Ecclesiastical & Heritage World Issue No. 71

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COVER STORY

CONTENTS Nationwide contractor gets to work closer to home Pictured on the front cover is the church of St John the Baptist in Alton, Staffordshire. The heating system there is one of three recent installations in the Midlands by Stoke-on-Trent based specialists Mellor and Mottram.

read the full story on page 7

5 Reflections NEWS 9 Statues’ return is part of Year of Heritage 9 DCMS delays export of historic iron railings 9 Big Ben foundry falls silent 10 What the Romans did for Yorkshire 11 Hull’s fishing heritage to feature in City of Culture

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LIGHTNING PROTECTION 22 Fire, falling masonry and electrical blow-out are the commonest forms of lightning damage 22 Lightning does strike twice – or even more

SEMINARS 36 Aura to co-host heritage building seminar

LEAD 25

CHURCH LIGHTING 39 Churches demand dynamic lighting – and this company can oblige

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New approach will redefine what ‘heritage’ is about Public urged to join the moth battle Reggiani helps to provide the light at Corpus Christi, Oxford

CHURCH GRANTS 14 Grants deadlines pass, but help for reports is available all year 14 For storage and viewing the 17th century hand-made design is still best 15 HLF grants scheme to be overhauled LIME 16

Historic church rises from the ashes

IRONWORK AND METALWORK 17 Ironwork doesn’t have to be painted black 18 How the new Iron Age began with puddling 19 Seminar will share best practice in ironwork recording 20 Hand forged ironwork for the 21st century 21 Conservation work reveals original wording on Framilode plaque

When is a guarantee no guarantee at all?

Manufacturers’ trade body supports the whole industry Photo competition will put lead in focus Courses and CPD are on hand for specifiers Top leadworkers celebrated at awards

CHURCH FURNITURE 37 Aspiring to the heights

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METAL THEFT 29 Diocese has advice on lead theft 29 Industry body responds to legislation review ROOFING 30 Heritage roofing register offers a helping hand to architects and specifiers 31 Heritage roofers have their day in the sun 31 Martin-Brooks restores South Yorkshire Holy Trinity 32 Take the guess work out of guttering CHURCH HEATING 33 Let’s have a heating debate!

INSULATION 34 Icynene – the perfect insulation for windswept, Cumbrian barn conversion

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SOUND AND AV SYSTEMS 41 Hearing the sound is part of the message 41 Now visitors can explore their virtual heritage 41 ISCEx 2018 dates announced after major success this year 42 Preserving the past and fostering future talent 43 Oxfordshire church gets inconspicuous projection system and audio upgrade 43 NT recreates 16th-century Mass 44 An AV trip to the Dark Side of the Moon 44 Rosslyn joins the digital world CHURCH CONVERSION PROJECTS 45 Church conversion wins RICS Award 45 Former chapel converts to RC in Cardiff CHURCH & HERITAGE SUPPLIES 46 Classified Section

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

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I WAS DRIVING along the M65 in Lancashire when the news broke of the closure of Whitechapel Bell Foundry, after nearly 500 years of operation in one guise or another. It isn’t often that the closure of a small family business becomes a lead story on national radio, but such is the regard the company commands that the BBC carried an interview with its principal Alan Hughes on its PM programme.

The company cast its last tower bell at the end of March, for the Museum of London, to whom they have donated a collection of artefacts.

• The restoration of bells and bell frames is one of the activities for which Anglican churches can apply for grants. The deadline for this year’s round of grants in that area passed on 2 May, followed by a clutch of other deadlines later in the month.

The other major source of funding for places of worship of all denominations over recent decades has been the Heritage Lottery Fund.

That body has announced it will be winding up its Grants for Places of Worship scheme and integrating such grants into its mainstream awarding schemes. Religious authorities are not entirely easy with the idea, but HLF has pledged to consult on the details.

• Religious buildings have been figuring in an awards scheme of a different kind: the RICS Awards. The regional awards of the institution are currently being announced and two notable recipients were examples of redundant churches being brought back into community use – in one case as a conference and events centre and in the other as a community centre for a mental health charity.

• Awards have also been the order of the day for roofers. The 2017 Roofing Awards were presented on 19 May and included a number of heritage projects. Apart from the winner of the Heritage Roofing award itself, the Lead Roofing category went to a familiar face to this publication, namely K&M Leadwork for the clock tower at Goring Village Hall. The event also saw the presentation by the Lead Contractors Association of the Murdoch Award and Murdoch Sponsors Award. Our congratulations go to all the winners and runners-up.

• Metal of a different kind is being celebrated at an event in Kidderminster in the West Midlands. Heritage ironwork will be put under the spotlight not a million miles from where Abraham Darby founded his ironworks and his grandson built the famous iron bridge.

• This year has been designated Scotland’s Year of Heritage, History and Archaeology and a veritable kaleidoscope of events have been and will be taking place. They have included a special opportunity for youngsters to explore Scotland’s World Heritage Sites via virtual reality. Indeed, VR is becoming more widespread among heritage venues. It is part of the inevitable embracing of new technology that is bringing the experience of history more and more alive.

• Another part of the UK for which this year is special is Hull, which is celebrating its year as City of Culture. Again, a plethora of events are marking the honour, notably an exhibition charting the city’s connections with the fishing industry. It is made poignant by a service on Sea Sunday at which a plaque commemorating those seafarers lost, from both Hull and Iceland, will be unveiled.

• Also in Yorkshire, a major upgrade to the A1 in the north of the county – which follows the ancient Roman Dere Street – has uncovered a treasure trove of artefacts from the Roman occupation. They include the most northerly instance of Roman coin manufacture yet found in Europe. There is also what amounts to a shoe factory. Other finds point to road making activity – a case of Highways England following in the footsteps of Viae Britannia? q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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COVER STORY

Nationwide contractor gets to work closer to home

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PREPARATIONS FOR A move to new premises did not mean business had to grind to a halt at specialist church heating installers Mellor and Mottram. In the spring the Stokeon-Trent company moved across the city to the suburb of Meir; but the work of installing new, efficient heating systems in churches carried on regardless.

The company carry out installations throughout the country, but in recent months a number of projects have seen them working closer to home, in the North Midlands.

The latest project was at St Mary’s in Compton, Leek – just a few miles from Stoke.

St Mary’s is a Victorian Roman Catholic church in the Heroic Gothic style and serves as the parish church for the catholics of Leek and the surrounding Peak District.

The direct-fired system there had not been performing well and was both inefficient and expensive to run. Mellor and Mottram installed a new gas indirect-fired warm air system in the vestry. The bespoke 280kW heater was custom built on site by a specialist manufacturer and the ducting was adapted to suit the new system.

The new heating is controlled by a Heatmiser intelligent control system featuring optimum start technology, whereby the controller ‘learns’ when to switch on the system.

The village of Wrockwardine, near Telford in Shropshire, boasts a remarkable building in the Church of St Peter. Thought to date from Saxon times, the current building is in the Perpendicular style and is Grade One listed.

The Anglican church is also the subject of a major restoration programme.

The electrical heating system in the church was extremely inefficient and was in need of replacement. Mellor and Mottram were engaged to install a replacement, which consists of two Viessmann gas-fired convector boilers in the bell tower. The work involved the sensitive task of installing a horizontal balanced flue through the vertical tiles.

The new system uses radiators by Clyde, fed by mild steel piping (pictured above).

Back in Staffordshire, the Roman Catholic church of St John the Baptist in Alton is a Grade Two* listed church designed by Augustus Pugin and built in the 1840s. It is this

church that is featured on the front cover of this issue.

The heating system had only been installed for seven years when it became evident it was insufficient to heat the church and needed expanding.

Mellor and Mottram installed two extra fan convectors and a new boiler to double the capacity feeding new low-level radiators with fans (pictured below).

These three recent projects demonstrate the range of projects Mellor and Mottram have been involved in since the firm was established in 1973. In that time the company has developed to become one of the premier specialist heating installers for churches and listed buildings – this expertise has also been used to encompass stately homes and other historic buildings.

Part of that success is attributable to the fact that company principal Stuart Mottram takes personal charge of all contracts, from tendering to commissioning. q • For further information visit the website at www.mellorandmottram.com.

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Statues’ return is part of Year of Heritage [

FOUR 15TH-CENTURY STATUES have been returned to Melrose Abbey, as part of Scotland’s Year of Heritage, History and Archaeology, after being in storage for over 30 years. The four figures – depicting St Peter, St Paul, St Andrew and the Virgin Mary – were removed from the abbey in the early 1980s for fear that the carved sandstone was vulnerable to further weathering and damage.

Restoration work has been carried out on the statues by expert conservators, which involved cleaning and the meticulous removal of previous repairs.

The statues date from the rebuilding of Melrose Abbey after it was destroyed by the armies of Richard II in 1385.

Visitors will have the opportunity to view the statues on display in the Commentator’s House Museum, while specially made replicas will remain in the niches where the original statues once stood.

Exhibited alongside the statues will be the collection of artefacts discovered during archaeological excavation at the abbey in the early 20th century, which have also undergone recent conservation work. The impressive collection – comprising small but significant objects such as the handle and blade from a pair of medieval scissors, a fragment of the bone frame from a pair of 14th-century spectacles and postReformation communion tokens – gives a fascinating glimpse into day-

to-day life at the abbey both before and after the Reformation.

Jill van Millingen, collections manager at Historic Environment Scotland, which manages the abbey, said: “It’s fantastic to see these special artefacts restored and back in their rightful home at Melrose Abbey.

“The niche statues, which survived damage after they were defaced following the Reformation, give us a unique insight into this turbulent period of Scottish history.

“Meanwhile this rich collection of everyday items from medieval times brings the history of Melrose Abbey to life, helping us understand what daily life would have been like for the monks who lived here.”

Melrose Abbey was the first Cistercian monastery in Scotland, founded in 1136

by David the First. Being close to the border with England placed it on the front line of conflict during the later Middle Ages. Rebuilding began in the late 1380s and it remained in use as an abbey until the Protestant Reformation of 1560.

While only a very small part of the first abbey church survives, Melrose Abbey is still considered one of the most magnificent examples of medieval church architecture anywhere in the British Isles.

The statues can be viewed as part of a tour that can be experienced until 23 September. q

DCMS delays export of historic iron railings [

A SET OF ornate 18th-century ironwork railings is at risk of being exported from the UK unless a buyer can be found to match the asking price of £305,000. Culture Minister Matt Hancock has placed a temporary export bar on the railings, that once surrounded the residence of the 4th Earl of Chesterfield, to provide an opportunity to keep them in the country.

Made of wrought and cast iron, with gilt iron and gilt bronze embellishments, they are among the most highly decorated examples in Britain and illustrate how ornate ironwork was used to express social status in the 18th century.

Built in the 1740s, Chesterfield House was one of the grandest and most famous addresses in London and the railings were intended to impress guests and be viewed from the ground floor reception rooms.

Matt Hancock said: “More than 80 years after Chesterfield House was sadly torn down, these lavishly decorated railings are a reminder of the

opulence of the 18th-century London elite and the wonderful craftsmanship of the time. I hope that a buyer comes forward to help keep them in the UK so that we may enjoy their beauty and learn more about the fascinating ironwork techniques used at the time.”

The railings are believed to have been supplied by Jean Montigny, a French Catholic immigrant who specialised in wrought iron, for Cannons – the 1st Duke of Chandos’s remarkable house in Edgware – in the 1720s.

They were then acquired for Chesterfield House,

for which they were modified in the late 1740s.

The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest, administered by The Arts Council.

The decision on the export licence application for the railings will be deferred until 3 July, but may be extended until 3 October if a serious intention to raise funds to purchase them is made at the recommended price of £305,000 plus VAT. q

Big Ben foundry falls silent [

THE WORLD-FAMOUS Whitechapel Bell Foundry has cast its last tower bell. In April the company posted that production had ceased at the foundry. The final bell was cast for the Museum of London.

The company announced it was closing the foundry last December, prompting a campaign by leading historians and architects to save the foundry as a bell making concern.

TV historian Dan Cruickshank said: “The world-famous Whitechapel Foundry is a landmark – both for its splendid use and its fine historic buildings. Bells cast at the foundry have sounded in cities around the world for hundreds of years.”

Despite the closure of the foundry, the name of Whitechapel will live on.

The company said: “The continuation of the Whitechapel Bell Foundry name and the unique sound and shape of our bells are assured for the future. Whitechapel tower bells will in future be cast by Westley Group Ltd.” The business of making bells has operated continuously in Whitechapel since at least the 1570s. It has been on its present site since the mid-1740s. Its most famous creations are Big Ben in the Palace of Westminster and the Liberty Bell in Philadelphia. q www.ecclesiasticalandheritageworld.co.uk

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What the Romans did for Yorkshire [

ROMAN SHOES AND KEYS, a rare amber figurine and the most northerly example of coin production ever found in Europe are some of the artefacts archaeologists have discovered during a major road improvement scheme in North Yorkshire.

The archaeological investigation took place as part of the £380m scheme to upgrade the existing A1 to a new three-lane motorway and the finds are shedding new light on Roman life in Northern England. The extensive excavations have been carried out by Northern Archaeological Associates.

Among the finds was the figure of a toga-clad actor carved from a block of amber, which was found at Scotch Corner. Thought to have been made in Italy during the 1st century AD, a similar example was also found at Pompeii. Nothing like it has ever before been found in the UK before.

Its presence, along with a large number of other high status imported items, suggests this was an early site furnished with the finest Roman goods.

Workshops for making gold, silver and copper coins were also found near Scotch Corner and represent the most northerly example of coin production ever found in Europe. They demonstrate that the Romans were carrying out significant industrial activity in that part of England.

A number of well-preserved Roman leather shoes were found

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in nearby Catterick, known to the Romans as Cataractonium. Large sheets of leather have also been found in the town, indicating that it was an important leatherworking centre, possibly supporting the Roman military.

Also at Catterick a large number of keys were found – unusually for a northern suburb – and a silver ring shaped like a snake (pictured) that wraps around the finger. Like the amber figure, it hints at the great wealth of the people who lived here.

The presence of a pewter inkpot and a number of styli – Roman pens – tells us that the town was a key administrative centre, while the sheer number of pens found suggests that a significant proportion of the population were able to read and write.

Meanwhile, a lead plumb bob gives us evidence of construction methods used in the town. It was possibly used in the construction of Dere Street and other Roman roads at the site – an apt find to be made during road construction.

Highways England’s project manager on the site, Tom Howard, said: “It is fascinating to discover that nearly 2,000 years ago the Romans were using the A1 route as a major road of strategic importance and using the very latest technological innovations from that period to construct the original road – the very same thing that Highways England is doing today.” q

Hull’s fishing heritage to feature in City of Culture [

THE NEWLY RENOVATED Church of St John the Baptist in Hull’s Hessle Road district – known locally as the Fishermen’s Church – is to play host to a 17-day festival in honour of the city’s fishing heritage as part of the Hull 2017 City of Culture year.

Local artists and community heritage groups have united to present the Fishing Heritage Art Exhibition: an engaging and informative exhibition of artwork and activities for all ages, which runs from 23 June to 9 July. On the final night there will be a Sea Sunday Service which will include the special unveiling of a plaque commemorating joint losses from Hull and Iceland.

The exhibition will be complemented on 30 June by Fishing Heritage Talks: An Evening with Alec and Peter.

Dr Alec Gill MBE has documented life on Hessle Road for decades through photography and has authored many books about Hull’s fishing heritage. He said: “Fishing at sea is the most dangerous job in the world. The Arctic trawlermen were the last of the great hunters.

I’ve always been inspired by the fishing families of Hessle Road and their relationship with the sea.”

Peter Naylor is a well-known local artist who recently created popular public sculptures memorialising the 158 Squadron at Lissett,

near Bridlington, and the Memorial to Lost Trawlermen, which stands on St Andrew’s Quay in Hull (pictured). He will be giving his fascinating insight into the making of the Memorial to Lost Trawlermen sculpture and sharing the story of how he designed and made the long-awaited tribute.

He said: “I’m humbled and flattered that the Lost Trawlermen’s Memorial means so much to people. It’s been an absolute privilege to make it.”

Adam Cotson, exhibition organiser, said: “There are so many heroic and tragic stories connected to the fishing industry and it is inspiring to hear them. These stories are central to Hull’s identity and we hope to pass on some of these stories through the exhibits and talks planned.”

Martin Green, director of Hull 2017, added: “Hull’s history is rooted in the fishing industry and it is important that we recognise that in the Hull 2017 programme.” q

New approach will redefine what ‘heritage’ is about [

YOUNG PEOPLE ACROSS Wales are set to embark on a project that will look at the past in a whole new light. The Unloved Heritage? archaeology scheme – backed by Cadw and funded by the National Lottery – will focus on activities in locations not often considered to be historical treasures.

Taking place in some of the country’s most deprived areas, the seven projects will recruit young volunteers from all walks of life and inspire them to explore their local heritage in unusual ways.

In Bridgend and Swansea, for example, young skateboarders will use photography and film to map paths through the cities to create an exhibition and contribute to a new register of sites at risk. In North Wales a group of young people in Dyffryn Nantlle will explore the heritage of slate quarrying, working with university students to undertake digital mapping using aerial camera drones and specialised apps.

The project aims to redefine what constitutes heritage; the spaces that the young people will be exploring have no statutory protection and are often vulnerable to vandalism and antisocial behaviour as well as demolition.

Ken Skates, Cabinet Secretary for Economy and Infrastructure, declared: “Heritage is vital not only for our economy but our sense of identity and I am proud Wales is taking the lead in breaking down barriers to culture. Putting young people at the heart of how we work in the future, it will help change the way we view our heritage and show that it’s not exclusive to certain people. It belongs to all of us.” q www.ecclesiasticalandheritageworld.co.uk

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Public urged to join the moth battle [

ENGLISH HERITAGE HAS launched a campaign to protect its historic furnishings and fabrics from the clothes moth – and has called on the public to join the fight.

Operation Clothes Moth will help conservation scientists to get a better picture of the scale of the problem across the country. Anyone visiting a staffed English Heritage site will be able to collect a free clothes moth trap to use in their own home and monitor the presence of the insects.

Participants can post their results on the English Heritage website and the resulting information will map the spread of clothes moths

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across England. It will then help the charity decide where and how to concentrate its conservation efforts.

The number of clothes moths recorded at English Heritage sites has doubled in the past five years and a new species has appeared on its traps for the first time. The insects can eat through centuries-old carpets, rare tapestries and period clothes in a matter of months.

Amber Xavier-Rower, head of collections conservation for English Heritage, said: “At English Heritage we regularly monitor insect pest activity to ensure our collections get the best possible care. Clothes moths are a conservator’s worst nightmare. We want to know why numbers are rising so that we can continue to keep them under control.

“Many people already know the exasperation of finding a much-loved jumper or coat destroyed by clothes moths. We now need the public's help to get a better picture of the clothes moth threat. Come to our sites, pick up a free trap, take it home and leave it for a couple of months, and then share your findings with us on our website.”

Clothes moths, particularly the common or webbing clothes moth (tineola bissellella), are a common threat to interiors. They live indoors and their larvae feed on woollen carpets, clothing, upholstery, fur and even taxidermy, which results in holes or patches.

English Heritage has been monitoring the spread of clothes moths since 1997 and today observes 40 sites across the country. Through its work, the charity has recently identified a new species of moth, the pale backed clothes moth (monopiscrocicapitella), which previously was not found in historic homes. q

Reggiani helps to provide the light at Corpus Christi, Oxford Lighting scheme plays major role in chapel refurbishment [REGGIANI LIGHTING’S Yori and Envios

LED projectors have been incorporated in a new lighting scheme for the chapel at the prestigious Corpus Christi College, Oxford, as part of a major refurbishment project.

In co-ordination with GBS Architects of Oxford and dpa lighting consultants, they designed and implemented the new lighting throughout the chapel to enhance the stunning architectural interior whilst ensuring that the new lighting allowed for all the appropriate scenes and flexibility required by a space which is used for a diverse range of functions.

The refurbishment of the chapel to provide a modern, energy-efficient lighting scheme was purposely scheduled so as to coincide with the college’s quincentenary year celebrations in 2017.

The exacting brief from the college was created to ensure that the refurbishment of the 500 year-old, Grade I Listed chapel remained faithful to all the original architecture and finishes.

Reggiani’s Yori fittings with 13W LED source were supplied on track with 21 degree and 51 degree reflectors, mounted vertically into carved niches within the stone reveals of the adjacent windows each side of the altar. With three spotlights on each track, these were directed to illuminate the altar and the painting behind it. The painting itself had been restored prior to the

refurbishment project but the new lighting, with its excellent colour temperature, allows the painting to be appreciated in a way in which it has not been seen for decades. The Yori fittings also incorporate a phase dimming driver to allow for gradual dimming as and when required.

Reggiani’s Envios 13W LED projectors were also used for the scheme and were positioned on the external roof to the rear of the large, central stained glass window. With a 71 degree beam angle and 4000k colour temperature, this created a backlit effect which allowed the deep colour and intricate detail to be displayed from within the chapel, forming an absolutely splendid interior centrepiece.

Ian Clarke, associate at dpa lighting consultants, commented: “The lighting scheme had all the normal restrictions and challenges of a protected heritage building. All lighting had to be carefully co-ordinated with the architectural elements regarding cable routes, housing of control equipment etc. It was very important that the light sources performed well under dimming to ensure a well-controlled end result. Having a common light source, the Reggiani luminaires offered excellent consistency producing just the right effect.” q • For further information call 0208 236 3000 or visit www.reggiani.net.

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Grants deadlines pass, but help for reports is available all year [

THE MONTH OF MAY has seen the closing dates for a number of categories of grants under the Conservation Grants Programme of ChurchCare – the Cathedral and Church Buildings Division of the Church of England. ChurchCare is a national resource offering a comprehensive source of information and conservation support, including funding grants for nearly 16,000 parish churches – 12,500 of which are listed – and 42 cathedrals.

The busiest day was the 22nd, when seven types of grant closed for applications. They were for the conservation of books and manuscripts, church plate, churchyard structures, metalwork, monuments, textiles and timberwork.

The next deadline is 24 July and applies to grants for stained glass conservation. Later in the year applications close for grants for fabric repairs (14 August) and organs (18 September).

Grants are made to Anglican churches in England and are available either annually or, in some cases, bi-annually.

According to ChurchCare: “The Conservation Grants Programme supports parishes in the conservation of ecclesiastical furnishings and artworks of historic and artistic significance. These grants are targeted at the main categories of objects and materials found in

Anglican churches: bells, books and manuscripts, clocks, decorative plasterwork, metalwork and church plate, monuments, organs, paintings on canvas and wood, stained glass, textiles, timberwork, wall paintings and historic structures in churchyards. The aim of this programme is to support the care and conservation of church buildings and their contents, balancing it with the needs of worship and mission.”

One category of grant that is open for applications year-round is for the preparation of conservation reports. Such reports are a vital tool in obtaining grants for conservation work.

ChurchCare explains: “Conservation reports are an essential first step in projects involving the repair and conservation of artworks and historic furnishings in churches. They are also a key document to support faculty and grant applications.”

Initial grants can be made to assist with the commissioning of conservation reports, including environmental surveys and other technical investigations such as paint analysis. The grants are made on condition that reports are prepared in accordance with ChurchCare guidelines, which are available to download from www.churchcare.co.uk/images/Guidance_Notes/Report.pdf. q

For storage and viewing the 17th-century hand-made design is still best [

FOLLOWING CONSERVATION OF historic artefacts, it is essential that a safe method of storing and viewing them is used. In the case of historic and precious prints the most satisfactory method is the bookform box designed by the 18th-century Swedish botanist Daniel Charles Solander (1736-1782).

Solander came to England on the advice of his tutor Linnaeus to become Assistant Librarian, and afterwards Keeper of Printed Books, at the British Museum. He also travelled on the Endeavour with Captain Cook on his expedition to the Pacific. He was a Fellow of the Royal Society and acted as Secretary and Librarian to Sir Joseph Banks, the eminent scientist.

The Solander box is a fine example of the range of traditional hand-made products from Bletchleybased G Ryder & Co Ltd, the UK’s leading manufacturer of handmade archival and luxury boxes.

Founded in the City of London in 1914 by Gerard Ryder, the company started life as a manufacturer of boxes and letter files and their first order – half a gross of letter files – was hand delivered by Gerard himself using a wheelbarrow for transport.

Today the company is still producing the finest handmade boxes for leading galleries, museums and institutions, in addition to a vast range of bespoke boxes for leading luxury brand designers and manufacturers.

Ryder’s Solander boxes incorporate the latest archival materials in order to create an acid-free environment to protect the contents. They can also be customised with Attaché fasteners and other accessories as required. q

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HLF grants scheme to be overhauled [

THE HERITAGE LOTTERY FUND (HLF) This year we will spend a guaranteed has announced it is changing the way it £20m minimum on places of worship funds places of worship. From September the and it is likely to be far more than this. current Grants for Places of Worship (GPOW) If places of worship continue to apply programme will close to new applications. for National Lottery funding at similar In its place, funding for repairs to places levels, we fully expect to spend equivalent of worship will be available through HLF’s amounts in subsequent years, in existing Our Heritage and Heritage Grants proportion to our total grants budget.” programmes, for grants up to £100,000 and ChurchCare expressed alarm about £5m respectively. the changes, saying they are being made That, says HLF, introduces a faster, ‘without full consultation’. single-stage application for grants up In a briefing document the Church to £100,000, rather than the old twoof England buildings body said: “The stage process under Grants for Places of Church of England has an enormous Worship. It is also designed to be more amount of gratitude towards the HLF and All Saints Church in Turvey benefitted from GPOW funding of £113,000 last year flexible, allowing for a wider range of recognises that it puts millions of pounds activities and capital works than under into churches each year. Without HLF the current scheme, although projects that have a focus on muchfunding most development and community projects simply would needed repairs will still be welcomed. not happen.

Under the new arrangements, 100% of works and activities can be “However, in merging the available GPOW funding for 2017 into funded – with no requirement for partnership funding. In addition, general funds we believe that the HLF has, without due consultation, 50% of the grant can be paid ‘up front’, allowing congregations to made a decision that will adversely affect groups of particularly begin work immediately, helping with cash flow. vulnerable churches.”

In a statement the HLF said: “Time and resource-stretched However, HLF said it would be discussing the details of how congregations have been telling us that they want to access our it implements the changes with places of worship to ensure any funding more easily, so we are bringing in a more flexible and concerns are addressed. lighter-touch way of distributing much-needed funding support from In Scotland, HLF will continue its work in partnership with Historic the National Lottery.”

Environment Scotland and funding will be available to places of For larger schemes, more money will be available for individual worship from both HLF and Historic Environment Scotland through places of worship. Whereas the Grants for Places of Worship the Our Heritage and Heritage Grants application processes. q awards were limited to £250,000 per application, under the Heritage Grants programme applicants can apply for up to £5m per application. They can also receive help to develop their final proposals between the first and second rounds.

Said HLF: “Congregations often do not have access to the professional fundraising skills that some larger heritage organisations can draw upon. We will therefore be closely monitoring our awards to ensure that places of worship continue to be at least as successful as they are under existing funding arrangements, offering support and advice on applications when it is needed.

“Places of worship are among the oldest and most cherished buildings in the UK and we are fully committed to supporting them.

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Historic church rises from the ashes [

IN MARCH 2010 arsonists torched the historic 19th century St Mary’s Church at Westry in Cambridgeshire, leaving it almost completely destroyed with only the four main walls left standing.

Its road to recovery was long and at times uncertain. Indeed it took much fundraising just to enable the church to properly assess the damage. From there detailed plans were developed and the necessary permissions sought before the restoration was finally able to take place. To ensure the church was returned St Mary’s before and after the the restoration project was undertaken to its former glory it was imperative that the restoration was carried out using the correct traditional building materials.

Following this the stonework had to be replaced, as too did the The roof was completely gone so the first challenge was to make it windows, before a new chancel arch began to emerge from the ashes. weathertight by erecting a temporary roof structure – a project that in Perhaps the most complicated aspect of the project was the itself took three months. restoration of the curved, vaulted apse ceiling. Unusually, the laths had to be run vertically to create the smooth curve of the roof (they would typically be laid horizontally). Finding the right lime plaster was imperative, not just to work with the aesthetics of the church but also to achieve the requisite mechanical performance.

It required a plaster that would not only adhere to the laths and form a strong key (a grip around the laths so it does not fall off) but that would also be flexible enough to cope with any movement.

In addition, due to its awkward positioning, it needed to be easy to apply and preferably in one coat.

Anglia Lime Company manufacture a product called Haired Chalk Mix, a reproduction of the haired chalk plaster typically used over laths by the craftsmen of 400 years ago. The addition of chalk The chancel ceiling laths (left) and the finished ceiling after being plastered rather than sand means that it is considerably lighter, making it perfect for ceilings, whilst the hair ensures its flexibility and strong adherence to laths.

Specialist plasterer Philip Gaches applied the plaster in just one coat to achieve the desired results, proving it to be the perfect plaster for the project.

The surface was then finished with a bound distemper specially made by Ingilby Mariners and colour matched to architect Shona McKay's specification. The end result of this complicated project is truly stunning, both internally and externally. q • For further information about Anglia Lime Company call 01787 313974, email info@anglialime.com or visit www.anglialime.com.

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Ironwork doesn’t have to be painted black [

ARROL AND SNELL, architects for Shrewsbury Roman Catholic Cathedral, asked TOPP & Co. for ideas regarding guard railings and gates to a new entrance and external staircases to the cathedral, as part of a major redevelopment of access and circulation within the building.

The cathedral was opened in 1856 and is in what is now known as Victorian gothic style. The interior was designed by Edward Pugin, son of his famous father Augustus Pugin, well known as a champion of the gothic revival, whose most famous works include the interior of the Palace of Westminster. Chris Topp of TOPP & Co. takes up the story.

“The work was commissioned as a design and build contract, rather in the manner of the commissioning of a work of art. This approach was of course commonplace at one time for ecclesiastical work, when an artist would be

asked personally by the architect to fulfil the brief.

“We thought it might be fun to design the new ironwork to be cast, rather than wrought, and this seemed to make sense for a number of reasons.

Cast iron architectural detail was at the height of its fashion in the mid nineteenth century, and its bulk goes well with the massing of the gothic detail carved into the masonry. The scheme lent itself well to repetitious ornament, the railings being divided easily into discreet panels.

Repetition renders castings more economical, as the original, and expensive, carved pattern can be used many times, the castings being relatively inexpensive. Finally cast iron has an excellent resistance to corrosion, and will in all probability outlast the stonework.

“With broad experience of design in cast iron, we asked our designer, Bethan Griffiths of The Ironwork Studio, to prepare a number of alternative design schemes, from which the client could make a choice. Each of the designs was based upon some element of Pugin’s interior, and had to bear in mind the appropriate building regulations, which forbid any gaps in the railing which would pass a 100mm ball.

“The design style duly selected, Bethan went on to work up the design idea into railings, gates and handrails, and do detailed workshop drawings from which the patternmaker could work. It was not until the iron castings were completed by the foundry that we could take them into our workshops for machining, fitting and painting. Meanwhile on site the stonework was being completed by the masonry contractor, ready for us to fix the ironwork into position.

“Where possible, in the spirit of work of the period, fixings are concealed so that there are no visible bolts or mounting plates. Equally no site welding was employed, frequently a sign of a lower class of work.

“It is easy to fall into the trap of assuming that all ironwork should be painted black. In fact black was seldom chosen prior to the 1920s, and so would not have been appropriate to a building of this period. The architect was keen that the colour of the ironwork should reflect the symbolism of the catholic faith, and blue was chosen as it represents the sacred virgin, and was a colour extensively used elsewhere by the Pugins, both father and son.

“The work was completed on site in November 2016 and if well maintained with a coat of paint now and again, should last for a century or more without major overhaul.” q

www.ecclesiasticalandheritageworld.co.uk

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How the new Iron Age began with puddling In this first in a series of features on ironwork and metalwork, we take a brief look at the techniques used in Europe to produce wrought iron. Future articles will outline the longer history of iron, its influence on industrial development and techniques for cleaning and restoring heritage ironwork.

[WROUGHT IRON IS a ferrous carbon alloy with a significantly

lower carbon content (less than 0.1%) than cast iron or steel. It is normally produced from so-called ‘pig iron’, with slag inclusions – the top layer of melt formed during smelting, containing oxides and other impurities – which gives it a characteristic fibrous nature. The slag provides a range of material properties including toughness, ease of welding, resistance to corrosion, malleability when hot and tensile strength.

There are two main types of wrought iron. Prior to the 18th century charcoal iron was primarily used. Its production process resulted in signification variations in its composition. After the 18th century puddled iron – considered to be the first large-scale process in iron production – was becoming widespread. This was produced in a blast furnace.

The early ‘bloomeries’ used for charcoal iron could smelt no more than a kilo of iron with each firing and had limitations to the

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The ironwork for the restoration of Mingary Castle in the Scottish Highlands was created and installed by TSB Ironcraft temperatures they could reach. It wasn’t until the medieval period, and the development of mechanised smelting, that wrought iron production increased.

Blast furnaces – introduced in the 16th century – increased production from around 15kg to 300kg per firing. Bellows powered by waterwheels fed air into the furnace reaching temperatures of over 1400˚C which was sufficient to melt iron.

Seminar will share best practice in ironwork recording [ ON 30 JUNE the National Heritage Ironwork Group (NHIG)

will be hosting a seminar on heritage ironwork at Hartlebury Castle in Kidderminster.

Surveying and Recording Heritage Ironwork will be a day of discussion and practical activities in the inspiring surroundings of a Grade One-listed manor house, with the opportunity to view artefacts from the portfolio of the Bromsgrove Guild. There will also be a presentation on the history of the guild and its work. All levels of experience and background are welcome.

The morning session will be taken up with presentations on: • Understanding Pre-Tender Information – how to cut through the mass of detail provided at a project’s pre-tender stage in order to identify the key details.

• Methods of Surveying Heritage Structures – how to go about surveying ironwork; including types of equipment and techniques used, what information to record, what to look out for (eg maker’s marks) and ways all of this can be presented.

• Recording Techniques – current techniques used to record heritage ironwork, both prior to a programme of conservation and throughout the course of treatment.

The presentations will use as case studies the Buckingham Palace gates and Harlaxton Manor garden gates.

Each topic will begin with a presentation from an experienced professional, followed by whole-group discussion. The purpose of

Abraham Darby, famous for his Coalbrookdale furnaces, started to use a purified form of charcoal called coke to fuel production.

Carbon no longer contaminated the iron with impurities formed when burning with charcoal and furnace efficiency improved greatly.

In the early 1780s, ironmaster Henry Cort started to develop alternative refining processes for converting pig iron to wrought.

In 1784, he patented the reverbatory furnace (separate chambers for fuel burning and refining) and the puddling technique, which eliminated charcoal from wrought iron production.

The puddling technique involved the molten cast iron being manually stirred in a hearth to agitate and remove the carbon via the oxidised gases within the furnace. The resulting mix of low carbon content molten slag and iron was then collected in large lumps and removed from the furnace to be rolled to form iron bar which could later be worked.

This large scale production technique enabled the significant expansion of iron use throughout Great Britain, The gates of Nostell Priory were responsible in part for some restored as part of a project of the momentum behind for the National Trust by David the Industrial Revolution. At Cooper Blacksmiths the same time, steam power developments meant furnaces could now produce great quantities of quality wrought iron for use on construction.

Since wrought iron is now only available as a recycled material, its retention and sympathetic restoration is even more important.

Generally the aim is to stabilise, halt or slow further deterioration through cleaning or recoating and where necessary repair. q • Extract adapted from an article published online, with the kind permission of Dorothea Restorations. Thanks also to Geoff Wallis of G Wallis Conservation for the use of his material.

the event is not just to educate but to stimulate debate and allow for networking opportunities.

The afternoon will be spent working in small groups led by an experienced practitioner – putting into practice some of the techniques discussed during the morning. Hartlebury Castle is an ideal venue, as there are several sets of historic iron gates both within the grounds and at the nearby village church. Groups will have the opportunity to assess several of these. There will be time for further feedback and questions at the end of the afternoon.

The overall aim of the day will be to establish and disseminate good practice when surveying and recording heritage ironwork.

The NHIG will continue to develop best-practice guidelines based on the outcomes of this and other seminars.

The price of the day is £50 (£40 students) including lunch and all refreshments.

• The National Heritage Ironwork Group was established in 2009 to raise public awareness about historic ironwork and provide guidance to professionals involved in its restoration.

NHIG promotes good conservation practice and high standards of workmanship. They also champion practitioners of traditional ironworking skills and aim to inspire emerging professionals to develop traditional skills.

All members ascribe, as part of their membership, to the NHIG Conservation Principles, which in 2014 received formal endorsement from the Institute of Conservation (ICON). q

These station gates – donated to the Worth Valley Railway by Network Rail – were adapted and rehung at Keighley Station

by Restoration Ironwork

Matthew and Justine Howard of Wrought Iron Sussex pictured at the Deanery gates of Chichester Cathedral following their restoration

The following companies are all specialists in ironwork and metalwork: David Cooper Blacksmiths Ltd

T: 01262 401498 E: dcblacksmiths@gmail.com W: www.dcblacksmiths.co.uk The Forge, Unit 2 Pinfold Lane, Bridlington, East Yorkshire YO16 6XS

Restoration Ironwork Ltd

New or repair ironwork undertaken: • Historic ironwork renovation • Reproduction traditional ironwork T: 01535 669233 M: 07973 204595 E: mark@restoration-ironwork.co.uk W: www.restoration-ironwork.co.uk

Wrought Iron Sussex

T: 01243 771752 E: matthew@wroughtironsussex.co.uk W: www.wroughtironsussex.co.uk Maudlin House, Stane Street, Chichester, West Sussex PO18 0PB

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Hand forged ironwork for the 21st century

Some examples of David's work include (l-r) Ticknall War Memorial and information post, The Parsonage Garden Arbor and a contempory sundial

[

IT IS QUITE a brave decision to introduce contemporary ironwork into a historical setting, says Derbyshire-based Master Blacksmith David Tucker. David, an award-winning designer, explained his philosophy to Ecclesiastical & Heritage World.

“It is much safer to stick with what we know, however by slavishly copying traditional design we are in danger of creating a pastiche, and are missing a wonderful opportunity to create our own heritage and to breathe new life into an old setting, making it relevant to a new generation.

“Contemporary design doesn’t have to be radical or shocking. It should be sensitive to the tastes and craftsmanship of our forebears and respectful of the environment into which it is being introduced, yet representative of the time in which it was made. Thus continuing the gradual evolution of a building and leaving behind a legacy from our own generation.

“My ironwork is individually designed in response to the purpose, character and history of the setting. All projects start with a site visit, to meet the client and discuss their aspirations and ideas, and to get a ‘feel’ for the building and carry out research. It might be an architectural detail, natural form or historical fact which ignites my imagination. It is then back to my forge and the drawing board for design development and experiment. A small project, such as a door handle or hinge, will receive the same care and attention to detail as a large pair of gates.

“Craftsmanship is the key. Only a designer who is also a master of his or her craft understands the possibilities of the medium in which they work. Iron is not an easy material to shape, but in the hands of a Master Blacksmith, can be coaxed into exciting and beautiful forms.

“It is a case of working with the material, rather than trying to inflict your will upon it. My designs use structure, the essential skeletal framework of a piece to create arresting detail. Joints and intersections become possibilities, hinges and latches a continuum, rather than an afterthought.

Door handles design “One of the great pleasures of being a blacksmith today is that we can turn our attention to a very broad range of artefacts, from gates and railings to sculptural and decorative features, perhaps a font, sundial, candelabra or altar cross. My motto is ‘anything is possible’!

“I have full control of all aspects of a project – from initial site meetings, through design development, hand making at my forge, finishing, delivery and fitting – so you will always receive a very personal and attentive service.” q • For further information visit www.blacksmith-artist.co.uk.

Christchurch Millennium Gates design (left) and the finished article

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Conservation work reveals original wording on Framilode plaque

[

ST PETER’S CHURCH in Framilode was built by public subscription and a Church Commissioners’ Grant in 1854. It was one of many Commissioners churches built with money voted by Parliament as a result of the Church Building Act of 1814 and related further Acts. The money was either used to pay for the cost of a church in full or as a grant to cover part of the cost.

St Peter’s Church was awarded a grant of £200 and this was recorded on a cast iron plaque originally erected in the porch of the church. The main condition attached to these grants was a requirement for a number of seats to be reserved for the use of poor parishioners.

Over time the surface of the plaque had deteriorated due to corrosion, with condensation forming on the plaque during cold weather continuing this process. The present vicar, the Reverend Vernon Lidstone, approached the Historic Metalwork Conservation Company, to carry out conservation work to the plaque to stabilise it and to hopefully reveal the original wording.

The plaque was collected from the church in July 2016. Most of the plaque was originally cast from a standard pattern with blank spaces for inserting the reason for the grant, the amount of money, number of seats and other references. An iron plate, riveted to the back of the plaque, helped to secure the inserted iron pieces. Removal of this plate revealed that the loose pieces had been secured with a clay material.

The plaque was first carefully cleaned using an air abrasive tool to remove loose dirt and corrosion, helping to enhance the lettering detail. The remaining compact rust layers were treated with Fertan Rust Converter to stabilise them.

After treatment and stabilisation, the plaque was protected by the application of a high-quality paint system to give it long term protection and reveal the original wording. All surfaces were first primed by brushing using Dulux Metalshield Zinc Phosphate primer before application of a second coat of Dulux Metalshield primer.

The back plate was then refitted before being finish brush painted using a grey Metalshield gloss. The lettering was then picked out with two coats of a black enamel gloss. q

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Fire, falling masonry and electrical blow-out are the commonest forms of lightning damage

In the first of this series of focuses on lightning protection in churches and other historic buildings we looked at the background to lightning protection and its development. In this second article we outline the damage that can be caused by the different forms of lightning.

[

A SINGLE BOLT of lightning can contain up to one billion volts of electricity, which can cause considerable structural damage if the bolt strikes a building.

Lightning damage to buildings generally comes in two forms: structural damage to the fabric of the church and damage to electrical systems and equipment.

Direct structural damage is usually minor, damaging copings and

pinnacles – mostly on the tower or spire; however, there is a risk of fire and the possibility of secondary damage from falling masonry. In its description of a lightning strike at St Andrew’s Church in Ramsbottom, Lancashire, Ecclesiastical Insurance quotes church warden Ian Ashworth.

“Thankfully, the school next door is on holiday,” said Ian, “because there are great lumps of stone in the school grounds that have been thrown there by the lightning strike.”

Lightning does strike twice – or even more [ IT HAS BEEN revealed that York Minster was hit by yet another

lightning strike that left a large crack in one of its pinnacles – but the damage went undetected for what could have been months.

According to the Surveyor of the Fabric, Andrew Arrol, the stonework of the pinnacle above the north aisle appeared to have ‘exploded outwards’ as a result of the strike. It was found during work on the north west tower and was not made public until publication of the

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Annual Report of the Friends of York Minster, compiled by Mr Arrol of Shrewsbury-based architects Arrol and Snell.

Mr Arrol told York Press: “We saw the crack when we had scaffolding up when we were working on the north west tower. The pinnacle had a crack right through it.

“The split was as though it had exploded outwards. The only possible explanation was a lightning strike.”

Nobody had reported a lightning strike, so nobody knows when it happened.

Ironically, if it hadn’t been for protection measures installed after the 1984 fire – caused by a lightning strike – the damage could have been far worse, Mr Arrol is reported as saying.

The pinnacle has now been repaired by one of the Minster’s apprentice masons. q

In some cases lightning can result in severe damage to a building, as in the case of the strike at York Minster in July 1984 which destroyed the roof of the south trancept and its famous rose window.

Even minor damage, however, can be costly to repair, where high level access is required.

Ecclesiastical Insurance’s guidance document Lightning protection for churches states: “Most indirect effects from lightning damage result from voltage surges causing shutdown, malfunction or the complete burnout of electronic systems such as alarms, boiler controls, sound reproduction systems, computers, telephones and electronic organs.

“All such equipment is at risk of damage from unwanted voltages known as surges, spikes or transients. These surges can be very damaging to electronic components, such as printed circuit boards, and may result in a loss of a facility such as a fire alarm system, computer or telephone system.”

The company reports that around 60% of insurance claims for lightning damage to churches are for electrical wiring and equipment rather than structural damage.

The guidance continues: “The most common and the most damaging surges are those caused by lightning which produces voltage surges on overhead and underground cables, both power and communications.”

Both Ecclesiastical Insurance and Historic England have recommendations on protection against such occurrences.

In its guidance document on the new standard BS EN 62305, Historic England states: “As electronic systems pervade almost every aspect of life today, protection against electromagnetic interference that may cause malfunction or disruption is vital.

“Protection against transient overvoltages can prevent the loss or destruction of data from computers, health and safety hazards caused by loss of control of plant such as heating controls, and provide protection of equipment such as fire alarms, PA systems and organ blowers.” q • In the next issue we will be looking at the evolution of lightning protection systems and the latest developments

The following companies are all specialists in Lightning Protection Systems: Wiltshire Steeplejacks

and Lightning Conductor Engineers Trading for over 40 years, we specialise in: • Lightning protection systems • BS EN 62305 & BS 6651 • Earthing and resistivity testing • High maintenance work • Bird control • All rope access work • Full architectural surveys & cover meter surveys T: 01225 761330 M: 07973 397770 E: wiltssteeplejack@aol.com W: www.wiltshiresteeplejacks.co.uk The Coach House, 5 Court Street, Trowbridge, Wiltshire BA14 8BR

Syntex Engineering Services Ltd T: 01642 454016 E: admin@syntex-chimney.co.uk W: www.syntex-chimney.com

32-33 Brewsdale Road, Middlesbrough, Cleveland TS3 6LJ

G & S Steeplejacks Ltd

T: 01761 437796 M: 07974 184449 E: graham@gnssteeplejacks.co.uk W: www.gnssteeplejacks.co.uk Unit 3, Bath Business Park, Peasedown St John, Somerset BA2 8SF

LSP Contractors Ltd

T: 07816 494285 E: julian@lspcontractors.co.uk W: www.lspcontractors.co.uk Millside, 67 Buchanan Road, Upper Arncott, Bicester, Oxfordshire OX25 1PE

Facit Testing

Lightning Strike Ltd

225 Yarmouth Road, Norwich, Norfolk NR7 0SW

Unit 3, Pottery Court, Pottery Way, Nottingham NG8 8YM

South West Lightning Protection

Harrison Lightning Protection & Earthing Ltd

Airport Business Centre, 10 Thornbury Road, Estover, Plymouth PL6 7PP

2 Lakeland Estate, Faverdale North, Darlington, County Durham DL3 0PX

Osborne Delta Lightning Conductors Ltd

Direct Strike

30 Greenacres Road, Oldham, Lancs OL4 1HB

18 Canberra Road, Gretna, Dumfriesshire, Scotland DG16 5DP

T: 01603 700995 or 0845 130 8338 E: admin@facit-testing.co.uk W: www.facit-testing.co.uk

T: 01158 752686 M: 07581 266493 E: info@lightningstrikeltd.co.uk W: www.lightningstrikeltd.co.uk

T: 07807 334441 E: south@lightningconductor.org W: www.lightningconductor.org

T: 01325 337111 E: contact@harrisonlp.co.uk W: www.harrisonlp.co.uk

T: 0161 785 4940 F: 0161 785 4950 E: info@osbornedelta.co.uk W: www.osbornedelta.co.uk

Lightning Protection Services

T: 0113 248 8026 M: 07899 700138 E: lpservices@live.co.uk W: www.lightningprotectionleeds.co.uk 10, Oak Tree Drive, Leeds, West Yorkshire LS8 3LJ

T: 01461 337951 E: enquiries@directstrike.co.uk W: www.lightningprotectionscotland.co.uk

Bailey International

TESTING & DESIGN SPECIALISTS

T: 01625 576243 E: enquiries@baileysteeplejacks.com W: www.baileysteeplejacks.com Bailey Business Park, Grimshaw Lane, Bollington, Cheshire SK10 5NY

Ecclesiastical Steeplejacks

A. Harfield Ltd

Unit 7, 29b Mary Vale Road, Birmingham, West Midlands B30 2DA

35a Sea Road, East Preston, Littlehampton, West Sussex BN16 1JN

T: 0121 486 1810 M: 07831 490114 E: bill@ecclesiasticalsteeplejacks.co.uk W: www.ecclesiasticalsteeplejacks.co.uk

T: 01903 770664 E: aharfieldltd@btconnect.com W: www.aharfield.co.uk

www.ecclesiasticalandheritageworld.co.uk

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When is a guarantee no guarantee at all?

[

THAT IS THE QUESTION posed by the Lead Contractors Association. Their answer is: “Quite simply, when the installing contractor is no longer around when a problem occurs with their ‘guaranteed’ work.”

Many tradespeople and companies offer a guarantee of their work, and for the consumer there are rights of redress enshrined in law. But obtaining redress is often more difficult than would at first be apparent.

Of course the company that carried out the work may just refuse to return to site. After all – they’ve been paid for the work; why should they care?

They may even have gone out of business.

How good is their guarantee then? That also raises questions of how good the ‘guaranteed’ workmanship was in the first place!

The 25-year guarantee customers get from a member of the Lead Contractors Association (LCA) is different. The LCA’s 25-year Guarantee Scheme has been running since 1999 and now covers projects worth cumulatively in excess of £9m.

LCA members were the first in the construction industry to give such a long guarantee: that’s how confident they are in the quality of their work. Moreover, the scheme is supported by all the major lead sheet manufacturers, providing an effective warranty for both labour and materials.

Under the scheme, on completion of two years membership of the LCA, a member is required to offer a 25-year guarantee of workmanship and material for leadwork projects over a value of £2,500. Every project registered is vetted on completion on site by an experienced member of the LCA council: they check the installer’s leadwork as well as the design and the materials. The work must conform to the BS6915 Code of Practice and non-conforming details must be rectified before the installation is approved. Relevant documents, including a technical inspection report, are then filed with the LCA secretariat.

If a problem occurs within the guarantee period, the LCA will contact the original installer to return to site to investigate. However, it doesn’t matter if the original installer is no longer trading, no longer a member of the LCA or otherwise unable – or just unwilling – to return to site.

In that case another LCA member is instructed to investigate. If the problem is confirmed as being covered by the Guarantee Scheme, remedial works are carried out without further expense to the client.

All the costs are covered by a separate trust fund, which was set up and is funded collectively by LCA members and ring-fenced from other day-to-day LCA activities. The trust fund is insurance backed and underwritten through Lloyds of London to provide cover of up to £250,000.

That is why the Lead Contractors Association 25-year Guarantee Scheme is a guarantee that means what it says: 25 years peace of mind for the client – guaranteed! q • For further information contact the Lead Contractors Association, 36 London Road, East Grinstead, West Sussex, RH19 1AB. Tel 01342 317888, email info@lca.gb.com or visit www.lca.gb.com www.ecclesiasticalandheritageworld.co.uk

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Manufacturers’ trade body supports the whole industry

[THE LEAD SHEET ASSOCIATION (LSA) is the foremost independent

technical authority on the design, specification and application of rolled lead sheet. The LSA has been in existence for over 85 years and runs a range of courses for leadworkers, specifiers, surveyors, contractors and conservationists at its purpose-built training centre in Kent.

The LSA provides a wealth of technical information via its website at leadsheet.co.uk, including the LSA Pocket Guide, AutoCad drawings for flashings, gutters, cladding and roofing and health and safety information.

More detailed information can be found in Rolled Lead Sheet – The Complete Manual, which can be ordered through the website.

LSA technical officers are also available for consultation on specific projects.

The LSA’s Leadworker Register has been produced in association with the Lead Contractors Association and is administered on behalf of the Lead and Hard Metals Roof Martin Young of MYLeadworks Training Group. It provides installed this sand-cast lead turret at Bramshill House in Hampshire specifiers and customers with a

way of verifying that a leadworker has the right skills, while acting as a tool for companies to provide bona fides regarding their competence.

Over the years the Lead Sheet Association has worked with key organisations in the construction industry to examine more closely the properties and benefits of using lead, particularly in relation to its economic, technical and environmental characteristics.

It has also undertaken comparisons in its own workshop with some of the man-made products currently available in the market.

A key finding has been that rolled lead sheet outperforms competing man-made products such as flashings and hard metals on many fronts.

The decorative leadwork on this From an environmental clock tower in Oxfordshire won the viewpoint, for example, the carbon Lead Roofing category at the 2017 Roofing Awards for K&M Leadwork footprint of lead is extremely

Photo competition will put lead in focus

[BLM BRITISH LEAD, the leading manufacturer of rolled lead sheet, has invited leadworkers and roofing contractors to

enter a photo competition, focusing on unique and striking lead photography from impressive and inspiring projects.

They are looking to see pictures of unusual and interesting detail – from the hidden to the well-known, on small to significant volume projects – as well as more common application detailing shot from unusual angles or in an unusual setting.

The judging panel consists of BLM employees, together with independent judges from the Lead Sheet Association. The judges will be looking at leadwork’s technical excellence, originality, composition and the overall impact that evokes the best interpretation of the competition’s theme.

The panel will choose one winning entry and two runners-up. The overall winner will have the option to choose from a Virgin Experience Days Gift Card or a LSA Training Gift Voucher – both to the value of £250. The winner and the two runners-up will each receive a set of BLM lead tools and tool bag, together with a copy of the latest LSA Manual.

Russ Taylor, sales development manager at BLM, said: “A huge amount of time, effort and care goes into producing a great piece of leadwork; unfortunately some of that detail rarely gets seen and appreciated from the ground.

THE LSA DELIVERS short courses and seminars for design professionals, architects and So we are really pleased to be providing an surveyors. It also has courses for supervisors and those responsible for overseeing lead sheet detailing opportunity for contractors to showcase their to make sure that it is carried out to the LSA recommendations. excellent leadwork and photography skills, with The LSA is also part of the RIBA CPD Network and can arrange CPD sessions for architects and the potential to win some great prizes. I expect specifiers at their own practice or organisation. The CPD modules help to make participants aware the judging process to be difficult, but we are of how to inspect, detail and specify leadwork, assist in identifying problem areas and determine really looking forward to it.” whether repair or renewal of lead sheet is required. Lunchtime and evening CPD events can be The winning images will be published on carried out and, where appropriate, tailored to suit the specific needs of a practice or organisation.

BLM’s website, social media channels and, of They are free of charge and come with discounted access to the e-book version of Rolled Lead course, in the autumn issue of Ecclesiastical and Sheet – The Complete Manual.

Heritage World.

Alternatively, the LSA has also introduced a condensed, on-line CPD version of its popular Design The closing date for the competition is 29 and Specification of Rolled Lead Sheet course for those wishing to take a RIBA-approved CPD module September and it is open to all residents of the in their own time, or for those who wish to revisit or brush up on their lead skills.

UK aged 18 or over.

A voiceover guides participants through a range of technical situations, including how to specify To submit entries, visit www.britishlead.co.uk/ and detail lead correctly and how to inspect existing leadwork. They also explain how the LSA’s photoupload, where T&Cs and guidance on the technical support team are on hand to help every step of the way through a project – from planning type of lead roofing applications you may want to through to completion. q consider are also available. q

Courses and CPD are on hand for specifiers [

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low. It also lasts on average more than three times longer than other proprietary flashing products. That longevity means that architects can safely use it in designs needing to comply with Eurocode requirements for a 60-year design life.

There is also an established recycling infrastructure, so almost 100% of the waste can be re-used.

Lead installation is not impacted by damp or cold weather conditions, thereby minimising project delays, and working with lead is a highly skilled job, more likely to be undertaken by skilled tradesman, thereby

minimising the risks of employing unskilled labour.

The economic benefits of using lead also came through strongly.

Over a 40-year period lead can be up to 50% cheaper than manmade ashing products and over 65 years it is almost 80% cheaper. q • For further information contact the Lead Sheet Association, Unit 10 Archers Park, Branbridges Road, East Peckham, Kent TN12 5HP. Tel 01622 872432, fax 01622 871649, email info@leadsheet.co.uk or visit the website at www.leadsheet.co.uk

The following leadworkers are listed on The Leadworker Register: Tim Fuge Leadwork

Southdowns Builders Ltd

1 Stantons Row, Tremar, Liskeard, Cornwall PL14 5HL

Wellesley House, 204 London Road, Waterlooville, Hampshire PO7 7AN

Prospect Roofing Ltd

L.J. Randall

151 Prospect Road, Woodford Green, Essex IG8 7ND

130 Gunville Road, Newport, Isle of Wight PO30 5LH

MW Roofing (NW) Ltd

M P Hare Ltd

488 Bury Road, Rochdale OL11 4DG

The Shaw, Kiln Barn Road, East Malling, Kent ME19 6BG

DW Specialist Leadwork & Roofing Ltd

MYLeadworks

Unit 1, Hanover House, Greg Street, Stockport SK5 7NR

9 Meadow Way, Bracknell, Berkshire RG42 1UE

Higher Roofing Specialist

C & L Lead Sheet Fabrication Ltd

T: 07792 022630 E: tfleadwork@yahoo.co.uk W: www.tfleadwork.co.uk

T: 0800 335 7179 M: 07889 140051 E: info@prospectroofing.co.uk W: www.prospectroofing.co.uk

T: 01706 564185 E: info@mwroofingltd.co.uk W: www.mwroofingltd.co.uk

T: 07584 123212 E: info@dwleadworkandroofing.co.uk W: www.dwleadworkandroofing.co.uk

T: 0208 203 3883 M: 07830 743512 E: roofa@talktalk.net W: www.higher-roofing.co.uk 5 Nicoll Place, London NW4 3PD

T: 01730 267869 M: 07767 792825 E: contact@southdownsbuilders.co.uk W: www.southdownsbuilders.co.uk

Leadwork Specialists M: 07894 792760 E: ljrandall1@btinternet.com

T: 01732 842655 M: 07971 902631 E: marc@mphareheritageworks.com W: www.mphareheritageworks.com

T: 01344 310 912 M: 07793 653 434 E: info@myleadworks.co.uk W: www.myleadworks.co.uk

T: 01446 700002 E: sales@candl-leadfab.co.uk W: www.cavitytrayswales.co.uk Unit 6 Priority Workshops, Ty Verlon Industrial Estate, Cardiff Road, Barry, South Glamorgan CF63 2BE

Nova Contracts Limited

K & M Leadwork Ltd

10 Leadhills Road, Kilmarnock, East Ayrshire KA1 3UF

2 Lincoln Close, Standlake, Witney, Oxfordshire OX29 7SJ

T: 01563 526942 M: 07739 750617 E: info@novacontracts.co.uk W: www.novacontracts.co.uk

T: 01865 301866 M: 07900 640046 E: info@kmleadwork.co.uk W: www.kmleadwork.co.uk

Black Dog Roofing

T: 01249 321969 M: 07808 840491 E: blackdogroofing1@outlook.com Landsdowne Close, Calne, Wiltshire SN11 9DR

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Top leadworkers celebrated at awards [

THE ROOFING AWARDS on 19 May saw the presentation of a number of awards for leadwork.

At the awards ceremony, the Lead Contractors Association made the formal presentations of the Murdoch Award and Murdoch Sponsors Award, named in honour of the LCA’s former technical officer Richard Murdoch, together with the Young Leadworker of the Year Award.

The Murdoch Award was presented to Conservation Leadwork Ltd for the Culham Court Chapel at Henley-on-Thames – a new-build project created on the footprint of a demolished building. Celtic Leadwork were the winners of the Murdoch Sponsors Award for their part in providing the leadwork for the complete refurbishment of a primary school in Notting Hill.

The award for Young Leadworker of the Year went to Jay Stubbs, a self-employed leadworker from Essex. Jay took the title ahead of fellow shortlisted candidates Callum Thornhill from Lincolnshire and Shane White of Somerset.

One of the categories of the Roofing Awards is for also for Lead Roofing. That award went to K & M Leadwork for the decorative leadwork on the clock tower at Goring Village Hall in Goring, Oxfordshire (pictured). The tower was erected in 1899 and the clock added in 1929.

Contractor Kevin Bennett was appointed to strip the lead and replace it, altering the design to prevent the previous failure, where the water had penetrated behind the posts, leading to water ingress and the failure of the existing roof.

The refurbishment was described on the Village Hall website as ‘a work of art by Kevin Bennett of K&M Leadwork’.

Kevin pipped runners-up Lead-Tech Roofing Ltd, Clarke Roofing Southern Ltd and The Roof Group t/a Greenstone Roofing to land the award. q

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Diocese has advice on lead theft [DESPITE A FALL in recent years in the incidence of thefts of lead

from churches, it has remained a significant problem in a number of areas; and there is evidence that a raise in the price of lead has led to a spike in the problem.

In an article on the Diocese of Worcester website, posted in April, its heritage buildings and community development officer Andrew Mottram passes on advice derived from a conversation with Historic England’s national policing and crime adviser, Mark Harrison.

He describes how a rise in demand for lead in the UK has led to the rise in its price. There is currently a demand for 52,000 tonnes to meet domestic need – much more than is being mined and smelted.

“Consequently”, he says, “the scrap price for lead has reached an all-time high, making it a very attractive target for thieves. Contrary to popular belief, the lead stolen in this country remains in this country and is recycled via the scrap metal industry to meet the domestic demand.”

Industry body responds to legislation review [IN DECEMBER the Home Office launched a review of the

Scrap Metal Dealers Act (SMDA), to assess the effectiveness of the legislation to date. The review was in the form of a consultation calling for responses from industry stakeholders, which ran until the end of January.

One of the bodies to respond was the British Metals Recycling Association (BMRA), the UK trade association for ferrous and non-ferrous metal recycling companies. It represents some 250 businesses, from multinationals to small, family-owned enterprises.

The response calls for improved enforcement to prevent increasing metal theft. It points out that, while there has been a reduction in thefts since the introduction of the Act, it ‘would be complacent’ to attribute the reduction to the legislation.

“There is a clear correlation between interventions and effective enforcement the legislation,” the BMRA says, “and the number of recorded metal theft offences.”

Some of that correlation could be accounted for by the fortuitous timing of the Act’s introduction, which coincided with a fall in demand for scrap metal and a consequent drop in prices.

“From Q1 2012/13 to Q4 2015/16 the global demand for scrap metal fell significantly, with a commensurate average reduction in value of 57%,” the BMRA points out.

“However, recent months have seen metal prices increase. There are already signs this is contributing to an increase in metal theft across England and Wales leading to growing concern amongst the victims.

“Crucially, the effectiveness of the SMDA has not yet been tested in a market where metal prices are rising.”

The BMRA goes on to outline its recommendations for boosting the SMDA’s effectiveness. They include: • Creating disincentives to receive cash payments with a new • offence of receiving cash for scrap metal • Expanding police powers to inspect itinerant collectors • Creating a more rigorous local authority licensing regime to • ensure transparency and consistency • Further reducing opportunities for criminal behaviour through • reverse-charge VAT. q

He points out that measures to disincentivise buying stolen metal, such as the 2013 Scrap Metal Dealers Act, do not recognise the historic nature of material stolen from listed buildings.

“Although recent legislation has tightened up the rules and made ‘cash for scrap’ more difficult by requiring personal identification, bank details and vehicle registration numbers from those bringing in the ‘scrap’ metal, there is currently no requirement for the lead to be assessed to see if it is ‘heritage material’, which can be identified by a number of indicators such as thickness, types of fastenings and nail holes.”

He stresses that theft of lead from the roof of a listed church is a ‘heritage crime’ and needs to be reported and logged as such. When reporting the crime – either while it is happening or subsequently – the reporter should ensure it is logged in this way. q Image courtesy of Historic England

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Heritage roofing register offers a helping hand to architects and specifiers [

A UNIQUE REGISTER of heritage roofing specialists is providing much needed help and assurance for architects and specifiers working on heritage projects. The National Heritage Roofing Contractors Register is the brainchild of the UK’s largest roofing trade association, the National Federation of Roofing Contractors (NFRC).

Designed to ensure that restoration of the roofs on some of the UK’s most precious buildings is carried out to the highest standards possible, it provides an exclusive listing of only those roofing companies that have the vital skills and experience necessary for the repair and renovation of heritage projects.

Ray Horwood CBE, chief executive of the NFRC, explained: “Successful cultural heritage preservation is not just dependent Heritage Roofing Contractors Ltd on the meticulous planning re-roofed the south elevation of provided by architects; it relies the nave of this Grade Onevery much on the involvement of listed, 14th-century church

The following companies are listed on The National Heritage Roofing Contractors Register: Exeter Roofing Ltd

T: 01392 243000 E: exeterroofing@gmail.com W: www.exeterroofingltd.com

Before (left) and after pictures of the roof of a property in Essex that was completely overhauled by Exeter Roofing specialist craftsmen who are qualified to work on heritage sites. When it comes to roofing, their knowledge and experience is invaluable.

“From concept to completion, the importance of roofing design in heritage preservation can never be underestimated. The register is already proving popular with architects and specifiers alike and it is widely being seen as a guarantee of confidence in specialist roofing knowledge and expertise.”

Comprising a total of 73 companies located throughout the UK, The National Heritage Roofing Contractors Register features roofing companies that fall into one of three categories. Firstly, there are Heritage Roofmasters who provide both technical design and quality workmanship. Secondly, there are Heritage Craftroofers who assure quality workmanship at all

18 School Lane, Tedburn St. Mary, Exeter, Devon EX6 6AA

Broadstairs Roofing

T: 01843 600 106 M: 07932 633 628 E: broadstairsroofing@live.co.uk W: www.broadstairsroofing.co.uk 5 Bridleway Gardens, Broadstairs, Kent CT10 2LG

Martin-Brooks (Roofing Specialists) Ltd T: 0114 244 7720 E: mb@allroofing.co.uk W: www.martin-brooks.co.uk

Ross Street, Darnall, Sheffield, South Yorkshire S9 4PU

J Wright Roofing Ltd

T: 0115 9717 591 E: info@jwrightroofing.co.uk W: www.jwrightroofing.co.uk Unit 1, 4 Dabell Avenue, Bleinheim Ind Est, Bulwell, Nottingham NG6 8WA

Heritage Roofing Contractors Ltd

T: 01432 830586 M: 07977 922442 E: heritageroofingcontractors@gmail.com W: www.roofing-contractor.co.uk Unit 10 Aydon Industrial Park, Hereford HR4 9UN

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Claude N Smith won the Heritage category in the 2014 Roofing Awards for The Laurels, a private dwelling in Peterborough

times. Lastly, Heritage Craft Roof Operatives carry out the work as specified.

Companies qualifying for the register have all undergone close, stringent scrutiny and hold relevant heritage qualifications. In addition, their work is continuously reviewed by a panel of highly-qualified experts in traditional roofing.

The National Heritage Roofing Contractors Register is endorsed by Historic England, Cadw, the Environment and Heritage Service for Northern Ireland, Historic Environment Scotland, CITB and The National Heritage Training Group (NHTG), of which NFRC is a board member and plays a leading role. q • The register can be found on the website of the NFRC by visiting www.nfrc.co.uk/heritage-roof-specialists This Victorian chapel of rest in Canterbury was completely re-roofed by Broadstairs Roofing after it failed and let in water

Heritage roofers have their day in the sun [

HERITAGE ROOFERS HAD their chance to shine on 19 May when the UK Roofing Awards took place at the Park Plaza Hotel, Westminster Bridge in central London.

The big event for members of the register was the naming of the winner in the Heritage Roofing category. Four prominent companies had been shortlisted for the award: Fildes Roofing Ltd for the Sole Street Building at Weald and Downland Museum; Martin-Brooks Ltd for the Old Poultry Building on the Welbeck Estate near Worksop; Claude N Smith for Stamford Railway Station in Lincolnshire; and Emerton Roofing for The Boat House – a residential property in Cheshire.

It was this latter project that clinched the award for Emerton Roofing. The building was described as a ‘stunning example of architecture ahead of its time in days gone by’.

The citation continued: “The iconic building features a collection of highly decorated roof slopes, through the use of pattern tiles.” q

Martin-Brooks restores South Yorkshire Holy Trinity [THE HERITAGE ROOFING specialists

at Sheffield-based Martin-Brooks have added sparkle to a trio of the region’s ecclesiastical gems.

The firm has completed extensive roof repairs on three churches in Sheffield, Rotherham and Doncaster that benefited from government grants for listed places of worship.

Martin-Brooks was successful in securing contracts by competitive tender to renovate the roofs of St Thomas’ in Kimberworth, Rotherham, Holy Trinity and St Oswald’s in Finningley, Doncaster and Christ Church in Pitsmoor, Sheffield.

All three projects were administered by Bakewell conservation architects, Smith and Roper, for whom Martin-Brooks also secured a contract to complete work at a church in Derby in April and is tendering for another two ecclesiastical assignments.

At St Thomas’, the firm was required to replace the nave, chancel and organ chamber roofs in new Penryhn Heather Blue Welsh slates, as well as leadwork and cast iron guttering. Both it and Christ Church are Grade II listed and date from

the Victorian Gothic Revival period. Various phases of work have been carried out at Christ Church, but the firm’s most recent task involved fitting new cast iron rainwater goods to match existing profiles.

A lead roof on the tower at Grade I listed Holy Trinity and St Oswald’s Church in Finningley (pictured), which dates back to Norman times, required replacement following the removal of ‘historical graffiti.’

This decorative panel containing the names of workers at the church during the 1700s was cut carefully out of the old roof and is now proposed for display to visitors.

Martin-Brooks’ craftsmen also created a lead flagpole cover, undertook repairs to

decorative historic oak trusses in the chancel and areas of slate.

Nick Brooks, Martin-Brooks’ director, said: “We have an excellent relationship with Smith and Roper who, like us, specialise in the restoration of historic buildings.

Thankfully, much needed funding is being channelled into the preservation of our ecclesiastical heritage and by ensuring traditional skills, such as lead working, are not lost, we can safeguard these valuable community assets for future generations to enjoy.” q • Martin-Brooks is listed on the National Heritage Roofing Contractors Register.

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Take the guess work

out of guttering [

RAINCLEAR SYSTEMS has been providing customers with high quality metal guttering for over a decade now. At the same time the company’s friendly, knowledgeable team have been offering advice, free quotations and a ‘take-off’ service to its customers.

But what is a take-off service and how does it take the guess work out of buying your guttering? A take-off refers to: • creating a complete list of the rainwater system components illustrated on the architect’s drawings • or, if not already specified, working out a ‘flow calculation’ based on the roof area, pitch and number of ‘drops’. Drops are the number of suitable locations for downpipes – based on the house design and sub-surface drainage plan (read more at bit.ly/flowcalc). It also includes recommending the required size of the guttering/downpipes for efficient management of the rainwater to effectively protect your property and foundations.

For Rainclear to undertake a take-off, customers simply need to send their architect’s drawings and select the metal and profile they prefer from the huge range of cast iron, cast or modern aluminium, or contemporary galvanised steel or copper available on the website at www.rainclear.co.uk.

The expert team at Rainclear perform the take-offs themselves in-house, printing off your emailed plans on their own plotter, so you know you can discuss your project with somebody who has seen and shares your vision.

The team can then send you a quotation based on the information you have supplied and the material and gutter profile you have selected.

Some profiles are more suitable for areas of the UK with high rainfall, like the contemporary aluminium dflow and half-round galvanised steel.

Others, like the cast iron Victorian Ogee, may be specified by your conservation officer if you live in a designated conservation area. q • Call the Rainclear team now to discuss other metal and gutter profile options on 0800 644 44 26 or send your plans and preferences to sales@rainclear.co.uk.

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Let’s have a heating debate! [

THERE HAS BEEN a great deal of debate on the subject of heating in churches. Ever since the introduction of specific church heating systems by John Grundy in Manchester in the 19th century, ways of efficiently heating what was often the largest space in the area have been sought.

There are good reasons for the level of debate. Despite falling attendances, a church is still the central point of its own community and it is also often the historic centre of a village or town.

In its guidance on choosing a system, ChurchCare states: “A church’s heating system affects its fabric, its contents, its congregation and its mission.

There is no universal solution to making a church comfortable and the key to arriving at a solution that provides reasonable comfort at a reasonable cost is to devote sufficient time and effort to understanding the particular needs of your own church.”

The guidance has a very homely and practical base point to start from. “…a good guiding principle is to try to warm the people, not the building, so that the congregation and users of the church building feel reasonably comfortable where they are sitting rather than have the feeling of walking into a cosy space as soon as they open the door.”

Surprisingly, there are still a number of the old Grundy systems still in existence. They are gradually being replaced by more modern systems, such as the trio of systems installed by Midlands-based Mellor and Mottram and featured in Ecclesiastical and Heritage World last year. They included St Mary’s in Bodmin.

The preferred system is often a gas-fired warm air system, such as the Rinnai units favoured by many specialist installers. They were used to good effect by Essex-based Argonaut Heating at the Central Baptist Church in Stratford, East London.

One type of system about which there is some controversy is underfloor heating when it is installed in historic and listed churches.

The ChurchCare guidance states: “A new floor with underfloor heating alters a church’s architectural and historic character, and therefore the necessity for this work will have to be shown as part of the faculty process, with reasons given why methods with less intervention had been ruled out.”

While accepting that there can be benefits, the guidance points out that the installation usually involves the construction of a new floor and therefore irreversible changes to a building. They can also be difficult to maintain.

The Society for the Protection of Ancient Buildings says: “Formed from a variety of materials, floors can almost imperceptibly speak of age and the continual passage of others before us. It is only when historic floors have been destroyed that the significance of the loss is recognised by many, but by then it is too late.”

The most appropriate installations of underfloor heating are those installed when a floor is being restored or replaced for other reasons. A number of technological solutions have been found to enable the installation to sit easily with the re-installed floor.

In 2015 we reported on two instances where churches in Lincolnshire had underfloor systems installed following archaeological investigations that revealed Saxon origins at both St Andrew’s in Epworth – the ‘Wesleys’ church’ – and All Saints at Winterton. In the case of St Andrew’s a concrete floor had been installed in the past and did not allow the ancient fabric to ‘breathe’ properly, giving rise to problems of damp. At All Saints (pictured below) the floor was uneven and needed relaying.

The old Grundy stove that was removed from St Mary’s RC Church in Bodmin by Mellor and Mottram Both projects – by Yorkshire-based Byfield Heating Ltd – involved installing the heating under limestone paving on a breathable limecrete and recycled glass sub-base. Those installations were highly sensitively handled and were carried out as part of major restoration projects by specialist restoration contractors Aura Conservation.

An alternative use of the floor for heating is to utilise the channels found in many Victorian churches to install tube trench heaters. This method was used to provide additional heating at the Grade Two-listed St James the Apostle in Milnrow, Rochdale – again by Mellor and Mottram. q

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Icynene – the perfect insulation for windswept, Cumbrian barn conversion The insulation of a 120-year old Cumbrian barn conversion proved a difficult challenge for a father and son farming partnership. Here Ecclesiastical and Heritage World takes a look at a new technique in thermal insulation that’s gaining popularity in these difficult-to-treat projects.

This isolated 19th century barn sits on the Cumbrian coast in the shadow of the Lake District Fells. The biggest challenge in making the barn habitable was insulation to prevent heat loss

[

ON THE EXPOSED Furness peninsular in Cumbria, close to the Lake District Fells, there is precious little shelter from the fierce, westerly gales that batter this part of the Irish Sea coastline.

Hardy residents of the area describe it as a ‘lazy wind’ because it’s more inclined to take the shortest route to its destination, scything straight through anyone that stands in its way, rather than going around them!

Buildings suffer this battering in exactly the same way, so in the old days, builders tended to rely on physical mass to hold back the wind.

Consequently, stone walls up to two feet thick were the accepted norm for houses and barns built in this neck of the woods.

Even with such substantial construction, keeping occupants warm was a considerable

challenge in the days before central heating and insulated walls.

No more so than for the current owner of a rambling Victorian farm and barn complex that sits almost on the shoreline at Kirby in Furness, a few miles up the coast from Barrow.

Originally built in 1899, and now owned by father and son, William and James Brakewell, the house and barn were in desperate need of refurbishment to bring them up to 21st century living standards William and James both live on site with their families and jointly farm the area as well as running an agricultural equipment sales and servicing business.

The main barn structure had stood virtually unused for years and qualified for improvement grants under the Government’s

Farm Diversification Programme, introduced to support micro and small businesses and farm diversification.

In light of this, a scheme was devised to convert the barn into three dwellings - one three-bed house for father William to live in and two further two-bed houses to be used as temporary accommodation for workers at the nearby British Aerospace site in Barrow.

Doing most of the work themselves to keep costs under control they quickly recognised some of the challenges they faced in bringing the building up to habitable standards in this exposed location.

Son James Brakewell takes up the story: “The biggest problem we faced with the barn conversion was insulation. It’s a huge building measuring 19.0m by 10.0m with

Fully breathable, Icynene spray foam insulation was applied to the internal walls and roof area (left). Icynene is a water-blown insulation that expands 100-fold when applied, sealing all cracks holes and service holes. Its open cell structure lets the building breathe naturally

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When winter blizzards do their worst, Icynene insulation really comes into its own an eaves height of 10.0m. There are old cattle byres on the ground floor with a twostory overshot barn on top, all built of local Burlington stone.”

At the start of the conversion, an internal frame of timber studwork was installed, set 50mm off the external walls. Conventional rigid board insulation was considered but quickly rejected on the grounds of speed of installation and poor air tightness performance.

James continued: “The main issue with insulation is air tightness. Most heat is lost from a building through air leakage and we knew we couldn’t seal the building adequately with rigid board material. The wind would always find a way through. What’s more, cutting and fitting boards to the studwork and beneath the roof would take weeks of work. We needed a system that would be both quicker to fit and give us better performance.”

James looked at alternatives and contacted local contractor Greentherm Solutions who specialise in spray applied insulation using Icynene, a system originally developed by a Canadian company.

Icynene is a water blown breathable foam that expands 100-fold when applied and seals every little crack, joint and service hole completely.

Greentherm sprayed Icynene between the stud wall frame and directly on to the exposed stone walls creating a homogeneous and un-interrupted blanket of insulation, 125mm thick. The roof structure was treated similarly, spraying directly on to the breathable underfelts.

As Icynene is ‘vapour open’ there is no need to maintain an air gap above the insulation.

To prevent noise transmission between the dwellings, Icynene was also used as cavity fill insulation in the blockwork party walls.

According to the manufacturers, because

Icynene has a soft, yielding texture and open, cellular composition, it provides outstanding insulation performance yet still allows the building to breathe naturally, preventing the build-up of potentially damaging condensation.

“The whole spraying process took less than a day and a half to complete rather than the three and a half weeks it would have taken to insulate with rigid boards,” said James.

Costs were broadly similar for both insulation methods but speed of installation and performance were in Icynene’s favour. “You simply cannot fit any other kind of insulation faster,” he concluded.

Throughout the process, Local Authority Building Control were kept informed and were fully supportive of the process use. q • For further information on Icynene spray applied insulation visit the website at www.icynene.co.uk.

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Aura to co-host heritage building seminar [

BUILDINGS ARE IRREPLACEABLE landmarks of our history and our heritage, however to ensure that they remain in our future and survive in our ever-changing environment, they require conservation and regeneration.

The Victoria Quarter in Leeds is a glamorous shopping centre originally designed by Frank Matcham between 1898 and 1904. It consists of several links arcades that run between Briggate, Leeds’ central retail street, and Vicars Lane. The Grade II* Listed Building is distinguished by its warm, finely ornamented terracotta façades, terracotta roof domes and its integral arcades in a free Jacobean/ Baroque style.

In recent years, due to age and general weathering, sections of the façade and domes had begun to fail.

Aura Conservation Ltd have teamed up with RICS and the International Masonry Society to present a one-day seminar entitled Through The Keyhole – The Victoria Quarter Conservation Project. The seminar is being held on Thursday 15th June 2017 at the Rose Bowl Lecture Theatre, Leeds Beckett University.

What makes this seminar different to other heritage seminars is the ‘case study’ approach which they have undertaken to present this large complex project in detail; the seminar will be taking you ‘through the keyhole’ to all aspects of the Victoria Quarter Conservation Project.

It has been designed in a series of technical presentations to illustrate the process of acquiring a listed or historic building requiring restoration, the project management, the design, the testing and through to the challenges of the contract on site.

The Victoria Quarter scheme has been short-listed for the RICS Awards 2017 in the ‘Building Conservation’ category. q • To find out more and to reserve your place visit http://www.auraltd.co.uk/perch/resources/auraheritage-seminar.pdf

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Aspiring to the heights [

FULLERS FINER FURNITURE were first contacted in April 2016 with regard to a planned project to update Petersfield Methodist Church. Built in 1903, the church is an imposing building with a high tower making it a prominent local landmark.

The church aims to be welcoming and all-inclusive; it has a busy timetable of weekly events for both members and those in the wider community which it serves. A glance at the church website shows that in addition to regular services there are activities such as county dancing, short mat bowls and art classes. A recent skittles evening held in the church evidences just how adaptable the building needs to be!

Fullers Finer Furniture were consulted with regard to what was a major project involving the building of a new stage area, the provision of sanctuary furniture and finally the manufacture of a stunning centre piece cross.

Paul Fuller, proprietor of Fullers Finer Furniture, made site visits to the church before commencing work. This policy guarantees good communication and understanding between all parties involved in the project and its smooth running once underway.

Work commenced with the provision of the new stage area. The old stage was removed and the new one fitted, with care being taken to make provision for disabled access. Floor boxes were fitted as required to facilitate the modern technology in use at the church.

Next, work commenced on the communion rails which were adapted to form four removable rails. The existing oak handrails were remodelled and re-polished and

new metal legs fabricated, enabling the rails to fit into eight sockets in the new dais area. The sockets are neatly covered over with metal cover plates when the rails are not in use. This maintains the use of the existing rails whilst maximising the flexibility of the stage area by allowing for their removal.

Moving upwards to the furniture to go on the new dais, a communion table and Canterbury Lectern were supplied for use on the dais area. The Canterbury Lectern was fitted with a monitor and an iPad rest, the latter currently proving a popular option with the clientele. All Fullers Finer Furniture Canterbury Lecterns are fitted with their renowned gas lift, height adjustable technology and also castors to allow for easy manoeuvrability. A matching font was also made to accommodate a pottery bowl made and supplied by a member of the church.

Moving higher still, the final item supplied was an oak wall cross with a set in cross made from black walnut. The cross was further set off by white dimmable LED backlighting. It is a stunning piece to finish the whole project and a vital symbol to focus attention on the hope and love which can be brought to many through the message and actions of those within the church. q

www.ecclesiasticalandheritageworld.co.uk

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Churches demand dynamic lighting – and this company can oblige

A couple of Lighting Dynamics’ recent projects include Holy Trinity RC Church in Sutton Coldfield (left) and St Andrews Church in Headington

[WHEN IT COMES to the lighting inside

churches there has been something of a sea change in attitudes. Church authorities and congregations require sophisticated systems that show their building at its best: rather than the kind of lighting scheme that looks like an extension of a lighting company’s showroom or a railway marshalling yard.

One of the drivers behind that increasing sophistication has been Lighting Dynamics UK. Based in Sutton Coldfield in the West Midlands and operating throughout the UK and Ireland, they are one of the UK’s premier companies specialising in the interior and exterior illumination of cathedrals, churches and other places of worship.

The company’s founder Gerry Browne explained: “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.”

It has been a long process, said Gerry, which has involved educating, informing and demonstrating what can be achieved.

Lightning Dynamics has a long-established reputation for creating practical and architecturally sympathetic lighting schemes.

Wherever possible, discreet lighting equipment is specified and installed to produce suitable levels of illumination and to highlight both ecclesiastical details and any special architectural features.

The company is dedicated to offering a totally independent, creative, unbiased lighting design and consultancy service and, as required, they can also supply all of the associated and specified lighting and dimming equipment.

Above are some examples of the prestigious projects undertaken

by Lighting Dynamics UK

Gerry continued: “Our comprehensive range of modern, energy saving, long-life lighting equipment is manufactured from the highest quality materials and takes into consideration many important factors, such as reliability, durability, optical performance, overall efficiency, size, style and ease of maintenance – to name but a few.

“We have recently launched a brand new family of the very latest bespoke, commercial grade LED fittings, specially designed for all types of ecclesiastical lighting tasks. This range of products has been under development for some considerable time and takes our overall lighting portfolio to the next level of technical innovation.

We also have an unrivalled knowledge and expertise of all modern intelligent dimming and lighting control systems.”

That new range can be seen in action in the Lady Chapel of Worksop Priory in Nottinghamshire, a high-profile project which was featured on the front cover of the last issue of Ecclesiastical and Heritage World.

The company has a significant number of other very prestigious projects currently in progress – a large number of which are 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.

To take full advantage of those developments Lighting Dynamics UK has 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 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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Hearing the sound is part of the message ISCEx 2018 dates [

ALTHOUGH MANY OF our church buildings are ancient, their AV equipment, sound and technology don't have to be!

That sentiment acts as the introduction to guidance from ChurchCare, the buildings division of the Anglican Church. The guidance has been issued under the Dioceses, Mission and Pastoral Measure 2007. Although issued by the Church of England, it represents good advice for any denomination.

The basis of the guidance, as with most, is to seek professional advice from an independent expert. Churches should also make early contact with their DAC to discuss any new scheme.

“The technical details will be unique to each church,” the guidance states, “but there are some general principles to consider when looking at new installations which impact on the fabric and appearance of the church.”

When considering any new system, a key consideration is the location and design of the speakers. The guidance states: “Position speakers within the roof wherever possible but avoid fixings into historic timbers.”

Other advice is to avoid bulky, domesticlooking speakers by taking advantage of slimline products if available and suitable.

Common positioning solutions are in the roof, on piers or columns, within window reveals and above capitals.

Sound desks are another issue. As the guidance points out, they are often the only fixed piece of ‘furniture’ in a church after a major reordering and can become more dominant than is desirable or necessary. Consideration should be given to the location. Will it hinder flexibility for other activities such as exhibitions, Alpha suppers or community events? Is there a gallery or tower room which could be considered?

While size is not everything, it is of relevance. Bigger should not equate to better; after all, “…the technological impetus is towards miniaturisation”.

“The same principles apply to sound desks as to kitchens in churches,” says the guidance, “they shouldn’t look out of place when not in use and should not be obtrusive when they are.

A well designed lid or cover can greatly reduce the impact.” q

Now visitors can explore their virtual heritage

[THE HERITAGE SECTOR has recently been investigating the ‘next big thing’ in presentational

technology with the introduction of virtual and augmented reality (VR/AR) to explore collections. Back in August 2015 the British Museum held a Virtual Reality Weekend – the first time VR devices had been used in connection with the museum’s collections in the public arena.

In a presentation to last year’s Museums and the Web conference in Los Angeles, Juno Rae and Lizzie Edwards from the British Museum said: “Visitors were able to explore a virtual reality Bronze Age site, where they saw three-dimensional scans of objects placed in their original setting.

Participants were able to explore multiple interpretations of how the objects might have been used in the past across three digital platforms.”

More recently a virtual reality app, VR:Cell, was tested at UCL’s Grant Museum of Zoology. The researchers reported: “The reaction to VR:Cell at the Grant Museum was overwhelmingly positive – once people saw it they wanted to try it. Queues formed quickly at the sight of the obvious delight expressed by other visitors using the headset, as people snatched at thin air trying to grab parts of the virtual cell with big grins on their faces. Even parents were itching to try it after seeing their children’s reactions and, to our entertainment, behaved similarly to their children once they finally got to have a go!”

In April this year, Historic Environment Scotland celebrated World Heritage Day at Kelvingrove Art Gallery and Museums by offering visitors the opportunity to visit Scotland’s six World Heritage Sites virtually (pictured). VR will also form a central part of the visitor experience at the new Maeshowe Visitor Centre in Orkney. q

announced after major success this year

[THE Institute of Sound and

Communications Engineers (ISCE) has announced the dates for its annual meeting, exhibition and seminar. ISCEx 2018 will take place on 6-7 March and will again be held at the Coombe Abbey Hotel and Country Park in Warwickshire. The seminar programme will take place on 7 March, following the institute’s annual meeting and a networking dinner the previous day.

ISCE’s secretariat manager Ros Wigmore said: “We aim to build on the success of this year’s seminar programme, including a seminar by Dr Gillian Rollason from Action On Hearing Loss discussing the merits of zonal multi-volume audio solutions in hospitality and restaurant applications, to assist those living with hearing impairments.”

This year’s seminar programme, which was on 8 March, opened with a presentation by Alberto Fueyo, acoustic engineer at AMS Acoustics, highlighting the technical considerations required when designing PA/ VA sound systems with digital amplifiers. And in particular the expected maximum sound pressure levels compared to those traditionally experienced with analogue amplifiers.

The second presentation, by Dr Peter Mapp, required the drafting of additional seating for an enlarged audience and encouraged lots of participation. Dr Mapp demonstrated the acoustic side effects of ultrasonic PA system monitoring.

There was also a 32-stand exhibition running alongside the seminar programme.

Ros Wigmore continued: “With more than 30 exhibitors at ISCEx this year, we saw an increased number of visitors attending as a consequence. ISCEx remains a very personal event and lends itself to creating a very intimate and informal environment.

“Throughout the day discussions took place between visitors and exhibitors in and around the exhibition room and throughout the hotel and grounds in various relaxed seating areas.

“The feedback for ISCEx this year has been really positive and we’re already looking forward to ISCEx 2018 next year.” q

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Preserving the past and fostering future talent [

ARTS, CULTURE AND HERITAGE regeneration projects aim to enhance the social value in different regions of the UK in varying forms.

We are also reminded of the common ethos of funding and historic building restoration which is to preserve and make accessible the heritage which is around us.

Iconic cultural buildings can contribute to the economic, and also the cultural and social regeneration of an area, reasserting the cultural heritage and sense of place whilst protecting, preserving and making accessible the building being restored.

Specialists in creative acoustics and theatrical design for architecture, music and theatre, Sound Space Vision (SSV) have two such heritage buildings in their current portfolio. Originally dating from the 17th and 18th centuries both buildings embody the message of preserving the past to embrace future capabilities. Due to open in 2018, both combine arts and education to foster emerging talent, expand learning programmes and involve the public more.

The Royal Academy of Arts The Royal Academy of Arts, built in 1768, is an iconic heritage group of buildings located on London’s Piccadilly and Burlington Gardens.

A number of disparate buildings and rooms are being rebuilt and renovated and, significantly, joined for the first time. The linking of the historic buildings provides not only a physical connection but also a

Nevill Holt Opera – courtesy of Witherford Watson Mann Architects psychological transformation, where new spaces for public interaction and expanded learning programmes will reach out to new audiences.

As part of the project, the former lecture theatre is undergoing a major refurbishment. This will provide a chamber in which to continue the Royal Academy’s heritage of rigorous and lively debate between academicians as well as hosting visiting events, lectures with film, live streaming of events, corporate gatherings, recitals and chamber concerts. There will be a reconstruction of the seating and platform area and the introduction of new technical systems.

As part of the refurbishment, the lecture theatre will benefit from SSV’s expertise in acoustics and theatre planning, creatively designing the right conditions for good speech intelligibility, sound quality and all round participant experience. They will be subtly fitting-out and equipping the space to support production lighting and audio-visual facilities for the Royal Academy’s daily events as well as others that evolve with the life of the building.

Nevill Holt Opera

The Royal Academy of Arts – courtesy of David Chipperfield Architects

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Since purchasing Nevill Holt Hall, its owner has been presenting opera in a temporary structure on the estate for a decade. The installation of a permanent 400-seat theatre within the property’s Grade II * listed 17th century stable courtyard has now been commissioned which will allow the Nevill Holt Opera Company to continue nurturing the finest operatic talent and young emerging artists in the UK. The performance space has been designed with SSV’s acoustics and technical improvements to support a much wider repertoire, engage and enhance the voices of young opera singers, as well as improving facilities and comfort for both performers and audience. The Nevill Holt Opera Festival, which will be held in the restored buildings, is a celebration of, and investment in, young British talent – opening up its doors, literally and metaphorically, to new and wider audiences. q

Oxfordshire church gets inconspicuous projection system and audio upgrade [ THE PARISH CHURCH of

Saint Leonard Watlington in South Oxfordshire recently approached church sound and projection specialists, APi Communications, to design and install a new projection system. The initial approach was from their architect, who is a church member.

The brief was to design a system that was inconspicuous, and so APi chose to mount a winch-down projection screen that parks along the east front crossbeam of the church, above the nave. The projector was mounted high at the west end of the nave, behind the congregation.

During the installation APi also upgraded the church’s audio system. They utilised a Mackie WiFi mixer controlled from an iPad, so that all audio equipment is located within the vestry and secure behind locked doors.

The Churchwarden at St Leonard’s is pictured using the mixer via the iPad. q • For further information visit the website at www.churchsoundsystems.co.

NT recreates 16th-century Mass [ AN AUDIO ILLUSION that brings to life the sounds of a Tudor

Lady Mass has been unveiled at The Vyne – the former Tudor country house being restored by the National Trust – as Henry VIII would have heard it almost 500 years ago. A unique soundscape being created immerses listeners in the prayers, chants and even movements of choristers and clergy.

It is the first time a soundscape of the Lady Mass has been created as it would have been heard in the 16th century and features Nicholas Ludford’s elaborate polyphonic music for boys’ voices.

General manager Stuart Maughan explained: “Whilst our first floor is closed to protect it from the roof’s intensive building works, we wanted to give our visitors a really thought-provoking new experience. We’ve worked with leading academic experts in medieval liturgy, music and early modern history to breathe life back into this momentous period in The Vyne’s history.”

Dr Lucy Kaufman from Keble College, Oxford, has advised on the project and scholars from Keble (pictured) recorded the choral music for the project. q www.ecclesiasticalandheritageworld.co.uk

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An AV trip to the Dark Side of the Moon [ A SPECTACULAR audio-visual presentation is

currently running at the Victoria and Albert Museum, bringing to life the 50-year history of iconic rock band Pink Floyd. The Pink Floyd Exhibition: Their Mortal Remains, which opened on 13 May and runs until October, was years in the making and marks the 50th anniversary of the band’s first album, The Piper At The Gates Of Dawn, and debut single, Arnold Layne.

The exhibition features many previously unseen objects collected over the band’s eclectic history. It begins with an oversized recreation of the Bedford van which took them from gig to gig in the mid-60s.

The scale and ambition of Pink Floyd’s imagery and live performances are encapsulated by several interactive, floor-to-ceiling installations by Stufish, including a massive representation of The Wall stage set, with the giant inflatable schoolteacher looming into the vaulted ceiling.

Visual trickery is adopted to create a parallax of Battersea Power Station, complete with towering chimneys, which featured on the cover of the Animals album, and a pitch-black space containing a holographic image brings to life The Dark Side Of The Moon’s famous prism.

The exhibition draws together many unique artefacts illustrating Pink Floyd’s relationship with music, art, design, technology and performance from every stage of their career and personal lives.

Several of David Gilmour’s guitars – including his famous black Strat – are exhibited, alongside Richard Wright’s early-70s Mini Moog synthesiser and a treasure trove of effects pedals, handpainted drum heads, echo chambers and more.

© Pink Floyd Music Ltd. Meanwhile, three purpose-built mixing desks allow visitors to ‘mix’ their own customised version of the classic Floyd song Money.

The flow of the exhibition, in chronological order, is enhanced by music and by the voices of past and present members of Pink Floyd, including David Gilmour, Nick Mason, Roger Waters and the late Richard Wright explaining their experiences and musical experimentation via Sennheiser’s intuitive GuidePORT system.

This culminates in the Performance Zone, where visitors enter an immersive audio visual space which includes the recreation of the very last performance of all four members of the band at Live 8. q

Rosslyn joins the digital world [ THE RENOWNED STONEWORK at the world-famous Rosslyn

Chapel in Midlothian can now be appreciated all over the world thanks to a new app launched at the chapel.

The app has been developed for the Rosslyn Chapel Trust by the Centre for Digital Documentation and Visualisation (CDDV) – a partnership between specialists at Historic Environment Scotland and experts in 3D visualisation at the School of Simulation and Visualisation at the Glasgow School of Art (GSA).

Since 2008 the team has been digitally documenting the interior and exterior of the chapel and its grounds using laser scanning technology. The results have been used to create unique features in the app, such as animations showing how the medieval chapel was constructed, a virtual tour and a 360-degree panoramic tour.

Ian Gardner, director of the Rosslyn Chapel Trust, said: “Rosslyn Chapel is known throughout the world for its unique architecture and ornate stonework and we hope that this app will introduce the chapel to new audiences in an innovative way and inspire future generations of visitors.”

The 15th-century chapel is one of Scotland’s most remarkable historic buildings.

Although open to the public it

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remains in the ownership of the Earls of Rosslyn and is still a place of worship for the family. Many myths and stories have grown up around the chapel and it was featured in the best-selling novel and film The da Vinci Code.

Alastair Rawlinson, head of data acquisition in the School of Simulation and Visualisation at the GSA and project manager at CDDV, added: “We have undertaken 3D laser scanning at Rosslyn Chapel over the course of several years, and our skilled team has been able to apply cutting-edge digital gaming technologies to transform these laser scans and other 3D data into a rich interactive and explorable experience.”

The new app can be downloaded from the App Store for £1.99. q

Church conversion wins RICS Award [

THE Royal Institution of Chartered Surveyors (RICS) Building Conservation Award for the East of England has been won by the Churches Conservation Trust (CCT) for its project Quay Place in Ipswich.

The Grade II*-listed Church of St Mary-at-the-Quay opened to the public as Quay Place last November, revealing the result of a £5.1m scheme that has been eight years in the making.

The project came about through a groundbreaking partnership between CCT and Suffolk Mind. It saw the rescue of the ‘at risk’ medieval church and its transformation into a unique heritage and wellbeing centre.

CCT’s regional director Peter Aiers said: “We are delighted that all the hard work of the team over 10 years has been recognised by the award. This innovative partnership between a conservation charity and a mental health charity has created a space of great beauty and usefulness for Ipswich and beyond.

We especially thank the Heritage Lottery Fund and all our other John Neal (second left) and Peter Aiers pictured with (left) Matthew Howell, supporters who believed in our vision at Quay Place.”

RICS managing director for UK & Ireland, and Melissa Porter, TV presenter Jon Neal, chief executive of Suffolk Mind, added: “We’re and property developer absolutely thrilled to have won this award – particularly as it acknowledges the passion, dedication and skills of the people who worked on both the design and the construction and renovation “This award recognises the beautiful building that we’re incredibly of Quay Place over many years. proud of and that helps us deliver our services and provides an “At Suffolk Mind we believe that all of us have mental health and uplifting place for people to meet, discover something new or connect we’re all on a continuum, with stress as the crossover point from with themselves and others.” wellbeing to mental ill-health. Quay Place is an important part of our The RICS Building Conservation Award honours excellent work in mission to make Suffolk the best place in the world for talking about the conservation of buildings or structures and covers renovation or and taking care of mental health. conservation to a new or original use. q

Former chapel converts to RC in Cardiff [ ANOTHER FORMER CHURCH building to win a RICS regional

award is Cornerstones in Cardiff. A former Ebenezer Chapel, the building has been restored and transformed into a multi-use facility for the Roman Catholic Archdiocese of Cardiff and the Metropolitan Cathedral of St David. It is now a conference, events and meetings centre with its own restaurant.

The project was named winner in the Building Conservation category of the RICS Wales awards and has provided a ‘much-needed stimulus’ in the heart of the city.

According to the citation: “The philosophy of the project was to create a new community facility using as much of the original chapel materials as possible, giving it back to the people of Cardiff whilst saving a prominent historic building from decay.”

The judges said that the major achievement is that an alternative use has been found for a traditional Welsh chapel which would have otherwise fallen to an unsympathetic commercial use. q www.ecclesiasticalandheritageworld.co.uk

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AERIAL SURVEYS

ANTIQUE FURNITURE RESTORATION

BAFRA

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ARBORICULTURAL CONSULTANTS

ARCHIVE STORAGE BOXES

BOOK & PAPER CONSERVATION

BUILDING CONSERVATION & RESTORATION

BELLS

BUILDING SERVICES

CARVERS & LETTERCUTTERS

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CLOCKS MASTER CARVERS ASSOCIATION

DAMP SPECIALISTS

CHURCH HEATING & INSULATION

DISABLED ACCESS

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DISASTER RECOVERY

HYMNODY

ENVIRONMENTAL MONITORING

JOINERY

EXHUMATION SERVICES

FIREPLACES

FURNITURE

LANDSCAPING

GILDERS

LEADED LIGHTS

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LEADWORK

LCA

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LECTERNS

LIGHTING & SOUND

LIME & LIME PLASTERERS

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METALWORK

ORGANS

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PAINTERS

PICTURE FRAMING

RAINWATER SYSTEMS PAINTING CONSERVATION

PAINT STRIPPERS

ROOFING

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SOUND & AUDIO VISUAL SYSTEMS FTMRC

ROOF TILES

SASH WINDOWS

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ISCE

STAINED GLASS

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TERRACOTTA & FAIENCE

TRAINING STEEPLEJACKS

TRANSPORT & STORAGE

STONE & STONE SUPPLY

TESTING & CONSULTANCY

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