Ecclesiastical & Heritage World Issue 78 by DMMonline

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COVER STORY

CONTENTS Priva BMS helps preserve HQ of National Centre for Writing This issue’s front cover shows the marvellously-preserved Dragon Hall in Norwich, the 15th-century home of the National Centre for Writing. The building showcases the country’s rich writing tradition and the presence of the centre in Norwich attracted UNESCO City of Literature status to the city. In common with all buildings of a similar age, Dragon Hall requires careful monitoring and control of its temperature and humidity if it is to continue to be preserved. To that end a state-of-theart building management system (BMS) from specialists Priva UK Ltd was installed during a recent restoration project.

Read the full story on page 6

5 Reflections NEWS 8 New name, new function? Heritage Fund explains how things will change 8 Iconic Clyde bridge is an A-lister 11 City Hall set for new life as arts venue 11 Grant helps tell story of Far East prisoners 12 Efficient and cost-effective heating solutions to keep your church warm and welcoming 13 Commitment to quality is mirrored by founder’s principles BOOK REVIEWS 13 Stone on Stone: The men who built the cathedrals 13 Tower Bridge: History, Engineering, Design

CRE NORTH 14 Manchester proves to be the magnet as CRE returns to the North 17 This chair has the three S’s: Simplicity, Stackability and Style 18 Lighting specialist looks forward to a welcome return 20 Archbishop welcomes Brexit seminar 21 Tools for Twitter: harnessing social media 21 Something for everyone

CHURCH RENOVATION PROJECTS 22 Collaboration brings stunning results 25 Experienced team overcomes challenges at Devon church

Front cover image – Martin Figura

LEAD 27 Lead contractors’ 2019 directory launched 27 Has your leadworker got the right stuff? 28 Safety campaign aims to protect lead customers 29 Rolled sheet producer supports tomorrow’s leadworkers 29 Entries invited for Leadworker of the Year competition

INSULATION 44 Better insulation can help prevent climate catastrophe

ROOFING 31 New roofing awards include heritage projects 33 Helping traditional clay roofs meet modern standards 34 Thatched roofs under threat from wood-burners 34 Handmade tiles earn brace of awards 35 Natural slate graces an inspirational development 35 Squaring the circle: roof insulation that is kind to bats

SOUND AND AV SYSTEMS 51 Public affairs can help point the way for communications in the heritage sector 51 Museums look to the future to bring the past to life 52 Viking church sings out with a new clarity 53 New AV display speaks to the world

LIME PLASTERING 47 Remarkable war memorial has renewed life LIGHTNING PROTECTION 48 Lightning brings down the highest and most exalted things

STAINED GLASS 54 Glass artist’s expertise brings award winner’s design to life

BRICKS 36 Walthamstow Wetlands wins Best Refurbishment in the 2018 Brick Awards IRONWORK & METALWORK 39 Musicians and blacksmiths will celebrate Bath’s bandstand 39 New sculpture is literally ‘made’ of a bridge 39 Seminar charts the history of cast iron 40 New pictures show the Iron Bridge in all its glory HERITAGE CRIME 41 How do we tackle the problem of heritage crime?

55 Why does community engagement matter? DRONES 56 Latest technology helps reveal WWI relic CHURCH & HERITAGE SUPPLIES 57 Classified Section

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

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HERE AT Ecclesiastical and Heritage World everyone is looking forward to the return of CRE North to Event City in Manchester. After an absence of five years, this year’s show will be a welcome return and an opportunity to catch up with old friends and make some new ones. That is certainly what this publication will be doing. Many of our long-term contributors and advertisers are also stalwarts of the CRE stable. All were dismayed when it looked as if the show might close and equally delighted when Steve Goddard was announced as the new owner. Steve has a long association with CRE and, as a North West-based publication, we were pleased to see it return to our – and Steve’s – home turf. • Two of our established contributors came together to transform the interior of a beautiful Methodist church in Norfolk. New celebratory furniture by Fullers includes two lecterns, which incorporate state-of-the-art sound equipment by Cunnings. It is a testament to the specialist skills brought to bear in the ecclesiastical sector that companies often come within each other’s orbits to collaborate and produce stunning pieces of work. • Sadly, those stunning pieces of work are not appreciated by everyone. Theft and vandalism are plaguing heritage buildings at an alarming rate. The damage done to a community is often much greater than the purely physical damage to the building. A fire, for example, can not only destroy a community facility but can cause shock and dismay. Fortunately, there is a co-ordinated response in place to combat the plague. In the first of two articles, Historic England’s head of heritage crime strategy outlines how the issue is being tackled. • The theft of lead from roofs can destroy the efforts of some of the most skilled craftspeople who work on churches across the land – as well as in ancient and important buildings of all kinds – the leadworker. Lead has been in use in building since Roman times and is completely recyclable. The industry is represented by the Lead Contractors Association, which publishes an annual directory of its contractor members, all of whom offer a 25-year guarantee of their work. The 2019 edition is now available. • Lead is, of course, just one of the materials making up a roof and the skills of a roofer are many and varied. A new awards scheme made its first appearance at the end of last year to champion that most familiar of townscape sights: the pitched roof. The Pitched Roof Awards ceremony read like a Who’s Who? of heritage roofing companies – slaters, tilers, leadworkers – as well as the manufacturers of materials using traditional techniques, from slates to clay tiles to sheet lead. Our congratulations go to all the winners. • Many of the heritage projects covered in this publication are only possible because of funding from the National Lottery, hitherto administered by the Heritage Lottery Fund (HLF). The HLF is no more, however – at least, it has a new name. The new National Lottery Heritage Fund promises to make its decision-making more transparent – and devolved. The great majority of its funding decisions will be made in the six new regions: three in England plus Scotland, Wales and Northern Ireland. • It was a HLF grant that made possible the restoration project at the National Centre for Writing in Norwich. The breathtaking medieval structure can continue to house the organisation that safeguards our literary heritage. One of the features of the project was the installation of a building management system, to ensure the temperature and humidity are maintained at levels compatible with the building’s structure. The reason for all the fuss can be seen on the front cover. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

www.ecclesiasticalandheritageworld.co.uk

COVER STORY

Priva BMS helps preserve historic

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THE NATIONAL CENTRE FOR WRITING, which has just completed a £2m extension and refurbishment project at its headquarters in Norwich, called upon the capabilities of the latest Priva building management system (BMS) as a vital part of the upgrade. By installing state-of-the-art Priva Blue ID technology to monitor and control the internal climate, the organisation hopes to ensure that the building’s fabric, which includes ancient timber beams, is preserved in an optimum way. Since 2015 the National Centre for Writing has been based at Dragon Hall – a Grade I-listed, 15th-century medieval trading hall of significant historic interest. In such a building, factors like humidity can have an extremely detrimental and compromising effect on the internal structure. With this fact in mind, and the knowledge that the building’s existing BMS was reaching the end of its life and becoming unreliable, the decision was taken to invest in Priva technology. Although Dragon Hall – the Great Hall of which was built in 1430 – is a befitting home for such a prestigious organisation as the National Centre for Writing, there is a constant need to ensure that the building is both fit for purpose and properly preserved for the future. With this in mind, permission was sought to upgrade the property.

project’s capital costs. The aim was to integrate new educational and community spaces, enhance office space and technical facilities, refurbish the public performance arena seating up to 120 people, and provide residential space for visiting writers. Clearly, as part of such a major innovation, the opportunity arose to optimise the climate control for both occupant comfort and building preservation. The existing building was served with an ageing BMS prone to reliability issues. To address the situation, Norwich-based Electrical and Mechanical Controls Ltd (EMC), a longstanding Priva partner, was appointed to the project. “We were involved with installing a heating system in a previous glass extension at Dragon Hall back in 2005,” said Dan Millard, technical operations manager at EMC. “The extension incorporated office space and a new plant room, and this successful experience helped us secure the new contract.” This time around, however, the list of demands was much longer as it involved the renovation of a structure that is one of the famed ‘Norwich 12’ iconic buildings. Dragon Hall, which is renowned for its spectacular timber crown-post roof and intricately carved dragon, is symbolic of Norwich as a city of historic national importance.

As a literature development agency, the National Centre for Writing has a long track record of success, even leading the bid for Norwich to be granted the UNESCO City of Literature title in 2012 – the first such accolade in England. Recognising the need for the organisation to continue its good work, £789,434 from National Lottery sources was granted by the Arts Council England to support the upgrade

“Energy saving wasn’t the primary driver for this project,” added Dan Millard. “Conservation of the Grade I-listed building was the main concern. Dragon Hall incorporates a lot of old timber and it is therefore vital to ensure the climatic conditions are right, for example keeping an eye on the humidity to ensure the beams don’t degrade.” The existing BMS, as well as being unreliable, suffered from both

Lottery funding

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Building conservation

HQ of National Centre for Writing

Photo – Joanna Millington

poor usability and operability, being described as ‘fiddly and not user friendly’. Upgrading the system in terms of better control and easier maintenance, was thus a priority. “Priva is our BMS manufacturer of choice due to their products being reliable and cost effective,” Dan Millard continued. “We deployed Priva controllers for the main panel at Dragon Hall, utilising Priva Blue ID C4 controllers that interfaced with the Mitsubishi air conditioning system via BACnet. We also used the Priva cloud connection TC Manager Connect, to integrate the new wing with the rest of the building.”

Meticulous planning

At all stages of the project, EMC needed to be mindful to minimise any disruption to building’s day-to-day operations. As well as hosting the National Centre for Writing, an organisation called the Dragon Hall Heritage Volunteers act as tour guides to the building, which is also home to a museum. Couple this task with the priority of not compromising the building’s structural fabric, and the size of the challenge is plain to see. The historical significance of Dragon Hall cannot be overstated; although the Great Hall on the first floor was built in the 15th century, some parts of the site are much older. In fact, archaeological research

shows evidence of a Saxon building beneath the hall that was erected around the year 1000. “From a planning point of view, care was needed with regard to what we mounted on the walls,” said Dan Millard. “With this in mind, the sensors used had to be visually in keeping with the rest of the Grade I-listed building.” The upgraded and extended Dragon Hall opened in June 2018, and the end user is reporting complete satisfaction with the new BMS. Moving forward, more benefits are anticipated. “Over time, Dragon Hall may see cost savings as the Priva BMS is more efficient and reliable than the system it replaced,” concluded Dan Millard. q

Priva UK Ltd T: M: E: W:

Photo – Anita Staff

01923 81 34 80 07880 230 032 contact.priva@priva.co.uk www.priva.com

34 Clarendon Road, Watford WD17 1JJ www.ecclesiasticalandheritageworld.co.uk

New name, new function? Heritage Fund explains how things will change [JANUARY SAW THE HLF rebranded with a new name: the

National Lottery Heritage Fund (NLHF). With the new name change the fund is putting a new emphasis on devolution of decision-making in its funding process, although it promises it will still be investing millions of pounds each year in inspirational heritage projects, large and small, right across the UK. From historic places of worship, castles, and factory buildings and people’s rich stories, through to public parks, natural landscapes and native wildlife, the NLHF promises to keep people at the heart of all the projects it funds. Together with the new name, the fund has unveiled a five-year plan. According to the fund: “A major devolution of decision-making across the whole of the UK is at the heart of new plans to distribute more than £1bn of National Lottery money to the UK’s heritage over Heritage Minister Michael Ellis explained: “This change by the the next five years. National Lottery Heritage Fund will give heritage experts in the UK “Decisions on around 80% of all funding by the newly-styled more power to care for the heritage that means the most to local National Lottery Heritage Fund will be made in Scotland, Northern people, and ensure it is protected for future generations.” q Ireland, Wales and three new English areas. The National Lottery Heritage Fund has consulted with more than 13,000 people, including National Lottery players and heritage organisations, on its priorities as the UK’s biggest funder of heritage.” CEO Ros Kerslake said: “Over the past 25 years, money raised by people who buy National Lottery tickets has profoundly changed how we view and engage with the UK’s exceptionally varied heritage. By putting people at its heart, it has helped our wonderful buildings, iconic landscapes, cultural memories and traditions and native species not just survive, but thrive. “Over the next five years, the National Lottery Heritage Fund will inspire, lead and resource the UK’s heritage, distributing more than £1bn. So we will be making more decisions on funding locally and focusing on the heritage that really matters to people, creating jobs, bringing economic prosperity and improving people’s lives right across the UK.” THE ERSKINE BRIDGE over the Clyde in west Scotland has been awarded Category A A new look has been promised for the status by Historic Environment Scotland (HES) after it was recognised as being of special organisation that has distributed £8bn to architectural interest. The bridge was officially opened in 1972 and is one of Scotland’s most more than 44,000 projects over the past architecturally and technically designed bridges of the post-war period. It has the longest 25 years. cable-stayed span of its type in the world and is one of only three bridges in Scotland with a Research has found that National Lottery main span exceeding 300 metres. players are keen to know more about how The decision to list the Erskine Bridge follows a consultation launched by HES, West their money is used, so in future every Dunbartonshire Council, Transport Scotland and Renfrewshire Council, where members of the organisation awarded funding will be asked public were invited to express their views on the bridge being awarded listed status. to think about how National Lottery players Elizabeth McCrone, head of designations at HES, said: “The Erskine Bridge is a state-of-thewill be thanked, acknowledged and invited art infrastructure landmark in Scotland for its time and is recognised for its structural simplicity, to participate in their work. economy of materials and slender appearance. All funding decisions up to £5m will be “Spanning the River Clyde, the bridge was part of a strategic and highly ambitious expansion decided by committees and senior staff of the new motorway network in Scotland and is directly associated with the period of ambitious in Scotland, Northern Ireland, Wales and transformation of Scotland’s modern infrastructure in the 1960s. three geographical areas in England: North, “Its minimalistic single-cable design – which is exceptionally rare for a large-scale road Midlands and East, and London and the bridge – combined with its largely unchanged appearance, makes it one of the country’s most South. That will amount to around 80% innovative bridges of the 20th century, and we’re delighted to recognise its national importance of the NLHF’s annual budget, compared with this Category A status.” q with around half under the last strategic

Iconic Clyde bridge is an A-lister

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framework.

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City Hall set for new life as arts venue

Grant helps tell story of Far East prisoners [LIVERPOOL SCHOOL OF TROPICAL MEDICINE (LSTM) has

[PERTH CITY HALL is set to become a new heritage and arts attraction

for the city, designed by international architectural firm Mecanoo. The building, empty for 14 years, will be a major new venue, displaying its own museum collections alongside loans from elsewhere and touring exhibitions from the UK and abroad. It will also provide spaces for learning and community events and be a meeting point at the very heart of Perth. Transforming the building into a modern cultural attraction will allow Perth and Kinross Council to deliver on one of the themes of its ‘Smart growth for Perth City’ plan to grow the visitor economy of the area. In 2017 the council held an architectural competition to redesign the City Hall into a cultural attraction. Dutch practice Mecanoo was approved as the recommended architect. Last year the public were invited to review proposed designs and planning permission was granted in January. Construction by main contractor BAM Construction is scheduled for completion in 2021. Perth and Kinross Council leader Murray Lyle said: “The former City Hall is a key landmark in the heart of Perth, and its transformation is a highprofile example of the on-going cultural transformation of the city. “Combined with the on-going work to transform St Paul’s Church and the recently unveiled plans to create a new public space at Guard Vennel, we’re sending a clear message to businesses, visitors and residents that we are committed to investing in Perth city centre as a place to enjoy food, music, art and heritage.” q

been awarded a grant of £60,500 from the HLF to help fund its heritage project The Secret Art of Survival. The project will deliver a public exhibition of previously-unseen artwork that was created by Far East Prisoners of War (FEPOW) while in captivity during World War Two, and at great risk to their lives. This work contributes greatly to a better understanding of the appalling conditions of captivity and the ingenuity employed to survive. Even before the men returned from captivity following the end of the war, LSTM’s then Dean, Professor Brian Maegraith, addressed a large group of their families about the kind of infections and tropical diseases that the men may be suffering from on their return. That, and the professional relationship between Maegraith and local businessman Philip Toosey, himself a former FEPOW and senior British officer at Tamarkan Camp in Thailand, led to many men finding their way to LSTM in the early post war months. Now in its seventh decade, the unique relationship between LSTM and FEPOW has led to world-class research into tropical medicine and the effects of captivity which continues to inform modern treatment and the way in which military personnel are cared for today during some modern deployments. LSTM’s director, Professor Janet Hemingway, said: “We are delighted to have received this funding, which will enable us to highlight the ingenuity of the men captured in the Far East, along with some of the terrible hardships that remained with them for the rest of their lives. LSTM has a long history of supporting these men, providing tropical disease investigations until the 1990s, representing our longest running clinical project, now spanning seven decades. It is only right to share their stories with the wider public and future generations.” Alongside the exhibition, which is being held at the Victoria Gallery and Museum in Liverpool up to June 2020, LSTM will deliver a participation programme. Engaging a wide audience, from school children to academics and veterans, the 18-month programme will bring to life the rich and often forgotten heritage of these prisoners, coinciding with the 75th anniversary of the end of WWII. q

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Efficient and cost-effective heating solutions to keep your church warm and welcoming

“We understand the problems involved in heating churches.”

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THAT IS THE forthright message from the website of Essex-based Argonaut Heating Ltd. Established in 1972, the company specialises in cost-effective and efficient solutions for the design and installation of new church heating systems, as well as church boiler replacements, repairs, servicing and maintenance. With their wealth of experience in commercial heating applications, they understand the problems involved in heating churches, halls and other places of worship. Churches with heating problems are more common than warm churches – and cold churches often discourage regular attendance. The main problem in heating a church is the age of the building. Since the majority of church buildings are well established – often with additions – they can have a mixture of heating systems. Those old systems still try to heat buildings once a week and are slow to respond, often requiring boilers to be turned on well in advance; despite that, the church can still be cold. More modern churches, built in the sixties, often had electric heating systems installed which are expensive to run. Running costs are very important to churches and Argonaut Heating is an approved installer for Rinnai heaters – the system of choice for efficient and cost-effective heating of many church building types, providing a quick heat-up time. The gas-fired Rinnai heaters utilise modern technology and are manufactured to have a modern appearance, together with high efficiency and reliability. Smaller side rooms or chapels can easily be heated separately from the main church, either for services or meetings. Alternatively, where it is not practical to install Rinnai heaters because of the nature of the building – for example if it is a listed building – the company can also offer a traditional solution using a high-efficiency condensing boiler and radiators, providing fuel saving costs. In order to determine the best solution they offer a free site visit, giving clients advice and a free quotation on the most efficient and cost effective heating solutions for their church. The service provided by Argonaut Heating has drawn such comments as this from the churchwarden at St Mary the Virgin in Horne, Surrey: “Your engineer has just left and we have heating! I can’t thank you enough and your service has been excellent. Many, many thanks.” Other recent church projects included Hillingdon Park Baptist Church, Bishop’s Stortford Methodist Church, St John the Baptist in Tilbury and Stonebridge Evangelical Church. As well as the many churches the company has installed heating for, a number of notable buildings in and around London have benefitted from their expertise, including the Cavalry and Guards’ Club in Piccadilly, the College of Arms in Victoria and high-profile schools such as the Grey Coat Hospital School and the Royal Grammar School in Guildford. q

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BOOK REVIEWS

Commitment to quality is mirrored by founder’s principles

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FOUNDED BY ACCLAIMED British designer Ernest Race, Race Furniture has been at the forefront of the design and manufacture of seating for public spaces for over 70 years. The bespoke service that they offer has resulted in expertly-crafted seating installations in theatres, concert halls, lecture theatres, conference centres, schools, churches and community spaces across the world. Their high-density stacking chairs are specifically designed to afford greater flexibility in classic meeting and conference venues, community halls and churches. For example, the Race Stanway chair range can securely stack up to 30 chairs high on a mobile trolley. The range combines comfort and highdensity stacking ability with the aesthetic design required to look appropriate when replacing traditional church pews. Optional customisable elements include a range of fabric and frame finishes, writing tablets and armrests, as well as devices that enable the chairs to be linked. All of the company’s stacking chairs are manufactured in the UK to the highest British Standards for strength, safety and durability, with a fiveyear warranty as standard. They also provide soft seating, chairs and tables for reception, breakout and café areas. Their highly-experienced and highly-trained British craftsmen combine with an in-house design studio to provide bespoke solutions. Investment in the training of the next generation of craftsmen and an exacting quality control process ensure continuing success. Race is committed to utilising that experience to provide clients with the highest level of project support, to ensure outstanding service for every project, regardless of size or value, while offering bespoke and adapted products to fulfil specific needs. That provision of expertly-crafted, quality products is complemented by a commitment to consider the environment and their local community in everything they do. A company spokesman summed up their ethos: “We believe that every project deserves a bespoke service. We build strong personal relationships with our clients and are committed to creating expertly crafted products and seating solutions to fulfil their needs.” q

Stone on Stone: The men who built the cathedrals by Imogen Corrigan The Crowood Press ISBN 978 0 7198 2798 3: £25

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DISTILLING THE WHOLE process of how medieval cathedrals came into being, who built them, how they built them and who paid for them seems an undertaking as daunting as the process itself must have been. In this compact volume Imogen Corrigan achieves all that to an extent, by focusing on the human stories, and in particular the work of the Master Mason. In the Middle Ages the Master Masons were giants of the building trade. They were architect, main contractor, quantity surveyor and mechanical engineer rolled into one. The main part of this book concerns the role of the Master Mason in planning and bringing to fruition the Gothic masterpieces that are our cathedrals. We find out who they were. We even find out some of the less-than-exemplary behaviour they got up to. The process of actually building such an edifice, and what it involved, is drawn from contemporary accounts – in both the literary and economic sense. Then, as now, expenditure had to be accounted for and the lists tell us much about the process. Similarly, we know more about who the Master Masons were than many have thought. What also emerges forcefully from the book is the international and itinerant nature of the building trade, even then. Even the origins of Gothic design may have been introduced by prisoners taken by Crusaders in the Holy Land. The premise of the book is to wonder, when looking up in the nave of a cathedral, how it could have been constructed using only basic tools. Despite the surprisingly large amount of information we have of the processes and techniques involved, that wonder persists. The book is extensively researched, as evidenced by the comprehensive notes and bibliography. There is also a useful listing of medieval building trades. q

Tower Bridge: History, Engineering, Design by Kenneth Powell Thames & Hudson, in collaboration with Tower Bridge ISBN 978 0 500 343494: £24.95

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TOWER BRIDGE is one of the most recognisable bridges in the world. Designed by Sir Horace Jones and Sir John Wolfe Barry, the bridge is an astonishing feat of engineering, containing a special counterweight mechanism that allows the roadway to lift so that ships can pass beneath. In Tower Bridge: History, Engineering, Design architectural historian Kenneth Powell charts the story of the bridge from the earliest plans for a crossing on the site – at a time when London was one of the world’s busiest trading ports, handling goods from all over the British Empire and beyond – through the complex evolution of its development, to its construction and operation. It offers insights into the bridge’s architectural and engineering history while also shedding light on the people who worked on it. Powell’s text is extensively illustrated with specially commissioned photography and a wealth of material from the London Metropolitan Archives, including early designs, preliminary plans and sketches, and the original working drawings – some of which have never been published before. A chance discovery of a pile of discarded photographs salvaged from a skip enriches the book with previously-unseen black and white images of the bridge under construction. q www.ecclesiasticalandheritageworld.co.uk

Manchester proves to be the magnet

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as CRE returns to the North

[ SOLD OUT! signs are up at Event City in Manchester, ahead

of the much-anticipated return of CRE North – with more than 130 organisations taking all the space earmarked for the show, which runs from 13-14 March. “It will be the first CRE in the North for five years and also the first regional event under our ownership,” said Steve Goddard, who bought the exhibition from the Bible Society in November 2016. “We are thrilled so many organisations have backed us in this way.” The official HQ of the CRE organisation is now on Merseyside and CRE at Event City will have a distinctly northern flavour. A choir from St Leonard’s C of E School in Padiham, Lancashire will serenade Irish singer and former MEP Dana – who is opening the exhibition – with new words to her Eurovision Song Contest-winning song ‘All Kinds of Everything …for your church and you’. The first exhibit seen by visitors will be the Embassy Bus, providing emergency shelter and support to vulnerable adults in Greater Manchester. The Bishop of Bolton, Rev Mark Ashcroft, will speak on church growth in areas of deprivation. Manchester-based gospel collective Voices Beyond will perform, along with several artists handled by CRE North exhibitor Ministry of Music. There will be more than 30 free seminars and presentations on a range of practical subjects, from job searching to safeguarding. There will also be a whole cohort of exhibitors specialising in building maintenance and hardware. They include specialists in heating installation, damp-proofing, disability access and building design, as well as furniture manufacturers, sound, AV and lighting designers and installers, staging manufacturers, software developers and office equipment suppliers. On hand to offer advice on capital projects will be architects, insurance companies and financial advisors. Special features include CRE’s first-ever Study Zone, where representatives from eight colleges, including Nazarene Theological College in Manchester, will guide visitors through the academic maze, offering one-to-one consultations on all aspects of theological study. That’s not forgetting a special focus on social engagement with Greater Manchester Street Pastors, a youth and children’s work trail, and entertainment in CRE’s first-ever Inflatable Theatre, hosted by the redoubtable Rev Cindy Kent MBE. CRE North will be open from 10am-8pm on Wed 13 March and until

4pm the following day. Event City offers great transport links and thousands of free parking places in a friendly, welcoming atmosphere. Its location next to the Trafford Centre makes it easy to find. Tickets are available from as little as £3. For more information visit www.creonline.co.uk. q

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This chair has the three S’s: Simplicity, Stackability and Style

St Mary’s, Maidenhead

Badby Church, Daventry

[ THE NEW ICON 40 STACKING CHAIR from Irish company

ICS Church Furniture has been designed for the future – without compromising on style or functionality. Designed to be introduced into any church building – both modern and traditional – it sits just as well in offices and hotels that are looking for a sleek modern seat that offers a winning combination of comfort, flexibility and visual appeal. Superior comfort: The Icon 40 has been designed with comfort in mind, using a three-dimensional formed seat and back. It gives greater comfort over a wider spectrum of uses. Quality construction: The Icon 40 is constructed using an innovative continuous frame, which gives the chair additional strength and rigidity, adding to the overall quality of the product. Innovative design: Every element of the chair has been designed with the end user in mind. Its structure, strength and durability, being all in one piece, make this chair stand out in a crowd. The innovative design allows for the chair to be stacked up to 40 high – hence the name Icon 40 – allowing for easy transport and maximising storage space.

Gavin Duignan of ICS Furniture with the ICON 40

Materials: The Icon 40 is made from the highest-quality materials throughout, from quarter-sawn oak veneers and stainlesssteel fixing screws for the back component right down to the polycarbonate glides, which are specially moulded for the chair. This chair is hard to beat when it comes to quality, and it can also include a bronze plated finish for traditional settings. The Icon 40 can be enhanced with carvings – such as a crest, logo or symbol – or with bookshelves. Its custom-designed links also allow straight or curved formations. ICS was founded in 1972 in the little village of Dromod in County Leitrim, Ireland and still operates from the same premises, now employing 18 people. The company was started by the father of current principal Gavin Duignan, who was the driving force behind the Georgian Society Gallery, Dublin design of the Icon 40 chair. That design pedigree was recognised recently by the Institute of Designers in Ireland, when Gavin and his team were shortlisted for a prestigious IDI Award in the Furniture Design category. Said Gavin: “For two years we researched, prototyped and tested the Icon 40 chair. It has recently achieved the FIRA BS, which is an industry standard, so that the final customer knows that the chair is fit for purpose and will be able to withstand the general abuse that seating can get in public places. For the chair to be also nominated for an Irish Design Institute award means that the Icon 40 now ticks all the boxes for both functionality and aesthetic appeal” The Icon 40 has also been awarded BS EN 16139 accreditation by FIRA (Furniture Industry Research Association) for severe contract use. q • Visit ICS Church Furniture at CRE North Stand B1. www.ecclesiasticalandheritageworld.co.uk

St Wilfrid’s Church, Preston

Lighting specialist looks forward to a welcome return [ONE OF THE COMPANIES that had reason to be glad they

exhibited at the last CRE in Manchester five years ago is Anthony J Smith (Glos) Ltd. They have a long history of designing and installing bespoke lighting systems within churches and since that last show they have been fortunate to have been involved in a number of church projects in the North West – including at Standish, Ecclestone, Preston and Oldham. They also have a small number of other projects in the region at the planning stage. That being the case, the company felt that, when CRE decided to return to the North West in March, they should do the same, and they are looking forward to discussing potential new projects with visitors to the show who may be looking either for lighting improvements or for a full design, rewire and installation service. Anthony J Smith (Glos) Ltd is a relatively small business and around 90% of their workload consists of designing and installing lighting and wiring systems within churches and other ecclesiastical and architecturally interesting buildings. That has allowed them to build up considerable experience in what could be described as ‘normal’ expectations and requirements for most projects. Having said that, they realise that every solution needs to be tailored to meet the precise requirements of the building, the congregation and, in many instances, the wider community – especially as many church buildings have now diversified in the uses to which they are put. With the acceleration in the use of LED lighting outlets over the past few years, it is even more important for churches to ensure that the designed solution meets the requirements of the building and the congregation. Many churches have found that installing inferior LED

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lighting outlets is never a good option and very rarely provides value for money over the longer term. The LED marketplace is a minefield, awash with many lesser-known manufacturers and suppliers providing unproven statistics and inferior quality of light – and, worst of all, warranties which are not worth the paper they are written on: all of which can be a costly mistake when considering their suitability for use. Of course, the appropriate design is not the only concern – many church interiors are spoilt by an untidy and unsuitable installation of cabling. While being only a relatively small company, Anthony J Smith (Glos) Ltd are lucky to have a directly-employed workforce who are experienced enough to tackle almost any problem these complex and difficult buildings may offer. That is an excellent starting point when dealing with DACs, PCCs, architects and other regulatory bodies who have control over the work to be carried out on some of the country’s finest buildings. The control of a new lighting system is even more important to the end user and advances in LED solutions have made that even more achievable, although most churches still desire a solution which is easily understandable and – more importantly – capable of being fully utilised and adapted by general church officers. Simplicity in use is of major importance to Anthony J Smith (Glos) Ltd, who believe in specifying control systems which provide all the features that are needed, with no additional ones which may never be required. Many over-specified control systems are usually more expensive and may require revisits by a third party to carry out even the simplest of alterations or additions.

Malmesbury Abbey, Malmesbury

St Mary Magdalene, Sandringham

During the many years that the company have been designing and new lighting, and are happy to assist. They believe that the experience installing lighting systems they have built up excellent relationships with of their staff in working safely at height, with the care and attention churches of all denominations and sizes. That has resulted in on-going needed for these special buildings, is an advantage that has been maintenance being carried out on an ‘as-and-when-required’ basis – gained over very many years. That was demonstrated recently during and in many instances the replacement and upgrade of fittings as the a cleaning project at Malmesbury Abbey: a building they have been original outlets have been phased out of production, or better options involved with for nearly 25 years. q have become available. They have found quite a number of previous clients returning to them • For further information visit the website at www.anthonyjsmith.co.uk and asking for an overall appraisal of what may have been installed or call 01453 825 130. You can also visit them at CRE North Stand P47 more than 20 years previously. In many instances the ability to upgrade to an LED system – coupled with an easy-to-operate and alter scene-setting system while using the original wiring – has been quite popular, as most churches cannot afford to replace the wiring when it may have been installed not many years previously. One such church with which Anthony J Smith (Glos) Ltd have maintained a good working relationship for over 20 years is St Mary Magdalene on the Royal Estate at Sandringham. They were invited back late in 2017 to specify and implement some proposals for suitable LED upgrades, as many of the original low-voltage and highfrequency fluorescent lighting outlets were failing and becoming harder to maintain. The company have also found that, increasingly, they are receiving enquiries from churches to investigate and give quotations for the high-level cleaning of many years of accumulated dust and cobwebs and the like. They have consequently provided high-level cleaning services to a number of All Saints Church, Oystermouth churches even when they are not installing www.ecclesiasticalandheritageworld.co.uk

Archbishop welcomes Brexit seminar [

IT IS A MEASURE of the gravitas that CRE has acquired over the years that a seminar at CRE North has attracted the attention of the Archbishop of York, Dr John Sentamu (right). Bridging the Brexit Divide is a seminar where churches will come together to try and find a way forward through the Brexit crisis. Hosted by Andy Flannagan of Christians in Politics, the seminar – which takes place at noon on 13 March – will ask whether or not the church is in part responsible for the current situation. “Have we critiqued from the sidelines instead

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of getting on the political pitch?” demanded Flannagan. “Whatever the situation on 29 March we need to move forward positively. We will discuss what role churches can play in bridging the cultural divide and bring communities together again.” Archbishop John, who is asking people to say a special prayer three times a day in light of the current political crisis, has welcomed the initiative. “CRE is an event that brings together churches from many different traditions and persuasions,” he said. “It is an ideal place for positive discussion

and agenda setting. My prayer is that we all find wisdom, courage, integrity and compassion for our political leaders and MPs, for reconciliation and a fresh and uniting vision for everyone.” The prayer the Archbishop is asking people to say reads: “God of eternal love and power, save our Parliamentary democracy; Protect the High Court of Parliament and all its members from partiality and prejudice; That they may walk humbly the path of kindness, justice and mercy. Give them wisdom, insight and a concern for the common good. The weight of their calling is too much to bear in their own strength, Therefore we pray earnestly, Father, send them help from your Holy Place, and be their tower of strength. Lord, graciously hear us. Amen.” q

Tools for Twitter: harnessing social media [

THE ESSENTIAL TOOLS to build a church using social media will be outlined in a contemporaneous seminar at CRE North. Building your church through social media will be led by Laura Treneer, chief executive of Christian Publishing and Outreach (CPO), at 11am on 14 March. “Those who reject Christianity are highly unlikely to be reached by the traditional church,” Laura explained. “However, the same people are likely to spend, on average, 20 hours a week on the internet. This presents us with an amazing opportunity, if we know how to use it wisely.” Combining missional vision with practical advice, the seminar covers information contained in Laura’s book Church Online: Social Media, published by Bible Reading Fellowship. Those attending the seminar will come to understand why social media matters and how it works for churches. They will hear practical examples and inspiring stories from a panel of contributors and take away building blocks to develop their own local church’s digital strategy. “The seminar and book are aimed at church teams who want to reach their communities effectively,” said Laura. “The book is a perfect resource for church leaders and volunteers short on time who need fast, relevant advice. Whether you’re looking for a crash course, brief refresher or reference toolkit, you’ll find what you need in it. And, of course, you can pick up a copy after the seminar at CRE.” Laura’s understanding of churches is helped in part by her husband’s role for the past 12 years as senior pastor of a Baptist church in Brighton. “CPO is a charity, and for 60 years has been serving the church in its communications,” she says. “I believe it has a strategic role to play as a resource, not just for churches, but for charities, bookshops and suppliers.” They will be available to talk to on Stand A11. q

Something for everyone

[

THE PROGRAMME of over 30 seminars and presentations available at CRE North will cover the whole range of issues facing the army of people involved in running churches: from the practical to the spiritual. The subject matter ranges from engaging children in the Bible story to alleviating suffering both at home and abroad. On a practical level, there will be sessions on electronics in church and commissioning new building work. The seminars will be taking place in three special seminar theatres – in addition to concerts and theatre shows. Cindy’s Sofa will feature special guests while Andy Flannagan and Ministry of Music will provide their own brand of entertainment. There will also be a series of Bible study sessions in the Walk Through The Bible theatre and academic presentations in the new Study Zone. Plus, evergreen songstress Dana will be there in concert on both days. q www.ecclesiasticalandheritageworld.co.uk

Collaboration brings stunning results

[NESTLING IN THE HEART of the historic Norfolk market town of

Swaffham, the beautiful Grade Two-listed Methodist Church has recently been renovated to offer state-of-the-art resources to people of all ages and interests in a bright and welcoming building. The transformation has been accomplished in no small part through the collaboration of two specialist church suppliers – Cunnings Recording Associates and Fullers Finer Furniture – in conjunction with the building contractor H Smith and Sons of Honingham. Walk into Swaffham Methodist Church today and you enter a contemporary and flexible space, exquisitely modernised to blend the best of old and new, through bespoke furniture and restoration work provided by Fullers and a quality audio-visual system installed by Cunnings. Paul Fuller LCGI and Malcolm Cunnings MInstSCE explained that the

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church wanted to make better use of the space within the building to allow community events and activities to be held as well as regular Sunday services. Most of the original fixed pews have been removed and replaced with flexible seating to optimise the space available in the church. Bespoke cupboards have been fitted to house the stacking chairs when they are not in use. A number of the original church pews have, however, been carefully restored and retained to form an additional seating area under the balcony. The original wood panelling around the church, cut to fit the original pews, has been replaced with a new frame and panel-effect décor to blend with the balcony frontage. New solid oak skirting and painted dado capping give a contemporary feel while reflecting the existing décor of the building. Further restoration work was carried out on the sanctuary side of the doors and windows in the entrance. The result is a lighter, natural look that is more

akin to the original wood colour. Consideration was given to every detail, down to the making of custom handles, to ensure an exact match to the existing door fittings. On the east wall of the church, Norfolk artist Eddie Goodridge has created a mural which reflects the church’s history and its connections to the town and wider Norfolk community. Bespoke cupboards below the mural, fitted with a decorative solid oak moulding on the doors, have been built to provide additional storage. The requirement for total flexibility continues into the sanctuary, with each piece of furniture hand crafted for its own unique purpose and setting: designed to combine beauty and functionality. The communion rails, with built-in cup holders and kneelers, and finished to match the other soft furnishings in the church, are free standing, lightweight and portable. The matching communion table is decorated with hand-carved motifs of bread and grapes and features a beautiful solid-oak top, with chamfered corners for safety and aesthetic reasons. Two Fullers lecterns also grace the sanctuary area: the renowned height-adjustable and easily-manoeuvrable York lectern in a natural oak finish with an LCD monitor, microphone socket and built-in retractable tablet lip, and a matching fixed-height lectern made in an attractive lightweight three-legged design. The York lectern is decorated with the hand-carved symbol of an open book. Two discreet floor boxes house the connections from the lecterns to the audio-visual system. Each floor box includes a matching set of audio connections for the lectern microphones. HDMI sockets feed the lectern LCD screen and allow a laptop or tablet computer to connect to the system. The free-standing LCD monitor can also be connected to allow musicians and service leaders to see what is being displayed on the main screen. Cunnings have also installed a high-brightness LCD projector, suspended from the ceiling, which displays content from the laptop, DVD player or the controllable camera mounted on the rear wall. The electric projection screen automatically deploys when the projector is turned on, and when not in use retracts inside a pelmet designed and built by Fullers. The front of the pelmet features an inspirational text in wooden lettering. Beside the pelmet, a hand-crafted cross made in natural oak with black walnut rear crosses sits within a high alcove at the front of the church, highlighted with LED backlighting. Music plays an important role in any church, and that is especially true for Swaffham Methodists which is fortunate to have a number of professional musicians in its congregation, who appreciate good quality sound. Clustered around the projector are a pair of music-quality speakers, which provide coverage for the entire congregation. A number of input sockets along the front wall allow microphones and instruments to be easily connected. At the rear of the church is a discreet bespoke servery, tailored to suit the needs of the church and fitted with the essentials, including an under-counter instant water boiler and stainless steel sink. Next to the servery, the matching AV cabinet houses the audio and video equipment, specified by Cunnings, within a custom-built enclosure. Opening the lockable door and bi-fold lockable lid gives access to the equipment, with seating space for an operator. At the heart of the audio system is a digital mixer with built-in automatic microphone mixing and recallable settings, allowing the system to be confidently operated by various users. A dedicated audio recorder allows concerts and music recitals, as well as regular services, to be saved directly to USB or SD card. A simple control panel, mounted within the cabinet, allows the complete audio-visual system to be switched on and off with the touch of a button, enabling individual components to turn on and off in sequence to prevent power surges. Other buttons provide control of the projector and screen and selection of the visual inputs. All of the cables for the cabinet are hidden within a bespoke enclosed cable duct. An audio frequency induction loop system means hearing impaired members of the congregation can participate in services. In the rear hall a similar loop system has been fitted, together with a pair of speakers, allowing the room to be used either as an overflow from the church or for separate meetings. The simple wall-mounted control panel in the hall provides volume adjustment and connection for portable audio devices. Outside the church, provision has been made for a digital signage screen to be fitted in place of the traditional noticeboards to display

notices and adverts for forthcoming events to the community. Both Cunnings and Fullers have been involved with the project from the design stage, working closely with the client and architect over a couple of years to enable the history and architecture of the church to combine with their requirements for modern functionality. Said Malcolm Cunnings: “The unique combination of expertise, experience and attention to detail sets Fullers apart.” Paul Fuller concluded: “This project continues a long established collaboration between Cunnings and Fullers and it is invaluable to be able to work with a like-minded company with proven experience within the AV industry.” The final result is a beautiful early 19th-century church sympathetically restored and transformed by Fullers and Cunnings and ready to take its place in the future of the community it serves. q

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Experienced team overcomes challenges at Devon church [A NEW, highly-bespoke dais has recently

been installed at St Peter’s Church in Budleigh Salterton. The unique piece was designed and manufactured by the professional craftsmen of CPS Manufacturing Co. The wonderful 18th-century church, which can be found in a picturesque corner of East Devon, presented many challenges for CPS’s design department and the intricate work that was involved meant an onsite survey took almost a full day to complete. It was decided at an early stage of the project that templating would be used for the area around the pulpit and a nearby column, to ensure the stage platforms were accurately manufactured and would be a perfect fit around those fixed objects once installed. A further challenge for the designers was the cast heating duct that runs inside the floor underneath the new dais. The platforms had to be manufactured in such a way as to ensure the legs did not sit on top of the ducts, so the heating system or platforms weren’t compromised in any way. The CPS Alu Rapid system was utilised to form the new dais, which was placed over the chancel steps and joined to the choir area of the nave – with a tolerance of just 10mm – to allow services to take place in greater proximity to the congregation. The platforms themselves are decked out in acorn-coloured carpet, which is a sympathetic addition to the aesthetics of the building. Beautiful oak fascia boards and steps complete the stunning look, which has resulted in a truly superb transformation of that area of the church. A further design feature – and a first for CPS – was the challenge to design and manufacture St Peter’s Church before (top) and after the installation of the new dais the oak balustrade to come out of the middle of the steps: balustrades are usually secured to the side of the steps. But that proved to be no problem for the talented CPS The platforms manufactured by CPS are strong and durable, but light team working on the project. in weight: meaning they can be quickly assembled and taken down. Despite the scale and kudos of the larger projects CPS has previously They are also very compact to store, with a complete stage of up to 40m² worked on, they are well-equipped and readily available to carry out work taking up just 2m² of floor space. That has proved to be a huge benefit to on smaller buildings such as parish churches, village halls and schools many of their customers over the years. throughout the UK and further afield. The bespoke staging service offered by CPS comes with the technical ability and know-how to be able to create platforms of any size, height or shape. The company is willing to tackle the most demanding projects, no matter how complicated, and will advise how a space will benefit from a professional seating or staging system. CPS has been transforming the appearance of such spaces since 1966 and has gained significant experience of delivering successful projects in many well-known religious buildings. Their expertise is to take a concept from their clients and meticulously follow all projects through to completion, working very closely with key members of fabric committees. q

The plan for the new dais

• For further information about their seating or staging products, or for a no-obligation quote and free product demonstration, contact the friendly CPS team on 01302 238058, or visit the website at www.cpsmanufacturingco.com www.ecclesiasticalandheritageworld.co.uk

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Lead contractors’ 2019 directory launched [ THE 2019 Directory of Specialist Leadwork Contractors is now available free

of charge from the Lead Contractors Association (LCA). Formed in 1984, the LCA now comprises around 100 specialist contractor and associate members – all committed to providing quality craftsmanship for their clients. Its contractor members are required to take full responsibility for the purchase and installation of the lead sheet under their control. They are graded according to the quality and complexity of work inspected during an annual vetting programme, with grades published annually on the association’s website and in the directory. In 1999 the LCA’s members became the first in the construction industry to offer a 25-year guarantee of their workmanship, administered by the LCA and financed by an independent and ring-fenced Trust Fund which is insured and underwritten through Lloyds of London. q • For more information, and to request a free copy of the Directory of Specialist Leadwork Contractors, visit www.leadcontractors.co.uk

Has your leadworker got the right stuff? [

THE Lead and Hard Metals Training Group (LHMTG) is administered by the Lead Contractors Association and is the one-stop-shop for information on courses and qualifications in lead and hard metals. It also produces a register of leadworkers qualified to a range of standards. While many qualified leadworkers are employed by larger contractors, many others provide their own bespoke services. The businesses below are all listed on the LHMTG Leadworker Register. q

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 W: www.blackdogroofing.co.uk

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

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

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Safety campaign aims to protect lead customers [ A COMMITMENT TO the safety of their customers is one of

the key concerns of BLM British Lead. To ensure the issue is given the importance and priority it demands, BLM has launched a safety awareness campaign – Stay Safe with Lead. The campaign aims to encourage users of lead sheet to take the right precautions to protect themselves and others when working with lead. To support the campaign, BLM have developed health and safety tips to ensure end-customers are fully aware of the recommended safe work practices when working with lead.

Safety tips • • • • • • • • • • • • • •

Apply a hand barrier cream where possible Wear appropriate personal protection equipment, such as safety gloves and boots Always wash your hands and forearms as soon as you finish handling lead and before you do anything else. That applies even when wearing gloves Do not eat, drink or smoke after handling lead until you have washed your hands

• When sweeping a lead storage area, wear a protective dust • mask and damp down any dust before you sweep

Storage tips Lead is a dense but soft metal. It can be easily damaged when stored incorrectly. To help prevent damage to lead sheet: • All rolls of lead should be • stored in a clean, dry area on • a sealed concrete floor, or • raised off the floor on a • strong timber base • Contact with moisture in • roll format can result in the • formation of red oxide • staining, similar to rust, in • the roll layers in a • matter of hours. This may be • cleaned, prior to fitting, with • vinegar and nylon scourer • and 5% nitric acid solution, but best avoided in the first instance • Where possible, smaller flashing rolls with a width of 450mm or less • should be stood on their roll ends and wider rolls should be laid • down on pallets to minimise the risk of accidents or damage • Always remember that the lead surface could be scored or • damaged if it comes into contact with rough surfaces and sharp • objects, creating thin/weak spots in the sheet

Handling and recovery tips • Never attempt to lift a roll of • lead on your own unless you • are absolutely confident of • your own ability to handle it • without undue effort. If in • doubt, either insert a strong • steel bar through the roll • and lift with the help of • another person or employ • approved mechanical • handling equipment • Always wear work gloves • when handling lead to • protect from both lead dust • particles and sharp edges • Lead sheet scrap and waste • recovered from demolition or • construction work must only • be sent to approved scrap • merchants or directly to BLM • through its Scrap Back scheme, for which terms and conditions • apply • Scrap lead should not be transported in open vehicles and the • vehicle should be carefully cleaned after use. Said BLM: “By launching this campaign, we hope to re-engage users of lead sheet in the importance of the core safety working practices when handling lead sheet. Our Stay Safe with Lead campaign aims to encourage users of lead sheet to take the right precautions to protect themselves and others when working with lead. q

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Rolled sheet producer supports tomorrow’s leadworkers [

IN DECEMBER, Midland Lead announced it is supporting 17 colleges throughout the UK in helping to develop future skills in the roofing industry. The Derbyshire-based lead sheet manufacturer featured in a Parliamentary Review, in which they outlined their commitment to working to attract new talent and develop a skilled labour force in the future. The company now supports 17 colleges, providing machine-cast lead, tools and ancillary products free of charge. Midland Lead also send their team of experts to visit many of the sites, offering presentations about best practice on how to handle, store and work with lead – which is the most recycled and sustainable material in the world. Along with practical advice and supplying raw materials, Midland Lead open the doors to their specialist manufacturing facilities so that students can see how the lead manufacturing process works. Among the colleges they have built up a strong relationship with is Leeds College of Building. David Mallory, lecturer and assessor in roof slate and tiling at LCB, has seen how working with manufactures can have a positive effect on apprentices and students. He said: “Without the support that Midland Lead provides, the students wouldn’t progress

with any leadwork at all, and we think this is a really important aspect of them developing this as a skill. “Unlike many building and roofing materials, working with lead is a skill that is developed through ‘getting your hands on it’, and thanks to Midland Lead supplying the materials and tools we can offer people the freedom to work with it directly. As soon as our students get the opportunity to use lead it often

becomes their product of choice throughout their career and they are proud to advocate using lead in the future.” Advocates of developing and supporting skills in construction, Midland Lead work closely with the CITB and NFRC. Because of this commitment they have developed a strong reputation for helping colleges around the UK, and they look forward to working with many more over the next few years. q

Entries invited for Leadworker of the Year competition [ ENTRIES FOR THE 2019 Leadworker of the Year competition are now open. The Lead Sheet

Training Academy (LSTA) is inviting those who are proud of the leadwork skills they have, and who have undertaken an LSTA or Lead Sheet Association leadwork course, to enter the competition. It offers leadworkers the chance to get a career boost and gain recognition of their skills. The competition is open to all leadworkers in the UK – whether they are self-employed or working for a contractor. The winner receives a free week of training at the LSTA, a new set of tools and a copy of the Rolled Lead Sheet Manual. The runners up will receive a copy of the manual and a three-day personalised development training course with the LSTA’s experienced tutors. They will also gain recognition throughout the industry, as the award will also be presented as part of the UK Roofing Awards in May. Closing date for entries is 22 February. q • For more information – and to enter – visit www.leadsheet.co.uk/service/lsta-leadworker-of-theyear-2019/, tel 01622 872 432 or email info@leadsheet.co.uk

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New roofing awards include heritage projects [ HERITAGE BUILDINGS and churches featured

prominently in the inaugural Pitched Roofing Awards, which were presented in Manchester at the end of November. The awards, presented by Roofing, Cladding & Insulation, were created to highlight the successful partnerships between suppliers and contractors, and the commitment to quality, which is demonstrated by the delivery teams who carry out the work on the projects involved. In all, 13 champions were crowned at the ceremony, which was attended by more than 250 people and hosted by comedian Kerry Godliman. The award for Best Roof Tile Application for a Heritage Roof went to Dreadnought Tiles, working with Four Oaks, for St Mary’s Parish Church in Bushbury, Wolverhampton (pictured). We reported on the roof restoration project at the beautiful 14th-century church building in the last issue of Ecclesiastical and Heritage World, prior to the project being recognised with the award. In its blog the church noted: “Throughout the works the builders have shown great flexibility in allowing church services to continue during working hours. Sunday services have been uninterrupted, though there has been a significant amount of dust to cope with.” Other heritage buildings to be recognised in the Pitched Roofing Awards included work on the German Embassy in London by Associated Lead Mills, working with Top to Bottom Roofing. That project triumphed in the Best Application of a Lead Roof category. Meanwhile the redevelopment of Twenty Grosvenor Square won the award for Commercial Property Application Using Slate for Welsh Slate, working with Richardson Roofing. Two awards went to new builds in historic settings: Marley Eternit, working with Martin-Brooks (Roofing Specialists), took the prize in the Best Application of Cedar Shingles category for Sherwood Forest Visitor Centre, while the Commercial Property Application Using Roof Tiles category went to Tudor Roof Tile Co, working with Avonside Roofing Group, for the new Music School at King’s College School in Wimbledon. Winners were recognised for quality, professionalism and the finest workmanship, and were judged by a panel of independent industry experts. Nichola Farrugia, editor of Roofing, Cladding & Insulation, said: “The Pitched Roofing Awards have proved to be a great success, and stand as a reminder of the important contribution the roofing sector makes to the construction industry, through innovative products, design and workmanship. The winners reflect the growing strength, diversity and skills of the sector.” 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 traditional clay roofs meet modern standards JAMES SEAWELL, area sales manager at Marley, says achieving a BS 5534 compliant clay roof doesn’t mean compromising on tradition.

[TRADITIONAL CLAY ROOFS are an

important feature of many of Britain’s oldest towns and villages, playing a key role in the rural landscape. This is certainly the case in my area of the country, Yorkshire, where we have three Areas of Outstanding Natural Beauty and three National Parks. Therefore, preserving the heritage of traditional clay roofs in these areas is very important. Yet at the same time, the ongoing challenges of increasingly extreme and volatile weather in the UK, means that clay roofs need to conform to modern fixing standards. Since the revised BS 5534 was introduced, there has been some real concern among roofing 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 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, our technical experts are here to help contractors working in Areas of Outstanding Natural Beauty, so they can create a traditional roof which meets planning requirements, but is also fixed to modern standards. 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.

A handmade finish Away from the Yorkshire area, we’re also seeing handmade clay tiles used by architects and specifiers looking to achieve a genuine handmade finish when creating traditional clay roofs. One such project we’ve been involved in is a private detached property at Seale Hill, which was built in 1928, in the historic town of Reigate. Here, the current owners took the decision to carry out a full roof replacement, including the vertical tiling, but they wanted as close a match as possible to the original tiles. The refurbishment project also needed to be sensitive to its rural surroundings and adjacent parkland. Project director at Brodie Plant Goddard architects, Robin Goddard commented: “We selected handmade tiles firstly to replicate the original tiles but also to complement the style of the building and neighbouring properties. “We chose the Canterbury handmade tiles from Marley because they best matched the colour blend we were looking to achieve, to replicate the 1920s traditional aesthetic. They also offered the orange colour which we needed as a vertical contrasting tile for the gable ends, and being able to use both tiles from the same manufacturer gave a consistent finish.” Handmade by skilled craftsmen, using locally sourced Etruria Marl, Marley’s Antique-coloured

Loxleigh Canterbury clay tiles were specified for the large 270m2 roof, which was a complex design due to the interaction of multiple slopes, swept valleys and hips. As well as supplying samples and colour blending advice, Marley also provided specialist technical support to the architects. Robin Goddard explained: “Regulations dictated that we needed to choose between a ventilated ridge or a discrete in-line ventilation tile. The client wanted to use a traditional mortar pointed ridge and Marley was able to offer specific technical advice in this area to decide on the best solution.” Of course, there are parts of the country which have very strict planning requirements and 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, like me, across the country who can help builders and contractors with roofing products and the planning process if they involve us at design stage. We can also advise on and provide the right fixing solution to suit the building and area, whether that be dry fix or traditional mortar-bedding with mechanical fixing. q • For more information visit the website at www.marley.co.uk/handmade

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Thatched roofs under threat from wood-burners

[RESEARCH CARRIED OUT by the Fire Protection Association has

explained why thatched buildings fitted with wood-burning stoves are at greater risk of fire than those with open fires. The three-year research programme, funded by Historic England in partnership with insurer NFU Mutual, included full-scale fire tests. The results show that, because of the higher temperatures and flue velocities associated with the use of a wood-burning stove, thatch could be set alight by large sparks and embers ejected from the chimney. An open fire is not as hot and produces smaller sparks and embers, making it less dangerous. In the past decade more than 500 thatched buildings in England have been damaged or destroyed by fire – most of them listed buildings. One of the greatest risks occurs when a wood-burner is used in a chimney in which a bird’s nest has been built, as often happens if there is a cold snap in early spring. The research also demonstrates that fires could be started by hot flue gases leaking into the thatch layer through defects in the chimney stack, especially if the flue is partially blocked. A widely-held belief that thatched-roof fires were predominately started by heat being transferred from flue gases through solid chimney brickwork and setting light to the surrounding thatch layer was also

disproved. The laboratory trials showed that the temperature of chimney brickwork at roof level, even when the wood-burner is being operated at maximum output over prolonged periods, is actually much lower than previously assumed by the proponents of the ‘heat transfer’ theory. In response to the findings, Historic England has produced guidance on measures to reduce the risk of fires in thatched properties with wood-burning stoves. The guidance includes sweeping chimneys regularly to prevent build-up of tar and soot, checking the distance between the top of the chimney pot and the thatch, fitting bird guards to prevent them nesting in chimneys, fitting a stove pipe temperature gauge and installing a suitable flue liner. Alison Henry, head of building conservation and research at Historic England, said: “We want to end the loss of valuable historic buildings and the associated misery for homeowners by reducing the risk of fire in thatched buildings fitted with a wood-burning stove. “We know that many people love their wood-burners, but there is no doubt that they pose a risk to thatched buildings and we recommend that they are not used. If a wood-burner is used, implementing the measures described in our new guidance will reduce the risk of fire, but cannot eliminate it.” q

Handmade tiles earn brace of awards [ TUDOR ROOF TILES CO LTD

has scooped the prize for Best Roofing Product in the 2018 Build It Awards for its range of ‘bespoke handmade clay roof tiles’. It is the second time that Britain’s foremost independent handmade clay roof tile manufacturer has claimed the category in the prestigious awards, which recognise the best products, services, projects and innovations available to self-builders and renovators. It follows previous success in 2014 for its authentic standard range of peg and plain tiles. The judges said: “This product is a highquality option for any homeowner undertaking a heritage project or looking to create an authentic period feel.” Tudor’s capability to produce traditionallooking roof tiles in bespoke and nonstandard sizes is vitally important when it comes to restoring historic roofs, where even the slightest deviation from the original variable sizes can damage the overall aesthetic of the property. That approach has recently been demonstrated by Tudor’s adaptation of its taper tiles for oast restorations to give a more authentic look (above left). The company’s technical ability to meet challenging briefs requiring highly-unusual shapes and sizes has also won favour among modern self-build and architectural projects, where bespoke roof tiles can add significant value and individuality, as well as giving a striking visual appeal to a project. The spectacular new roof at King’s College Music School in Wimbledon (above right) is an outstanding example of Tudor’s meticulous attention to detail and craftsmanship when producing unique shapes from an architect’s drawings.

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Managing director Paul Lythgoe (below) commented: “We are delighted to have won the roofing category of the Build It Awards for the second time. I am proud of my team’s dedication and skills.

“Such recognition clearly demonstrates the aesthetic importance of genuine craftsmanship in replicating the sizing of historic peg tiles, as well as creating completely new and unique designs with a more contemporary appeal. At Tudor we place great emphasis on personal service and working closely with homeowners and architects to meet their exact roof tile requirements.” Made from the acclaimed Etruria Marl clay, Tudor’s clay roof tiles use the flexibility of age-old handmaking techniques to create an ‘instant aged’ and traditional time-weathered appearance. Each tile is carefully hand-pressed, moulded and trimmed, and then strengthened using advanced firing techniques to give exceptional durability to modern performance standards. They are CE marked to EN 1304 (E) Standard for frost resistance, water impermeability and flexural strength. q • For more information call 01797 320202, email info@tudorrooftiles.co.uk or visit www.tudorrooftiles.co.uk

Natural slate graces an inspirational development

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NATURAL SLATE from CUPA PIZARRAS has been specified for the roofing at the historic Camphill Blair Drummond project on the outskirts of Stirling. In keeping with the heritage of the area, the company’s Heavy 3 slate was chosen for six stunning homes for Camphill residents, due to its aesthetics, durability and flexibility. Located amongst rolling hills and exquisite Scottish scenery, Camphill Blair Drummond provides a warm, friendly and home-fromhome living environment for young people with complex learning disabilities. The community provides meaningful activities and workshops where relationships can be built, and day students and residents can live, learn and relax in a unique family setting. Camphill is situated within the grounds of the beautiful and historic 19th-century baronial mansion, Blair Drummond House, where six new houses have been built for residents. Four of the houses are purposebuilt, state of the art homes, and one is a refurbishment of a listed building with a modern extension. All developments have fully equipped kitchens, social spaces and bedrooms with en-suite bathrooms. With the traditional setting, it was imperative that a roofing slate was chosen that could fit in with the historic design of the buildings. CUPA PIZARRAS’ Heavy 3 is popular in Scottish heritage areas due to its resemblance to Ballachulish, the time-honoured blue-black slate. This appears on many older buildings but is no longer quarried in Scotland. CUPA PIZARRAS’ Heavy 3 is a true heavy slate, and undoubtedly the best choice for Scottish roofs. Aside from its stunning aesthetic, Heavy 3 can last over a hundred years and its extra thickness of 7-8 mm gives it the perfect strength to withstand any extreme Scottish weather. Alisdair MacDuff, formerly of MacDuff Architects, commented: “It was of the utmost importance that we created the most beautiful area for this centre and its inspirational students and volunteers. CUPA PIZARRAS is a company we use frequently for its high-quality products and reliability, but Heavy 3 also enhanced the beauty of the surroundings by blending into the natural Scottish landscape. “The slate was also specified due to its durable qualities – the costeffective aspects associated with natural slate and Heavy 3 helped to provide peace of mind for those at Camphill Blair Drummond.” CUPA PIZARRAS’ Heavy 3 was also commended for its design flexibility. Jim O’Connor, health and safety maintenance manager at Camphill Blair Drummond, discussed this necessary requirement of the project, saying: “The project spanned over three distinct buildings including a tall clock tower, and therefore a complex mix of pitched and tower roofing had to be managed. “CUPA PIZARRAS was able to accommodate this to an excellent standard; all the slates came pre-cut which contributed to the excellent level of customer service. I’ve worked with CUPA PIZARRAS previously and I was pleased to see them on site. “The finished look is incredible, and I’m delighted with the roofing especially. We’ve had so many positive comments from the residents on their new accommodation – we are sure they will enjoy their stunning new homes for years to come.” q

Squaring the circle: roof insulation that is kind to bats [BATS ARE A protected species in the UK and play an important

role in the ecosystem. However, where buildings have been insulated with breathable membranes, the fibres used in the product become damaged and ‘fluff-up’ when put in contact with bat claws. Those fibres can then entangle the bat, which becomes trapped and dies. Until now, in properties where bats have been found, only bitumen 1F felt has been used. That has come at considerable cost to the thermal performance of the roof. Bitumen 1F felt is not breathable and requires a 50mm ventilated airgap directly under the product. That airgap takes up the space required to fit insulation between the rafters, and in old buildings that is often not possible. Breathable membranes have been adopted across the industry because they don’t require this airgap, which is then used to insulate the property. They are also much lighter, stronger and easier to install. Buildings with an uninsulated 1F felt roof can release up to 10 tonnes of CO2 per year through the fabric. Replacing 1F felt with a breathable membrane and additional insulation between the rafters can reduce those emissions by 57%, a factor which can have an impact on global warming and climate change. It was critical that a product was invented that could protect bats from the entanglement issue that traditional breathable membranes cause, but also allow architects, building control offices and builders to refurbish old properties in accordance with Approved Document L of the Building Regulations by insulating properties to the required standard. Such a product, TLX Batsafe, has been invented by TLX Insulation, the UK`s leading expert in applied polymer science and insulating breather membranes. TLX Batsafe is designed with a protective mesh each side of the product, which allows for contact with bats, while still enabling the breathable membrane to function. Thomas Hunt, commercial director of TLX Insulation, said: “We are delighted to launch such an innovative product into the construction industry: the issue of energy saving and reducing our carbon footprint is a critical issue we all face. During the R&D process the main issue we wanted to tackle was how do we also protect the bat? Once we understood the problem fully we designed a product around their needs alongside a property’s thermal requirements.” q • For further information on TLX Batsafe call 01204 695666, email sales@tlxinsulation.co.uk or visit www.tlxinsualtion.co.uk

• For more information on the range of natural slate products from CUPA PIZARRAS visit www.cupapizarras.com/uk www.ecclesiasticalandheritageworld.co.uk

Walthamstow Wetlands wins Best Refurbishment in the 2018 Brick Awards

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WALTHAMSTOW WETLANDS is a series of 10 reservoirs, located in the Lea Valley Special Protection Area, providing drinking water to 3.5 million Londoners. The 211-hectare site is an area of Special Scientific Interest, which has been transformed into one of Europe’s largest urban Wetland nature reserves. A collaboration between Thames Water, the London Borough of Waltham Forest and London Wildlife Trust, the aim was to conserve the heritage and identity of the site, whilst allowing free public access to this 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 II-listed brick-built Engine

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House and a disused neighbouring mill into a new visitor centre and viewing platform. Open to the public for the first time in 150 years, Walthamstow Wetlands is a conservation and restoration project of unique value, which has received widespread acclaim and recognition. It has won the Refurbishment category of the 2018 Brick Development Association (BDA) Brick Awards, which recognise excellence in design and construction using brick and clay products. According to the BDA judges: “The Wetlands centre dignifies and respects the industrial heritage of the site and transforms its extraordinary setting.” They also described it as a very skilled work of refurbishment on an industrial building. Other accolades include a prestigious 2018 RIBA National Award, a RIBA London Award, Best Use of Heritage in Placemaking in the Planning Awards and a Civic Trust Award. The project is also one of the finalists for the Riba Journal MacEwen Award 2019, which recognises and celebrates architecture for the common good. At the heart of the restoration is the old Engine House, which was

built in 1885 to house the massive steam driven pump engines. This has been restored and converted to accommodate a café and visitor’s centre, with a kitchen extension built from Brown Brindle facing bricks supplied by West Midlands manufacturer Ketley Brick. Known for their industrial authenticity and durability, these ‘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 adjacent north wall. The engine house roof was also fully restored using Dreadnought Tiles’ Brown Antique plain clay roof tiles, which are manufactured 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, which combined well with the natural tones of the exposed brick and timber panelling on the walls. Integral to the project 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’ (below) 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 standing out, yet also complementing 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 co-designed 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 and were placed at least 1m apart to prevent rival swifts fighting. The only known structure of its type, ‘swift tower’ is visible from across the valley, signalling repair and transformation – repair of civic infrastructure and transformation from pollution to ecology. The BDA judges stated: “The brick choice for the tower is very well informed; the hard, Brown Brindle brick has a soft sheen to it that looks sometimes dark and at other times slightly reflects the sky. “The choice of brick in the refurbishment element also complements the lovely pink existing brick. Across both old and new elements, the quality of detailing and execution is extremely high.” Alex Patrick-Smith, managing director of both Ketley Brick and sister company Dreadnought Tiles said: “We are delighted to have manufactured the bricks, roof tiles and quarry tiles that were so in keeping with the Victorian heritage of this site. “Our commitment to manufacturing high specification natural products using a combination of traditional and modern techniques has been recognised in several award-winning heritage buildings.” Other award-winning projects include the re-roofing of the Grade II*-listed Church of St Mary in Bushbury in Woverhampton which recently won in the Best Roof Tile Application for a Heritage Roof category at the 2018 Pitched Roofing Awards for Dreadnought Tiles. q Images courtsey of Heini Schneebeli

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Musicians and blacksmiths will celebrate Bath’s bandstand [THE TEAM at BathIRON are looking for people who are handy with

New sculpture is literally ‘made’ of a bridge

a paint brush to help put the finishing touches to the musical notes on the balustrade of the restored bandstand, ahead of the grand opening on 26 May. A ‘Painting Party’ will be held at the Ironart workshop in Larkhall, Bath on 23rd March. BathIRON say volunteers don’t need to be artists or professional decorators, “…but a steady hand, some patience, perseverance and an eye for detail will certainly help.” The culmination of all that effort and activity will be the installation of the BathIRON bandstand balustrade in the city’s Parade Gardens, accompanied by FireFOLK, a family-friendly folk festival featuring some of the best local folk bands from Bath and the surrounding area – from as far afield as Bristol and the Mendips. There will be a bar, food stalls, and a celebration of the traditional craft of the artist blacksmith, with live forging demonstrations throughout the evening. Blacksmiths who would like to showcase their skills on the night are invited to get in touch. There are still opportunities to sponsor notes on the new balustrade in celebration or memory of loved one or special event. The treble clefs have now all been sponsored. q • For further information visit the website at www.nhig.org.uk or email info@nhig.org.uk

Seminar charts the history of cast iron

[PIGS, PUDDLERS & PATTERNS is the unusual yet accurate

[BATH IS ALSO the site for an altogether more modern artwork –

constructed out of wrought iron from a Victorian bridge. Maid of the Bridge is the creation of local sculptor Anna Gillespie, and was commissioned by Crest Nicholson as part of a new development in the city. Anna described the piece thus: “The brief was to use the Victorianera wrought-iron chain links from the Victoria Bridge that needed to be restored to make it safe and able to be opened as a new pedestrian link between the two banks of the River Avon.” Anna worked with local crafts company Ironart and the locally-based but internationally-renowned engineers Buro Happold, together with arts consultant Peter Dickinson. It was installed last November. The sculpture is designed to reflect the direction of flow of the river and create a physical and symbolic link between the past industrial history of the site and current craftsmanship and skill in the city. q

description of a one-day course offering an introduction to the history, manufacture and repair of cast iron. The event is being held at the Coalbrookdale Museum of Iron in Shropshire, at the heart of the area that saw the dawn of the industrial revolution, on 21 June. The seminar will explore various aspects of the making, forming and repair of cast iron, focusing on: • The history of iron-making – how pig iron becomes ‘wrought’ • or ‘cast’, the different types of furnaces and the technical • progression • Pattern-making – types of patterns and how they work, and • things to think about when designing or specifying • Products – an overview of Coalbrookdale castings: from • kitchenware to industrial applications • The repair of cast iron – different techniques and problem • solving The day will include a bespoke tour of the Coalbrookdale Museum of Iron. Tickets cost £85 including lunch (students £40), bookable on the NHIG website at www.nhig.org.uk. There is an early bird price of £70 for bookings before 30 April. All proceeds from the event will go to support education and training in heritage ironwork. q www.ecclesiasticalandheritageworld.co.uk

New pictures show the Iron Bridge in all its glory [IN THE LAST ISSUE of Ecclesiastical and

Heritage World we reported on the removal of scaffolding from around the famous Iron Bridge in Shropshire, following meticulous repair work. The project, which included creating replacements for hundreds of iron wedges which hold the structure together, means the bridge will continue to connect communities across the gorge just as pioneering ironmaster, Abraham Darby III, intended 240 years ago. With the revelation now complete English Heritage has released pictures of how it looks today – in particular its return to the

original red colour, as depicted in William Williams’s 1780 painting Cast Iron Bridge near Coalbrookdale – one of the earliest depictions of the structure. The restoration of the original colour was made possible by the discovery of samples of the earliest paintwork during the conservation process. Kate Mavor, English Heritage’s chief

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executive, said: “We know how much the Iron Bridge means to people near and far, whether as the cradle of the Industrial Revolution, the spot for a romantic proposal, a memorable holiday, or just the view from the window every day. As a charity we’re committed to securing the bridge’s future and we’re extremely grateful for the support and hard work of everyone who has played a part.” q

How do we tackle the problem of heritage crime? By MARK HARRISON BSc (Hons) FSA, Head of Heritage Crime Strategy at Historic England

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HISTORIC ENGLAND defines heritage crime as: “Any offence which harms the value of England's heritage assets and their settings to this and future generations.” Harm caused to a heritage asset by crime or anti-social behaviour will often have both direct and indirect impacts. For example, the loss of historic fabric from a listed building through theft or vandalism will not only have a direct impact by damaging the fabric of the building itself, it can also have an indirect impact such as social or economic loss to the amenity of an area. The problem of crime and anti-social behaviour relating to historic buildings, archaeological sites and cultural property is not a modern phenomenon. Occurrences have been documented and recorded for thousands of years: from the looting of Egyptian tombs in antiquity to contemporary events leading to the loss and destruction of historic sites and buildings. Crimes include metal theft, unauthorised development, unlawful salvage and the impact of armed conflict and terrorism. What’s new is the sheer scale and extent of the criminality. In 2010 the Conference of the Parties to the United Nations Convention on Transnational Organized Crime stated that: “Where ancient artefacts are stolen and the sites in which they were hidden are destroyed through looting, archaeologists are unable to gather knowledge about the past.” The conference further identified the trafficking in cultural property as one of the “…new and emerging crimes of concern”. It added: “The emergence of these new crime types gives rise to the need for law enforcement response to adapt its efforts and capacities accordingly.” For more than 100 years, legislators have recognised the need to protect England’s irreplaceable stock of historic sites and buildings. There’s been a succession of statutory measures, with more recently shipwrecks, military remains and cultural objects receiving protection. That has included the introduction of specific offences to counter the threats of theft, damage and unauthorised works or alteration. The challenge set for the authorities charged with the protection of the nation’s heritage has always been very clear: to ensure that the historic and cultural environment is passed to the next generation in as good or better a condition as we found it. That also provides a definition of preservation and sustainability. But in reality, the division of responsibility between heritage protection bodies, local planning authorities and law enforcement agencies was not clearly described or co-ordinated. The situation was exacerbated by the perceived rarity of incidents, coupled with a lack of knowledge and understanding relating to the nature of the loss and limited expertise within the law enforcement and heritage sectors. That meant the task was not being fulfilled to best effect.

Historic England deliver a heritage crime workshop to practitioners in North Yorkshire

Forensic scientist Kevin Lawton-Barrett from Canterbury Christchurch University taking a sample of lead for analysis In 2011 English Heritage, together with the Association of Chief Police Officers (now the National Police Chiefs’ Council) and the Crown Prosecution Service, recognised the need for a more structured and sustainable approach to the prevention and investigation of crime and anti-social behaviour within the historic environment of England. This was a significant development and highlighted the level of concern and commitment across the heritage and law enforcement sectors to address the issues. The partnership is now known as the National Heritage and Cultural Property Crime Working Group and is chaired by the National Police Lead for Heritage and Cultural Property Crime. In 2012, English Heritage (now Historic England) funded research into the extent of heritage crime. It indicated that, in the previous 12 months, “…18.7% of all listed buildings were physically affected by criminal activity.” The finding equates to over 70,000 listed buildings. For almost 30,000 listed buildings the impact was classified as ‘substantial’. More generally, around 20% of listed buildings are harmed by crime every year and the figure is almost double for listed places of worship. The biggest single threat identified by the research was metal theft, in particular from church buildings, with over 14% of buildings being affected. Since 2012 the working group has made significant progress and stimulated an awareness of the existence and the significance of protected heritage assets at a national, regional and local level. The partnership has provided law enforcement agencies, heritage practitioners and local communities with the advice, training and expertise they need to protect the historic environment from the impact of crime and anti-social behaviour. Progress has been made to enhance the response to the problem of heritage crime in England. Similar programmes have been developed to tackle the issue in Scotland, Wales and Northern Ireland. There is more that can be done, and with the help of the community, volunteers and dedicated professionals we can ensure that our past is preserved and conserved for future generations. q

In the next issue Mark will be examining in detail some of the practical steps being taken to combat heritage crime.

All photos copyright Historic England

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Scaffold Alarms

Insurance recognised scaffold alarms installed and certificated by the UK’s first ever NACOSS Gold Scaffold Alarm Company

Panthera Security, part of Panthera Group, has been a leader and innovator of the scaffold alarm industry since 2003, when managing director Neal James recognised that there was a need for regulations and standards within this niche sector of the security market. In 2012 Panthera collaborated with the National Security Inspectorate (NSI) to develop the industry’s first ever code of practice. Scaffold alarms were a completely new area for the NSI, and so to help them develop the code of practice, Panthera provided the NSI with system designs and both technical and on-site support. In February 2013 NCP115 was introduced and Panthera became the UK’s first, and still only, NACOSS Gold accredited company to be approved through a rigorous audit process for both NCP115 and UKAS ISO9001 quality management. In 2008 Panthera began to develop their own scaffold alarm system – ‘The Silver System’. With ongoing development, more functions have been added to the system which is now known as ‘The Enhanced Silver System’. The system is now specified by over 40 building surveyors, estate management companies, block managers and local authorities. If you are interested in our system protecting your future projects please get in touch and one of our team will more than happy to help. • NCP115 Certification for insurance compliance

• NACOSS Gold Alarm Receiving Centre (ARC)

• Specialist installer to church and listed buildings

• Site specific security risk assessments

• Mains powered and mains free systems

• High security fencing fixed to scaffolding

• Alarm activated LED lighting

• Mains powered and mains free CCTV

• Same day installation service within M25

• Next day nationwide service

• All staff DBS checked with full disclosure

• Competitive and transparent pricing

N 0845 165 1234 E info@pantheragroup.com D www.pantheragroup.com/scaffold-alarms/ 42

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Metal theft is costing the UK £770m a year Protect your building and mitigate your risk during repair works by installing an NCP115 Certificated monitored scaffold alarm by Panthera Security. An estimated 18.7% of all listed buildings were physically affected by crime in 2017 – that is over 70,000 listed buildings. The biggest single threat is metal theft and the most threatened type of building is a church. Around 3 in 8 churches or other religious buildings were damaged by crime last year. Panthera Security is the UK’s first ever NACOSS Gold Accredited installer of NCP115 Compliant scaffold alarms. We are specialists in the installation of alarm and CCTV systems to listed and religious buildings whilst repair works are being carried out.

If you require expert guidance on best practice in site security, Panthera provide a professional security consultancy service. www.ecclesiasticalandheritageworld.co.uk

Better insulation can help prevent climate catastrophe New study highlights the contribution better insulation can make to slowing the effects of global warming.

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ACCORDING TO A recent study by the Intergovernmental Panel on Climate Change (IPCC), without urgent worldwide action to prevent global temperatures rising to a level 1.5 degrees higher than those of pre-industrial times, we face what they describe as a ‘global climate catastrophe’. Whether you are a global warming sceptic or not, the three-year study paints a bleak picture of our future if urgent action to reduce carbon emissions – one of the principal causes of worldwide temperature rises – is not taken soon. The IPCC report, presented in South Korea in October 2018, says that rapid and significant changes need to be made across the board in energy consumption, land use, industry, cities and lifestyle. It says we need to travel less, use energy more efficiently and demand low carbon in everyday consumer products. The report also emphasises the need to improve levels of insulation in homes, offices and factories so as not to waste the energy that has already used precious resources in its generation. Clearly, the main action points are aimed at governmental levels – but even small steps taken by individuals can collectively make a significant impact on the issues that threaten us. Take home insulation. Over 60% of our current housing stock was built pre 1960 when little thought was given to heat loss prevention. The incorporation of insulation in new-build properties only really began in the years following the oil price shock of 1973. Now, with energy prices rising year on year at inflation busting rates, efficient thermal insulation is more important than ever before. Unfortunately, there is a common misconception that to reduce heat loss in a building you simply put more and more

insulation in the roof. This works up to a point – beyond which adding more layers of insulation follows the law of diminishing returns. Why is this?

How insulation works To understand how insulation works it helps to understand heat flow, which involves three basic mechanisms – conduction, convection and radiation. Insulation materials work by slowing conductive heat flow and, to a lesser extent, convective heat flow. Heat flows from warmer to cooler areas until there is no longer a temperature difference. Heat loss is also proportional to the speed of the moving air, the amount of moisture present and the temperature differential between the heat source and the air itself.

During the restoration and insulation of Christ Church in South Manchester a 200mm thick blanket of Icynene LDC 50 foam was sprayed to the back of the curved ceiling to the apse

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In a typical home, this means that in winter heat flows directly from all heated living spaces to adjacent unheated roof voids, garages, cellars and in particular to the outdoors. In order to specify insulation correctly, the designer needs to understand the reasons why it works and apply the correct technology to any given construction detail. By understanding the processes that make insulation work, and indeed the factors that stop it from working, design professionals will be in a far stronger position to specify the correct material for each application.

Preventing air leakage In the UK, U-values are the measure of insulation’s ability to limit conductive heat flow – the lower the U-value the better the resistance to heat loss. However, it should be noted that up to 40% of a building’s heat loss can be attributed to air leakage – what we all understand as draughts. Moisture vapour in the air within a building carries heat, and moist humid air can support up to 4,000 times more heat energy than dry air. As air leaks out of a building it carries this moisture vapour – and with it, heat. Therefore, the best way to increase the energy efficiency of a building is not merely to reduce U-values as required by Building Regulations, but rather to combine U-value reduction with an air barrier – creating a ‘sealed box’ effect to reduce air (and heat)

leakage to a minimum. As levels of air tightness increase, consideration should be given to the introduction of efficient mechanical ventilation. Traditional forms of insulation – mineral fibre and rigid-board type materials – are relatively inefficient in sealing the box, in that they cannot completely fill all voids or seal the interface between the insulation and the building structure. Nor can they cope with small structural movements which will often lead to air leakage gaps, particularly in difficult to treat situations where access is poor and/or when voids are of complex geometry. This can lead to cold bridging and thermal bypass, with the consequent risk of localised condensation and inevitable dampness. Air leakage can be eliminated by the introduction of an air barrier, but this must be installed with great care if it is to perform as desired.

Spray applied insulation The modern alternative is a fully breathable, open cell spray foam insulation, which is applied using a pressurised gun system (main image left). Here, foams are applied as a two-component mixture that come together at the tip of a gun, forming a foam that expands 100-fold within seconds of application, sealing all gaps, service holes and hard to reach spaces, and virtually eliminating cold bridging and air leakage. When selecting spray applied insulation it is

important to understand a number of factors. Unlike the urethane foams of 20 years ago, modern spray foams such as Icynene FoamLite use water as the blowing agent. This means that the reaction between the two components produces CO2 which causes the foam to expand. As FoamLite expands, the cells of the foam burst and the CO2 is replaced by air. Consequently, from an environmental perspective, Icynene has a Global Warming Potential (GWP) of 1 and an Ozone Depletion Potential (ODP) of 0. Nor does Icynene emit any harmful gases once cured. Modern spray foam systems are also formulated to create an ‘open cell’ composition. Open cell foams, such as FoamLite, are extremely vapour open and will allow moisture vapour to pass freely through, letting the building breathe naturally. Open cell foam will also not soak up or ‘wick’ water. This new generation of spray applied insulation products, when professionally applied by experienced contractors, can result in near zero air leakage through the building envelope. In fact, Icynene has been shown to achieve air tightness standards exceeding those of the world renowned Passivhaus system of construction.

Conclusion Clearly, reducing heat loss in our building stock will make a significant contribution to lowering carbon emissions. There are over 20

million homes in the UK, so improving their thermal efficiency through better insulation and reduction of air leakage will result in lower energy consumption and therefore help achieve the overarching goal of slowing the rise of global temperatures. q • For further information visit the website at www.icynene.co.uk and watch the youtube video at https://youtu.be/xn4ZHQJLWHM

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Remarkable war memorial has renewed life

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THE FIRST WORLD WAR MEMORIAL at Kilverstone, in Norfolk, was designed by Edward Thomas Boardman, son of Edward Boardman of Norwich. It was built by the Kilverstone Estate in the first decade of the 20th century, originally as a horse trough, and subsequently dedicated as a First World War memorial. It stands in a prominent position opposite the driveway to St Andrewâ&#x20AC;&#x2122;s Church in the village. The rendered brick structure takes the form of a distinctive art nouveau building, with a pyramid-shaped roof, distinctive cedar shingles and a water spout in the form of a fish mouth that dispenses water into the trough below. Marble plaques bear the names of the men from the village who lost their lives in World War One. Wooden benches recessed into the structure provide a perfect place for quiet contemplation. Reports on the structure in recent years showed increasing and rapid deterioration. Within two years the wooden roof tiles went from being warped to many being beyond salvage. In addition, the main structure was crumbling and the wooden benches were perished. In 2017 the War Memorials Trust carried out a site visit with regard to a possible grant, which was duly awarded. Work began in earnest last year and was completed on 19 December. The repairs were specified and overseen by conservation architect David Bonner and the works carried out by Kybird Builders. The roof shingles have all been replaced, together with the wooden side-bench seats. The brickwork has been repaired, the tiled arches and details repointed using lime mortar and re-rendering has been done in a lime mix, both from the Anglia Lime Company. The water trough and steps were repaired using limecrete and natural cement â&#x20AC;&#x201C; also supplied by the Anglia Lime Company.

The water supply that feeds the repaired concrete trough at the front has also been repaired and the interior has been cleared and repaired. Finally, renovation discovered the remains of a flint cobble surround. That has been replaced by local gault brick paving, including an access path at the rear. The skilful work carried out by Kybird Builders and plastering contractors Kent & Sons has given the unique war memorial structure the attention it so rightly deserves, preserving it for many more years to come. q

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Lightning brings down the highest and most exalted things [ THE LIKELIHOOD OF LIGHTNING striking the tallest objects

has been noted for thousands of years. Nottingham-based lightning protection experts Lightning Strike Ltd point out that the earliest known reference was made during the reign of Xerxes, King of Persia from 486-465BC. According to Herodotus, Xerxes’ uncle and advisor Artabanus counselled against making war on the Greeks. He observed that “God with his lightning smites always the bigger animals” and “likewise his bolts fall ever on the highest houses and the tallest trees”. Around 400 years later, Roman poet and philosopher Titus Carus Lucretius mused about what is now recognised as lightning. He wrote how Jupiter left “traces of his fire on mountain tops” that had demolished holy shrines “with a devastating bolt”. Adrian Brown, director at Lightning Strike Ltd, picks the story up in the 18th century.

Franklin’s lightning rods This knowledge wasn’t used to help protect against lightning strikes until 1752, when Benjamin Franklin carried out experiments in Pennsylvania, USA. He attempted to conduct lightning safely to earth via a wire; he erected an iron rod with a brass tip as part of his efforts to neutralise the electricity in thunderclouds. The rod was struck by lightning and he believed his lightning rods would be the preferred receptor of any lightning strikes in the area, conducting the electricity harmlessly to earth through a ‘down conductor’ driven into the ground. After he published his discovery in Poor Richard’s Almanac, Franklin’s lightning rods were installed on many buildings in America and Europe – after which very tall structures that had been damaged by lightning several times suffered no further damage. The scheme’s success was so great that in 1778 the Senate of Venice installed lightning rods throughout the city.

Safety standards introduced In Great Britain, some 220 Royal Navy ships were lost or damaged by lightning strikes during the Napoleonic wars of 1803 to 1815. It wasn’t until the 1830s, however, that lightning rods and down conductors were fitted on ships to stop the lightning damage. During the early 19th century the use of lightning protection on buildings steadily increased, but there were no legal standards in place. As a result, itinerant workers known as ‘lightning rod men’ sprang up, carrying out unskilled and often flawed installations across America. In 1879, Richard Anderson’s book Lightning Conductors claimed American citizens were being ‘extorted’ by the lightning rod men, who had no professional knowledge and were installing ‘untrustworthy’ apparatus. In Britain, the Royal Meteorological Society’s lightning rod conference established a code of rules for lightning protection installers that was published in 1882. Subsequently, in 1904, a similar code was adopted in the USA by the National Fire Protection Association. Since then, as knowledge and technology have advanced, the legislation has been

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regularly updated and is now subject to mandatory safety requirements.

20th-century developments Between 1907 and 1914, insurance figures show that US farm buildings with lightning protection accounted for only 1.3% of claims, compared with unprotected buildings. Between 1943 and 1946, Army Ordnance records show that six lightning strikes destroyed explosives in unprotected munitions stores and a shipping house. Between 1944 and 1948, lightning struck protected structures more than 300 times with hardly any damage, while unprotected buildings were struck 52 times with massive losses. Lightning protection is now routinely installed on large public buildings. The fundamental principle remains the same: they provide a means for a lightning bolt to enter the earth without damaging property.

Franklin’s rods v modern protection Today’s lightning protection demonstrates one fundamental difference from Franklin’s early system. His lightning rods had sharp tips because he believed they could ‘neutralise’ a thundercloud and prevent lightning. We now know this isn’t the case, as the rod functions as a strike receptor. That means a sharp tip isn’t ideal – in fact, a sharp tip would make an ineffective strike receptor. The early success of Franklin’s sharp-tipped rods occurred because they were exposed on tall structures, above any competing objects. The best configuration of a lightning rod’s tip is now known to be blunt or knob-shaped. Modern physics has also taught us that arcing radiates outwards from ground rods when the lightning’s current exceeds 20kA. Experts now recommend using radial conductors below ground level to distribute lightning charges to their destination – the earth’s surface. q

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TESTING & DESIGN SPECIALISTS

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Public affairs can help point the way for communications in the heritage sector [IN PAST ISSUES we have carried many accounts of new audio-

visual systems installed in churches and other heritage buildings, tasked with carrying the message of the institution to its users and visitors. There is also a category of heritage building of which the UK has some of the finest examples in the world and which are still in daily use for public service. They are the municipal buildings still in use as council and court buildings. It is a vital part of our democracy that those buildings are able to convey the workings of the institutions they serve in an efficient manner. That involves incorporating efficient AV systems without detracting from the architectural value of the buildings. These heritage buildings are a massive part of our architectural history, but still serve as living, working buildings for councils. It’s a challenge for these buildings to meet the demands of modern democracy whilst still retaining their character. Specialist public-sector AV system designers have encapsulated some of the problems – and their solutions – into a blog post. On the issue of preserving aesthetics, one blogger has this to say: “Shiny new AV equipment can stick out like a sore thumb in a 19th-century room. Luckily, we work with leading suppliers to create bespoke systems that are sympathetic to the contours and character of the space. This can include, for example, bespoke plates or removable microphone stems.” When it comes to incorporating cabling and the like into historic plasterwork, the solution can be to think outside the box.

“It can be challenging to fit cables and brackets without damaging listed walls and floors. We’ve completed entire installations without having to put a single nail in a wall and we’ve even seen cabling laid between flagstones. It can take a bit of creativity, but it’s usually possible to have a state-of-the-art system without compromising the integrity of the building.” More recently, reforms to the justice system and demands for transparency in local government have brought a need for live streaming of public affairs. Similar problems arise and their solution will no doubt inform the ecclesiastical and heritage sectors. q

Museums look to the future to bring the past to life [

WHAT WILL MUSEUMS look like in the future? How will AI and mixed reality shape the way we consume science and culture? A pioneering collaboration led by creative content studio Factory 42, and including the Science Museum Group, Natural History Museum, Almeida Theatre and the University of Exeter, will look to answer those questions and reimagine the future of museums by using storytelling and cutting-edge technology that will allow visitors to experience them like never before. Set to launch next year at the Science Museum, visitors will encounter a mixed-reality detective experience featuring high-resolution 3D scans of robots and other iconic objects from its collection, to bring the latest in robotics and artificial intelligence to life. At the Natural History Museum, dinosaurs from their collection will be brought to life and visitors will experience the detective work of palaeontologists and share the thrill of scientific discovery. Sir Ian Blatchford, director of the Science Museum Group, said: “We tell stories of world-changing innovations, so I am delighted that, through this collaboration with our creative partners, we will be able to build new immersive worlds, where robots and automata can be experienced like never before, where people can engage with science and

engineering in new and exciting ways, and where our audiences can glimpse the future of storytelling.” The project, funded by Innovate UK, will mix real-life physical environments where visitors can touch, smell and hear things with magical digital technologies, interacting with museum objects in ways not normally possible. The world-class creative team will include some of the UK’s leading theatre directors, computer game designers and developers, 3D audio, multi-sensory technologists, animators, graphic designers, writers, actors, artists

and researchers collaborating with museum curators and academics. Minister for Digital and the Creative Industries, Margot James, said: “The UK is home to some of the world’s leading digital and creative talent. Through our modern Industrial Strategy and multimillion-pound creative Industries Sector Deal, we are bringing them together to give audiences a truly unique experience. “The growth of immersive technology has the power to transform the way in which we watch theatre, play games or go to the cinema; and these new projects will demonstrate how we can take people closer than ever before to the live action.” Factory 42 chief executive John Cassy commented: “For millions of visitors each year a visit to the Natural History Museum or Science Museum is not complete without an encounter with robots or dinosaurs. Thanks to the magic of technology and the minds of some brilliant technologists, creatives and scientists, audiences will soon be able to see, smell, hear and touch robots and dinosaurs as part of a group of family or friends. “Factory 42 is thrilled to have assembled and now be leading this world-class consortium as we set out to break new ground and reimagine how a trip to a museum will entertain and inform visitors in the future.” q www.ecclesiasticalandheritageworld.co.uk

Viking church sings out with a new clarity

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WEST KIRBY, in Cheshire, is a small town on the Dee Estuary. The parish church there, St Bridget’s, was founded by Christian Vikings from Ireland more than 1,000 years ago, and has served the local community ever since. The church was recently looking to improve the performance of its installed sound system and contacted renowned church specialist supplier Kirkpatrick Sound Engineering. The brief was to improve upon the existing sound system, which was made up of a collection of components added to over a number of years and was fast becoming unreliable and unfit for purpose. Based in Knutsford, Cheshire, Kirkpatrick Sound Engineering supply and install professional audio equipment and sound systems, either from main agents or directly from the manufacturer, using their

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extensive experience and expertise to help customers source the best equipment for their needs. The company is owned by Roy D Kirkpatrick MInstSCE, who has been designing and installing sound systems for more than 40 years. Roy explained: “We designed an outline proposal for the new sound system at St Bridget’s Parish Church, and offered to demonstrate the performance of the proposed solution with a number of different loudspeaker choices, to allow church members to hear for themselves the differences between the proposed solutions.” Active Audio R100, one metre-high column loudspeakers were chosen to provide audio coverage for the nave. The unique rigging system of the R100s allows them to be vertically mounted very close to the wall on which they are fitted, while the acoustic properties provide optimum coverage over a nominal range of 20 metres, making them perfect for use in church buildings. Audac Kydo column loudspeakers were used to provide coverage in the choir and chapel, mounted horizontally and high up in the eaves of the church roof to provide natural sounding coverage in those areas. Energy Star compliant Audac EPA amplifiers were installed to provide audio output to the loudspeakers. The amplifiers are convection cooled, offering almost silent operation, and in addition to their low power consumption in standby mode, were chosen for their clean, lowdistortion acoustic properties. In addition to fixed position installed microphones, Kirkpatrick Sound Engineering provided a four-channel wireless microphone system, choosing the MiPRO ACT 7 system. For the fixed position microphones Electro-Voice Polar gooseneck microphones were used. “We like the MiPRO Act 7 system,” said Roy, “it provides truly natural sound, excellent coverage and professional performance. And we chose to use the EV Polar goosenecks as they allow us to select the polar pickup pattern of the microphone, once installed – essentially allowing us to fine-tune the audio-acoustic properties of the system really easily.” The microphones are connected to a Shure automatic microphone mixer, with the output connected to the church’s main mixer – an Allen & Heath ZED-14 compact audio mixer. An Apart PC1000R MK2 CD/ SD/USB player, used to provide background music playback during services, completes the audio line-up of the newly-installed system. Said Roy: “This project has been achieved with the help and assistance of the technical support team at Commercial Audio Solutions, who provided help with the system design and product demonstrations.” From their base in the Peak District of Derbyshire, Commercial Audio Solutions distribute professional audio products to all corners of the UK and overseas, holding stock of many of the world’s most prestigious brands. Roy Kirkpatrick concluded: “The system at St Bridget’s in West Kirby is one of a number of systems installed in churches in the area. Our aim is always to provide optimum solutions within available budgets, without compromising on audio quality and performance.” q

New AV display speaks to the world

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IN THE BASEMENT of Wesley’s Chapel in central London is the Museum of Methodism, which houses some of the key articles in the historic journey of this Christian denomination. It receives visitors from across the world – there are congregations around the globe far larger than that in the UK.

For more than a decade APi Communications has been responsible for designing sound and camera systems in the chapel, and when, in 2012, the museum put out to tender the complex audio visual display which was planned to be the centrepiece of the visitor experience, APi bid for the installation contract. On that occasion they were unsuccessful, losing out to another contractor. However the system that was installed proved to be unreliable and the museum were unhappy with attempts to resolve the issues. APi were invited to tender for replacing the media players and control system that were at the heart of the problems. This time they were successful and have now replaced the system with a new Kramer control unit and two iPads, allowing intuitive user control plus automated power control synchronised with opening times. The PC was replaced with more reliable Brightsign media players, which have a ‘bullet proof’ reputation. A proud APi spokesperson commented: “The chapel and museum are very happy with the end result and we are already in conversation with them regarding adding a Portuguese sound track to the English and Korean ones on offer.” q

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Glass artist’s expertise brings award-winner’s design to life [

TRENT COLLEGE is an independent day and boarding school in Nottinghamshire. Its alumni association, the Old Tridents’ Society, ran a competition last year for students to design a new stained glass window for the school chapel, which already has fine examples of Victorian stained glass. The competition was won by Year-11 student Lucy, whose colourful design celebrated the creative and sporting achievements of the college. Manchester-based Jayne Ford Glass Design were commissioned to make the window a reality. The design included the school crest and the logo of the college’s junior school The Elms. The crest was created in Jayne Ford’s studio using etched and stained flashed glass. The overlapping shades of green in The Elms logo were created using kiln-fired vitreous enamels. Lucy had ingeniously included the school motto in an open book, so the glass was deliberately painted in the style of a student’s exercise book doodle. Jayne Ford, who personally adapted the design and undertook all the glass painting, commented: “It was a pleasure to realise Lucy’s artwork in glass. Her design had some fabulous detail in it, such as a stone fountain and theatrical masks, which translated well into glass painting. “The level of detail was actually quite a challenge to incorporate into a relatively small window aperture, but with a bit of adjustment it all came together well. We also included Lucy’s signature – faithfully copied using a quill and vitreous paint in clove oil. She was thrilled to see her design realised in her college windows and it will be a fantastic addition to her art and design portfolio at such an early stage in her career.” There were, however, a number of challenges to be overcome. Jayne explained: “When we first visited the site, the positioning of the window initially appeared to be a challenge. The school car park and a tree were directly in view and light levels were low. However, we were able to ‘distract the eye’ by using high-clarity, mouth-blown glass in intense colours that beautifully refracted and distorted the light entering the chapel. In fact, the level of detail and complex lead-line structure was a help in that respect, as only a very detailed window could really have worked in that position.” The window was sited near playing fields, and hence in a vulnerable position, so it was essential to provide external protection for the glass. Laminated glass screens, provided by Classic Glass, were installed on the outside to protect the window. Jayne concluded: “Here at Jayne Ford Glass Design we can design, make and install stained glass in any style for any setting: whether designing in-house from scratch or adapting ideas and designs from the client, as was the case with this project.” q • For further information call 0161 327 0805 or 07974 307 094, email info@jaynefordglassdesign.co.uk or visit the website at www.jaynefordglassdesign.co.uk

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Lucy’s winning design was made a reality by Jayne Ford Glass Design

Why does community engagement matter? By LEE BILSON, heritage consultant at Recclesia Stained Glass

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THE IDEA OF engaging the community in heritage projects is nothing new; for example, HLF stress the requirement for funding applicants to demonstrate ‘community participation’ before they can receive an award. But from the conservation practitioner’s side, community engagement is all too often seen as either a nuisance or a way of gaining some free marketing. However, at Recclesia we consider community engagement to be key to our work. It helps communities and groups feel committed to their local heritage. It helps them learn about and enjoy their heritage. It helps them own their heritage. As important as the benefits are to the community of their active involvement in heritage projects, it also hugely benefits the conservation sector. Community engagement helps highlight the specialist nature of conservation work. For Recclesia the focus is on built heritage – with masonry, metalwork and stained glass thrown in for good measure – but it applies across all of the specialisms within heritage and conservation. What is key is to disseminate the processes we in conservation do. Conservators should not hide behind their titles, degrees or accreditations, but instead be vocal and express why conservation experts are just that. As a company we have always found working with local groups, communities and individuals to be the most inspiring and edifying experiences – helping us as a team to continually develop and innovate our working practices.

Take our recent work to conserve the stained glass at St Alkmund’s Church in Whitchurch as an example. The work involved the careful conservation of the three windows in the apse of the church. Built between 1712 and 1713, the church is Grade One-listed and noted as the first grand classical church in Shropshire. The stained glass in the apse is itself equally significant, being signed by the eminent Victorian stained glass artist William Warrington. The central window depicts the Ascension and was described by Pevsner as a rather turbulent and coarse scene in a style strongly resembling the renaissance painter Holbein. The funds for the windows were raised by the people of Whitchurch in 1858, with Warrington’s studio producing and installing the windows in 1860. In 2014 the people of Whitchurch again had to rally to raise funds – this time for the windows’ conservation. After 154 years they had suffered from the ravages of time, and significant damage and deterioration of the leadwork and glass meant they needed major conservation work. On both occasions the work would not have happened without the community. The people of Whitchurch were pivotal in raising funds for the sensitive conservation, with the guidance of Rev Canon Judy Hunt, the church’s rector. It was important to Recclesia that the community be included as part of the project wherever possible. Once the glass had been removed to our specialist conservation workshops, some of our team returned to the church to present a talk and discuss with the huge group who had attended the significance of their church, the Warrington stained glass, and how we approach conservation works. That discussion was key to the community’s understanding. Without it they wouldn’t have truly understood why the work should be done, other than their own personal love for An example of a panel before and the object. That is not to say that, after conservation works in the studio should there be no discernible importance to an art historian or an expert, that a community’s applied value is not worth noting. Our discussions also highlighted the nature of the specialist work undertaken, helping the community to understand the need for experienced conservation practitioners to be involved. Those reading this will have come across clients, or even building professionals such as architects, who don’t understand why a specialist is needed, why it may take the time it does, or the costs that are quoted. More often than not it comes down to a lack of understanding of the processes involved. To further emphasise the specialist processes involved at St Alkmund’s, Recclesia held an open day for anyone from the church community to visit our specialist stained glass studio outside Chester (top). That offered a rare opportunity for them to see some of the work being carried out and talk directly to the craftsmen involved. Community engagement must be better embraced and utilised: not as a box-ticking exercise for PQQs or a hoop to jump through for funding, but an exercise in engaging the community, to highlight the importance of craftsmanship and experience and, most importantly, our passion for preserving our rich built heritage! q www.ecclesiasticalandheritageworld.co.uk

Latest technology helps reveal WWI relic [DRONE TECHNOLOGY is being used

to help restore a unique memorial of World War One, and the role played by soldiers from Australia in the conflict. While convalescing at Hurdcott in southern Wiltshire, volunteer members of the First Australian Imperial Force carved the outline of Australia on the steep chalk scarp overlooking their camps. They wrote ‘Australia’ across the middle – and there was even a flagpole. Over time the chalk map became overgrown, but a team of local volunteers – the Map of Australia Trust – worked hard to reinstate the map for the centenary of the Armistice last November. Historic England added the lost map to the Heritage at Risk Register in 2017 and graphics officer Sharon Soutar led a team to reveal the map. Sharon is a GIS and survey specialist in the Investigation and Analysis Graphics Team. A landscape archaeologist and graphic designer, she has over 20 years experience of working in various parts of Historic England and English Heritage. Writing last year, she said: “Over last winter we surveyed the site both on the ground and by using a drone, or Unmanned Aerial Vehicle (UAV). From the results we created a detailed digital 3D model to try to establish whether cuts from different dates were visible. The black hachure marks show subtle slopes or scarps and

the edges of the flattish path along the chalk, before restoration. The small bumps are anthills. “Using this research we marked out the sides of the map so that local volunteers could accurately cut the line of the new chalk. To help our understanding of the site we looked at aerial photographs and LIDAR data (an airborne laser scanning technique), and mapped archaeological features in the surrounding landscape. “The LIDAR data also reveals the distinctive chain link pattern of a nearby practice trench system, partly preserved in the trees at the foot of the hill. We also mapped much earlier features like the ends of prehistoric dykes that once crossed the ridge and patterns of trackways and fields on the steep scarp.” q

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