Ecclesiastical & Heritage World Issue 76 by DMMonline

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COVER STORY

CONTENTS Church heating specialist spans the Midlands The cover of this issue features the Parish Church of St John the Baptist in Somersham, Leicestershire. The Grade One-listed building requires sensitive treatment when any refurbishment work is done. Such was the case when a new heating system was needed. The old system – powered by a rusty boiler housed in a basement – had had its day. A modern system was installed by church heating experts Mellor and Mottram. The company will be on hand to advise on church heating at CRE in Sandown in October on stand S102.

Read the full story on page 7

5 Reflections

CHRISTIAN RESOURCES EXHIBITION 9 CRE: Sandown beckons for another return match 11 A bank for good 12 St George’s tames the dragon of poor sound 13 Manchester is next stop for CRE juggernaut 14 New sound system ticks all the boxes 15 Discussion and music accompany resource showcase 15 The ‘family GP’ for your church 16 The non-invasive system that’s at the Core of damp treatment 17 The complete discreet AV solution 18 Your AV cabinet can be Beauty – not The Beast 19 CRE is a Who’s Who? of Christian celebrities

NEWS 21 Historic mill site opens to the public 21 Bell-ringers urged to sign up for Armistice Day 23 Dry weather reveals hidden details of the past 23 River gives up its Pictish treasure LEAD 24 25 25 26

New edition allows for rebranding of Lead Sheet Manual LSTA confirmed as CITB provider of new SAPs Warden landed with legal bill following unauthorised roof repair BLM British Lead introduces technical support service

ROOFING 27 Heritage projects scoop another clutch of Roofing Awards 27 Next generation get a taste of heritage roofwork 29 Helping heritage clay roofs meet modern standards 31 Britain’s oldest brewery benefits from aluminium rainwater systems

STAINED GLASS 44 Glass lights the way in both worship and home life 44 New windows adorn 17th-century house 44 Windows light the way to Queen’s Jubilee Galleries 45 Manchester turns to its own for stained glass replacement

FIRE SAFETY & PREVENTION 32 Fire! The word that makes the blood run cold 32 Fire safety rules must be followed 33 Advanced launches brochure for fire protection in historic sites 35 Devastating blazes show the importance of fire prevention

SOUND AND AV SYSTEMS 46 New system graces Memorial Chapel 47 Sound Space Vision delivers artful solutions to the Royal Academy of Arts’ historic transformation

PROJECTS 36 Work goes on to restore first ‘skyscraper’ 36 Local firm take on window restoration 37 ‘Brick Tax’ leads to a tricky brief 38 Reordering creates brand new church INSULATION 39 Icynene spray foam insulation for vaulted church roof restoration DRONES 40 Now, building surveys don’t have to be done on a wing and a prayer 40 Survey shots help with promotion 40 Looking good from above 41 Safe and cost effective visual inspection at height LIGHTING 43 Churches demand dynamic lighting – and this company can oblige

BRICKS 48 Traditional bricks and tiles add to award-winner’s attraction TRAINING 49 Heritage insurer supports craft skills training 49 Craftworkers strike gold on board ship OAST HOUSES 50 How 70 years of oast cowl restoration has made this Kent company kings of their castle IRONWORK & METALWORK 51 Corrosion treatment is a sign of the times 53 Ironwork festival bathes in glory 53 Why must we always go back to black? LIGHTNING PROTECTION 54 Heatwave brings lightning strikes 54 New regulations mark change of emphasis on surge protection CHURCH & HERITAGE SUPPLIES 56 Classified Section

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

2DRR

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THE HOTTEST SUMMER since 1976 has been the talk of the media since the sun peeped out from behind the clouds in July. While the population at large has been enjoying the sunshine and firefighters have been battling moorland conflagrations, the heritage community has been marvelling at the evidence the dry ground has been yielding up of long-lost landscapes and accompanying evidence of human activity. Historic England has a squadron of ‘flying archaeologists’ that have been delighted with the huge amount of detail the earth has displayed with the shrinking of the ground as it dries. Let’s hope there’s some more next year. • Firefighters in Belfast were battling another conflagration on 29 August. The huge fire that engulfed the Banks Buildings sparked fears that the whole building could collapse. The current building dates from the early 20th century and stands on the site of an earlier, arguably more significant edifice – witness to decades of turmoil and even executions. Fire in any building is the stuff of nightmares. When that building is of historic significance we all feel the loss. In a special feature on fire, we have hopefully provided some tips on the precautions to take. • The heatwave eventually came to an end, of course, with a rash of thunderstorms, one of which resulted in the lighthouse at Old Hunstanton being struck by lightning. Lighthouses are just one of the types of building that offer challenges to surveyors needing to record and inspect ancient buildings. Now, that work can be carried out using an unmanned aerial vehicle – a drone to you and me. Applications include church towers and even the undersides of bridges. One bridge that benefitted from being surveyed by drone was the Marple Aqueduct in Cheshire. It is a marvellous vestige of the technology of industrial revolution, and a reminder of the crucial part played by the canals in Britain’s industrial development. • Unfortunately, industrial heritage sites are more at risk than any sort of historic building and Greater Manchester is losing its mills at an alarming rate, according to research by the University of Salford that we reported on in February. Just a stone’s throw away from Marple, in Styal, is Quarry Bank Mill, the largest and best-preserved example of a complete community from the industrial revolution. Following a major refurbishment project by the National Trust, the mill complex has now reopened to the public. • The craft skills needed to carry out projects such as that at Quarry Bank have been in decline for a number of years. While that decline persists, alongside that of other building skills, there is an awareness that a brake must be applied. One august body helping to arrest that decline is The Prince’s Foundation. The efforts of HRH have been boosted by a £225,000 funding package from insurance company Ecclesiastical. • Craft skills and specialist products are among the wares on show at the annual Christian Resources Exhibition in Sandown. One specialist company that has been a constant presence at CRE is heating installers Mellor and Mottram. Attending the exhibition has to fit into a hectic schedule of installations at churches around the country, such as the 13th-century Church of St John the Baptist in Somersham, featured on our front cover. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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COVER STORY

Church heating specialist spans the Midlands [

THE Parish Church of St John the Baptist in the village of Somersham, near Huntingdon, stands on a site which is thought to have been used for Christian worship since the second half of the 7th century. The current building itself dates from the latter part of the 13th century and was probably built by one of the bishops who lived in the Bishops Palace, which was sited only a few hundred yards from where the church now stands but has sadly disappeared. The parish is part of the Benefice of Somersham, Pidley-cum-Fenton, Woodhurst and Old Hurst, and St John’s is the largest of the four churches in the Benefice. Earlier this year the heating system in the church was completely upgraded by Stoke-on-Trent church heating specialists Mellor and Mottram. The previous system was over 20 years old and had become very inefficient and costly to maintain. In a news article the church noted that in 2016 it had cost over £2,000 to have the boiler serviced for the following winter. The article says of the old boiler: “It is housed in a submerged pit which is very damp at some times of the year and the boiler has become very rusty, both on the outside and internally. There is concern that when it is serviced it may be condemned.” The task of replacing the system at Somersham was no easy one and required the specialist expertise of Mellor and Mottram, who have been installing heating systems in ancient churches for over 30 years. St John’s is Grade One-listed and its PCC invested a great deal of time in planning the new system, which cost around £66,500. The funding for the project came from a variety of sources, including using part of a large legacy left to the church some years ago. The PCC also secured a grant from WREN – the not-for-profit business that awards grants for community, biodiversity and heritage projects from funds donated by FCC Environment through the Landfill Communities Fund. The new system installed by Mellor and Mottram comprises two Remeha Quinta Pro gas-fired boilers feeding new high-efficiency radiators, together with a number of Dunham-Bush fan convectors in various areas of the church. New piping was installed and the gas supply and meter were upgraded. The new wall-mounted boilers are located in the North Porch of the church, rather than in a basement, and there are now radiators in the Sanctuary, where previously there was no heating. The heating is controlled by the company’s churchwarden system – a wireless-based system that can be operated by either PC or smart phone. The project in Somersham was completed in early summer. Two further church projects are due to commence for the Stoke company in September. One is very much on their doorstep, at Trentham.

Jaga Mini radiators are to be fitted at St Mary and All Saints, Trentham

The new heating system at St John’s in Somersham comprises two Remeha Quinta Pro gas-fired boilers The Parish Church of Trentham is located on the edge of the famous Trentham Gardens and Trentham Estate. Once a magnificent country estate and seat of the Dukes of Sutherland, Trentham is now a major tourist attraction, just south of Stoke-on-Trent, based around a Capability Brown lake and a newly-created Italian Garden. The Parish Church of St Mary and All Saints faces the Italian Garden. The present church was built in the 1840s by the Duke of Sutherland, on the site of a previous priory church. Local legend has it that a priory was established by St Werburgh, but that story is unlikely. The earliest documented evidence of a priory is that established by Ranulph de Gernon, Earl of Chester, in the mid-12th century. Following the installation of a new Remeha boiler in the church last year, there were found to be major problems with the pipework, so new radiators and convectors are being installed by Mellor and Mottram. The new boiler will now be feeding Jaga Mini radiators – small units designed to fit under glazed areas. The system will be split into two zones: the church itself and the church centre. A number of DunhamBush convector heaters will also be connected into the system. Also in September, Mellor and Mottram will be starting work on a new system for the Methodist Church at Woodhouse Eaves near Loughborough. Apart from the two projects due to start in the autumn, Mellor and Mottram will be making their customary appearance at the Christian Resources Exhibition in Sandown from 16-18 October. Company director Stuart Mottram has been a regular exhibitor at the show for many years and will be showcasing what the company can provide for churches of all denominations at Stand S102. A comprehensive run-down of the full spectrum of events at this year’s CRE, together with a taste of the goods and services that will be on show, can be found on the following pages. q www.ecclesiasticalandheritageworld.co.uk

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CRE: Sandown beckons for another return match [BARELY A MONTH from now – from 16-

18 October – Sandown Park racecourse will once more be hosting the revitalised Christian Resources Exhibition. The event will mark a year since the show’s new owners Steve and Allison Goddard brought the show back to the venue following a brief flirtation with the capital in the form of ExCeL. Believing Sandown to be CRE’s ‘spiritual home’, the new team pulled off a triumph last year with the show’s return. This year they are promising to repeat the feat. CRE is a one-stop shop for thousands of church leaders and members. More than two in every three visitors either influence or make the final decision when choosing products or services for their church, or which charities to support. The essence of CRE is that it recognises that spreading the word involves a complex organisational and administrative apparatus, as well as a commitment to the Christian faith. The building itself has to be maintained, upgraded and sometimes modernised to reflect changes in legislation and fashion. Hence, modern heating systems need to reflect the fact that congregations will no longer tolerate a cold building on a cold December day. They also need to keep pace with changes in environmental ratings. CRE offers a view of the latest in environmentally-friendly building services of all kinds. Even the humble kitchen has to cut the mustard with food hygiene and environmental regulations, and a range of specialist services can also be found at CRE. When it comes to delivering praise, where once the organ was the sole source of music, these days the latest in digitalised worship is the norm in most churches. At CRE you’ll even find out who the best acts are to jazz up your worship! In fact, for those who provide church-orientated products or services – from stained glass to sound systems; cassocks to conference venues; bibles to bespoke heating systems – CRE is a unique opportunity to meet a specialised and highly-motivated

market. And with so many ordained and lay leaders visiting every exhibition, they will be influencing the influencers. That’s another secret of CRE. As sales director Carol Malpass explains: “CRE is not just a conference with an exhibition attached. At CRE, the exhibition is the main attraction. You are the star!” q

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ADVERTISEMENT FEATURE

Image: Bethel Church © Charity Bank

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churches and charitable organisations, and that their ethics are aligned with ours. High street banks tend to have different values and financial goals that aren’t necessarily in the interest of charities. “I really loved working with the team at Charity Bank and every single person we dealt with was simply perfect. Our main contact, Lisa Gilbert, was more than a lender; she was also a friend. She was so patient and explained everything we needed to do very clearly. It made the whole process so much easier.

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“We were so happy with our experience with Charity Bank that we also decided to switch over our savings account. The rates were much better than we already had and, again, the team made everything simple. Charity Bank has a customer service that is really unique and is understanding of the charity experience.” www.ecclesiasticalandheritageworld.co.uk

St George’s tames the dragon of poor sound

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ST GEORGE’S CATHEDRAL in London, seat of the Roman Catholic Archbishop of Southwark, was built in 1848. Badly damaged during the Blitz of 1941, it was restored and reconsecrated in the following decade. The high, vaulted ceilings, numerous pillars, large leaded windows and expanses of smooth stonework, all present challenges to effective sound reinforcement. Appointed in 2015, one of the first jobs for the new Cathedral Dean Canon Richard Hearn - was to get to know his congregation and through this he learned of the difficulties people had in hearing services clearly. Thanks to their long experience of quality house of worship AV installations, Cunnings Recording Associates were recommended to Canon Richard as being able to help. “The cathedral had an ageing sound reinforcement system, but it had never been properly commissioned,” said the company’s Daniel Cunnings.

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“No delays or equalisation had been set up for any of the loudspeakers, meaning speech intelligibility was poor. As well as services, the cathedral also hosts a range of other events but the existing system was not easy to operate, so another intention behind the upgrade was to allow them to use their audio facilities to their fullest extent.” The cathedral commissioned a two-stage upgrade, the first being to quickly and radically improve the sound quality for the spoken word. This meant replacing the existing audio processors and programming the right amount of equalisation and delay for each output. "The cathedral wanted the system to be as simple as possible to operate, so the use of automatic microphone mixing was essential,” said Daniel. The second stage of the project has recently been completed with new speakers and amplifiers to further improve the sound, and new wireless microphones to avoid unwanted interference. There are 25 loudspeaker locations throughout the cathedral covering the congregation, day chapel, choir, clergy and organist which have been replaced with aesthetically pleasing column loudspeakers to better control the sound and reduce reverberations. A touchscreen control panel in the sacristy allows microphone levels to be individually adjusted as necessary although, for most services, the system is left to operate automatically. One button is also programmed to allow clergy to recall the system back to its standard settings. A wireless iPad control app allows comprehensive control of the system and eliminates the need for an analogue mixing console, which previously had to be brought in for music events and recitals. "Canon Richard is very happy that the whole congregation can now hear the services clearly,” said Daniel, “and we have been pleased to help take St George’s into a new era.” q

Manchester is next stop for CRE juggernaut [

CRE IS NOW in its 34th year and the plan for the future is to build on the experience of the past, yet present fresh ideas, products, suppliers and resources to thousands of church leaders, both lay and ordained. The show was the brainchild of Gospatrick and Diana Home in 1985. Originally staged at the Royal Agricultural Halls, the exhibition moved to Sandown Park in Esher and grew quickly to become the largest annual event of its kind in Europe. Expansion saw a series of regional exhibitions in cities like Manchester, Birmingham, Exeter, Glasgow and Belfast. In 2006 Gospatric Home sold CRE to the Bible Society. After a decade of hosting the show, the society decided to focus on core ministries and find a new owner for the exhibition. Stephen Goddard, the event’s media consultant for more than 25 years, took over the reins with his wife Allison, contracting a team of highly-experienced staff. More than 30 years after the show first set foot on Esher’s hallowed turf at Sandown Park – and after listening to dozens of valued exhibitors – the show returned there last year for a sell-out experience, opened by Irish Eurovision sensation Dana. In a reprise of that appearance, Dana is set to open the first in a resurrected series of regional shows – to be staged at Manchester’s Event City on 13-14 March next year. Located next door to the colossal Trafford Centre, Event City offers a purpose-built venue, excellent transport links, easy vehicle

access and thousands of free parking spaces. For those reasons, almost 200 exhibitors at CRE 2017 voted overwhelmingly to return to the North West. Already welcomed to the area by the Bishop of Manchester, Rt Rev Dr David Walker, CRE North 2019 will attract visitors from as far afield as Cumbria, Birmingham, Leeds, Sheffield, Liverpool and North Wales. Previous exhibitions in Manchester have attracted more than 2,500 visitors, and after a five-year absence, the twoday exhibition is eagerly anticipated. As well as creating a place to meet church leaders and key decision-makers in the North West, CRE also provides a great context for networking and creative thinking with other organisations. q

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New sound system ticks all the boxes [

ONE OF THE COUNTRY’S leading designers and installers of audio-visual equipment is APi Communications. One church to benefit from APi’s expertise is St Mark’s in Exeter, for whom the company designed and installed an upgrade to their sound system. APi returned to St Marks to find out the benefits of having a new system.

Why did you decide to upgrade your current sound system? Our previous system was over 30 years old and becoming increasingly unreliable. It also wasn't flexible enough for our current needs: for instance, we sometimes use a laptop to play backing hymns or worship tunes and the old system couldn’t handle that. Similarly, our young people regularly form a worship band and again the old system couldn’t handle that.

Can you tell us how the sound compares to the old speakers? It’s much clearer and somewhat louder than the system it replaced; and this is from sound produced by two larger speakers rather than eight small ones [APi Communications installed two compact FBT line array speakers].

How does the Mackie iPad-controlled mixer compare to your old mixer? Much smaller! And rather less prone to being played with. Our old mixer was at the back of the church, so anybody could play with it – and many three-year-olds frequently did! With an iPad, physical access can be restricted as it's usually locked away or in the hands of a user. Access is also restricted by the use of a passcode to get onto the system. There appears to be a lot of sliders and controls, but once it’s set up to your

specifications – for instance, for a particular service – settings can be recalled fairly easily.

What are the benefits of using an iPad to control the mixer? Being portable, it can be kept with you during a service. Nobody has to stand beside the mixer during the service, as previously occurred, so it's a lot easier to respond to things as the service unfolds. One can mute particular channels or boost the sound as required.

How did you find the process from quote to installation with APi Communications? Very easy: Andy came and appraised the situation, producing a quote based on what was felt to be required, plus a number of additional items that St Mark’s PCC felt were necessary. The PCC agreed the quote and then an installation date was agreed. It took place over the same time period as interviews for our new vicar, but APi were able to work around that. It took two days; the system was installed and we were able to use it almost straight away – although we had some more specific training at a later date.

Are users more confident using the new system than the old one? Yes; there’s much less of a sense of ‘if I do this, I wonder what will happen’. And because access to the iPad is rather more restricted, it is much less likely that anybody else will have played with it. q

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Discussion and music accompany resource showcase [ALTHOUGH THE EXHIBITION of resources is the central plank of CRE, visitors can learn a great deal to help deliver the message at their own church from the series of seminars and meetings that take place daily at the show. All three days of the show see a full programme of events at five meeting rooms. They begin with a look at Empowering and Enabling Seniors by Louise Morse from the Pilgrim’s Friend Society. It is the first of a number of presentations dealing with the role of older people in the church – and vice versa! Later in the day, Making the most of your years after work, by Peter Meadows and Dave Fenton of AfterWorkNet, helps to discover key ways to ensure people flourish after the gold watch. The theme goes a stage further the following day with A Messy Vintage: The gift of years by Alex Burns of BRF. Alex’s presentation deals with understanding spirituality in older people and the way churches can come alongside those living with dementia and their carers. A special feature of Tuesday afternoon’s programme will be a presentation of a new research project exploring the opinions of

Christian millennials in significant leadership positions. Millennials in leadership will be presented by Simon Barrington of Forge Leadership Consultancy, in association with Bible Society and Redcliffe College. Google grants and digital technology for evangelism is the theme of a talk by Rev Jon Turner of Christian Vision, while coping with the issues of a digital world are also addressed on Wednesday, when Dave Carlos presents Cyber security and digital safety in your church. Dave shows how to protect equipment, ministry and money in today’s digital age in an introduction for non-geeks! The whole experience of CRE is capped off by a full programme of entertainment at Cindy’s Bar. They include Ministry of Music, who provide quality Christian artists for church events. “School missions, worship services, youth outreach, café churches, conferences, festivals and training workshops and seminars – we do the lot!” said founder Mike Maidment. Mike will be joined in providing music at the show by slide guitar virtuoso Bryn Haworth (pictured), who developed his ministry by playing in prisons. Bryn will be in concert on 17 October at 3pm. q

The ‘family GP’ for your church [UNDER THE Inspection of Churches

Measure 1955, as amended by the Care of Churches and Ecclesiastical Jurisdiction Measure 1991, all consecrated buildings of the Church of England must by law be inspected once in every five years by a registered architect or chartered building surveyor – the Quinquennial Inspector (QI) – who is approved by the Diocesan Advisory Committee. Most other denominations and many secular organisations which are responsible for historic buildings now adopt a similar approach to inspections. Surrey-based chartered surveyors Chawton Hill Associates summarise ChurchCare’s guide on selecting a QI as follows: • The professional should be suitably qualified and whose training, accreditation and experience in buildings conservation corresponds with the complexity and significance of the church building • If your church is listed (Grade 1 or 2) or classified by the Church Buildings Council as a Major Church, the QI should have demonstrable experience of work with buildings of that listing grade • The person should take time to understand the needs and vision of the parish • Any potential QI should be invited to visit

the church and meet members of the PCC or fabric sub-committee before appointment • Inviting three candidates to review is good procurement practice • You should check the value of the QI’s professional indemnity insurance, bearing in mind that £250,000 for each claim is a good minimum • Check the QI’s report format covers the repair of the building, maintenance, sustainability, safety of the structure, unsafe floors and access • Where issues are identiﬁed check that these will be graded according to the urgency of the repair: A – urgent, requiring immediate attention B – requires attention within 12 months

C – requires attention within the next 18 to C – 24 months D – requires attention within the D – quinquennial period E – a desirable improvement with no E – timescale M – routine items of maintenance Chawton Hill Associates will be attending this year’s CRE show at Sandown Park in Surrey – Stand S108 (just follow the signs towards Cindy’s Bar at the opposite end of the hall from the main entrance) where you will find information on their extensive ecclesiastical experience and details of their Quinquennial Inspection Report ‘CRE Show’ special offer. q

• For further information visit the website at www.chawtonhill.com/quinquennialinspection-reports www.ecclesiasticalandheritageworld.co.uk

The non-invasive system that’s at the Core of damp treatment

[BELMONT ABBEY, just outside Hereford, is a Roman Catholic

Benedictine monastery which also serves as a parish church for the local community. The abbey church is a Grade Two*-listed building dating from 1860. It was designed by Edward Welby Pugin, son of the celebrated architect Augustus Welby Pugin, and is noted for the quality of its sculpture and stained glass. As with many buildings of it age, the abbey had various dampness problems that required constant attention – rising, or structural, damp being just one of them. Specialist damp treatment company Core Conservation were engaged to survey the building and proposed the Aquapol noninvasive system. The company’s experts undertook a detailed dampness survey of the building complex. That included all the administrative buildings, the lodge, the cloister, the sacristy and the abbey church – together covering an area of approximately 45m by 110m, about 4,000m2 in total. The church has walls over one metre thick.

Proposed solution For the structural dehydration of the walls, in addition to some repair work, the firm proposed the non-invasive Aquapol building dehydration system and damp-proof course. The system is ideal for listed buildings as it is building-friendly, reversible and non-invasive. It looks like a lampshade and can be suspended from a ceiling or hidden in a loft. Its working principle is simple: the system outputs tiny pulses that penetrate the surrounding walls, similar to a wi-fi router. The small pulses decrease the capillary attraction – the adhesion forces – between the wall surface and water molecules. Once capillary adhesion decreases, gravity wins. The fine balance of capillarity/gravity is destabilised, the water column starts shifting back into the ground under its own weight and the walls dry out. The system is permanently kept on the premises as it will act as a ‘wireless’ damp-proof course, preventing the water molecules from rebonding to the wall surface and keeping the building permanently free of rising damp. The pulses the system uses are tiny and so harmless to health or any living organism.

Dampness measurements (left) and the device being installed

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Due to the size of the building complex at Belmont Abbey, two large commercial systems were needed to cover the full area. The fact that more than one dehydration system was required allowed for an interesting scientific experiment. Core Conservation installed one Aquapol system only and took comparative readings between areas within and outside its range. Areas near to the dehydration system should dry out, while areas outside of its range should stay damp; and that should reflect in the measurements.

Measurement methodology Following the installation of one system covering approximately half of the building complex, the Core Conservation technical team performed regular follow-up moisture checks. The dehydration progress has been monitored with the gravimetric method – wall core measurements based on weight. That particular measurement protocol is described by Historic England in its handbook Practical Building Conservation: Mortars, Renders and Plasters thus: “Gravimetric analysis of a drilled sample is the most accurate of the analytical methods, and it is therefore used for calibrating other forms of measurements.” After the installation of the Aquapol system in May last year, regular moisture measurements have been taken at approximately 3-4 month intervals – in September, February and the following May. The overall dehydration progress is summarised in the chart (above). It can be seen that the moisture content of the check points shown on the left (oratory, cloister, kitchen, mailroom) have steadily decreased from around 10% absolute moisture content to air-dry equilibrium values of 1-2%. On the other hand, check points further away from the dehydration system (in the church) had a seasonal variation and the results were much less pronounced. Based on those results, half of the building complex can be considered dry. The moisture content of the walls within the range of the dehydration system has decreased on average by 68%. All individual measurement points have decreased, without exception – some of them significantly. In comparison, areas not covered by the Aquapol system have only decreased on average by 2%, with some points becoming drier while other points became damper. Similar results were experienced in the cellar. According to Brother Peter, the monk in charge of the building, the cellar area near to the Aquapol system has also dried out considerably – from being ‘mainly wet’ to ‘mainly dry’ except during heavy periods of rain, after which it dries out quickly. The abbey has been very pleased with the results as the Aquapol system provides them with a longterm solution for the problem of rising damp – and does it in a non-invasive, building-friendly way. q • For further information visit the Core Conservation website at www.coreconservation.co.uk or call 0131 661 9068 / 0750 746 8303. Visit them at CRE Sandown Stand S119.

The complete discreet AV solution

[CREATIVE AUDIO-VISUAL SOLUTIONS

(CAVS) are a dedicated church audio and visual supplier working throughout the UK. CAVS were recently commissioned to install a new audio and visual system into the Parish Church of St James in Trowbridge. The brief was to ensure that all the new equipment fitted seamlessly into the environment whilst providing the latest technologies for full range worship and advanced multimedia display. The visual system consist of three discreet winched projection screens which hide behind the arches when not in use. These utilise 7,500 and 5,000 lumens projectors for the highest image quality across all sources – from words, to pictures and video. An HD motorised camera was installed allowing close-ups of activities to be projected

as well as providing the means to record and stream services online. Flexible HDMi connectivity was installed for laptop and ‘comfort’ monitor connection. The audio system features 12 column array speakers to fit with the pillar décor – sublimated with two subwoofers to provide true full range sound amplification. A digital matrix processor ensures the audio system is fully tuned to the room and the likeliness of feedback and other acoustic anomalies is virtually eradicated. A digital mixer with wireless iPAD control was installed allowing for all types of operator and the simple recall for different types of service at the touch of a button. A portable digital stagebox provides up to 16 instrument inputs at the platform for a large worship band.

New radio microphones were installed along with audio playback – including Bluetooth connectivity – and recording systems. Finally, the system equipment was installed within a bespoke console – utilising parts of the church pews to marry effortlessly with the building’s aesthetics. q • For an onsite installation consultation or for advice on the right equipment for your church, call or email CAVS. Local references are available upon request. ‘Like’ CAVS on Facebook (cavsolutions) for the latest installation case studies and product news. Tel 0844 5678 065, email sales@cavsolutions.co.uk or visit the website at www.cavsolutions.co.uk

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Your AV cabinet can be Beauty – not The Beast

[AN UGLY INTRUSION inadequately hidden in the corner of the

room: that is often the view taken of AV equipment in a church. But Fullers Finer Furniture is urging people to think again; it can be housed in a beautiful piece of furniture that enhances and complements the building. The technicalities of an audiovisual system may leave many feeling bemused; but as churches move with the times the need for such equipment in today’s places of worship is something most can identify with. Fullers Finer Furniture lavishes the same high-quality care and consideration on the design, functionality and installation of their AV cabinets as with the rest of their furniture. The equipment need not be the poor relative, hidden out of sight in a corner. Whether a church building is old or new, Fullers Finer Furniture has the expertise and experience to come up with a design a congregation can be proud of. Here are two recent examples of how it can be done:

Church of St Matthew, Salford Priors The Church of St Matthew, Salford Priors – in the diocese of Cambridge – dates back to the days of the Norman Conquest and possibly earlier. It is a Grade One-listed building with many features of historic and architectural interest. St Matthew’s forms part of the ‘Heart of England Parishes’ and is

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a welcoming church which seeks to serve and be a vital part of the community. The need to update the church with regard to AV equipment was recognised and Fullers Finer Furniture was briefed to provide the church with a suitable unit. In this instance an AV cabinet was neatly fitted into position towards the back of the church, where one pew was removed to make space. The cabinet (pictured above) was made in a mixture of solid and veneered oak and the end was crafted to replicate the end of the pews which remain in situ. The unit was then carefully stained to ensure that it blended perfectly with the ancient wood already in the building. On the technical side, the cabinet was fitted with a two-part hinged lid, removable front panel and removable locking rack door – a userfriendly, bespoke piece of furniture ready and capable of meeting the needs of the church congregation.

St James Church, Trowbridge St James Church is also a Grade One-listed building; this time a late 15th-century church which was extensively restored in 1847-8. It is now a vibrant part of the community, welcoming and providing regular activities for all age groups. Again, the brief was for the AV cabinet to blend in with the existing fabric of the church and to that end a pew was collected from the church. It was adjusted and incorporated into the AV cabinet itself, then carefully hand-finished to ensure an exact match with the existing furniture in the church. The unit (left) is equipped with two removable locking door cabinets with 12U of rack space in each bay (one U equals 1.75” of vertical space). The right-hand bay has a sloping top with a rack strip fitted to take a mixer, and is also fitted with a lockable lid. The left-hand bay has a flat top and a pull-out laptop shelf. The task of fitting modern acoustic and audiovisual equipment into a building designed long before the invention of such technology necessarily requires thought, sensitivity and respect. By using the right team, such technology can be incorporated into a building in a way which optimises performance both aesthetically and acoustically. q

CRE is a Who’s Who? of Christian celebrities

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CELEBRITIES SEEM TO be drawn to CRE. Last year the show was opened by Eurovision star Dana: a reprise of a service she performed in 1993. At the opening the following year another Eurovision winner – heartthrob Cliff Richard – was pictured sporting a waistcoat produced by one of CRE’s ever-present exhibitors Juliet Hemingray. “He wanted to express the Gospel in a lively and colourful way,” recalled Juliet. So she created a design featuring the God of

Creation who made the heaven and the earth, describing it as: “…a fun scene of hills, sheep, fish, stars, moon, sun and sky.” The enthronement robes worn by the former Archbishop of Canterbury, Dr George Carey, were also made by Juliet. And on the release of the Archbishop’s special envoy Terry Waite, Juliet was commissioned to make a special chasuble celebrating his freedom. Terry’s appearance to talk about his faith was another highlight of last year’s show.

“I chose rich golds, yellow and oranges, portraying the light he was starved of for so long,” explained Juliet. CRE’s managing director Steve Goddard came across the vintage picture of Cliff in the run-up to this year’s show. “It may have been presented to him years ago, but Cliff – like Terry – has come through some very dark times,” said Steve. “Juliet’s sumptuous waistcoat expresses the light he found at the end of a long, long tunnel.” q

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Historic mill site opens to the public [

QUARRY BANK MILL in Cheshire has reopened following a £9.4m project to restore it and bring it to life. The historic mill was once home to one of the largest cotton manufacturing businesses in Britain. The reopening marks a major milestone in the four-year transformation project being carried out by the National Trust. The Quarry Bank project is one of the biggest in the NT’s history, as the conservation charity continues its commitment to bring the stories of its properties to life. It has been funded thanks to a £3.8m grant from the Heritage Lottery Fund, Arts Council England and a large number of private donations. New areas have been restored and opened to visitors, including the mill owner’s home, a workers’ cottage and a 19th-century curvilinear glasshouse in the kitchen garden. As one of the most complete survivals of an Industrial Revolution community, Quarry Bank contrasts the cramped living conditions of the

Bell-ringers urged to sign up for Armistice Day [FAITH MINISTER LORD BOURNE has called on people across

the country to become involved in the Ringing Remembers programme as the country marks 100 years since the end of World War One. The government-funded project aims to recruit 1,400 new bellringers to take part in Armistice Day 2018 commemorations as the First World War Centenary programme reaches a seminal moment. The campaign is being run by the Ministry of Housing, Communities and Local Government in collaboration with Big Ideas and the Central Council of Church Bell Ringers. One thousand new bell-ringers have already been recruited to ring out following the traditional march past the Cenotaph, and to honour the 1,400 bell-ringers who lost their lives in the war. Meeting new recruits to the project in the North East in July, Lord Bourne officially launched the new Ringing Remembers badge, which will provide bell-ringers with a lasting reminder of their contribution to Armistice Day 2018. Lord Bourne commented: “The bell-ringing community tragically saw 1,400 members lose their lives to the war effort. Their sacrifice will be honoured by our Ringing Remembers project, which will recruit the same number of bell-ringers to take part in the centenary Armistice Day celebrations.” A century ago, bell-ringers across the country caught and amplified the national mood as four years of war came to an end. q

mill workers and pauper apprentices with the grandeur of the owner’s family home and picturesque gardens. General manager Joanne Hudson said: “This is an exciting moment for us as we invite our visitors to experience the complete story of Quarry Bank. It tells a story of social change and industrial revolution – rich and poor, mill owner and mill worker; the power of nature and the ingenuity of man; benevolence and exploitation.” New galleries across five floors of the mill focus on the early days of founder and owner Samuel Greg, the lives of the mill’s apprentices and workers, the cotton industry’s link to slavery and Quarry Bank’s place within the early Industrial Revolution. Sound and video installations, alongside powerful imagery, will give visitors a feel for working in the mill 12 hours-a-day, six days-a-week. Archive material has been carefully studied to bring the stories of Quarry Bank’s past to life. An original apprentice indenture on display shows the binding contracts that committed children to work in the mill until they were 18 or 21 years old. Between 1790 and the 1840s, approximately one third of Samuel Greg’s workforce were pauper and orphan children. The NT’s curator at the site, Katie Taylor, said: “Set on the picturesque banks of the River Bollin, Quarry Bank is a unique place that offers visitors the chance to learn about the lives of the family and the workers who called this place home. “The global cotton trade was an industry that brought great wealth to industrialists like Samuel Greg who founded Quarry Bank, but it was reliant on cheap labour at home, the emerging Empire and slavery for its success. q Image © National Trust Images/Mark Waugh

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Dry weather reveals hidden details of the past [THE SCORCHING WEATHER and drought conditions experienced in

the UK over the recent summer proved a Godsend to many, a crop disaster for some and a hazard for others – mainly elderly people. For the heritage sector it opened a Pandora’s Box of discoveries – some reappearing, others completely novel. The most visible to the public was the reappearance of ‘ghost’ gardens, landscapes and even a whole village at Chatsworth in Derbyshire (right). The Chatsworth Estate described the phenomenon thus: “At Chatsworth, not only have garden features reappeared, but an entire lost village has returned to the surface. Remarkable aerial photographs taken by Chatsworth’s head forester John Everitt show the demolished high street of Edensor (pronounced Enza), which has only been seen a handful of times in the last 200 years.” The village was gradually demolished over the 18th and 19th centuries – some of it to make way for Capability Brown’s lavish landscape, other parts to improve living conditions of the inhabitants in alternative accommodation. This summer its imprint appeared on the surface as the ground dried. Elsewhere, the outline of the mansion and chapel at Clumber Park in Nottinghamshire reappeared in the lawn, and at Gawthorpe Hall in Burnley a Victorian Italianate garden created by Sir Charles Barrie has reappeared for the third time since it was covered over in 1946.

River gives up its Pictish treasure

[AS WELL AS dying out the land, the long hot summer has

resulted in unprecedentedly low water levels in rivers and reservoirs. In Aberdeen the low level of the River Don revealed a rare Pictish symbol stone embedded in its bank at Dyce. A survey and the removal of the stone were co-ordinated by teams from Historic Environment Scotland (HES), Aberdeenshire Council and the University of Aberdeen. The ﬁnd has been conﬁrmed as a Class I Pictish symbol stone – an unworked stone with carved symbols, including a triple disc with cross bar, a mirror and a notched rectangle with two internal spirals. Kirsty Owen, deputy head of archaeology at HES, said: “We’re very excited by this find, made all the more remarkable by the brief window of opportunity we had to recover the stone before the water levels rose again. AOC Archaeology, our emergency call-out contractors, worked with a specialist lifting company to carefully and safely remove the stone from the river.” Pictish symbol stones are among Scotland’s most distinctive monuments. Their elegant and vivid symbols and images can be found carved into boulders and slabs of rock, as well as on specially-cut and shaped free-standing stones. Class I Pictish stones date to between the 6th and 8th centuries AD and are typically unworked stones with carved symbols. The meaning of the symbols is debated, but it is believed they may represent the names of individuals or groups. The stone has now been reported to the Crown Office’s Treasure Trove Unit and temporarily moved to Edinburgh while discussions take place on where it will be permanently housed. q

Less evident to the casual onlooker, but more important from a research point of view, the dry weather has brought onto the surface more ‘cropmarks’ – the tell-tale marks in fields used by aerial archaeologists to interpret what lies underneath the surface. Neolithic ceremonial monuments, Iron Age settlements, square barrows and a Roman farm have all been discovered by Historic England’s ‘flying archaeologists’ during the spell of prolonged dry weather. Duncan Wilson, chief executive of Historic England, commented: “The discovery of ancient farms, settlements and Neolithic cursus monuments is exciting. The exceptional weather has opened up whole areas at once, rather than just one or two fields, and it has been fascinating to see so many traces of our past graphically revealed.” Among the new finds are what are believed to be two Neolithic cursus monuments near Clifton Reynes in Milton Keynes, a prehistoric enclosure at Churchstanton in Somerset and (above) a Roman farm in Bicton, Devon. q Images © Historic England

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New edition allows for rebranding of

Lead Sheet Manual [

THE Lead Sheet Training Academy (LSTA) has announced that the new, 2018 edition of the Rolled Lead Sheet Manual is now in stock and available to order. The LSTA (formerly the Lead Sheet Association) explained: “As we had sold out of the 2016 edition we took the opportunity to make some minor updates and amendments to the manual, and rebrand it to reflect the fact it is now overseen by the LSTA. “This valuable resource for the construction industry will continue to be produced by the LSTA in the future, overseen by an editorial board with representatives from across the industry.” The new edition of the manual is available both online as an e-book and as a printed copy. The printed version costs £45 plus p&p and also gives free access to the e-book. For those wanting to buy the online version only, the cost is £35. Orders can be placed at www. leadsheet.co.uk/manuals, where they can either be paid for online or via a downloadable order form. q

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LSTA confirmed as CITB provider of new SAPs [ THE Lead Sheet Training Academy has been appointed

by CITB as the UK’s sole provider of Specialist Applied-skills Programmes (SAP) in lead and hard metals. Formerly known as the Specialist Apprenticeship Programme, both courses are a mixture of attendance at the training centre and on-site experience and assessment, and will take up to 18 months to complete. SAPs are available at both Level 2 and Level 3 in either Hard or Soft Metals – but not combined. The initial course is at Level 2 and results in CSkills Awards Level 2 NVQ Diploma in Roofing Occupations (Construction) – Metal Roofer. The LSTA has been delivering SAP courses for CITB since 2009. Since then 130 students have been registered for the programme. There is a very high level of satisfactory completion: every candidate registered since 2014 has successfully completed the course and users rate the courses highly. The contract with CITB provides for up to 20 places a year on the programme with grant funding available to meet most of the course fees. SAP courses normally have three intakes a year and candidates

will be required to attend for the initial week. Subsequent training days can be arranged to suit individual needs. For more information about the course content visit leadsheet.co.uk/service/the-lsta-specialist-applied-skills-courses or call 01622 872432 to discuss your training needs. LSTA staff are always happy to help. q

Warden landed with legal bill following unauthorised roof repair [A SALUTARY TALE of the consequences of not following the rules

when it comes to listed buildings emerged from Leicestershire in July. Both local and national press covered the proceedings of the Church of England’s Consistory Court for the Diocese of Leicester the previous month. A church warden was ordered to pay the costs of a hearing after Sarnafil panels were installed on a Grade One-listed church near Melton Mowbray without the required permission, following theft of lead from the roof in 2016. The costs were estimated to be up to £1,800. The repair to the roof of All Saints at Pickford was made without the necessary faculty, at a cost of £7,640. The cost of repairing the roof with lead would have been £12,840. The preferred option in almost all cases of listed buildings is to replace with the original material, although tern-coated stainless steel can be accepted as a substitute for lead. The warden, Martin Watts, argued that the decision to use Sarnafil was taken by the PCC as a whole. The ecclesiastical judge in the case, Mark Blackett-Ord, Chancellor of the Leicester Diocese, gave Mr Watts the opportunity to write to him to explain why he shouldn’t pay the costs of the case out of his own pocket, after ruling that he could not make a contribution from church funds. He added that, if other members of the PCC wanted to make a contribution, they could feel free. Chancellor Blackett-Ord said: “Mr Watts was the driving force behind the decision to go ahead with the Sarnafil option without faculty approval. As a consequence of it, I intend to order that Mr Watts should pay the costs of the proceedings personally. He may not take a contribution from church funds. “If he is right in his contention that he was supported thoroughly by the PCC, then the individual members of the PCC are at liberty to make their own voluntary contributions towards his debt.” Following the case, Mr Watts told local press he had received a great deal of support from around the country, with contributions towards his costs. He said: “People have sent £10 and £20 notes through the post from Anglesey, Dorset, Devon, Hatfield and Yorkshire. Mr Blackett-Ord has clearly misjudged the feeling of people on this.” As for the new roof, according to a report by the Ecclesiastical Law Association: “Instead of directing that the unauthorised work be undone, the Chancellor granted a faculty with the proviso that the Sarnafil roofing should be inspected and maintained regularly and that, when it needed to be replaced, the church should apply for permission for a replacement form

of roofing, ‘which should be decided by myself or my successor, and there should be no presumption that because Sarnafil is already there, then Sarnafil should be used in the future’.” q

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BLM British Lead introduces technical support service [ OVER-SIZING, over-fixing, joint detail, incorporating

ventilation – these are just some of the common areas of leadwork that BLM’s technical department deal with on a regular basis. A new service, set up in April, provides architects, specifiers, building surveyors, contractors and property owners with expert advice and guidance, allowing correct decisions to be made at all stages of a project – past, present and future. The technical advice provided by BLM follows the design, specification and installation methods set out in the Lead Sheet Training Academy (LSTA) Rolled Lead Sheet Manual and BS6915. The manual has been the authority on leadwork detailing for decades. Despite the existence of the manual, having a knowledgeable voice to give extended advice, guidance, answer questions, bounce an idea off or just generally interpret the manual’s contents, is a god-send to those making use the service. However, in some cases, a little more than advice or guidance is required and that’s where the importance of BLM’s Technical

Service is realised. A whole range of scenarios require more indepth support – ranging from challenging or complicated detail, through to failed or failing roof coverings and dispute resolution. For these scenarios, BLM offer a range of service levels including comments against images provided by the client, such as sketches, technical drawings or photographs. Site visits can also be arranged where verbal comments can be provided to the client for inclusion in their own report. Alternatively BLM can provide a comprehensive report to the client following the visit. In addition, bespoke support packages are also available, which can be tailored to the client’s exact requirements. Regardless of the level of service required, BLM’s technical team aim to provide their clients with comprehensive advice and guidance but, most importantly, peace of mind for their leadwork project. q • For further information please contact BLM’s technical team on 0330 333 3535 or email technical@britishlead.co.uk

The following leadworkers are listed on The Leadworker Register: M P Hare Ltd

T: 01732 842655 M: 07971 902631 E: marc@mphareheritageworks.com W: www.mphareheritageworks.com The Shaw, Kiln Barn Road, East Malling, Kent ME19 6BG

Black Dog Roofing

Nova Contracts Limited Nova Contracts specialise in heritage roofing work with a real focus on heritage leadwork Flat lead roofs, flashing repairs and welding all undertaken Nova Contracts are affiliated and approved by the Leadworkers Register with skill levels 1,2,3 and 4 obtained

T: 01249 321969 M: 07808 840491 E: blackdogroofing1@outlook.com

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

Landsdowne Close, Calne, Wiltshire SN11 9DR

10 Leadhills Road, Kilmarnock, East Ayrshire KA1 3UF

Glenbuild Roofing Contracts Limited

K & M Leadwork Ltd

21 Littlemill Road, Drongan, Ayrshire KA6 7BP

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

T: 01292 590440 E: glenbuildroofing@yahoo.co.uk W: www.glenbuild.com

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

Heritage projects scoop another clutch of Roofing Awards [

ROOFERS IN THE ecclesiastical and heritage sectors had a lot to cheer on 11 May, when the industry gathered at the Park Plaza Westminster Bridge Hotel to hear the winners of the UK Rooﬁng Awards announced. The awards ceremony was hosted by the NFRC and the BBC’s Dan Walker. Now in its eleventh year, the UK Rooﬁng Awards has become a firm fixture for the roofing sector to come together and celebrate outstanding standards of design, workmanship and safety demonstrated throughout the year. As has become almost the norm, a number of heritage and church projects figured among the shortlists for various categories. Some went on to scoop the category award – including the big prize of Roof of the Year. The accolade went to Full Metal Jacket for the Royal Victoria Pavilion in Ramsgate. It capped a trio of wins for the company: the same project won them the Fully Supported Metal category, while they bagged the prize in the Lead Roofing category for the British Museum’s Islamic Gallery. The latter was one of a number of cases where heritage and ecclesiastical projects vied against each other in a single category: the Old Library at Canterbury Cathedral was another of the finalists. Such was also the case in the Mastic Asphalt category, where God triumphed over Mammon. IKO Plc took the gong for St Paul’s Cathedral ahead of Bodiam Castle in East Sussex and Hurst Castle in Hampshire. In the Liquid Applied category two religious buildings went head-to-head. Lancaster University Chaplaincy lost out to the beautiful Little Chapel on Guernsey. That project was in turn edged out of the Small Scale Project category by the listed Rose Cottage. A third religious building to carry off a category win was Shettleston New Parish Church in the Roof Tiling category. When it came to the Heritage Roofing category itself, a quartet of craftsmanship was topped out by Rowlands Roofing for Llwyn Celyn – a private dwelling in Wales. The NFRC’s chief executive James Talman, who introduced the awards, said: “These awards stand as a reminder to us all of the important contribution the roofing sector makes, through innovative products, design and workmanship, to the construction industry.” q

The Roof of the Year award went to Full Metal Jacket for the Royal Victoria Pavilion in Ramsgate

Next generation get a taste of heritage roofwork [

SHEFFIELD ROOFING COMPANY Martin-Brooks joined with fellow heritage building experts to share with the next generation of craftspeople the skills being employed at a North Lincolnshire church. The firm played an integral role in a Heritage Skills Day at Holy Trinity Church in Messingham, to provide awareness and training for apprentices and young site operatives. Martin-Brooks is working on the Grade Two*-listed church to renew all the Westmorland slate coverings. The roof’s shallow and varying pitches are highly unusual and mean replacement slates have to be specified exactly to suit the angle at which they will sit and headnailed to improve performance. Apprentices, students and staff from Sheffield and North Lindsey Colleges, along with roofers new to the trade, were taken up onto the roof by roofers from MartinBrooks and architect Stephen McConnell, where they could see the shallow slopes first hand. Director Nick Brooks and heritage craftsman Paul Wassell demonstrated how the existing slates had been stripped and how those that can be reused are selected and resorted according to size and condition. A training rig and work bench were erected at ground level, so those in attendance could try their hand at cutting natural slate, as well as battening and redressing a roof slope. Said Nick Brooks: “Our work at Messingham forms part of a multi-phase project to revitalise this historic church. The very shallow pitches on the roof are extremely rare, making it an ideal case study for newcomers to the trade. We welcomed the opportunity to share our skills with an enthusiastic audience and help educate the heritage roofers of the future.” Holy Trinity has been awarded a grant of more than £200,000 from the Heritage Lottery Fund for this first phase of an aspirational £1m project to preserve the building. q

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

Martin-Brooks (Roofing Specialists) Ltd

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

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

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

T: 0114 244 7720 E: mb@allroofing.co.uk W: www.martin-brooks.co.uk

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Helping heritage clay roofs meet modern standards

JAMES SEAWELL, area sales manager at Marley Eternit, says it is possible for heritage and ecclesiastical buildings to achieve a BS 5534 compliant clay roof without compromising on traditional aesthetics.

[TRADITIONAL CLAY ROOFS are an

important feature of many of Britain’s oldest towns and villages, playing a key role in the rural landscape. Preserving the heritage of these clay roofs is very important, particular in conservation areas and Areas of Outstanding Natural Beauty. As many heritage and ecclesiastical buildings feature traditional clay roofs, maintaining this character is a key concern for any new or refurbishment roofing project. However, the increasingly extreme and volatile weather in the UK means that clay roofs also need to be compliant with modern fixing standards and this can sometimes be at odds with a heritage aesthetic. In fact, since the revised BS 5534 was introduced, there has been some real concern among contractors and builders about how to balance the traditional aesthetic with stricter fixing requirements. This is of particular concern in parts of the country that have very strict planning stipulations. There seems to be a misconception that, in order to comply with BS 5534:2014, a dry fix system must be used for all single lap tiles. However, this isn’t the case. While on a modern building, in a non-conservation area, dry fix will undoubtedly be the most secure and cost effective option, for some traditional and heritage builds it simply won’t be appropriate. That’s why BS 5534 does allow for mortar bedding, as long as it is also accompanied by mechanical fixing. At Marley Eternit, our technical experts are here to help contractors working in Designated

Areas and on heritage projects, so that they can create a traditional roof which meets planning requirements, but is also fixed to modern standards. In addition to our dry fix systems, we also offer mortar-bedded mechanical fixing kits and verge clips that can be used for traditional builds, as well as our SoloFix one piece clip and nail that can reduce roof clipping time by 30%. We also sell double dentil slips, which we recommend are used for mortar bedded projects. These slips are inserted into the mortar along ridges and hips to prevent it from cracking. With some listed and historic buildings it can be difficult to find a practical, or acceptable aesthetic, way to fix the tile mechanically on the roof. Earlier this year, BS 5534 was revised to clarify this situation and the Standard now states that the recommendations may not always be appropriate for old roofs, especially for historically or architecturally important buildings. In these cases, it is now recommended to consult with the local planning authority or appropriate conservation organisation. Yet in some cases, specifiers and contractors will actually want to use dry fix on a traditional clay roof because of the security and time saving benefits. In these cases we have a range of dry fix systems that can be used to help create the right aesthetic. For example, a traditional clay pantile can’t usually be used with a dry fix system but our Lincoln interlocking pantile can. In fact, it was designed so that unlike the traditional version, it can easily be fitted to BS 5534 requirements

without the need for specialist fittings. When working on a building in a conservation area, or a heritage project, it is always important to balance the need for a traditional appearance with modern fixing requirements, as well as time and cost pressures. That’s why we have a team of area sales managers across the country that can help specifiers and builders with roofing products, fixing solutions and the planning process if they involve us at design stage. At Marley Eternit, we have a vast range of tiles in different colours and textures to help heritage builds get exactly the right clay roof to suit their requirements, ensuring sensitive refurbishment or restoration projects. For example, our Lincoln interlocking pantile offers a much quicker and easier way of achieving a traditional pantile roof – and because it gives the appearance of a non-interlocking tile, it is widely accepted by planning departments and has already been used in conservation areas across the country. As well as our Acme single camber clay plain tile range, we are the only manufacturer to also offer a double camber tile, which is ideal for creating curved or highly textured roofscapes. Finally, our Canterbury handmade clay tiles and fittings are perfect for heritage and ecclesiastical projects where only genuine handmade clay tiles may be specified to meet planning requirements. q • For more information or samples, visit the website at www.marleyeternit.co.uk/lincoln or call 01283 722588.

www.ecclesiasticalandheritageworld.co.uk

Britain’s oldest brewery benefits from aluminium rainwater systems

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THE FAVERSHAM BREWERY, the oldest working brewery in the UK, recently undertook a restoration project to restore their brew house and enhance the key architectural features that had been lost, including the original cast iron gutters. Provided by Marley Alutec, the Faversham Brewery’s rainwater system replicates the original Victorian aesthetic, whilst enjoying all the benefits of marine grade aluminium. Shepherd Neame is Britain’s oldest brewer – and while 1698 is the brewery’s official founding date, there is clear evidence that its heritage pre-dates even this period. Located in Kent, beer production has taken place on this site for centuries and whilst Shepherd Neame’s dedication to brewing great beer has never wavered, the Victorian brew house was in need of restoration. Over time, the building had lost some of its key features – including the original cast iron gutters, which had been replaced with modern non-characteristic guttering. Re-establishing the heritage characteristics of the building was important to the history of the brewery and Jonathan Arthur, senior surveyor for the brewery, felt strongly that a complete restoration was required. Jonathan commented: “After looking at several products, we approached Marley Alutec to help specify and design a suitable aluminium rainwater system for the restoration. The high quality range of products on offer and the benefits of using a marine grade aluminium system immediately impressed us.” Alutec area sales manager Simon Lepine advised on the project and recommended Moulded Ogee from the ‘traditional range’. Manufactured to original British Standard cast iron dimensions, this traditional style bolted selection of guttering is powder coated to mimic the appearance of cast iron gutters whilst being significantly lighter and easier to install. In addition to the ease of installation, there is little to no maintenance across the lifespan of the product. It doesn’t require painting and needs minimal cleaning, giving the product a low lifetime cost. The project was also ideal for Marley Alutec’s new 102 Tudor

Downpipe, so much so that planned production was brought forward to accommodate requirements. SG Refurbishment was contracted to complete the installation, becoming the first contractor to work with the 102 Tudor Downpipe. The Alutec team was also on hand to help address any installation queries. “From quote to final product, Marley Alutec was readily available and bent over backwards to help out,” said Gary Gillett, director of SG Refurbishment. “Simon Lepine came to site a number of times, and any issues or queries we had were resolved quickly. The team also kept us fully up to date with lead times and delivery schedules. “The installation process was an absolute pleasure – everything arrived as ordered, and the systems were very quick and easy to install.” Jonathan Arthur oversaw the installation, and worked closely with Simon and Gary during this time. During the restoration – which also included the replacement of the roof, heritage joinery, stone and brickwork restoration, decorating and the complete refurbishment of the brew house’s original mash tuns 1A and 1B – the brewery remained operational and open for tours and events. This meant ensuring the safety and protection of brewers, visitors and office staff. Marley Alutec and SG Refurbishment complied with the required safety standards, protecting occupants of the building during the extensive refurbishment and allowed the brewery to continue its large scale operations. The refurbishment has been completed and the brewery now benefits from a rainwater system that is sympathetic to the original Victorian appearance, whilst requiring little to no maintenance and keeping the historic building free from water ingress. “The finish is absolutely perfect,” said Jonathan. “We’ve had no problems with the rainwater systems since installation and they look great. The contractor did a fantastic job, and any architectural issues were solved swiftly with the combined efforts of Gary and Simon. “Due to the hard work of everyone involved, Shepherd Neame’s Faversham Brewery has been restored to its stunning historical beauty.” q www.ecclesiasticalandheritageworld.co.uk

Fire! The word that makes the blood run cold [

PROBABLY THE ISSUE that causes most sleepless nights for those tasked with guardianship of a historic building is the prospect of fire. Fire is almost certainly the most devastating of disasters that can strike a building, combining the loss of the building and its contents with the very real possibility that people can be injured or even killed. That awareness was brought to the fore very recently with the devastating fire that all-but destroyed the Banks Buildings in Belfast. Media interviews with public and building owners alike contained a combination of the sense of loss that the destruction of a cherished edifice brings with the relief that there were no casualties. In the following pages we look at some of the issues that can arise when considering the taking of precautions against fire in churches and other heritage buildings. There are certain statutory obligations and these are explained by a former technical officer of the Fire Industry Association. One of the leading names in fire protection, Advanced, also introduce their range of solutions for heritage sites. Fortunately, major fires in such assets are not common, although

there have been a number of incidents recently. Specialist heritage insurers Ecclesiastical offer an insight into a number of such incidents, including the double whammy at Glasgow School of Art. We are particularly appalled when such fires are started deliberately, as has been the case in some significant incidents in the North West in recent times. Historic England has been working with fire and rescue services in the region to collate and publish advice and best practice to avoid and deal with arson in church and heritage buildings. The guide has been designed to help identify threats and take steps to make a property less of a target for arson. It can help building managers – whether that building is a church or other cherished property – to react quickly in the event of a fire, ensuring that as much as possible of the building and its contents are saved. There is also a downloadable template available to help carry out a logical and structured risk assessment. The document is available to download from historicengland.org.uk/images-books/publications/ arson-risk-reduction. q

Fire safety rules must be followed GRAHAM SIMONS, former technical manager at the Fire Industry Association, offers advice for those in charge of protecting heritage properties against fire.

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HISTORIC BUILDINGS SELDOM have any significant fire engineering in them and are often open to the public, which means we have to concentrate on means of escape. In addition to the safety risks to staff and the visiting public, there are also concerns over the irreplaceable nature of the buildings and the artefacts they contain. UK ﬁre safety law requires us to ‘provide means for detecting fire and giving warning in case of fire’. Premises must be ‘equipped with appropriate fire detectors and alarms’, but legislation doesn’t tell us more. The diligent fire risk assessor will most probably refer to BS 5839-1 and recommend a ‘category’ of system. Neither the law nor the Codes of Practice say how fire detection and alarm systems can be installed and remain sensitive to the historic nature of these buildings. Wireless systems offer an obvious solution. Early criticisms citing problems with reliability and battery life do not apply to contemporary systems. However, wireless systems are not invisible. Call points, by their nature, have to be clearly visible but there is no reason why detectors and alarm devices shouldn’t be virtually invisible. When providing fire alarm signals it will also be necessary to consider that some members of the public may be deaf or hard of hearing. If the emergency evacuation procedure requires the use of visual alarm devices then they must be compliant to EN 54-23. However there are alternatives to fitting these throughout the building such as providing members of the public with tactile devices to alert them of a fire.

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The law is also quite clear about emergency lighting: ‘emergency routes and exits requiring illumination must be provided with emergency lighting of adequate intensity’. As all escape routes require illumination, this could be very extensive – including corridors, stairs, immediately outside (final) exit doors and open areas where people may congregate. It is worth bearing in mind that required emergency light levels have increased dramatically since the late 1990’s. Regrettably, enforcers and installers were slow to realise this, which means that most emergency lighting systems in heritage building are lamentably poor. Considering the vast numbers of people visiting heritage buildings, some of whom may have mobility problems and/or poor eyesight, it is important that escape routes, doors, signs, and potential hazards, such as stairways, are clearly visible. The law says: ‘emergency routes and exits must be indicated by signs’. It is crucial to determine where the escape routes are, as not every final exit is necessarily an emergency exit. A sign should be placed at every designated final exit. Additional signs are then placed to lead people through the building to a place of relative safety and escape. The design of the sign is governed by EU regulations. There are two types you can use: British Standard and European Standard. You have also probably seen what are known as ‘mandatory’ signs, which are blue circles with white symbols or text. The most common one says ‘Fire Door Keep Shut’. If a door is aesthetically or historically very sensitive, it may

be prudent not to stick a mandatory sign on it. This would be perfectly acceptable, providing you take reasonable measures to ensure the door is closed when not in use. Operators of heritage buildings are often tempted to put extinguishers out of sight. If you’re tempted to hide them, you must still indicate their location with signs. Suppliers often incorporate information about the extinguisher and its uses with the equipment sign. While this information is not mandatory, it is useful. It is a legal requirement to provide information to employees and others about procedures to be followed in an emergency. The easiest way to do this is with, what is commonly referred to as, a ‘Fire Action’ notice. These are often placed near fire alarm call points, where they are readily accessible and visible. If you can find an alternative way of ensuring that the relevant people get the information, there is no legal reason for having the notices. There are also ‘hazard warning’ and ‘prohibition’ signs that, along with other signs and notices, need to be visible – which probably means further emergency lighting. It is worth mentioning luminous and photoluminescent signs; they are not a substitute for emergency lighting – be wary of salespeople who say that they are. The fire industry understands the sensitivity needed to preserve the aesthetics of historical buildings and has provided compatible solutions. It is most important that heritage premises comply with UK ﬁre safety law to protect the staff, visitors and the structure itself from fire. q

Advanced launches brochure for fire protection in historic sites

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GLOBAL FIRE SYSTEMS leader Advanced has launched a new guide to fire protection for historic and heritage sites. Historic and heritage sites present unique challenges to end users, specifiers and installers. The new brochure is designed to help key stakeholders understand some of the solutions available for the challenges they face. It addresses many common problems in ensuring adequate active fire protection, tackling the challenges of minimising aesthetic impact, quick, safe evacuation and eliminating unwanted alarms, among many more. Advanced has a global reputation for excellence in the sector and its systems, across EN and UL approvals, are protecting some of the most famous, valuable and most visited sites in the world, including Hagia Sophia, Istanbul; Durham Cathedral; The Magna Carta at Lincoln Castle; Iona Abbey; the Natural History Museum; and Trinity Episcopal Church, Rhode Island. Aston Bowles, head of marketing at Advanced, said: “Advanced systems are protecting some of the most famous and valuable heritage and cultural assets worldwide. Historic structures present unique challenges for the fire system industry, but innovation is delivering significant choice and performance gains for end users, specifiers and responsible people in the sector. The new

brochure aims to offer insight into the sector and the solutions that can be used.” Advanced is a world leader in the development and manufacture of intelligent fire systems. The legendary performance, quality and ease of use of its products sees Advanced specified in locations all over the world, from single panel installations to large, multi-

site networks. Advanced’s products include complete fire detection systems, multi-protocol fire panels, extinguishing control, fire paging and false alarm management systems. q • To request a copy of the Historic and Heritage Sites brochure please contact marketing@advancedco.com www.ecclesiasticalandheritageworld.co.uk

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Devastating blazes show the importance of fire prevention [RECENT EVENTS IN Glasgow have

undoubtedly brought the issue of fire prevention in to sharp focus for many property owners. After a second devastating blaze in four years, the latest incident at the Glasgow School of Art has destroyed property, displaced students and even impacted local businesses not connected to the school. The first fire in 2014 was caused when flammable gasses from a foam canister came into contact with the hot surface of a projector, sending flames upwards through voids in the walls and old ventilation ducts and completely destroying the iconic Charles Rennie Mackintosh building. Just four years later and one month before restoration work on the library was due to take place, a second fire took hold causing ‘exceptionally significant’ damage to the structure and the school’s surrounding buildings. The cause of the second fire is currently unknown, however the first incident may have been preventable and highlights the need for good practice when it comes to fire prevention. Faith Kitchen, heritage director at Ecclesiastical explained: “We know from our own claims experience that, in many cases, the causes of large fires in older properties are often avoidable and we work with our customers to identify best practice and practical advice that they can implement to help reduce the risk.” “Faulty electrics, sparks from open fires, naked flames and chimney fires are common causes of fire in both commercial and private heritage properties, and while you can never remove the risk completely there are things that can be done to reduce it,” Faith added. In 2015, a fire thought to be caused by an electrical fault destroyed Clandon Park House in Surrey, leaving just the shell of the original property standing. The property was also home to the Surrey Infantry Museum, which housed a collection of almost 2,300 historic war medals and other famous artefacts including a football famously kicked across No Man’s Land at the Battle of the Somme. Some three years after the fire, almost 80 per cent of the items have been accounted for, and although many were lost forever, Ecclesiastical is currently working with the museum and specialist restoration company Farcroft to restore over 1,000 medals so that they can be returned to public display. “One of the reasons the recovery took so long and was so painstaking is that the museum was in the basement of Clandon Park,” explained Paul Humphris, specialist claims consultant at Ecclesiastical. “All the floors above had effectively collapsed on top of it. The fact that some medals have survived is remarkable, considering the extent of the destruction and ferocity of the fire.”

Fire damaged Lovelace jug from the Surrey Infantry Museum (left) and in its fully restored state The insurer says that good housekeeping is the key to reducing the risk of fire from these kinds of events. This includes regular electrical inspections and chimney sweeping, using approved contractors to undertake any electrical work, keeping heat sources such as portable heaters away from combustible materials and making sure that fireplaces have adequate fireguards in place to prevent sparks escaping. “It’s not always practical to install modern fire prevention products in heritage properties,” Faith continued. “You can’t easily retrofit sprinklers or fire suppression systems into these buildings so fire prevention is paramount. “It’s also really important to make sure you test your fire alarms regularly and ensure that fire detection systems are regularly maintained and that any on-site firefighting equipment is adequate and regularly serviced.” Most fires are accidental but a small proportion are deliberate. In March 2017, the Church of the Ascension in Salford, Manchester suffered a devastating fire following an arson attack. Within hours Ecclesiastical representatives were on location to secure the site and prevent any further damage, including removing a large stone cross on the gable end

This overhead shot shows the extent of the damaged caused by a fire at the Church of the Ascension in Salford. Image courtesy of Thousand Word Media

to prevent it from crashing to the ground. The insurer hopes to reinstate the original stone cross once the restoration is complete. It may seem an impossible task but the insurer says there are things that can be done to reduce the risk of arson. “Most incidents of arson are opportunistic,” Faith explained, “so one of the ways you can reduce the risk of arson is to reduce the opportunity. Again, a lot of this comes down to good housekeeping.” The practical advice given by the insurer includes removing combustible material and rubbish that could be used to start a fire, making sure flammable material is stored correctly and locked away and keeping internal doors shut when a building is not in use to prevent the spread of fire. “We know that malicious damage such as broken windows and vandalism can often be an early warning sign of arson,” said Faith. “If you experience any of these things, contact the police and your insurer immediately. They will be able to provide advice and guidance on how you can reduce the risk of further damage.” Ecclesiastical has one of the largest in-house risk management teams in the UK. The team provides in-depth risk management advice that is specifically designed to help owners of heritage properties manage the most common risks to their properties. Faith concluded: “When a fire takes hold of a heritage property we lose more than just a building and its contents. These buildings often contain some of our most unique treasures, works of art, tapestries and original features that could be lost forever. As a specialist insurer, we believe that preventing the loss of these things is just as important as restoring them after an event but for our customers it’s reassuring that, should the worst happen, Ecclesiastical will be there to help put things right.” q www.ecclesiasticalandheritageworld.co.uk

Work goes on to restore first ‘skyscraper’ [

WORK IS CONTINUING APACE on the restoration of the Main Mill and Kiln at the historic Shrewsbury Flaxmill Maltings site – phase two of the major regeneration project at this unique part of world history. The mill itself is known as the ‘Grandfather of all Skyscrapers’: although only five storeys high it was the first iron-framed building in the world. Built in 1797, it provided the blueprint for all subsequent high-rise buildings. The current phase of work – which began in June last year following the award of a grant of £20.7m from the Heritage Lottery Fund – will restore the Grade One-listed Main Mill and the Grade Two-listed Kiln, which was added in 1898. It follows the opening of a visitor centre in the restored Old Stables and Forge at the end of 2015. The complex was built as a flax mill to a design by Charles Bage. The flax business declined in the 1870s and the mill closed in 1886. The site was converted into a maltings in 1897-8, when the Kiln was added. After being used as a temporary barracks during World War Two, the site resumed as a maltings until its closure in 1987. When the restoration project is complete there will be visitor interpretation, activity space and a café on the ground floor, which will be managed by the Friends of the Flaxmill Maltings. The

upper four floors of the Main Mill will provide commercial office space. The project is being carried out by Croft Building and Conservation Ltd to a design by architects Feilden Clegg Bradley Studios. Croft are responsible for the structural repairs to the Main Mill and reintroducing windows that were closed during the maltings phase. This will flood the building with natural light. The works should be complete by the end of this year, when work will start to repair the Kiln, fit out the buildings and complete all associated landscaping work and car park. Currently, the two hundred-year-old cast iron columns are being relieved of some of their extraordinary duties, with extra columns being added to take some of the load. The roof tiles of the unusual ridge and furrow roof are being replaced with Welsh slate, and large cast-iron gutters will be re-forged locally. New roosts are being installed beneath all this to host the incumbent bat population. Over 30,000 new handmade oversized bricks are being made by Northcot Brick to repair the building’s walls. Nick Hill, Shrewsbury Flaxmill Maltings project manager for Historic England, commented: “With buildings of such historic significance as these, Historic England is keen to ensure that the restoration is done as sensitively and authentically as possible, whilst also safeguarding them to be able to withstand

whatever nature and future users throw at them during their next phase of life. “Where it is not possible to restore original features, due to deterioration over time or extensive damage from the period when the site was derelict, we have sought out reputable suppliers who can provide high quality materials which won’t look out of place on the two hundredyear-old Flaxmill Maltings buildings. “Our key suppliers include Northcot Brick, who we commissioned to supply our ‘great bricks’. These are larger than standard bricks and have all been hand thrown – they have also been able to match them to the original colour. Northcot have been fantastic, even getting involved in our heritage skills programme by running a brick making workshop for some local college students. “We have been extremely impressed by their thorough approach and the bricks that they have crafted are looking fantastic in situ in the Main Mill. “We’ve sourced roof slates for the Main Mill from one of the only remaining suppliers of original Welsh slate from Penrhyn Quarry, which covered the Mill roof when it was first built. “Through these efforts, and those of our suppliers, we’re confident that when complete, the Shrewsbury Flaxmill Maltings will be exemplary and a model of good practice in terms of the approach taken to restore industrial buildings and bring them back into use.” q

Local firm take on window restoration [

THE CONTRACT to restore and replace the 39 windows at the historic Shrewsbury Flaxmill Maltings has been awarded to local Shrewsbury company Morris Joinery. Four of the original 4ft-square windows are to be carefully restored by hand, with a further 35 replicas hand-crafted. All the windows will be made from wood, with sills crafted from English oak and the frames and casements in Douglas fir. Modern thermal requirements will be included to ensure the new windows are ‘future-fit’. Steve Granda, joinery manager at Morris Joinery (pictured on the right inside the Flaxmill), was delighted to be invited to tender for the painstaking work required on the project – and even more delighted to be awarded the contract. “This really is a privilege for our team – to be working on such an historic and important landmark building,” said Steve. “We will be using all our expertise and experience to ensure a quality final product which meets with the stringent standards required for this type of specialist restoration work.” Architects Feilden Clegg Bradley Studios commented: “The Flaxmill Maltings is among the most important conservation and renovation

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projects in the UK. The works require craftsmen with the knowledge and skill necessary to recognise the standard of workmanship required of such a project. We recognise that not every workshop can handle this kind of project and are pleased to have Morris Joinery as part of the team.” Main contractors Croft Building and Conservation Ltd put Steve and the joinery team through their paces to demonstrate their approach and methodology for the restoration. Steve explained: “We were asked to take one of the windows from site to workshop to restore it, providing a clear step-by-step documented process on how and what was done to produce the quality of the finished item.” Morris Joinery are well versed in working within the strict guidelines and requirements of restoration and conservation projects. The team comprises a blend of experience and youth, using time-honoured methods along with technological advances in their bespoke joinery workshop. q

• For further information call 01743 851339 or visit www.morris-joinery.co.uk

‘Brick Tax’ leads to a tricky brief [

IN JANUARY 2016 architects Feilden Clegg Bradley Studios and main contractor Croft Building and Conservation Ltd, approached Northcot Brick Ltd to provide a bespoke brick match for the Grade Onelisted Main Mill and Grade Two-listed Kiln at the Shrewsbury Flaxmill Maltings. Northcot Brick is a small, independent brick maker, based in the heart of the Cotswolds, with a reputation for bespoke brickmaking and the restoration of historic buildings. Founded in 1925 by Capt Spencer Churchill – the cousin of Winston Churchill – the company still retains genuine benchmould handmaking techniques that have been passed down over the years. Using clay from its own reserves, Northcot also ﬁres in the traditional way in one of the last remaining kilns in the country to use coal, in order to give its bricks a natural warmth and variation of tone. That traditional craftsmanship, when combined with modern additives and sophisticated weathering techniques, not only creates bricks of immense individuality and character, but can also replicate many regional and historic brick types. Over the years Northcot’s team of ‘master brickmakers’ has refined its unique capabilities into a sought-after brick matching service, which is used to help restore historic buildings of both regional and national importance. Northcot was tasked with replicating the sizing, texture and varied tones of the bricks at Shrewsbury Flaxmill Maltings, which had naturally aged over the years. The 220-year-old iron-framed Main Mill had been built from over-sized pressed bricks, aptly named ‘great bricks’, which would most likely have been manufactured in small kilns in the surrounding fields from locally-dug clay. The mill was built shortly after a tax on bricks was introduced, to raise

money for the wars in the American colonies. To try to get around that, larger bricks were manufactured so that fewer were needed and therefore less tax needed to be paid. Dale Moss, general manager of Northcot Brick, explained the nature of the task. “As no brick weathers in a completely regular way,” said Dale, “it is important to capture the idiosyncratic variation. It is a meticulous process often requiring a number of site visits and sample modifications to get exactly the right tone and match for the customer and the building,” On the exterior of the two buildings, Northcot’s Brickfield Antique, an artificially-aged handmade brick type, was significantly weathered to match the originals, which had gradually darkened through exposure to the elements. On the inside, Brickfield Orange facing bricks, which have a raw clay colour in light and medium shades, proved to be a natural match requiring little modification. Croft Building and Conservation worked closely with Northcot, choosing from the range of shades provided by the brickworks to suit individual locations around the complex. Over the course of the first part of the project, Northcot is supplying around 30,000 of the oversized bricks, plus 10,000 special shapes – including two types of ‘squint’ bricks for the window reveals. Michael Brown, managing director of Northcot Brick, said: “We are proud to be associated with the restoration of such an iconic building of historic importance which will remain an important part of the region’s cultural and economic identity for many years to come.” q All images courtesy of Historic England

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Reordering creates brand new church

[AFTER SELLING THEIR old church – which was impractical and

expensive to run – the congregation of Christ Church in Teddington moved into the 1970s church hall next door. That was itself a temporary measure: the hall was outdated and inflexible, and did not provide them with the worship space they needed. The church appointed EMJ Architects to refurbish and extend the existing hall into a new church building that would provide the desired worship space and supporting facilities. The existing building presented a number of problems. In particular its visibility needed to be improved. The church hall was at the back of the old church building, with a very understated entrance through a wooden gate. In addition, the sequence of spaces inside the building – which led through to the main hall – was unremarkable and the main hall itself did not provide a suitable space for worship. Furthermore, there was no provision for a minister’s office or storage space. The prayer room was dark, untidy and uninspiring. The toilets and kitchen were in need of refurbishment, as were the building services. A key aspect of the brief was to create a permanent worship area with an uplifting sense of space and atmosphere, and a clear and legible focal point for the building. The permanent worship space needed to be small enough for the intimate regular meetings of the congregation, but capable of being expanded for larger events, such as weddings or funerals. The proposal, by EMJ Architects, working with structural engineers Elliott Wood Partnership and main contractor Ship Shape Construction, was to split the main hall into two spaces: a formal worship space at the southern end and an informal community meeting hall at the northern. They also relocated and re-landscaped the entrance to the site, constructed a small extension and re-planned the entrance sequence to the main hall. The remainder of the building was refurbished; comfort and performance were improved by enhancing the thermal performance of the existing building fabric, installing a new ventilation system, new underfloor heating throughout, and a new, integrated AV system. The church’s visibility and street presence has been improved by repositioning the entrance to the site to align it with the building’s entrance. A new glazed extension provides a fresh and welcoming appearance to the church, which is now visible from the public realm. On one side of the entrance path is a newly landscaped memorial garden. A stained glass window by Derek Hunt has been installed in the front of the prayer room. It is visible from the street and deals with the problem of a previously blank and overbearing gable end. The entrance hall introduces a new palette of materials in the form of an oak column and bench. The roof form of the new entrance hall, and the clear, high-level glazing, provide occupants with a glimpsed view of their old church building. The use of natural light provided by the glazed entrance hall and sun tunnels above the main corridor draws the user through the building and into the main worship space. The re-planning of the entrance creates useful additional space for a minister’s office, which is visible on entry to the building, and more suitable utility and storage spaces.

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The remodelling of the main hall included modifying window openings and replacing part of the roof with an exposed composite oak and stainless steel structure by the Green Oak Carpentry Company. Rooflights and enlarged window openings now flood the space with natural light, and a second, large south-facing stained-glass window provides the worship space with a focal point. Additional doors along the side of the main space provide improved access to the newly landscaped garden. Generally the community hall is used as a breakout area for the worship space. With its direct link to the kitchen, it is a busy space both before and after formal services. When required the folding screen can be opened and the worship space expanded into the community hall, allowing the church to host larger ceremonies. q

Icynene spray foam insulation for vaulted church roof restoration [CONTRACTORS WORKING ON the restoration and

modernisation of an early 20th century church in Manchester were faced with a difficult insulation challenge to reduce ongoing heat loss through the double skinned roof above the worship area, comprising a ceiling vault, roof void and dual pitched roof over. Originally built in 1931, Christ Church, on Parrs Wood Road, South Manchester, had deteriorated over the years and needed major restorative work to bring it back to an acceptable standard. Timber framed additions to the original structure were nearing the end of their working life and access facilities were felt to be unsatisfactory. Consequently, architects Mattin MacLean of Buxton Spa were brought in to oversee the work. This included reconfiguration of the building, removal of the problem areas and general upgrading of the church, including the installation of underfloor heating and other essential services. Part of the works involved insulation of the roof void above The barrel-vaulted roof and apse during restoration (left) and the domed roof the barrel-vaulted worship area and semi-circular apse. Project to the semi-circular apse architect Roddie MacLean explained: “We saw heat loss through the fabric of the building as a major issue. A new underfloor According to Icynene, air leakage is responsible for up to 40% of a heating system, driven by an air sourced heat pump, was specified so it was building’s heat loss and the system’s ability to close off small structural important to also upgrade the insulation levels – particularly to the roof area.” gaps and service holes, creating a ‘sealed box’ environment, makes it He continued: “The problem we faced was the curvature of ceiling areas. one of the most efficient and cost-effective means of heat loss mitigation Conventional, rigid board insulation could not be made to fit and we couldn’t in a building. In this instance, the roof void above, including the original guarantee that layers of flexible, mineral wool insulation would actually roof timbers, remained naturally ventilated stay in place after installation. We needed an insulation material that would The company also points out that, unlike urethane foams of 20 years follow the curvature of the vaulting and fill the voids created by the complex ago, modern spray foams like Foamlite use water as the blowing agent. geometry of the apse dome and roof structure above.” The reaction between the chemical components produces CO2 which causes the foam to expand. As the foam expands the cells burst and the Spray applied insulation CO2 is replaced by air. Locally based main contractors, Armitage Construction, brought in As a result, Foamlite has a global warming potential (GWP) of 1 and specialist insulation contractors Green Horizon Energy Solutions to an ozone depletion potential (ODP) of zero. Furthermore, Icynene does assess the project. They suggested a spray applied, foam insulation not emit any harmful gasses once cured and is completely inert. system from Icynene. Matt Lawford of Green Horizon takes up the story: “Icynene is a spray Restricted workspace with difficult access applied system that expands instantly on application. It’s specifically Access to the ceiling vault was one of the most difficult challenges to designed to get into difficult to fill areas where traditional insulation the insulation process, explained Matt Lawford: “We were on a very near materials just don’t work. It closes off gaps and holes, reducing air leakage, vertical incline at the sides of the dome and had to manoeuvre across but because it has a soft, yielding texture, it puts only minimal pressure on the timber roof joists, in difficult tight spaces, taking extreme care not to the structure, meaning it is just right for work on historic building like this.” damage the ceiling of the church below. The workspace on the sides was Green Horizon used Icynene’s Foamlite LDC 50 system, which is an only a few feet wide in places but it opened up a little as we climbed up open cell foam that allows the building to breathe naturally, resisting onto the arch.” internal condensation. The Icynene LDC 50 insulation foam was sprayed to a thickness of 100mm to 200mm directly on to the back of the ceiling structure. Green Horizon’s objective was to create a minimum blanket of 100mm over the entire ceiling back – roughly 450 square metres – with additional depth used to fill areas where adjoining arch planes met. Installation of the Icynene insulation was completed over a seven-day period. Commenting on the project, Roddie MacLean added: “We looked at a variety of different options for what to use and where to insulate but Icynene emerged as the ideal answer. It was the right material in the right place.” q

Access to the void between the roof and ceiling to the worship area was difficult for the Green Horizon, Icynene contractors (left). A 200mm thick blanket of Icynene LDC 50 foam was sprayed to the back of the ceiling

• For more information on Icynene Spray Applied Insulation products visit the website at www.icynene.co.uk and watch the YouTube video at https://youtu.be/xn4ZHQJLWHM www.ecclesiasticalandheritageworld.co.uk

Now, building surveys don’t have to be done on a wing and a prayer [

RECENT YEARS HAVE seen a rapid expansion in the employment of the various kinds of unmanned aerial system (UAS) for carrying out surveys and recording of churches and other ancient buildings. Those caring for such buildings have learned how much easier and more cost-effective surveying and maintenance projects can be with the professional use of so-called drones. The use of such machines has proved revolutionary in carrying out surveys of areas in ancient buildings and churches which had previously required extensive preparation, followed by expensive – and in some cases hazardous – operations. Indeed, in the case of some churches there are parts of the building that had not hitherto been accessed at all for many years. Unmanned aerial vehicles (UAVs) – as drones are more correctly known – can vastly reduce the amount of time spent on projects by collecting accurate data in a much shorter timeframe. Because of that, their return on investment figure is considerable. There are other benefits, too: drones eliminate the need

for humans to physically access hard-to-reach and dangerous locations. To put it simply, UAS technology makes access more efficient, profitable, and safe. Regular maintenance is essential for churches and listed buildings. Something as simple as keeping drains and gutters clear, so that water is taken away from the building efficiently, can be the most important thing a church can do to stop small problems developing into unnecessary crises. An overflowing gutter soon soaks the wall underneath, rots the roof timbers behind it and makes the whole building vulnerable. As well as keeping a church building in good repair, preventative maintenance saves money. Indeed, it has been estimated that every £1 spent on keeping a church in good condition saves £30 in repair costs within five years. Fragile structures simply cannot be inspected using rope access or scaffolding. Before the availability of professional drone experts they traditionally required tall – and very expensive – cherry-pickers.

Drones can be quickly deployed and flown around a site with large quantities of highresolution video and still images gathered very quickly. The whole job can often be done in a day. In the past, much additional cost and work has been caused by poor repairs, or volunteers not knowing who to contact for help. Getting the basics right – knowing which materials and methods to use and when to seek advice, and having a regular maintenance plan in place – is hugely beneficial. The guidance of a drone expert can facilitate a plan within a reasonable budget, efficiently and quickly. If you are engaging a UAV operator to do any aerial work, always ensure that your chosen provider is appropriately certified and insured, and has a current Permission for Commercial Operations (PfCO) issued by the Civil Aviation Authority. That is a legal requirement in order to operate a drone commercially. q

Survey shots help Looking good with promotion from above [ AN AERIAL SURVEY of the 18th-century Marple Aqueduct near

Stockport was carried out by Peterborough-based Sky Revolutions Ltd, to help understand the condition of the brickwork underneath the arches. The images are now being used by the UK Canal and River Trust to promote the refurbishment project and the installation of parapet railings. Marple Aqueduct is the highest masonry-arch aqueduct in Britain. Engineers Arcadis needed to inspect the underside of the brickwork arches and the face of the brickwork to highlight any defects. Given the risks and difficulties of working at height in such a challenging location, a drone was the logical choice; it provided Arcadis with significant time and cost savings. It also avoided the safety issues associated with ropes and scaffolding, and helped ensure a ‘handsoff’ approach to avoid damage to the structure. q

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IN ADDITION TO the allimportant fabric surveys, drones come into their own when it comes to creating stunning videos and images for promotional or broadcast use, as demonstrated by Wiltshire-based Skynamite. The company is currently filming a promotional video for Iford Manor near Bradford-on-Avon, which interlaces aerial shots with ground-based material. Lead pilot Simon Knight explained: “I am currently working on a job at Iford Manor that has included the all-important aerial shots, but also wide ground shots of the garden, close-ups of flowers and insects and even shots of kingfishers from a hide! Only this variety of shots will show the place in all of its stunning beauty. And if you simply require still promotional imagery for the building, we can of course make it look stunning from the air, as the picture shows.” q

Sky Revolutions Ltd

Skynamite

23 King Street Industrial Estate, Langtoft, Peterborough PE6 9NF

43 Lambrok Close, Trowbridge, Wiltshire BA14 9HH

T: 01778 560929 E: hello@skyrevolutions.co.uk E: www.skyrevolutions.co.uk

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T: 07469 978098 E: info@skynamite.co.uk E: www.skynamite.co.uk

Safe and cost effective visual inspection at height [ COMPARED WITH traditional methods, West Sussex-based RTF

Imaging can provide faster, safer and more cost effective methods of visual inspection at height, reducing the need to send human operatives into dangerous and inhospitable places. They serve the domestic, commercial and industrial sectors, specialising in the close inspection of hard to reach places, and are now increasingly being asked to employ their services on ecclesiastical and heritage properties where minimal disruption to the building fabric is of key importance. The company use the latest sensor technology with up-to-date UAV platforms to deliver top quality data, in the most challenging and varied conditions. Aerial mapping, thermal imaging, 4k recording and impressive zoom capabilities enable them to survey a wide range of assets and equipment with quality outputs and safety at the forefront of every operation. The image on the right was taken from an inspection performed locally at a residential property in Tangmere, where RTF were asked to take a look at the chimney stacks in particular. Director Russell Trump explained: “We put a strong emphasis on safety and solid flight planning procedures. After the initial assessment of a flight being feasible we can quickly secure relevant permissions, make necessary airspace notifications, communicate with the local authorities and prepare detailed RAMS. In addition to strict flight planning, the

use of trained observation crew and many programmable flight parameters mean that a safe operation can, in most cases, be planned and achieved. We are able to operate in a number of complicated environments, above or below ground, indoors or out.” Pictured (right) is the company’s DJI Inspire 1 in flight – it is one of their platforms used for both inspection and thermal surveys. The shot was taken whist piloting for another company during a tower inspection – RTF were asked to gather images to help assess the condition of the brickwork and pointing. Russell has been involved with the industry for three years now, the majority of his experience coming from working closely with other UAV professionals to very high standards in a wide variety of environments. He added: “I have spent – and am still spending – a lot of time and effort, not to mention money, ensuring that we are well prepared, appropriately trained and properly equipped to deliver quality outputs to our clients in an efficient and professional manner. I am pleased to say that we are now in a position to offer a range of visual inspection and mapping services.” Pictured (left) is a great aerial image of St Marys Church in Polstead, Suffolk. This church is well known as the final resting place of Maria Marten, a lady who was famously murdered locally by her lover in 1827. Russell flew here more for pleasure than business as his friend’s wife is actually related to the murdered lady. He said: “My friend is the director of Adventure Dog Productions, a company that I work closely with, and the man who is responsible for getting me involved with UAV’s in the first place.” All correct permissions were sought and procedures followed during this flight just as any other paid job would be. One area of its operations that the company is looking to expand on is that of close inspection and 3D mapping. The screen grab (right) is from a 3D model which Russell produced in trial to illustrate the possibilities to a potential client. Data in the form of photos is systematically collected from the air and stitched together to form a 3D model which can be navigated and viewed with ease on the computer. Russell explained: “The individual photos can then be examined, annotated and analysed. Due to the high resolution of the cameras used, it is possible to zoom in many times without losing the picture quality required to view very minor detail. “Using this we can provide very detailed inspection of the entire building or structure and the map is part of that process. Varying degrees of accuracy can be achieved within the maps allowing useful tasks such as taking area and volumetric measurements.” 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 lighting the inside

of 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

Glass lights the way in both worship and home life [STAINED GLASS holds a fascination that is hard to quantify.

The magnificent coloured windows in our great churches have been telling their stories from The Bible to generations of worshippers. In many cases they were the main method of getting the message across, at a time before most of those worshippers could read the text for themselves. In this country the history of stained glass has been a haphazard one: ranging from a wealth of examples in the middle ages to Example by Leadcraft Stained Glass Studio seemingly-mindless orgies of destruction during the Dissolution of the Monasteries and the Civil War. In between and after, there have been periods when the art has flourished. But the art of glass painting is neither exclusively ecclesiastical nor wholly ancient. Alongside the restoration of old pieces there runs a thriving artistic community, producing stunning new pieces. GLASS ARTIST Joe Goodwin installed new leaded lights Away from the artistic, plain leaded lights – into the original stone mullion window openings in the hall originally the only way to produce windows of of a beautiful 17th-century house in North Yorkshire. The any size before the invention of float glass – is house is currently undergoing a much-needed and extensive also undergoing its own renaissance. To many restoration programme. people the intimacy of multiple panes, lovingly The new windows were made from handmade, mouthcrafted and decorated, provide an antidote to blown clear glasses of different textures, with a ruby red the goldfish bowl of plate glass. border to blend in with the existing glazing. A feature of the Here we highlight some examples of new central window is an acid-etched and stained heraldic shield. stained glass designs for old buildings and Joe trained at the York Glaziers’ Trust and currently works the awe-inspiring installation of over 13,000 from a studio in the city. He said of the project: “I am looking leaded light panels into a new extension at forward to the completion of the next phase of masonry restoration so the stained glass and Westminster Abbey. q leaded light glazing scheme can progress to completion.” q • A selection of craftspeople working in • For further information call 01904 591713 or visit www.jgoodwinstainedglass.com stained glass are listed in the classified section of this publication.

New windows adorn 17th-century house [

Windows light the way to Queen’s Jubilee Galleries [HEREFORD-BASED Ark Stained Glass Ltd has recently completed work on

a major installation on the new Weston Tower at Westminster Abbey, which gives access to the Queen’s Diamond Jubilee Galleries. The work involved manufacturing and installing over 600 traditional leaded light windows set into bronze-finished steel frames. It is believed to be the largest installation of traditional leaded light windows in the country, with over 13,200 panes of glass, and is the first major addition to Westminster Abbey since 1745. The tower was designed by London architect Ptolemy Dean, the abbey’s Surveyor of the Fabric. It is sited outside Poets’ Corner, nestled between the abbey’s 13th-century Chapter House and 16th-century Lady Chapel. The design takes inspiration from a pattern often found in the abbey: a star shape derived from two rotating squares. Built using a mix of traditional and new materials, the tower is sympathetic in design to the abbey’s original building style. The tower was named in recognition of the ‘exceptional generosity’ of The Garfield Weston Foundation towards the funding of the Diamond Jubilee Galleries, which were opened by The Queen on 11 June. q • For further information on Ark Stained Glass & Leaded Lights Ltd call 01981 540330 or visit www.arkstainedglass.co.uk

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Manchester turns to its own for stained glass replacement

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WHEN IT WAS decided to commission new ornate stained glass for The Old Parsonage – a Grade Two-listed building in Didsbury, Manchester – the obvious choice for the job was Manchester-based Genesis Stained Glass. The building, which dates from around 1650, was owned by Alderman Fletcher Moss from 1885 to 1919. Fletcher Moss was an avid art and nature-lover, who tried his hand at designing his own stained glass. The result was a flamboyant, decorative interior with ornate Gothic-style stained glass and wooden tracery in most of the windows. He bequeathed the building to the people of Manchester and it is now managed by Didsbury Parsonage Trust. Unfortunately, much of his original stained glass and wood framing mysteriously disappeared after his death. One of the features was an unusual working stained glass sundial in the drawing room, which included the motto ‘As Sunshine Passeth, So Pass We’. Genesis Stained Glass was asked to replace the missing sundial and two other window panels with new contemporary stained glass, sympathetic to the original but to fit newer, less ornate frames. The task involved many hours of research in the John Rylands Library in Manchester, which holds most of the writings of Fletcher Moss and old photographs of The Old Parsonage. Jayne Ford, manager of Genesis Stained Glass, who has a research degree, explained: “We welcome projects that involve recreating historical windows and take care to research them fully. We source original images or descriptions of missing glass where possible, to make sure it is true to the original. “It’s always a journey of discovery researching the history of our old buildings; the great thing about The Old Parsonage project was that we were allowed a lot of creative freedom, too, in interpreting the original designs.” The result was three windows reflecting the originals – including the Tudor rose and oak motifs much favoured by Fletcher Moss. For the missing sundial window in the old library, the brief was simply to design a window in the spirit of the original, without re-instating the sundial function. The new window was painted, stained and etched at Genesis Stained Glass in a style celebrating the original, by including the motto painted around a radiant sun at the centre of the points of the clock. A waxing and waning moon symbol was used to suggest the passage of time. In the larger windows of the old drawing room, the original wooden tracery shapes were suggested

by similarly shaping the lead lines of the stained glass. The result was a magnificent ‘Rose in Splendour’ panel and an exquisitely detailed oak motif panel. Both included silver-stained detail, exactly as in the original windows. Genesis Stained Glass also carried out restoration work on some of the existing stained glass of The Old Parsonage, installing it at the same time as the new windows. The company welcomes enquiries for any style of stained glass – from large-scale abstract installations to formal memorial windows and detailed figurative work. The studio is set up to provide a variety of construction methods, from traditional kiln-fired hand-painting and etching to more contemporary techniques such as lamination, fusing and printing. For example, digital imaging techniques can be used to convert any image or design into permanent imagery in architectural glass. That can be combined with traditional stained glass construction in newly-commissioned work for a more up-to-date look that is in keeping with the fabric of the building. Genesis also provides a restoration and repair service, for both painted and non-painted glass. They work closely with the client to ascertain the level of intervention required, whether it is for retaining 100% of the original glass and lead or replacing badly damaged pieces with accurate reproductions. External polycarbonate, steel-mesh screens or sealed units can also be installed if needed. A notable project in the future is to produce a second HMS Conway memorial window in Wales, following the installation of the highly-regarded window at the Grade Two-listed Garth Pier in Bangor last year. HMS Conway was a naval ‘school ship’ that ran aground in the 1950s after being moored for many years in North Wales. The first memorial window was produced by Jayne Ford at Genesis Stained Glass using traditional glasspainting techniques, for the charity Friends of HMS Conway. It was unveiled by Lord Rupert Paget in the presence of the Mayor of Bangor and many old and new cadets. The second Conway memorial window will be at Plas Newydd on Anglesey – her last mooring place before she ran aground in 1953. q • For further information call 0161 327 0805 or 07974 307 094, email info@genesisstainedglass.co.uk or visit the website at www.genesisstainedglass.co.uk www.ecclesiasticalandheritageworld.co.uk

New system graces Memorial Chapel

[ THE EASTER HOLIDAY saw a major

The company had previously upgraded the microphone system with Audio Technica ES935ML6 slimline gooseneck models for the principal reading locations around the chapel including the altar, headmaster, deputy head and lectern. Two Sennheiser radio microphones were provided for the main celebrant, along with an aerial distribution system installed at high level behind the organ canopy. Commissioning of the system was carried out using Neutrik test equipment and Fuzzmeasure measurement software. q

upgrade to the sound reinforcement and induction systems in the Memorial Chapel at Charterhouse School. The project was carried out by Surrey-based Scanaudio. The chapel was designed by Sir Giles Gilbert Scott and consecrated in June 1927. It is the largest war memorial in England and is dedicated to the Carthusians – as Charterhouse pupils are known – who gave

their lives in the First and Second World Wars. The brief was to provide a sound system with improved speech intelligibility and the capability to replay the full-range of music. The older induction loop system – though operational – only covered around a third of the chapel, so it was important in the new design to cover the whole of the nave. An Ampetronic ILD1000G induction loop driver was installed, along with a new perimeter loop. Working within the constraints of a Grade One-listed building meant it was a challenge to find a loudspeaker system that was both visually discreet and had good speech clarity. The system installed by Scanaudio uses 20 custom RAL coloured K-array KV52s along the length of the nave, with a further eight KU44 sub-bass loudspeakers installed underneath the back row of stall seating. The loudspeakers are powered via a Powersoft Quattrocanalli four-channel amplifier with DSP processing. A Yamaha TF rack digital mixer provides comprehensive audio control of the system with the option to remotely control microphone levels via a Windows 10 tablet running Yamaha Provisonnaire Control software.

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• For further information tel 01737 778 620 or visit www.scanaudio.co.uk

Sound Space Vision delivers artful solutions to the Royal Academy of Arts’ historic transformation [

IN 2012 Sound Space Vision (SSV) won the competition to be the theatre design and acoustics consultants for David Chipperfield Architects’ master plan to unite the Royal Academy of Arts’ 18th-century Burlington House with its neighbour, Burlington Gardens, and transform the interiors throughout. SSV’s brief was to modernise and equip Burlington Gardens’ 19thcentury lecture theatre for 21st-century presentation and performance, and was expanded later to include acoustics advice on the new gallery spaces, the learning centre, as well as mechanical systems.

Designed by architect James Pennethorne in the 1860s, Burlington Gardens was created as the headquarters for the University of London and included a three-storey lecture theatre. In collaboration with the architectural teams, SSV facilitated a design with minimal impact on the heritage features of the Grade II* listed building, yet provides a future-proofed technical design for the Academy’s planned lectures, debates, panel discussions, conferences, recitals and hires. After several iterations, the form of the amphitheatre settled on a tight, almost semi-circular bowl with a steep rake for a total capacity of over 250, bringing audience and presenter into close communication. Lighting bars hang discreetly on three sides of the room to light speakers’ faces without shadows. Lights were specified to match function – quietness during lectures and moving lights for other events. Edgeblended projectors support large format, high-quality art presentations with excellent colour rendering – imperative for the Academy – and facilitate in-house broadcasts and web casts. A digital audio system provides integrated amplification and pick-up for recording, streaming, hearing assistance and interpretation. Digital column array loudspeakers provide clarity in a challenging reverberant

acoustic. Crucially, SSV continuously reviewed the technical specifications throughout the long design and build process to ensure the infrastructure serves a wide range of capabilities with state-of-the-art technology. A voluminous double-height lecture theatre with hard sound-reflecting surfaces points to a reverberant acoustic – a risk factor in achieving the brief for good speech intelligibility. Light-touch solutions to control reverberation include sheer, sound absorbing curtains that allow for daylight and perforated leather for the bench seating. Isolation from external noise and internal building services was also required, alongside MEP and AV systems that would not disturb nearby residents. Heavy, acoustically-treated secondary glazing was specified to the windows and the roof light, and a specification that the mechanical plant adjacent to the theatre should rest on a floating concrete slab to limit noise and vibration. The proximity of the neighbours and risk of intrusive breakout noise (plant and events) was mitigated by way of low velocity, high attenuation ventilation paths, including an under-seat plenum. In addition, SSV delivered several detailed environmental acoustic assessments of new rooftop plant for submission to the local authority, along with associated MEP services noise and vibration control design advice. The company’s long experience working on listed buildings enabled an efficient and sensitive approach, including non-invasive interventions and fixings to historic finishes, as well as designing and integrating infrastructure and equipment to meld with the building’s fabric. SSV is proud that its contribution has provided the Royal Academy with a unique venue capable of hosting an outstanding new programme of events and upholding its reputation for aesthetic and academic excellence and growth. q

“This auditorium is magnificent: intimate yet, I suspect, capable of generating the electric atmosphere of a bullring.” The Daily Telegraph The Benjamin West Lecture Theatre: Benedict Johnson

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Traditional bricks and tiles add to award-winner’s attraction

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THE MULTI AWARD-WINNING Walthamstow Wetlands nature reserve in east London has drawn plaudits from many quarters. It is formed by a series of 10 reservoirs, located in the Lea Valley Special Protection Area, which provides drinking water for 3.5 million Londoners. An area of Special Scientific Interest, the 211-hectare site has been transformed into one of Europe’s largest urban wetland and nature reserves. The collaboration between Thames Water, the London Borough of Waltham Forest and London Wildlife Trust aimed to conserve the heritage and identity of the site, while allowing free public access to the unique landscape of water, woods and marshland. With sustainability and ecology at the heart of the regeneration, architects Witherford Watson Mann worked with Kinnear Landscape Architects to deliver a unique vision, which included the sympathetic restoration and conversion of a Grade Two-listed Engine House and a

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disused neighbouring mill into a new visitor centre and viewing platform. That visitor centre, at the heart of the site, has been created using a range of traditional bricks and tiles from Ketley Brick and Dreadnought Tiles. Built in1885, the old Engine House, which once housed massive steam-driven pumping engines, was restored and converted to accommodate a café and the visitor centre, with a kitchen extension (top right) built from Ketley’s Brown Brindle facing bricks. Known for their industrial authenticity and durability, the ‘Class A’ engineering bricks suited the context of the site perfectly. Designed to contrast with the softer brick of the existing building, the detailing of the new arches and the English bond pattern followed the same rhythm as the original arcaded brick of the adjoining north wall. The Engine House roof was also fully restored using Dreadnought’s Brown Antique plain clay roof tiles, which are manufactured on the same site and at the same factory as Ketley Bricks. The interior restoration was handled with similar sensitivity, using a simple palette of materials including Ketley clay quarry tiles for much of the flooring (right). That combined well with the natural tones of the exposed brick and timber panelling on the walls. Integral to the restoration was the replacement of the old Engine House’s original brick chimney – a powerful industrial symbol which was demolished in 1960. Witherford Watson Mann grafted a striking new 24m-high ‘swift tower’ onto the remaining chimney plinth to serve as an ecological feature to accommodate local wildlife. Constructed from the same Brown Brindle engineering bricks, the structure tapers from 1.5 bricks thick at the bottom to one brick thick at the top. Its shiny surface stands out, yet also complements the Victorian heritage. The brickwork was left rough on the inside to provide roosting areas for swifts and bats. The tower itself incorporates 54 bespoke red clay swift boxes codesigned by Ketley and Witherford Watson Mann to encourage the nesting of urban swifts. The boxes have sloping entrances and a small hole in the front to keep the nesting areas well drained. They were placed at least 1m apart to prevent rival swifts fighting. The only known structure of its type, the ‘swift tower’ is visible from across the valley. Now accessible to the public for the first time in 150 years, Walthamstow Wetlands is a conservation and restoration project of unique value, which will allow people to access its natural and architectural heritage for many years to come. q

Heritage insurer supports craft skills training [SPECIALIST INSURER ECCLESIASTICAL

has pledged £225,000 to The Prince’s Foundation over the next three years to support its work to prevent the disappearance of specialist trade skills. The funding will enable 36 students to take part in the charity’s Building Craft Programme (BCP). The Prince’s Foundation established the courses to help preserve valuable crafts skills, which are gradually being lost as the average age of workers in the historic buildings sector approaches retirement age. The three-year partnership is the latest investment in traditional skills by Ecclesiastical, which is the leading insurer of Grade One-listed buildings in the UK. The company already supports a number of projects across the UK aimed at preserving our irreplaceable heritage for future generations. Research published in Historic England’s Heritage Counts 2017 report showed a decadelong decline in the number of students signing up for heritage-related construction courses. Ecclesiastical’s own research, carried out with heritage property owners, showed that 42% were worried about the current shortage of skills in the UK, while 52% were concerned about the longer-term impact and availability of skilled tradesmen in 10 years time. Faith Kitchen, heritage director at Ecclesiastical, said: “As a leading insurer of heritage buildings in the UK, we believe it is crucial to invest in crafts skills to preserve these irreplaceable buildings for the future. We’re proud to announce this partnership with The Prince’s Foundation, which will enable a new generation of craftspeople to gain knowledge and learn techniques that have been passed down over hundreds of years.” The BCP is an eight-month course designed for craftspeople looking to bridge the gap between basic qualifications and becoming a master craftsperson working in the heritage sector, with the opportunity to gain NVQ Level 3 in Heritage Skills. The students take part in craft workshops with master craftspeople in crafts such as stonemasonry, joinery and timber framing, thatching, bricklaying and lime plastering. The courses take place at The Prince’s Foundation’s locations in Shoreditch in London and Dumfries House in Ayrshire. During the BCP students complete a live build project at Dumfries House. At the end of the course, there is the opportunity for placements on traditional building schemes and conservation projects across the UK. All of the students are offered employment or go on to undertake further training, with around 90% starting careers in craft skills immediately after completing the course. Simon Sadinsky, deputy executive director of education at The Prince’s Foundation, said: “We are delighted to have Ecclesiastical’s

support. The BCP offers a unique education, combining learning from master craftspeople, working alongside and sharing knowledge with other trades, completing on-site live builds and experiencing valuable work placements. Ecclesiastical’s support will help us to continue to equip our young craftspeople with the

education and skills required to design, build and preserve our local communities.” Ecclesiastical also sponsors the Master’s Degree in Sustainable Heritage at University College, London and the Cathedral Workshop Fellowship based in Gloucester, which provides a degree-level qualification in stonemasonry. q

Craftworkers strike gold on board ship [

FOR TWO DAYS in August the team working on the conservation and restoration project of the Cutty Sark in Greenwich were joined by two fortunate trainees – winners of a competition run by the Heritage Crafts Association (HCA). Ellen Wood and Tony Hassett were there to learn the traditional craft skills of gilding on the ship. Master craftswoman Rachael Linton demonstrated the skills and explained the processes and techniques. Tony and Ellen were then able to gild individual letters and some of the intricate decoration, or ‘gingerbread’, on the Cutty Sark’s stern under Rachael’s supervision. The project was funded by the Worshipful Company of Goldsmiths. Rachael was engaged to do the gilding by Campbell Smith and Co, the historic repair and restoration company that is undertaking repairs to the ‘gingerbread’. They are repairing and remaking some of the carvings and then finishing them with gold leaf. Ellen and Tony had replied to a call from the HCA for craftspeople to explain how they would use the art of gilding in their own craft. The scheme was overseen by HCA’s project manager Laura Southall. An added bonus was the filming of the event by film-maker Bruno Sorrentino. q • The HCA is the advocacy body for traditional heritage crafts. Working in partnership with government and key agencies, it provides a focus for craftspeople, groups, societies and guilds – as well as individuals who care about the loss of traditional crafts skills – and works towards a healthy and sustainable framework for the future. To find out more visit heritagecrafts.org.uk Images courtesy of Ellie Birkhead

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How 70 years of oast cowl restoration has made this Kent company kings of their castle For four generations specialist oast cowl company Dude and Arnette have been repairing and restoring traditional oast houses – with their distinctive conical cowls – throughout Kent and Sussex. Here we look at why the skilled and precise maintenance and repair of these cowls is such a precious part of British heritage.

[ OAST HOUSES ARE abundant in

areas where hops have traditionally been grown through the centuries – counties such as Kent and Sussex. No longer used for drying hops, there has been huge interest in the purchase and preservation of the properties for dwellings and as holiday homes, allowing their owners to have their own slice of British Heritage. Recent high-profile oast cowl restorations include that of the Darling Buds Farm, whose traditional Kentish oast house featured in the TV series The Darling Buds of May. The traditions associated with oast houses hark back centuries and Dude and Arnette – not being the type to let a good tradition go – have maintained one of them in the use of tally sticks. These lovingly crafted and branded Dude and Arnette have maintained the use of tally sticks wooden sticks act as a service record on oast houses restored and revamped across the country. Keeping them in use account of the history of oast cowls and Kent peg tiles on national serves as a handy reminder of when their next service is due, as well as TV. One of the key criteria in winning the prestigious accolade was being a lovely nod to times before the internet. ‘history and heritage’, and it was fantastic to see the architectural Another age-old tradition in oast house refurbishment is the elements that make up the charm and character of British villages use of traditional peg tiles made by Tudor Roof Tiles. The tiles are gaining a higher profile. handmade in Kent, combining expert craftsmanship with advanced Now Dude and Arnette’s reputation for skill and craftsmanship firing techniques. Each tile has its own unique colour and character has landed them a contract to carry out some key restoration and allows the oast roof to retain its authentic appearance. work at Leeds Castle near Maidstone. The project will see them Championing skill and craftsmanship led to Dude and Arnette employing the specialist construction techniques gained from over being asked by Channel 4’s Village of the Year 2017 to share their 70 years of hands-on experience. It marks a new chapter for the family-owned business and, while the details are still in the pipeline, they look forward to adding castles to the list of wonderful British heritage buildings they are working hard to maintain. q

An oast cowl restoration by Dude & Arnette

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Corrosion treatment is a sign of the times [

A RECENT CONSERVATION PROJECT carried out by the Historic Metalwork Conservation Company demonstrates how everyday life has become the stuff of heritage. Kingsbridge Cookworthy Museum – housed in the old Grammar School at Kingsbridge in Devon – has a pair of large enamel advertising signs displayed in its Farming Gallery. Before being acquired by the museum they were displayed in the town itself – the larger sign advertises Van Houten’s cocoa and the smaller one Ford and Fordson’s cars, trucks and tractors. The Van Houten’s sign was originally located at the now-closed railway station. Both enamel signs were deteriorating as a result of minor imperfections in the enamel coating, allowing moisture and oxygen to get to the steel surface beneath. As a result corrosion had occurred. The rust deposits that had formed pushed up the enamel, causing it to crack and break away from the surface. As Kingsbridge is close to the coast, the process was made worse by salt in the air: the chloride ions present being a catalyst for corrosion. The condition of the larger Van Houten’s sign was poorer, as it had been treated previously and a coating applied to try to reduce the rate of deterioration. Damage was greatest around the edges of the sign, the fixing points and odd patches in the centre. In addition, the Fordson sign had patchy deposits of a bitumen residue on its front and back faces. The Van Houten’s sign was supported on a timber frame because of its size. Both signs were removed from display by conservators from Historic Metalwork Conservation and laid flat for treatment. The fronts were initially cleaned with a soft brush and a low-vacuum cleaner to remove loose dirt and enamel flakes. Areas of rust build-up were carefully removed using a sharp scalpel, cleaning back to a sound surface. That meant there was a small amount of further enamel loss, but leaving the corroded areas in place would mean continuing deterioration. Areas of enamel that were lifting were consolidated with 5% Paraloid B72 in acetone. All areas of remaining compact rust were treated with Fertan Rust

Converter to stabilise them. That was left for 48 hours to ensure conversion was complete. The treated steel patches were protected with a coat of Sherwin-Williams M255 Quick Drying White gloss paint. Both signs had some discolouration and rust staining present. These were carefully removed, as far as possible, using a very fine abrasive paste (Picreator Pre-Lim) applied on a soft cloth. Once dry, the residues were removed using a second soft, lint-free cloth. It was decided that the damaged areas would not be retouched, but coated with an enamel gloss paint in a suitable colour, that was not intrusive but left the damaged areas identifiable. The Van Houten sign was painted using Tekaloid T318 coach enamel gloss to RAL8015 (brown). For the Fordson sign the same paint was used to RAL9001 (white). The back of the Van Houten sign was painted and there were some small spots of corrosion there. The old timber support frame was removed and the rust patches cleaned off manually using a scalpel, before treatment with Fertan Rust Converter. The back surface was then protected with a coating of Renaissance microcrystalline wax. A new wooden support frame was made and the sign fixed using zinc-coated wood screws set into plastic spacer washers, to prevent dissimilar metal corrosion from occurring. The back of the Fordson sign was covered in a layer of bitumen. That was carefully removed using a sharp scalpel, followed by white spirit applied on a soft cloth. Areas of rust were removed manually before being treated with Fertan Rust Converter. The back of the sign was then protected with Renaissance microcrystalline wax. Both signs are now to be displayed inside the museum, to protect them from the weather – in particular, high humidity and cold temperatures. The presence of moisture on the enamel surface, from rainwater or condensation, would lead to further outbreaks of corrosion in the future. q www.ecclesiasticalandheritageworld.co.uk

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Ironwork festival bathes in glory [JUNE SAW THE four-day celebration

of ironwork of all kinds in the centre of Bath, known as BathIRON. The event was attended by thousands of people, from schoolchildren to seasoned professionals – all brought together to enjoy the art of iron-making. One of the organisers was locally-based author Jessica Renison. In a report on the National Heritage Ironwork Group (NHIG) website she wrote: “When we coined the phrase ‘Be the spark that lights the fire!’ as the inspiration behind our first major BathIRON event, we didn’t realise quite how apt it would prove to be.” Jessica described the wide range of events the festival included, from tours of notable ironwork

in the city to ‘hands-on’ events for both adults and children, and from forging demonstrations to a NHIG seminar. She noted: “BathIRON was a triumphant collaborative effort that was only made possible because of the strong community of craftspeople who are willing to pool resources and share skills for the common good. Of particular note was the involvement of young people, including 20 student volunteers from Hereford College who gave glowing reports of their experience.” She continued: “Forging sessions for the general public booked up very quickly and were a huge success. Children’s forging was run with admirable efficiency and good cheer by Robert and Carol Smith, who after almost 20 years of running forging sessions for children at BABA events are bowing out; so it was fitting that their swansong should be in their home town of Bath.” A highlight was an appearance by Austrian Master Blacksmith and sculptor Walfrid Huber. Master Huber spent years solving the mystery of how to reproduce the stunning hinges on the doors of Notre Dame de Paris. The process has been documented in the film The Devil’s Blacksmith, which received its World Première at BathIRON. The special screening was attended by over 100 blacksmiths who had the

opportunity to ask Master Huber questions about his techniques. Said Jessica Renison: “The respect and admiration at this event was palpable and the fact that Gold Medal-holders and renowned arrowsmith Hector Cole MBE were equally enthralled made the event even more special.” She ended her report by quoting an American student, who had diverted their European visit to volunteer at the event. “The idea of the whole event was wonderful,” said the volunteer, a student at the American College of Building Arts. “It was great to see a compact cluster of different teams making pieces that were functional as well as being different interpretations of a theme; not to mention students and intermediates working alongside legendary masters of the craft. I’ll never forget it, and I’ll be back for another event someday.” q

Why must we always go back to black? [ THE NEXT SEMINAR in the

series being staged by the National Heritage Ironwork Group will be on 15 November at The Gallery @ Alan Baxter near to London’s Barbican. The seminar will address the issue of colour in ironwork and challenge the preconception many have that ironwork should be black. “We live in a world of many and varied colours, from bright and bold to subtle and calm,” the introduction to the seminar points out, “and we make full use of this wide palette to decorate our built environment. So why is it that when it comes to ironwork the majority of people specify black?” The discussion day aims to explode that ‘always black’ myth, look at alternatives and outline best practice for discovering, conserving and re-instating colour schemes. The presentations will explore: • The 20th-century fashion for black ironwork and its impact, and • the misconception that ironwork always was and always should • be black • Paint research – a crucial practice in projects where the surface • might be damaged or removed – plus why paint sampling and • analysis is so important, and how to record findings • Conserving ﬁnishes and coatings: how do you practically go • about retaining original paint layers and carrying out localised • paint removal and repairs?

• Colour for historic settings – • including a methodology for • re-instating original colours and • establishing a colour scheme, either • when no original paint remains or • for new work in historic settings. Speakers include historic paint consultant Patrick Baty, a renowned expert on the paint and colours of the past four centuries. Patrick will provide a brief explanation of the main pigments used on ironwork through the ages, giving examples of colours that he has found on buildings and structures dating from the 1630s through to the 1930s. Kathryn Ferry is an architectural historian who specialises in the colour theory of Owen Jones, the architect who opened Victorian eyes to the beauty of applied polychromy. He was unusual among his contemporaries in championing iron as a building material. Bethan Griffiths, director of The Ironwork Studio, will explore what influences colour fashions and the impact of colour on our perception of decorative ironwork. Also speaking will be Peter Meehan of the Historic Metalwork Conservation Company and Charlotte Owen, paint researcher at Hirst Conservation. Tickets for the event cost £80 (£70 early bird until 28 September) from the NHIG website at nhig.org.uk. • Pictured are the gates of the Natural History Museum in London – restored to their former glory in a spectacular red colour with gilded details by metalwork restorers TOPP & Co. q www.ecclesiasticalandheritageworld.co.uk

Heatwave brings lightning strikes

[HEATWAVES ARE traditionally brought to

a sudden and dramatic end by thunderstorms, and this year’s record-breaking summer was no exception. As the Met Office issued the first thunderstorm warnings in its 164-year history, the UK paid the price for basking in 30 degree-plus temperatures with a series of violent storms at the end of July. An estimated 90,000 lightning strikes descended on the country in the space of one weekend, with reports of houses being struck by lightning and even one report of a woman’s phone being stuck as she videoed the storm. There was, however, only one report of a significant heritage building being damaged by lightning during the havoc. The Old Lighthouse at Hunstanton in Norfolk (pictured) suffered damage to the stonework of its parapet. A large V-shaped gap appeared at the top of the tower following the strike. The lighthouse is notable as the site of the world’s first parabolic reflector lantern, installed

in 1776. The current tower, however, was not erected until 64 years later, in 1840. It is now used as a holiday cottage. A spokesperson for the operators, Norfolk

Coast Holiday Cottages, told local press: “Our guests often say how much the lighthouse’s position overlooking the sea, and with views of Norfolk’s big skies, offers a fantastic experience; however, the extreme weather of the recent storm was incredible and on this occasion The Old Lighthouse took a strike from Mother Nature.” Following repairs to the stonework and the electrics, local lightning protection specialists have been contracted to design, supply and install a lightning protection system to the lighthouse and surrounding buildings in accordance with BS EN 62305 requirements. In a statement the company, Rafferty’s, said: “The structural damage caused to the lighthouse, and the subsequent risk the falling brickwork and masonry posed to the residents and members of the public, emphasises the importance of having an up-to-date and certified lightning protection system fitted to your building to prevent costly structural damage, or worse, loss of human life.” q

New regulations mark change of emphasis on surge protection [

THE BEGINNING OF July saw the publication of the 18th edition of the UK’s Wiring Regulations (BS 7671:2018), which will come into full effect in January. Co-published by the Institution of Engineering & Technology (IET) and the British Standards Institution, BS 7671:2018 is based primarily on an International Electrotechnical Committee standard and European CENELEC harmonised documents. The new edition contains a number of amendments that will have an impact on the lightning protection industry. In particular, they will require the use of surge protection devices in most public buildings where the consequences caused by overvoltages could result in ‘…serious injury to, or loss of, human life, or…interruption of public services and/or damage to cultural heritage.’ From January it will be a requirement that all electrical installations designed after that date comply with BS 7671:2018. Demonstrating a level of understanding and awareness of the changes should be a priority for everyone involved in the electro-technical industry. John Jolly, president of the lightning protection trade body ATLAS, said: “Due to the updates in the 18th edition having a direct impact on the lightning protection industry, ATLAS members will be made aware of the changes, to continue

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an excellent service to their clients. The safety of ATLAS members and their clients is paramount, so adhering to the latest regulations will be a priority.” Writing on the IET’s website, ATLAS council member Sean Passant of DEHN (UK) Ltd pointed out the change in emphasis of the new edition. “This is a real sea change in the industry in the UK, with the emphasis moving from a point of view of ‘are they really required?’ to the new view which is very much ‘prove you don’t need them!’.” He went on to emphasise that the changes required a great deal of preparation. “Training and continuing personal development will be essential to ensure that the knowledge base is extended right through the project delivery chain – from estimator to contract manager and site supervisor – if the full remit of BS 7671 and BS EN 62305 are to be realised and a project safely and correctly signed off as compliant. Training courses are already being planned which will be delivered through ATLAS.” The British Electrotechnical and Allied Manufacturers Association has also produced a practical guide for designers, specifiers and installers to enable them to comply with the surge protection requirements in BS 7671. q

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

MDS Consulting Limited

and Lightning Conductor Engineers

T: 07833 785257 E: enquiries@mdsconsulting.co.uk W: www.mdsconsulting.co.uk 143 Pembury Road, Tonbridge, Kent TN9 2JL

Cuttings

T: 020 8371 0001 E: info@cuttings.london W: cuttings.london 10-12 Arcadia Avenue, Finchley Central, London N3 2JU

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

A C Wallbridge & Co Ltd

Lightning Protection Services

Steeplejacks and Lightning Conductor Engineers

North(Head office): 01461 800323 South: 01582 511036 N.E: 01914 661145 E: info@lightningconductor.co.uk W: www.lightningconductor.co.uk

Design, installation and maintenance of lightning proctection systems, utilising rope access systems for safe access. • Cathedrals • Churches • Towers • Sports Centres

Horizon Specialist Contracting Ltd T: 0115 965 7400 E: sales@horizonsc.co.uk W: www.horizonsc.co.uk

• High Rise Office Blocks • High Rise Residential Blocks • Schools • Hospitals

Unit 7, Burma Road, Blidworth, Nottinghamshire NG21 0RT

T: 01722 322750 E: mail@wallbridge.co.uk W: www.wallbridge.co.uk

South West Lightning Protection

G & S Steeplejacks Ltd

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

Unit 3, Bath Business Park, Peasedown St John, Somerset BA2 8SF

Osborne Delta Lightning Conductors Ltd

Lightning Strike Ltd

30 Greenacres Road, Oldham, Lancs OL4 1HB

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

Lightning Protection Services

Harrison Lightning Protection & Earthing Ltd

Unit 7, Centre One, Lysander Way, Old Sarum, Salisbury SP4 6BU

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

T: 01761 437796 M: 07974 184449 E: graham@gnssteeplejacks.co.uk W: www.gnssteeplejacks.co.uk

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

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

TESTING & DESIGN SPECIALISTS

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

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

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

Bailey International (Steeplejacks & Lightning Conductor Engineers)

Direct Strike

Bailey Business Park, Grimshaw Lane, Bollington, Cheshire SK10 5NY

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

T: 01625 576243 E: enquiries@baileysteeplejacks.com W: www.baileysteeplejacks.com

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

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ANTIQUE FURNITURE RESTORATION

BAFRA

ARBORICULTURAL CONSULTANTS

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ARCHIVE STORAGE BOXES

BELLS

BUILDING SERVICES

BOOK & PAPER CONSERVATION

CARVERS â&#x20AC;&#x201C; MASTER CARVERS ASSOCIATION

BUILDING CONSERVATION & RESTORATION

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ENVIRONMENTAL MONITORING

EXHUMATION SERVICES

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CLOCKS

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HYMNODY

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PAINTING CONSERVATION & RESTORATION

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FTMRC

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