its type in the country – finally lifting a huge scaffolding framework on to the roof of Winchester Cathedral, to enable work to commence on remoulding and replacing 500 tonnes of lead, the condition of which has deteriorated over time. The frame was hoisted in four sections a distance of 12m above the cathedral tower, then lowered onto the east end of the cathedral roof. The operation took a day to complete. “As far as we know, this is the first time that this has taken place on a cathedral in this country,” said Ian Bartlett, site construction manager, who co-ordinated the lift. “Apart from the complexities of building the framework in the first place, the logistics of working in a relatively tight space at that

end of the building to achieve the lift meant that everything had to be planned to the minutest degree.” This is just one part of a project to repair

and conserve the roof spaces at the east end of the building, which also included building a similarly impressive ‘bird’s nest’ structure inside the cathedral. “Our aspirations have become a reality now in a very visible way,” said Annabelle Boyes, receiver general at the cathedral. “We are on a journey which started some five years ago, and will continue for at least another three. But we are custodians of a thousand-year heritage, so what we hope to achieve will protect that heritage well into the future.” The scaffolding structures have been designed and constructed by Salisburybased Blencowe Scaffolding Ltd and the lift itself was co-ordinated by King Lifting, a UKwide company with a depot in Southampton. As much as possible, local organisations are being contracted to achieve the project. q

Cornwall’s finest scoops top roofing award ‹ ON 9 MARCH the Master and Wardens of the Worshipful

Company of Tylers and Bricklayers presented their 2015 Craft Awards at Trinity House in the City of London. Guests not only enjoyed a splendid lunch and terrific views of the Tower of London, but also witnessed the presentation of an award to the first female member of the Royal Engineers to win in a bricklaying category. The ceremony was hosted by the Master of the Company, Roger Westbrook CMG, who presented the awards together with principal guest Alderman Dr Andrew Parmley, a Sheriff of the City of London. The winners were introduced by the chairman of the craft committee, Mr Jeff Fuller. Among the awards was the Mason Elliott Award for Roof Slating and Tiling. The finalists who won their regional heats worked

against the clock to prepare and complete a roof test piece utilising a pre-formed standard rig simulating typical roofing techniques. They included ornamental detailing in both natural slates and concrete plain tile. The competition was sponsored by the National Federation of Roofing Contractors (NFRC). The winner was Kyle Friendship of Cornwall College in St Austell. Kyle’s course tutor was Mr Sean Sullivan. Mr Fuller made special mention of the fact it was the third consecutive occasion that one of Mr Sullivan’s students has been the winner of the Mason Elliott Award. q

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Specialist roofing companies prove their mettle ‹ IN 2006 A new name impacted on the metal roofing scene – the

Federation of Traditional Metal Roofing Contractors (FTMRC). It was formed by a number of specialist roofing companies whose expertise extended outside the scope of the already well-established Lead Contractors Association to encompass the other metals traditionally used in roofing: that is zinc, copper, stainless steel and more recently galvanised steel. One of the principal aims of the FTMRC was to “improve the workmanship standards of installation and widen the technical design knowledge necessary to protect the integrity of the installation”. The member companies are all specialists in their field and are supported by a number of manufacturers and suppliers as associate members. To become a federation member a contractor has to submit to the FTMRC committee a list of 10 projects where they have been responsible for supplying and installing the roof metal. From those 10 projects a vetting officer – usually a member of the federation council – will select three sites to visit and carry out a rooftop inspection of the standard of design, layout and workmanship. The vetting procedure is repeated at least every two years. In order to maintain standards among operatives and to ensure the continuity of craftsmanship, the federation has established training facilities at the LSA’s National Roof Training Centre in East Peckham, Kent, leading to National Vocational Qualifications. Its secretary Ray Robertson said of the facility: “We have worked closely with the Lead Sheet Association and our manufacturing associates, notably VM Zinc and KME, have developed the training staff to the point where national qualifications can be offered in hard metals as part of the NVQ/QCF framework. “Throughout these endeavours the FTMRC has been encouraged and supported by ConstructionSkills and the funding they have provided has enabled us to achieve many of our objectives, including the Guide to Good Practice, far more quickly than would otherwise have been possible.” The FTMRC’s UK Guide to Good Practice in Fully Supported Metal Roofing and Cladding sets the highest possible standards for metal roofing and cladding. Ray Robertson continued: “The guide addresses a long standing, and in our view critical, gap in the information provided to designers, specifiers and installers of aluminium, copper, galvanised and stainless steel and zinc. “Most significantly, the Guide to Good Practice will provide an essential training aid to those just starting out in this sector of construction, an area which is again part of the quality standards commitment of the FTMRC.” Maintaining those standards has ironically been made more difficult by the success of the sector and increasing popularity of metal roofing, as general building firms have seen opportunities to undercut the specialist companies. In his introduction to the FTMRC website, chairman Nigel Miles said: “Of course, when tendering for work FTMRC members may be undercut on price; it goes with the territory. But if the undercutting is excessive and by a nonmember, it must surely beg the question

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as to what short cuts are being taken to achieve any margin on the job – a margin which is critical for the future survival of any contractor. “So when it comes to the question of who the architect can trust to deliver, the federation member certainly won’t be allowed to make short cuts and their price is set accordingly, providing reassurance that the job will be done properly.” q • For more information about the Federation of Traditional Metal Roofing Contractors, contact the secretary at Centurion House, 36 London Road, East Grinstead, West Sussex, RH19 1AB. Tel 01342 301627, fax 01342 303200 or email info@ftmrc.co.uk.

Find a selection of FTMRC member companies on page 56 in our ‘Church & Heritage Supplies’ section

Leicester looks to its own for leadwork fit for a king

Dr Jonathan Castleman, chairman of Norman & Underwood, with the lead ossuary he was entrusted to make, in which King Richard III’s remains were finally interred

‹ WHEN PLANS WERE being made for the

final interment of the remains of Richard III in Leicester Cathedral, following their discovery in the city in 2012, the choice of who would make the lead ossuary to contain them was elementary. While Norman and Underwood’s connection with Leicester does not go back to 1485 – the year of the Battle of Bosworth where Richard fell – the company has been crafting leadwork there for 190 years, since its foundation in 1825. The local firm was therefore a natural choice for the task. The ossuary was made from traditional sandcast lead produced at the company's premises in the city. Cast using the same principles as the Romans and probably those of the Egyptians, the project employed the traditional tools and methods that are the hallmark of Norman and Underwood’s craftsmanship. The 60kg ossuary is 1.7m long, 350mm wide and 275mm deep. With the oak outer casket

Bringing the skills of yesterday to today’s market. Sand-casting lead using traditional methods for more than 190 years

and the king's bones inside, the whole assembly weighed more than 110kg. The task of sealing the ossuary was carried out by Dr Jonathan Castleman, chairman of Norman and Underwood, who is part of the seventh generation of his family to work at the company. He said: “It was a huge privilege to be chosen to carry out this task. Very few companies can carry out the kind of sand-cast leadwork that we were able to complete for this project. Done correctly, this kind of leadwork can last indefinitely. Excellently preserved samples of Roman lead work are often found. “Finally sealing in the remains of the last of the Plantagenet monarchs was a historic moment and very moving.” Liz Hudson of Leicester Cathedral said: “Norman and Underwood have a long history of excellent and exacting work both in Leicestershire and around the world. They are experts in their field and we are delighted that they have been able to take part in this remarkable story on behalf of the university and the cathedral.” Norman and Underwood craftsmen have helped to restore cathedrals, palaces, historic houses and public buildings, as well as using their specialist skills to work on some of the most exciting designs in modern architecture. Major contracts over the years have included the covering of the famous Golden Dome of the Rock in Jerusalem (pictured right), where 18 tonnes of gold plated brass sheet was installed on the dome and 190 tonnes of lead sheet on the lower ambulatory roofs. Other overseas

projects include Bermuda Cathedral and the British Embassies in Moscow and Korea, and in Britain, St Paul’s Cathedral, Salisbury Cathedral, Westminster Abbey, Windsor Castle and Hampton Court Palace. The company’s long experience in heritage and restoration, combined with a commitment to innovative architectural solutions, means that Norman and Underwood continue to work closely with leading developers, architects and builders on major projects where specialist installation is required. Today they employ nearly 100 people from their head office in Leicester, operating through three specialist divisions. Although many of the staff have been with the company for many years, they also run regular apprenticeship schemes to ensure that the traditional craft skills are not lost while developing expertise in the latest techniques and materials. q

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For longevity and quality, look no further than lead ‹ PERHAPS THE MOST sustainable

– and certainly the most recyclable – of roofing materials is lead. Lead has been used in roofing and drainage at least since Roman times and probably before. The Lead Sheet Association, which represents manufacturers and suppliers of lead, states: “Now included in the BRE Green Guide, lead has been proven to be one of the greenest building materials available. In most standard lead roofing and vertical cladding installations, lead has a rating of A or A+, has a significantly lower carbon footprint than comparable external wall and roofing specifications, and its Ecopoints - the degree to which a material impacts on the environmental performance of a building - measure very favourably.” Ensuring the highest quality of lead installations is the top priority of the Lead Contractors Association (LCA), whose vetting procedure ensures on-going standards by its member companies. LCA members install lead to the quality standard BS 6915, the Code of Practice for Design and Construction of Fully Supported Lead Sheet Roof and Wall Coverings. In his introduction to the 2015 LCA Directory of Specialist Leadwork Contractors, chairman Stuart Bailey says: “Top of the list in preserving that quality standard is our vetting programme – the regular on-site checks we impose on our members to ensure their work remains to the standards we and our client base expect from a specialist in the leadwork craft. “By policing our members’ work in this fashion, we protect the client, the architect, the designer, the main contractor and all the other non-specialists that use lead sheet in roofing and cladding.” All members of the association must submit to a periodic vetting process. In the directory, current vetting chairman Steve

This code 8 sand-cast lead was fitted to the south side of the nave roof of St Andrew’s Church in Backwell, Somerset by Mike White of Taunton based Mike White Ltd

Before and after the lead was laid at the restoration of Batheaston House, Somerset by SP Isaac Hempstock writes: “Vetting is quite simply an on-site inspection by a member of the LCA Council to look at the work carried out by a member of the LCA. It is a mandatory requirement of LCA membership and there are no exceptions. “On-site inspections require physical access to the roof, not just a quick look up from ground level, and may even require leadwork to be lifted so that sizing and fixing details can be checked and verified.” The work is then graded as either: S (Satisfactory): The applicant has demonstrated a level of skill and knowledge to an acceptable standard, but further vetting will be required the following year. G (Good): Not only was the work up to an acceptable standard but the applicant was able to demonstrate a degree of additional care and attention to detail which exceeded the minimum requirement.

An applicant receiving a ‘Good’ grade will not need to be vetted again for two years. E (Excellent) The applicant was able to demonstrate comprehensive knowledge in all aspects of leadwork design and an application skill in a complex or demanding technical situation in order to maximise the integrity and durability of the material. An applicant receiving an ‘Excellent’ grade will not require further vetting for three years. The vetting grades appear alongside the details of each member in the LCA Directory, which is distributed free to architects, surveyors, specifiers, main contractors and clients. The quality standard is further enhanced by a 25-year guarantee offered by LCA members and demonstrated by the presentation of the annual Murdoch Award and the Murdoch Sponsors Award following the association’s AGM. R

Find a selection of LCA member companies on page 52 in our ‘Church & Heritage Supplies’ section

LSA publishes updated lead manual ‹ A NEWLY-UPDATED, 2015 edition of the Lead Sheet

Association’s Rolled Lead Sheet Manual has been published and is available to purchase both as an e-book and in hard copy format. The manual sets the technical standards for the industry and is the essential reference point for leadworkers, architects and specifiers. It contains all of the up-to-date technical information needed to specify or install rolled lead sheet manufactured to BS EN 12588. The e-book also offers the benefit of easy, one-click indexing as well as allowing access from anywhere with an internet connection. An electronic manual costs £35.00; the cost for both an electronic and a hard copy is £45.00. R • To place an order visit www.leadsheet.co.uk/manuals. www.ecclesiasticalandheritageworld.co.uk

Trace-in-Metal undertakes pilot installations at ten churches ‹ A REVOLUTIONARY SECURITY SYSTEM that protects lead roofs

from metal thieves has completed a series of pilot installations at churches in Yorkshire and Lincolnshire. The work, by Trace-in-Metal, has been carried out to satisfy a rigorous ‘approved supplier’ status for one of the country’s leading insurers of ecclesiastical buildings. The Trace-in-Metal process sees thousands of microdots infused into lead sheets ‘marking’ them with a unique identifying code. In addition to being impregnated into the metal, the dots – which are almost invisible to the naked eye – are also painted on to each sheet using an all-weather lacquer that shows up under ultra-violet light. And, such is the science behind Trace-in-Metal, that even the smelting process cannot destroy the nickel dots and their unique tags. The firm, which is led by a former police detective and a Swedish ballistics expert, worked with the Diocese of Lincoln to carry out trials at six of its rural churches – St Maurice, Horkstow; St Nicholas, Ulceby; St Lawrence, Thornton Curtis; St Mary, Wrawby; St Peter & Paul, Algarkirk and St Peter & Paul, Gosberton. The company then added a further four sites in Yorkshire, namely St Peter, Huddersfield; St Mary, Elland; St Andrew, Oakenshaw and All Hallow’s Church, Sutton in the Forest. Trace-In-Metal managing director John Minary said: “I would like to thank all the churches which are helping with these pilot installations. “These trial installations are an opportunity to show, not only the ease of

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applying the system, but the lasting benefits that Trace-in-Metal brings to communities, parishes and their insurers. Metal theft is big business and is estimated to be costing the UK economy around £220 million a year.” Trace-In-Metal sales director Paul Batty said: “We have worked very hard in perfecting our unique product. Once a roof is protected by our system, the lead can be traced back to its point of origin – even after the smelting process. “Most of our clients to date have been the victims of metal thieves on more than one occasion. They are turning to us because of our unique attributes. The simple fact is Trace-in-Metal is making lead simply too hot to handle!” q • Further information about Trace-in-Metal is available from its website at www.trace-in-metal.com.

Award recognises firm’s role in developing the North East’s young talent ‹ ON 23 APRIL the Hardwick Hall Hotel

in Sedgefield witnessed the presentation of the 2015 North East Business Awards. The winner of the Apprenticeship category was Co Durham-based Hodgson Sayers. Managing director John Sayers expressed his delight at the award. “This is a tremendous accolade for the business,” he said, “as we have always had a commitment to ensuring we source the very best youngsters and provide them with the skills to bridge the gap in the construction industry. “As key figures within our management team started as apprentices themselves, it is with great satisfaction that we seek out youngsters from the North East talent pool and watch them not only take forward their own careers but also help to shape the way we as a company move forward. Our apprentices bring us innovation and creativity and help us to develop a future workforce. That mix of experience and young talent is powerful.” Last year the company pledged that apprentices would count for 10% of its workforce. That figure was actually surpassed, and they are on track to do the same this year. John Sayers continued: “Youngsters can often get a hard time in the press when it comes to work ethic, but from my experience our apprentices know that they have to graft to get results. It is instilled into them from day one. Their contract managers were themselves apprentices and know how to mentor and shape the new generation so that we are fair but firm in our guidance.” Hodgson Sayers was founded in 1979, primarily as a roofing contractor. Over the years, however, they have developed and diversified considerably to include building works, fencing, metalwork fabrication and the installation of solar photovoltaics.

Hodgson Sayers managing director, John Sayers

During that 35-year history they have worked on a vast range of heritage properties across the North of England, including Wray Castle in Cumbria (pictured). Many of them have been very challenging and certainly all were very different. They also provided opportunities for the company’s apprentices to develop their skills, under the watchful eye of senior tradespeople and contracts managers. Hodgson Sayers also backed local paper The Journal’s Pay Fair campaign, encouraging all contractors to pay suppliers in a timely fashion, and they are an active member of the North East Institute of Business and Ethics. In the past 12 months they have also been named in the Ward Hadaway-sponsored ‘Fastest 50 growing companies’ and were acknowledged by the London Stock Exchange as one of the 1,000 companies to inspire Britain. From a commercial perspective, innovation remains a key focus and the company has entered into a successful partnership with Teesside University, having welcomed post-graduate student Kin Ma to the team. Kin is currently leading on

the Knowledge Transfer Partnership – a three-way partnership between a university, business and a graduate – and is overseen by a KTP advisor, acting on behalf of Innovate UK. Said John Sayers: “We recognised that there was a movement towards Building Information Modelling (BIM), but that did not seem to incorporate the building refurbishment sector, where we felt there was a definite requirement to service our existing and potential client needs. We look forward to introducing the benefits of this into our service offering during 2015.” The emphasis remains with the people in the business. Last year the company became the first in the North East construction sector to become Living Wage Accredited. John Sayers explained: “We wanted to ensure that people who work for us have, at the very least, a comfortable lifestyle and are not financially burdened. “First and foremost, our people will remain our number one priority as it is their drive and creativity that takes us forward. Without their willingness to share the journey we would cease to progress.” q www.ecclesiasticalandheritageworld.co.uk

CRE set to break records at new London venue ‹ AT THE TIME of writing, ticket

sales for the first CRE International at London’s ExCeL from 19-22 May were selling twice as fast as for the final event at Sandown Park last year. The organisers of Christian Resources Exhibitions said: “We’re delighted so many have already responded positively to a show which will, at last, benefit from being in a purpose-built, world class venue in the heart of the capital.” They also announced a host of new contributors to the event, including Pastor Agu Irukwu, senior pastor of Jesus House for All Nations in London. He was voted Britain’s most inspirational black person of 2012 in a poll conducted by the Mayor of London’s office. More than 300 organisations are expected to exhibit at ExCeL and over 100 seminars are planned. “It’s a fabulous opportunity for the show to go centre stage for the first time at a key venue in London,” said event director Bill Allen. “There are still thousands of regular church-goers of all traditions

who have yet to discover the benefits of what has become Europe's leading annual exhibition of Christian resources.” The show will be opened by the Bishop of London, Rt Revd Richard Chartres. The bishop is no stranger to CRE. He explained: “As Rector of St Stephens, Rochester Row in London, I was present at the planting of the CRE acorn in 1985 – at the Royal Horticultural Halls. I am thrilled to see how the event has grown into something that no self-respecting Christian leader can afford to miss. The church today is full of imagination and energy.” Chartres was confirmed as Bishop of London in 1995 and was one of the executors of the will of Diana, Princess of Wales. He confirmed Prince William and preached the sermon at his wedding to Kate Middleton in 2011. Since its launch in 2006, The Bishop of London, Rt Revd the bishop has led the Church Richard Chartres of England's ‘shrinking the footprint’ campaign, aimed at cutting 80% of the church’s carbon emissions by 2050. Once again there will be a full seminar programme, as well as entertainment with a Christian theme at the Arts Theatre. The seminars will include a series of presentations on all four days on sound in church by Brian Hillson of B+H Sound. On Tuesday 19 May there will be a session on Church building projects – how to make them happen! by Jim Hammett and Nigel Walter of Churchbuild, followed on Wednesday 20 May by Church buildings: Resources for church growth and community engagement by Nigel Walter and John Marsh of MEB Design. Other presentations will offer advice on publicity for churches and designing websites. q • For more information and to buy tickets, visit www.creonline.co.uk.

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Taking church lighting to the next level of innovation ‹ LIGHTING DYNAMICS UK, based in Sutton Coldfield, West

Midlands, continue their development as one of the UK’s premier companies specialising in the interior and exterior illumination of cathedrals, churches and other places or worship throughout the UK and Ireland. The company is dedicated to offering a totally independent, creative, unbiased lighting design and consultancy service and as required, they can also supply of all the associated and specified lighting equipment. Lightning Dynamics has a long established reputation for creating practical and architecturally sympathetic lighting schemes and, wherever possible, discreet lighting equipment is specified and installed to produce suitable levels of illumination and to highlight both ecclesiastical details and any special architectural features. Company founder, Gerry Browne, told Ecclesiastical and Heritage World: “Our comprehensive range of modern, energy saving, long life lighting equipment is manufactured from the highest quality materials and takes into consideration many important factors such as reliability, durability, optical performance, overall efficiency, size, style and ease of maintenance – to name but a few. “We have recently launched a brand new family of the very latest bespoke ‘commercial grade’ LED fittings, specially designed for all types of ecclesiastical lighting tasks. This range of products has been under development for some considerable time and takes our overall lighting portfolio to the next level of technical innovation. We also have an unrivalled knowledge and expertise of all modern intelligent dimming and lighting control systems.” The company has a significant number of very prestigious projects currently in progress – with a large number at advanced stages of planning and design. Gerry Browne believes that this is a very exciting time in the further development of church lighting, especially with such a great and diverse range of modern light sources now coming on stream. “Customers are increasingly looking for someone with the flair and experience to provide a quality lighting design, whilst also specifying top grade lighting equipment and controls that will provide longevity, reliability and overall flexibility for their specific ecclesiastical project,” he said.

One of Lighting Dynamics’ recent projects was St Agnes Church, Moseley, Birmingham “In the main, clients no longer wish to see their completed church lighting project looking like an extension of somebody’s lighting showroom or lit with industrial style floodlights to resemble a railway marshalling yard. However, this is a long term process which involves educating, informing and demonstrating what can be achieved.” Lighting Dynamics UK has, if required, a fully qualified team of NIC EIC registered electricians to carry out the installation of their interior and exterior lighting systems to current electrical standards and regulations, providing the complete lighting service. They cover all of the UK and Ireland and provide a very bespoke service for each individual church lighting project, from initial meeting right through to final focusing and commissioning. q

Above are some examples of the prestigious projects undertaken by Lighting Dynamics UK www.ecclesiasticalandheritageworld.co.uk

Vestry re-fit is a replay for Somerset furniture specialist ‹ HAVING EMPLOYED West Country

company Fullers Finer Furniture to fit out the vestry of his previous church in Somerset, the vicar of St Bartholomew’s Church in Long Benton, Newcastle–upon-Tyne, was keen to utilise their expertise again for a similar project. Fullers, who are currently celebrating 30 years of operation, were pleased to take on the project, which included site visits from their base in Weston-super-Mare to plan what potential the vestry had. Apart from being unused, the old vestry was in need of repair and extensive decorating. It contained a very large altar frontals chest, which took up much of the space, along with other items of furniture in different states of dilapidation. The company’s founder Paul Fuller, who still runs the business, started planning how the vestry could be changed into something that could be used not only for keeping robes but also transformed into a meeting room with a kitchen area. Plans were submitted and the contract awarded. There was extensive work to be undertaken and much of the cabinetmaking and manufacturing needed to be done at Fullers’ workshop, in addition to the work required at the church itself. While some of the bespoke items were being made, the old vestry was ripped out and re-decorated. That included the installation of stud walling and a couple of very sturdy safes – not to mention the large altar frontals chest. The next stage of the project was to create an entrance lobby to the vestry. The half-glazed structure created a much-needed new feel to the room, making it more welcoming to those using the space. As the new room would be used for meetings, it was essential for it to have a hot water supply for that ‘much needed’ cup of tea, especially during some of those longer meetings. A sink unit and under-sink water heater were fitted, along with kitchen worktops that complemented the new kitchen cupboards, manufactured from both solid oak and veneered boards. By definition, a vestry needs to house vestments and cupboards for that purpose were the next to be fitted. Their solid oak frames blended

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beautifully with the contours of the room and give ample space for vestments: cassocks, surplices and the like. Other cupboards and desks were fitted below. The room was carpeted ready to host its centrepiece – a solid oak table designed and crafted with an elliptical top, enhanced by five matching solid oak chairs. The room was further enhanced by low-energy LED up- and downlighters, incorporated into specially designed pelmets that brought the project to a distinguished conclusion. The solution to the problem of where to put the altar frontals was planned in from the very conception of the project. Fullers designed a new high altar for the chancel. This new altar features a sliding top with hanging bars inside the carcase for the frontals to be stored out of view and kept both flat and clean. The whole project was greatly admired and – more importantly – provided an ideal solution for those who use it. q

Entertainment and worship figure in equal measure ‹ Featuring the likes of the Lantern Theatre Company, the Covenant Players and

comedian Paul Kerensa, CRE International’s Arts Theatre is the destination for music, drama and comedy. Special guests include worship leaders Dave Bilbrough, Noel Robinson and Tim Hughes. The ever-popular Marilyn Baker will perform along with author and speaker Tracy Williamson, who also suffered an illness affecting her hearing and sight. Leading lunchtime worship will be Sandra Godley, Miquel Brown, Eric Reverence and the IDMC Choir. Lantern Theatre Company will be seeking to include members of the local community, of all ages and abilities, as cast and crew in theatre, music, film, dance, exhibitions and other forms of artistic expression. During the Hour of Entertainment from noon daily, visitors can enjoy the funny side of Christianity and see how humour can break barriers to the gospel. Other highlights include Springs Dance Company, who will be performing their inspiring production Inside Out, and performances by Hillsong. Another favourite from past shows, Stand up for Jesus, is an opportunity for ordained ministers to learn how to incorporate humour techniques into speaking engagements. “Jesus was a master communicator and story teller,” explained Bentley Browning, who will lead the course. “This course, always a lot of fun, will help anyone wishing to develop their communication skills.” At the end of the course participants will have the opportunity to perform in front of visitors on the spotlight stage at the UCB Café. Another established feature will be the UK Christian Film Festival, bringing examples of the best in Christian movies and showing them in a purposebuilt film theatre – the UKCFF Preview Theatre. R

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New lighting for St Mary’s Church, Brixton Designed and installed by Anthony J Smith (Glos) Ltd

‹ ST MARYS CHURCH sits prominently within this small parish which

dates back to mediaeval times. The church is Grade 1 Listed although this has not stopped the congregation developing the building into a space that is flexible enough to meet the varying needs not only of the congregation but of the wider community. Recent projects have included the formation of a flexible community space at the west end of the nave together with the installation of an accessible toilet and kitchenette. Jim Eccles, who acted as project co-ordinator, states: “The lighting was the latest phase of works to provide a building for the 21st century, the old lighting system was past its sell by date and certainly in need of replacement. “We didn’t have an infinitely available source of funding and Anthony J Smith (Glos) Ltd provided a solution that ticked all of our wish list boxes. Latest generation LED units now make the church appear much more vibrant and the greater levels of switching and dimming flexibility allows us to provide just the right amount of light for whatever the occasion. I would have no problem in recommending Anthony J Smith (Glos) Ltd – their sympathetic understanding of our needs was apparent from the initial contact through to completion.” Anthony J Smith (Glos) Ltd have been designing and installing bespoke lighting solutions for more than 30 years and have worked within churches of all denominations and sizes. They are keen to utilise latest technologies and techniques and have substantial experience of providing solutions within the normal budgetary constraints. The company are well versed in dealing with all the regulatory bodies and are appreciative of the fact that many meetings, demonstrations and presentations are normally required before any instructions to proceed with the work are given. q • Should you feel that Anthony J Smith (Glos) Ltd could provide any assistance with your project then please do not hesitate to contact them for an initial discussion about your individual needs. Email enquiries@anthonyjsmith.co.uk or call 01453 825130.

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Learning is an inspirational experience ‹ ACCORDING TO A recent survey

undertaken by the University of Salford, a well-designed school can increase learning by up to 25% – and Our Lady and St Joseph’s Primary, a new school in Poplar, falls firmly into that category. Formally opened in March by the Archbishop of Westminster, Cardinal Vincent Nichols, the brand new building was designed by Green Tea Architects – who will be exhibiting at CRE in London – and features air source heat pumps, natural ventilation and solar energy, ensuring a long-lasting commitment to the environment. The exterior of the school blends in with a brick similar to surrounding buildings, yet is splashed with shards of colour in the form of brise soleil

and perforated metal balustrades. The Tree of Life crucifix, referred to by the Cardinal as ‘striking’, was designed by Green Tea Architects and carved by Howard Spiers. It is an inspirational focal point for pupils and visitors. Another standout feature is the Icthus logo – the fish used as a Christian emblem – prevalent throughout the school, being displayed on the front entrance and the bespoke altar. It even features on the children’s uniform, uniting school and faith. Green Tea Architects focus on enhancing local communities through their work, whilst minimising the impact on the global environment – which is why they are no strangers to designing for churches, parishes and schools. q

Sound system control – keeping it simple ‹ THE FIRST DIGITAL sound mixer was introduced over 25

years ago. 10 years later, major sound rental companies embraced the technology and digital consoles began to replace their analogue counterparts on the larger touring shows. Progressively, extensive software and hardware developments have found their way into smaller, low cost mixers that are highly suited to church installations. In parallel, tablet computers have transformed the ability to implement wireless control over many domestic and commercial applications. The combination of the two has seen the recent introduction of very affordable sound mixing systems that overcome many of the issues that face local village churches. “Simplicity of operation, security, high speech intelligibility and the ability to connect an iPad are some of the key priorities discussed at site meetings,” according to Andy Callin, managing director of Surrey-based Sound Analysts. “St Mary’s Church in Oxted, Surrey was a classic example. There was a 30 year-old inflexible system in place with a lot of existing cabling and a control cabinet located next to the organ, near the altar. As part of an upgrade, the church wanted to expand their sound system to accommodate the occasional guitar and playback from a laptop, as well as having the ability to control volume levels from the rear of the church.

with the inclusion of the EM Acoustics speakers, the sound quality for speech and music in this Grade 1 listed village church is outstanding”. The Rev’d Andrew Rumsey, vicar of St Mary’s commented: “These guys really went the extra mile to ensure we have a sound system that now does exactly what we want”. q

“Using QSC’s new TouchMix system meant we could incorporate the wish list and maintain much of the existing infrastructure. The system can be controlled either from the cabinet or via a tablet using a local WiFi link. Day to day operation is very straightforward and we can easily lock out some features to prevent unauthorised adjustment. The upgraded system is in a different league and www.ecclesiasticalandheritageworld.co.uk

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Vicar’s long memory leads to a successful trio for heating firm ‹ A CALL TO Stuart Mottram, of church

heating specialists Mellor and Mottram, from Rev Esther Foss, vicar of Holy Trinity Church in Knareborough, turned back the clock three decades – and marked the start of a mutually beneficial relationship between the company and the North Yorkshire town. Stuart had installed new boilers 30 years ago for Esther’s father, Rev Bill Foss, at his church in Crewe. His daughter remembered the fact when looking to replace the system at Holy Trinity and Stuart was happy to oblige a second time. Holy Trinity is a Victorian church whose 166ft-high spire is a landmark in the town. The project there involved the installation of a new wet system. Two boilers were installed in the basement and, because of the size and layout of the space and pews, new radiators were fitted under the pews next to the walls. A fan convector was also fitted to offer a boost ahead of services. The pipework for the system was manufactured from mild steel to minimise expansion and contraction. The completion of the project was not, however, the end of the story for Mellor and Mottram and Knaresborough. Holy Trinity is one of two Anglican churches in Knaresborough itself which, together with a further two in nearby towns, make up a single parish. Stuart was next approached to carry out a survey for the installation of a new system for its sister church, the Grade One-listed Church of St John the Baptist. St John’s dates from 1114, being a gift from Henry I to the monks of Nostell Priory.

The church had been without heat for some time following burst pipework in the hall next door, known as ‘The Hub’. Following a survey, Stuart and his team installed a new, 200kW balanced flue boiler in the vestry of the church, again with radiators against the walls. A fan convector was also installed, featuring a push-button ‘knock off’ facility. Again, the pipework was manufactured from mild steel and the radiators have a low surface temperature to prevent burns. They have also been finished to match the pews and walls. Because of the thickness of the walls a specialist drilling firm was engaged. While this contract was being carried out, the church hall at Holy Trinity was also in line

for a new system, which Mellor and Mottram were happy to install. This project involved the replacement of an existing gas-fired boiler and cast-iron pipework with a new system of Rinnai gasfired convector heaters. Each of the heaters has its own gas main installed and they are run on a seven-day timer to maximise efficiency. Again, all surfaces have low surface temperatures to avoid burning. So now Knaresborough – once scene of a bloody Civil War battle and now renowned for its railway viaduct and Mother Shipton’s Cave – boasts three new systems from the Stoke-on-Trent firm that specialises in church heating. All thanks to a good job done 30 years ago! q

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Chance meeting at first CRE leads to permanent presence ‹ ONE REMARKABLE PARTNERSHIP has attended every CRE national

show to date – and is keen to display its wares at this year’s CRE International at the O2. That partnership comprises Cunnings Recording Associates and its now-subsidiary Keith Monks Sound Systems. Indeed, the relationship began at the first CRE in 1985, when the two companies, then separate, realised their mutual interest in working together. Cunnings was established in 1977 in London, although its founder, Malcolm Cunnings, already had experience of working with church audiovisual systems as technical consultant for the refurbishment of All Souls Church in Langham Place, completed the previous year. His background in the design and manufacture of professional reel-to-reel tape recorders for the major national broadcasters provided him with a good technical knowledge of how products integrate. Keith Monks Sound Systems manufactured and supplied audio systems to churches from their base in Hampshire. Their own design of loudspeaker had proved very popular and was used in many of their installations. The systems were known for being easy to use and designed to last, with a high quality of installation. They included some of the first wireless microphones seen in the UK. The relationship which started at that first CRE enabled Keith Monks to see that Cunnings was the right organisation to take over his company and look after his customers when he was looking to retire. Cunnings duly took over Keith Monks Sound Systems in 1996. The product and technical knowledge and engineering background of Cunnings, combined with the installation experience of Keith Monks Sound Systems, were brought together to provide the very best audio and visual systems to churches of all sizes throughout the country. The intervening years have seen vast changes in technology, with many installations now using digital mixing solutions and brighter video projectors with image stacking technology unheard of at the outset of the relationship. In 1997, for example, when Cummings Recording Associates was celebrating its 20th anniversary, MiniDisc and DAT recorders were popular and the brightest projector on offer was just 600 lumens. The company’s 25th birthday saw the rise of digital mixers and projectors of 3,000 lumens. At 30 years, digital signal processing and image scalers were part of most systems. That same year saw the first installation by Cunnings of an LCD smart glass projection screen, a unique technology ideal for churches, where traditional projection solutions cannot be used. The company’s experts continue to use the latest audio and visual technology and their many years of experience to provide solutions for a whole variety of buildings. To date they include teaching hospitals, colleges and churches of all types – from a small mission hall to a large cathedral church complex. Last Christmas saw the completion of the restoration project at St Mel’s Cathedral in Longford, Ireland, following a devastating fire. Cunnings designed and installed LCD smart glass projection screens in both side aisles

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LCD smart glass projection screens at St Mel’s Cathedral in Longford to enable those parts of the congregation to be fully involved with the services taking place in the central section. When not in use, the screens remain clear and therefore do not impede normal viewing. Cunnings is always pleased to be involved with audio and visual projects in churches of all kinds, whether this year or looking to the future. q • To discuss your requirements please call 020 8767 3533, email info@cunnings.co.uk or visit www.cunnings.co.uk.

Continuous growth and development are the show’s hallmarks ‹ CRE HAS GROWN beyond recognition

since its first show at the Royal Horticultural Halls in 1985. Now there are CRE events around the country, moving from region to region every year. Last year yet another version of the show – the one-day CRE on the Road – was launched with phenomenal success. This year sees yet another step forward for the show with its move to London’s ExCeL. The major national show had outgrown its home at Sandown Park in Esher and a move to central London and a purpose-built exhibition venue was the logical next step. The final event at Sandown Park last year attracted over 8,700 visitors and over 300 exhibitors. Under its slogan Equipping and empowering the church for the next generation, CRE continues to provide a home for exhibitors of all kinds, from charities and missions to architects, stonemasons and heating installers. According to the organisers: “Church leaders, youth and children’s workers – in fact anyone involved in leadership – continually need to discover new and fresh ways to

communicate God’s unchanging message. That’s why there is no better place to equip yourself and your church than CRE.”

After the ExCeL, the show moves on to the Birmingham NEC for CRE Midlands from 7-8 October. q

Hi-tech AV company returns to CRE ‹ THE UNIQUE BLEND of ancient buildings and the latest

technology that epitomises the modern church will be in evidence once more at CRE International in the persons of audio-visual specialists DM Music and installation division DM Installation Projects. The company will be presenting some of the latest audio-visual technologies particularly suited to church use, which this year will include iPad touch screen control systems from Crestron that allow complete wireless control of audio, including level control in different zones, remote audio playback and recording. Primarily, they allow very simple operation of complex systems, but they also offer huge flexibility and lots of possibilities for system expansion in the future. It’s not just audio, either; the systems can control electric screens, projectors, lighting, heating – you name it. Simple accessible control is just a fingertip away, anywhere in the church building. As well as an installation in Wakefield Cathedral, DM have completed a full sound system at the University Church of St Mary the Virgin in Oxford. This was part of a £5.5m restoration of the historic church which saw the final sermon of Thomas Cranmer prior to his burning at the stake in 1556 as well as the launch of the 19thcentury Oxford Movement by John Henry, later Cardinal, Newman. The system includes a number of very discreet K-Array speakers and complete iPad control via the Crestron system. Such a success was the installation that the directors of DM Music and DM Installation Projects were invited to the official re-opening service. q • For more information visit www.dmmusic.com. www.ecclesiasticalandheritageworld.co.uk

Suppliers that are in a world of their own ‹ THE WORLD OF ecclesiastical supplies and

services is a wide-ranging yet specialised one. It encompasses products that vary from the almost divine to the very worldly – at one end the magnificent vestments, plate and decorations that form the panoply of the service; at the other the mundane exercise of keeping a congregation warm and safe.

The very act of keeping a building going, scheduling services and attracting a congregation these days involves complex software for the ubiquitous laptop or other device. Everything required has its own specific features that mark it out as ‘ecclesiastical’. In this new regular section we will be showcasing some of the specialist suppliers of those goods and services that are peculiar to this world. q

Crompton Lamps help Leeds Minster reduce its carbon footprint ‹ LEADING LAMP supplier Crompton

Lamps has donated a number of LEDs to the historic Leeds Minster as part of a campaign by the church council to significantly reduce its carbon footprint. Previously known as the Parish Church of Saint Peter-at-Leeds, the building is of a Gothic Revival design dating back to the 19th century and was granted Minster status in 2012. The Minster has also been designated as a Grade I listed building by English Heritage. The original lighting consisted of over 300 halogen lamps internally with 25 sodium floodlights externally around the building. Running costs were considerably high and other problems included constant maintenance

due to frequent lamp failure, and so an alternative solution had to be found. Minster council member Chris Jackson contacted Crompton for advice on energy saving equivalents to the halogen and sodium lamps in use and wanted to keep the existing fittings. Crompton suggested replacing the old 60W halogens with 5W LED MR16 lamps. These extremely high powered lamps have low power consumption, and are available in warm white, cool white or daylight colour options. The lamps have a life of 30,000 hours. Chris Jackson commented: “We are extremely grateful to Crompton for all their valuable advice and for donating the new lamps. Apart from the considerable energy savings we have achieved, the light levels have

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clearly improved by using the LED lamps. Due to Christmas, with the Minster at its busiest, we have only managed to complete Phase I of this project which includes the lower ceiling areas and all the external lighting. “However this phase has really improved the whole ambience of the building and we have received very positive comments from our regular parishioners as it really does show the Minster in a very different light! Phase 2 will see the higher ceiling areas being re-lamped and will involve the use of cherry pickers. It will be completed early in the New Year”. q • For further information visit the website at www.cromptonlamps.com, email sales@ cromptonlamps.com or call 0845 612 8151.

This plastic really is fantastic ‹ WHILE TO SOME the church is an ancient place with equally

ancient traditions and furnishings, to others it is a modern place that keeps abreast of developments in both technology and design. Modern churches follow modern design and include modern materials. That is where Birmingham-based DS Plastic Fabrications are leading the way. Under the slogan Isn’t Plastic Fantastic, it is a small business specialising in the manufacture of lecterns in acrylic plastic. They also produce and supply lecterns in mixed materials, such as wood/acrylic or steel/aluminium. The company can also provide bespoke designs that will complement the contemporary or modern architecture of a church. Their lecterns are made from cast acrylic, which is stronger and more durable than extruded acrylic. The lecterns themselves are 12mm acrylic for strength, while the bases are 20-25mm in thickness, creating a low centre of gravity. The firm also produce a range of display cabinets, furniture and signage. q

How accessible is your church? ‹ HAVE YOU CONSIDERED how disability friendly your church is?

Church congregations across England have been fluctuating over the last 20 years. Regular church attendance has been in decline since 1998, according to the English Church Census in 2005, but we are now seeing a rise in the number of new churches, offering services that help tackle the issue. Adapting to our changing society and ageing population is necessary to provide welcoming and friendly environments that suit a diverse range of church users. In addition, many churches now hire out their halls for a variety of activities and enhancing accessibility can benefit them in expanding their services. With over 10 million disabled people in the UK, it is very important that service providers recognise the advantages of creating an inclusive and accessible environment that will benefit everyone. Surrey-based DP Consulting (Disability Equality Services) Ltd work with many different churches to assist them in achieving best practice standards of accessibility. A comprehensive access audit from DP Consulting will make certain that your church is welcoming and compliant, and will define the ‘reasonable adjustments’ you should make. So, does your church need an access audit? Ask yourself the following: • Do you provide wheelchair accessible facilities and services? This • is not just about providing a ramp where access is via steps only. • Do you provide communication aids? Communication • enhancement is largely beneficial to those who have visual or • hearing impairments. If you have answered no to either or both of those questions, an access audit will help facilitate the future inclusion of disabled people in your church or congregation. DP Consulting are members of the National Register of Access Consultants. Our next issue will carry an depth look at the NRAC and their members’ services for churches and other heritage buildings. q • For more information visit www.dpconsulting.org.uk. www.ecclesiasticalandheritageworld.co.uk

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Buying the right folding chairs

for your church By DARREN PARKES of Mogo Direct

‹ WHEN BUYING FOLDING CHAIRS for your church, there are

a number of factors you need to take into account to ensure you make the best decision. After all, there are hundreds of options out there, and limitless uses to which the chairs can be put.

Length of use There’s a marked difference between a chair that might be used for short meetings or coffee mornings, and one that is used for the duration of a church service. Length of use should be considered alongside the chair’s comfort and strength.

Frequency of use The same also applies to how often the chair will be used – will it be called upon a few times a year for seasonal events and celebrations, or do you plan to use it every day? This should also have a bearing on the quality and strength of chair you go for.

Visual traits When choosing a church chair, it may not be wise to go for neon-pink plastic seats that do nothing for the overall aesthetic of the setting. As such, always factor in the chair’s looks in accordance with its intended surroundings.

Maintenance Modern steel and plastic chairs can be cleaned with a single wipe. By contrast, those lined with cushions and fabrics may require more careful and involved cleaning and maintenance.

Costs

Ease of storage

And finally, unless the chairs are to be used a few times only and then discarded, it’s worth considering investing in higher-quality items that go the distance. Costs are always reflected in overall performance and lifespan, so it’s not always in your best interests to cut corners. q

Ease of storage is one of the most appealing benefits of all that come with folding chairs, but be aware that some can be much easier to fold and store than others.

• To find out more about choosing the right chairs for your church, visit www.mogodirect.com.

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Renovation to High School Yard Steps

â&#x20AC;š NORTH-YORKSHIRE BASED architectural

metalworks company, Topp & Co, were commissioned to forge new wrought iron railings for this fascinating project in Edinburgh. The High School Yard Steps were originally constructed in 1897 following an Urban Sanitary Improvement Scheme in 1893 which aimed to remove the most unsanitary housing from the city while respecting the historic character of the Old Town of Edinburgh. The stairs gave open access to the neighbouring flats which was, at the time, considered to be more beneficial to health than the more typical closed stair blocks. The refurbishment, which was funded by The City of Edinburgh Council, the University of Edinburgh and Edinburgh World Heritage, has undergone a complete transformation and

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for the first time in 10 years has been open for public access. In addition to the railings, Topp & Co have designed and created a set of wrought iron gates to match the originals, complimenting the Scottish baronial style typically used in this area. Wrought iron is distinct from modern materials such as mild steel or pure iron in that it incorporates impurities, mainly strands of silicate, in its manufacture. This gives it a greater resistance to corrosion, making it easy to maintain by simply painting regularly. It also ensures that fine detail in the design is not obscured by additional processes such as galvanising which is required if metalwork is manufactured using mild steel instead of genuine wrought iron. Jeremy Bowman of Topp & Co comments:

â&#x20AC;&#x153;Technically the design of the railings was challenging, the processes require a skilled eye to make sure each item is in alignment with the next. For example, the square holes in the horizontal rails are swelled out by punching the heated up bar with various sized chisels. Each hole has to align perfectly with the other rails to allow the bars to slide into place and each swelling to be the same size.â&#x20AC;? The stonework was repaired using red sandstone and lighting contractors were appointed to project the silhouettes of the public onto a large LED mesh screen as they climb the stairs. The movement is captured using an infrared camera and, along with the exquisite ironwork, has brought the High School Yards staircase back to life. q

Landmark planning permission granted for Auckland Castle £17 million restoration ‹ PLANNING PERMISSION HAS been granted for the £17m

restoration of Auckland Castle in County Durham. This is a key step in the wider £60m renovation of one of Britain’s most important historic sites, which will be developed by Auckland Castle Trust as a new heritage destination. The Castle will welcome 120,000 visitors each year, creating over 100 fulltime jobs and generating £3m of annual revenue in an ambitious heritageled social regeneration initiative for the north east of England. Durham County Council has approved a renovation scheme which will see the former palace of the Prince Bishops of Durham, described by Diarmaid MacCulloch, Professor of the History of the Church, University of Oxford as “the third best episcopal complex in the world, beaten only by the Vatican and Avignon,” undergo the most significant development in its remarkable 1,000 year history. The Heritage Lottery Fund (HLF) supported project will draw on the expertise of world-leading specialists in the fields of heritage, conservation and architectural design in order to revitalise and make available to the public one of Britain’s finest buildings, which has played a key role in the nation’s history, enabling Auckland Castle to be understood and enjoyed by a wide range of audiences. Architects Purcell will restore to their former palatial grandeur the castle’s state entrance, gentleman’s hall, state rooms, private apartments and St. Peter’s Chapel, built as a 12th century banqueting Hall, consecrated in 1665 and now the largest private chapel in Europe. Jane Kennedy, partner at Purcell said: “Purcell is delighted to be involved as design team leaders in the exciting project to repair and represent Auckland Castle at the heart of this regeneration scheme.” Explaining her team’s approach, Jane said: “Detailed historical studies and archaeological investigations have informed the design team during the development of proposals to repair and reuse the building. “We have gained a new understanding of the medieval castle, and of the 18th and 19th century bishops who developed both the formal entrance and suite of state rooms. These rooms will be redecorated and presented to tell the stories of the bishops from the medieval period to the present day.” A dramatic two-storey extension and remodelling of the 16th century Scotland Wing, sympathetically designed by Niall McLaughlin Architects, reflects Auckland Castle’s religious roots, echoing wooden Anglo Saxon churches of the 6th and 7th centuries. The museum building will house ‘Faith’, an immersive new museum experience across eleven gallery spaces that will explore man’s relationship with belief in the British Isles. Among the items that will be on display will be the Cottingham Tank, a Viking lead font that is a fusion of pagan and Christian beliefs. The Auckland Castle Trust has also acquired four rare stained glass panels from Compton Verney that were among the last to be made before the Reformation, as well as two striking Bronze Age swords that were deliberately deposited as votive offerings.

Exhibition designers, Casson Mann, will realise the exhibition and interpretation plan for the castle, bringing to life the multiple narratives of the site’s history and architecture and creating an exhibition programme and visitor experience with broad appeal. The castle’s illustrious past is reflected in a permanent collection of museum quality European religious art which includes the remarkable series of paintings Jacob and his Twelve Sons by the Spanish Golden Age artist Francisco de Zurbarán. Originally purchased by Bishop Trevor in 1756 as a potent symbol of religious tolerance, the series represents the largest collection of the artist’s work outside Spain. Durham County Council has granted further planning consent for a striking £2.5m Welcome Building. The timber framed building and tower features an observation platform offering panoramic views of the surrounding area. The building will house the ticket office, gift shop and space for exhibitions, education outreach and meetings. The restoration of Auckland Castle has been supported by the HLF with an initial Stage 1 grant of £1m awarded in May 2012. An application for a further Stage 2 grant of £9m was submitted in February 2015, with a decision expected in May 2015. If successful, it will be one of only four grants of this magnitude ever to have been made by the HLF to the north east of England. Chief executive of Auckland Castle, David Ronn, remarked on the ambition for the heritage-led scheme: “The castle, together with its unique collection of Zurbarán paintings, represented in 2012 the start of our journey, and became the foundation and the inspiration for all that has followed in our ambition to create a world-class heritage-led regeneration project. “When finished in 2018, visitors will be welcomed to an extraordinary place which is accessible to all, opened up and restored, and telling the stories of Spanish Art, the Prince Bishops and the history of Faith in this country. The calibre of the design team that will help us achieve this is unrivalled. With a beautiful new wing designed by leading contemporary architect Niall McLaughlin, sensitive redevelopment by architects and heritage specialists Purcell, and dynamic exhibitions created by Casson Mann, we will bring the castle to life and allow it to be enjoyed by many.” Work on the multi-million pound scheme is expected to start in spring 2016 and be completed by 2018. q

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Special bricks bring an ‘Ice House’ back to life

‹ ICE HOUSES ARE unusual structures, often found in the grounds

of stately homes. The practice of building them came to England from France in the 17th century as a means of storing ice for use in the households of the gentry. A fine example of an 18th-century ice house can be found at Croome, a 750-acre National Trust estate in Worcestershire, famous for the stately home Croome Court. Its extensive grounds were Lancelot ‘Capability’ Brown’s first major landscape design. The Ice House, which is close to the old carriage route leading from the estate’s Church of St Mary Magdalene, would have been an impressive sight in its day, measuring approximately 15ft 6in wide by 29ft 6in high. One third of the egg-shaped brick structure sat above ground with the remaining two thirds hidden underground, which was where the ice – ‘skimmed’ from a nearby pond – would be stored for use in the kitchens. The brick dome was probably originally covered by a teepee-style thatched roof and a short, three to four metre-long brick and timber passageway would have served as an entrance. Thought to have been originally filled with straw, the passageway was designed to stop the wind and the rain from entering the ice chamber. The surrounding trees would also have helped keep the Ice House shaded and cool in summer. Although kept in reasonably good working order during the 150 years of its working life, the Ice House ceased to be used in 1915 and so fell into significant decay, being filled with rubbish after World War II as a safety measure when Croome Court was in use as a school. The National Trust acquired the landscaped park and buildings in 1996 and began restoration according to the 18th-century plans and surveys. In 2007 plans were made to restore the Ice House back to its original splendour, with help from a £46,000 grant from Natural England’s Countryside Stewardship Scheme plus funding from the National Trust itself. The excavation of the Ice House was conducted by archaeologists Ian Brooks and Kathy Laws from EAS Ltd, working with Ward and Co (Building Conservation) Ltd as main contractors. Architect John Goom, who had considerable experience in the restoration of historic buildings, was appointed to oversee the project. Fortunately, there was sufficiently good documentary evidence in the form of an old article from the 1950s and a black and white photograph taken of the Ice House in the 1920s, backed by archaeological findings, to give a good indication of how the building would have originally looked.

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However, immediate structural repairs were required to ensure that the existing fabric could be retained in situ. A large part of the original brick dome was missing, rendering it structurally unstable. That needed to be rebuilt with bricks that exactly matched the originals both in size and appearance and the rest required extensive re-pointing. The missing passageway or porch also needed to be rebuilt on the basis of archaeological evidence to secure the stability of the dome. Integral to the project was the sourcing of historically authentic, handmade bricks that would exactly match the size, tone, texture and character of the existing brickwork. Cotswold-based independent manufacturer Northcot Brick was approached as one of the few makers of genuine handmade bricks with the extensive restoration experience, craftsmanship and specialist brick matching skills required. Northcot’s team of master brick-makers, who use age-old bench mould techniques that have hardly changed over the centuries and fire in the traditional way in one of the last remaining coal fired kilns, created a new bespoke, smooth-faced brick which matched the subtle orange-yellow tones and the weather-worn appearance of the originals. Now known as Packwood Rural, that particular blend of brick has subsequently been incorporated into the company’s main product range and it has also proved a popular choice for other conservation projects, extensions and renovations. Once the brickwork of the Ice House had been restored, a new oak frame was constructed using photographic and site-based evidence to decide its form. It was covered with long straw thatch, which is traditionally used in the locality, in order to replicate the original appearance of the building. Various artefacts found in the dome were then returned to their original positions and other objects were subsequently placed around the inside of the roof structure for future preservation. Thanks to the painstaking restoration and traditional craftsmanship, visitors to Croome can now visit the Ice House and go through the new entrance tunnel, up to an iron gate at the dome, and peer down into the depths of this unusual structure to appreciate fully its unique history. Catherine Hurley, a historic buildings advisor with Natural England, commented: “The Ice House is of particular cultural and historical importance, giving us a link back to how Croome Court was managed, and gives us an insight into the daily life of its former inhabitants.” Croome is open daily from 10am. Visit www.nationaltrust.org.uk/croome for details. q • For more information on Northcot Brick visit the website at www.northcotbrick.co.uk.

Church architecture, music and acoustics: a tangled history By EVAN GREEN and BOB ESSERT of Sound Space Design

‹ IN THE PREVIOUS two issues, Sound

Space Design (SSD) and Anne Minors Performance Consultants (AMPC) have presented our designs for a number of ecclesiastical and heritage buildings recently adapted for changing or new uses. Many of the issues faced by our clients are general problems resulting from today’s expectations of church buildings. The churches we use today result from the intertwined history of liturgy and music, the development of church architecture and construction methods. However, the resulting spaces often do not meet the acoustical, visual or comfort expectations of contemporary congregations, musicians and audiences – why is that?

Changing architecture, changing music Throughout the two-millennia long history of Christianity, church architecture has evolved with the practices and theology of the time. Spatial relationships in the church took on significant symbolism with the well-known cruciform plan shape emerging from the Roman basilica. Permanence was emphasised through larger buildings using solid materials such as stone. Larger space and hard materials resulted in highly reverberant spaces. This reverberation was used creatively by composers as music took on a more significant role in the liturgy and daily life of monks. Psalms were sung regularly throughout the day and the Mass was chanted – simple single-note melodies merging with the lingering reverberation to create ethereal harmonies. Enabled by advances in building technology, the tall naves and large windows of the 11th – 13th century Romanesque, Norman and Gothic churches developed to intensify the connection with the sky and the revelation of God. At this time, previously excluded instruments were allowed, most notably the organ which exhibited

the requisite solemnity of tone and could project a strong sound into the resonant church acoustic. These common ecclesiastical features of height, solid materials, large windows and use of the organ endured through various architectural and local variations, leading to notable church types such as Renaissance and Baroque and a multitude of geographical variants. The Reformation prompted a parallel evolution of Protestant church architecture. Churches began to be smaller, in part to reduce the glorification of the physical world. This corresponded with the sermon gaining importance and Mass being held in the native language – both features benefiting from the improved speech intelligibility provided by the smaller space. Congregations also became more involved through the omission of the rood screen and the singing of hymns. The acoustics of existing churches have generally not been adapted to reflect cultural changes, in part because of reverence for the holy place and respect for those who had built it, and also because of the high cost of modifying such large buildings. Even more recent Victorian and modern churches do not address the common problems of poor speech intelligibility, noise intrusion from outside and poor clarity of sound for more complex music, due to adherence to this long architectural development.

Changing uses, changing music, changing expectations Today it is more important for the clergy to connect with their congregation. The sermon has a key role and services can include communal singing, sung or spoken call-and-response and various kinds of music, even, in some cases, accompanied by popular instruments or an amplified band. Traditions within church communities change at varying rates. Choral and organ music are still very popular, and since churches are large spaces with a prominent place in the community, they are also used for concerts

Tall height and hard materials provide long reverberation and good natural acoustics for choir, organ and congregational singing, but poor clarity for speech and local meetings. The best acoustics for these various uses differ: a dry acoustic with good speech intelligibility is needed to understand the sermon and psalms, especially for older members of the congregation, and for a clear sound with a band or popular instruments; a more resonant acoustic with the right balance of clarity is best for unamplified concerts; while a very resonant acoustic suits organ and much of the sacred choral music best. Furthermore, people increasingly feel that the traditional forward-facing seating arrangement is isolating and limits participation. As urban noise levels have increased, the thin glass that enabled lightweight, large-scale windows now lets too much noise in – and risks annoying the neighbours with sound breaking out from the church, especially when used for evening events. These windows and solid masonry construction also create thermal comfort problems – but the noise from fans and heating systems impairs speech intelligibility and is distracting in music performances. In the next issue we will see how these difficulties can be overcome. Simple sound reinforcement systems are not adequate to meet the quality expectations of today. SSD and AMPC have had success with novel passive acoustical solutions, and improvements to glazing and low-noise climate control can not only enhance the acoustics, but also generate energy efficiency benefits. q

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ISCEx2015

‹ THE WORLD OF professional audio – including public address

manufacturers, consultants, acousticians, induction loop manufacturers and AV integrators – converged on the picturesque location of Coombe Abbey near Coventry in February. The magnificent country park provided the perfect setting for the Institute of Sound & Communications Engineers (ISCE) annual forum. The opening night networking dinner acted as a curtain raiser for the following day’s exhibition and seminars. On the opening night, guests were able to engage socially over dinner, the focal point of which was the appearance by special guest, stand-up comedian Lea Roberts.

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reports record attendance Day two saw Helen Goddard, chairperson of the seminars, introduce a programme of lively lectures as collateral events that ran alongside the exhibition itself. Ros Wigmore, ISCE secretariat manager, said she was delighted with the turn out – particularly the opening night which saw a record attendance. “ISCEx2015 gave us an amazing couple of days, in a stunning location that couldn't fail to impress,” she said. “Everyone had such good fun at the networking dinner which set the tone for the following day at the exhibition. “Attendance was incredible and we are pleased the industry is recognising the importance of attending this event. The seminars were really informative and gave our visitors a real insight into the world of audio.” One exhibitor, Neil Voce of ASL said: “ISCEx2015 was definitely the best yet. I was really impressed by the venue. The show, with its low stress level and cost, is now without doubt the most concentrated audio exhibition in the UK, with a wide variety of brands and with enough time to speak to everyone. I look forward to going back next year.” Visitor, Gerard McKeown of MGA Communication said: “I was impressed to see so many exhibitors showing a diverse range of products. The seminars too were well attended and offered excellent lectures on a number of relevant topics. Well done ISCE in organising a memorable event.” The date for ISCEx2016 is now firmly set as 8 and 9 March and will again be held at Coombe Abbey. q • For more information visit www.isce.org.uk. A selection of ISCE members can be found on p56 in our Church & Heritage Supplies section.

Overseas work for Kernow AV Installations Stephen Gilbert, director at Kernow AV Installations, describes a recent installation undertaken on The Isles of Scilly

‹ THERE ARE WORSE places to work than in Cornwall and certainly the

drive home after an installation can be a pleasurable part of the day with the county’s breathtaking scenery. But the opportunity to carry out a church installation overseas last month was a very exciting prospect. Well, when I say overseas I mean 28 miles off Land’s End on The Isles of Scilly which logistically speaking is of greater concern than if it were in a different country. There is no B&Q on The Scillies. If you forget even the most trivial item, the installation could be scuppered! Everything had to be triple checked before it was shipped over a few days earlier and we were flown over for a couple of days to carry out the installation. St Nicholas’ Church nestles in a small cove on the island of Tresco amongst scenery that even a true Cornishman like myself found stunning.

The installation featured a pair of TOA H2S line array speakers for the main body of the church and a couple of Apart MASK4T speakers for the choir stalls were hidden behind the roof beams. Audio-Technica U857 slimline gooseneck microphones were used for the lectern and pulpit along with a TOA 5000 series wireless lapel microphone system. The hub of the system was a TOA A1712 mixer amplifier with a DBX131 31-band graphic equaliser to get the best out of the system and an Ampetronic ILD300 induction hearing loop amplifier completed the equipment list. All of this was housed in a wall mount steel rack cabinet situated in the vestry – which remains unlocked because no one locks anything on The Scillies! q

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Glass art flourishes both in the church and elsewhere ‹ ONE OF THE uncontested visual glories of the ancient church is the

wealth of stained glass in its windows. The Gothic period saw an explosion in the art form, with large windows in churches depicting scenes from the Bible. The style culminated in the magnificent rose windows seen in such grand settings as Chartres Cathedral and York Minster. York retains its place as a foremost centre for glass restoration and making with the York Glaziers’ Trust. The rose window style retained its appeal, as evidenced by the fine example in North Finchley featured in the story of its restoration by AuraVisions on page 47. That wealth of stained glass is, of course, in need of periodic restoration. That process has enabled the skills and craftsmanship to be preserved and nourished. The result is a continuing tradition of creating new pieces, such as that installed by Ann Sotheran at the Trinity Centre in North Ormesby, Middlesbrough. Ann explained: “As part of the development of the Trinity Centre it was decided to convert an under-used storage room into a quiet room for prayer, meditation and small group meetings for people of all faiths. The room opens onto an enclosed garden which had just been landscaped with a brick path maze and new planting. “The theme of the window is a journey through a dark and thorny environment to a bright centre full of growth and life. The journey continues upwards to a free flying bird. The design is deliberately non-denominational.”

Ann is a Fellow of the British Society of Master Glass Painters, the body which is flying the flag for a proud tradition. Over the years many places of worship have fallen out of use. Some, fortunately, have been preserved as buildings by being converted for other uses, including residential use. In many, the tradition of including stained glass has been retained. Andrew Patch, of Bristol-based Andrew Patch Stained Glass, describes one such example. “On the site, the entire large chapel was being converted into numerous apartments and the original diamond leaded windows, although in a bad state of repair, were to be retained. Moving around the building, each window in turn was renovated to an agreed level with new sections being made and fitted to replace badly damaged or missing portions.” The enduring appeal of the art form has, over the centuries, extended beyond churches to private homes and public buildings. Town halls, public houses and schools are adorned with shining lights, so to speak. Surrey Stained Glass actively promote the installation of pieces into private residences and schools. Proprietor Ken Moreland describes a recent project: “A school in Sussex wanted stained glass installed into the new school building. The architect had supplied the dimensions and the school supplied the design. It was left to Surrey Stained Glass to prepare and design the windows, which they did, to the exact dimensions and they fitted it perfectly.” q • You can find a stained glass expert in your area in our ‘Church & Heritage Supplies’ classified section from page 57.

The window at the Trinity Centre in North Ormesby, installed by Ann Sotheran www.ecclesiasticalandheritageworld.co.uk

The craftsman whose work has been viewed around the world ‹ ONE OF THE most iconic restoration projects carried out in

the North West in the past decade was the transformation of Gorton Monastery, as it is known locally, from a virtually derelict site into a modern conference centre. Officially the Church and Friary of St Francis, the building was designed by Edward Welby Pugin and completed in 1872. It is regarded as one of the finest examples of High Victorian Gothic architecture in the world. In 1997 it was put on the World Monuments Fund Watch List of 100 Most Endangered Sites in the World, alongside Pompeii, Macchu Picchu, The Valley of the Kings and the Taj Mahal. That led to a major fundraising campaign with the aim of enabling the Grade Two*-listed building to undergo a £6m restoration programme from 2006-07. Among the massive tasks involved was the repair and in many cases replacement of the stained glass windows. Local firm Cheshire Stained Glass was involved in the re-making of over 200 leaded lights, in situ repairs to over 60 windows and the restoration of stained glass windows around the alter, over a 12 month project. The lights of the chapel had fallen out long ago and no photographic record remained of their design. Fortunately, during the early stages of the project an area smaller than 12 inches square was found amongst the rubble. This was then used to create drawings and replicate the original glass types and design. Gorton Monastery is just one of many high-profile projects involving the Stockport-based company, which has over 30 years experience in the restoration and conservation of ecclesiastical stained glass and

Cheshire Stained Glass were an integral part of the restoration project at Gorton Monastery

The new aisle window at Hatherlow United Reformed Church

Etched glass windows from the Rover’s Return leaded lights. The company’s artist is an associate member of the British Society of Master Glass Painters and produces hand-painted kiln-fired artwork of the highest order to match any style or period. In addition to the restoration and reproduction of cherished stained glass pieces, the company produces new pieces from commissions, as at Hatherlow United Reformed Church. In 2010 a new aisle window was commissioned by the church, in memory of a long serving parishioner. The contemporary window features scenes of both the church and the mill in which the parishioner had worked. Polish glass was used to produce the vivid colours and the artwork was all fired in tones of grey. The effect is a stunning uncomplicated window. That window, along with four others, was then polycarbonate protected with 8mm UV-coated polycarbonate and stainless steel fixings, which replaced rusting metal grilles. It was fitted much closer to the glass and reveals more of the stone work detailing and is less prominent. However, these examples of ecclesiastical work are not the window panels created by Cheshire Stained Glass that have been most viewed in this country and indeed throughout the world. The company’s craftsmen also created the etched glass windows seen for many years in the country’s most famous pub – Coronation Street’s Rover’s Return! q

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Finchley’s rose window blossoms once more ‹ IN THE SUMMER of last year Essex-

based stained glass restorers AuraVisions were engaged to repair a large rose window at Christ Church in North Finchley. The window was made by Clayton and Bell in around 1870 and sits high in the west gable of the church. It consists of eight large cinquefoils (five-leaved designs), eight spokes and eight outer triangles, plus a central quatrefoil (four-leaved) light. The geometric vine pattern, with varied multi-coloured floral motifs, swirls around the window with handmade glasses, giving a sparkly and intense kaleidoscopic feel. The window was restored as part of a major project to repair the whole of the west wall of the church, which involved extensive repairs to the stonework and tracery. Some of the large cinquefoils had distorted due to their age, high winds and the use in the past of Portland cement in the glazing grooves. The internal and external glazing bars were only secured with four or five tie wires – grossly inadequate for the width of the panels – and the restorers at AuraVisions replaced them with up to 15. Some of the panels were releaded while others were cleaned and flattened. Many of the painted glass pieces were broken – some requiring repair while others

needed to be completely replaced. The number of broken pieces can be judged from the picture below of just one of the three panels of the cinquefoils, which were 1,450mm in circumference. Templates were made to ensure the glazing fitted easily into both the new and old stone. The project was completed in March this year.

AuraVisions work mostly with ecclesiastical and historic glass, ranging from Victorian to mediæval, but are occasionally called upon to repair 20th-century stained glass windows – usually damaged through vandalism. All are treated with the same care – as director Susan McCarthy says: “Today’s Victorian is tomorrow’s mediæval”. q

Templates were made to ensure the glazing fitted easily into both the new and old stone and (above) the amount of broken pieces removed for repair in just one of the three panels of the cinquefoils www.ecclesiasticalandheritageworld.co.uk

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