Ecclesiastical & Heritage World Issue No.68 by DMMonline

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COVER STORY

CONTENTS Roof repairs correct century-old ‘mistakes’ The front cover of this issue shows the Cathedral of St John the Baptist in Norwich, the Mother Church of Roman Catholics in East Anglia. The neo-Gothic masterpiece has recently seen the completion of a long-term project to restore the roof. In many ways it was a ‘green’ project: much of the replacement lead is cast from pieces removed from the same roof. The story forms part of a major feature on East Anglia.

read the full story on page 20

5 Reflections NEWS 7 Heritage sector nervous after Brexit vote 7 Latest WWI Centenary cathedral grants announced 7 Young archaeologists find Roman treasures 9 National museum marks anniversary in style 10 York medieval gateway restored 11 When you can’t see the building for the trees! 11 St Dunstan’s gets a sound update 11 King Harold’s resting place re-sited 12 Purcell wins St Mary Redcliffe design competition 13 Bespoke handrail helps open up cathedral’s treasures 14 Flexible seating helps churches to reach the wider community 15 Edinburgh Traditional Building Festival returns for 2016 16 Enhanced artistic expression at ACCA 17 Georgian grandeur restored in Cheshire

19-39 EAST ANGLIA SPOTLIGHT England’s very own Far East has a

rich and varied heritage – from buried Roman treasure to the technology of World War Two, and over 1,000 years of Christian worship. This special feature reflects that history and showcases the many craftspeople and artists that help to keep that legacy alive.

17 STAINED GLASS 41 Unique style revived – and the light shines forth

52 LIGHTING 43 Taking church lighting to the next level of innovation

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Natural History Museum protected by Advanced systems Extra security for church and heritage properties

CARVING 40 Why the design process is the most important part of woodcarving

ROOFING 45 Lucky for some – heritage projects raise the roof 45 Kevin takes up the technical reins 47 Byker Estate showcased in national Roofing Awards 48 New roof for Downside Monastery 49 Roofing scheme allows peace of mind 49 Ancient stones feel the power of the sun

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CRE 55 55

New Canterbury handmade clay tiles – the perfect match for sensitive re-roofing project in Surrey SnapIT aluminium rainwater range with new stylish ‘swept’ offsets and bends Northants is latest ‘hot-spot’ for lead theft Protect your church – whilst under repair and permanently

CRE ExCeLs with a capital reprise M20 set for more queues as CRE heads for Kent

CHURCH & HERITAGE SUPPLIES 56 Classified Section

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

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ACADEMICS AND PROFESSIONALS in the heritage sector are beginning to take stock following the seismic shock of the referendum vote. “Brexit means Brexit,” said Mrs May following her accession to No 10 following David Cameron’s departure – but what does Brexit actually mean for the heritage sector? Much research and development work for conservation and restoration takes place in an international setting, with funding pooled from a number of European programmes. Already academics are reporting finding that pan-European projects in a cross-section of scientific and cultural fields are looking to exclude British participation even ahead of any exit negotiations – despite the fact that such an approach is illegal. Organisations from the Association of Independent Museums and the Museums Association to the Institute of Conservation have voiced concerns. What all agree on is that the sector must ensure it has a voice in the ensuing negotiations. • It was business as usual, meanwhile, and a number of notable events took place in the past couple of months. The latest round of grants to cathedrals from the First World War Centenary Cathedral Repairs Fund were announced, providing another opportunity for work to take place to secure the future of these iconic buildings. • A disproportionate number of fine church buildings are to be found in East Anglia – including five cathedrals – and a number of notable projects are described in the special feature on the region in this issue. They include the reroofing project at the Roman Catholic Cathedral of St John the Baptist in Norwich, which features on the front cover. • Norwich isn’t the only cathedral to have its roofing project noticed. Westminster Cathedral, another of England’s great Roman Catholic cathedrals, won in the Mastic Asphalt/Hot-Melt category in the 2016 Roofing Awards. It was one of a number of heritage projects to win various categories. Another was the significant 1970s Byker Wall housing estate in Newcastle-upon-Tyne which won the prize in the Solar Roofing section. The Heritage category went to the Cloth Hall in Smarden, Kent. • All the traditional crafts to be seen working their magic on the stock of ecclesiastical buildings have their showcase at the series of Christian Resources Exhibitions that happen around the country. The latest was the major event in the capital, CRE International at ExCeL. It exploited its London venue to expand its range of activities, notably to include the first London Christian Book Fair and Awards. Next up, in October, is a first-ever visit to the Kent Event Centre in Maidstone. • One of the arguments cited by campaigners for a ‘remain’ vote in the referendum was the fact that there has been an almost unprecedented period of peace in Europe. That has been given extra significance by the fact it is 100 years since the bloodiest series of battles in World War One – the Somme Offensive of 1916. Just a few months previously, English nurse Edith Cavell had been shot by a German firing squad in Belgium for helping allied soldiers to escape to Holland. Her grave at Norwich’s Anglican Cathedral has recently been extensively restored and additional access provided for admirers of her bravery to pay homage. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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Heritage sector nervous after Brexit vote [MUCH OF THE heritage sector was taken aback by the

referendum vote to leave the EU. The sector is perhaps more closely tied in to EU institutions and projects than many areas of activity, with a large number of programmes operating across Europe. The Brexit vote was revealed while the Association of Independent Museums (AIM) was in the midst of its annual conference. Its newlyappointed chair Richard Evans, director of the Beamish Museum in the North East, reflected on the mood in the conference on that day. He wrote on the association’s blog: “A strange cloud descended over the AIM conference on its second day – when many a blearyeyed delegate awoke to what seemed like the surprising news of our Brexit.” One of the professional organisations in the heritage field to voice its concerns was the Institute of Conservation (Icon) who described the result as ‘a shock to many’. In a statement, its chief executive Alison Richmond said: “Untying such a complex relationship of over 40 years is a major undertaking. It may be years before the full impact of this decision unfolds.” Ms Richmond voiced fears that future collaborative projects may exclude UK institutions, although programmes already underway may be unaffected. “It is essential,” she said, “that a strong case is made for continued support within conservation and cultural heritage research. Icon will

seek to work with other partners within the cultural sector to ensure that we have a strong voice as the decisions that affect future funding are made.” The risk to funding was echoed by Alistair Brown, the Museum Association’s policy officer. He said: “We are hugely concerned about the impact of Brexit on museums in the UK. The loss of European funding and the likely impact on other public and philanthropic sources of funding will undoubtedly be damaging for museums and those who work in them.” Icon’s Alison Richmond continued: “Much of the vibrancy within the field of conservation is due to its international character and to the sharing of knowledge and expertise across borders. This is something that we value and we will continue to promote conservation as an outward and forward looking profession within a European and international context.” Many commentators referred to the tone of the debate during the campaign, AIM’s Richard Evans lamenting: “The tone and simplistic populism of the debate had saddened so many. Is this really our country now – our home?” Alison Richmond looked to the future: “Now, more than ever, we need to promote the social value of cultural heritage in bringing people together, in nurturing healthy communities and individual well-being, as well as making a significant contribution to economic sustainability.” q

Latest WWI Centenary cathedral grants announced [

ON 21 JULY new Culture Secretary Karen Bradley announced Government funding of £14.5m for 39 cathedrals across England for repairs to help secure their future. The awards are from the First World War Centenary Cathedral Repairs Fund and will help safeguard the cathedrals, including keeping buildings windproof, weather-tight, safe and open to the public. George Osborne announced the first £20m phase of the fund as Chancellor in 2014, and allocated a further £20 million in the budget in March. Decisions on funding allocations are taken by an expert panel which includes English Heritage, the Heritage Lottery Fund, the Church of England and the Catholic Church. Announcing the awards, Karen Bradley said: “Cathedrals are powerful symbols of Britain’s shared history. They are important not only for their architecture and heritage, but also for the vital role they play in local communities. I am delighted that the First World War Centenary Cathedral Repairs Fund will ensure that these wonderful cathedrals remain in a good state of repair and are preserved for future generations.” The Church of England’s 42 cathedrals are estimated to contribute £220m to the economy every year, and welcome more than 11 million visitors annually. Dame Fiona Reynolds, chair of the Cathedrals Fabric Commission for England, said: “Cathedrals which benefitted from the first phase of this fund have been repaired and refurbished; and staff and volunteers have time and resources to serve their cities and regions with renewed energy.

“It is fantastic that more cathedrals are now able to benefit from this scheme. England’s cathedrals are a wonderfully diverse group, encompassing not only vast, world-famous medieval buildings such as Durham, Lincoln and Canterbury, but also smaller churches like Wakefield and Leicester.”

Church of England cathedrals will receive 32 grants of £15,000 to £870,000. The largest grant of £870,000 goes to Coventry Cathedral for refixing the exterior slates of the Chapel of Unity, designed by Sir Basil Spence. Other cathedrals to receive funding include Bradford, Liverpool, Salisbury, Gloucester and Newcastle. q

Young archaeologists find Roman treasures [

THREE BUDDING YOUNG ARCHAEOLOGISTS from Lancashire joined the archaeological team from the University of Central Lancashire on the site of the Roman fort at Ribchester in July, following a competition run by the Young Archaeologists’ Club. Katie Greenwood from Bacup, Dan Kirby from Chorley and Connor Stretch from Rossendale enjoyed a busy day working alongside the students and volunteers on the project. The winners excavated, photographed archaeological finds, learned about wet sieving to uncover tiny pieces of environmental evidence, helped to record find spots with a theodolite, and discovered how to create archaeological drawings. Ribchester, or Bremetennacum in Latin, was founded in the early 70s AD as part of a network of forts in northern Britain. It lies on the banks of the River Ribble, north of Preston and Blackburn. This summer the archaeologists are excavating inside the northern section of the fort, hoping to discover more evidence about the lives of the soldiers stationed there. The star finds of the day were uncovered by Katie (pictured). They were a small fragment of Roman glass with a raised ridge running across it and a Roman coin, dated to around AD 330 by the finds experts. q www.ecclesiasticalandheritageworld.co.uk

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National museum marks anniversary in style [

IN JULY no fewer than 10 major new galleries opened in one day at the National Museum of Scotland in Edinburgh, following a £14.1m redevelopment to mark its 150th anniversary. The new, state-of-the-art galleries, which are dedicated to decorative art, design, fashion science and technology, are the latest phase in an £80m masterplan to transform the museum and showcase the breadth of its world-class collections. As one of the world’s great museums, the National Museum of Scotland brings together science and art, the natural world and the diversity of human cultures, inviting visitors to explore the world under one roof. The redevelopment of the magnificent Grade A-listed Victorian building restores the museum’s original layout and sightlines. The innovative new galleries, created in collaboration with award-winning practice Hoskins Architects and exhibition specialists Metaphor, encourage visitors to take a journey of discovery. Over 3,000 objects are on display in them, three-quarters of which have not been shown for at least a generation. Visitors will experience the collections like never before, with indepth information provided through a network of digital labels,

audio-visual programmes, a wide range of interactive exhibits and original working machines – totalling over 150 interactive exhibits. The suite of six new science and technology galleries are the UK’s most comprehensive outside London, and establish the National Museum of Scotland as a key centre for science engagement. Major funding from Wellcome has enabled a focus on biomedical science. The topics covered include the science of genetics, with Dolly the sheep, the development of new pharmaceuticals and advances in prosthetics and body implants. A dramatic atrium showcases a spectacular aerial squadron of iconic aircraft, including Percy Pilcher’s Hawk – the earliest British aircraft – and a 1940 Tiger Moth biplane (pictured). The museum’s director Gordon Rintoul said: “It is fitting that in this, our 150th anniversary year, we unveil the latest phase in the transformation of the National Museum of Scotland. These 10 major new galleries aim to excite and engage our visitors both today and for generations to come. I look forward to welcoming people to the galleries and hope they will enjoy their visits and be inspired by our exceptional collections and innovative displays.” q

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York medieval gateway restored

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WALMGATE BAR is the most complete of the four main medieval gateways into the City of York. It is the only one to retain its barbican, portcullis and inner doors and has recently undergone a major programme of restoration work. This included repairs to stonework dating back to the 12th century and improving public access At the city centre side of the Bar is a two storey oak timber framed structure dating back to the 16th century. This part of the building had suffered from timber decay, structural defects and the rectification of failing repair works undertaken back in the1970s and 1990s. Specialist joinery and woodcarving contractors Houghtons of York were selected to work alongside City of York Council to undertake the delicate repair work. Their team of highly skilled craftspeople undertook traditional splice repairs to the timber framing, the fitting of chestnut lathing for traditional lime rendering and the introduction of

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stainless steel restraints to create better load transfer of the roof structure to the supporting stone columns. Significant thought was given to ways in which the durability of the structure could be improved with future maintenance minimised.

This resulted in ‘Accoya’ being selected as the preferred timber to be used for the new cornices. Following detailed initial surveys these new timbers were profiled and reinstated to match all of the originals. At roof level a new green oak balustrade was built to replace the previous heavily decayed softwood version that had been removed on safety grounds. A new decked area was created for use by visitors to the café allowing views across the city skyline. The City of York Council and Houghtons of York were delighted that the Walmgate Bar / York City Walls project was awarded both an Institution of Civil Engineers Certificate of Excellence and Sir John Fowler Award and that it was the winning entry for ‘Conservation & Restoration’ in the 2016 York Design Awards. Houghtons of York have for the past two years won the prestigious British Woodworking Federation Technical Excellence and Innovation Award. q

When you can’t see the building for the trees!

[THE PHOTOGRAPHS ABOVE illustrate two ‘messages’ regarding

the virtues of planting trees alongside heritage buildings. They are taken from a project recently carried out at York Minster by arboricultural and landscape consultants Barnes and Associates. It involved a tree survey, a

St Dunstan’s gets a sound update [SURREY-BASED Scanaudio has recently updated the loudspeaker

system at St Dunstan’s Church in Mayfield, East Sussex. The church was founded in 960 AD by St Dunstan, the then Archbishop of Canterbury. The company’s brief was to provide a high quality full range reinforcement system which could also support music playback from DVD or laptop and be sympathetic to the medieval interior of the building. Following a demonstration, it was agreed that a single pair of K-Array KK102s and a floor level KMT-12 powered sub bass worked very well. This system had the advantage of both reducing the number of loudspeakers required in the nave and improving the visual profile compared to the existing column loudspeakers. The KK102s were supplied in a custom RAL colour to complement the sandstone columns and the KMT-12 sub bass Photo by kind permission of was discreetly installed underneath Mayfield PCC the pulpit. On completion of the installation Father Nigel Prior commented: “We are delighted with our new K-Array loudspeakers which, as you can see, are almost invisible against the stone columns. The sound, also, has been very well received from an all-age congregation and we are very grateful for the professional advice given to us by Scanaudio Ltd and their sensitivity in creating such a modern application in an historic, Grade 1 Listed church.” q • To contact Scanaudio for your church project please call them on 01737 778 620 or email scanaudio@mac.com.

health and safety assessment, an assessment of replanting opportunities and a management plan. The photograph on the left demonstrates how the planting of small, out-of-proportion trees may distract from the magnificent structure of the Minster. They provide habitat, cooling and water retention – but are they the right trees in the right place? The photograph on the right shows what can be seen as more ‘inproportion’ planting, with good attributes and pleasing to the eye. According to Barnes and Associates, the Yorkshire-based arboricultural and landscape consultants, there is a strong argument for more appropriate tree planting to aid water retention by using appropriate species in urban and indeed rural areas. Storm water run-off can be reduced, which can have massive beneficial effects throughout the area. Churches, and especially graveyards, have their part to play in helping the communities around them by planting appropriately located trees – of the appropriate type – bringing all the benefits that trees and green infrastructure can bring to a community. The attributes of trees are becoming more scientifically appreciated and will continue to be researched, bringing benefits for future generations. Barnes and Associates recommend the Tree and Design Action group, at www.tdag.org.uk, as providing a wealth of information. q

King Harold’s resting place re-sited [A NEW STUDY of the scene of the Battle of Hastings – and the

abbey built on the site – has revealed a more accurate spot where the altar marking where King Harold fell was located. The memorial stone has been moved to the new location and the rooftop of the Gatehouse has been opened to the public for the first time as part of a £1.8m re-presentation and conservation of the site by English Heritage. Since the 12th century, sources have claimed that Battle Abbey’s church was built on the very spot where, according to tradition, among the piled heaps of corpses, Harold was found, with the high altar located where the body lay. However, new advances in understanding the layout of the abbey’s church reveal that the site of the altar was further east than previously thought. The location of the high altar was lost when the abbey church was demolished after the suppression of the abbey in 1538. Now, thanks to improvements in our understanding of where exactly high altars were placed in Romanesque great churches, the memorial stone has been moved 6m to the east. q www.ecclesiasticalandheritageworld.co.uk

Purcell wins St Mary Redcliffe design competition [IT WAS ANNOUNCED at the end of May that architectural practice

Purcell had won the international design competition to develop the Grade I listed St Mary Redcliffe Church in Bristol. Out of 53 practices who originally entered the competition, the candidates were shortlisted down to five finalists, with Purcell emerging as the victor. Described by Elizabeth I as ‘the fairest, goodliest and most famous parish church in England’, St Mary Redcliffe has notable connections to historic figures including George Frederick Handel and Samuel Taylor Coleridge. The £12-15m development project will provide the church with visitor amenities, step-free access and a community hub on a separate site. The national landmark is part of a wider regeneration plan that places the church at the heart of a new urban village within the city centre. The church attracts tens of thousands of visitors a year but currently lacks the sufficient community and tourist facilities needed to support its work in the socioeconomically challenged ward it serves. The competition jury included journalist, broadcaster and author Simon Jenkins, Bristol-based contemporary artist Luke Jerram, who was responsible for the Park and Slide installation which turned Bristol’s Park Street into a giant water slide, and Vicky Smith, the new city design manager for Bristol. Commenting on the win, Reverend Dan Tyndall, vicar of St Mary Redcliffe, said: “The jury was very impressed by the finalists’ presentations, their enthusiasm and good ideas, but ultimately, Purcell demonstrated the deepest understanding of the site and context and the opportunity at St Mary Redcliffe. We found their scheme to be crisp, integrated and compelling.” Commenting on the high level of competition, David Hamilton, the director of projects for competition organisers Malcom Reading Consultants, said: “We were all impressed by the quality of work that each shortlisted finalist presented to the jury. But Purcell demonstrated that they were the best team to guide the church through the development of the design and delivery of the project.” Purcell’s proposal, generated from a ‘stitch’ of interconnected buildings, re-establishes the church’s medieval enclosure and creates a new, permeable edge to the church grounds that will improve public access. Dan Talkes, associate at Purcell, said: “Based in Bristol for over 30 years, and with more than a decade’s engagement with the community, Purcell is delighted to work with St Mary Redcliffe. For the church, this project represents a once-in-a-lifetime opportunity to repair the fault lines that exist in Redcliffe’s urban fabric and, in doing so, to position the church at the physical, spiritual and social heart of the city.” q Images courtesy of ©Richard Carman

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Bespoke handrail helps open up cathedral’s treasures [

THE OPEN TREASURES project at Durham Cathedral is part of a £10m, multiphase development which aims to create new exhibition spaces and enhanced visitor facilities by opening up previously inaccessible areas – such as the monks' dormitory and kitchens. Durham Cathedral is one of the finest examples of Norman architecture in Britain and one of the first in the UK to be designated a UNESCO World Heritage Site. The new exhibition spaces will house internationally important historical artefacts and collections. As part of the project, which is supported by the Heritage Lottery Fund, historic ironwork specialists TOPP & Co. were asked to make new handrails – in particular a bespoke handrail section designed by the cathedral architect.

The trefoil handrail section proved to be challenging to bend to match the template, which had previously been bent and twisted cold on site to be an accurate fit on the stair nosings. But by hook and by crook – not to mention a few other specially made implements – and lots of heat from their trusty propane torch, they got there in the end. The required finish was ‘self colour’, so all the components were heated to create an even oxide surface and given three coats of Danish oil. The job also included several other ironwork items, such as door furniture and various handrails. q

Company principal Chris Topp explained: “The profile of the trefoil handrail section was designed by the cathedral architect and rolled in steel in our workshop specifically for this project. It reflects the cathedral's medieval origins, while a spiral twist to each vertical baluster evokes the decoration of the stone columns that are such a feature of the Norman cathedral.” The stanchions were twisted cold from 40mm hexagon mild steel stock after each face had first been grooved. To carry out the twisting, the craftsmen at TOPP & Co. took a drive from the end of one of the rolls of the rolling mill, while the other end was fixed to a two-ton cast iron bench. The mill has a hydraulic drive so they were able to control the twisting operation very precisely. The stanchions were then cut to length and the cast iron ends fixed by tapping and screwing.

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Flexible seating

helping churches to reach the wider community By LOUISE STEVENS of Mogo Direct

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IT MIGHT BE difficult to imagine, but the earliest churches in England had no fixed seating; just a few stone benches around the walls and the pillars. People were encouraged to be active during worship, to move freely throughout the space, and to engage with others around them. The congregation was mobile and the interior of the church was not regimented into fixed rows of inflexible pews. Not until the late thirteenth century was seating gradually introduced. Simply formed benches were introduced to which backs and ends were subsequently added. In time these became more sophisticated in form and design until churches were fully pewed. By the Jacobean period pews had higher sides for greater privacy and comfort. From the end of the sixteenth century rights to a particular pew could be acquired through faculty, rent, or continuous long use. Numbering and locks became common features, while galleries were introduced to provide additional ‘free’ seating.

Community outreach – the role of seating Today a growing number of churches want to reach out to the wider local community, returning to the vision of the parish church as the hub of the community. Across the country, church buildings are increasingly hosting a range of community services such as post offices, village shops, cafés, arts centres, crèches, nurseries and community spaces. Central to this is a trend for removing fixed pews and opting instead for more adaptable

seating that can be tailored to the needs of a whole range of users. But how do you go about choosing the most appropriate seating for your flexible church building? Our key pointers will help you on your way.

Strength in numbers If your church building is to be used by a variety of users for a range of purposes, and the chairs will be moved frequently, then strength and robustness is vital so that they will withstand the higher levels of impact. Keep an eye out for chairs with strong steel frames and fully welded cross braces, like the Premier 100 Folding Chair.

All ages, all users For church chairs to be in any way fit for purpose it is important for them to be suitable for use by individuals of all ages and ability levels. Both church services and community events are attended by adults, children and seniors alike, so think about who will be handling and setting up the chairs. Our own range of church chairs features products like the Comfort Deluxe Folding Chair, that are not only strong and durable, but also lightweight and easy to fold, making handling by a variety of users easy.

To link or not to link More than four chairs in a row need to link together. Some chair designs, like the Comfort and Comfort Plus, come with an integral link which helps make set up quick and easy. Of course, the other advantage of links is that they keep your space tidy and orderly during services and events.

Storage, storage, storage Don’t overlook the importance of storage. Consider where the chairs will be stored and how. How many chairs will stack together? What area will be required to accommodate the chairs when stored? Consider chairs like the Classic and Classic Plus Folding Chairs that can be folded away compactly on a chair storage trolley, reducing the amount of floor space required for storage. Dig out your measuring tape to check the dimensions of any storage cupboards and doorways to ensure any storage trolleys will fit. You’d be surprised how many people forget this crucial detail!

The comfort factor And of course, remember the all-important comfort factor. Consider opting for upholstered chairs for added comfort, like the new Comfort

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Deluxe Folding chair with its extra deep seat pad, or a chair with a sculpted seat and back that is designed to provide added support, like the Smart Folding Chair. But remember, comfort really is a matter of personal preference – what’s comfortable for one person, may be agony for another! So take advantage of our sample service so that potential users can try the chairs out before you commit to purchasing. It may extend the buying process a little, but could save you a lot of heartache in the long run! q • For further information visit the Mogo Direct website at www.mogodirect.co.uk.

Edinburgh Traditional Building Festival returns for 2016 [THE Edinburgh Traditional Building Forum

is proud to present this year’s line-up for the Traditional Building Festival, coming this August, as part of the official Edinburgh Festival Fringe. Over the course of five days from 23rd-27th August members of the Edinburgh Traditional Building Forum will be holding talks, live demonstrations and guided walks around Edinburgh, which will culminate on Saturday 27th with a family fun day at Craigmillar Castle. The event, now entering its fifth year, celebrates Edinburgh’s traditional buildings as well as the materials and the vital skills needed to maintain them for future generations. The continued success of the festival comes from the support of the numerous organisations and trade bodies that make up the forum, who for this and other events participate entirely on a voluntary basis. This year’s festival is truly a collaborative event with sponsorship from CITB, Stone Federation GB and the Institute of Historic Building Conservation and supported by the National Federation of Roofing Contractors, Edinburgh College, Edinburgh World Heritage, Architecture and Design Scotland, Charles Laing Foundry, Edinburgh World Heritage Trust, Nevin of Edinburgh, Robin Abbey Sign Writers, Scottish Historic Buildings Trust, Historic Environment Scotland and the British Geological Survey. The festival follows a series of successful events such as the Traditional Building Skills and Materials Event, held in Edinburgh in June, which saw school children, members of the public and a number of MSPs have a go at traditional skills, such as slate cutting. Gordon MacDonald, Scottish National Party MSP for Edinburgh Pentlands, said of his visit: “The recent Traditional Building Skills and Materials event held at St Andrews Square Gardens, highlights the many and varied

Liam Kerr MSP of the Scottish Conservative and Unionist Party (left) and school children trying out traditional slate cutting at the Traditional Building Skills and Materials Event apprenticeships available to youngsters wanting to embark on a career in construction. These highly skilled jobs are in much demand as a large proportion of our public buildings were constructed of traditional materials and it is essential that these trades are kept alive if we wish to preserve these buildings for future generations.” It was also attended by Liam Kerr MSP, the Scottish Conservative spokesman on jobs, employability and training. Mr Kerr said: “This type of event is a great opportunity for young people to find out more about potential career options in future years. “There are apprenticeships available and courses in stone masonry, roof slating, plastering and painting and decorating that can provide great opportunities for employment. “We need to make sure that we have a

workforce trained in traditional building skills to maintain and repair the historic buildings that are a crucial part of this country’s heritage. “You only have to look around you in Dundee, Aberdeen or many of the towns around Angus and Aberdeenshire at the number of beautiful historic buildings. All of these properties need to be protected and maintained and that work requires skilled tradespersons.” Through these events, and other activities throughout the year, the forum aims to raise the profile of specific issues relating to traditional buildings and building practices. q • Organisations and companies interested in knowing more about the forum, the festival lineup and future events are encouraged to visit www.stbf.org.uk.

This year’s Traditional Building Skills and Materials Event (left) and an ironwork demonstration from last year’s Traditional Building Festival www.ecclesiasticalandheritageworld.co.uk

Enhanced artistic expression at ACCA [HERITAGE BUILDINGS, successfully

refurbished, can make a significant contribution to community participation. When in need of a new or continued lease of life, sensitive creative intervention, new ideas, artistic expression and local interaction have the potential to help the buildings flourish. The work of Sound Space Vision (SSV) in this field includes transforming a redundant Grade II Listed church in Hammersmith into a performing arts venue. Also, in Manchester, a sought after orchestra rehearsal space has been borne for the Hallé Orchestra out of a disused chapel. At the University of Sussex Attenborough Centre for Creative Arts (ACCA), SSV, in collaboration with RHP Architects, have reinvented the facilities at the former Gardner Arts Centre. Remaining within the vestiges of the original 1960s design by Sir Basil Spence, it has been upgraded and transformed into effective rehearsal and performance spaces, teaching and workshop arenas and public gathering spaces for both its students, the wider community and professional ensembles. Hosting a state-of-the-art 350 seat main auditorium, the improved facilities enhance artistic expression through creatively pragmatic interventions. Access, circulation, inclusivity and staging issues have been addressed. Multiple seating configurations of end-stage, thrust, in-the-round and flat floor are achievable through the series of mechanically assisted platforms in front of the stage. The combination of loose seats and retractable seating can be tailored to these formats. Designated storage areas for a grand piano, seating components and technical equipment are strategically located. Technical operations marry client expectations with a new technical infrastructure enabling cutting edge lighting and AV requirements. For example, the client has found manoeuvring the Steinway piano on and off stage a straightforward exercise due to SSV’s theatre planning which includes same level access, proximity and adjacency. In making spaces at ACCA accessible to all, serving artists and audiences alike, the design achieves the difficult balance of working for both theatre and music. Following a Complicite performance, arts administrator Richard York commented in Sightline magazine: “It tested the auditorium for sightlines, focus, intimacy, technical flexibility, legroom, comfort, air quality, neighbourliness and sense of occasion... and none was found wanting.” q Images courtesy of ©ACCA-JimStephenson

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Georgian grandeur restored in Cheshire

[LAST YEAR STOCKPORT-BASED conservation specialists Aura were

appointed as Principal Contractor to plan and manage a full restoration project at St John the Baptist’s Church in Knutsford, Cheshire. The church is a Grade Two* Listed building and an active Anglican parish church in the diocese of Chester. It was built in the Georgian neoclassical style between 1741 and 1744 at a cost of £4,000, to a design by John Garlive, with a reordered chancel added in 1879 by Alfred Derbyshire. The church is built in brick with stone dressings and a slate roof and required full external restoration. Aura began by fully establishing the site and installing protection prior to the work commencing last November. The tough lichen on affected areas of the external walls was then thoroughly cleaned off – specifically in areas adjoining the rainwater pipes – using the Doff high pressure steam system. Following that, heavily soiled areas of the stonework and brick of the walls were cleaned using the Torc system, a gently swirling vortex which uses a mixture of low-pressure air, small amounts of water and a safe, inert, fine granulate. New dressed sandstone was installed in all the heavily decayed existing stone sections. That included details such as balusters, arched heads, cornices, a string course and pediments. The brickwork of the beautiful church building was sympathetically restored, which included the removal and replacement of whole bricks to match the original profile exactly. Localised areas of open defective joints were raked out and re-pointed with a lime based mortar, and any damaged leadwork was repaired.

Stone and brickwork repairs to the surrounding walls included building up to ground level with sand/lime brickwork in 1:1:6 mortar and the introduction of a base course of matching stone. Further work included the lifting of concrete paved steps and ramped access on the north and south sides, then cutting out and excavating before forming concrete footings. Landscaping work included the supply and laying of finished York stone paving in the surrounding areas, along with the construction of access steps. Finally new curved, galvanised top railings were installed at the west entrance. The project was completed in June. With their 10 years of ecclesiastical conservation experience behind them, Aura were delighted to give the church a new lease of life – restoring its original character and charm. q

Some of the stonework (top) and paving during and after completion at St John’s www.ecclesiasticalandheritageworld.co.uk

Natural History Museum protected by Advanced systems [

THE WORLD-FAMOUS Natural History Museum in London, and its more than five million annual visitors, are being protected by intelligent fire panels from Advanced. Often called the ‘Cathedral of Nature’ the Natural History Museum is renowned for its collections of dinosaurs and ornate architecture, and is widely recognised as the pre-eminent centre for natural history and related research. Located in Kensington’s Museum Quarter it was established in 1881. Its Grade 1 Listed building comprises seven blocks, including the original Waterhouse Building, the Earth Galleries, the Palaeontology block and the twin Darwin Centres. At the heart of the active fire protection for the museum is a network of 24 MxPro 5, intelligent, multiprotocol panels from Advanced, plus remote control terminals, BMS interface and a bespoke PC based graphical user interface. The network was designed, configured and commissioned by Pacific Security Systems, a long-time partner of Advanced. Kirk Short, spokesperson for Pacific, said: “Advanced systems are well known for their performance, quality and ease of use. From our point of view, the MxPro 5 panel stands alone in the market for ease of installation and maintenance and for network stability and speed. We needed a system that is simple to operate, with the features the end user requires on a daily basis, while also offering backwards compatibility with some of the loop devices that are already installed at the site.” MxPro offers the market more choice and flexibility than any other system. It includes two panel ranges – the EN54 2, 4 and 13 approved MxPro 5 and the EN54 2 and 4 approved MxPro 4. It offers four protocols (Apollo, Argus, Hochiki and Nittan) and a completely open installer network, backed up by

free training and technical support. MxPro 5 panels are backward compatible with existing MxPro 4 networks and include a host of features including TouchControl touchscreen remote control terminals with Active Maps and AlarmCalm false alarm management. MxPro 5 panels can be used in single loop, single panel format or easily configured into high speed, 200 panel networks covering huge areas. Advanced’s legendary ease of installation and configuration and wide peripheral range make it customisable to almost any application. It is found in challenging and prestigious sites around the world including western Europe’s tallest building, The Shard. Rob Kemp, Advanced sales manager for the South of England, commented: “We are proud to have our British-made products installed in such a venerable institution. Advanced is renowned for making cutting edge products and this is the type of building where the quality, ease of use and flexibility offered by MxPro 5 panels offer tangible benefits.” q • For further information visit the website at www.advancedco.com.

Extra security for church and heritage properties [

LANCASHIRE BASED TSB IRONCRAFT, who have been making quality wrought iron gates since 1990, can also install electronic systems to give extra security to church and heritage properties. All the systems they install come with a full two year warranty, subject to service. The kits for swing gates come in two types. The underground kit has a motor fitted in a galvanised box which is concreted in – the gate is welded to a shoe and hung from the top hinge. With the ‘ARM’ kit, you can have a normal pair of gates hung in the usual way, then the arms are fixed behind the pillars and a bracket welded to the gate. Intercoms are also available and come in several different types. The standard intercom has a panel with a call button fixed outside the gates, so when it is pressed a phone rings inside the property and the gates can be opened simply by pressing the button on the phone unit. The key pad intercom is exactly like the standard intercom but it has a keypad on it, so anybody you select may be given a 4 digit code to enter and open the gates. There is also a video intercom with a video camera in the external panel, so a caller’s face appears on the screen on the phone unit inside. Finally, there is a fairly new system called a GSM intercom. This wireless system works by a SIM card inside the external unit which, when somebody calls it, will dial your own mobile number – the gates can be opened by your mobile simply by dialling the number set to the gates. This system can also be set up so that if your mobile is elsewhere, after a set amount of rings, it will divert to your land line or vice versa. q • For further information on these electronic systems and the company’s full range of wrought iron products visit www.tsbironcraft.co.uk.

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EAST ANGLIA SPOTLIGHT

England’s very own Far East has a rich and varied heritage [

THE FENLAND AND broads of the East of England conceal within their mists a history that extends as far as Roman times and beyond. Here it was that Essex girl Boudica of the Iceni waged war against the Roman invaders and it was in the fenlands of Cambridgeshire and Norfolk that the Saxons of East Anglia fought the Danes. It is in the Middle Ages, however, following the Norman Conquest, that the flat marches and fens became the sites of some of the most impressive ecclesiastical architecture, followed a few centuries later by the soaring towers and spires of Cambridge itself, culminating in Henry VI’s magnificent chapel at King’s College. Throughout the period from the 12th century right up to a few years ago, the people of Suffolk were patiently building and extending their own mighty church at Bury St Edmund’s, in preparation it seems now for the creation of the Diocese of St Edmundsbury and Ipswich in 1914. The following pages tell just a few of the stories that this ancient corner of the British Isles has to offer, some dating back around 3,000 years: stories of treasures buried by the Romans of Colchester in the face of a rampaging Boudica; of the everyday lives of the Saxons discovered from their abandoned homes and burial mounds; of England’s very own Pompeii. The many-layered history The 1596 polychrome monument of the region is also to be to Richard Cornwallis at seen from the many notable St Peter’s Church in Cretingham, Suffolk has been conserved by buildings. The medieval Simon Swann Associates town wall of Great Yarmouth

The wealth of craftsmanship to be found in the region includes this Votive candelabra for Weybourne Church in Norfolk, created by Brian Turner of Turner’s Ornamental Leadwork

overlies two Roman forts and is being brought back into good repair, while the Naze Tower, which guided mariners from the 18th century, has been restored by specialists. From the same century, the celebrated Cupola House in Bury St Edmunds was all-but-destroyed by fire and is now back to its former glory. Much of the history of East Anglia is reflected in its churches. From the medieval grandeur of the Suffolk Wool churches to the quirky round towers associated with the region, all are being lovingly cared for and restored. The diocese of St Edmundsbury has advice for all churches on their upkeep, while one of the country’s major church organ builders has a presence in Ipswich. Perhaps the most extensive project is featured on the front cover of this magazine. It features the final phase of the reroofing of the Catholic Cathedral in Norwich. Much of the material is lead sheet recycled from that same roof. Roof restoration is now made easier by reference to the images beamed to the ground from that most modern of machines: the drone. All are examples of the wealth of craftsmanship to be found in the region – craftsmanship that has allowed ancient buildings and artefacts to be restored or adorned with new features, that provides modern worshippers with a comfortable environment or that uses traditional techniques in an environmentally friendly way. Nowhere in East Anglia are the ravages of war far away. A century ago war took the life of heroic nurse Edith Cavell, whose grave and memorial at Norwich Anglican Cathedral has been restored. War also spurred the development of technologies such as radar, which was developed on the airfields of Suffolk. q This gothic arched oak frame was created for Little Gransden Church in Cambridgeshire by Chris Downes of Amulet Joinery

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EAST ANGLIA SPOTLIGHT

Roof repairs correct century-old ‘mistakes’

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THE Cathedral of St John the Baptist on the outskirts of Norwich city centre is one of the best examples of the Victorian Gothic revival in the country. St John’s is the mother church of Roman Catholics in Norfolk, Suffolk, Cambridgeshire and Peterborough. It is the focus of many large diocesan occasions and, of course, the seat of the Bishops of East

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Anglia. Indeed, that is the origin of the word ‘cathedral’, which derives from the Latin cathedra, meaning chair or throne. The great church was built as a result of the inspiration and generosity of Henry Fitzalan Howard, the 15th Duke of Norfolk. The original architect and designer George Gilbert Scott Jnr and later his brother John Oldrid

Scott completed the imposing building in 1910. Duke Henry oversaw the whole project until its completion, at which point he donated the church as an act of thanksgiving for his marriage to Lady Abney Hastings. In early spring 2015 Norfolk Sheet Lead (UK) Ltd were invited to tender for the final phase of the re-roofing of the cathedral.

Following the competitive tender process they were appointed as main contractor to oversee this most visual phase of the project, which has been undertaken over the past 40 years. Russell Taylor Architects of London provided the schedule of works, which included erecting a large and complicated scaffold arrangement with hoists. That was to remove some 50 tonnes of the original 1910 lead from the north nave and north aisle roofs. The scrap lead was then transported to the premises of Midland Lead and recast into Code 7 and Code 8 sand cast. This method of sand casting is the traditional and historic method used over 100s of years and is a very cost-effective method of re-using ancient material from historic buildings. Once the scaffold was erected and the roofs inspected, additional works were found to be necessary in relation to the horizontal eaves gutters on both the nave and north aisle roofs. Those gutters had a large and complicated quatrefoil design on the external parapet. The parapet leadwork had failed, due to overfixing with lead dot nails at approx 200mm centres and oversizing of the lead panels.

Historic water ingress below the north aisle gutter

Those panels had also suffered from over bossing, which had caused the lead to thin dramatically and split, allowing water to penetrate into the building fabric and causing extensive rot of the supporting timberwork. The reason for the failure had been poor design; although, as Norfolk Sheet Lead director Carl Bream said, it is difficult to call it a failure when the leadwork had lasted over 100 years. On inspection it was decided to re-design the external ornamental parapets to comply with Lead Sheet Association recommendations; but that was only agreed upon by the client and the architect on the basis that the aesthetics of the elevations were not unduly changed. After consideration and some design work undertaken by Carl Bream, a method was agreed upon to introduce recessed flat lock welts, set into rebates in the parapet facade, between each quatrefoil panel. Each panel was fixed at its head and covered with an ornamental welted capping. The problem was how to replicate the appearance of the lead dot nails without actually fixing the lead. That was overcome by forming timber patterns, drilling the lead from the reverse and then welding the dots to the surface to give the appearance of the original. As Carl pointed out, it was quite ‘fiddly’ and time consuming to ensure that the dots ran in line. Once Norfolk Sheet Lead had completed work on the nave they moved down onto the north aisle roof. The details on the horizontal gutter matched the nave roof above and had failed in the same manner, but to a much greater extent – indeed, to a point where most of the supporting timber disintegrated once failed lead cladding was removed. That called for complete renewal of the supporting parapet sub-structure and that was formed in solid timber approx 350mm X 100mm to match the original, which then had to be carved with the recessed quatrefoil design. That could then be covered in the Code 7 sandcast lead to match the original design. While working on the north aisle gutter it was discovered that water had ingressed into the solid stone vaulted ceilings below, causing staining and dilapidation, as can be seen from the photograph (left). That, again, had been caused by poor design of the leadwork on the sump outlets. It was decided that it would be unwise to relay a new lead gutter over wet stone,

COVER STORY

The nave from above which had absorbed such a vast quantity of water over the past century. The solution to the problem was to form a vented timber supporting deck over the existing stonework. That would resolve the design fault and separate the new lead from the old stone below. It would also allow the stone below to ‘breathe’ naturally and evaporate the water from the wall head over the years to come. That was all done without altering the external aesthetics of one of the most historic and beautiful buildings in Norwich. Norfolk Sheet Lead completed the project in March, in time for the celebrations to mark the 40th anniversary of the East Anglia diocese. As can be seen from the photographs, that section of the building now has a high-quality and well-designed lead roof which will last well in to the 22nd century and very likely beyond. Norfolk Sheet Lead (UK) Ltd are founder members of the Lead Contractors Association (LCA). The company expressed themselves immensely proud to be involved in the project, which has been entered into the competition for the LCA’s Murdoch Award. The award is widely considered to be the top accolade for leadwork in the UK. q

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COVER STORY

A traditional method using recycled material: that’s cast in sand [

THE RECYCLED LEAD SHEET used on the roof of the Cathedral of St John the Baptist in Norwich was sandcast lead produced by Midland Lead. There are three types of lead sheet used in building construction – machine cast, rolled and sandcast – and of those the lead of choice when it comes to heritage projects is most often sandcast. With its distinctive, slightly grainy texture compared to machine cast or rolled, sandcast lead naturally lends itself to heritage buildings and is preferred for its authentically traditional appearance. Midland Lead is the only manufacturer in Britain to offer all three types of lead sheet and the company believes that the fact it can recycle old lead from buildings and reuse it via the sandcasting process is a big factor in its popularity among heritage projects. Not only does it reduce costs and boost environmental credentials but recycling and re-purposing existing lead from a building – whether a church, cathedral or listed property – is also a great way of maintaining historical continuity. And although Midland Lead’s end product is authentic and traditionally made, it is produced via a modern manufacturing method that offers heritage projects the best of both worlds. From its purposebuilt sandcast lead workshop, which utilises modern technology, Midland Lead ensures an efficient process that eliminates unnecessary waste and creates sandcast lead that has just the right thickness and tensile quality, resulting in a fantastically authentic look.

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Taking the existing lead from a property, skilled lead specialists put it back through one of the company’s kettles and re-mould it. Nothing is added or taken out; the lead is simply given a new lease of life. Yet it leaves the building with its original, traditional look. Midland Lead’s traditional sandcast lead can be found on the roofs and gutters of some of Britain’s oldest and most historically important buildings. In addition to the cathedral in Norwich, they include the 11th century Dover Castle in Kent and Hampton Court Palace’s Georgian House, a later addition to the palace built in 1719. q

EAST ANGLIA SPOTLIGHT

Norfolk Conservation aims to turn the tide at seaside town [

GREAT YARMOUTH IS seen by most people as a traditional seaside town, with a brash exterior and little of note beneath. Looking beneath the surface, however, will show a town that shares much of its heritage with the rest of the region. The town’s strategic importance as a port was recognised by the Romans, who built two forts – Caster Fort and Burgh Castle. The latter is described as the best preserved Roman monument in East Anglia. Its position as the fifth most prosperous town by the mid 14th century, with the largest naval base north of the Thames, is illustrated by a number of iconic buildings – including the remains of a 13th century Franciscan Friary and the Tollhouse, the oldest civic building in England, dating from the same century. Demonstrating its continued prosperity are buildings such as the 17th century Old Merchant’s house, set within the distinct ‘row’ street plan, and ostentatiously displaying its opulent interior. John Andrews, the largest herring merchant in Europe of his day, built his extant home here in the 18th century and, by the 19th century, Great Yarmouth was the largest herring port in the world with more than 600 ships on its register. The Nelson Monument, built shortly after Nelson landed in the town after the Battle of the Nile, represents its continuous military status, further exemplified by the late 18th century Naval Hospital, later used as a WWII naval information centre. Additionally, the town’s history as a premier seaside resort is demonstrated by a number of structures. They include: the 19th century Wellington Pier, the first pier to be built in the country purely for pleasure; the last surviving seaside Victorian cast iron and glass winter gardens in the country; the Hippodrome Circus, built at the turn of the

20th century and featuring one of only three remaining circuses with a retractable pool; and the Windmill Theatre, one of the earliest purpose built cinemas in Britain. Overall, the borough has a total of 415 listed buildings. Unfortunately however, contrary to its long standing prominence, a variety of factors have precipitated a rapid economic downturn since the Second World War, and with it, a deterioration of the historic landscape and a Repointing and consolidation on retreat of the knowledge and and around Palmer’s Tower on Great Yarmouth’s medieval wall skills to conserve it. However, inspired by an illustrious and enduring past, some in the community are aspiring to turn the tide. For example, the medieval wall, perhaps the most visible feature of the town’s historic past has recently been the subject of a series of conservation efforts carried out by Norfolk Conservation Ltd, a social enterprise company set up by Great Yarmouth Preservation Trust (GYPT). The project is being funded by the Great Yarmouth Borough Council with match-funding from Historic England. The latest phase, which completed in June, saw repointing and consolidation of the wall around the landmark Palmer's Tower, as well as the tower itself. The tower’s pantile roof was also repaired. Over the centuries invasive vegetation had created a large number of cavities in the wall, requiring particular skill in their removal. Traditional lime mortars were used to repair the cavities, followed by the application of a sand and lime putty in the repointing process. Prior to GYPT’s efforts, including the inception of Norfolk Conservation Ltd, Great Yarmouth lacked the basic skills needed to maintain the built historic environment, such as working with lime mortar, window repairs or traditional roofing techniques. Although a task far from complete, much progress has been made in a relatively short time. Norfolk Conservation provides a platform to share an understanding of traditional skills and appropriate repairs, whilst equipping local people with the means to enact them. They have laid the foundation for a more sustainable past, present and future for Great Yarmouth. q • For further information visit websites www.norfolk-conservation.uk and www.greatyarmouthpreservationtrust.org.

Site manager, Cathy Mijatovic, preparing lime mortar for the medieval wall restoration www.ecclesiasticalandheritageworld.co.uk

EAST ANGLIA SPOTLIGHT

To access all areas, take the aerial route [

EAST ANGLIA IS home to some of the most precious ancient churches in England – a good number of which date from the Saxon period. It is no surprise, therefore, that some of the most innovative methods for ensuring their continued good condition are to be found there. One deployment of modern technology is the use of unmanned aerial vehicles (UAVs), or drones, to overfly sites in need of examination. The use of such machines has proved revolutionary in carrying out surveys of areas in ancient buildings which had previously required extensive preparation, followed by expensive and in some cases hazardous operations. Indeed, in some churches there are parts of the building that had not hitherto been accessed at all for many years. One of the leaders in the field of the use of UAVs in church surveys in East Anglia is Spatial Photography of Thursford in Norfolk. Equipped with the latest technology, the company’s UAVs offer huge scope for fast, safe and efficient data collection. From archaeological surveys to a close-up of a difficult area to access, a UAV can accomplish the work in a far safer way and a faster time whilst reducing costs and addressing health and safety issues. Videos and still images are recorded using high-resolution cameras attached to the UAV, providing clear, sharp images. A highly-manoeuvrable UAV can quickly and safely access hard-to-reach areas for surveys of ancient buildings and church quinquennial surveys.

Spatial Photography’s quadcopters can get in close without the need for expensive scaffolding or cherry pickers and reduce the safety risks of working at height. In the case of church buildings, the surveying of roofs is a particular difficulty and a UAV can be deployed within minutes to inspect unseen areas. The resultant images can be in the form of video – at 4K, ultra HD or HD – or stills in 16 megapixel, raw or jpg format. By overlapping each photograph by 80%, a high-resolution photo mosaic can be produced in post processing. Further processing can produce a 3D format that allows the user to manipulate the mosaic to any angle and even fly around the image. All the projects carried out by Spatial Photography involve a full risk assessment started during the planning phase and continued on site and through to the completion of the project. A detailed checklist is followed to reduce human risk factors in order to safeguard the property, equipment, personnel and environment. Said director David McArthur: “The use of UAV’s has revolutionised building inspections in terms of cost, speed and safety. However, the majority of people do not understand how to fly a UAV in a safe and responsible manner, or know the regulations set out by the Civil Aviation Authority (CAA). You should use a CAA-registered professional or get their advice before using one on your priceless building. If they are not licensed they will not be insured and you will not be covered by your own insurance policy.” The pilots employed by Spatial Photography have all completed and passed stringent courses in the safe operation of UAVs and are certified by the CAA. All work is carried out within CAA regulations at all times. q

Debris filled gullies on a church roof

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EAST ANGLIA SPOTLIGHT

Tudor roses inspire family of craftspeople

Leading central panel and medallion

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CARVED TUDOR ROSES on the woodwork of a grand Tudor house in Norfolk provided the inspiration for the creation of new leaded lights for a window of that same house. The new design, by Norfolk studio Kenton Brauer, is a replacement for an existing stained glass window which had become tiredlooking, with some broken lights. Kenton Brauer is a very personal Norfolk business, working to craft and restore traditional and contemporary stained glass and casements for ecclesiastical, commercial and domestic Wooden moulding

Completion of designed stained glass panels commissions. In the case of the Tudor house, in Harleston, partners Paige Kenton and Jason Brauer removed the existing stained glass and replaced it with a subtle design to complement the house’s ambiance. Paige Kenton explained: “We took inspiration from the carved woodwork of Tudor roses throughout the house to design painted roundels to fit within the contours of the wooden tracery. Working closely with the client and their designer, we changed the colours of the glass within the central medallion from traditional to contemporary, to suit their renovated interior space. Here, we chose Lamberts hand-made cylinder glass, including ‘gold pink’ to achieve their desired palette. We then mixed glass paints to match the surrounding woodwork tone.” Once the design had been perfected, the trace lines and matting for the Tudor rose roundels were hand-painted, then finished with a yellow silver stain applied to the centres. After kiln firing, all the pieces were leaded with the smallest round lead came that would let as much light through as possible while maintaining strength. Once soldered, lead cemented and polished, the panels were fitted with putty and the restored ornamental saddle bars. The owners of the house were full of praise. They wrote: “Your professional, personal and detailed service delivered way beyond our expectations. The depth of knowledge, skill and sensitivity involved in your service was superb. It is rare to find commitment and Original tired and broken stained delivery on such a high level. glass panels Truly an artistic pleasure.” Prior to setting up Kenton Brauer, Paige and Jason trained and worked intensively with the family business, The Norfolk Stained Glass Company. Following the retirement of their uncle, Michael Wiley (ACR ICON), they took over the business and now live and work from its premises. Michael now oversees all of their work, ensuring a consistent high quality of craftsmanship. In addition to creating new pieces for period and contemporary properties, the firm carry out restoration and repair work at many ecclesiastical and heritage buildings. They now also manufacture handmade timber casements alongside the stained glass business, allowing clients to completely transform existing or new openings. It also means customers can have pieces made from an inclusive single source. Describing the range of materials available, Jason said: “With so many choices of glass texture, colour, lead came and painted or etched glass, there is an absolute plethora of possibilities to transform a property. We work attentively and sympathetically on archaic ecclesiastical commissions and are committed to creating bespoke designs where required.” q www.ecclesiasticalandheritageworld.co.uk

EAST ANGLIA SPOTLIGHT

Furnishing the region with many fine pieces [ ONE OF THE more notable firms working in the heritage sector

in East Anglia is David Bartram Furniture. Based at Heckingham, near Norwich, the firm was established in 1981 by David Bartram and can call on an extensive range of skills and experience in bespoke joinery, building interiors, and the design and manufacture of fine furniture. David’s team has over 100 years of combined experience and each skilled member plays an important role in producing precise and beautifully finished pieces, using both traditional and contemporary wood crafting techniques. The in-house cabinet and joinery workshop is fully equipped to undertake any commission. The team works very closely with their customers and can offer an integrated design and construction service, discussing each project with the customer and offering guidance through every stage of the process: from paper plans and scaled models to the final product. They can work from architectural drawings or produce their own detailed technical plans. Two of David Bartram Furniture’s pieces are an oak screen for the church at Burnham Market (top) and cases for the Duckett Library at St John’s Roman Catholic Cathedral in Norwich

Work for the Britten Pears Foundation included the re-upholstery of this settee that belonged to Sir Benjamin Britten

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A number of East Anglia’s beautiful churches can boast fine pieces from David Bartram Furniture. They include an oak screen for the church at Burnham Market and cases for the Duckett Library at St John’s Roman Catholic Cathedral in Norwich. Said David: “Working and making fitments for church interiors is a joy. We take great pride in knowing that our work is in a public space and will be there for centuries to come. We liaise closely with architects and other conservation professionals to make high quality pieces that blend into the fabric of the building.” As well as the creation of new pieces, the team undertakes conservation work to preserve or repair existing fitments or artefacts in ecclesiastical premises. Such was the case with the church door at Melford Hall, a National Trust property in Suffolk. Indeed, David Bartram Furniture has worked on a number of the trust’s properties and in 1997 David was appointed Regional Furniture Conservator and Specialist Joiner for the National Trust in the East of England, involving advice and care of 13 historic properties, including interior fitments. David explained: “We have worked closely with the National Trust and other heritage organisations for many years, sharing knowledge and giving advice and guidance in the conservation of wooden surfaces including floors, skirtings, doors, shutters and panelling. In addition to those services we also craft furniture to complement historic collections and can assist in hanging precious paintings and fragile tapestries.” Other notable organisations the firm has worked with in East Anglia include the Britten Pears Foundation in Aldeburgh – for whom they reupholstered a settee belonging to Sir Benjamin Britten – and the Jockey Club in Newmarket. The workshop at Heckingham is equipped to carry out full programmes of both conservation and restoration of historic artefacts. David explained the difference between these two important processes. “The aim of the conservation process is to keep the piece in the condition in which it was found and to prevent it from further deterioration,” he said. “This includes looking at the items in their environmental situation or aspect. It is acceptable to add new parts from the correct materials and these may be toned in but are never hidden fully. Unlike restoration, little or no consideration is given to its monetary value; the emphasis is on its historical significance.” On the other hand, said David: “Restoration is the process of repairing and renewing all the damaged or missing parts of a piece, enabling it to be presented in as good a condition as it was when first made. New parts are hidden and repairs are disguised. Enhancements, such as better handles or deeper or richer carvings, can often increase the value.” q

EAST ANGLIA SPOTLIGHT

Trust has four decades of dedication behind it [

NORFOLK HAS THE largest ‘cluster’ of medieval churches in the world, constituting an important part of our heritage. That heritage is cherished and cared for by the Norfolk Churches Trust, which was founded in 1976. It was established in response to a sudden increase in churches becoming redundant, particularly in Norwich, where many ecclesiastical buildings were being converted into homes. The Trust gives grants to churches of all Christian denominations and has provided over £6m to date – much of which involves the provision of advice and support to churches in urgent need of repairs. Part of its income also goes towards the upkeep of 13 redundant churches in its keeping: 12 in the Anglican diocese of Norwich and one in the Catholic diocese of East Anglia. These churches now witness occasional services. Fundraising takes many forms, including a series of talks on a variety of matters from such notable figures as Earl Spencer, Lloyd Grossman – chair of the Heritage Alliance – and Lord Butler. For 32 of its 40 years the Trust has staged an annual bike ride around some of the county’s notable churches. In those 32 years the bike ride has raised £2.8m. This year’s event takes place on 10 September. As part of the 40th anniversary celebrations, a special Evensong was held at Norwich Cathedral, followed by a reception in the bishop’s garden. A blogger on its website wrote: “…miraculously the rain ceased and 160 guests enjoyed the drinks and delicious eats and also an

The church of St John the Baptist, Brettenham where the Trust awarded a grant of £10,000 towards extensive repairs to the tower, windows and interior – image courtesy of Clive Dunn opportunity to wander round the gardens. Bishop Graham gave a very amusing speech.” q • The Norfolk Churches Trust welcomes new Friends, whose subscriptions form a valuable part of its funds. Visit the website at www.norfolkchurchestrust.org.uk.

WWI heroine honoured as restored grave is dedicated

[A POIGNANT SERVICE was held at Norwich Anglican Cathedral on

Sunday 15 May, when the newly-restored grave of executed First World War nurse Edith Cavell was blessed and dedicated. Edith, who was born in Swardeston in Norfolk, was executed by a German firing squad on 12 October 1915, after helping Allied prisoners to escape from Belgium to Holland. After the war she was buried at Life’s Green in the grounds of Norwich Cathedral. In 2014 the Department for Culture, Media and Sport pledged up to £50,000 to meet the cost of restoring the grave, ahead of a series of high-profile services and events planned for 2015 to mark the centenary of her death. The work has now been carried out and includes new pathways to improve access for the public to visit, a memorial garden planted with Edith Cavell roses and a newly-commissioned headstone and ledger stone, created by award-winning lettercutter, typographer and sculptor Wayne Hart. As one of only a handful of carvers of his generation, Wayne is focused on maintaining the traditional craft and pushing it forward with new ideas and modern technologies. His work has included commemorative gifts, public art projects, memorials, signage, relief carving and artwork for exhibition. At the dedication service an account of Edith’s final hours was read out and hymns were sung. Bishop Graham James, who presided over the service,

said: “The tremendous thing is almost a century on her grave is visited more than perhaps it ever has been. It shows her story resonates, her service, her bravery and her Christian faith. It will continue to inspire Christians and people of all faiths and none.” q Photos courtesy of Paul Hurst

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EAST ANGLIA SPOTLIGHT

East Anglian churches need particular care [AS ONE OF the two Anglican dioceses in East Anglia, and home

to one of most historic cathedrals in the country, St Edmundsbury and Ipswich has a large number of historic churches within its remit. The diocese has consequently published guidance on its website on the repair and development of churches in the diocese. The guidance states: “The majority of the churches in our diocese are medieval and these do not react well to modern building materials such as cement and emulsion paint. It is therefore important to use the correct materials and methods for a repair and ideally employ an architect or surveyor with relevant experience. “Your architect or surveyor should produce a specification and schedule of works which describes the repair and details the materials to be used. The Diocesan Advisory Committee for the Care of Churches (DAC) will want to see this. It is likely the archdeacon will be able to authorise the repair without the need for a faculty, but the paperwork will have to be seen by a DAC representative – a process which should take around four weeks.” On managing change, the guidance advises: “Churches do develop over time and they need to change to accommodate new needs or liturgical practice. However, PCCs need to make the case for such changes and this is done through the production of a Statement of Needs and a Statement of Significance. “The DAC may wish to visit the church to discuss your plans in the context of the building. Draft Statements are useful tools

St Edmundsbury Cathedral to prepare the DAC for the visit. The DAC may want other organisations to be part of the visit as they will have a say in allowing the works to proceed. Groups such as Historic England, the SPAB, the Victorian Society and the national Church Buildings Council won’t attend a site visit until they have seen your Draft Statements.” q • The secretary of the DAC at St Edmundsbury and Ipswich is James Halsall – one of the most experienced professionals supporting church buildings nationally. He is the author of Caring for your Church Building, an accessible, comprehensive book and an invaluable aid to getting the balance right between making buildings fit for mission and worship – as well as community use – while respecting their heritage.

Traditional techniques go with a ‘can do’ approach [

A PROFESSIONAL APPLICATION of traditional plastering techniques is on offer across East Anglia from Rickards Period Plastering Ltd. Whether they are working in the historic environment or on a unique, architect-designed new build, the firm’s craftsmen provide a skill set and finished product of the highest quality. The range of techniques available encompasses haired/fibre-chalk mix, bespoke pargeting, daub and clay plasters, through to the new breed of eco-renders. Based in Bury St Edmunds, the firm was founded by Mike Rickards in 2012. Mike had a background in restoration prior to that and has built upon that experience to establish a reputation for undertaking projects others may shy away from – whether because of the material used, design, access or other site-specific challenges. Said Mike: “Our extensive knowledge of local construction and the built environment, along with familiarity of the complexities of period property housing, means we can provide appropriate material applications for the delicate building fabric and unique build materials of East Anglia – whether these are timber frame, clay construction, hemp, flint or soft red brickwork.” Via the many contacts they have built up over the years, Rickards Period Plastering have a network of capable trade professionals, including framers, carpenters, decorators, masons and bricklayers able to complement a project’s requirements. One of the company’s notable projects in East Anglia was at the Grade I Listed St Mary’s Church in Bury St Edmunds, where they undertook plaster repairs for Universal Stone, following relocation of the Suffolk Regiment memorials. q

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CUPOLA HOUSE PROJECT

EAST ANGLIA SPOTLIGHT

A Suffolk Georgian gem rises from the ashes [

WHEN A MAJOR FIRE raged through the Grade One-listed Cupola House in Bury St Edmunds in 2012, the fire service called upon local specialist builders Seamans Building to make the building safe. After bringing in long-reach demolition plant to help secure the structure, Seamans embarked upon clearing the debris, preparing the site for surveys and erecting a temporary scaffolded structure to preserve the integrity of what remained. Architects Purcell then began work, in partnership with English Heritage, St Edmundsbury Borough Council and a team of specialist consultants, to stabilise the surviving built fabric and reconstruct the lost historic features. Using all the available information about the building, which was built in 1693, the architectural team recreated the principal spaces and reintroduced many of the building’s architectural details, including panelling, cornices, architraves and the staircase. Following the tender process, Seamans Building were appointed as main contractor for the reconstruction work. Many of the company’s directly-employed skilled craftsmen were involved on the project and it was an excellent opportunity for their six apprentices to experience working on an historic structure. The company had already received local awards for work on two Grade One-listed buildings – Woodbridge Tidemill and the Wolsey Art Gallery next to Ipswich’s Christchurch Mansion – however, the challenges and scale of working on the confined site in the centre of Bury St Edmunds tested the resolve and skills of all involved. Throughout the project Seamans worked closely with the consultancy team, in particular Purcell and structural engineers Richard Jackson Engineering Consultants, to construct a building that replicates the original structure whilst being upgraded to cater for current building and fire regulation standards. Wherever possible the original fabric that survived the fire has been salvaged and re-used. These include elements of the stairs, panel mouldings, a significant amount of the exterior cornice and the metal fireplace grates which have been fitted back into the reconstructed chimneys. A new steel frame, which has been intricately threaded through what remains of the original timber frame, is completely concealed within walls and behind the wall linings. It has been fitted to distribute the weight of the new and surviving structures evenly over the original basement. In May the new timber-framed cupola was hoisted into the air and placed atop the roof, between the two towering chimneys. Both required considerable reconstruction after the fire left them in an unstable condition. High levels of craftsmanship can be found in the cupola construction, the oak staircase, room panelling, chimney brickwork, plastering and the ornate wood carvings that adorn the building both inside and out. Ben Whatling, Seamans production manager, who was contract manager on the project, pointed to the local craftsmanship involved. He said: “While the devastating fire was a blow to the whole of Bury St Edmunds, it is reassuring that the necessary skill and expertise was found locally to reconstruct this heritage landmark. Our workforce and supply chain have committed whole heartedly to producing a quality product that will hopefully last another 300 years.” The project was completed in July and is awaiting its new tenants. q

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EAST ANGLIA SPOTLIGHT

CUPOLA HOUSE PROJECT

Roof structure is two projects in one

[THE ROOF OF the rebuilt Cupola House was carried out by specialist roofing contractor 3A Roofing Ltd.

Based in Suffolk, the company are listed on the NFRC’s National Heritage Roofing Contractors Register as heritage craft roofers. As such they specialise in heritage and ecclesiastical work and have worked on many churches and listed buildings in Suffolk and beyond – a field in which their reputation is growing. The roof of Cupola House comprises two separate structures. The cupola itself is clad in lead. The lead sheet was fitted and dressed to follow the distinct vaulted shape of the cupola, which was formed prior to being lifted into place. The roof of the building was constructed around the cupola. It is composed of traditional clay tiles on a steep pitch. Reclaimed tiles were used to match the originals. Dormer windows project from the structure, which are also clad in clay tiles, with lead detailing. A particular feature of the building is the hanging tiles on the gables. While some are plain tiles, others are lavishly decorated. Again, these were manufactured and fitted to match the original detailing. The managing director of 3A Roofing, Simon Nightingale, stressed that the project was far from being ‘any other roofing job’, saying: “We are immensely proud of the complete project.” He was particularly satisfied with the positive reaction from main contractor Seamans Building, who expressed themselves ‘delighted’ with the outcome. q

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CUPOLA HOUSE PROJECT

EAST ANGLIA SPOTLIGHT

Craftsmanship allows the re-creation of a cherished feature

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EXTENSIVE TIME AND effort was devoted to the re-creation of the English oak staircase in Cupola House, as the fire had destroyed all bar a small amount of the original staircase. Using traditional hand-crafting joinery methods and machining, Woodbridge-based joinery specialists Church and Gooderham designed and installed each section of the four-storey stairway and wall panelling in keeping with the original design, while incorporating the new steel support structure. Surviving spindles and carvings, along with a limited number of photographs, were available for use to assist in the design, allowing the new stairs and panelling to be made as in the originals. That,

along with close working relationships with Seamans Building and Purcell Architects, allowed the production of the new stairs to be accomplished. The salvaged spindles and carvings from the fire were re-instated into the new stairs to retain a direct link to the building before it was damaged. The project was a challenging one and presented tests that required in-depth levels of skill and experience to overcome. With the help and joint efforts of all involved, including the site team, Church and Gooderham were able to deliver a level of craftsmanship equal and beyond the original staircase, in line with what the project deserved. q

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EAST ANGLIA SPOTLIGHT

Priory church extension is Project of the Year

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THE AWARD FOR Project of the Year in the 2015 East of England RICS Awards was won by the conservation and extension of the medieval church at Clare Priory in Suffolk. Established in 1248, Clare Priory is one of the oldest religious houses in England, situated in the shadows of Clare Castle on the banks of the River Stour. The judges said of the extension, designed by architects Inkpen Downie: “The new building has been carefully conceived to complement the original, enhancing it by creating a more open space. The work has enabled the original structure to retain a use as the meeting area and reception, giving access through to the new worship area space. This project ensures that this ancient building will continue to be enjoyed by congregations for many years to come.” Inkpen Downie conducted an exhaustive exploration of the alternatives for enlarging the church. This progressed in a succession of consultations with the planning authorities, and periods of reflection by the church. The new building is unobtrusive without being retiring; it is contemporary without being strident. It respects the scale of its historic setting and provides for modern space requirements. In its design statement, Inkpen Downie said: “The church as we found it was lovely and venerable, but long, tall and narrow: entirely unsuited to the liturgy. It was originally the infirmary and has since been both barn and schoolroom. There was a first floor and an external stair both of which have disappeared in the process.” It was decided against the addition of a side aisle during the options appraisals as it would not generate sufficient seating and would result in a major loss of historic material. Instead, it was decided to look to the green space outside the building for room to develop the worship

space. The original building has had its interior de-cluttered. The only intervention is the three-bay arcade formed in the 19th century fabric of the north wall. The architects continued: “The flood plain dictated that the extension floor level should be raised above that of the mediaeval building. This elevated plane has been projected into the existing building so that, on entering, the transition to the new space starts by rising a few steps. The transition continues by proceeding through the new arcade and entering the extended worship space opposite the altar. The altar sits on a raised dais projecting into the congregation.” The extension floor sits on a piled raft foundation, barely touching the ground. That ensures minimal disruption to possible archaeology. Structurally the old and the new never meet; the extension is entirely free standing.

From the east and west the extension is mainly glass and deliberately understated. Views are available from the green space in front of the building straight through to the trees behind. To the south the wall is solid and executed in brick and stone, which wraps around the corner for a short way to form a solid block or gable that reflects, but does not challenge, the architecture of the original building. Inside there is a stone flag floor, painted plaster walls and ceilings. The roof is formed of curved composite timber and steel principal beams. The liturgical furniture is in the same limestone as the arcade dressings. Outside there is dressed stonework on the new west elevation and extensive use of brick in English garden wall bond and traditional lime mortar on the south and east sides. The roof is very shallow and clad in zinc that will develop a dull grey patina. The large areas of glazing are screened by vertical oak blades or louvres to reduce solar gain to the interior. They will weather to a natural silver grey. q • Essex-based Inkpen Downie was established in 1986. With a wealth of experience, including as conservation architects, the practice is able to provide expertise across a variety of disciplines, including church, community, education, housing and listed buildings. Of every five enquiries the company receives, at least one is either a recommendation or a previous client.

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EAST ANGLIA SPOTLIGHT

Ipswich plays its role in organ builder’s 200-year tradition [

THE CHURCHES IN East Anglia are home to some of the finest organs in the country. Many were built and installed in the late 18th and early 19th century whilst others date from the great revival of church building in the Victorian era and early 20th century. One such is the hugely impressive instrument that dominates the east wall of St Clement’s Congregational Church in Ipswich (pictured right). It was built in 1909 by Bishop and Son Organ Builders. Just a few years earlier, in 1897, the company had established a presence at Westbourne Mill in the city, expanding from its London base. Bishop and Son was founded in 1795 in St Marylebone by James Chapman Bishop, who quickly established himself as a master organ builder and was much in demand. His attention to detail and expert knowledge, combined with ingenuity and craftsmanship, produced some of the finest English organs of the 19th century He insisted from the start on using only the finest materials and best quality resources – a philosophy that endures to this day. Each generation of craftsmen apprenticed or employed with Bishop and Son has been responsible for the refinement of the company’s skills and individual approach to their work. James Bishop was also an innovator and invented some of the features that we take for granted in organ building today: the anti-concussion valve to provide steady wind, the Clarrabella stop and the composition pedals. James’s sons Charles Augustus and George Speechley followed him as organ builders, with Charles taking over the reins of the firm in 1854. His own son Charles Kenwrick Kenelm (CKK) Bishop in turn became a skilled organ builder in his youth and may have shone as brightly as his

grandfather, had ill health not taken its toll at an early age. He did take over from his father and in his time the firm saw the registration of new patents and improvement of techniques and practices. When CKK became too ill to run the firm it was taken over by Edward Hadlow Suggate, an organ builder at the firm. During his time as principal Bishop and Son saw some of the most dramatic changes in organ building. It was Edward Suggate who masterminded the expansion to Ipswich, establishing a well-equipped factory that was reputed to house the largest pipe metal casting bench in the trade. Edward’s son Eric was a gifted engineer who was responsible for the firm’s electric and hydraulic blowing achievements up to World War One. After Eric was killed during the war, his father continued his work on the development of the firm’s electric action in the 1920s. Edward Suggate’s daughter Hilda Mary took over the running of the firm until her death in 1981, when it became a limited company. Today, the Ipswich branch of Bishop and Son continues to manufacture and maintain organs across the country. Recently the three-manual instrument at All Saints in Maldon, Essex, was overhauled and rebuilt on a mezzanine floor above a new vestry. That organ was brought from the Argyll Concert Rooms in London and Bishop and Son’s association with it dates continuously from 1903. At St John's Church in Felixstowe the firm has James Chapman Bishop built a new three-manual console for the 1895 Norman and Beard organ, making additions to the specification and tonally recasting the instrument informed by its own tradition. Other work in East Anglia has included new bellows for the organ at St Peter's in Chillisford, Suffolk and the removal and reinstallation of the Bishop organ from Bardwell Church in Suffolk to Newport in Essex. At St Mary’s in Sawston, Cambridgeshire, the first part of a project to overhaul the 1894 Bishop and Son organ has involved the cleaning of pipework and the restoration of manuals and pedal board. In this way Bishop and Son continues its 200 years plus of tradition and experience in the art of organ building – restoring and maintaining organs of all sizes and varieties. q www.ecclesiasticalandheritageworld.co.uk

EAST ANGLIA SPOTLIGHT

Potter drawings go on show in Suffolk [

A RECENTLY-UNEARTHED series of drawings by Beatrix Potter have been put on display at Melford Hall in Suffolk, where they were discovered during conservation work. The four delicate line drawings, never seen before, give a unique insight into the life of the artist and writer behind the series of internationally beloved children’s stories. Although best known for her links to the Lake District, Beatrix Potter was a frequent visitor to Melford Hall, home of her relatives

the Hyde Parker family. This year marks the 150th anniversary of the author’s birth. Three of the drawings were discovered by Josephine Waters, house manager at Melford Hall, during some cleaning work. “I was moving a bookcase together with a colleague,” said Josephine, “and while we were going through some of the books we discovered a drawing tucked inside. It was classic Potter style and we immediately knew it was one of hers.”

Two more drawings were found hidden inside books and have been in careful storage ever since. When a fourth was discovered by Lady Hyde Parker, who lives at Melford Hall with her husband Sir Richard, they agreed to let the National Trust put them on display. The Beatrix Potter’s Melford: Holiday Sketches 1899-1916 exhibition will include a number of other drawings she completed during her visits to Melford Hall. The exhibition runs until the last weekend in October. q

Wartime radar station restoration gets underway [

SEEMINGLY A million miles away from the ancient and medieval history of East Anglia is the project to preserve and develop the Transmitter Block at Bawdsey Radar in Suffolk. The Transmitter Block was built in 1938 and was a key building at RAF Bawdsey, the world’s first operational radar station. Following work currently being carried out to conserve and restore the concrete blast walls, major site construction work is expected to start in September and an exciting new exhibition will open in September next year, allowing visitors to explore and find out about the pioneering site. In January the £1.8m project was awarded a grant of £1.4m by the Heritage Lottery Fund.

As well as plans for conserving the fabric of the building, Bawdsey Radar will be working to develop ways – both physical and virtual – in which more people can visit the site and understand the importance of the radar heritage that the Transmitter Block represents. Radar helped win World War Two by playing a vital part in the Battle of Britain in 1940 and it is estimated the technology helped shorten the war by two years. Bawdsey can be said to have laid the foundation for our current age of electronics, leading to inventions such as GPS, accurate weather forecasting, speed safety cameras and even the microwave oven! q

Modern church gets modern AV soultion [

CHELMSFORD-BASED Javalin Network Services have just completed an audio-visual installation at the Halstead United Reform Church in Essex. The church building is probably one of the most modern and comfortable in the town. Originally constructed in about 1970 as a doctor’s surgery, it was extended fifteen years later, purchased in the year 2000 and altered to what it is today. Whilst it may not be the archetypal building of worship, the church elders are very proud of it and describe the church with fondness. Javalin were asked to design a new audio visual solution to provide dual video inputs from both front and rear of the church, wireless and wired microphones, speakers and a method of recording services for those not able to access the church during services. It was with the church elders’ words ringing in their ears, that Javalin set about an installation that offered a modern solution in a sympathetic, architecturally-sensitive manner. A freestanding lockable audio cabinet with a 10-channel mixer desk is at the heart of the installation feeding to two white speakers at the front of the church. A high power NEC LCD projector is ceiling mounted, viewing onto an electric remote controlled screen. The solution is user friendly and robust – features that were very important as the building has multiple functions when not being used for worship. q • For further information visit www.javalin.co.uk.

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EAST ANGLIA SPOTLIGHT

Restoration project A warm church gives causes traffic jams a warm welcome! [WHEN THE NEWLY-RESTORED Hollywells Park in Ipswich was

re-opened to the public in July last year, its popularity caused traffic congestion around the site. The park dates back to medieval times and in 2013 Ipswich Council received a substantial grant from the Heritage Lottery Fund for its refurbishment. One of the highlights of the £3.5m project was the restoration the Grade Two-listed Victorian orangery, which had been boarded up for many years, by Bristol-based Dorothea Restorations. The firm’s specialists undertook the restoration of all the timberwork and wrought iron, as well as the reinstatement of historic crown glass in the building. The sash windows and rooflight restorations were carried out off-site and all the winding mechanisms were restored to their original condition. All the new crown glass had to be toughened and bespoke templates were used to create the circular toughened panes installed above the double doors. The restoration took six months and was completed on programme. The restored orangery is now in use as a new community space. q • For more information on Dorothea Restorations visit the website at www.dorothearestorations.com.

[THAT IS THE message to church managers from Essex-based

Argonaut Heating Ltd, a company with over 40 years experience in the industrial and commercial heating sector. Specialising in church heating systems, they can provide costeffective and efficient design, installation, repair and maintenance services and understand the problems involved in heating churches, community centres, halls and other places of worship. A company spokesman explained: “Churches with heating problems are more common than warm churches – and cold churches often discourage regular attendance. The main problem in heating a church is the age of the building. Since the majority of church buildings are well established, they have a mixture of heating systems dating back to a time when fuel was relatively cheap. These old systems still try to heat buildings once a week but are slow to respond – often requiring boilers to be turned on well in advance. Despite that, the church can still be cold.” “More modern churches, many built in the 1960s, often had electric heating systems installed which are expensive to run. The church is usually heated once a week for Sunday services, but there are always occasions in midweek when the church is used at fairly short notice for services such as funerals, baptisms and the like.” One cost effective and efficient solution to that problem is the use of Rinnai heaters which provide a quick heat-up time. Argonaut is an approved Rinnai installer and fitted such a system at St Alban’s Church in Dagenham (pictured). Alternatively, where it is not practical to install Rinnai heaters because of the nature of the building, for example if it is a listed building, they can also offer the traditional solution using a highefficiency, condensing boiler and radiators, providing savings in fuel costs. In addition to the installation of new systems, Argonaut provides a range of church heating services, including boiler replacements, boiler repairs and maintenance services. All members of the Argonaut Heating team are fully qualified and committed to excellence in health and safety, thus ensuring that all installations and repairs are carried out in compliance with latest regulations. They can offer a free site visit, giving clients advice and a free quote on the most efficient and cost-effective heating solutions for their church. The company operate throughout East Anglia and the South East of England, including the capital where a high-profile project was carried out at Wren’s masterpiece, St Mary-le-Bow. q www.ecclesiasticalandheritageworld.co.uk

EAST ANGLIA SPOTLIGHT

Lime mortars give protection to Kent and Caen stone

The parapet frieze prior to and following conservation, and a typical area of walling after conservation

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ALL SAINTS’ CHURCH in Laxfield is a classic Suffolk wool church, with a long, wide nave and a superb west tower dating from the mid 15th century. The tower is 100ft high and originally built of Caen stone dressings with fine flushwork flint panels – as you’d expect to see in East Anglia – and much more unusually with large expanses of Kentish ragstone ashlar. There have been long-standing problems with stone decay, as evidenced by 19th and 20th century restorations. Those had seen a large part of the very finely carved Caen parapet frieze replaced with rather lifeless carving in Clipsham – making the medieval work that remained of great significance, despite its very poor condition. Much of it had been laid off-bed and was delaminating, while other areas were crumbling behind old and very hard cement mortar repairs. Cement

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mortars had been used widely throughout the tower and in places was starting to come off in sheets – both from the Caen and from the Kentish rag – such that it had been necessary to cordon off the base of the structure for safety reasons. Skillington Workshop Ltd, specialist stone and plaster conservators based at Grantham in Lincolnshire and working throughout the UK, were brought in by the church’s architect Ruth Blackman in 2008, to survey the tower from a cherry-picker. A specification was drawn up which put the emphasis on preservation of the historic fabric, achieved by lime mortar repairs with only an absolute minimum of stone conservation. In the case of the Kentish rag, which was laid in large ashlar blocks, a choice of replacement stone was in itself problematic. The work, which attracted funding from English Heritage, went out to competitive tender in two phases – covering the south and west faces in 2009 and the north and east in 2015. Skillingtons won both phases of work, with phase one costing around £150,000 and phase two about £125,000 – both with added VAT. Much the same team of conservators worked on both phases, including Skillingtons’ team based in Cambridge. The works were project managed by Dr David Carrington ACR, who is the company’s managing director and has some 30 years experience in stone and building conservation. Achieving good mortar repairs was of critical importance to the project’s success. Great care was taken to get a good match to the different stone types and to the pointing. A palette of mortar colours was needed for the Kentish rag in particular. Mortars were based on either chalk lime putty or the now no-longeravailable Singleton Birch NHL2 hydraulic lime. Where repairs were deep they were built up in layers and reinforced by armatures. In the event no replacements were needed for the ragstone; but to achieve that some large-scale mortar repairs were needed to stringcourses, utilising tile and slate reinforcement. The more decorative Caen stonework, such as the parapet frieze, was given a lime sheltercoat, carefully matched to the colour of the stone. That not only gave further protection, but also provided visual unity where there were old Clipsham stone replacements. A number of replacements were needed for the Caen stone, in carefully selected new Caen – mainly to decayed copings and weatherings, where it was felt that not only would mortars not survive well but the architectural function of the stone was of critical importance to ensure the survival of adjacent elements. A great advantage of carrying out the work in two phases was the opportunity to review the success of the first phase from close up on the scaffolding some six years after it was first done. All the repairs were still in excellent order, which instilled great confidence in implementing the second phase in the same way. The completed project has left the tower in good order for many years to come and has won many plaudits – not least for the success achieved using lime mortars – and it was shortlisted for the 2016 SPAB John Betjeman awards. q

EAST ANGLIA SPOTLIGHT

Remove the paint, not the surface underneath it!

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REMOVING UNWANTED OR faded paint can be one of the trickiest processes in restoring heritage buildings. An effective paint-removal process should not damage the substrate (the surface underneath the paint). It should also enable the paint to be completely removed from that substrate. The products developed by Suffolk-based Strippers Paint Removers make that possible by dissolving the paint to a residue, which is then washed off the surface. No scraping, sanding, wire brushes or abrasives of any sort are necessary. The pores of the surface or the grain of the wood can be left completely free of paint. Any surface, from fine timber mouldings to soft red bricks, can be left looking as if it had never been painted.

Strippers Paint Removers was founded in 1974 specifically to develop effective products and systems for removing paint and other coatings. Over time the company has pioneered many of the processes and techniques that have become standard paint removal practice in building conservation and renovation. Their products are used on projects that range from the nation's most well-known buildings to the humblest cottages â&#x20AC;&#x201C; as well as in the aviation and transport industries.

Why not sandblast the paint off? Air-abrasive systems, in their various wet or dry, high or low-pressure forms and regardless of the type of abrasive, cannot distinguish between the coating to be removed and the substrate. In fact, coatings are often harder or more resistant to the propelled abrasive than the substrate that is to be exposed, and that is particularly true in historical buildings. So, once the abrasive penetrates a small area of the paint, it rapidly erodes the substrate beneath that area before removing adjacent areas of paint. Brickwork that looks like a dried sponge, carved stonework with its detail all but obliterated and woodwork with the appearance of seaeroded driftwood are all common examples of where air-abrasive systems have provided a quick and easy, but otherwise unsatisfactory, solution. With the right paint stripper it is possible to remove layers of paint and varnish that have built up over the years without damaging the substrate, thereby enabling it to be restored to its original glory. This is illustrated by the fine wood carvings (top of page) and this stone ceiling which are pictured before (left) and after treatment. q

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EAST ANGLIA SPOTLIGHT

Excavation phase ends at Must Farm [

THE END OF JULY saw the completion of the excavation phase of the Must Farm archaeological site in the Cambridgeshire Fens. The excavation, which was carried out over a period of nearly a year, yielded Britain’s largest collections of Bronze Age textiles, beads and domestic artefacts. Together with timbers of several roundhouses, the finds provide a stunning snapshot of a community thriving 3,000 years ago. The remarkable discoveries about everyday life in the Bronze Age made by the archaeologists from Cambridge University during the excavation of 3,000-year-old circular wooden houses led to the site being described as the ‘Pompeii of the Fens’. The houses were destroyed by a fire that caused the settlement, which was built on stilts, to collapse into the shallow river beneath. The soft river silt encapsulated the remains of the charred dwellings and their contents, which survive in extraordinary detail. The range and quality of the many finds have astonished members of Cambridge Archaeological Unit and colleagues at the McDonald Institute for Archaeological

Research. The fire is thought to have happened soon after the construction of the roundhouses. “The excellent preservation of the site is due to deposition in a water-logged environment, the exclusion of air and the lack of disturbance to the site. The timber and artefacts fell into a partly infilled river channel where they were later buried by more than two metres of peat and silt,” said Professor Charles French from the Division of Archaeology at Cambridge University. “Surface charring of the wood and other materials also helped to preserve them.” Other notable discoveries included that of the largest and most complete Bronze Age wheel (pictured above). Thought to date from 1100-800 BC, the ancient wooden wheel is one metre in diameter and is so well preserved it still contains its hub. The £1.1m project was funded by Historic England and building products supplier Forterra. Following the end of the excavation phase, work is forging ahead on the postexcavation phase to build up a picture of domestic life in Bronze Age Britain. q Pictures courtesy of Historic England

Buried Roman treasure on view in Colchester [

EARLIER THIS YEAR a remarkable hoard of jewellery was put on display at Colchester Castle Museum. An almost unprecedented example of real buried treasure, the hoard of Roman silver and gold jewellery and coins was discovered by the Colchester Archaeological Trust in 2014 beneath the site of the Williams and Griffin apartment store in Colchester High Street. It was dubbed the Fenwick Hoard, after the chain the store is part of. It is believed the hoard was buried in haste as the Roman town was in the throes of the attack by Boudica and the Iceni. According to Nina Crummy, visiting research fellow from University of Reading: “Such a collection of precious metal jewellery and coins from a single archaeological context associated with the Boudican revolt has

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never before been found in Colchester, where the metal artefacts from the Boudican destruction levels are generally fragments of ordinary domestic items and military equipment.” Conservator Emma Hogarth described the process of cleaning and preserving the hoard: “Originally lifted in a block of soil, the hoard has slowly been revealing its secrets under the microscope. Careful cleaning with scalpels, pins and cocktail sticks has revealed gold armlets, rings and earrings, silver bracelets, and a hoard of coins. “Some of the jewellery is similar to very high status finds from Pompeii and the presence of gold, pearls and precious stones suggests that the owners must have been of considerable wealth and importance, just as Colchester itself was the most significant town in early Roman Britain. “Cleaning the hoard is a slow and painstaking task, as much of the silver is very corroded and unstable.” q

EAST ANGLIA SPOTLIGHT

Landmark reaps rewards of age-old building technique [

LIME HAS BEEN used as The Naze Tower, a binder for over 7,000 years Walton-on-the-Naze – from the Greek and Roman Empires to the ancient civilisations of Asia and Central America. And from the Great Wall of China to the great cathedrals of Europe, the continuing survival of buildings and structures many hundreds of years old demonstrates the suitability of lime as a binder for mortars. Unlike modern cement-based products, a lime-based material will allow a structure to breathe by allowing water to enter and leave the walls as atmospheric conditions vary. This unique property of a lime mortar ensures the ongoing positive health and performance of the building. For old buildings without conventional foundations or constructed with a timber frame, it is essential that the mortar allows for movement. Movement in cement bound buildings tends to result in large cracks. Buildings made with lime react to movement by developing many fine cracks. Water then penetrates these cracks and dissolves any ‘free’ lime it encounters. As the water evaporates, this lime is deposited and begins to ‘heal’ the cracks. Lime mortars can essentially be classified as being ‘self-healing’. A lime-based mortar is also softer than its modern cementbased counterparts. It will erode sacrificially thereby keeping the original brick or stone of the structure intact. The all too common, unsightly feature of spalled brickwork on historic buildings (left), which have been unsuccessfully re-pointed, can therefore be avoided. The Naze Tower is an 86 foot high octagonal tower on the Essex coast. It was constructed from brick in 1720 as a navigational mark to aid shipping. In its position on an open cliff-top, mere metres from the sea, it was understandably in need of some ‘TLC’. TJ Construction began the long process of raking out and repointing the entire structure in the Spring of 2015. Because of its exposed position, making it vulnerable to wind-driven rain and salty spray, it required a bespoke natural hydraulic lime based DryReadmix to be used for the re-pointing. Anglia Lime Company formulated a mix that could respond to the additional pressures put on it in its exposed position whilst ensuring it complimented the brickwork both aesthetically and mechanically (right). A few months later the tower was standing proud once again, ready for battle against the elements – and tourists! q

What’s round and found in East Anglia? [

ANOTHER OF THE peculiarities of East Anglia concerns its churches - of the 185 churches in England with round towers, 180 of them are in East Anglia. There is a view that the style was Saxon in origin and that they continued to be built after the Norman Conquest. However Bill Goode, who founded the Round Tower Churches Society in 1973, held that they were all Saxon and that the Norman elements were added afterwards. It is now generally held that the great majority are medieval, dating from the Saxon period through to possibly the 15th century. They are to most people an anomaly – particularly to those brought up among the Gothic edifices of Norman England and their descendants – but to East Anglians they are familiar. The reason they are almost exclusively sited in the region is possibly due simply to geology: the predominant building material is flint and flint does not lend itself easily to rectangular structures. Stephen Hart, who wrote a number of books on the subject, wrote in the Building Conservation Directory: “It is now widely accepted that round towers were built as bell towers, a conclusion supported by the fact that the belfries of many towers, even the earliest, can be shown to be contemporary with the lower stages of the tower and the belfry openings were self-evidently not built for military or observation purposes.” The Round Tower Churches Society exists to help preserve these quirky buildings. To date it has made grants of over £150,000. It also organises walks around the churches and publishes a monthly newsletter. q • For further information visit the website at www.roundtowers.org.uk.

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Why the design process is the most important part of woodcarving By IAN AGRELL of Agrell Architectural Carving

Ann and Gordon Getty’s 18-foot English Rococo fire surround and overmantle – from original inspirational sketch to the finished piece

[ALTHOUGH ARCHITECTURAL WOODCARVING is often included

in the joinery package, in many cases it should be considered as a highend decorative finish alongside murals, fabrics and other furnishings. After all, the woodcarver is a craftsperson turning an artistic vision into a threedimensional object.

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The quality of that artistic vision, or design, is of utmost importance. There is no point spending hundreds of hours hand-carving decoration if the design is bad to begin with. A poor design will result in poor woodcarving, no matter how talented the woodcarver is. That’s why we work closely with architects, designers and joinery shops right at the beginning of a project to ensure they get a wonderful design. Each individual piece is researched and designed for the client. A good example of a successful design and research process was when we created an 18-foot-tall English Rococo fire surround and overmantle for Ann and Gordon Getty’s home in San Francisco. The Gettys have a love of English decoration, particularly examples from the early 1600s to late 1700s. They wanted a magnificent fire surround but couldn’t source an original piece that would work in their space. So, they found a sketch from a book that they liked and commissioned us to create something from scratch. Adam Thorpe, who at the time was the youngest elected Master Carver and our chief woodcarver, took on the challenge of turning this multifarious vision into reality. A draftsman and classical woodcarver of exceptional talent, Thorpe started his research by visiting the V&A Museum, where he sketched relevant elements found in the museum’s collections. He then drew detailed full-size renderings, which were approved by the client and the project’s interior designer firm, LeavittWeaver. Thorpe then created clay models before spending 3,600 hours hand-carving the piece in pine. Our company and many of our clients often commission Thorpe to research, design and draft high-end ornamentation projects. His historical knowledge and rendering abilities are without equal. Thorpe’s recent projects include designs of complete rooms – in Gothic, French, neoclassical and Art Nouveau styles – that enable the client to visualise what our hand carving would look like in their own home. Earlier this year Thorpe was awarded the Craftsmanship & Artisanship award at the ICAA Northern California chapter’s Julie Morgan Awards ceremony for his wonderful reproduction work for the Salon Doré at the Legion of Honor, San Francisco. As for the Getty’s Rococo fire surround and overmantle, even the experts at Sotherbys were impressed when they saw the finished piece – for a moment they mistook it for the real thing. And though the hand-carving on it is of the highest quality, it wouldn’t have been so successful had Thorpe not invested weeks of research, design and rendering first. As a result, it is one of the most astonishing pieces of English Rococo ever created. q

Unique style revived and the light shines forth

[

IF YOU VENTURE west from the coastal town of Berwick-upon-Tweed – on the border of England and Scotland – towards the gentle, rounded hills of the Cheviots, you will soon enter the small village of Ancroft in Northumberland. At the centre of the village is the small parish church of St Anne, from which the village may have derived its name. The church dates from the latter part of the 11th century, built by the monks from nearby Holy Island. It was later fortified with a Northumbrian pele tower, a 13th-century addition that provided shelter against the continual Scottish border raids prevalent at the time. St Anne’s was restored in 1836 and again in 1870 – by Alnwick architect F R Wilson. During that time the nave was extended, the chancel rebuilt and the windows replaced: all in imitation of the Norman original. The church now sits at the centre of a small rural community, surrounded by open fields and distant views. From the top of the tower the views stretch further towards the coast and to Lindisfarne Island and the distant Bamburgh Castle. It has therefore been a surprise to visitors in recent years to find the church detached from those surrounding splendours; for upon entering the church all reference to the exterior had been eliminated by large sheets of obscured textured glass fitted at some period during a previous restoration. It was during a visit to the church in 2012 by Borderdale Stained Glass, to restore one of the 19th-century windows, that a thought arose to formulate a plan to replace the obscure flat

glazing with windows more interesting and sympathetic to the building and its setting. As one travels around the churches in Northumberland it cannot be ignored that many share a similar style of plain glazing that is thought to be unique to the county. These windows were inserted into churches during the restorations in the 1860s and 70s. All consist of elaborate, symmetrically patterned leaded lights and are often supported by decoratively shaped iron bar supports. Borderdale Stained Glass is currently surveying those windows throughout

the county in order to produce a record for their preservation. Following consultation with the church members and wardens, the Parochial Church Council and the Newcastle Diocesan Advisory Committee, it was decided that a series of nine new windows should be designed in plain glass. They would be unique to the church and also reflect the traditional ‘Northumbrian’ style. The objective of the project was to design new windows that would enhance the building and create a new, vibrant light within it. The designs would seek to reflect the style, scale and proportions of the church, while contributing to the harmony with the surrounding environment. Visits were made to a number of churches in the diocese that contained similar Northumberland glazing and sketches of proposed designs, depicting features and decorative motifs of Ancroft, were presented for comment and approval. Now that the windows have been installed – thanks to the generous donations of the larger community of Ancroft – the results have been very well received by all. They will be further judged by future worshipers and visitors to the church, who are fortunate enough to discover this hidden historical gem in the heart of the county. The new windows are to be dedicated by the Bishop of Newcastle upon Tyne at the end of July. q • For further information visit the website at www.borderdale.com. www.ecclesiasticalandheritageworld.co.uk

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Taking church lighting to the next level of innovation [

LIGHTING DYNAMICS UK, based in Sutton Coldfield, West Midlands, continue their development as one of the UK’s premier companies specialising in the interior and exterior illumination of cathedrals, churches and other places or worship throughout the UK and Ireland. The company is dedicated to offering a totally independent, creative, unbiased lighting design and consultancy service and, as required, they can also supply of all the associated and specified lighting equipment. Lightning Dynamics has a long established reputation for creating practical and architecturally sympathetic lighting schemes and, wherever possible, discreet lighting equipment is specified and installed to produce suitable levels of illumination and to highlight both ecclesiastical details and any special architectural features. Company founder, Gerry Browne, told Ecclesiastical and Heritage World: “Our comprehensive range of modern, energy saving, long life lighting equipment is manufactured from the highest quality materials and takes into consideration many important factors such as reliability, durability, optical performance, overall efficiency, size, style and ease of maintenance – to name but a few.

One of Lighting Dynamics’ recent projects was St Alban the Martyr Church in Highgate, Birmingham “We have recently launched a brand new family of the very latest bespoke ‘commercial grade’ LED fittings, specially designed for all types of ecclesiastical lighting tasks. This range of products has been under development for some considerable time and takes our overall lighting

Above are some examples of the prestigious projects undertaken by Lighting Dynamics UK

portfolio to the next level of technical innovation. We also have an unrivalled knowledge and expertise of all modern intelligent dimming and lighting control systems.” The company has a significant number of very prestigious projects currently in progress – with a large number at advanced stages of planning and design. Gerry Browne believes that this is a very exciting time in the further development of church lighting, especially with such a great and diverse range of modern light sources now coming on stream. “Customers are increasingly looking for someone with the flair and experience to provide a quality lighting design, whilst also specifying top grade lighting equipment and controls that will provide longevity, reliability and overall flexibility for their specific ecclesiastical project,” he said. “In the main, clients no longer wish to see their completed church lighting project looking like an extension of somebody’s lighting showroom or lit with industrial style floodlights to resemble a railway marshalling yard. However, this is a long term process which involves educating, informing and demonstrating what can be achieved.” Lighting Dynamics UK has, if required, a fully qualified team of NIC EIC registered electricians to carry out the installation of their interior and exterior lighting systems to current electrical standards and regulations, providing the complete lighting service. They cover all of the UK and Ireland and provide a very bespoke service for each individual church lighting project, from initial meeting right through to final focusing and commissioning. q www.ecclesiasticalandheritageworld.co.uk

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Lucky for some

heritage projects raise the roof [ FRIDAY THE 13TH proved to be far from unlucky for the

winners in the annual UK Roofing Awards, which were presented at the Hilton London Metropole on 13 May. The awards recognise and reward outstanding standards of workmanship and safety throughout the roofing industry. The competition covers the full spectrum of roofing disciplines and a range of criteria are taken into consideration by the judging panel. They include degree of difficulty, aesthetics, problem-solving, health and safety, workmanship and environmental qualities. There is a specialist category for Heritage Roofing, which showcases the best in traditional roofing materials and techniques. In addition, winners in a number of other categories featured historic buildings. Such was certainly the case with the winner in the Solar category: Co Durham-based Hodgson Sayer and Bauder Ltd for the celebrated Byker Wall Estate in Newcastle-upon-Tyne. Built in the 1970s as an alternative to the high-rise brutalism of 1960s municipal housing, the ‘wall’ comprises a continuous block of 620 maisonettes ending in a single high-rise block. The full story of the project can be found in the following pages. The Heritage Roofing category itself went to Karl Terry Roofing Contractors Ltd for the 15th century Cloth Hall in Smarden, Kent (pictured). The building was completely re-tiled with existing Kent peg tiles, supplemented with 6,000 reclaimed tiles. The most iconic structure to figure among the winners was Westminster Cathedral. The roof refurbishment on John Francis

Bentley’s neo-Byzantine masterpiece won the award in the Mastic Asphalt/Hot-Melt Roofing category for IKO PLC with Knight Asphalt. There was even an example of traditional materials being used on a new build. Karl Terry took the Double-lap Tiling prize for a reproduction medieval timber-framed hall house in Kent. This year’s awards ceremony was hosted by the BBC’s Steph McGovern. Steph has reported on business and finance around the world for over 12 years. During the financial crash of 2008 Steph worked with then-business editor Robert Peston on the awardwinning coverage of the credit crunch and banking crisis. q

Kevin takes up the technical reins [

THE NFRC HAS appointed Kevin Taylor (pictured) as its new head of technical services. Already well-known to NFRC members as the technical officer for slating and tiling, Kevin has been promoted to head up all the federation’s technical services, including flat roofing, sheeting and cladding, and health and safety. He has vast experience throughout the industry and is a respected authority within organisations such as BSI and NHBC. He has been with the NFRC for over 10 years. Prior to that he had a long career in the industry, graduating from apprentice to contracts manager, college lecturer and independent consultant. Said Kevin: “It is an honour to be asked to take on this new and exciting role. I very much look forward to playing a full and active part in the development of NFRC, and the wider industry, over the coming years.” NFRC chief executive James Talman commented: “I am delighted with Kevin’s appointment, which has come at a very important time in the development of NFRC. The delivery of leading-edge technical services to members and stakeholders is the bedrock of what we offer. As such, we are looking to put significant investment into this part of our business, through Kevin’s leadership, to ensure we fulfil this objective. He will be a valued member and contributor to our senior management team.” q www.ecclesiasticalandheritageworld.co.uk

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Byker Estate showcased in national Roofing Awards By JOHN SAYERS, Managing Director, Hodgson Sayers Limited

[ HODGSON SAYERS WAS delighted

to work alongside Bauder Roofing Systems to carry out work to an iconic north east landmark, The Byker Wall Estate in Newcastle upon Tyne. We were brought into the project by the client, Keepmoat, the main contractor for the external work refurbishment. The overall project was overseen by Your Homes Newcastle. Throughout the two years we repaired the walkways, balconies and entire roofing infrastructure which spanned 6,000 square metres. Working alongside Bauder we replaced the aluminium profile sheeting and timber trusses with felt roofing. To ensure the legacy of the estate, as well as being environmentally friendly, we installed solar photovoltaic panels to the roof coverings spanning approximately 66KWP. As a large-scale project, this is something that you can only dream about working on and we were delighted to find out that it had been nominated within the Solar category at the national Roofing Awards held in London. It is very much an estate that the residents are proud of and we were thrilled to travel to London to showcase this to the rest of the construction sector.

The project was judged on a number of factors which included its visual impact and appearance, extracts from client letters and professional endorsements, as well as value to the community and local area and value to the region in terms of national importance and demonstrating our mentoring skills with younger operatives. This is just a snapshot of

the judging criteria which demonstrates the calibre of the project. As such we were delighted to find out that we had won the national award. A fantastic accolade for all the staff and teams involved and a well-deserved pat on the back for everyoneâ&#x20AC;&#x2122;s hard work. It was great to toast an iconic Tyneside landmark on the night! q

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New roof for Downside Monastery

[DOWNSIDE BENEDICTINE MONASTERY is a fine Grade II* Listed

building constructed during the late 19th century to designs by Dunn and Hansom. It is home to a community of Benedictine monks and on the same site as the independent school. It has been subject to a re-roofing project where selecting the right roofing materials was essential in maintaining the original character of this Gothic building. While the monastery was constructed in the mid Victorian era from locally sourced Bath and Doulting limestone, the extension of the Midland Railway to Bath, and particularly the establishment of a station at Strattonon-the-Fosse only a few hundred yards from the site and effectively on the doorstep of the abbey, meant that building materials from further afield could also be used.

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The original tiles laid in the 1870’s were Broseleys single cambered smoothfaced plain clay tiles in a multi-coloured red/brown colour. The challenge for Beech Tyldesley architects and Roofing South West was to re-roof the monastery building and achieve a close match to the original Broseley tiles. Only one clay tile manufacturer now remains in the UK that has retained the traditional firing techniques to generate true clay colours without artificial spray-on stains and pigments. Dreadnought Tiles, based on the same site in Dudley since 1805, still produces their range of colours through careful control of the kiln atmosphere using methods passed on through generations of family management. Identical clay and production methods are used to produce their roof tiles whether it be a Staffordshire blue tile, a red or a multi-coloured clay tile – the difference lies in the introduction of a reduction atmosphere in the appropriate way in the kiln, to convert the iron rich content of the Etruria Marl clay from a ferrous to a ferric oxide in varying degrees. After gaining approval from English Heritage, 10,000 Dreadnought Country Brown Smoothfaced tiles including valleys, eaves, gables and ridges were specified by the architects Beech Tyldesley. The tiles provide a very close match to the original Broseley tile in every respect – their natural red/brown colour, their weight and their traditional single camber shape. Sufficient Broseley tiles were salvaged to be used on the inner roof elevations of the building. New Dreadnought Country Brown Smoothfaced tiles were used on the outer elevations. Mr Stuart Forsey, the clerk of works, explained that the Broseley and Dreadnought tiles were virtually indistinguishable. The roof also needed to be upgraded with insulation to meet current Building Regulations. This required raising the roof by approximately 100mm and subsequently all ridge lines, secret gutters and valleys were raised to accommodate this change. The abbey enjoys an elevated position overlooking the surrounding Mendip countryside and is a visible landmark for miles around. The new roof is a beautiful eyecatching feature with plenty of interesting details and it has maintained the charm and character of this historic building. q

Roofing scheme allows peace of mind [

COMPETENTROOFER is the Government-licensed Competent Person Scheme for roofing work. It allows professional roofing contractors to selfcertify that their roof refurbishment work complies with Building Regulations in England and Wales. The scheme encompasses all roofing types for domestic, industrial and commercial properties.

Ancient stones feel the power of the sun [THE NATIONAL TRUST has harnessed solar power to bring the

visitor centre at Sutton Hoo out of the Dark Ages and into the light. Dating back to the 7th century, the burial site at Sutton Hoo is one of the country’s most iconic ancient monuments. Now the trust has completed the first phase of a project to bring renewable energy to the site by installing 172 high-efficiency HIT photovoltaic (PV) modules onto the roof of the modern visitor centre buildings. Installed with funding from its corporate partner Panasonic, the new panels will generate around 42,000kWh of electricity each year – enough to supply more than 10 average UK homes or, in the words of general manager Luke Potter, 100,000 cups of tea! Project manager Dee Nunn said: “This project is helping us to show that even in the most historically significant locations, it is possible to move away from fossil fuels and switch to low carbon renewable energy sources without negatively impacting on the places we are caring for.” In 2015 the National Trust announced a four-year, £30m investment in renewable energy projects at the places it cares for. Part of that programme involves developing solar panels that blend in with the traditional slates on the roofs of its older properties. q

At the end of last year its new CEO James Talman 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. “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.” The building is almost always the most valuable asset of any organisation, so risking giving building work to unregistered contractors, simply because it is the cheaper option, is false economy. That is particularly so when the building is a cherished asset or a community resource. Cowboy builders can leave your roof unsafe or unfit for purpose and put the safety of others at risk. Their work could also invalidate your building insurance. One of the key considerations when carrying out roof repairs is the energy efficiency of the building, governed by Part L of the Building Regulations. Guidance from Historic England points out that Part L applies to existing buildings ‘including historic buildings and those of traditional construction’. Roof refurbishment work needs to be either notified via local building control or registered via CompetentRoofer, who will notify the local council when the work is completed. If a CompetentRoofer-registered contractor is used, the customer has the added reassurance that the contractor has been vetted prior to becoming a member and will continue to have their work checked. They also automatically receive a 10 year insurance-backed warranty, which includes breach of Building Regulations and contractor insolvency. q • For further information visit www.competentroofer.co.uk/competentroofer/ contact-us/general-enquiries.

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New Canterbury handmade clay tiles the perfect match for sensitive re-roofing project in Surrey [A COMPLEX AND sensitive re-roofing project in Surrey is

amongst the first to use the Canterbury handmade clay tile range from Marley Eternit, which was re-introduced to the market to help architects and contractors achieve a genuine handmade finish when creating traditional clay roofs. Built in 1928, the original handmade tiles on the private detached property at Seale Hill, in the historic town of Reigate, were still on the roof and in need of replacement. The gable tiles had been replaced by previous owners but were mismatched, so the current owners took the decision to carry out a full roof replacement, including the vertical tiling, but they wanted as close a match as possible to the original tiles. The refurbishment project also needed to be sensitive to its rural surroundings and adjacent parkland. Project director at Brodie Plant Goddard architects, Robin Goddard, commented: “We selected handmade tiles firstly to replicate the original tiles but also to complement the style of the building and neighbouring properties. We chose the Canterbury handmade tiles from Marley Eternit because they best matched the colour blend we were looking to achieve, to replicate the 1920s traditional aesthetic. They also offered the orange colour, which we needed as a vertical contrasting tile for the gable ends, and being able to use both tiles from the same manufacturer gave a consistent finish.” Antique-coloured Loxleigh Canterbury clay tiles were specified for the large 270m2 roof, which was a complex design due to the interaction of multiple slopes, swept valleys and hips. Contractor Harp Construction Services was selected for the significant and complex project which took four months to complete and included fixing a temporary roof. The owner of the property said: “The Marley Eternit handmade tiles were shown to us as samples so we could see the colour blend for ourselves, as getting a genuine match to the original was very important to us. We hadn’t appreciated what a complex roof shape

we had until we undertook this project and the contractors, Harp Construction, showed excellent workmanship and construction throughout the project. We are very impressed with the end result, which is sympathetic to the original, but also lifts the colour of the roof and brings it to life.” As well as supplying samples and colour blending advice, Marley Eternit also provided specialist technical support to the architects. Robin Goddard explained: “Regulations dictated that we needed to choose between a ventilated ridge or a discrete in-line ventilation tile. The client wanted to use a traditional mortar pointed ridge and Marley Eternit, alongside Harp Construction, was able to offer specific technical advice in this area to decide on the best solution. We are very pleased with the finished product and the support provided to us by Marley Eternit before and during the course of the project.” Marley Eternit’s range of Canterbury tiles are handmade by skilled craftsmen, using locally sourced Etruria Marl, generally accepted to be the finest clay for strength and durability. The tiles are available in three colours – Chailey (orange), Loxleigh (antique) and Burford (brown) – with their own handmade fittings range. Sarah Jackson, marketing product manager from Marley Eternit, added: “We developed the handmade range so architects could have more choice when it comes to specifying for renovation projects like this one, where getting the right colour blend is vital. The traditional hand-making process brings random undulations and variations that give each tile its unique appearance and character, giving a beautiful distinct finish to each roof, a look which is becoming increasingly popular – not only for heritage and conservation sites but also for premium new build projects.” q • For more information, literature and samples please call 01283 722588 or visit www.marleyeternit.co.uk/handmade. www.ecclesiasticalandheritageworld.co.uk

SnapIT aluminium rainwater range with new stylish ‘swept’ offsets and bends [ RAINCLEAR SYSTEMS, the UK’s largest stockist and

online retailer of metal rainwater systems, is pleased to introduce an innovative improvement to its already popular, contemporary SnapIT extruded aluminium rainwater system. All those who have seen and used SnapIT before have found its contemporary styling, simple ‘bolt-less’ joining guttering and swaged downpipe system an impressive finishing touch to their project. Now the system has been engineered to incorporate an even more stylish finish. The introduction of a new range of ‘swept’ bends improve the style and finish of the system whilst also improving the overall flow of water through the system. Charlie Cutforth, senior sales executive, said: “We’re really pleased they’ve introduced this smoother, ‘swept’ style to all the SnapIT system bends. It’s more like the effect you get with traditional casting, but retaining its simpler, swaged installation/fitting and an overall, pleasing contemporary effect. ”We are looking forward to offering this new and improved innovation to our customers. We currently stock this range in Matt Black so it’s always available for next The new ‘swept’ two-part offset shown with contemporary, half round profile in day delivery with other colours available to order. The Matt Black. It provides flexibility onsite and makes installation easy SnapIT system looks great on a contemporary build but we can also mix and match with our heritage downpipe “Gutter systems are often overlooked as part of the building ranges in a textured finish for a more traditional appearance. design but a well-designed rainwater system really adds something special to a building and can make a huge difference to the overall appearance.” The SnapIT half round guttering profile offers a stylish, contemporary look but SnapIT is also available in a more traditional, ‘moulded’ gutter profile with the same simple to fit, bolt-less joining system. So, for a more traditional overall finish to the roofline of a building, clients can order this profile in classic heritage colours and a textured finish, along with ‘cast’ aluminium downpipes.

Matt Black is available with next day delivery and there are up to 26 standard colours, including Textured Black, available in 10 working days. For the bespoke heritage colours (pictured), with textured finish, delivery and price will be quoted on application. q • You can give the team at Rainclear a call on 0800 644 44 26 or email sales@rainclear.co.uk. They try to beat any like-for-like quote while delivering the best quality system for your project.

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Northants is latest ‘hot-spot’ for lead theft [

POLICE IN NORTHAMPTONSHIRE are appealing for information and urging extra vigilance in rural areas after lead was stolen from the roofs of three churches in East Northamptonshire in the space of two weeks in June and July. The first incident happened on 9 July at St Mary’s Church in Ringstead, where the offenders were disturbed when the alarm was activated. The second theft is believed to have happened sometime between 29 June and 13 July at St Andrew’s Church in Cotterstock, when a large amount of lead was found to be missing from the roof after it started to leak. Thousands of pounds worth of lead was also stolen from the roof of St Mary’s Church in Luddington, sometime between 10-18 July. Officers are also urging people to be vigilant around churches, to be aware of anything out of the ordinary and report suspicious activity to the police. The incidents are the latest in what appears to be spates of thefts of lead in different areas of the country. Towards the end of last year St Mary’s Church in Ringstead where offenders were disturbed when the alarm was activated

a large number of thefts occurred in Suffolk, while earlier last year a number occurred in Norfolk, leading to several prosecutions. At the end of last year an assessment in this publication of the impact of the Scrap Metal Dealers Act 2013 indicated that the incidence of theft had fallen as a result of the Act, making it more difficult to sell stolen metal. Similarly, the installation of alarms had the effect of driving down thefts in the early part of this decade. It followed a campaign by Ecclesiastical Insurance – the Hands off our Church Roofs campaign – which saw the installation of so-called ‘Voice of God’ alarms. In the case of the Northamptonshire thefts an alarm seems to have been effective in scaring off raiders in one of the incidents. q

Protect your church – whilst under repair and permanently

[

HAVING HAD INVOLVEMENT with the security industry for around 20 years, Brent Higginbottom launched Scaff Security Alarms in 2009. Since then, the Sheffield-based company has grown and staff numbers have increased to allow coverage of England, Wales and Scotland where they have successfully installed monitored, temporary alarm systems on scaffolding erected on churches. Temporary protection is often stipulated as part of contract works to support insurance cover and protect against unwanted intruders whilst repair work is carried out, however the company also install systems where a more permanent solution is required. They are conversant with the thefts of church roof metal that have sadly occurred over recent times and understand the distress and financial implications that these occurrences bring about. Indeed, Scaff Security Alarms are listed on the National Churches Trust Trades Directory and use only Ecclesiastical approved equipment. All of their security systems have some form of monitoring in place, either by the client or by an Alarm Receiving Centre (ARC) with an option for manned response. This is a low cost and more effective alternative to manned guards, not only providing video evidence of the event but with a system which is not open to corruption and fraud. Mains and battery powered systems are available, both wired and wireless, and all are smart phone compatible, giving remote access for live viewing, arming, disarming, status, logs and many other system options. Scaff Security offer a free site survey and quotation. Installation is by specialist CSCS qualified engineers and they provide full customer service and reporting. q • For further information visit the website at www.scaffsecurityalarms.co.uk. www.ecclesiasticalandheritageworld.co.uk

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In its 32 years of existence, Christian Resources Exhibitions (CRE) has grown to become one of the most important ecumenical events in the Christian calendar. There is no other exhibition in Europe that features so many organisations from such a broad church. Visitors can see stands featuring everything from furniture to films, pulpits to puppets, ways to worship and even what to wear.

CRE ExCeLs with a capital reprise [

MAY SAW CRE carry the torch to London’s ExCeL for the second time. The move to the capital allowed for a greater range of activities to take place, including the Christian Book Awards – part of the London Christian Book Fair – and a Kingdom Worship Evening. There were also screenings of the shortlisted entries for the UK Christian Film Festival. Churches by their very nature have found themselves at the vanguard of the drive towards a greener and more ecologically aware society. That position was reflected at CRE International by the first CRE Eco Street. One of the people present to offer advice was eco consultant Paul R Taylor. Said Paul: “Lots of churches want to move forward on green

issues. While some things need investment, there are others that can be done for free. Material and energy wastage are important things to help church members think about in their own environments.” Eco Street ran alongside the main exhibition, which featured many established figures already

offering services to help churches reduce their carbon footprint, such as energy-efficient heating systems, energy control systems and insulation experts. The show was opened by Songs of Praise presenter Pam Rhodes. Also in attendance was the Bishop of London, Rt Hon Richard Chartres (pictured), who described the exhibition as a ‘real stimulation’. He told CRE TV: “You can go round all sorts of stalls and get so many new ideas.” Bishop Richard has a long association with CRE. As Rector of St Stephens in Rochester Row he was present at the planting of the CRE acorn in 1985, at the Royal Horticultural Halls. Last year he opened the first CRE International at ExCeL. q

M20 set for more queues as CRE heads for Kent [

THE LONG QUEUES on the M20 that marked the first weekend of the school holidays might not be repeated on 12-13 October, but that motorway will be busy on those two days as the anticipated throng head for the Kent Event Centre in Maidstone for the first-ever CRE South East. The final Christian Resources Exhibition of the year will be taking place just a couple of miles from the M20, at one of the country’s most modern and striking venues. The vibrant and bustling crowd of people associated with the management and organisation of the church across the denominations will be able to view at first hand the wealth of resources available to them. Alongside experts in church maintenance and building they will find experts in lighting, heating and sound systems. The latest in technology will be on show – from website building and computerised accounting to that latest wonder of the technological age: the app. Alongside the exhibition there will be the usual mix of practical and resourcing seminars, the arts theatre and a massive shop featuring books, CDs, DVDs and other resources. Among the keynote speakers at the event will be David Pawson and Gerald Coates, while worship leaders Chris Bowater and Noel Robinson also figure among the contributors. Gerald is the founder of Pioneer, a Christian community established to develop new churches across the UK and engage in mission globally. He leads a church in Leatherhead called Engage. A pastor, a pioneer and a provocateur – however you describe Gerald Coates, his ministry has challenged established churches over the years. Many consider British-born Christian songwriter and worship leader Chris Bowater to be a father of the modern worship movement. He came to prominence in the Charismatic renewal of the late 70s and early 80s. Another notable presence at the show will be Passion for Sport, fresh from the Rio Olympics where a team of five media professionals hope to record reports and interviews for programmes introducing sports fans to Jesus. Its CEO Adrian Barnard said: “Most of our team were in Rio de Janeiro for the FIFA World Cup in 2014 so we know the layout of the city and the transport networks. Our aim is to record good quality interviews with Olympic athletes and to report on many Christian activities that will take place during the games.” q www.ecclesiasticalandheritageworld.co.uk

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