Ecclesiastical & Heritage World Issue No.66

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COVER STORY

CONTENTS Church lighting – the next level of technical innovation This issue’s front cover features the interior of St Augustine’s Church at Edgbaston, Birmingham – another successful church lighting project by Lighting Dynamics UK. The Sutton Coldfield based company continue their development as one of the UK’s premier specialists in the interior and exterior lighting of cathedrals, churches and other places of worship, taking church lighting to the next level of technical innovation.

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5 Reflections NEWS 9 Listing celebrates post-war public art 9 The place to be if your property is listed 11 Elgin Cathedral gets its stones back 11 Steeplejacks and lightning engineers mark 70 years before the mast 13 Plans unveiled for York’s infamous tower

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BRICKS & CLAY 21 With clay, builders have the earth at their feet 21 New firm helps preserve traditional skills 22 Banging the drum for bricks

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Oh! We do like Heritage Lottery funding!

Bronze Age homes found nearly intact in Fens New guardians of our heritage announced When nature attacks buildings it’s more than just red in tooth and claw 1066 and all what?

Public gives churches the thumbs-up Hear, hear! Sound engineers’ expo dates announced Former home of archbishop draws its heat from nature Established duo come together to provide bespoke solutions

PROJECTS 19 Purcell complete work on Welsh landmark Cardigan Castle

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FIRE 38 38

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The enduring skills of bricklaying have never faded Prince’s garden provides latest accolade for brickmakers Building made better with bimbricks.com Bespoke creations lead to new products for restoration Bricks and mortar are complementary in the creation of a style Nearly two centuries of brickmaking sets this family firm apart Specifying clay plain and peg tiles – the key considerations Clay tiles: delving into the earth to raise the roof

ROOFING 33 More and more roofers are raising the competence standard 33 Modern materials protect Brunel’s icon 34 Primed or painted cast iron rainwater systems... which will you choose?

LEAD 35 35

Cream of young leadworkers sought Rural crime site records continuing lead thefts

PROFILE 37 Public and private works make up an enviable portfolio

Clandon Park to rise from the ashes Insurance company offers fire prevention tips Firefighter and clergyman injured in blaze Beware: your building might not react to fire as you think it will

STAINED GLASS 40 Glass is under threat, but the precautions can be simple 40 Students’ lives are enriched by modern glass art 41 Art nouveau design replaces ‘stained’ glass in 1920’s-style cupola 41 Even craftsmen have deadlines to meet

CRE 43

CRE: building on strong foundations

WORLD NEWS 44 Award-winning cathedral restoration completed in time for Papal visit 44 UNESCO head hails growing cooperation on heritage destruction CARVING 45 Working with ornamental mouldings 46 Houghtons of York celebrate for a second year at the BWF joinery awards 47 Why ecclesiastical carving is important to the work I do LIME PLASTERING 48 Traditional techniques are preserved by craftsman plasterers CHURCH & HERITAGE SUPPLIES 49 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.

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[CLAY CANNOT RIGHTLY be described as being as old as the hills: in general, clay deposits were formed after the great upheavals that formed what pass for mountains in this country. It has, however been around for a long time; and as a building material it has been in use as long as any – and longer than most. It is amazingly versatile as a material, owing to its plasticity, and can be moulded or formed to an almost infinite number of shapes. In this issue we look at some of the uses clay has been put to: in particular the ubiquitous clay brick, which has been around for some thousands of years.

Almost as long in use, however, has been the clay roofing tile. It was around in ancient China and Greece. The Romans brought it to these isles, together with virtually everything else we take for granted.

Interestingly, Edward IV felt compelled to enact an Act of Parliament setting the size of the clay tile to be used.

Unscrupulous manufacturers were trimming the size to get more tiles out of the clay – a kind of medieval version of the modern arguments over chocolate bars!

• Bricks and tiles are just two of the kinds of product on show at the Christian Resources Exhibitions found at various venues around the country during the year. The climax of the season is the all-singing, all-dancing (almost literally) CRE International, now ensconced at London’s ExCeL. This year sees the second show at the venue and promises to be bigger and better than ever. The theme is ‘building the church’. For some of the exhibitors that is exactly what they do.

• Another material that has shaped the history of the church, and with it Western culture, is glass. It was around the time of the Gothic building boom that the art developed of piecing together pieces of coloured glass to make windows capable of filling the great spaces made for them. More modern examples are equally fine. From the acidetched pieces of the Victorian and Edwardian eras to the florid art nouveau pieces and the more abstract works of today, all face a number of threats. We offer a reminder of some of the issues from an acknowledged expert.

• We are in the middle of a period of anniversaries. This year is the 950th anniversary of the Battle of Hastings, that defining moment in our history and a date that is claimed to be the most memorable of all, according to a survey by English Heritage. Despite that, few people could name the main protagonists. Sadly, more respondents knew the names of characters in the TV series Game of Thrones. Wickedly, Hastings Council has chosen the time to mount a restoration programme of its cheekily-named Bottle Alley (as opposed to Battle Abbey) – the covered glass passageway on its seafront.

The trouble with anniversaries, though, is that advancing age leads you to remember the last one. At the risk of revealing impending dotage, I remember the 900th anniversary of the battle, in 1966, and the lavish set of postage stamps that took pride of place in my brother’s album. The really sad thing, however, isn’t that it is a reminder of age, but that it’s a reminder of just how long it is since England won the World Cup! q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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Church lighting reaches the next

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FEATURED ON THIS ISSUE’S front cover, and pictured above, is the interior of St Augustine’s Church at Edgbaston, Birmingham.

It is another successful church lighting project completed by Lighting Dynamics UK (incorporating Ecclesiastical Lighting). Based in Sutton Coldfield, West Midlands, they continue their development as one of the UK’s premier companies specialising in the interior and exterior

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lighting of cathedrals, churches and other places of worship.

Lighting Dynamics is dedicated to offering a totally independent, creative, unbiased lighting design and consultancy service and, where required, the supply of all associated and specified lighting equipment.

With nearly 30 years experience of working with ecclesiastical buildings, the company has a long established reputation for creating practical and architecturally sympathetic lighting schemes. 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.

Their 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.

The company continues to develop a family of the very latest bespoke ‘commercial grade’ LED fittings, specially designed for all types of ecclesiastical lighting tasks, which takes their overall product portfolio to the next level of technical innovation.

This range of LED products is being regularly updated to keep pace with the many changes and upgrades as the LED light sources within the industry continue to develop and improve.

COVER STORY

level of technical innovation However, as all good lighting designers are aware, LED is not necessarily the solution to each and every lighting application and Lighting Dynamics UK also offer a number of other alternative light sources for such scenarios.

“The company also has an unrivalled knowledge and expertise of all modern intelligent dimming, scene setting and lighting control systems,” said company founder Gerry Browne. “However, in this respect, we will always specify and supply lighting control systems which are cost effective, user friendly and above all can be operated by any member of each individual church team.”

Lighting Dynamics UK has a significant number of prestigious church lighting 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.

He has found that 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.

“In the main however, it is a long term process which involves educating, informing and demonstrating what can be achieved,” he added.

Lighting Dynamics UK has, if required, a fully qualified team of NIC EIC registered electricians to carry out the installation of interior and exterior lighting systems to current electrical standards and regulations, all of whom have a wealth of experience of working within all types of ecclesiastical buildings.

The company can provide the complete lighting service throughout all areas of the UK and Ireland. They provide a bespoke service for each individual church lighting project, from initial meeting and informal discussions right through to final focusing and commissioning. q

Below are some examples of completed prestigious projects undertaken by Lighting Dynamics UK

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Listing celebrates post-war public art [ FROM AN Antony Gormley

masterpiece – his first to be listed – to three Barbara Hepworth sculptures, a Henry Moore outside the Houses of Parliament and pieces depicting a range of themes from the power of electricity to the women’s peace movement in Northern Ireland, the Department for Culture, Media and Sport has announced the listing of 41 post-war public sculptures across the country, on the advice of Historic England.

The sculptures, most listed at Grade Two and some Grade Two*, were designed to bring our public spaces back to life after the Second World War, as England began to repair its shattered towns and cities. The art was created for everyone, to humanise and enrich our streets, housing estates, workplaces, shopping centres and the expanding universities and schools.

Among the new listings is Antony Gormley’s Untitled [Listening] in Camden, London. The first of his pieces to be listed, it was also one of his first public sculpture commissions and marked the beginning of a career dedicated to creating monumental pieces of art for the public.

Three works by Barbara Hepworth have also been included. Listed at Grade Two* is her Winged Figure – a landmark of London’s Oxford Street on the side of John Lewis – designed, in her words, to make people feel ‘airborne in rain and sunlight’ and Single Form (Memorial) in London’s Battersea Park, her personal response to the death of a friend. Rosewall (Curved Reclining Form) in Chesterfield – named after a hill in Cornwall – is now listed at Grade Two. Elsewhere, four of the newly-listed works are in Harlow, known as The Sculpture Town. They include Wild Boar by Elisabeth Frink and a play sculpture of a bronze donkey by Willi Soukop, now worn to a shine from years of use and designed so that children could interact with and experience art.

The 41 pieces capture the mood of postwar public feeling, depicting a range of themes from the celebration of industry in northern England, such as mining and wool, to the importance of family, play and even a commemoration to children killed by the Blitz. Some were unpopular at the time, being seen as too unsettling or too avantgarde and only now are they starting to get the appreciation they deserve. The sculptures form part of our irreplaceable national collection of public art now being recognised and protected by Historic England.

Heritage Minister Tracey Crouch commented: “It is only right that these fantastic pieces are listed. Not only are they magnificent sculptures, but they are also an

‘Untitled [Listening]’ by Antony Gormley, at Maygrove Peace Park, London (left), and ‘Winged Figure’ by Barbara Hepworth, Oxford Street, London. Photos © Historic England important part of our history, capturing the mood of Britain after World War Two.” Roger Bowdler, director of listing at Historic England, explained: “These sculptures were commissioned and created for everybody and have become a precious national collection of art which we can all share. They enrich our lives, bring art to everyone and deserve celebration. We have worked with the Public Monuments and Sculpture Association, Tate and the Twentieth Century Society throughout this

project to ensure our most special public art is protected and continues to enhance our public spaces.”

Historic England has recently warned that some fine works of public art have been destroyed, sold, lost or stolen and has mounted a campaign to find them.

Their stories, and those of the newly-listed sculptures, will be explored in Historic England’s forthcoming exhibition at Somerset House, Out There: Our Post-War Public Art, which runs until 10 April. q

The place to be if your property is listed [THIS YEAR’S Listed Property Show, organised by the Listed

Property Owners’ Club (LPOC) will take place at London’s Olympia on 20-21 February and at the Harrogate International Centre on 12-13 March.

Over 150 of the country’s leading experts will be at the shows to give advice and guidance. Many will be giving practical demonstrations, including woodcarving, leadwork, plasterwork, window and door manufacturing and much more. Other exhibitors include English Heritage, architectural historians and many commercial suppliers of products particularly suitable for period homes.

There will also be three independent conservation officers at the exhibition, who will happily discuss any plans owners may have for altering or extending their property. All owners of listed properties know the process of obtaining permission for such work can be very lengthy and a free one-to-one conversation will help them to better understand the obligations and requirements. Alongside these experts there will be a wide range of very experienced and competent RIBA registered architects, all with the expertise and experience to develop plans to fruition.

The only financial aid given by central government to owners of listed buildings used to come via VAT. Unfortunately, that rule was changed in the 2012 budget. LPOC has mounted a vigorous campaign to reinstate that exemption, taking it to Parliament. The understanding of the law is rather complicated, but there will be two officers available for one-to-one discussions to guide owners through the process.

A host of inspiring and informative lectures will take place across the weekend, including an Ask the Experts panel. Plus, the new Salvo Zone will feature unusual and interesting architectural antiques, reclaimed materials and garden and decorative antiques. Salvo aims to save reusable materials from landfill by promoting the trade in architectural salvage and reclaimed materials. q www.ecclesiasticalandheritageworld.co.uk

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Elgin Cathedral gets its stones back [WORK HAS BEGUN to return 126

medieval carved stones to Elgin Cathedral.

Carved faces, plants and animals are being hoisted up into the cathedral towers to form part of an exciting exhibition due to open on Easter weekend.

For the first time in 20 years, visitors will be able to get up close to the remarkable stones, including bishops’ memorials and fragments of a 13th-century rose window discovered during repair work in 1936. The displays will also explore the messages contained in the many carvings that embellished the medieval cathedral – from flora, fauna and funny faces to mystical beasts and heraldic motifs.

Elgin Cathedral has a dramatic history, surviving both devastating fire in 1270 and attacks by the Earl of Buchan in 1390 and Alexander, Lord of the Isles, in 1402. After the Reformation the cathedral, sometimes known as ‘The Lantern of the North,’ lost its roof and fell into disrepair.

Fiona Fleming, interpretation manager at Historic Environment Scotland, explained: “For many years the carved stones lay buried amidst the ruins, until the 1800s when Elgin shoemaker John Shanks became the first keeper and watchman of the cathedral. He began to clear away some of the rubble, uncovering wonderful, crisp carvings that had been buried for centuries.

“By studying the stones we have been able to understand more about the cathedral’s

construction and development, its builders and benefactors, and what it might have meant to those who walked through its doors.”

The stones spent much of last year at Historic Environment Scotland’s conservation centre in Edinburgh, being cleaned by expert conservators and studied by researchers. Now an immersive exhibition has been developed, telling the story of the cathedral and the people who built and used it.

Lorna Ewan, head of visitor experience, content and learning at Historic Environment

Scotland, said: “This is shaping up to be a fascinating exhibition, one which will bring the story of Elgin Cathedral to life for visitors.

We’ve worked with academic experts to decode the messages within the carvings, and in partnership with Napier University on a wonderful lighting display to create a truly innovative exhibition for Scotland’s Year of Innovation, Architecture and Design. If you’re planning your family outings for 2016, I’d highly recommend that a visit to Elgin Cathedral goes on the list.” q

Steeplejacks and lightning engineers mark 70 years before the mast [THIS YEAR SEES the Association of Technical Lightning and Access

Specialists (ATLAS) celebrate its 70th anniversary.

ATLAS was formed in 1946 as the National Federation of Master Steeplejacks and Lightning Conductor Engineers in response to new building laws and controls which were introduced in the post-war era.

The federation enjoyed early success, working with the British Standards Institute on a number of standards and with the Ministry of Works to gain additional coupons and rations for sector operatives.

The association has remained at the forefront of the lightning protection and steeplejack industry ever since and is committed to improving working practices, technical excellence and the skills of the workforce. In 2015 that included implementing additional CPD requirements for lightning conductor engineers and steeplejacks renewing their CSCS cards.

To celebrate its anniversary, ATLAS will be hosting its inaugural Awards Gala Dinner to recognise outstanding projects and the commitment of its members to training. The event will take place at the Royal Horseguards Hotel in London on 19 May. Award winners will be selected by a panel of independent industry experts, who will be looking for high-quality workmanship, technical complexity and client satisfaction, among other criteria. The ATLAS Training Award will recognise the commitment of ATLAS members to

investing in a qualified and skilled workforce.

President of ATLAS, Jason Harfield, said: “ATLAS will be celebrating its 70th anniversary in 2016 and the ATLAS Awards will provide an opportunity for clients to see the high-profile, complex projects with which members within the lightning protection and steeplejack industry are involved. An ATLAS Award will be the sign of a true industry benchmark and help companies to stand out from the crowd.”

As part of its celebrations, ATLAS will also be working with CITB to deliver a strategy to support the upskilling of operatives who gained their CSCS cards via industry accreditation or ‘Grandfather Rights’ and a new guide to promote the skills and experience of its members.

Jason Harfield continued: “I am incredibly proud to be president of ATLAS during its 70th anniversary year. ATLAS has achieved a great deal on behalf of the sector and this work will continue during our anniversary year. During 2016, ATLAS will continue to lead the sector by working alongside key partners to raise its profile and provide additional training opportunities to the sector’s operatives.” q www.ecclesiasticalandheritageworld.co.uk

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Plans unveiled for York’s infamous tower

[ENGLISH HERITAGE HAS unveiled

plans for a new visitor centre at Clifford’s Tower in York. They include a new rooftop viewing platform, suspended walkways to previously inaccessible view points and a visitor centre. The proposals were presented at a public consultation at the city’s Early Music Centre.

Jeremy Ashbee, head curator of properties at English Heritage, said: “We are investing in one of York’s most iconic landmarks. The aim of this project is to tell the fascinating history of Clifford’s Tower and its place in the

city in a way that’s never been told before. We welcome members of the public to drop in to the public consultation to find out what we are proposing and for us to get their views.”

Clifford’s Tower is the site of one of the most shameful events in York’s history. It witnessed the mass suicide and massacre of the city’s Jewish population, who were seeking refuge there in 1190. The current structure, however, was built in the 13th century and was ruined by fire in 1684.

The tower is currently famous for offering superb views over the city.

In the proposed scheme a timber structure will be installed to partially cover the ruin and provide a viewing and activity space at roof level. Suspended metal walkways will give access to previously unseen features at first floor level, enhance access to the roof and help visitors explore the tower.

At ground level, a new single-storey stone and glass visitor centre will be set into the mound. As well as improving access at the tower’s entrance, it will reveal part of the substantial perimeter wall which has been buried since 1935. q

Oh! We do like Heritage Lottery funding!

[THREE VICTORIAN SEASIDE towns are the latest to be refurbished with cash from HLF’s Townscape Heritage programme. Cleethorpes, Rothesay and St Austell are to share £4.7m of HLF funding to help secure their long-term future as thriving tourist destinations.

The money for the seaside towns is part of a £14m pot announced on 28 January for nine historic projects spread across England, Scotland, Wales and Northern Ireland. It is anticipated they will create 14 jobs, hundreds of volunteering opportunities and more than 2,000 traineeships.

In Cleethorpes the money will be used to ensure the preservation of the distinctive architecture of two important streets which connect the town and the seafront. The funding for Rothesay will help revitalise some of the properties which visitors first see when arriving at the town by ferry, including the historic Winter Gardens and the Victorian public conveniences on the West Pier.

Meanwhile, the St Austell project will rejuvenate the town centre by improving historic buildings and bringing public areas back into use, creating opportunities to deliver training to local people.

The announcement came as the HLF celebrated a landmark £21m in Northern Ireland over 21 years through its Townscape Heritage grant scheme. The grants awarded through the programme have helped regenerate deprived towns and cities by improving their historic built heritage. In this time, a remarkable 25 towns and cities in Northern Ireland have benefited.

The HLF grants have helped communities in Northern Ireland to transform their high streets and reverse years of under-investment and economic decline. Vacant and derelict buildings have been restored to their former glory and management plans have been developed to protect them from future neglect. q

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Bronze Age homes found nearly intact in Fens [ARCHAEOLOGISTS HAVE REVEALED

incredibly well-preserved Bronze Age dwellings during an excavation at Must Farm Quarry in Whittlesey, in the East Anglian Fens. The find is providing an extraordinary insight into domestic life 3,000 years ago. The settlement, dating to the end of the Bronze Age (1200800 BC), would have been home to several families who lived in a number of wooden houses on stilts above water.

A fire destroyed the settlement, causing the dwellings to collapse into the river and preserving the contents in the river bed.

The result is an extraordinary time capsule containing exceptional textiles made from plant fibres such as lime tree bark, rare small cups, bowls and jars complete with past meals still inside.

The archaeologists have also found exotic glass beads forming part of an elaborate necklace, hinting at a sophistication not usually associated with the British Bronze Age. They believe the exposed structures are the best preserved Bronze Age dwellings ever found in Britain and the finds, taken together, provide a fuller picture of prehistoric life than

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we have ever had before.

Clearly visible are the well-preserved charred roof timbers of one of the roundhouses, timbers with tool marks and a perimeter of wooden posts known as a palisade which once enclosed the site.

It is possible that those living in the settlement were forced to leave everything behind when it caught fire. Such is the level of preservation, due to the deep waterlogged sediments of the Fens, the footprints of those

who once lived there were also found.

The finds suggest there is much more to be discovered in the rest of the settlement as the excavation continues over the coming months.

After the excavation is complete, the team will take all the finds for further analysis and conservation. Eventually they will be displayed at Peterborough Museum and at other local venues. The end of the four-year project will see a major publication about Must Farm and an online resource detailing the finds. q

New guardians of our heritage announced [CULTURE SECRETARY John Whittingdale has appointed five

new commissioners to Historic England. Nicholas Boys Smith and Paul Baker have been appointed for terms of three years, Neil Mendoza for four years and Rosemarie MacQueen and Charles O’Brien for terms of five years.

Sir Laurie Magnus, chairman of Historic England, said: “Our new commissioners are all well placed to help us roll out our strategy as we start 2016 under our new brand name. This includes championing England’s remarkable historic environment as a unique national asset and advocating constructive conservation as

a sustainable means of protecting historic structures.

Their respective skills in planning, modern architecture, architectural history, business and historic building regeneration and revival will complement the expertise of our staff and existing commissioners at a very exciting time. They will all receive a very warm welcome.”

The Commission is the governing body of Historic England and has overall responsibility for the National Heritage Collection, which is managed by the English Heritage Trust (English Heritage) on its behalf. q

When nature attacks buildings it’s more than just red in tooth and claw

By FRANCOIS MOAL of Thames Valley Specialist Products Ltd

[NATURE RELENTLESSLY AFFECTS the built environment – at its

own pace – until most surfaces are eventually covered with a cocktail of bacteria, fungi, algae, yeasts, protozoa and other micro-organisms, along with non-living debris and corrosion products. This layer is called a biofilm.

A careful rotary jet cleaning followed by a light application of a biocide will be successful.

Steam requires professional equipment. It works well on grime generally and metabolites in particular. However, it does not shift algae and is often used in conjunction with a biocide.

Surface ecology

Obtaining a good treatment

Different species have different needs and colonise the surface in relation to one another. At first we have rustic organisms, requiring only CO2 from the air and sunlight as their carbon and energy source. Algae and cyanobacteria belong to this wave of early settlers. Once the surface is inhabited the cycle begins and species needing elements of organic matter can thrive. Fungi are quickly off the mark and spore reproduction becomes invasive.

Examples of this second stage are seen on painted and rendered walls in marine atmospheres, where a green algae producing an organic red dye sometimes colonises the surface. The red dye is a UV filter.

Abundant organic supplies and shade attracts filamentous fungi, slowly digging their hyphae into the surface porosity behind the red cones. The ‘giveaway’ sign is a faint localised shade of grey when the red dye has been washed away upon treatment.

There are a number of different ways of obtaining a good treatment for different materials.

The best way to protect timber from rot is to kill the fungi causing the rot. That is done with a regular application of Algoclear or an equivalent biocide. The practice will alleviate the need for oiling or staining, preserving the silver grey of exposed natural wood. On decking, a biocide treatment is the only sustainable way to prevent slime.

On sandstone or York stone, while grime and biofilms can be readily removed with a rotary jet, the encrusted black dots cannot as the dark crust is harder than the stone. A robust treatment of Algoclear will kill the fungal agent excreting the crust. Patience and UV light will finish the job by photolysis. In a sunny area the crust will decay and crumble naturally in a few weeks. In shady areas a stiff brushing – also after a few weeks – will remove the remaining incrustations.

Maintaining artificial grass poses a specific problem to the Algoclear applicator in that the product works on contact only. There are several m2 of grass blade surface per m2 of pitch. Furthermore, interstitial gaps are created at the interface with the filler. The treatment will require larger amounts of mix than for a hard surface. The mix can be weaker by an almost reciprocal amount without penalty, since the concentration will increase again as the water evaporates.

White and yellow lichen – found and treated mainly on roof tiles – can densely colonise any cementitious surface. Treatment with a biocide such as Algoclear will kill the organism, but in the case of paving brick the adherence can take months to weaken.

Porous surfaces such as concrete and render are naturally prone to biofilm colonisation, however they react particularly well to the treatment. On a dry day, apply to saturation point. The material will absorb the biocide and stay cleaner for longer.

In conclusion, a well-chosen biocide and some basic understanding of a biofilm will go a long way towards maintaining clean external hard surfaces. It is the soft technique of choice for most surfaces. The patience sometimes needed for the final result is well worthwhile. q

Cleaning techniques Cleaning a biofilm should be attempted with the soft approach first.

There are a few techniques to choose from.

Modern-day biocides are almost exclusively quaternary ammoniums.

They are highly effective and degrade in contact with biomass. They exist in professional grade, such as Algoclear Pro, or in general public grade with a concentration capped at approximately 10%. Some brands contain considerably less active ingredient and checking the concentration is the first step towards a purchase. The biocide should ideally be of high purity to avoid possible interaction with glass proprietary coatings, felt plasticisers, silicone etc.

Oxidising agents are often mistaken for surface biocides. The most common oxidising agent is bleach. It interacts with the substrates it is applied to, including clothing and lung tissues. It should be avoided for anything other than a localised area and should never be sprayed. The harsh effects of bleach are easier to control when thickened into a gel.

High pressure water brings immediate but short lived results – the organisms are spread around and still colonise the laps and interstices.

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1066 and all what?

[TO MARK 950 YEARS since the Norman Conquest, a survey by English Heritage

revealed that 34% of people consider 1066 to be the most memorable date in English history. However, the details of 1066 still cause confusion for many people. When asked to identify key players in the events of that year, only 38% were able to name William of Normandy as the victor in the Battle of Hastings, while just 25% could identify his opponent, Harold Godwinson. A mere 9% recognised Harald Hardrada, as the Norwegian king who also invaded England in 1066.

English Heritage is marking the 950th anniversary of the Norman Conquest with a year of events and activities at historic Norman sites across the country, including the site of the Battle of Hastings at Battle Abbey.

A new exhibition will tell the story of the battle and visitors will be able to stand on the roof of the Great Gatehouse of Battle Abbey for the first time, to get a new perspective on the most famous battle in English history.

Meanwhile, Hastings Borough Council have announced that its application to the Coastal Revival Fund for restoration funding for ‘Bottle Alley’ has been successful.

Bottle Alley was designed in the early 1930s by Sidney Little, Hastings’ borough engineer, to provide an undercover walkway in inclement weather. Located on the lower deck of the town’s two-tier promenade, it features pieces of recycled glass embedded in panels of concrete that make up the wall.

The works will include concrete repairs, installation of new lighting, cleaning the bottle panels and redecorating. q

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Public gives churches the thumbs-up [

A POLL CARRIED out for the National Churches Trust in December shows that the public backs Government funding for church heritage and reveals what would get them to visit churches.

Nearly two thirds (60%) of British adults supports financial support from the government for churches, chapels and meeting houses in order to protect their heritage and history for future generations, according to the findings.

The overwhelming majority of British adults think that the UK’s churches, chapels and meeting houses are an important part of the UK’s heritage and history.

Moreover, 57% said that they had visited a church in the past year for religious services, non-religious activities or as a visitor or tourist.

Adults in Wales were the least likely and adults in the North East the most likely to have visited a church, chapel or meeting house for any reason in the last year.

However, 46% of British adults agreed that it is difficult to find useful visitor information, such as directions, opening hours and details of things to see and do.

Claire Walker, chief executive of the National Churches Trust, said: “The British public thinks that churches, chapels and meeting houses are also important for society as they provide a space in which community activities can take place, as well as worship.

“That’s why it is good that the UK has a strong partnership of funders for church buildings, with money coming from government and national organisations such as the Heritage Lottery Fund, charities including the National Churches Trust, and local people and congregations.” q

Hear, hear! Sound engineers’ expo dates announced [THE Institute of Sound and Communications Engineers (ISCE) has

announced the dates for its ISCEx2016 exhibition, along with details of its seminar programme.

The two-day event is returning to the picturesque rural location of Coombe Abbey outside Coventry on 8-9 March and will bring consultants, specifiers, installers and manufacturers together under one roof. The institute’s AGM, to be held during the afternoon of 8 March, will be followed by a networking dinner and entertainment in the evening.

Former home of archbishop draws its heat from nature

As a learned society, the institute is keen to share its knowledge with others working in the industry and a seminar programme, presented by industry experts, will take place during the exhibition on 9 March.

A number of topics will come under the spotlight. Jamie Angus, Professor of Audio Technology at the University of Salford, will be asking: Green amplification: Is ‘Class-D’ really all there is? ANS: a new solution for providing PAVA to noise-sensitive sites will be the subject of a paper by Helen Goddard, company principal at AMS Acoustics, while Martin Bonsoir, EMEIA Applications Engineering Manager at Biamp Systems, will be heading An exploration of networked audio protocols: AVB, CobraNet, Dante and AES67.

Full details of the seminars can be found at www.isce.org.uk/ iscex-2016. There is still time for potential exhibitors to book a pitch in order to reach the sound communications market with public address, voice-alarm, sound system, audio frequency induction loop system, audio-video and acoustics solutions. q • For more information about ISCEx2016 and other ISCE events, contact the Institute of Sound and Communications Engineers at PO Box 7966 Reading, Berks RG6 7WY; tel: 0118 9542175; visit www.isce.org.uk; Twitter: twitter.com/ISCEInfo.

[SPECIALIST PIPEWORK TECHNOLOGY from Flexenergy has

been used to upgrade the heating system at Headstone Manor, a 14th-century moated manor house which was formerly the home of the Archbishop of Canterbury and which forms part of the Headstone Manor Museum.

The manor is a Grade One-listed building and is set to be the subject of a number of restoration and redevelopment projects. A recent project involved the renewal of the heating system in the 16th-century Grade Two* Tithe Barn. The heating was previously by electric storage units, which had fallen into disrepair and was expensive to run. With no natural gas supply to the site, biomass boilers and a district heating network appealed to the sustainable aspirations of Harrow Council, which operates the site and runs the Tithe Barn as an events venue.

James Allister of Silcock Leedham Consulting Engineers, explained: “The site on which the Tithe Barn stands is architecturally sensitive, so we located a packaged biomass plantroom in a more appropriate service yard some 150m away to distribute heat to an internal heat exchanger serving the low pressure hot water heating system. The main has been laid with valve off branches in access chambers in readiness for the phased redevelopment of other buildings on the site.”

Flexalen pre-insulated pipework from Glenrothes-based Flexenergy was chosen for the project, as it provides a balance between good performance and competitive cost.

The company’s sales director Sandy Fairley commented: “This was a very interesting project for us to be involved in and the Flexalen pipework was very well suited to the new heating system installed.” q www.ecclesiasticalandheritageworld.co.uk

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Established duo come together to provide bespoke solutions [

AT ANY GIVEN moment National Stage Technology will be designing and installing bespoke lighting and sound solutions for a diverse range of venues: from cathedrals to churches, theatres to universities and school halls to town halls – all of which have their own unique requirements and challenges.

Many of the spaces that they work in or design solutions for are listed buildings. Even those that are not listed have their own distinct characteristics that can make the aesthetics of the project as important as the functionality.

“We are lucky in that we work closely with some of the UK’s top manufacturers and we can have fixtures customdesigned to our specification to ensure a seamless fit with the existing building infrastructure,” says Reg Berry, director at National Stage’s Oxford office.

“We can control everything from the size and shape of a high-power, low-energy lighting fixture to the printing of an exact copy of the wall behind on the casing of a 360W speaker that is only 3.5in wide. If required, we can even tune the colour output of a lighting fixture to closely match the natural light in a space.”

Many people will know National Stage Technology as either Northern Stage Services Ltd or Lancelyn Theatre Supplies. The two companies merged early last year and rebranded as National Stage

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Technology. With three offices – in Manchester, Oxford and Deeside – the new company has gone from strength to strength, becoming a favourite with both consultants and building management teams alike.

One of their more recent installations was at Bath Rd Methodist Church in Swindon (pictured), where the major challenge was to find a lighting fixture that would fit into the space previously occupied by some high-level sodium lighting. The solution was to work with lighting manufacturer Innovation LED to create a new custom-sized panel that would fit straight into the available space without the need for any packing or rebuilding of the ceiling grid.

“The combination of inaccessible halogen floodlights, sodium panels and fluorescent strip lights was becoming increasingly expensive to maintain and run,” said the church’s facilities manager Noel Hunt.

“Limiting the impact on the aesthetics of the building was also an issue to be considered.”

He continued: “Discussions during the first site visit soon pointed towards LEDs as being the favoured route forward. This was identified both for their running cost and their flexibility for lighting effects. The end solution includes colour-mixing LED floodlights and purpose-built LED stage panels. The cost and impact on the building were kept to a minimum by reusing as much of the existing infrastructure as possible.”

The Selecon PL profile lanterns installed allow the output colour of each fixture to be changed in real time, eliminating the need to climb ladders and change coloured filters prior to each performance. The lanterns are powered by an LED colour engine which will last for the whole lifetime of the fixture with no need to ever replace a lamp.

There is a basic wall-mounted switch panel which allows the everyday users to recall some simple pre-programmed lighting states. For a more theatrical or musical performance it is possible to connect a programmable lighting controller that can be operated live, to really enhance a performance. In the new system all the lighting fixtures can be controlled in unison from a single position.

Noel offered some final thoughts: “Throughout the project we were highly impressed by the professionalism and knowledge of all the staff. The end result far exceeded our expectations. We would certainly use National Stage Technology Ltd again and would gladly recommend them.” q

Purcell complete work on Welsh landmark Cardigan Castle [THE SIGNIFICANT CULTURAL LANDMARK, Cardigan

Castle, was built in the 12th century by the Welsh Prince Rhys ap Gruffydd. To celebrate its completion, a competition to select a court ‘bard’ was held, which was the first ever Eisteddfod. This remains Wales’ most prestigious cultural competition and the castle itself has been restored to reflect its status as a place of historical national importance.

Oliver Cromwell’s forces partly dismantled the castle during the English Civil War and the remaining medieval structures were converted to domestic dwellings with its curtain walls absorbed into the town. During the Regency era, Castle Green House was extended and a new villa and garden were built.

During the 20th century, the castle declined. Its curtain walls had to be propped up with steel raking shores to prevent their collapse, its buildings were overgrown, the floors were collapsing and the roofs open to the weather.

In 2003 Ceredigion County Council acquired the castle, which is a Scheduled Ancient Monument and contains six Grade II* listed buildings.

A local group formed a charitable trust, Cadwgan, to lead the restoration and commissioned architects Purcell to undertake an options appraisal to identify future uses.

The castle had potential to be a regional heritage visitor site but maintenance costs required additional income. Other revenue generating uses were added including holiday accommodation, small business workspace and conference facilities.

The Cadwgan Trust had to raise £12.5m and Purcell helped them to win grants from the Heritage Lottery Fund, Cadw and WEFO. A well-publicised fundraising campaign run by volunteers also helped to reach their goal.

Purcell oversaw the first phase to repair the curtain walls and undertake structural repairs. Rock anchors were inserted through the surviving sections of wall and were tied together with non-corroding metal straps.

The second phase involved repairs, conservation and upgrades to the

listed buildings. Conservation works covered all aspects of traditional building skills ranging from structural carpentry repairs, slate roofing, leadwork, masonry repairs, external joinery repairs and lime rendering.

The biggest challenges were some of the specialist internal works. These included the conservation and re-production of surviving wallpapers and decorative plasterwork, and the careful repair of internal joinery. Purcell researched and tested materials and finishes to inform their conservation decisions which ensured that the building’s features were faithfully reproduced.

A new restaurant was added and integrated into the fabric of the castle walls which had collapsed in the 1980s. The restaurant design cantilevers out above the castle walls. Its large glazed elevations take advantage of the surrounding views and provide a transparency to help minimise its impact on the site. The walls were constructed or coursed with local slate, echoing the slate garden walls.

A community archaeology programme was undertaken to discover any medieval remains below the castle. The volunteers discovered unknown structures including medieval cellars and works were suspended while these were recorded. The discoveries provided information which has helped understand the castle’s 12th century construction. Proposed below ground works, such as drainage and services installations, radon protection works and sub-structures, had to be re-designed to mitigate their impact on these remains.

The site is a significant part of Welsh history and opened to the public in June 2015 to a hugely positive response. Through the immense efforts of the trust and the community, Cardigan Castle brings thousands of tourists to the town who have the opportunity to explore it for themselves. q Photos courtesy of Phil Boorman

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With clay, builders have the earth at their feet [

IN THE FOLLOWING pages we delve bespoke handmade bricks for new projects in into the world of brick, terracotta and other ancient settings. clay products and their place in our built If we see brick nowadays as a predominantly heritage. functional material – despite the traditions of Brick is one of the most ancient of building pargeting and other decorative brickwork – materials. There is evidence of their use terracotta and faience are very much in the dating back to 7,000BC in southern Turkey realm of the decorative and imaginative. They and around Jericho – described as the first allow the true versatility of clay as a building permanent human settlement. Originally material to be appreciated and achieved. manufactured from sun-dried mud, the Terracotta (‘baked earth’) has been found advantages of firing became apparent. in sculptures from as long ago as the fourth Dreadnought brown antique clay tiles at Some of the iconic edifices of the ancient century BC, while the use of the material for St James Church, Edgbaston Biblical world were constructed from brick. making tiles saw Chinese Imperial temples The celebrated Ziggurat of Ur has stood for exhibiting lavish decoration. centuries on the plains of what is now Iraq, while the Ishtar Gate In the 19th century terracotta enjoyed a renewed popularity because of Babylon with its blue-glazed bricks – built in the reign of King of the decorative possibilities. The most familiar expression of its use Nebuchadnezzar II – was listed as one of the original Wonders of the as a decorative façade in Victorian architecture is possibly the Natural Ancient World until the 3rd century BC. History Museum in London.

The Romans perfected the art of firing clay bricks and developed Although familiar for its warm red colour, which inspired the term, mobile kilns that took the art of brickmaking around the Empire. terracotta can now be seen in a rich variety of colours and hues. That In this country brick has been a common building material for variety is further enhanced if the terracotta is glazed in the manner of many centuries. The industrial revolution saw brick factories and faience. houses become commonplace.

According to one specialist: “A full spectrum of colours are Nowadays, the manufacture of bricks using the erstwhile handmade available, together with mottles, special colour effects, painted methods is preserved by a few specialist companies, who carry out decoration and highlights. Glazes can even be formulated to add spectacular restoration projects around the country as well as using emphasis to sculptural elements.” q

New firm helps preserve traditional skills [

ONE OF THE newest names in the preservation of traditional skills is Darwen Terracotta and Faience, founded last year

by Jon Wilson and Steve Allen. Both are former employees of specialist clay products manufacturer Shaws of Darwen, which recently closed its terracotta and faience business, meaning that these skills could have been lost forever.

Jon explained: “Steve and I have over 50 years combined experience in this industry having worked on some of the most prestigious building projects in both the UK and USA. All of our people have spent most of their working lives in this trade and preserving these skills is vital. We are a close knit team with a strong commitment

by everyone to support the business and succeed together.”

Restoration of terracotta and faience heritage buildings is a key market for the new business.

They also expect that their skills in design, modelling and bespoke glazed ceramics will continue to attract architects and interior designers who include those materials in new-build projects.

Jon noted: “Terracotta and faience is often thought of as a traditional material used in the Victorian period and – following the architectural styles of the day – up to the middle of the last century. The past 10 years have seen a great revival of the material, giving the designer huge creative freedom due to the almost limitless possibilities in shape, colour and texture.”

The new company combines traditional craft skills with the latest in design technology. Starting with CAD, multiple designs are easily explored.

Regular geometric details, such as pediments, are translated into digital files that are then rendered into full scale 3D polystyrene models, enabling accurate making of moulds.

After slip-casting in plaster moulds each element is hand finished. Smoothing, fine detailing or special textures can be applied at that stage. A controlled process of drying then takes place before kiln firing. More individual design elements, such as figureheads, will be hand sculpted by skilled craftspeople.

Jon Wilson (left) and Steve Allen, founders of Darwen Terracotta and Faience Grayson Perry’s creation A House for Essex – one of the last projects the team completed while at Shaws – displays the range of possibilities faience can offer. Designed by Grayson, working with FAT Architects, it was built for Living Architecture, celebrating the life of a fictional character Julie.

Other projects of note that the team have worked on include the Holborn Museum for Eric Parry and Quadrant 3 for the Crown Estate and Dixon Jones Architects, the largest UK project for hand-made faience for many years. q www.ecclesiasticalandheritageworld.co.uk

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Banging the drum for bricks

The bricks used at Holy Trinity Church in Shrewsbury, St Pancras Station and the podium area at the Barbican were supplied by BDA members Furness Brick, The Bulmer Brick & Tile Company and Ketley Brick respectively

[THE REPRESENTATIVE BODY for the United

Kingdom and Ireland’s clay brick and paver industries is the Brick Development Association (BDA). Their role is to ensure clay brick and pavers are recognised as the material of choice by architects, engineers, planners, specifiers, developers, landscapers, builders and property owners.

The association conducts lectures and CPDs with students and practising architects and engineers and, through it’s marketing arm Think Brick, communicates the benefits of brick to a wider audience – on-line, through advertising and PR and through its annual Brick Awards.

According to the BDA: “Brick has been a reliable construction material for centuries and has proven itself time and time again.

There is no shortage of brick structures around the world still providing good service: just look at Brunel’s stunning spanned bridge over the Thames at Maidenhead, or the brickwork at St Pancras.

“Brick has long been a favourite among architects, developers and the public. Not only is it beautiful to look at, it has excellent sustainability credentials and is hard to beat on price. On versatility and pure aesthetics, few rivals come even close. And because we have been building with brick for thousands of years, its technology is well understood. In structural terms, its robustness provides solutions to masonry designs where ‘high’ strength is required.

“Made from an abundant natural material, clay bricks have a much closer visual connection with their raw constituents than anything else you’ll find in a modern building. Their warm and humanising character brings buildings to life with a wonderful mixture of subtle

tones and textures. Bricks blend easily and naturally with their environment and complement other building materials. Furthermore, brickwork can be adapted as a building changes use.”

The association also points out the degree to which the material fits in with the modern church’s commitment to lowering carbon emissions.

“The BRE’s Green Guide to Specification has assigned the highest possible accreditation to every external wall it rated containing brick. This is positive proof that brick has a key role to play in meeting energy saving targets.”

The BDA is indefatigable in promoting this most versatile of materials, and each year recognises the best in brick at the annual Brick Awards. Although primarily aimed at rewarding new buildings in brick, the awards consistently include restoration projects and new slants on traditional themes.

The annual awards are the longest, most well-established and most widely-respected design and construction awards in the UK. Each year hundreds of entries are submitted and 14 prestigious trophies and more than 100 certificates are issued to the successful projects. The architect/designer, brick manufacturer, mortar company and specialist brickwork contractor are all acknowledged on each project.

This year’s awards ceremony was held on 18th November at The Hilton, Park Lane in London when no fewer than 15 awards in various categories were presented. q • For more information visit the BDA website at www.brick.org.uk.

The enduring skills of bricklaying have never faded [IN ORDER TO distract him from affairs of state, Winston Churchill would engage in bricklaying, building

a network of walls in the garden of his house at Chartwell. Indeed, his late grandson, namesake and former Conservative MP told the Daily Telegraph in 2008: “If anyone had asked me what my grandfather did, I’d have said ‘He’s a bricklayer’.”

The traditional skills of bricklaying are among the few that have endured over the years without fear of disappearing – testament to the enduring popularity of the material. ‘Brickies’ are much in demand and the traditional apprenticeship system is thriving, supplemented by courses at most local colleges.

A number of specialist organisations also offer courses tailored to brickwork in a traditional building environment.

One such is Weald and Downland College near Lewes. In June their next course will be led by the well-known historic brickwork consultant and master bricklayer, Dr Gerard Lynch – The Red Mason. q

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Prince’s garden provides latest accolade for brickmakers [ONE OF THE leading independent

brickmakers in the country scooped a major prize in the prestigious 2015 Brick Awards.

The York Handmade Brick Company, based at Alne in North Yorkshire, supplied the bespoke bricks for the acclaimed restoration project on the Belvedere and Queen Elizabeth Walled Garden at Dumfries House in Scotland, which won the Best Outdoor Space category in the awards. Described by the judges as a ‘magnificent achievement’, the pioneering restoration project was masterminded by Prince Charles.

In addition the Belvedere was shortlisted in the Craftsmanship and Best Refurbishment Project categories, while York Handmade was also nominated in two categories for its work on Carmelite House on London’s Victoria Embankment. They also provided the bricks for Boxmoor Construction’s Springfields development in Reading, which was short-listed for the Specialist Brickwork Contractor of the Year prize.

David Armitage, chairman and manging director of York Handmade, commented: “We are absolutely thrilled.

This was a very exciting and challenging project for us, superbly supervised and executed by our sales manager Mark Laksevics and specials manager Mark Todd.”

David explained: “It involved creating 47,000 bricks which fitted in perfectly with the ravaged boundary wall of the walled garden, as well as unique specials for the Belvedere Folly and the Education Centre at Dumfries House.

The project was overseen by Prince Charles and we were very proud when he praised the quality of our bricks at the opening of Dumfries House. Now this wonderful award has added to our delight.”

In their citation the judges commented: “This project could be considered a winner over several categories. It is absolutely stunning – a magnificent achievement.

“The external garden wall with its sloping brickwork has been repaired to a very high standard and the Belvedere sits as a crown above the garden. The centrepiece of the garden is the brickwork walls and staircases associated with greenhouses giving a heart to the new garden.”

Said David Armitage: “We are particularly proud to be involved in three fantastic projects this year, all of which were nominated for the Brick

Awards. It is important to stress that our three short-listed entries are completely different jobs in design and execution, graphically illustrating our ability to work in a wide variety of colours and styles. We believe we can tackle any brickwork project successfully.”

The 2015 success adds to York Handmade’s tremendous track record in the Brick Awards, which has involved projects across diverse categories over a number of years. Indeed, in 2012 they figured in a hat-trick of winning categories. Amongst these was in the

Craftmanship category for the wine cellar at Tupgill in North Yorkshire. Bespoke bricks were used, making use of curves and radial brickwork to maximum effect, and the judges described the scheme as ‘bonkers but brilliant’!

This illustrates in exemplary fashion the ability of York Handmade to manufacture unusual specials with its own labour. In 2007 they completely rebuilt their specials facility. It is now unrivalled in the industry, with the sole purpose of making non-standard products for individual schemes. q

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Building made better with

bimbricks.com

[ MBH PLC remains at the forefront of industry innovation, by continuing to invest

and evolve its manufacturing processes. At the same time, it leads the way in offering intuitive, informative and supportive product data through the most up-to-date construction technology procedures. Acting rapidly on the Government’s Construction Strategy, published in May 2011, MBH PLC responded with its first range of clay products files. As the first brick manufacturer to introduce Building Information Modelling (BIM) files in the UK, it is now delighted to see a surge in industry support, acceptance and participation.

The British manufacturer is committed to upgrading files alongside the latest BIM software developments and has therefore released ‘V2’ files earlier this year. The files include bricks, pavers and roof tile products, involving improved textures and a wider breadth of product meta-data through easy to use schedule material take-off sheets. It has embraced and embarked on the Government’s programme for sector modernisation with two objectives: to reduce capital cost and the carbon burden from the construction and operation of the built environment. Central to these ambitions is the adoption of information rich BIM technologies, process and collaborative behaviours that will unlock more efficient ways of working at all stages of the project’s life-cycle.

MBH PLC has therefore introduced bimbricks.com, the one-stop website for designers, contractors, facilitators and BIM managers to visit, explore, download and interact with freely available files and product information.

As well as the dedicated bimbricks.com site, MBH PLC has created a short film animation explaining the many benefits of its BIM files. It has also launched a wide variety of bimbricks.com social media channels, highlighting the pioneering and inspirational uses of brick in architecture. It believes the rich content on the platform will create an exciting new forum for debate, discussion and sharing of beautiful design. This launch also aims to switch on new, existing and prospective users of BIM to MBH PLC’s offering via a soft approach. It will emphasise the manufacturer’s ability to offer bespoke products of high quality craftsmanship, alongside high standards of customer service, to attract an increasing following.

Frank Hanna, joint chief executive officer of MBH PLC proudly states: “bimbricks.com is aimed at helping designers and architects, aided by the launch of our short film animation.

The website offers a clean, simple place to access all the new high resolution BIM data, catalogues and certifications of all our products to use in their projects. The rapid changes in technology and building practices means it is essential to have a platform that can keep up to speed with government policies for professionals, assist in creativity and provide information for the construction management processes of the future built environment.

“Sustainability is a vital component of heavy industry practices and the concept of BIM is aimed right at the heart of this, actively encouraging builders and manufacturers to work in a green and collaborative way, reducing waste and saving money.” q

[

MBH PLC was founded in 1997 as the result of the merging of five of the venerable brickmaking names of the past. The company united Blockleys, Charnwood, Freshfield Lane, Michelmersh and Hathern Terra Cotta – all specialist companies with long histories.

The company’s pedigree was celebrated in November last year when it collected no fewer than four of the 15 accolades presented at the 2015 Brick Awards. The British manufacturer won Best Refurbishment Project, Best Public & Education Building, Best Housing Design Award and the BDA Chairman's Award.

The Chairman’s Award went to Eight Artillery Row in London. The judges’ citation stated: “The brickwork had to be meticulous and the new brick façade makes a really positive contribution to the street scene.

“The careful attention to detail has produced a sustainable building, and with many brick specials incorporated in complex elevations it provides an incredibly successful response to a demanding design. This building exemplifies the kind of refurbishment project that we need if we are to regenerate our inner city areas in a sustainable way and create the kind of environments which people value and where they want to live.”

Commenting on the company’s awards success, Frank Hanna, joint chief executive officer of MBH, said: “We are extremely proud to receive such recognition across a wide range of technical, craft and building categories.

These awards are testament to our workforce’s commitment to maintaining our high standards of products, customer service and unrivalled attention to detail.

All these attributes combine to make our bespoke products the choice materials of acclaimed and renowned architects across the UK.” q

Michelmersh Brick Holdings PLC Freshfield Lane, Danehill, Haywards Heath, West Sussex RH17 7HH

t: 0844 931 0022 w: www.mbhplc.co.uk www.ecclesiasticalandheritageworld.co.uk

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Bespoke creations lead to new products for restoration [

WHEN A QUINQUENNIAL inspection revealed the need to replace the roof of the Church of All Saints in Nocton, Lincolnshire, nobody could predict the sequence of events that would lead to the introduction of new product lines recreating specific designs and processes of roof tile manufacture aimed specifically at plugging a gap in the restoration market.

The church is a Gothic Revival masterpiece, designed

by Sir George Gilbert Scott, and its crowning glory is Scott’s design of a polychromatic diaper pattern running across the roofline of the chancel and nave. Not only did the roof feature an elaborate arrangement of blue bullnose, red/blue bullnose and red/blue plain clay tiles, but the original tiles also varied in colour individually and across their face.

Re-creating the roof would pose a challenge for any manufacturer. With English Heritage overseeing the project, there was a real need to match the pattern and colours as closely to the originals as possible.

The call went out from architects GMS Architecture of Louth and main contractor Paul Mendham Stonemason Ltd of Newark, for tiles to fit the bill. A number of clay roof tile manufacturers supplied samples and those considered a potential match were installed on test sections of the roof to gauge suitability.

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It quickly became apparent that only the samples manufactured

by Dreadnought Tiles of Brierley Hill in the West Midlands had the capability to deliver the desired aesthetic. Even then, they had to custommake the dark blue tiles.

Managing director Alex Patrick-Smith explained: “English Heritage showed us an example of the dark Staffordshire Blue tile they were looking to match. The colour was similar to that of our Ketley Blue engineering bricks so we were confident we could achieve the shade required. The dark blue was clearly generated through a reduction in atmosphere in a shuttle (closed intermittent) kiln, which matched our production process.

“Next came a request for a tile with a graduation of colour from red to blue within the tile itself. This was easy to fulfil because we manufacture a red/blue tile as part of our standard range. However this colour was also required as an ornamental bullnose tile and these we had to custom-make to a tight deadline.”

Dreadnought was the perfect choice to manufacture the tiles. It is the only clay brick and tile factory in the UK that specialises exclusively in clay products and because of its extensive expertise is able to match almost any clay tile colour. Moreover, Dreadnought is the only UK roofing tile manufacturer that does not use stains or surface pigments to colour its products: colour is achieved by control of the kiln atmosphere.

Its red/blue tiles, as used on All Saints, probably more than any other exhibit the characteristics of naturally coloured tiles. The benefits of this approach include a softer, more natural colour that will not fade over time.

Roofing contractor Kevin Fell, of NewLink Roofing, Newark, was equally challenged by the colour variations. “The hardest aspect of the job was getting the colour mixes right within the horizontal and diagonal pattern of the roof,” he said. “We had to achieve a random mix of colours for the red/blue plain tiles and red/blue bullnose tiles within the pattern, which required great attention to detail and concentration.

But it’s been worth it.” He commended Dreadnought on its ‘brilliant’ customer service and its ‘strong, robust’ tiles.

In total, Dreadnought supplied 3,600 Staffordshire Blue bullnose ornamental tiles, 3,600 Red Blue sandfaced bullnose tiles and 7,600 Red Blue sandfaced tiles. They were fixed using a combination of traditional lime mortar dabs and screws. Dreadnought also manufactured roll-top ridges with clay inserts to match originals broken or damaged by frost and wind.

The contract led the company to create two new product lines. It is now producing darker Staffordshire Blue tiles and has re-started production of 11” x 7” tiles specifically aimed at the restoration market. q

Bricks and mortar are complementary in the creation of a style [ONE OF THE most iconic brick structures

in the country is George Gilbert Scott’s magnificent archway at St Pancras Station.

During the multi award-winning restoration of the station the brick arches were supplied

by The Bulmer Brick & Tile Company Ltd of Sudbury in Suffolk.

In fact, over time Bulmer bricks have found their way into many diverse and interesting buildings. Today their work takes them even further in their effort to provide accurate matches to each and every period – whether in size, texture, colour or just general appearance.

No longer is it just about making a brick; at Bulmer they set out to replicate techniques and style that allow the new brick to harmonise into its surroundings.

The brickmakers at Bulmer are also conscious that the brick does not stand alone, but must be complemented by the mortar that acts as a binder. Its colour and texture and the pointing used reflect equally the nuances of its time.

Says owner and brick expert Peter Minter: “Our traditional techniques provide the ideal platform from which to develop and hone each particular order – small or large – and the sheer range of work adds to this.”

Peter continued: “Since we began to concentrate on restoration and conservation work as early as the 1950s, we have seen the emphasis move towards preserving as much of the original fabric as possible and a growing appreciation of our past, so much of which has already been lost.

“The company is proud and pleased to have supplied cathedrals, churches, palaces, halls and great houses; but also, importantly, to buildings of lesser stature which in many ways reflect our history to a greater extent, having adapted with time and use – a continuity that helps our understanding.”

Some of that success can be put down to geography. Peter explained: “We are fortunate at Bulmer in being situated on predominantly London bed Eocene clays that are enhanced by the juxtaposition of Reading bed clays: the results of our Ice Ages going back some 400,000 years. To this we can add our Gault clay from our works at Burwell, the source of which goes back to the Cretaceous period, some 60-plus million years ago.”

The company’s range extends from some 150 differing sizes of facing brick, through a plethora of coping bricks of every size and

shape (the largest weighing in at over 50Kg), to chimneys both moulded and cut, cornices, string course specials, paviours, pamments and floor bricks – not to mention a range of decorative garden edgings.

Fully-washed rubbers are supplied in a range of sizes that allow them to provide excellent value for money across the range. Finally, their tiles and fittings find a ready home on so many of East Anglia’s church roofs. q

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Nearly two centuries of brickmaking sets this family firm apart [BASED IN THE Lakeland village of

Askam-in-Furness and with a family tradition that spans over 170 years is Furness Brick. That heritage and expertise has been passed down over five generations of brickmakers and has become not just a business, but a way of life.

Established in 1845, Furness Brick has continued with the original production methods that were used over 100 years ago. They still use all the original chamber kilns, the flame for which has not been out since the late 1930s.

Specialising in making a traditional range of pressed facing bricks, handmades, specials and pavers, their production methods have given the company a unique range seldom found among the modern facing bricks produced across Europe today.

Company director Stephen Blagborough explained: “We are now the only UK manufacturer that offers a pressed facing brick.

Keeping with our heritage, we have continued to fire the bricks using coal, which gives a very natural appearance and finish. All of our facing bricks are available in metric and old imperial sizes, ranging from 53mm through to the larger 80mm bricks.”

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Furness Brick can also make non-standard sizes to match sizes that are no longer available on the open market. All the bricks are hand blended, allowing the company to be totally flexible as a manufacturer when creating bespoke blends – very useful for brick matching. They also have the facilities to weather their bricks to give an ‘aged’ appearance that adds real character.

Stephen added: “All our specials are made by hand, so again we can be totally flexible in creating standard and non-standard specials to suit all the customer’s requirements. All our specials are available in the full range of sizes and colours that we produce.”

Over the years the company has worked with architects and planners on some particularly sensitive schemes. They were involved in the restoration and renovation of the Medieval and Renaissance Galleries at the Victoria & Albert Museum in London (pictured). For that they had to create a bespoke version of their Edwardian Yellow to match the internal brickwork that already existed. The project has since gone on to win numerous awards.

More recently they were involved in matching the bricks for the new Coronation Street set when it moved from Quay Street to Media City in Salford. The attention to detail had to be precise as it needed to be an exact replica of the buildings that surrounded the original set.

Said Stephen: “We were very pleased with the end result, meaning that the programme had a seamless transition when they moved filming to the new set.”

He continued: “Over time we have built a strong portfolio of completed projects that stand as a testament to the quality of the bricks that we have produced for the past 170 years.” q

Specifying clay plain and peg tiles – the key considerations

By Paul Lythgoe, managing director of Tudor Roof Tile Co Ltd

[

SPECIFYING CLAY PEG and plain roof tiles for ecclesiastical and heritage buildings can present a whole host of challenges depending on the age and type of renovation or building work involved.

The restoration process requires specialist skills, workmanship and historically authentic materials. Before making a final decision about which clay roof tiles to specify, it is important to consult the local Planning Office for specific restrictions as well as giving thought to the following key considerations: ‘Like for like’ replacements – When restoring the roof on a period or listed building, ‘like for like’ replacement materials are nearly always required by conservation officers. Historic handmade plain and peg tiles have a distinctive appearance that is characterised by their idiosyncratic variation in texture, camber and mellow faded tones. So, even if an old building isn’t listed, it is important to complement your existing roof and surrounding structures with as close a roof tile match as possible.

Reclaimed or new roof tiles? – If you are replacing only one or two damaged or missing peg or plain tiles, it is usually better to use second hand tiles, which are reclaimed from buildings of the same age and locality in order to stay as close to the originals as possible. These need to be checked carefully for signs of damage and weakness before re-use. However, when replacing large sections or an entire roof, it is not always possible to salvage sufficient numbers of high quality tiles.

As second hand tiles from legitimate sources can also be expensive and hard to come by – particularly as they have to be sourced from other unlisted, abandoned or derelict buildings – new handmade tiles are a suitable as well as more economical alternative.

Handmade or machine made roof tiles? – Historic roofs are traditionally made from handmade peg or plain roof tiles. Some modern replacements, made with the traditional handmade skills, have a sand-faced finish and variable camber, which ages quickly giving the idiosyncratic and time-weathered appearance of an older roof. This aesthetic cannot be achieved by machine-manufactured tiles, which have a more uniform and regular appearance.

Type of clay – Replacement roof tiles should ideally be made from local clay, but as many of the old tileries and their quarries have now

closed, this is not always possible, so it is best to simply choose a manufacturer that offers the closest approximation. Tudor Roof Tiles, for instance, uses ‘Etruria Marl’, which we believe is the finest organic clay available.

The importance of historic tile sizes – Standard sizes are very much a modern phenomenon and the clay tiles found on historic roofs often vary in size from region to region. When restoring an old roof even the slightest deviation from the original size can damage the overall appearance of a building. For this reason, Tudor offers bespoke and non-standard sizes to help replicate and preserve the character of ancient roofs.

Do the roof tiles have a performance guarantee? – A guarantee of durability is a very important factor to consider before purchasing any external building product. The main problem area within the UK is frost damage, which is usually manifested by a very thin layer of the surface of tiles breaking away. To be sure of good quality, check that your roof tiles are CE marked to BS EN 1304 standards for strength and frost resistance.

Choose a reputable manufacturer – When it comes to quality matters, it is important to choose a manufacturer who is well established, environmentally reputable and able to give a minimum of 30 years guarantee on all products. There are further benefits to buying from a British manufacturer who manufactures in this country and is arguably more accountable.

Tudor Roof Tiles is one of the last few remaining independent English manufacturers of traditional handmade clay roof tiles. Over the years, its range of typically English peg and plain tiles have been used in numerous barn and oast house conversions, listed properties, churches and historic town centres, as well as homes located in rural and urban conservation areas. q • Tudor’s roof tiles are available from leading roofing and builders merchants. For more information contact Tudor Roof Tile Co. Ltd, Dengemarsh Road, Lydd, Kent TN29 9JH. Tel 01797 320202, fax 01797 320700,email info@tudorrooftiles.co.uk or visit the website at www.tudorrooftiles.co.uk. www.ecclesiasticalandheritageworld.co.uk

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Clay tiles: delving into the earth to raise the roof [

ONE OF THE earliest uses of clay as a building material was in the production of roof tiles. As early as the 11th century BC there is evidence of clay tiles in use on temple roofs in China. In Europe the material appeared soon after. In particular, terracotta sculpting was used for the decorative antefix pieces which adorned the ends of roof structures in the classical world.

In this country, Heritage Clay Tiles aver that: “There is plenty of evidence that the Romans used clay tiles extensively on their properties. Although the use of clay tiles diminished somewhat during the Saxon period, by the 12th century there are records of clay tile use being encouraged, particularly in place of thatch for fire safety.”

On a more mundane level, clay formed just one of the materials available locally

and used by builders in different parts of the country. That meant the predominance of clay tiles in the clay-rich areas of the South East and East Midlands.

The commonest form of clay tile was the plain tile. These were pressed out by hand and hung from the ‘nib’. As with many products in medieval England, tiles were subject to unscrupulous dealing and some producers would seek to eke out the clay by making the tiles smaller than was considered normal. That prompted Edward IV to lay down the standard size at 10½ x 6½ inches.

Builders’ merchants are still sometimes met with requests for ‘ten-and-a-half by six-anda-half tiles’.

With time, more ornate patterns came into use and the roofscape became an architectural feature of the building.

Surrey based Merlin Truline Roofing are specialists in the use of clay tiles and undertook the tiling of the turret near Vauxhall Bridge (above right). Other photos courtesy of Tudor Roof Tiles

In Scotland a particular tradition of using clay pantiles (the curved tiles more associated with Continental Europe) established itself, probably derived from Dutch imports.

These pantiled roofs are the subject of an Inform Guide from Historic Scotland – such is their importance to the heritage of the region.

Pantiles also appear elsewhere in England.

Interestingly, they often coincide with the production of traditional drainage pipes, a leftover from the Roman period – another example of what the Romans did for us!

Moreover, in the days when local traders supplied all the products needed, the same manufacturers would produce the bricks for the walls.

With the advent of the Industrial Revolution and the availability of cheap transport, the need to source materials locally diminished and slate and stone tiles became widely available.

However, there has recently been a resurgence in the popularity of clay tiles. The rich reds of our natural clays are once more striking a chord with a much-travelled public.

The skills needed to install clay tiles have endured over time and are widely celebrated.

The ultimate accolade in the industry – the Roofing Awards – routinely feature clay roofs in the tiling categories and the recentlyintroduced Heritage Roofing category.

It all augurs well for the companies who strive to carry on the supply of traditional materials for both restoration projects and a renewed market in new build. q

www.ecclesiasticalandheritageworld.co.uk

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More and more roofers are raising the competence standard [COMPETENTROOFER LTD IS the

leading Competent Persons scheme for roof refurbishment in the UK. Launched in 2010 with backing from the Department for Communities and Local Government (DCLG), CompetentRoofer has enjoyed great success in raising the profile of the roofing sector over the past five years.

In that time it has signed up over 500 members, issued over 26,000 job notifications and saved millions of pounds in Building Regulation Compliance Certificates (BRCC) charges.

Working with Local Authority Building Control (LABC) and other roofing sector bodies has also enabled CompetentRoofer to expand across the UK with great success. The growing partnerships with Which? Trusted Traders and TrustMark, as well as the continued backing of the DCLG, mean CompetentRoofer-registered contractors continue to ‘raise the roof’ on industry standards.

that we are doing everything possible to ensure that our members are ambassadors for the reputation of the roofing sector as a whole, to promote quality services and expertise not only to commercial markets but to the domestic consumer also.

“I wish all our members a happy, healthy and profitable 2016.” q

• To find out how to join the NFRC Competent Roofer scheme visit the website at www.competentroofer.co.uk.

Modern materials protect Brunel’s icon [SPECIALIST COLD liquid-applied

waterproofing membranes from Kemper Systems have played a vital role in protecting the iconic towers of the Grade One-listed Clifton Suspension Bridge in Bristol as part of a refurbishment project.

Specialist contractor Rateavon were appointed to waterproof the platforms and refurbish the gutters on each tower. They chose Kemperol 2K-PUR and V210 to carry out the task, which will help protect Brunel’s world-renowned masterwork.

Rateavon began by removing the existing bitumen coating from the cast iron gutters on the towers, using Kemperol 2K-PUR to replace it.

For the tower platforms, Rateavon selected Kemperol V210, carrying out the refurbishment as an overlay of the existing mastic asphalt substrate. Used for maintenance access, the platforms sit above the towers’ electrical infrastructure, so ensuring a durable and leak-free surface is critical.

The resin is cold applied, without the fire risk of hot works, in a single wet-on-wet process.

Tom Smidek from Rateavon commented: “This project combined the challenges of a listed structure, an exposed installation and working at height. The new Kemperol surfaces will provide a long-term waterproofing solution with no risk of uplift and a visual appearance that matches the structure’s original design.” q

New CEO James Talman (pictured above) commented: “Our mission is to promote the roofing sector to the industrial, domestic and commercial markets – and foremost to support CompetentRoofer members to win more business and increase roof refurbishment industry standards.

“I am delighted to be taking on the responsibilities of leading CompetentRoofer Ltd and to meeting, listening to and learning from our members. A key strength of our scheme is our organisational structure and partnership with roofing industry bodies, to provide a framework of excellence for consumers seeking services and advice.

“At the start of this year it is pleasing to know that work levels are positive; with over 500 registered contractors affiliated to the CompetentRoofer scheme and a record number of Building Regulation Compliance Certificates (BRCC) issued throughout 2015, the sky is the limit. It is important www.ecclesiasticalandheritageworld.co.uk

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Primed or painted cast iron rainwater systems... which will you choose? [

PRE-PAINTED CAST IRON is more expensive than primed cast iron, but the long-term cost benefits are substantial. Some things are worth paying a little extra for. Properly protected and installed cast iron can last in excess of 100 years!

But all too often, primed systems that are painted on-site will suffer from premature exposure to the elements – and if water starts to attack the building, the cost of correction work will be massive when compared to the small initial investment in good cast iron protection.

Rainclear Systems’ stocked cast iron rainwater systems, treated with a certified three-coat system, factory-applied under strictly controlled conditions, last up to 10 years before needing to be repainted.

The factory-applied painting takes place under strictly controlled conditions meaning that it is applied to a consistently high standard. It therefore consistently performs better and remains beautiful for years.

Primed or painted?

Priming and painting on-site is simply more difficult and several factors – such as weather, skill, care of the painter and paint quality – have a huge impact on the outcome.

Ask yourself these questions before you decide: • Are weather conditions suitable for on-site painting?

• What is the quality of the paint and can you be sure all the coats will • be applied on a busy site?

• Will all the coats be evenly applied, to the correct thickness?

• Will the paint have sufficient drying time in the right environment?

The quality of installation and painting have a major impact on the lifetime and ongoing maintenance costs of rainwater systems.

Fantastic colour range Rainclear Systems’ pre-painted black can be ordered for next day delivery or any of their standard colours for delivery in 15 days. Any standard RAL colour can be supplied to order. q • For further information call 0800 644 44 26 or visit the website at www.rainclear.co.uk.

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Cream of young leadworkers sought [ ENTRIES FOR THE Young Leadworker

of the Year competition for 2016 close on 26 February. The competition is run by the Lead Sheet Association (LSA) as part of its efforts to support the development of skills throughout the construction industry.

In its introduction to the awards the LSA says: “It is important to encourage young talent and we think the competition is a great way to shine a light on the work of talented young leadworkers. It also demonstrates the importance that recognised training qualifications can have

on a career in construction.”

The competition is open to any leadworker under 30 years of age on the closing date, whether they are a sole-trader or working for a contractor.

There are also some career-boosting prizes available, with the winner receiving a training bursary worth £3,500, a set of

tools worth £300 and a copy of the Rolled Lead Sheet Manual. The runners up will receive a copy of the manual and a threeday personalised training course with the LSA’s experience tutors. q • For further information visit the LSA website at www.leadsheet.co.uk.

Rural crime site records continuing lead thefts [

An LSA training course

THEFTS OF LEAD from church roofs continue across the country. In December the quiet rural parish of Cratfield in Suffolk saw its parish church, St Mary’s, stripped of around six tonnes of the material.

The lead had a scrap value of only around £4,500, although the cost to the church of replacing it will be much higher. Suffolk Police are appealing for information following the theft.

The incident was reported on the Farm Watcher UK website at www.farmwatcher.co.uk, an online community dedicated to combatting crime in rural areas. The site has a section carrying details of ‘Heritage Crime’. Including Cratfield, the section carries seven reports of lead theft from churches since August. Other reports include theft of stone and burglary from churches.

The site also carries details on how and where anyone with information on such thefts can report it, together with details of rewards. q

www.ecclesiasticalandheritageworld.co.uk

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Public and private works make up an enviable portfolio [ BASED IN THE evocatively-named village of Cringles, near Silsden in West

Yorkshire, is the team of highly-skilled stonemasons that make up Heritage Masonry and Conservation Ltd. Between them they cover all types of masonry, stone walling and cladding, operating across the country. The company has many years of experience in the industry and has worked hard to build up a first-class reputation for the quality of the work and service it provides.

Over recent years the company has been involved in a number of projects in both the private and heritage sectors, some of national importance.

Shibden Hall is a typical example. Set in 37 hectares of the Shibden Valley in Calderdale, it is a medieval timber-framed manor house dating back to 1420, five years after the Battle of Agincourt. The hall and park have been the subject of a huge Lottery-funded restoration project, with the gardens, boating lake, tunnels and visitor centre all being fully restored.

Below the front garden is a network of tunnels originally linking the servants’ and gardeners’ quarters to the Hall. The stonework was in a very poor state with much of the tunnels’ structural integrity compromised. Heritage Masonry were tasked with reinstating the network of tunnels and their entrances back to a fully-functional part of Shibden Hall’s visitor attractions.

They were also asked to build a spine wall in the café/visitor centre. The wall was to take on the appearance of a dry stone wall which commenced externally alongside the seating area, continuing internally to form the gable end of the café area.

To create the look of a dry stone wall, the stonework was back bedded with mortar with just the front leading edge of each stone being left ‘dry’. The stonework for the spine wall was supplied by sister company Yorkshire Stone Supplies.

The project was one of a number carried out at notable houses throughout the North and North Midlands. In Lincolnshire they were appointed to carry out the new build of an extension to Thimbleby Hall, using the original design and style. Features included a portico rich in features and a canopy roof atop a stone portico. The courtyard incorporates a water feature.

Another notable restoration project the team has been involved with is that of Cowesby Hall in North Yorkshire. The project at the Georgian mansion involved restoration of the front façade plus the creation of substantial gardens, including a water feature.

The team is equally at home building new structures in a traditional manner, often for local authorities. When Sheffield City Council were formulating their vision for a series of quality open spaces in the city centre, creating a new area to be called Sheaf Valley Park, residents suggested that the land next to the railway station become a seated area that could act as a venue for outdoor events. That idea became Sheffield Amphitheatre.

Heritage Masonry were appointed to create the tiered and curved stone seating areas on a sloped site, which also involved the landscaping. The tiers were built using traditional dry stone walling with copings placed on top to form seating. The clients were concerned that the copings could be stolen or dislodged and cause injury to the public. Those fears were dispelled by core drilling holes into each coping and inserting a metal dowel fastened with epoxy resin. They were then concreted into the dry stone wall.

Important industrial structures also figure among the company’s successes. The 19th-century Calver Weir, on the River Derwent in Derbyshire, is a significant site from the Industrial Revolution, built to supply water to Calver Mill, upstream of Arkwright’s world-famous Cromford Mill.

Following a sustained effort by a conservation charity formed in 2004, Heritage Masonry were retained to rebuild the weir using substantial amounts of stone from the original structure – with Yorkshire Stone Supplies providing the rest. At the request of the local volunteers and the Environment Agency, a salmon run was added.

These projects are just a few of the many carried out by Heritage Masonry over the years. Others include commissions from individual clients to build or restore private dwellings, including figures from the world of sport. q • More examples can be found in the company’s brochure, available to download from www.heritagemasonryuk.co.uk.

Heritage Masonry reinstated the network of tunnels below the gardens at the Grade 2 listed Shibden Hall (top) as well as building a new spine wall (above) to resemble a dry stone wall

Traditional dry stone walling techniques were also used to create this tiered and curved stone seating at Sheffield Amphitheatre

The rebuilding of the Calver Weir involved reusing much of the stone from the original 19th century structure www.ecclesiasticalandheritageworld.co.uk

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Clandon Park to rise from the ashes

Photo: National Trust Images

[

IN NOVEMBER WE reported on the response of the National Trust to the report by Surrey Fire and Rescue Service on the fire that severely damaged Clandon Park in April.

Following months of rescue and salvage work the trust has announced its plans for the rebuilding of Clandon, the important 18thcentury Palladian mansion near Guildford.

In its outline of the plans the NT said: “For nine months we reviewed a number of options for Clandon, ranging from leaving it as a ruin to a full restoration. We looked carefully at the architectural significance of what had survived the fire, the items salvaged from the building and what was technically possible within it.”

The strategy adopted is to restore the architecturally-significant ground floor, with its magnificent state rooms and Speaker’s Parlour.

However, the first and second floors collapsed completely and the plan is for those floors to be transformed to create flexible spaces to be

used for exhibitions, events and performances.

A competition is to be held later this year to find the right architect to bring the space alive ‘in a bold and imaginative way’.

The trust’s director general Helen Ghosh said: “The fire at Clandon was shocking, but gives us the opportunity not only to show our respect for the heritage of the past, but also to create new heritage for the future. Our plans involve returning parts of the house to its 18th-century glory whilst at the same time creating a building of beauty and relevance for the 21st century.”

The plans were welcomed by the Society for the Protection of Ancient Buildings (SPAB), whose director Matthew Slocombe said: “SPAB is well aware of the difficulties and challenges that face any historic building owner after a catastrophic fire of the kind that has occurred at Clandon Park.

“We believe that the trust's decision to re-roof and re-use the house is right for the public

Insurance company offers fire prevention tips [ IN COMMON WITH other insurers who specialise in policies for churches and heritage

buildings, Baptist Insurance provides a great deal of information and guidance on the issue of fire safety and prevention, both to its customers and the general public via its website.

Indeed, the company has a particular interest in fire as an insured risk, having been founded in 1905 as the Baptist Fire Insurance Company Limited.

Its website carries both straightforward checklists and downloadable guides. The checklist on fire outlines ways in which fires can start – electrical wiring, heating systems, building work and, a perennial for churches in particular, candles.

“Fires in churches can be devastating in terms of damage to property, injury and even potentially loss of life,” the guidance says.

The document goes on to list a number of simple, practical fire safety tips, such as regular inspection of wiring and heating systems, treating naked flames with care and making sure firefighting equipment is maintained.

There are links to other guides, such as the downloadable Fire Guidance Notes and a very practical template on Fire Risk Assessment.

Ominously, though, there has to be an admission that no amount of fire precautions can prevent an arson attack. There are, however, steps that can be taken to minimise the amount of damage an arsonist can cause and Baptist Insurance has a downloadable Arson Checklist.

As the checklist states: “Arson poses a significant threat to your church and church hall.

It is the most common cause of large fire losses and a major security challenge for church communities; and churches are often viewed as a soft target.” q

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and for the building. It is a house of great architectural importance and its surviving parts deserve to be retained, but we welcome the trust's decision to pursue a 'hybrid' solution with reinstatement that combines conservation with good new design.” q

Firefighter and clergyman injured in blaze [ON 11 JANUARY a significant

reminder of the risk fire poses to life came in the form of a blaze at St Colman’s Parish Church in the Dunmurry district of Belfast, in which a firefighter and the rector were injured.

According to the Anglican Communion News Service, the fire was spotted by the rector, the Rev Adrian McLaughlin, in the early hours when he spotted a ‘glow’ from the rectory while putting out his cat.

“He attempted to tackle the blaze but the fire quickly took hold and Adrian had to flee the building,” a spokesman for the Diocese of Connor said. “He was later treated in hospital for the effects of smoke inhalation.”

Seven fire appliances attended the blaze, alongside the Fire Emergency Support Service appliance.

A Northern Ireland Fire and Rescue Service statement said: “One firefighter was taken to hospital with non-serious injuries, following masonry falling on him during the incident.”

The damage to the church was significant. Rev McLaughlin said: “The stonework and the arches were burned, the organs have gone and we were gifted a chandelier before Christmas and it has been destroyed. The furniture in the choir stalls was destroyed, and the keyboards, the lectern – in fact everything – is sodden and stained with tar and water.”

The fire is being treated as accidental. q

Beware: your building might not react to fire as you think it will

By JEREMY FRENCH, technical director at Prestige Fire Door Services Limited

[

AS BUILDING OWNERS or operators we are custodians of a number of valuable assets, such as the premises themselves and the often overlooked element of the need for continuity of operation. Plus, of course, when our buildings are occupied – human life.

So, as conscientious people we try to ensure our buildings are designed to be safe and managed as much as possible so as to prevent a fire. They are equipped with fire detection systems and possibly fire suppression systems.

We even develop and practice emergency evacuation strategies as part of our management plans. All of these aspects of fire safety are reasonably obvious and tangible items for responsible building operators.

But if a fire should occur, it is vital that all these systems work as intended and we retain control of a situation. Those elements are important; but also critical is keeping any fire in its room of origin. Is the fabric and fixed elements of your building capable of preventing the migration of noxious smoke into escape routes, or the burn-through of hot flames and gases between adjacent areas?

Keeping a fire to its place of origin has two distinct advantages: it helps fire-fighting measures by keeping fires smaller and it keeps escape routes passable for the efficient evacuation of the occupants.

That would seem relatively straightforward, but it is difficult to assess whether the correct construction details are actually in place. Indeed, on a regular basis I have seen even newly-built premises with significant breaches

Self-certified fire walls of dubious ‘ad hoc’ design in fire compartment lines. That could be compared to missing sections of a fire alarm system, which I am sure if noticed would ring alarm bells with a building operator.

The problem is that these vital details are often covered over and long forgotten. There is a poor understanding within the construction industry of the care required to correctly assembly the various materials and not much happens in the way of detailed third-party inspection during the construction process. So, while we test our active fire-safety systems and management plans, do we do the same for the passive fire safety systems in our buildings?

What are passive fire safety systems?

These are items such as fire and smoke doors, shutters, fixed glazing and overhead panels as well as the internal walls, ceilings and floors of a compartment where there is a fire risk or a need to protect escape routes such as stairways. Rooms such as electrical plant rooms and kitchens are likely to have been designed by the architect to be fire resistant.

Subsequently the architect’s design will have been passed by Building Control, so the assumption is that the building will functioned as designed.

Arguably, it is a similar scenario to when we flick a light switch: the architect intended a light to come on. The function is obvious and probably taken for granted. So, do we take it for granted that the building will function correctly if a fire should occur? The answer is more than likely to be ‘yes’.

From my experience of surveying fire doors and passive fire-protection installations, I can say they rarely match the manufacturer’s technical standards. So to varying degrees they will not hold back fire or smoke for the presumed time – sometimes marginally, often significantly. The building’s reaction to an input – that is, a fire – which we have taken for granted, is not going to happen as we think; but we do not know it.

Frustratingly, it is often a low-cost solution that will bring an item back to within the manufacturer’s tested condition, and so give us our correct function. We should be aware of the efforts manufacturers of fire-safety products have to go to in order to achieve passes in British Standard and, recently, tougher European Standard furnace tests. The majority of these products, whether they be fire doors or fire walls, are intolerant to deviation from the successfully tested sample, particularly for 60 minute tests – hence the need for careful assembly on site.

So, in order to establish that your building will perform as has been predicted, that you do not have misleading evacuation plans and that, should a fire occur, the building’s assets are best protected and a minor occurrence does not become a devastating event, UKAS third partyaccredited surveys of your building’s passive fire protection measures are highly recommended. q www.ecclesiasticalandheritageworld.co.uk

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Glass is under threat, but the precautions can be simple In this latest in a series of features on stained glass we look at some of the threats to our glass heritage – both the ancient heritage in churches and the more recent blossoming in private dwellings. STEPHEN RICHARD is a past chairman of the Scottish Glass Society and of the International Guild of Glass Artists. He has identified a number of issues of concern.

[

THERE ARE A number of threats to our glass heritage: one is wear and tear. Although we recognise that window frames need maintenance, we take the continued existence of our leaded glass for granted most of the time. However, age can lead to broken tie wires and increased flexing of the window, which can contribute to broken solder joints, further weakening the window. Loss of putty is often the cause of draughty windows and windows that allow moisture to enter. These problems can be corrected simply and without great cost by re-attaching tie wires, soldering the joints and re-puttying the windows.

Double glazing is another challenge to our glass heritage. Often people are forced to choose between double glazing and leaded glass. That is a false choice; for some extra money – certainly a small proportion of the costs of double glazing – leaded windows can be incorporated into the double-glazed unit. The incorporation of the existing leaded or stained glass window is simple and effective.

Another form of our glass heritage is etched glass. This was most often found in front doors and stair windows to obscure a view or to provide privacy while allowing a lot of light into the building. By the nature of things, these large pieces of glass break from time to time and there has been a significant loss of them as most insurance companies do not want to pay for a ‘like for like’ replacement.

Modern sandblasted windows are different in character from their 19th and early 20th-century originals. The surface is coarser and so looks more white. It retains oils easily and the sandblast protection is guaranteed for seven years, while the life of the glass can be a century or more. The design parts are slightly raised and completely clear.

In an acid etched window, the design is etched into the glass so it lies below the general surface of the glass. It is slightly marked, and so does not allow clear vision through. The obscured part of the glass is ground with fine sand, to give a satin feel to the surface, a slight grey appearance, and a natural resistance to oils.

Many companies do not want to use the hydrofluoric acid required for the process, and some even say it is illegal. In fact, simple precautions are all that is required to use this dangerous chemical safely. It provides an unparalleled appearance and is essential in a number of applications. The costs are only slightly more than a crude sandblasted sheet of glass. q

Students’ lives are enriched by modern glass art [

IN A SECULAR world the role of beacon for the proclamation of a society’s values falls to its education sector. And just as the great windows of churches conveyed those values, so glass art can educate and illuminate today.

One example is the collection of 90 acid-etched panels commissioned by Aquinas College, Stockport, to enrich the hundreds of metres of stainless steel and toughened glass balustrade.

Cheshire Stained Glass used 12 tonnes of acid to produce the panels, which ranged from students’ designs and artwork to photographs of the local area and educational symbols.

The existing 12mm toughened glass was removed, the panels etched in the workshop and then re-installed. q

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Art nouveau design replaces ‘stained’ glass in 1920’s-style cupola [

A PERIOD PROPERTY in Glasgow, built in the 1920s, now sports a new glass cupola in its hallway in the style of the period, replacing the original that had become discoloured by atmospheric pollution.

Rather than trying to clean it, the new owner decided to replace it with something in keeping with the period of construction that would allow light through into the hallway, but also obscure the view of the roof. The project was carried out

by Verrier Art Glass Designers, based in the city.

The house was built as part of a development of individual bungalows in the wealthy suburb of Giffnock, south of Glasgow. It stands on high ground above the city, allowing views over the city to the north and across countryside to the west.

Along with several other houses in the development, it had space for two rooms in the roof where a sky light allowed borrowed light to come through the cupola into the central hallway.

However, this house had only plain glass inserted into the framework when built. Over the years it had acquired a build-up of varnish, dirt and tobacco smoke to give a deep brown colour that became objectionable.

Stephen Richard of Verrier Art Glass described the brief: “The original query was whether other glass could be put in to allow light through. In discussion, the client and I came up with a design

from the end of the Art Nouveau period, which overlapped with the beginning of the Art Deco or Modernist period, as it was known then.

“The traditional design would have been to have eight repeating motifs, however the new design forms a much more pleasing and complex imagery than these formal terms.

“The kind of transformation that was to be created was revealed when the old glass was removed. The amount and quality of light flooding into the hallway was amazing.”

The cleaning of the checks and installation of support bars then began. There continued to be a certain amount of adjustment to get the design to flow as intended; but the installation was completed to the satisfaction of the client and importantly, Stephen himself. The installation involved a seven-and-a-half-hour process for the three people involved in the project.

Stephen concluded: “I made the choice to move away from the traditional use of one design in a repetition, toward realising an image for the whole cupola. This makes more sense in modern terms – although not in economic ones.

“It is less frequently chosen, as there is more design work in making a single design eight times larger than a single panel. There is also much more care and effort required to get the flow of the design to meet over the whole opening;

The original appearance with dirt and paint

Cupola ready for installation of the panels but I think it has given a much more pleasing result that can provide interest over time as new elements are discovered by the viewers.”

A chandelier will hang from the central pendant post, which will reflect the colours at night as the spotlights above transfer the light to the glass pendants of the chandelier. q

Even craftsmen have deadlines to meet [

EVEN IN THE seemingly serene world of the stained glass restorer, time is sometimes of the essence – as Hereford based Ark Stained Glass discovered at the end of last year.

The large stained glass window of Knutsford Methodist Church had to be removed due to the stonework being unstable. The leaded windows had suffered damage from bracing and fatigue due to the stonework moving.

The entire window was stripped, cleaned and releaded to match the original.

Some of the broken borders were copper foiled and new paint was applied to those that had faded as a result of moisture and the use of oil based mastic which had been applied due to the movement in the stone.

A spokesman for the company commented: “The window was interesting to make as the panels are not split across the window but instead separate in line with the quarries, giving a seamless finish to the window.”

And the need for haste? The whole job was finished and the window installed by 22nd December – in time for Christmas. q

Just over half way installed

The completed cupola • For more information visit the website at www.stained-glass-supply.co.uk.

You can find a stained glass expert in your area in our ‘Church & Heritage Supplies’ classified section from page 58. www.ecclesiasticalandheritageworld.co.uk

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CRE: building on strong foundations [

‘I WILL BUILD MY CHURCH’ is the main theme of this year’s CRE International – Christian Resources Exhibition’s mega-show in London. Whether a church is, indeed, mega or mini, members from all types come to CRE. As organisers the Bible Society point out, size is no issue as far as God is concerned – he wants the best for all of them.

CRE International will take place from 1720 May at the show’s new high-profile home at ExCeL, the capital’s leading exhibition and conference venue.

Building the church in a literal sense is very much the concern of a sizeable number of exhibitors at CRE. They range from architects to furniture suppliers and from stonemasons to heating installers. All have one thing in common: they supply the specialist market that is the church.

Building the church in a more figurative sense is what occupies many speakers at the event – speakers such as Colin Urquhart.

Colin’s vision is for the worldwide church and its growth at every level.

He will be the keynote speaker at CRE on 19 May, covering issues raised in his new book, The Lord’s Orchard – God’s Charter for Reformation.

Colin told the show’s online news forum, CRE Buzz: “I see the worldwide church as a vast orchard full of trees; some trees are healthy and bearing fruit, some in blossom and promising fruit, others sickly almost to the point of death. Whatever their state, God is committed to their full restoration to health.”

The book is a series of 44 short chapters designed to bring the reader or congregation into greater spiritual health in Christ.

Colin’s new work will form part of the London Christian Book Fair, a show-withina-show at CRE – a dedicated book fair in the heart of the capital where Christian publishers introduce new titles to thousands of leaders and opinion formers.

CRE International will be held at ExCeL in May “For some time we have felt there was need for a public-facing event in London, specifically for Christian publishers,” said event director Bill Allen. “CRE’s move to ExCeL last year has given us the opportunity to grow a book fair that will not only serve thousands who already come to stock up on new titles, but also has the potential to boost UK Christian publishing on an international level.

“In 2015 visitors to CRE spent approximately £40,000 on books and music so there’s a firm foundation on which to grow the fair.”

Communicating the message is a big part of what CRE is about; and that means using

the most up-to-date methods available.

Visitors will be able to see for themselves what is possible, with exhibitors showcasing sound, light and the latest multimedia systems.

CRE is committed to equipping the church for the next generation. To deliver the goods to that generation this year's show at ExCeL will feature the first-ever dedicated Youth Zone, with youth organisations together in one area. A stage in the middle of the zone will feature a rolling programme of seminars specifically on youth work.

Jamie Cutteridge from Premier Youthwork magazine said: “Resourcing youth ministry is a huge challenge: no one size fits all.

Each youth group is full of different people with different backgrounds and different stories. Hopefully, through CRE’s Youth Zone, we’ll speak into all those different contexts.”

To help make that happen, a consultancy will be available to youth workers.

Since its move to the capital last year and its transformation into a truly international event CRE has gone from strength to strength – and this year’s show promises to be the biggest and best yet. q

Colin Urquhart will be the keynote speaker at CRE International on 19 May

• For tickets and updates on who will be there and when, visit www.creonline.co.uk.

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Award-winning cathedral restoration completed in time for Papal visit

[

ON 15 JANUARY the American Institute of Architects (AIA) announced its 2016 Honor Awards – described as ‘…the profession’s highest recognition of works that exemplify excellence in architecture, interior architecture and urban design’.

One of the recipients was the leading New York firm Murphy Burnham & Buttrick Architects for the marathon $170m restoration of St Patrick’s Cathedral in New York City. The Gothic Revival building was once the dominant edifice of the city, but is now a shining jewel among the giant skyscrapers that surround it.

In the citation, the AIA described the building thus: “Since 1853, St Patrick’s Cathedral has stood as a soaring icon of the spiritual life of New Yorkers. Despite careful regular maintenance, by the early 21st century, this landmark Catholic cathedral in midtown Manhattan was in need of revitalisation. Stone and plaster failure and deterioration of the stained glass were considerable.”

Work began to restore the building to its former majesty in 2012, although the preliminary work started long before, in 2005. The restoration ‘…touched every building surface, from the top of its 330ft spires to the bottom, inside and out. At the same time, innovative mechanical and lifesafety systems were installed, with minimal intrusion on the splendid visual pleasures of the cathedral’.

The work was minutely detailed, including a forensic analysis to determine the precise specifications that the original architect, James Renwick Jr, made for interior paint and exterior stone mortar. More than 30,000 individual repairs were made and the team used a tablet-based software programme that allowed for real-time tracking of the work, directly from the scaffolding. The project included cleaning the exterior stone, a type of marble quarried in the region around Manhattan at the time, with low-

pressure water, air and crushed glass.

Even the fire protection drew comment from the judges. The use of a ‘mist-style’ system means that, in the event of a fire in the attic of the nave, it will require just one-tenth of the water that a conventional sprinkler system would use to counter the fire.

In keeping with modern low-carbon energy use, the cathedral’s heating and air conditioning is provided by a closed-loop geothermal system.

According to the AIA: “These elements will ensure that parishioners will be comfortable – or perhaps more comfortable than ever before – for the next century of services in an iconic landmark.”

The project was planned for completion in December, but thanks to a heroic effort on the part of the army of restorers and craftspeople, was finished in time for a visit

by Pope Francis in September. q

UNESCO head hails growing co-operation on heritage destruction [ AT AN EVENT held during the World Economic Forum in

Davos on 21 January, UNESCO director general Irina Bokova appealed for reinforced advocacy, strengthened legislation and measures to fight what was described as ‘impunity for war crimes and destruction of heritage’.

“What we are seeing is the systematic destruction of heritage,” she said. “This is about our identity and common history. We must craft new strategies against this plague and partnership is the only way forward – to stop illicit trafficking, advocate and harmonise legislation, join the dots together between the humanitarian, cultural and security aspects and work for prevention.”

Ms Bokova expressed herself encouraged by the increasing worldwide mobilisation to share information, pictures and knowledge, and the recently enhanced co-ordination among customs, law enforcement, museums and cultural professionals.

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“UNESCO will continue to work to bring all critical partners together,” she said.

The director general also praised Yale University's initiative, together with The Smithsonian, to form a network which already comprises 40 universities, to strengthen the research base and raise awareness.

During the debate the head of the World Customs Organisation called on professionals to share more knowledge on cultural artefacts, to help customs officials make seizures.

The discussion was moderated by Martin Roth, director of the V & A and featured contributions by Richard Kurin, undersecretary for museums at the Smithsonian Institution, Terry Garcia, chief science and exploration officer at the National Geographic Society, Husnu Akhan, CEO of the Dogus Group in Turkey, and Sarah Kenderdine, professor at the University of New South Wales who specialises in acclaimed museum installation works. q

Working with ornamental mouldings

By DAVID AGRELL of Agrell Architectural Carving

[THE PURPOSE OF architectural mouldings is to give definition

to a room or piece of furniture by providing a contrast of light and dark. To add further texture and character, they can be decorated with repeating motifs, such as those hand-carved by Astor & Mallet, the made-to-order product line of Agrell Architectural Carving.

When choosing an ornamental moulding, it is important to understand the scale of your space and what you are hoping to achieve with the decoration – only then will you meet your budget while not sacrificing quality workmanship. For example, don’t choose a highly complex and therefore expensive design carved into a 75mm-tall profile if you’re installing it 6 metres in the air. Obviously the end result will not be visually effective and you’ll be spending money on detail that’s not seen or appreciated. In that instance,

seek a stronger, bolder and typically more straightforward design.

A simple design can be just as pleasing when executed properly.

By contrast, poorly designed, badly executed or machine-carved ornamentation can be a disaster and you’re better off with no decoration at all!

Astor & Mallet’s mouldings are carved into one of five standard profiles – cyma recta, cyma reversa, ovolo, torus or shallow torus – all shapes commonly found in traditional architectural ornamentation. You’ll notice no fillets (flat areas), dentils, ogees or other extraneous details have been added to the profiles. Instead, Astor & Mallet has kept them simple – stripped down to their essential shapes – to allow the designer more flexibility in how the mouldings are integrated into a scheme.

Here’s a little primer on Astor & Mallet’s moulding profiles. Cyma recta mouldings have a sweeping upper concave curve, so they’re ideal for use in cornices and crown mouldings. Some cyma recta mouldings feature a beak at the top to give the impression that foliage motifs are folding over, as if affected by gravity. Cyma reversa mouldings are similar to cyma recta mouldings, but flipped upside down. They’re thicker toward the top so are typically used to visually support upper elements. Many cyma reversa mouldings can also be used in cyma recta applications.

Either way, the mouldings are sprung at 45 degrees, meaning they attach at a 45-degree angle via two beveled edges.

Use ovolo or quarter-round mouldings to frame panels, or pair them with cyma-type mouldings to upgrade a cornice. Though the most recognisable ovolo ornament is egg and dart, Astor & Mallet offers many alternatives. As with the cyma-type mouldings, Astor & Mallet’s ovolo profiles are sprung at 45 degrees for flawless installation.

Torus mouldings typically have a half-round profile and are often used as a visual separation of two design ideas, such as at the transition from a cornice to an unembellished wall. They integrate well into baseboards, door casings, chair rails and other typical trim applications. Shallow torus mouldings are similar, but in large sizes can act as friezes for entablatures or overdoors, fireplaces or cornices.

Astor & Mallet offers nearly 50 different hand-carved mouldings, each available in an exhaustive range of sizes. Best of all, you can order exactly the amount you need to fit a project. q www.ecclesiasticalandheritageworld.co.uk

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Houghtons of York celebrate for a second year at the BWF joinery awards [

A YORK BASED company has won an award at the British Woodworking Federation (BWF) Woodworking Awards for a second consecutive year.

Houghtons of York were presented with the Technical Excellence and Innovation Award sponsored by ‘Accoya’ for the manufacture and stunning hand carving of a reredos and gradine for a private chapel.

The family run business won the same award last year for an outstanding large-scale renovation of a late eighteenth century Grade II listed home in North Yorkshire.

The judges were hugely impressed by the ornate moulding, demanding and intricate machining, hand carved and lathe turned elements, and gold leaf finishes. The judges said: “This was a precise, technically challenging and truly stunning piece of joinery that expertly blended a combination of CNC and traditional techniques to yield outstanding quality results.”

“This award endorses the fact that producing work in a traditional manner is still very relevant today,” said business owners Roger and Susan Silk.

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“For the fine and intricate design elements, hand crafting proved the most appropriate method. We try to use traditional methods wherever possible. These are skills that are passed on from craftsman down to trainee over long periods of time.”

“We don’t make any standard products.

So every project involves a significant time investment, working out precisely how we’re going to deliver it – always focused on

making sure we get it absolutely right.”

Iain McIlwee, chief executive of the BWF, said: “The BWF awards provide us with the opportunity to showcase some of the most gifted businesses and individuals in our industry who make some of the most exciting products and projects that can be achieved using wood.”

The established teams of joiners and woodcarvers at Houghtons of York have a wealth of experience in the manufacture and fitting of bespoke woodwork.

The exceptionally high levels of skills within their workforce enable them to take on a wide range of projects from new build through to restoration, conservation, repairs and maintenance.

Commissions from private homeowners, the National Trust, English Heritage, parish churches, cathedrals and contractors form a large part of their work throughout the UK and beyond. q • Should you wish to contact Houghtons of York please call on 01904 489193 or alternatively email enquiries@houghtons.plus.com.

Why ecclesiastical carving is important to the work I do

By IAN AGRELL of Agrell Architectural Carving

[I GREW UP in a small village in Somerset,

where there is a rich history of woodcarving that includes some of my favourite examples of church architecture. Like many of the Norman churches in the area, ours was built in the thirteenth century on a site that would have been a Saxon church. The carving in this church is fascinating. The pew ends were carved in around 1500 and they inspired me as a small boy – in fact, I went on to become a Master Carver myself and now own and operate Agrell Architectural Carving, one of the world’s largest hand-carving workshops.

Church woodcarving – in particular, the decoration on the pew ends and in the misericords – was of particular interest to me because it often described life in the village. You can tell by the often-comical carved scenes that the church was the village centre where services, meetings, festivals and dancing would have taken place.

I find working on a church project incredibly interesting. It’s wonderful to have your work displayed in a public space rather than hidden away in private residences. It is also satisfying to work with the community on projects that are important to them and to consider the legacy that we are leaving behind. That’s why it’s crucial to produce work that will stand up to scrutiny – now and forever.

Just because carving has been produced by hand does not mean that it’s any good. In addition, no matter what skills are brought to bear in a carving, it is equally as important

A detail of angel wings for a pair of lifesize figures adorning the organ case at the Cathedral of St. Paul in Minnesota, USA

Jesus, Mary and Joseph sculptures hand-carved completely in the round (left) and part of a huge organ case constructed and hand-carved for the Cathedral of St. Paul in Minnesota, USA that the carvers you employ understand structure and movement, and that they enhance their work with wit and ingenuity. If these skills are not shown in the final work, the result will look tired and lazy.

An artisan must exhibit skills that will impress fellow craftspeople and expect to be challenged and criticised. At the end of the day, the carver must stand by his or her

A chancel screen inspired by a medieval rood screen constructed and hand-carved for the Cathedral of the Madeleine in Salt Lake City, USA

work – and to a larger extent, all the carved decoration in a project. Recently I turned down a church project when the builder asked us to carve the decoration that could be seen easily while he installed bad carving in areas that weren’t as prominent – even though I offered to replace that work for free!

Finally, one should never accept poor workmanship simply as a means of saving time and money; instead budgets can be met by simplifying or removing decoration.

However, it is important to note that simple decoration must be as well designed as more complex work.

If decoration is going to be used to enhance a religious space it should reflect the humanity and care of the craftspeople that produce it, together with the affection and love that the community shows for their place of worship. q • Ian Agrell is a member of the Master Carvers Association, the oldest and most prestigious association of wood and stone ornamentation in the United Kingdom. He directs all projects as the principal at Agrell Architectural Carving, teaches at his School of Classical Carving and operates the websites AstorAndMallet.com and Ornapedia.org. Agrell Architectural Carving has completed dozens of ecclesiastical projects in the UK and the USA. For further information visit www.agrellcarving.co.uk. www.ecclesiasticalandheritageworld.co.uk

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Traditional techniques are preserved by craftsman plasterers Traditional plastering and rendering techniques very nearly died out in the last century, but they have survived and now play a significant role in the restoration process.

One exponent of the art is Hertfordshire-based Milestone Lime Plastering, which is an Associate of the Worshipful Company of Plaisterers. Its craftspeople are well versed in those techniques that have been saved for posterity.

[MANY OLDER PROPERTIES can suffer from damp problems,

cracking and hollow render. Before the 20th century the building techniques and materials used were very different from those used today. Traditional properties need to be able to ‘breathe’ to allow moisture within a solid wall construction to evaporate from the external stonework or render.

The base product mainly used to produce mortar, plaster and lime wash for traditional buildings was lime putty. According to Milestone Lime Plastering, the advantages of using lime putty mortars instead of cementbased mortars are that they are porous – thus allowing the structure to breathe – they can accommodate general movement, and the self-healing nature of lime products reduces cracking problems.

To repair and renovate using harder and impermeable materials can often cause worse damp problems. Hard cement renders and many masonry paints do not allow the moisture that is continuously being drawn from the ground to evaporate easily to the outside. As a result, the building may suffer from cold walls, condensation, flaky paint, rotten skirting boards and joists.

Milestone point to a number of common mistakes, which include having a chemical damp course injection, tanking or even being dry lined: the ‘professional’ has failed to understand the basic requirements of a traditional property.

Lathing Many homes dating from Victorian or Edwardian times will have or have had lathe and plaster ceilings.

Lathing came into use in the 15th century. Oak and chestnut make particularly good riven (split) lath as they both contain natural oils, ensuring long life. By the 19th century sawn lath started to be used, although there is no doubt that riven lath is stronger and its textured surface and exposed grain affords a far better key.

Daniel Bunton, proprietor of Milestone explained: “Laths should be spaced about one centimetre apart. Spacing can be gauged simply by resting the little finger on top of the last lath to get a sufficiently accurate gap – you seldom see a true craftsman with a modern rule, measuring as he goes! If the laths are fixed any closer, the first coat (or 'scratch coat') of plaster will not be able to pass through to form good nibs. Larger gaps will allow heavier nibs to form which are liable to break off, filling the void behind the laths.”

Cob walls Cob is an ancient building material that has possibly been used for construction since prehistoric times. Cob structures can be found in a variety of climates across the globe: in the UK it is most strongly associated with the counties of Devon and Cornwall in the West Country.

Many old cob buildings can also be found in Africa and the Middle East, as well as Wales, Ireland, Brittany and some parts of the eastern United States.

Daniel Bunton said: “Traditionally, English cob was made by mixing the clay-based subsoil with straw and water using oxen to trample it. The earthen mixture was then ladled onto a stone foundation in courses and trodden onto the wall by workers in a process known as ‘cobbing’. The construction

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New lime render by Milestone at Great Chalvedon Hall in Essex (left) and at a 16th century Grade 2 listed cottage (right) would progress according to the time required for the prior course to dry.

After drying, the walls would be trimmed and the next course built, with lintels for later openings such as doors and windows being placed as the wall took shape.”

The walls of a cob house were generally about 24 inches thick. Windows were correspondingly deep set, giving the homes a characteristic internal appearance. The thick walls provided excellent thermal mass which was easy to keep warm in winter and cool in summer. The material has a long life span even in rainy climates, provided that a tall foundation and large roof overhang are present.

Pargeting Pargeting is a decorative plastering applied to building walls. The technique is largely confined to East Anglia in England, although fine examples are also to be found in Newark-on-Trent and Maidstone. Derived from the Middle English ‘parget’, the term is usually applied to the decoration in relief of the plastering between the studwork on the outside of half-timber houses, or sometimes covering the whole wall.

Daniel Bunton explained: “The devices were stamped on the wet plaster.

That seems generally to have been done by sticking a number of pins in a board in certain lines or curves, and then pressing on the wet plaster in various directions, so as to form geometrical figures.”

• For more information on the services offered by Milestone Lime Plastering visit the website at www.milestonelimeplastering.co.uk.

A selection of traditional lime plasterers can be found in our ‘Church & Heritage Supplies’ classified section from page 54.

ANTIQUE FURNITURE RESTORATION

BAFRA

ARBORICULTURAL CONSULTANTS

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ARCHIVE STORAGE BOXES

BUILDING CONSERVATION & RESTORATION

BUILDING SERVICES

BELLS

BLACKSMITHS

BRICK MANUFACTURERS

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CARVERS

MASTER CARVERS ASSOCIATION

DISABLED ACCESS

ENVIRONMENTAL MONITORING

EXHUMATION SERVICES

FENCING CHURCH HEATING

FIREPLACES CLOCKS

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FURNITURE

LANDSCAPING

LEADED LIGHTS GILDERS

GLASS SUPPLIES

HYMNODY

JOINERY LEADWORK

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LCA

LECTERNS

LIGHTING & SOUND

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LIGHTNING PROTECTION

LIME

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METAL THEFT PREVENTION

ORGANS

PAINTERS

PAINTING CONSERVATION

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PAINT STRIPPERS

PLUMBING & HEATING CONTRACTORS

RAINWATER SYSTEMS

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ROOFING

FTMRC

ROOF TILES

SECURITY

SOUND & AUDIO VISUAL SYSTEMS

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STAINED GLASS

ISCE

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TESTING AND CONSULTANCY

TRAINING

STEEPLEJACKS

TRANSPORT & STORAGE

STONE & STONE SUPPLY

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