Ecclesiastical & Heritage World Issue No. 81 by DMMonline

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COVER STORY

CONTENTS Award winner is Enviro-friendly

The front cover of this issue features Curly Cottage in Cornwall, the winner of the Murdoch Sponsors Award – one of two awards given annually by the Lead Contractors Association for excellence in leadwork. The awards honour the late Dick Murdoch, who was at the forefront of driving forward excellence in leadwork throughout his career. Both are sponsored by ALM, the major supplier of sheet lead – whose Envirolead is made from 100% recycled material. As such it is among the most environmentally-friendly of building materials – if not the most. It was the material used on the featured job.

Read the full story from page 15

5 Reflections NEWS 7 Appointments mark next steps in preparation for Parliament’s restoration programme 7 London’s largest hoard revealed 9 More sites taken off ‘at risk’ register than added 9 Safe and sympathetic access at historic house 10 NT embarks on campaign to become more dementia-friendly 11 Laser technology reveals Arran’s secrets 11 New book catalogues NI archaeological finds 12 Consultation launched on revised plans for Clifford’s Tower

LEAD 17 Has your leadworker got the right stuff? 18 Leadwork forms crucial part of Gorbals restoration

LIGHTNING PROTECTION 30 They say lightning doesn't strike twice – but once is often enough 31 ATLAS guidance addresses working in wind

ROOFING 19 NFRC luminary elected President as world’s roofers meet in Edinburgh 21 Eden – rewriting the book on clay pantiles 22 Heritage body’s HQ has roof repaired 22 Copper dome shines out once more 23 Thatch fires are more common than you may think 23 Rainclear add zinc box gutter to stock 24 Multi award-winning project uses Tudor’s handmade clay roof tiles

CHURCH FABRIC & FACILITIES 32 Musical countdown gets CRE off to a flying start 33 Bishop leads the debate on Ladies’ Day 34 Now that’s ‘tailor made’ in every way! 36 Lighting developments have evolved into new LED product ranges 39 The Icon 40 chair: durability, flexibility and elegance 40 Church lighting requirements: they are very seldom straightforward!

DRONES 25 Drone technology unveils WWII archaeology on Alderney RESTORATION 26 Restoration of John Skeaping statues LIME 27

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Lime: it’s better for buildings – and for the environment

York Handmade so proud of ‘the dryer Steve built’ Restoration project is a Barnstormer!

MURDOCH AWARDS 15 Top lead awards showcase best in sustainable roofing 15 Tim’s first awards entry nets the prize 16 Awards’ sponsor leads the way in sustainable building

IRONWORK & METALWORK 42 Speakers and other highlights announced for ironwork conference 43 Could this steel mean sculptures no longer need conservation? 44 Important ironwork set for conservation programme 45 Blacksmiths’ luminary presented with Lifetime Achievement Award 45 Worshipful Company issues call for entries for Tonypandy Cup INSULATION 46 Icynene goes green BRICKS 47 Heritage railway’s new facilities showcase brick specialism WINDOWS 48 Replacing windows in heritage and listed buildings

Does hydraulic lime always give us the result we want?

CHURCH & HERITAGE SUPPLIES 50 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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THE COUNTDOWN BEGAN at ‘five’ as a crowd of early visitors marked the official opening of CRE National 2019 at Sandown Park racecourse in October. It was the closing chorus to 5-4-3-2-1, the signature tune of Manfred Mann, performed by the band’s erstwhile harmonica player Paul Jones, who opened the show. CRE’s next appearance will continue the revival of its regional shows, this time in the form of CRE Midlands at Stoneleigh Park. • One of the major themes of any CRE is inclusivity, and one of the major barriers to enjoying heritage facilities is dementia. Now, the National Trust has teamed up with Alzheimer’s Society to make its properties more dementia friendly. Improvements to facilities will make them more accessible and the NT’s staff will be able to become Dementia Friends. • Improving access was also the aim when, a couple of years ago, English Heritage published plans for new facilities at Clifford’s Tower in York. However, the plans included construction of a large new visitor centre built into the mound. The plan caused uproar and was scrapped in June last year. EH has now published revised proposals for the steps to be remodelled to be more easy to climb. The plans are currently being consulted on. • One project that does have its plans finalised is the work to restore the Palace of Westminster, and at long last it looks like the project is nearing the starting gun. A number of key appointments have been made in the past couple of months that begin to shape the team of people with technical expertise in such major projects. • When it comes to the materials used in traditional building, lime has been in use for centuries for plaster, putty and as a wash. But not even all limes are suitable for all applications. Natural hydraulic limes, or NHLs, can be the wrong material where a soft and pliable putty or plaster is needed. Care must be taken in the choice of lime, as Harry Cursham of Vivus Solutions points out – a fact echoed by James Simpson of the Building Limes Forum. • Another much-hailed traditional building material is lead. Lead has also been in use for many centuries and has been used to produce the most intricate and graceful detail on roof structures. The art of the leadworker is celebrated annually by the presentation of the Murdoch Award and Murdoch Sponsors Award – the sponsor being Associated Lead Mills. This year’s winners were revealed at a ceremony in Edinburgh. • Roofs clad in thatch are the stuff of chocolate boxes, but unfortunately thatch is prone to fire and the National Society of Master Thatchers (NSMT) has revealed that there have been 28 serious fires involving thatch so far this year. Together with the Hampshire Fire and Rescue Service, the NSMT has published guidance on how to minimise the risk of fire for owners of properties with thatched roofs, and what to do if a fire occurs. • Fire is just one of the possible consequences of a lightning strike – albeit the major one. In our electronic and connected society all kinds of consequences can result from the electric surge produced by lightning. Dave Forrester of SELECT, the Electrical Contractors' Association of Scotland, explains. • While the news that 247 sites have been added to Historic England’s Heritage at Risk Register may not at first sight seem to be a cause for rejoicing, it is tempered by the fact that even more sites – 310 – have been removed from the register because they have been saved. The register is getting thinner every year: let’s hope it disappears completely in the not-too-distant future. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

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Appointments mark next steps in preparation for Parliament’s restoration programme [TWO MAJOR appointments

have been made to the bodies responsible for overseeing the work to restore and renew the Palace of Westminster: the biggest and most complex renovation of a heritage building ever undertaken in the UK. On 17 October it was announced that Mike Brown MVO has been appointed as chair of the shadow Delivery Authority Board, which will oversee the execution of the project. Parts of the Palace of Westminster as they are now He is currently Commissioner of Transport for London (TfL). infrastructure projects, including Crossrail and am excited by the challenges ahead.” The governing bodies of both the House of and HS2. In October Parliament passed The Commons and House of Lords approved his She said of her appointment: “Working Parliamentary Buildings (Restoration and appointment on that day and he is expected on the Restoration and Renewal Programme Renewal) Act 2019, which sets out in law to take up his new role next May. is a huge honour for me, as it offers the how the work will be carried out under the The Palace of Westminster Restoration and opportunity to help protect one of the most two-tier governance system. The legislation Renewal Programme has been established iconic and best-known buildings in the world. provides for a six-month transition period, to tackle the significant work that needs to “The Sponsor Body’s task is immense – to with the governing bodies being set up next be done to protect the heritage of the Palace transform the Palace of Westminster into a spring. The structure is similar to that of the of Westminster and ensure it can continue to home fit for the future for our parliament. I’m 2012 London Olympics and other successful serve as home to the UK Parliament in the looking forward to getting down to business infrastructure projects. q 21st century and beyond. Mike Brown said of his appointment: “The Palace of Westminster is a symbol of our national identity which is recognised all over the world, so it is great honour to lead the work of restoring and renewing this architectural jewel at the heart of London. THE LARGEST EVER Bronze Age hoard to be discovered in London has been unearthed We face an immense and urgent task, but in Havering. It is the third largest of its kind in the UK. delivering a home fit for our parliament for A total of 453 bronze objects dating from around 900-800BC have been uncovered during generations to come is a great prize and I’m a planned archaeological investigation, with weapons including axe heads, spearheads, eager to get started on delivering it.” fragments of swords, daggers and knives found alongside some other unusual objects. As TfL Commissioner Mike Brown has led This discovery is hugely significant as the objects were recovered from four separate delivery of the London Mayor’s transport individual and deliberately placed strategy and multibillion-pound transport hoards within a large ancient investment programme. He transformed enclosure ditch, whereas most the efficiency of the organisation and has hoards are discovered in isolation. overseen a step-change in TfL’s focus on The find will go on display for tackling safety on London’s roads, improving the first time as the focal point of a air quality and encouraging a shift to public major exhibition at the Museum of transport, cycling and walking. London Docklands next April. He also improved reliability across the Almost all the weapons appear Underground, oversaw major station to be partially broken or damaged, redevelopment projects and the successful raising questions as to why the delivery of the services to support the 2012 objects ended up being carefully Olympic and Paralympic Games. His brief buried in groups close together. also included the protection of a huge The deliberate placement of the swathe of the capital’s industrial heritage, items may suggest a specialist including hundreds of listed and otherwise metal worker operated in the protected buildings. area, and the large-scale deposit The Delivery Authority, which will have of bronze may represent an the technical expertise to commission accumulation of material akin to a vault, recycling bank or exchange. and execute the work, is itself overseen Independent practice Archaeological Solutions was commissioned to investigate and by the shadow Sponsor Body, which was record any archaeological remains ahead of a large quarrying project. The work was a established to set the scope, budget and planning requirement of Havering Borough Council, on the recommendation of Historic timescale of the programme. The chief England's Greater London Archaeology Advisory Service (GLAAS). Excavation followed executive of the shadow Sponsor Body, phases of earlier fieldwork after GLAAS identified the site as having high archaeological Sarah Johnson, took up her post earlier in potential. q October. Sarah has spent the majority of her career working in senior roles in major

London’s largest hoard revealed [

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More sites taken off ‘at risk’ register than added [

THE DOWNWARD TREND of heritage sites in England considered to be ‘at risk’ has continued this year. In October Historic England published its Heritage at Risk Register 2019, revealing the historic sites most at risk of being lost forever as a result of neglect, decay or inappropriate development. The register gives an annual snapshot of the critical condition of some of the country’s most important historic buildings, sites, monuments and places. It shows that 310 sites have been removed from the register because their future has been secured, often by community intervention, while 247 sites have been added to it because of concerns about their condition. Sites that have been saved and removed from the register include the London church that inspired the traditional wedding cake design – Wren’s St Bride’s in Fleet Street (left) – a Sikh Gurdwara in Leeds, a gunship wreck off Hampshire and First World War aircraft hangars in Cheshire. Unfortunately, the oldest surviving timber trestle railway bridge, a 19thcentury lighthouse in Essex – The Dovercourt lighthouse and causeway, Harwich

(above) – and a military complex constructed during the Napoleonic Wars are now at risk. Duncan Wilson, chief executive of Historic England, commented: “The message is clear: our heritage needs to be saved and investing in heritage pays. It helps to transform the places where we live and work and which we visit, creating successful and distinctive places for us and for future generations to enjoy. “But there’s more work to do. There are buildings still on the Heritage at Risk Register that can be rescued and can be brought back to beneficial use and generate an income, contributing to the local community and economy. These are the homes, shops, offices and cultural places of the future. “Historic England’s experience shows that with the right partners, imaginative thinking and robust business planning, we can be confident in finding creative solutions for these complex sites.” q

Safe and sympathetic access at historic house [

ECEX has installed a new fabricated stair to improve access safety between roof areas at the National Trust's Polesden Lacey property located on the North Downs near Dorking, Surrey. Polesden Lacey is an Edwardian house and estate owned and run by the National Trust – it is one of the Trust's most popular properties. ECEX completed the survey, design, fabrication and site erection of the fabricated steel stair with non-slip GRP treads, with the additional design challenges of very limited access for materials and maintaining the aesthetic of a heritage property. John Grenville, managing director of ECEX, said: “Access is a critical contributory factor to the safety of building maintenance personnel. My company employs a team of skilled metalwork fabricators operating from its workshop in Newbury who can survey and design bespoke metalwork solutions, whatever the issue. “We offer free site assessments and quotations tailored to customers‘ needs. Whether they require an access ladder or roof edge guard-railings, ECEX experts can survey, quote, manufacture, install, modify or refurbish access safety equipment as required.” q • For further information visit www.ecex.co.uk www.ecclesiasticalandheritageworld.co.uk

NT embarks on campaign to become more dementia-friendly [THE NATIONAL TRUST has joined forces

with Alzheimer’s Society in an ambitious threeyear project to unlock some of the nation’s best loved history and heritage for millions of people affected by dementia. The project involves making all of the National Trust’s 500 historic and countryside sites dementia-friendly. The move comes as figures reveal that 7% of National Trust supporters over the age of 65, including its volunteers, staff and members, may be living with the condition – around 150,000 people. For people with dementia and their carers, historic spaces, collections and stories can prompt and stimulate discussion, encourage outdoor exploration and offer a vital connection to the world around them, with day trips recognised as one of the most likely and regular activities for people living with the condition. In comparison to other visitor attractions, people living with dementia also view heritage sites as ‘safe’ and familiar spaces. Heritage, including visiting sites and participating in outdoors projects, has also been found to be one of the top activities of choice for those impacted by dementia, in surveys and focus

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groups carried out by Alzheimer’s Society. Launched at the culmination of World Alzheimer’s Month in September, the project will give the NT’s 9,000 staff and 65,000 volunteers the opportunity to join Alzheimer Society’s three million Dementia Friends, and learn more about how the trust’s sites can be more welcoming to those affected by dementia. Alzheimer’s Society is also publishing a new guide to help tourism businesses make themselves more dementia-friendly. The National Trust’s volunteering and inclusion director, Tiger de Souza, said: “Dementia is the greatest health concern of our time, so it is important that people living with the condition can continue to enjoy a positive and fulfilling life. We also know that our natural and historic places can play a significant role in improving the wellbeing of people living with dementia by helping to stimulate discussion and memories. “A number of our sites are already offering great experiences for people living with dementia, and through this landmark partnership we aim to extend those benefits to many more people. However, we recognise there are challenges around both accessibility

and the support available at those sites and this is why we are joining forces with Alzheimer’s Society.” The new partnership will involve upskilling the 74,000 people who work and volunteer for the National Trust and improving the accessibility of National Trust sites for all visitors. It will also see the improvement of internal policies and processes at the trust to support members of staff and volunteers who may be affected by the condition. Jeremy Hughes, Alzheimer’s Society’s chief executive, said: “It’s great to have the National Trust encouraging people with dementia to feel confident in getting out and about in their local community. Visiting a heritage site can improve physical and mental health by helping people keep active. “The importance of such venues increases as we get older, as a place to relax, recover and engage through multi-sensory stimulation of the space around us. We hear through Side by Side – our scheme linking people with dementia to volunteers supporting them to do the things they love – that visiting a heritage site is one of the most popular activities for people affected by dementia.” q

Laser technology reveals Arran’s secrets [

A CUTTING-EDGE archaeological project using airborne laser scanning, or LiDAR has revealed around 1,000 previously unknown archaeological sites on the Isle of Arran. The project was undertaken by archaeologists at Historic Environment Scotland (HES) to document the land surface in 3D. The survey is the largest of its type so far in Scotland and has detected the remains of ancient monuments on the island. Previously unknown ancient archaeological sites which have been discovered include prehistoric settlements and medieval farmsteads, as well as a Neolithic cursus monument – an exceptionally rare find on the west coast of Scotland. Dave Cowley, rapid archaeological mapping manager at HES, said: “This survey has shown us that there are double the number of ancient monuments on Arran than we previously knew about.” The new technology has allowed the work to be carried out much faster than conventional techniques. David Cowley explained: “This new 3D technology has allowed us to undertake a rapid archaeological survey over weeks rather than months or years, and allowed us to discover sites that might even have been impossible to find otherwise. We have been able to see how densely settled parts of Arran were, and the medieval and post-medieval shieling sites that were discovered have told us how upland areas were used by shepherds. “This is an exciting time to be involved in the development of remote sensing and archaeological mapping. We are exploring the benefits of new technology and new datasets to record Scotland’s historic environment and inform our knowledge of the past. As a result, we are enriching the

New book catalogues NI archaeological finds

One of the shieling sites revealed by the survey information through which we tell Scotland’s story. And Arran is just a first step. As this technology become more widely available, we expect to find tens of thousands more ancient sites across the rest of Scotland – working at a pace that was unimaginable a few years ago.” The LiDAR data is available from the Scottish Government Remote Sensing Portal. q

[A NEW BULLETIN has been published which summarises

some of the most significant archaeological discoveries in Northern Ireland between 2015 and 2018. In that period almost 800 licensed archaeological excavations took place, mainly as a requirement of the planning process. The publication, Unearthed, was produced by the Department for Communities Historic Environment Division (HED). HED senior archaeologist Andrew Gault said: “These excavations have resulted in exciting and important new information about our past, from evidence of the homesteads of some of the first prehistoric farming communities in Northern Ireland to more recent urban archaeological remains and industrial heritage. It is intended that Unearthed will continue as a regular annual bulletin of the most significant archaeological discoveries arising from development-led archaeology in Northern Ireland.” Finds catalogued in the book include: • A substantial rectangular Neolithic house identified at Turmeel • townland, Co Londonderry during the archaeological • investigation of the A6 near Dungiven • A late Neolithic ritual site in Claudy discovered during a quarry • extension, consisting of a timber circle dated to circa 2,500BC • A Bronze Age roundhouse identified at Rasharkin solar farm. It • consisted of a post-ring, an internal heath, areas of stakeholes • and a segmented enclosure • An 18th/19th-century tannery discovered within the centre of • the site at Royal Exchange in Belfast Andrew continued: “These new discoveries highlight the importance of archaeological mitigation in advance of development, as well as the significant contributions made by developers and archaeologists in unearthing these new archaeological sites for the benefit of all in society.” q www.ecclesiasticalandheritageworld.co.uk

Consultation launched on revised plans for Clifford’s Tower [

ENGLISH HERITAGE has launched a consultation on new plans for Clifford’s Tower in York, seeking the views of the public ahead of potential new applications for planning permission and Scheduled Monument Consent next year. The consultation follows the decision not to proceed with constructing a new visitor building at the base of the tower’s mound in June 2018. A new research project was carried out during the summer, with historic building experts on site examining the conservation needs of the tower’s historic fabric. The research will inform the conservation works planned to take place, alongside any potential investment in visitor infrastructure. The new designs retain the walkways and roof deck which formed part of the 2016 planning application for the tower, constructed in a way which helps protect its historic stonework and allows more visitors to take advantage of the unrivalled views of the York skyline. However, the much-debated visitor centre at the base of the tower mound has been omitted. Public views are once again being sought on the walkways and roof deck.

New elements of the designs include four potential options to enhance the staircase from street level to the entrance of Clifford’s Tower, on which public views are being sought: Option one: Installation of new handrails beside the existing steps Option two: Two new handrails beside the existing steps and three resting points for visitors during the climb (pictured below) Option three: A new metal staircase with two landings to decrease the gradient of the climb Option four: A new metal staircase with a single landing with side areas for visitors to rest In addition, the consultation seeks views on the possibility of introducing a new electric three-wheeled vehicle close to the base of the mound at Clifford's Tower to allow staff to greet visitors at ground level. The three wheeled vehicle would be stored off site overnight. Andrea Selley, English Heritage’s territory director in the North of England, said: “Clifford’s Tower is one of York’s most important historic sites, and English Heritage is committed to investing in it in a way that protects its historic fabric and improves the experience of those visiting. “Over the year since we announced that we would not proceed with constructing a new visitor building at the base of the mound at Clifford’s Tower, we have been reflecting on our plans, discussing various options, and consulting with stakeholders in the Castle Gateway area, and in wider York. “Now, we are keen to know what the public think of our designs, which is why we are today launching a consultation, inviting everyone with an interest in the future of Clifford’s Tower to respond via our project email address, cliffords.revealed@english-heritage.org.uk.” Although the plans for Clifford’s Tower are being delivered separately to City of York Council’s Castle Gateway Project and York Museums Trust’s plans for the transformation of York Castle Museum, the three organisations will work together so that the story of York Castle is told across the sites in a coherent way. The consultation continues until 6 December. q Images © Hugh Broughton Architects

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York Handmade so proud of ‘the dryer Steve built’ [

THE AWARD-WINNING York Handmade Brick Company has invested in a brand-new brick dryer – designed and built by production manager Steve Pittham. Steve, pictured far right in front of the new dryer, has been with York Handmade since it was founded 30 years ago and created the state-of-theart dryer from scratch. The dryer is capable of handling more than 33,000 bricks at a time, significantly speeding up York Handmade’s production process and making the company even more efficient. York Handmade chairman David Armitage paid tribute to Steve, commenting: “He is the most loyal and dedicated employee one could wish for. Even since we formed York Handmade, Steve has been the bedrock of the company. “He is also extremely talented. A new dryer would have cost us about £300,000, but Steve’s ability to design and build our machine has saved us about £200,000. This has been a labour of love for him and he is very modest about it all. But it is a fantastic achievement.” Steve Pittham added: “Our previous dryer had run its course and just wasn’t capable of handling the pressure of our increasing order book. We had the choice of buying a new one or building one ourselves. I liked the challenge of the second option and I am delighted it has worked out so well. “It took about four months to build the dryer and it has already made a huge difference to our production process, doubling the

amount of bricks which can be dried at the same time during a 48-hour cycle.” Steve explained that a fast and efficient dryer was a crucial part of creating handmade bricks. All clay bricks, when formed, contain water. That is what makes the clay flexible enough to shape. This water must be removed before the bricks can be fired. The process must be carefully controlled so as not to stress the product, which could lead to distortion and cracking. York Handmade’s new dryer can now remove 4,000 gallons of water at a time. The rate at which a brick dries is controlled by adjusting temperature, humidity and air movement. A typical drying cycle starts with low temperature (around 30 degrees C) and high humidity and ends with high temperature (up to 120 degrees C) and low humidity. The movement of air, controlled by fans, is used to help evenly distribute the air around the product and remove saturated air. David Armitage added: “It is especially encouraging to report that York Handmade is going from strength to strength in the wake of our 30th anniversary. The company was founded in 1988, taking control of redundant pipework in Forest Lane, Alne, with only some excellent clay being of any use for brick-making. Since then we have grown to 30 employees with a turnover of £2.5 million, and a target of £3 million this year.” q • For further information visit www.yorkhandmade.co.uk

Restoration project is a Barnstormer! [

A YORKSHIRE DALES barn restoration that has become what judges described as ‘arguably one of the finest wedding barn properties in the country’ has won a coveted Royal Institute of Chartered Surveyors (RICS) national award for ‘Best Commercial Property’. The £2 million project to restore the 500-year-old Great Barn at Bolton Abbey, was overseen by Universal Projects, fit out specialists in the retail, office and residential sector. Working closely with Bolton Abbey Estate, Leeds-based Pearce Bottomley Architects and barn tenants Cripps & Co, Universal Projects delivered the massive restoration scheme within the 24 week deadline. Working with skilled local craftspeople to retain the integrity and authenticity of the barn, the company restored the heavily beamed interior of the building (pictured) as well as every last roof tile. Each was individually removed and cleaned before being replaced on a raised roof level. Outside landscaping (including roads), lighting and car park surfacing were also completed using traditional methods. Robert Skinner, Universal Projects managing director, said : “This was an incredible project to be involved with and has a special place in our hearts. We worked with archaeologists who monitored every dig we made, as we focused on traditional outcomes with modern techniques. We also had to bear in mind at all times that when this building was erected in 1519 there were no foundations. Buildings like this are held up by all the supporting beams – if you like a floating structure. One wrong move and it could have collapsed at any time! “The most challenging aspect of the project was retaining the building’s

history and integrity and appreciating its historical value. It was part of the original abbey estate and used to store agricultural produce from the abbey home farm. Recently the barn was used as small workshops and storage for the Bolton Abbey Estate.” Work on the 50 x 170 foot building was completed in 2018, taking less than seven months from start to finish. RICS judges said transformation of the 16th century tithe barn from a cluttered agricultural store into a magical wedding venue was ‘exemplary’ and added: “The Bolton Abbey Estate committed in excess of £2 million from its own funds to the project to transform the building, increase rental income tenfold and achieve payback in seven years. The confidence given by this project has boosted the area and paved the way for further investment in other developments.” Martin Hartley of Bolton Abbey Estate said: “The Duke and Duchess of Devonshire, who own the estate, were blown away when they saw the finished result. Universal Projects did an amazing job to complete the project on time, on budget and to ensure the finished project met the estate’s expectations. Everyone concerned is delighted with what has been achieved.” Said Robert Skinner: “We do a lot of work with Bolton Abbey Estate but to have had the opportunity to work on a project of such historical significance has been a real privilege – and we were actually quite reluctant to hand over the key on completion! It was an absolute joy to work on and we are immensely proud of the fact it has won such a prestigious award.” q • For further information visit www.universalprojects.co.uk www.ecclesiasticalandheritageworld.co.uk

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COVER STORY

Top lead awards showcase best in sustainable roofing

[

ON 5 OCTOBER members and associates of the Lead Contractors Association (LCA) assembled in Edinburgh to celebrate the announcement of the Murdoch Award and the Murdoch Sponsors Award. The Murdoch Award itself was first presented in 1996 in honour of Dick Murdoch – ‘Mr Lead’ – upon his retirement. The awards were founded to mark his tireless efforts and success in raising quality standards in lead sheet work, part of which led to the founding of the LCA in 1984. A decade later the Murdoch Sponsors Award was added. That featured the smaller installations that used less than five tonnes of lead sheet, but which could be equally demanding of the leadworker’s skills as the larger, more eye-catching projects. Although Dick Murdoch sadly passed away last year, the two awards keep his memory alive and together represent the highest accolades in the lead sheet industry, where specialist leadworkers are recognised by their peers as achieving excellence in their craft. The awards are presented by the Lead Contractors Association and sponsored by Associated Lead Mills Ltd (ALM). Together with its hard metals associate company ALM HM they are leading UK distributors of rolled lead sheet and traditional hard metals. Lead is, of course, one of the most sustainable of building materials, being almost infinitely recyclable. ALM’s Envirolead

brand is manufactured from 100% recycled material. The winners of the Murdoch Award and Murdoch Sponsors Award represent quite simply the best technical design and installation of leadwork that has been viewed by the panel of experts appointed to scrutinise the entries put forward by specialist leadwork contractors throughout the UK – the best of the best. For those working at the very pinnacle of the craft skills sector of the construction industry, there is no higher accolade than to have one’s work formally recognised and appreciated by one’s peers. This year’s Murdoch Award was won for a project in the city it was presented. D Blake and Co scooped the prize for their work on a restaurant in Edinburgh. It is the third time that D Blake and Co have been presented with the Murdoch Award – and particularly satisfying that it was awarded at a ceremony in Edinburgh as the company is based in nearby Musselburgh. Established as a plumbing contractor in 1877, the company has since specialised and is now better known for its high-quality work in architectural cladding and restoration of lead, copper, zinc and stainless steel. The Murdoch Sponsors Award went to Tim Fuge Leadwork for Curly Cottage, a private residence in Cornwall. The project made use of ALM’s Envirolead – see the full story below. q

Tim’s first awards entry nets the prize

[

ONE OF THE broadest smiles at the awards ceremony was worn by Tim Fuge, proprietor of Tim Fuge Leadwork in Liskeard, Cornwall. Tim’s delight wasn’t only because he had just been presented with the Murdoch Sponsors Award – he won the award the first time he had entered! Tim Fuge is one of the South West’s leading leadwork specialists. With over 13 years experience and a reputation of outstanding craftsmanship, Tim provides a range of services, including both traditional and contemporary leadwork solutions. In fact, Tim’s talents had already been recognised by the award of the title Young Leadworker of the Year in 2016. The winning project of this year’s Murdoch Sponsors Award was a private dwelling in his native Cornwall. Curly Cottage was constructed in the 1990s as a residence for junior doctors during their training, and latterly had been used as a holiday let. It is now destined to be used as the residence for the owners, who are downsizing. The major refurbishment involved a single

storey extension with a lead roof, which was the feature that won the accolade for Tim and his team. Tim had already installed a roof at the rear of the building, and so was known to the owners. The original plan for the extension was a sedum roof, but because of the very exposed position they decided to go with lead. The result was a perfect example of the use of traditional skills on a modern building. Said Tim: “The design is very basic; the customer is an artist, who appreciates the simplicity and symmetry. She is particularly pleased with the how the colour of the lead blends with the way the often cloudy Cornish skies reflect off the sea. The view from the master bedroom looks out over the flat roof, which joins the sea on the horizon, giving a great blend of colours and textures.” The project took a month to complete because of the bad summer weather thrown at Tim and his team by the Atlantic. It comprises

just under 2.5 tonnes of Code 6 milled lead, supplied by Envirolead. Tim said of the winning project: “Both myself and the customer were very pleased with the outcome and it was great to be working for people who had such great interest and appreciation for the job, along with a keen eye for artistic details that can be often overshadowed by the functionality of a lead roof.” He was particularly pleased with the win because of the encouragement and sense of pride it will give to his two apprentices, Jake Fursman and Stephan Hayes. To cap a very successful trip to Edinburgh from Cornwall, Tim was also shortlisted for the award for a second job – a house on the South Coast. That job comprised around 1.8 tons of lead and there was a lot of complicated detail to give the windows as low a profile as possible. As it was a GRP roof before, the details on the existing windows couldn't be replaced like-for-like. In Tim’s mind the job was as good as the winning entry. q www.ecclesiasticalandheritageworld.co.uk

COVER STORY

Awards’ sponsor leads the way in sustainable building [BOTH THE Murdoch Award and the

Murdoch Sponsors Award are sponsored by Associated Lead Mills (ALM). ALM is a major distributor of rolled lead sheet manufactured to BSEN 12588 under its Envirolead brand. Envirolead is, as the name suggests, manufactured from recycled lead and is the go-to brand for heritage projects. It was the product used by Tim Fuge in the construction of the award-winning Curly Cottage project. An associate company, ALM HM, holds substantial stocks of hard metals such as zinc, copper, steel and aluminium, while Jamestown Metal Resources (JMR), based in Dublin, covers Ireland. ALM has this to say about lead as a building material: “As a material lead is 100% recyclable and the advantages of its use are vast when compared to other materials used for the same purpose. Rolled lead sheet flashings can be formed around all areas where water ingress is high risk, such as chimney base and roof tile abutments, roofing tiles and brickwork of a building. Due to the malleability of the material itself and the consistency of its thickness, correctly installed lead sheet will move with a building, expanding and contracting, coping with the wide range of temperature fluctuations a building can experience.” Lead for roofing and cladding truly is an environmentally friendly material. Being naturally available and requiring little to no maintenance over its lifetime, there are very few, if any, on-going costs to consider once correctly installed. Lead has a very low melting point and from a carbon footprint perspective, creates far less CO2 than alternative metals or manmade GRP replacement products. Replacement of those products will also be required far sooner than lead. Lead’s malleability allows the metal to be formed on site in all conditions. For heritage projects Envirolead offers the added kudos of being 100% recycled, thus avoiding the added carbon emissions created during the mining and smelting processes.

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Moreover, a revolutionary new process has seen the introduction onto the market of lead recycled from motor vehicle batteries by Envirowales, another associate company of ALM. According to ALM, scrap lead recovered from building projects is straightforward to recycle, but the process is more complex in other industries. That is particularly so with car batteries for which, though disposal facilities are becoming more widespread, the economics of lead’s extraction are far less favourable. To put some perspective on the problem: lead accounts for 58% of a battery, but around 80% of lead produced worldwide is used in their production. Building projects account for just 6%. The process being pioneered by Envirowales not only reuses lead from batteries but recovers around 96% of their constituent parts. Envirolead is available in standard cut widths for lead flashing, along with greater widths for roofing and cladding. It is available in Codes 3, 4, 5, 6, 7 and 8. The codes relate to the thickness of the metal, which can heavily affect the performance and installed weight. The application for which lead is used will determine which code will be required. Envirolead is a familiar product throughout the UK – stocked by roofing and builders merchants across the country. It is readily available to contractors in a variety of sizes, as well as bespoke options: giving further diversity of uses and options to the UK’s architects and decision makers, reinforced through focused CPD support. As well as Envirolead for roofing and cladding, ALM can provide decorative lead in the form of planters, rosettes, rainwater systems and gargoyles. Envirolead is malleable enough to take various forms regardless of how technical they may seem. It has been used for all kinds of buildings – from the average home to the stately home, churches to cathedrals and castles to palaces. q

Has your leadworker got the right stuff? [THE Lead Sheet Training Academy is at the forefront of training for

those using lead or hard metals in the construction industry. It is the one-stop-shop for information on courses and qualifications in lead and hard metals, listing those qualified to a range of standards.

While many qualified leadworkers are employed by larger contractors, many others provide their own bespoke services. The businesses here all meet the rigorous standards for heritage work set by the LSTA. q

M P Hare Ltd

J W Roofing & Leadwork

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

9 Medway Crescent, Altrincham, Cheshire W14 4UA

Black Dog Roofing

Saxton Specialist Leadwork

Landsdowne Close, Calne, Wiltshire SN11 9DR

101 Oakley Drive, New Eltham, London SE9 2HH

Glenbuild Roofing Contracts Limited

S W Leadworks

21 Littlemill Road, Drongan, Ayrshire KA6 7BP

Oakhampton Lodge, Wiveilscombe, Taunton, Somerset TA4 2RW

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

T: 01249 321969 M: 07808 840491 E: blackdogroofing1@outlook.com W: www.blackdogroofing.co.uk

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

T: 07824 640 025 E: jwroofinginfo@gmail.com W: www.jwroofingmanchester.com

T: 07960 898614 E: saxtonleadwork@gmail.com FB: @saxtonspecialistleadwork

T: 01984 248501 M: 07475 528001 E: swleadworks@gmail.com W: swleadworks.com

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Leadwork forms crucial part of Gorbals restoration

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RESTORATION WORK is almost complete on a historic building in the Gorbals district of Glasgow that forms part of an urban regeneration project to bring that area of the city back to life. The landmark project involves one of the last remaining Victorian tenement buildings in the area. The former British Linen Bank building was built in 1900 and is of significant architectural importance. It remained largely untouched during the changes to the landscape of the Gorbals in the 1960s. Work to restore the four-storey building, by main contractor Glenbuild Ltd, has brought it back into the heart of the community by providing six apartments on the upper floors and space for a bar/restaurant on the lower floor. It represents one of the few remaining buildings designed by James Salmon Jr of Salmon and Gillespie Architects – a contemporary of Mackintosh and a celebrated art nouveau Glasgow-style architect of the 19th century. Period features have been sensitively restored using the original 19thcentury drawings, including details that were never recorded as having been included in the finished building. One feature includes the prominent cast of a salmon on a hopper, which signatures the original architect James Salmon (above left). The roof was re-slated using reclaimed Scottish slate to ensure that every detail is as historically accurate as possible. Restoration of the original and imposing lead-roofed bay window was also carried out, incorporating the original art nouveau ironwork.

Specialist leadwork Midland Lead – an innovative lead manufacturer that produces BBA and

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NHBC approved lead – worked closely with Glenbuild to create specialist leadwork, to ensure that the finishing touches would be as historically accurate as possible. In addition to supplying BBA-approved codes 4, 5, 6, 7 and 8 lead sheet for the roofing and bell tower (left), Midland Lead supplied the sandcast lead for the hopper. The hopper was created to cope better with water run-off and incorporates dates and the decorative salmon feature. Sandcasting the feature ensured that it looked exactly as it would if it had been manufactured in 1900, and is a prominent feature of the main building. Glenbuild’s project manager George Gargan, who played a major role in the project, commented: “Being involved in the restoration of such a significant listed building has been both a privilege and a challenge. I have a real passion for restoring historic features of a building and the Gorbals tenement is a rare example of James Salmon’s vision back in the late 19th century. “Working with Midland Lead has been fantastic; they share the same passion for heritage and restoration as I do. Their attention to detail is outstanding and it’s great to work with suppliers who care as much about the project as you do.” Lynn Street, sales and marketing manager at Midland Lead, commented: “Midland Lead is no stranger to working on heritage projects and the Gorbals project was a great challenge. This project showcases what we do best: working with our customers to ensure that every detail is taken care of – from the original brief to completion. “All our products are BBA approved and therefore accepted by the NHBC for use on all housebuilding projects, including restorations.” q

NFRC luminary elected President as world’s roofers meet in Edinburgh [

ROOFERS FROM AROUND the world converged on Edinburgh in September for the 67th Congress and Awards of the International Federation for the Roofing Trade (IFD). The IFD’s members comprise 18,500 contracting firms with a £22Bn turnover and over 135,000 employees, and the event provided an outstanding platform for the NFRC to promote itself and its members to global organisations. The congress followed the election of former NFRC president Graeme Miller as the President of the IFD. Elected unanimously by the IFD board, Graeme took up his three-year term at the congress. He is only the third British presidency holder in the organisation’s history. He had previously served as the IFD board member responsible for technical – heading up five separate commissions of metal roofing, pitched roofing, flat roofing, facades and health, safety and wellbeing. He also chairs the NFRC’s heritage roofing section. Graeme commented: “I’m very pleased and honoured to become the IFD President and look forward to helping make the world a better place for roofers. I want to increase networking with the UK to help improve roofing and, through the NFRC, promote best practice as well as the percentage of people who possess a qualification.” James Talman, CEO of the NFRC, said of Graeme’s appointment: “The NFRC is proud and delighted that Graeme Millar has been

appointed President of the IFD, particularly at this time when the world is faced with the major problem of climate change. As a group of nations, we all need to consider the contribution our roofing industry can provide to tackling the impact of this very serious challenge to our future.” Climate change was also one of the themes of James Talman’s presentation at the congress itself. During his address he awarded Dr William Chan the NFRC Pin of Honour for his services to NFRC and the roofing industry. Dr Chan has been a leader in the development of UK, European and US standards since 1971, including the development of BS 5534:2014 for slating and tiling on pitched roofs. The NFRC’s technical and health and safety officer Gary Walpole later spoke about the need for the industry to tackle mental health. It is an issue being tackled by the IFD, which has created a working group. Alongside the conference was a Showcase Exhibition, hosted by the NFRC and sponsored by TECHNONICOL. It featured 11 stands, including NFRC and RoofCERT. The exhibition included a seminar area with presentations from Edinburgh Council and Napier University, giving local market and skills data. Following the congress the NFRC hosted a Traditional Evening at Edinburgh Castle, which was branded with the logos of the NFRC and sponsors Velux. q

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Eden – rewriting the book on clay pantiles STUART NICHOLSON, Roof System Director from Marley, explains how its groundbreaking, low pitch traditional pantile will help heritage and ecclesiastical projects comply with both planning and modern fixings standards.

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IN THE 16TH CENTURY, a new type of clay tile was introduced to the UK from the Netherlands. The tiles linked together with an S-shape, rather than relying on vertical overlaps to prevent water penetration, and became known as pantiles – they are now considered to be one of the oldest single lap tiles in the country. Traditional clay pantiles remain, to this day, an iconic part of British roofing and are often seen on heritage and ecclesiastical projects in Lincolnshire, East Anglia, Norfolk, Yorkshire, Humberside, the South West and some parts of Eastern Scotland. Yet, despite their popularity, fixing pantiles isn’t easy. In the past, clay pantiles wouldn’t have been mechanically fixed at all – they would simply have been hung over the battens, supported by their nibs. Now, pantile roofs have to meet stringent modern fixing standards under BS 5534:2014. While some heritage projects can get special exceptions, many pantile roofs will still need to comply with these latest British Standards, which require pantiles to be twice fixed with nails and/or clips, as well as being used with a mechanically fixed ridge and hip. To overcome this problem, innovative interlocking pantiles - like our Lincoln - have been created to make it quicker and simpler to install pantile roofs to modern standards. Crucially however, up until now, there hasn’t been an easy way to meet the BS 5534 requirements with a traditional pantile. For some heritage and ecclesiastical projects, a modern interlocking tile, however rustic it looks, won’t be an option – either for aesthetic or

planning reasons. So we wanted to help architects and specifiers, who design pantile roofs, by finding a simpler way for them to meet these modern fixing specifications without creating an overly engineered product and compromising on the authentic aesthetic required. As a result, we are rewriting the book on clay pantiles by launching Eden – a ground-breaking new pantile with a traditional profile but incorporating some subtle, innovative design improvements for quicker and easier installation. Unlike anything else on the market, the Eden pantile combines a traditional appearance with time saving features previously only seen on our Lincoln interlocking tile. These include a specially designed SoloFix channel to make BS 5534’s two point fixing easier, a flat back on the rear of the tile so it doesn’t rock during installation and an enlarged nib for easier nailing. We worked closely with highly skilled pantile roofers throughout the development process to make sure the subtle design improvements we were making were the ones that would benefit roofers the most when installing the product, to bring the traditional pantile into the 21st century. With Eden, we have succeeded in creating a pantile that is uniform enough to lay easily, but not too uniform that it doesn’t look authentic. Eden’s more uniform shape enables architects to achieve cleaner ‘waves’ up the rafter, without it being so uniform that it detracts from the character of the roof. This consistency means it provides excellent weather resistance and the tile has been subjected to extreme wind and rain testing to ensure it can perform at lower pitches than other pantiles. With a low minimum pitch of 22.5 degrees, as opposed to 30 degrees for other traditional pantiles, the new Eden tile is perfect for extensions and barn conversions. As well as Natural Red and Matt Black, Eden is also available in a weathered Rustic Red, which is ideal for use on heritage and conservation projects. There is also a full range of complementary components and accessories, including dry fix systems or mortar-bedded security fixing kits. Eden can also be purchased as part of a full Marley roof system – including underlay, battens, fixings and accessories – backed up by technical support and a 15-year guarantee. At Marley, our aim is to help heritage and ecclesiastical projects achieve the desired aesthetics and planning stipulations, while meeting modern standards as discretely as possible. q • For product and feasibility advice, samples, wind loading, NBS specifications and technical support, you can contact our roofing experts on 01283 722588 or visit www.marley.co.uk/edenpantile www.ecclesiasticalandheritageworld.co.uk

Heritage body’s HQ has roof repaired

[ IN AUGUST repairs to the roof of Historic England’s own headquarters were completed by heritage roofing contractor Ellis and Co. The Engine House in Swindon was constructed in 1840 and is a Grade Two*-listed building. Its extensive roof is constructed of Welsh slate fixed to timber battens on a plastic reinforced underlay on timber rafters, with boarded ceiling finish on the underside. In October 2017 a number of slates on the roof were found to be damaged and in 2019 Ellis and Co were commissioned to repair them. The works included repairs to the roof coverings and rooflights, and the renewal and partial replacement of two slate roof slopes with the associated renewal of fixings, flashings, underlay and battens. A combination of patch and individual slate repairs to all other roof slopes were made using a mixture of reclaimed and new slates. While the scaffold was in place Ellis and Co completed additional repairs to the head and eaves courses of masonrywork. The Engine House is constructed of stone in a variety of colours and some 12 different mortar mixes were used to match the stone repairs to the hue of the surrounding Victorian stonework. q

Copper dome shines out once more [STANDING ON THE CORNER of

Ludgate Hill and Farringdon Street in the City of London is Ludgate House. The fine Victorian structure is capped by an equally splendid dome, which is now once more a shining example of the coppersmith’s art. The restoration of the dome has enabled both the dome and its accompanying dormers – decorated with lavish scrolls – to regain their lustre, which had been lost to the ravages of time. The restoration was carried out by specialist traditional metalwork firm Full Metal Jacket. It is one of the company’s latest achievements, following on the heels of its triumph in last year’s UK Roofing Awards for the roof of the Royal Victoria Pavilion in Ramsgate. FMJ described the team who carried out the project as “great craftsmen and a wonderful team,” adding that “we love our work!” q

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

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

Marnick Roofing

Specialist Roofing Contractor Marnick Roofing is one of the largest pitched and flat roofing contractors in Cornwall – offering quality and reliability to the commercial, construction and heritage roofing markets. • Grass Roofs • Concrete Tile • Leadwork • Natural Slate • Single Ply • Shingles

T: 01872 228724 M: 07791 729764 E: paul@marnickroofing.com W: www.marnickroofing.co.uk Unit B2, Walker Business Park, Threemilestone, Truro TR4 9FB

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Thatch fires are more common than you may think [

A REPORT BY the National Society of Master Thatchers (NSMT) has revealed that there have been 28 serious fires involving thatched roofs so far in 2019. “Thatch fires are disastrous,” the society stresses. “Every thatch fire is a piece of our heritage destroyed and if rebuilt only a pastiche of the original. The distress to owners is deep and long lasting and the cost to our fire services high in effort, manpower and financial considerations.” Over the years the NSMT – in conjunction with fire services and specialist thatch insurers – has put great effort into the understanding and control of thatch fires. Currently, the largest number of serious thatch fires is in older thatched properties, often with multi-layered thatch, unsuitable chimneys and wood-burning stoves. The society points to a number of steps that owners of thatched-roof properties can take to help reduce the numbers of thatch fires, through understanding and taking responsibility for managing risk to avoid unnecessary destruction. Fires usually start in or around chimneys, so chimneys need to be inspected regularly and swept twice a year: in early autumn before the winter starts and early spring before the late cold snaps hit. As thatch is often very thick, any issues with the integrity of the chimney can only be seen through camera inspection, which should be done periodically. Burning the right fuel is essential to keep a healthy chimney, as it slows down the build-up of dangerous tar deposits. To prevent birds nesting in the flue, a bird guard should be fitted to the chimney. That allows clear passage for smoke, avoiding the buildup of soot. An issue under constant review is how to improve alert time. Smoke alarms are less effective with thatch fires as they are not triggered at the time a thatch fire starts. By the time there is sufficient smoke to

trigger an internal or external alarm the fire will be well advanced and it is usually too late to save the property. The NSMT has been working closely with Hampshire Fire and Rescue Service to improve fire fighting at source. There is a training video available used by many fire services with thatch in their areas, which is also available for public use from the NSMT website. The crucial piece of advice, though, is to waste no time in dialling 999 if a fire is detected. The NSMT explains the information to provide: “When contacting the emergency services, make sure they have good directions to the property and know where the fire hydrant and supplementary water supplies (pond, river, swimming pool) are, and a description of the thatch – eg multi-layer, single coat, fire board, fire barrier, water reed, straw, netted main coat or just the ridge.” As the NSMT says: “Prevention is essential; detection is nearly always too late.” q

Rainclear add zinc box gutter to stock [

YOU CAN NOW buy box profile gutters in zinc from Rainclear – from stock for next day delivery. The box profile system is suited to large houses and high-pitched roofs. The 120mm wide brackets are designed to support a greater weight of water or snow load. If you are unsure which size gutter best suits your project, Rainclear can offer full advice. The pre-weathered zinc used to manufacture the system will not discolour, distort or become brittle over time. Zinc is unaffected by weather conditions. It does not corrode, instead building up a patina, which is a layer that protects the metal, meaning the gutters do not require any painting or coating for protection. Zinc is a great choice – being abundant, 100% recyclable and durable. Its long lifespan means it is cost effective both for your budget and for the environment. In rural areas – where pollution is low – its serviceable life can be well in excess of a hundred years. The unique appearance of the quartz zinc finish makes it the perfect choice of guttering if you are looking to make a statement. It is a similar colour to lead, so it works well on stone or period properties. q • To get in contact call 0800 644 44 26 or email sales@rainclear.co.uk. Alternatively see the range online at www.rainclear.co.uk www.ecclesiasticalandheritageworld.co.uk

Multi award-winning project uses Tudor’s handmade clay roof tiles

[KING’S COLLEGE SCHOOL in Wimbledon, one of the leading

academic independent schools in the UK, has won a prestigious 2019 RIBA National Award and a RIBA London Award for the design of its impressive new music school. Designed by Hopkins Architects, the state-of-the-art music school was part of an ongoing development masterplan to improve its facilities, consolidating the music teaching, practice and performance spaces at the entrance to the school campus. The iconic design features three distinct elements arranged over three floors and linked by an L-shaped foyer. At the centre of the campus is the imposing triple height 200-seater auditorium with a stage for a 70-piece orchestra, with a second lower volume housing music teaching rooms and a large rehearsal space, then a third volume for practice rooms and offices.

Sympathetic design Founded in 1829, the school is set in a conservation area, and so a sympathetic design was required, which would reference its surroundings using a palette of traditional materials in an innovative and modern way. Picking up on the school’s context and in particular the Grade II-Listed Great Hall, the external walls were constructed from handmade brick and the roofs from complementary handmade clay roof tiles set in a pattern, which expressed the triangulated structure of the concert hall and rehearsal room. This stunning geometric pattern, which reflected the geometry of the exposed glulam diagrid structure beneath, was created solely from the distinctive shapes of the bespoke roof tiles, whilst the adjacent linear block had a different but complementary roof form constructed from matching classical plain clay tiles. The challenge of delivering this complex design required a high degree of skill and close collaboration between architect and manufacturer to create reality from concept.

Bespoke handmade clay tiles Hopkins Architects specified new handmade clay roof tiles, rather than machine made tiles, as they have a natural character and subtle variation of tone and texture, which would blend well with the architectural context in a conservation area. The handmaking process is also considerably more flexible than the manufacture of machine made tiles, therefore lending itself better to the precise and bespoke nature of their design. The non-standard shapes and sizes of roof tiles were all made by hand, with unusually elongated arrowhead tiles made to a size of 400mm long and 100mm wide. This is 150% longer and 40% less width than standard roof tiles and with a curvature which was within very small tolerances. No less than six different designs of bespoke tiles were created, each in two colour ways to avoid a uniform appearance. Mock up sample panels were constructed to assess the various combinations of colours, with 30% red and 70% brown tiles chosen as the final mix. Bespoke hip tiles were also specially created with meticulous attention to detail from the architect’s hand drawn 3D diagram, with dry clay prototypes being presented to the roof so that slight adjustments could be made to achieve the exact size and shape.

Roof tile manufacture Manufactured from Etruria Marl, which is a very dense high-quality clay, the roof tiles were made using traditional handmade techniques to create an ‘instant aged’ and time weathered appearance. Each tile was carefully hand pressed, moulded and trimmed and then strengthened using advanced firing techniques, in order to give exceptional durability to modern performance standards. With a total of over 90,000 roof tiles and specials being made to order, it was important that modern performance standards and assurance of longevity were also backed by Tudor’s 30-year guarantee.

An iconic building This collaboration between architect and manufacturer has resulted in an inspirational music school, with an instantly recognisable and complex roofscape, which reflects the highest levels of musical excellence offered at one of the leading independent academic schools in the UK. “The school is delighted with the appearance of the roof tiles, which look even better than we had expected,” said Anne Bartlett, Estate Bursar at King’s College School. “They finish off this spectacular building brilliantly.” King’s College music school was also winner of the 2018 Pitched Roofing Awards in the category of ‘Commercial property application using roof tiles’ and was shortlisted in the inaugural 2019 AJ Specification Awards, which recognises quality of materials, innovation and collaboration between architects, suppliers and manufacturers. q • For more information visit the website at www.tudorrooftiles.co.uk

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Drone technology unveils WWII archaeology on Alderney [

A CONCENTRATION CAMP on the Channel Island of Alderney has been successfully mapped using laser mapping, or LiDAR, technology installed on a UAV. The vegetation penetration capability of the LiDAR system enabled the concentration camp to be visualised. The Channel Islands were the only part of Britain to be invaded by Nazi Germany during World War II. Alderney was the site of one of the regime’s notorious concentration camps, known as Sylt after an island off the north coast of Germany. Professor of Conflict Archaeology and Genocide Investigation at Staffordshire University, Caroline Sturdy Colls, travelled with her team to the island to investigate the camp. Drone operators Flythru were commissioned by Professor Sturdy Colls to conduct a UAV survey of two sites: the concentration camp and Longy Common, a graveyard, using integrated LiDAR technology developed by Routescene. The investigation and the results were the subject of a documentary produced by the Smithsonian TV Channel. The documentary demonstrated how LiDAR is currently

being used in industries such as archaeology, forensics and heritage to create a bare earth model to identify structures without disturbing or obstructing protected land. LiDAR measures the height of the ground surface and other landscape features using laser pulses. It enables high-resolution vegetation penetration which helps users uncover ground features which are not easily visible from the ground or are obstructed by thick vegetation. Michael May from Flythru commented: “Without UAV LiDAR it would have taken weeks to survey the Alderney sites. Due to the thick cover of vegetation it would not have been possible to visually detect the structures we found. With Routescene’s system on the UAV we achieved these results in a couple of 15-minute flights.” q

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Restoration of John Skeaping statues

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RECENTLY Houghtons of York completed the restoration of three statues – each over six feet tall and carved by John Skeaping, the husband to Barbra Hepworth for six years and well-renowned carver who is best known for his work in stone and equestrian pieces. They were the artist’s last large scale commission and were carved from Nigerian Opepe for Kings College Cambridge – top left is a historic photo of them stood in place. The statues are of Christ, St Nicholas and The Virgin Mary. Each weighs approximately half a tonne and they are carved taking full account of English medieval carving traditions – differing from Skeaping’s usual style. The timber for the statues was shipped from Nigeria to his studio at the Royal College of Art. When Houghtons arrived to collect the

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statues they found that they were being stored in a dilapidated barn which had been planned for demolition a few years earlier. The statues were looking a little worse for wear having suffered significant exposure and temperature fluctuations. Large cracks had formed, with some parts beginning to fall off the main body, and a substantial quantity of surface dust/debris had built up. The company carefully removed them from the barn where they had been stored for 38 years and transported them back to their workshop where the damage was reviewed and appropriate repairs decided upon. Initially, all loose elements and timbers that had moved significantly were removed. The glue joints were cleaned and reformed, with hidden bolts being introduced to increase

the joint strength and nip the misaligned components together. Once reassembled, they began dealing with the more significant damage which had occurred. They then began to fill the remaining smaller cracks which had formed by gluing slivers of timber into the cracks and tooling these in to blend with the adjoining timbers. Having been in storage for so long much of the original finish had been lost, so clear natural oils were used to nourish and revive the timber giving the statues a new lease of life. All of those involved in their restoration are incredibly proud of the final results. The statues were moved to their new home in Castleford Parish Church and brackets manufactured to secure them firmly upright – considering their size they were surprisingly unstable! q

Lime: it’s better for buildings – and for the environment JAMES SIMPSON OBE Hon DSc FRIAS, chairman of the Building Limes Forum, discusses the differences between traditional and modern building techniques

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IT IS NOW fairly well known that generations and nurtured through cement is not good for old buildings the trade apprenticeship system. They and that lime mortar should be used. were practically detailed to exclude But why? What are the advantages and shed water. Viewed from today’s and what are the disadvantages? perspective the process was almost In order to begin to answer those entirely benign: everything was questions it is necessary to understand ‘renewable’ and carbon emissions the nature of traditional building, the in construction, if not in use, were process by which buildings used to be negligible. The system, developed over built, and how it differs from modern centuries, worked. construction, the process by which we Paradoxically to the modern build today. mind, that is because, in traditional Traditional building has its origins in building, almost all the materials and the pre-industrial age, when buildings the construction as a whole were, were made from natural, local in relative terms, soft, weak and Yester Kirk in Berwickshire’s Lammermuir Hills is kept dry by its lime materials. In the UK, earlier buildings permeable. Rainwater was shed or harl: more like a good tweed overcoat than a leaky plastic mac! Photo of timber were superseded by walls of otherwise carried away from roofs, courtesy of Simpson & Brown. stone or brick, bedded in lime mortar, but the walls, protected by overhangs, plastered internally and sometimes also finished externally with a floated or cornices or drip-courses, were permeable. Moisture absorbed in wet thrown plaster coat and limewash. conditions penetrated the outer surfaces of the walls, but evaporated out Those buildings were assembled by hand with skills developed over the again when conditions were dry – and dry walls are warmer than wet walls.

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the energy used for heating is renewable, as Many problems in traditional buildings follow it can be, this ‘lime cycle’ makes so-called ‘air from the application of strong and impervious lime’ carbon neutral. There has been a revival finishes like cement, which invariably make the in recent years of the traditional method of walls wetter. That is because moisture from minor making mortar by adding water to the quick leaks, tiny surface cracks and ground water is lime and aggregate to produce ‘hot mixed prevented from evaporating through the external lime mortar’. wall surfaces. Attempts to exclude moisture with Some limes, due to natural or added damp courses and membranes only exacerbate impurities, have chemical setting properties problems by causing a build-up of wetness on analogous to those of cement, but weaker. one side or the other. Such ‘hydraulic’ mortars are useful – necessary Timber decay is commonly associated with even – in harsh conditions, but are less wet masonry and cement mortar also damages permeable and less environmentally benign. the outer surfaces of walls: if it is harder and less The Tower of St Oswald’s Church, Grasmere is no In conclusion, it is important to understand permeable than the stones or bricks to which longer damp since the hard, impervious cement how traditional buildings work; traditional it is applied, it traps moisture and concentrates coating has been replaced by soft, permeable vapour movement, causing sacrificial decay. lime. It also looks infinitely more beautiful! Photo building and modern construction are entirely different systems, which should only be mixed Modern construction is the opposite of courtesy of UK Restoration Services. with proper thought and care. traditional building in almost every respect. It The modern construction process, as it is currently understood and employs materials which are manufactured, processed and transported, practised – particularly when it involves the use of concrete and cement – and which are hard, strong and impermeable. This system is extravagant of is a relatively cheap way to build, but it has significant consequences for energy and resources. In particular, the cement industry creates up to 8% of the global environment. worldwide man-made CO2 emissions. In the context of traditional buildings, the use of lime mortars, plasters, Several conclusions may be drawn: renders and washes, and the skills required to use them, will be to the • The unnecessary replacement of existing buildings is inherently medium and long term benefit all. q • damaging and should cease; • Modern construction must be further developed, to reduce its • The Building Limes Forum is a registered charity. It exists to • environmental impact – particularly that of Portland cement; encourage expertise and understanding in the appropriate use • Traditional buildings should be maintained, repaired, restored and re of building limes and education in the standards of production, • purposed sustainably, by using compatible materials and methods. preparation, application and aftercare. Throughout the year the Lime is the essential ingredient of traditional mortars, plasters, renders organisation invites its members and others to learn, discover and and washes. There are across the world, and have been over the share knowledge about the use of building limes through talks, centuries, many different sorts of lime and ways of preparing and using practical demonstrations and tours of historic sites. it. At its simplest, however, lime is made by heating pure limestone in a To find out more visit www.buildinglimesforum.org.uk. kiln, driving off CO2, which is then re-absorbed as the mortar cures. If

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Does hydraulic lime always give us the result we want? HARRY CURSHAM of Vivus Solutions Ltd postulates that hydraulics aren’t all that they seem

[

WHEN TALKING ABOUT the use of lime, the ‘conversation’ regarding hydraulic sets must have been going on for millennia – ever since, in fact, lime mortar became a thing. Where the local limestone contains clay minerals inter alia, the lime made from it will naturally have some hydraulic properties – it is not possible to get away from that basic scientific truth. The temperature of the burn does also have an effect: hotter leads to more efficient hydraulicity; cooler (less energy) leads to less efficient hydraulicity. An interesting correlation to our modern-day efforts to reduce greenhouse gases! I propose, however, that it was not necessarily that hydraulic set that was wanted – at least in the way modern materials are used. Burn the lime; hydrate it; use it. It must be that simple – or is it? In the UK and across the continent we find that early mortars are relatively soft, with an almost spongy consistency. That includes most structures from the earliest times right up until the 19th century – irrespective of the purity of the local limestone. I do have to point out that this is a rule of thumb and is not absolute. The Romans, for instance, experimented with using their hydraulic sets in a stronger manner, but not always – and certainly not for everything. It’s a complicated subject! It seems that hydraulic mortars were being used in ways that negated their hydraulic properties. Indeed, in those early mortars a set based on water content, compression, aggregates, drying and carbonation (air set) would have been achieved with a mortar made from an impure limestone more often than from a pure one. If this position I have taken is correct, then the hydraulic nature – the way it is used now – must have been in some way removed or changed. One way this could have been achieved would have been to leave the lime to age after slaking, or exposed after burning. The hydraulic set will happen and the material will still be a powder. Add water and it will work like a more pure lime. The resultant mortar will remain softer and more flexible, obviously depending on the aggregate. Who hasn’t tried using an old bag of hydraulic lime and found it performs like putty; that is, it doesn’t set as you expect a hydraulic should? I am not saying this simple device alone would make a good mortar – or one that will last; but I hope you get the point. It will certainly have a softer nature, one perhaps more akin to the softer mortars we see.

Torre Abbey in Torquay

St Fagans in Cardiff When analysing these soft mortars you often find that they contain hydraulic elements. It may be that the hydraulic element is now part of the aggregate composition rather than the binder. You cannot see that in the analysis; it just shows that it is there. The inescapable evidence is that much of the hydraulic lime in use today can be very strong and brittle, when compared to many earlier mortars and plasters. It is perhaps too strong for the masonry affected, and the hydraulic set is in any case entirely unnecessary in all but the most extreme situations. Very recently an example of this issue came up in our office. The project was one where the contractor had used a ‘mid range’ NHL, as specified for bedding – in this instance cob blocks. In my view he had followed the specification, but was being accused of having gauged or in some way enhanced his mortar. He certainly hadn’t, but the result was a material that did not flex and was ‘rock solid’ and horribly brittle: entirely unsuitable for the task for which it had been employed. Slowly, the zeitgeist is moving away from the hydraulic set. At the 2012 BLF conference in Durham I was privileged to have been given the chance to talk briefly. The subject matter is huge and I only began to touch the surface. I was then asked to follow up with a small piece in the BLF newsletter. I entitled it Has Hydraulic Lime Had Its’ Day? To sum up, I simply called for better discussion. If there were any good reviews then I was not aware of them. But I ask again, now, that same question. Has it? Are we beginning to understand that materials have their place and how to use them, and how not every lime is suitable for every application? Modern construction uses cement as a fantastic mass material – concrete. Cement is, after all, a very fast-setting form of hydraulic lime. It is therefore important that we fully understand the actual setting properties of the NHLs available, so we can use those properties where they are needed and not where they could end up being harmful. We cannot ignore the evidence or the science. Observation, experimentation and experience have always been, and still are, key. q • Harry Cursham founded Vivus Solutions in 2016 after a working life in historic building conservation. Following 30 years of research, observation, experimentation and practical use, the company's materials are now used to great success in a all sorts of different buildings by all sorts of different clients. For further information visit www.vivus.solutions www.ecclesiasticalandheritageworld.co.uk

They say lightning doesn't strike twice – but once is often enough by DAVE FORRESTER, head of technical services at SELECT, the Electrical Contractors’ Association of Scotland

[LIGHTNING is frightening. The crashing

firestorm in the skies used to be thought of as the anger of the gods, and dramatic thunderstorms across Edinburgh and the Lothians late in the summer showed that they have lost none of their power to shock and awe. But in our electronics-dependent age, what should perhaps be worrying people more than the one-in-a-million chance of being hit by lightning personally is the damage that the celestial pyrotechnics could do to our homes and businesses. As well as the impressive light and sound show that often has us heading for the windows to watch, and our pets ducking for cover under the sofa, electrical storms produce extremely large bursts of electrical energy.

These bursts can induce significant current into the wiring of electrical installations, and if they are not protected by a surge protection device (SPD), they can be damaged and fail, with an upwardly escalating scale of consequences. Electricity and electronics underpin all our dayto-day activities. Products in our homes which are vulnerable to voltage surges include large screen televisions, home theatre equipment, alarms, microwaves and washing machines. For commercial and public enterprises, equipment such as LCD screens, computer networks, printers, data servers and major electrically-operated industrial equipment provide essential services which are crucial

The following companies are all specialists in Lightning Protection Systems:

to operations and cannot afford even temporary disruption. The kind of high-voltage surge which can be fatal to sensitive equipment – often lasting only a fraction of a second – is known as a transient overvoltage, and if recent weather events across the country are anything to go by, they could be becoming more and more common. Luckily, a solution is at hand. The everinnovative electrotechnical industry has created a range of relatively simple devices which divert harmful current away from vulnerable equipment, preventing damage and, potentially, the risk of fire. For smaller, less dramatic, disruptions to the electrical supply, residual current devices

Cuttings

The UK’s largest independent Lightning Protection & Earthing contractor Design, installation and maintenance • Lightning Protection • Specialist Protection

Direct Strike

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• Height Safety Services

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Head Office: 01461 337951 Rep of Ireland: +353 45 913 129

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Bailey International

10-12 Arcadia Avenue, Finchley Central, London N3 2JU

Horizon Specialist Contracting Ltd

With over 25 years experience our in-house design team are trained and certified to the current British & European Standards BS EN 62305:2011 for Lightning Protection Systems and BS 7430:2011 for Earthing. • Lightning Protection Systems and Surge Protection Design • Testing and Inspection surveys • Steeplejack maintenance • Fall arrest safety systems

Steeplejacks & Lightning Conductor Engineers We undertake a wide range of lightning protection, maintenance and repair works on churches, listed buildings and other structures where access is particularly difficult.

T: 0115 965 7400 E: sales@horizonsc.co.uk W: www.horizonsc.co.uk Unit 7, Burma Road, Blidworth, Nottinghamshire NG21 0RT

Lightning Protection Services

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

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

South West Lightning Protection

Lightning Protection Services

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

10, Oak Tree Drive, Leeds, West Yorkshire LS8 3LJ

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

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

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T: 0113 248 8026 M: 07899 700138 E: lpservices@live.co.uk W: www.lightningprotectionleeds.co.uk

TESTING & DESIGN SPECIALISTS

(RCDs) provide a life-saving protection against a possible fatal shock if something live, such as a bare wire, is touched. RCDs offer a level of personal protection that ordinary fuses and circuit breakers cannot provide, and guard against everyday incidents such as cutting through an electrical cable while mowing the lawn. If it detects electricity flowing down an unintended path, such as through a person who has touched a live part, the RCD will switch the circuit off very quickly, reducing the risk of death or serious injury. As with all electrical installations, the calculation for assessing risk is complex and should be carried out by a qualified electrical professional, in Scotland ideally a SELECT member company with all the reassurance that provides. The nature of how electrical equipment is used in homes and the workplace has changed out of all recognition and, like all valuable assets, merits the highest standards of safeguarding and protection. Remember: lightning doesn’t often strike twice – but once is enough. q

ATLAS guidance addresses working in wind [

THE Association of Technical Lightning & Access Specialists (ATLAS) has published a Wind Guidance Note for Working at Height, which has been developed by ATLAS professional advisor member M J Fuller & Associates. One of the major uncontrollable risks of working at height is working in poor weather conditions, a prime condition being high winds. The new ATLAS guidance document has been developed to minimise risks associated with working in windy weather conditions by educating the reader in wind behaviours, and better enabling them to assess when work is safe to proceed. The note refers to a number of published documents on the risks of working at height, but one of the key objectives of the document is to provide simple guidance which does not overload the reader. q

Rafferty Lightning Protection 70 years experience in the steeplejack and lightning protection industries

Wiltshire Steeplejacks

and Lightning Conductor Engineers

T: 01782 834567 E: enquiries@rafferty1949.com W: www.rafferty-steeplejacks.com

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

Dawson Steeplejacks

A C Wallbridge & Co Ltd

Specialising in all areas of working at height, from restoration of ancient buildings through to the repair and installation of lightning conductors • Lightning Conductors • Restoration • Weather Vanes • HVI Lightning Protection Systems • Surge Protection

Providing lightning protection services since 1978 Installation, maintenance and testing of lightning protection systems, utilising rope access systems for safe access.

• Surveys • Risk Assessments • Design and Installation to BSEN 62305 • Specialist Earthing • Annual Testing, Inspection & Maintenance • Surge Protection

Nash Peake Works, Tunstall, Stoke-on-Trent ST6 5BT

Specialising in all areas of working at height

T: 01934 876665 E: dawson@dawsonsteeplejacks.co.uk W: dawsonsteeplejacks.co.uk The Stable, Wick Lane, Hewish, North Somerset BS24 6RR

Harrison Lightning Protection & Earthing Ltd T: 01325 464464 E: contact@harrisonlp.co.uk W: www.harrisonlp.co.uk

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

Osborne Delta Lightning Conductors Ltd

The Coach House, 5 Court Street, Trowbridge, Wiltshire BA14 8BR

Steeplejacks and Lightning Conductor Engineers

• Cathedrals • Churches • Towers • Sports Centres

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

T: 01722 322750 E: mail@wallbridge.co.uk W: www.wallbridge.co.uk Unit 7, Centre One, Lysander Way, Old Sarum, Salisbury SP4 6BU

Lightning Strike Ltd Lightning Protection and Earthing Specialist for Churches and Historic Properties • Lightning Conductor Testing • Earthing Systems • Earthing System Testing • Surge Protection • Safe Strike ESE Systems • Soil Resistivity Testing

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

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

30 Greenacres Road, Oldham, Lancs OL4 1HB

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

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Musical countdown gets CRE off to a flying start [

“LOTS OF GREAT conversations with lovely people”; “A great exhibition”; “A good buzz and feel in the whole place”; “A joy to be at”: those were just a few of the comments received from exhibitors and contributors to CRE National 2019, held at Sandown Park in October. That positive atmosphere was made possible by the combined efforts of the organisers, led by director Steve Goddard, and the more than 200 exhibitors. Steve expressed his gratitude for the efforts of those exhibiting in helping to make the show the success it was. “We are so grateful for your energy and creativity over what can be a tiring three days,” he said. “Thank you!” The wares on show at CRE ranged from card donation kiosks to communion wine and from musical instruments to motorcycle funerals. There were also more than 60 seminars and presentations covering a wide range of practical subjects from sound systems to church security. The exhibition was opened by former Manfred Mann singer and harmonica-player turned actor Paul Jones. He amassed a powerful backing group as early visitors joined in with the song he helped write and which made the band famous all those years ago: 5-4-3-2-1. He ended with a swirl on the harmonica and the crowd roaring out the five-stroke countdown to open the show. “It has been 12 years since I visited CRE, and it is now so

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impressive,” he commented. “There seems to be something for every aspect of church life. As a Christian it is very encouraging to see so many stands and so many visitors.” For a number of years Paul has been a member of The Manfreds, some original members of Manfred Mann who have reunited, and has been voted harmonica player of the year for three consecutive years. Together with his wife, actress Fiona Hendley, he then spent the day meeting old friends and new, as well as being interviewed by the Rev Cindy Kent on their lives singing and acting on stage and in film, and their decision to become Christians made over 30 years ago. The whole hustle and bustle of the exhibition was filmed by CRE’s

TV team from Whitestone Media, who put together some energetic and accessible videos. They are available to view on CRE’s YouTube channel, CRE-TV. More than 3,300 visitors attended over the three days. While that was slightly down on last year, organisers expected some visitors living north of the M25 to be waiting for the first of the resurrected regional CREs – CRE Midlands 2020 at Stoneleigh Park, Warwickshire on 4-5 March next year. It will be the show’s first visit to the region since 2015 and already about 70% of the floor space has been sold or reserved. To book one of the few remaining stands, contact Carol or James on 0161 240 4500. Looking farther ahead, CRE National will be back at Sandown Park from 13-15 October next year. Booking details for that show will be available soon at www.creonline.co.uk. q

5-4-3-2-1: Paul Jones leads the countdown to CRE

Bishop leads the debate on Ladies’ Day [ONE DISTINGUISHED VISITOR who was full of praise for the

Christian Resources Exhibition at Sandown Park was the Bishop of Dorking, the Rt Rev Dr Jo Bailey Wells. “I had never been to the event before and found it a wonderful inspiration and challenge to Christians and church leaders,” she said. “There is such a wide range of opportunities and help on display.” The bishop was part of a team of women speaking at the exhibition's first-ever Ladies’ Day – a tradition at many racecourses. Ordained in 1994 and appointed a bishop nearly four years ago, she spoke of the challenges to women in church and society. “The church is more than 2,000 years old and we have not got it right yet,” she admitted. “I had it easy: my forebears did all of the hard work. Fortunately, we do not know the length of God's time spans.” She spoke of the one-time view that a woman's place was in the home and the adverse comments she received when considering the priesthood.

Dr Sanjee Perera, a research fellow at the University of Birmingham, spoke of the way that the architecture in Anglican churches often presented the wrong image of women. “Power and its values are celebrated throughout our historic church buildings,” said Dr Perera. “Feudalism, monarchy and elitism are intermingled with raptures of the divine. Concepts of womanhood and beauty are splashed on glass and masonry – as virtuous, demure, chaste, pale, gentle and genteel. Goodness, holiness, beauty and virtue became synonymous with whiteness, and this has become a double burden for women and minority ethnic Christians.” q

Taking a selfie are (from left) Natalie Collins, The Bishop of Dorking and Dr Sanjee Perera “When I was ordained it was not to become a bishop, but to be helpful somewhere – perhaps Africa,” she recalled. “I had to get used to being a minority in a male environment.” She pointed to the former Prime Minister Margaret Thatcher, saying: “I was not old enough to vote for her and I never really liked her; but I liked what she did. I have not always been gracious, but have tried to be patient by working as hard as I can.” She told of how two women from Shropshire whom she did not know once heard her on the radio and wrote to her saying they were committed to praying for her. “We need that sort of support,” she added. Also on the Ladies' Day agenda was Natalie Collins, the founder of 3:28 – a mission to see the UK church embrace gender justice. Natalie spoke of the difficulties faced by rape victims. www.ecclesiasticalandheritageworld.co.uk

Now that’s ‘tailor made’ in every way!

[‘TAILOR MADE’ can be defined as being

specially made for a particular person, purpose or organisation. All three of those elements can be said to have been combined in one piece of church furniture made by Fullers Finer Furniture, optimising their unique experience and expertise.

of audio-visual equipment. In this case the lectern was fitted with a docking stage, 13amp power points and a USB charging point. The lectern also has three shelves – everything in place to ensure the speaker can concentrate on delivering the message.

The person

The organisation

This summer a lectern was supplied to a church in Scotland that was specifically made to accommodate the needs of a visually-impaired user. It was done by incorporating a horizontal desk on one side to facilitate the use of specialist video magnifying and reading equipment. The desk on the other side slopes in the normal way.

The lectern is for use in a modern brick-built building and has been finished in natural oak to best complement the place of worship for which it was designed. Like many such places today, the building is in frequent use throughout the week for various events, so castors fitted to the base of the lectern allow for easy manoeuvrability. The end result is a beautiful piece of furniture, compatible with the very latest developments in technology and of use to all members of the community it is designed to serve.

The purpose Each Fullers lectern is designed to be comfortable and practical for all its users and can be finished to accommodate most types

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Not just lecterns The needs of the community, the specified purposes of the furniture and the intended building are all considered in designing and building each piece of Fullers furniture. AV cabinets can be fitted unobtrusively in buildings designed long before AV equipment was in use. Serveries can be installed in most churches – even in the main sanctuary. They can be welcoming, yet unobtrusive, functional and fully equipped – designed to maximise usefulness to the relevant community. Similarly with the staging area in a church – with Fullers Finer Furniture the area can be both accessible and aesthetically pleasing. Said Paul Fuller: “Don’t make the best of it; have the best of it, and contact Fullers Finer Furniture to see what we can do for you.” q

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Lighting developments have evolved

[OVER RECENT YEARS, West Midlands-based Lighting Dynamics

UK has continued to develop as one of the UK’s premier companies specialising in the interior and exterior lighting of cathedrals, churches and other places of worship, across all Christian denominations. Based in Sutton Coldfield, Lighting Dynamics UK is dedicated to offering a totally independent, creative and unbiased lighting design consultancy service – and where required the supply of all associated or specified lighting equipment. The company has a long-established reputation for creating practical and architecturally sympathetic lighting schemes. Wherever possible, discreet lighting equipment is specified and installed, to produce suitable levels of illumination and also to highlight both ecclesiastical details and any special architectural features. Company founder Gerry Browne explained: “Our comprehensive range of modern, energy-saving, long-life lighting equipment is manufactured

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from the highest quality materials and takes into consideration many important factors – such as reliability, durability, optical performance, overall efficiency, size, style and ease of maintenance, to mention but a few.” In more recent times the company has also launched and continues to develop a brand new family of the very latest bespoke ‘commercial grade’ LED fittings, specially designed for all types of ecclesiastical lighting tasks. This range of products has been under development for some considerable time and takes the firm’s overall lighting portfolio to the next level of technical innovation. Lighting Dynamics UK also has an unrivalled knowledge and expertise in all modern intelligent dimming and lighting control systems. The company has a significant number of very prestigious church lighting projects currently in progress, with a large number at advanced stages of planning and design. Recently completed church lighting projects include: • St Helen’s, Ashby-de-la-Zouch • St George’s, Kidderminster • All Saints, Laxfield • Holy Trinity, Matlock Bath • St Mary’s College Chapel, Oscott, Birmingham • St James the Great, Thorley • St Mary’s Priory Church, Tutbury • St Philip’s, Werrington • Christ Church, Yardley Wood, Birmingham • St Peter’s, Yoxall …to name but a few! Gerry Browne believes that this is a very exciting time in the development of church lighting, especially with such a great and diverse range of modern light sources now becoming available. He has found that customers are increasingly looking for someone with the flair and experience to provide a quality lighting design, while also specifying top-

into new LED product ranges

grade, high-quality commercial grade lighting equipment and controls that will provide longevity, reliability and overall flexibility for their specific ecclesiastical project. Said Gerry: “In the main, clients no longer wish to see their completed church lighting project looking like an extension of somebody else’s lighting showroom, or lit with floodlights to resemble an industrial-style installation; but it is a long-term process which involves educating, informing and demonstrating what can be achieved. “With the advent of easy internet access and the more recent LED lighting technologies, many clients have tremendous difficulty in differentiating between the various price points available online, and in particular understanding the prime differences between high-quality commercial grade LED luminaires and their counterpart low-cost alternatives, which in many situations would not even be deemed suitable

for a domestic-type lighting application. The issue is further compounded when modern LED light sources need to be dimmed. “If required Lighting Dynamics UK has a fully-qualified team of NIC EIC registered electricians to carry out the installation of our interior and exterior lighting systems to current electrical standards and regulations. The team is extremely experienced at working within all types of ecclesiastical buildings, including and especially those with listed building status.” Lighting Dynamics UK provides a very bespoke service for each individual church lighting project – from initial meeting and informal discussions, right through to final focusing and commissioning – and currently cover all areas of the UK and Ireland. q • For further information call 0121 323 2926 or visit the website at www.lighting-dynamics.co.uk

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St Mary’s Church, Maidenhead

The Icon 40 chair: durability, flexibility and elegance Durability that is tested The ICON 40 chair, designed by ICS Furniture, has just moved to the top of its class! This stackable, linkable and customisable seat has just been awarded the BS EN 16139 for severe contract use. For the chair’s designer, and ICS Furniture MD Gavin Duignan, it was not enough to design a seat that was stylish, comfortable and highly practical. Strength, durability and safety of the product was also key, so the decision was made to send the chair to be tested by the Furniture Industry Research Association (FIRA). Said Gavin: “I felt that an independent test on the ICON 40 would help our customers in their decision to choose this seat. They can now be assured that their choice of chair is one that is ultimately fit for purpose and can withstand not only normal use, but inevitable misuse over the many years that they will have it. “For almost 50 years ICS have been designing and manufacturing furniture. This accreditation is a testament to the company’s commitment to designing seating that is, and will be, enjoyed by many, for many years to come.”

intimate meetings and gatherings. 40 chairs stack up neatly and can be wheeled away when not required on a trolley system.

Elegance The mantra at ICS has always been to design furniture that harmonises perfectly with the space for which it is intended. Whether a church is 100 years old or a completely new building, the ICON 40 has been elegantly designed to blend in with its environment. With its clean lines, the ICON 40 is pleasingly ingenious and simple. q

Flexibility in any space As churches and their congregations change and grow, they need a space that will change with them – and seating that can adapt. The ICON 40 has been designed to meet these needs and allows the end user the freedom to transform their place of worship and open their doors to community based events and concerts. The ICON 40 chair can be linked in a straight line for concerts, or in a circle or curved formation for more www.ecclesiasticalandheritageworld.co.uk

St Peter’s Church, St Albans

Church lighting requirements: they are very seldom straightforward! [ FOR A VERY LONG TIME NOW

Anthony J Smith (Glos) Ltd have been at the forefront of designing and installing lighting and wiring systems in churches and other similar listed buildings. Anthony’s personal fascination with lighting started many years ago when as a young boy he used to carry out experiments with a bare light bulb and a homemade reflector in the garden of his family home. The association with church lighting started in 1978 when Anthony’s own church, St Peters Catholic Church in Gloucester, suffered an arson attack. His position on the fabric committee allowed Anthony to carry out some successful experiments with high-pressure sodium deluxe floodlights and the results achieved were warmly received – so much so that other churches in Gloucestershire and beyond started asking him to carry out lighting improvement works in their own buildings. Of course, the development of lighting sources and outlets has progressed through several phases – especially in recent

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times – and over the years Anthony has built a strong, experienced and dedicated team, which has enabled Anthony J Smith (Glos) Ltd to remain one of the most experienced companies within this specialist marketplace. The ethos and reputation built up over many years has allowed solid relationships to be built with very many churches, most of which keep returning to seek assistance when lighting systems need repairing or upgrading to LED. One such is St Peter’s Church in the centre of St Albans, where Anthony and his team recently returned to carry out some upgrading works. Reg Bristow, the full-time verger at St Peter’s, takes up the story: “I was in position when the church was rewired and relit by Anthony J Smith (Glos) Ltd in 1998 and the two original installation engineers are still working there. Since that time they have returned on an as-and-when basis to carry out periodical testing and routine repairs whenever needed.

“Some of the original lighting fittings had become hard to maintain due to the lamps being phased out of production and the PCC agreed that a single project to upgrade all of the lighting outlets should be considered. We spoke with a couple of potential partners on the project; although having had nothing but great service from them over the past 20-plus years meant that Anthony and his team were always likely to be involved. “We discussed many options for upgrades and stressed that we wanted to include provision for an easy to operate and alter scene-setting system, and were given welcome reassurance that this could be achieved with relatively small alterations and adaptions of the existing wiring system. “The existing combined up and downlights were removed and converted off site and the additional spot and floodlights were replaced with latest generation fittings. The control system now allows us to easily provide precisely the desired amount of light in the specific areas for all of our

Bradfield College, Bradfield

services, concerts and drama.” Reg concluded: “The PCC and congregation are very happy with the end results. We knew we wouldn’t be let down and we cannot recommend them highly enough.” The company’s Che Polley explained: “As a company we hold full accreditation from both the NICEIC and the ECA, as well as a small number of other recognised trade bodies. We have a small yet dedicated team of directly-employed installation engineers and while 90% of our work consists of designing and installing wiring and lighting systems within church buildings, we are happy to try to assist wherever we can. “We have also carried out designs and installations within a number of public college and school chapels, where the requirements are normally similar although different to most Diocesan-controlled churches. Other interesting projects have included external feature lighting of listed housing developments, Scheduled Ancient Monuments and even the illumination of a 15m x 15m Roman pavement replica! “Recently completed projects have included churches at West Wittering, Reading, West Kirby, Little Aston, Clifton and Oldham, among others.” q • For further information visit the website at www.anthonyjsmith.co.uk or call 01453 825 130.

St Mary’s Church, Kington www.ecclesiasticalandheritageworld.co.uk

Speakers and other highlights announced for ironwork conference [THE National Heritage Ironwork Group

has announced the line-up of speakers for its inaugural conference on 14 November. The conference, on the theme Forging Ahead: New Perspectives on Heritage Ironwork, will take place at the Victoria and Albert Museum – celebrating 10 years of the NHIG in the home of the nation’s most inspiring ironwork collection. The keynote address will be given by Heiner Zimmermann (right), Professor of Metal Art at the University of Gothenburg. Professor Zimmermann’s address will be on the subject of Passing on the flame: What historic ironwork taught me as a contemporary blacksmith. Craft, the announcement said, is the contained knowledge of generations; so working with historic material is like having several very old and very experienced teachers. Since tradition is a continuum, not fixed in time, as makers it is natural to be mindful of what we will pass on. Over the past 30 years of working as a blacksmith, artist and teacher, Heiner Zimmermann has found new understanding about his own creative practice through conserving historic ironwork. Following nine years of formal apprenticeship in Germany and vocational training in workshops around the world, he completed a Masters degree and set up his own workshop. He has been in his current post at Gothenburg since 2009.

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In his talk he will explore how the knowledge within the craft tradition has shaped his work as a contemporary artist. He will focus on his personal journey, scrutinising our role as makers today and considering how we will pass on the flame. In particular he will address three themes: Curiosity – how an open mind enables us to learn from the mindset of past craftspeople as well as innovate ourselves. Context – how available tools and material, the bigger picture of the built environment and changing fashions in society make a piece what it is. Continuity – how build quality, fuel efficiency and craft competence can maximise the sustainability of our practice. The other principal speaker will be Bethan Griffiths (below), who will speak on Fitting the new to the old: designing ironwork for historic settings. Bethan is director of The Ironwork Studio and a specialist designer and consultant in decorative architectural ironwork. Her passion for metalwork, especially blacksmithing, developed while studying for her BA in ThreeDimensional Design, has led to her being involved in a wide range of prominent projects. Bethan’s portfolio ranges from elegant new designs to heritage conservation, uniting her design training with a thorough understanding of metalwork gained through extensive workshop experience. New designs in heritage settings will always stimulate debate, the NHIG says. Whether the design is discreetly traditional or boldly contemporary, there will always be vehement advocates for and against the outcome. So, while it is commonly accepted that there is no ‘one size fits all’ approach, how do you go about creating and justifying a proposal for new work within an old setting? How do you determine if lost elements need to be restored or if a new original design would provide an enhancement? We frequently hear that new work needs to be ‘sympathetic’ or ‘respectful’ or that it needs to ‘respond to its setting’; but how do you translate these objectives into a design response? Bethan will explore different design approaches through the use of case studies to help gain an understanding of how to create a confident response derived from context, which not only respects but enhances historic surroundings. The conference will also see the presentation of an award for Best New Ironwork Design in a Heritage Setting. The winner will have been decided by public vote and the new designs submitted range from bold and contemporary to subtle and sensitive. Another award will see the crowning of the Heritage Ironwork Champion, drawn from a series of 10-minute Champion talks delivered in praise of specific pieces of ironwork. The speakers will speak for 10 minutes to win over the audience for their chosen piece. The conference will be followed by an ‘after-party’ at the Anglesea Arms. The previous afternoon, there will be opportunities to join bespoke tours led by Alicia Robinson, senior curator at the V&A. q

Could this steel mean sculptures no longer need conservation? As Corten – or COR-TEN – steel becomes increasingly popular for use in outdoor sculptures, conservators are playing catch-up with their preservation techniques. That’s according to PETER ELLIOTT, of Nottingham-based All Steel Fabrications Ltd, which specialises in the fabrication and installation of Corten steel and other stainless steel sculptures. Here he offers a valuable insight.

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THE WAY IN WHICH Corten is used throughout a sculpture is conditional on its production form – plate rod, flats or structural sections. Ordinary steel surfaces can be treated after the work has been completed, and sculptors have used everything from powder coating through to paint and acid etching. Corten, on the other hand, is normally used out of the mill, because of the rough purple/brown surface that is eventually revealed when its rusting stabilises. That means that most Corten sculpture is found outdoors. It also means that, in fabricating the sculptures, we must take a great deal of care when we are welding and grinding – and when mixing with other materials. When we don’t, the conservators eventually get interested, although British sculptors are amused by the idea of needing to conserve an essentially ‘found’ material.

History of Corten

steel has a combination of chromium, copper, silicon and phosphorus – the amounts of which are dependent on the exact attributes required. Iron and steel both rust in the presence of air and water, resulting in corrosion – iron oxide, or rust. Non-weathering steels have a relatively porous oxide layer, which can hold moisture and promote further corrosion. After a certain time, dependent on conditions, the rust layer will delaminate from the surface of the metal, exposing the surface and causing more damage. Weathering steel, on the other hand, works by controlling the rate at which oxygen in the atmosphere can react with the surface of the metal. It eventually produces its own protective layer, or patina. q • For more examples of Corten and other steel sculptures visit the website at www.allsteelsculpture.com

Corten was developed in the 1930s by the United States Steel Corporation – primarily for use in railway wagons. The controlled corrosion that is a feature of the material was a welcome by-product of the tough steel they developed to withstand the rigours of America's marshalling yards and collieries. The term derived from the trade name for the material, COR-TEN – a combination of CORrosion resistance and TENsile strength. It is also known as weathering steel for the patina that forms after a few months – but more often as the generic term Corten. The civil engineering applications that appeared in the early 1960s made direct use of Corten’s improved resistance to corrosion, and it would not be long before applications in architecture would become apparent. Corten gets its properties from a careful manipulation of the alloying elements added to steels during the production process. All steel produced by the primary route – in other words, from iron ore as opposed to scrap – comes into being when the iron is smelted in blast furnaces and is reduced in a converter. The carbon content is lowered and the resulting iron, now steel, is less brittle and has a higher capacity for loading than before.

Other material is commonly added during the process. Stainless steel has added chromium and molybdenum, for example, and weathering www.ecclesiasticalandheritageworld.co.uk

Important ironwork set for conservation programme [

ST PETER’S CHURCH in Daylesford, Gloucestershire – close to Stow-on-the-Wold – is a Grade One-listed building and is now redundant, coming under the care of St Peter’s Daylesford Charitable Trust. The present church building was designed by John Loughborough Pearson, a Gothic Revival architect, in 1859 and completed in 1863. Pearson had a long association with church architecture and was responsible for designing a large number of church buildings, including Truro Cathedral in 1880. St Peter’s was built in a high gothic style – cruciform in plan with a pyramidal spire – of limestone with red sandstone features and stone slate roofs. There was use of mosaic marble, decorative floor tiles and ornate ironwork inside. The ironwork included painted wrought-iron transept screens, altar railings and ornate wall lights. They are believed to be the work of Francis Skidmore, the very well-known craftsman and a leading figure in the Gothic revival movement. He is perhaps best known for the Hereford Screens now on display at the Victoria and Albert Museum. Pearson worked on a number of churches where decorative ironwork was used inside, several of which are recorded as being by Francis Skidmore. No direct evidence has been found to confirm that the decorative ironwork to St Peter’s Church was that of Skidmore; however, its style, date of manufacture and Skidmore’s link to JL Pearson point to them being made at his Coventry factory.

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The church requires some conservation and repair to its fabric and Donald Insall Architects arranged for specialist surveys to be carried out in order to prepare for listed building consent. That included inspection of the painted transept screens and altar rail by specialist conservators Historic Metalwork Conservation Ltd. During the examination of the transept screens a number of stamp marks were found on the main iron uprights that appeared to be the letters SC and a crown. The latter was a stamp used to record the iron’s quality. Apart from the association of the ironwork to Francis Skidmore, it was also important because of its high quality and the fact that it retains its original paint finishes – from 1863. Those were examined separately by Helen Hughes of Historic Interiors Research and Conservation. The two transept screens and altar rail were made from forged wrought-iron elements and finished using linseed oil-based paints, consisting of a red iron-oxide primer, light blue undercoat and coloured finish. Each screen was divided into five sections, or bays, by decorative iron uprights. A repeating screen sat at low level, divided up into small squares by crisscrossing bars. Set at the centre of each square was a decorative flower detail. The detailing at high level was very ornate, with a series of highlevel panels between each upright, all 10 being to a different design. Decorative elements were finished in dark reds, dark green, blue, yellow and purple – with gilding being used to highlight certain features to the nave side of each screen. Although the ironwork was located inside the church building, and so was protected from the weather outside, there was little or no heating or environmental control inside. As a result the ironwork has been affected by condensation during colder months of the year. The original paint finishes were applied to provide protection to the ironwork and give it a decorative finish. The coatings are now very old and have degraded. Moisture has managed to penetrate through flaws in the paint layers to the iron beneath, leading to small areas of corrosion and rust formation. In addition, as the church is no longer in regular use there has been no recent cleaning of the iron transept screens, which had accumulations of dust and dirt present. After an initial condition survey of the transept screens and altar rail, proposals were put together for the conservation of this very important ironwork. As a first stage, it was agreed to carry out some cleaning and conservation trials to see how well the ironwork could be cleaned, and to look at options to consolidate the deteriorated paint layers and treat localised rust patches. A small section of one of the lower screens was selected for the trials. It was initially dry-cleaned using conservation brushes and a vacuum cleaner. The painted surfaces were then wet-cleaned with distilled water and 1% TritonX100 non-ionic detergent, applied using cotton wool swabs rolled across the surface. Small rust blisters and areas of loose rust were carefully removed under magnification using a scalpel blade and a fine glass bristle brush back to a sound surface. Four different potential consolidants were tried, to identify which would be the most suitable to both consolidate the paint layers and enhance the overall colour, which had dulled with age. They included a 5% solution of Paraloid B72, a 5% solution of Paraloid B67 (both acrylic resins), Primal WS24 and Lascaux 4176 (both acrylic dispersions in water). The decorative flower on the lower panel was chosen, so the finish of each could be compared directly. Two coats were applied, allowing the first to dry before the second was applied. A visual assessment suggested that the 5% Paraloid B67 in white spirit gave the best results. A report was prepared for the client, with final recommendations for the conservation of the church ironwork. q

Blacksmiths’ luminary presented with Lifetime Achievement Award

Worshipful Company issues call for entries for Tonypandy Cup [

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THE WORSHIPFUL COMPANY OF BLACKSMITHS has proudly announced that a Past Prime Warden, Hugh Adams CWCB, has been awarded the Lifetime Achievement Award by the City Livery Club at its annual awards. The award was made in recognition of over 30 years’ support for the blacksmith’s craft, and for encouraging working blacksmiths to achieve their goals. It is only the third time that this award has been presented. Hugh was presented with his award at the Mansion House on 8 July by Alderman Sir David Wootton (left) and the president of the City Livery Club, Dr Trevor Brignal (right). q

THE Worshipful Company of Blacksmiths has issued its call for entries for its Tonypandy Award. The award, in the form of the Viscount Tonypandy Cup, was given in memory of George Thomas, Former Speaker of the House of Commons (Lord Tonypandy), who was an Honorary Member of the Court of the Worshipful Company of Blacksmiths. The cup may be awarded annually for a piece which is considered to be an outstanding example of the skill of a blacksmith or blacksmiths. A special committee is established every year to assess the nominated works. The Tonypandy Cup is regarded as the most prestigious award given by the company. This year’s award went to artist blacksmith Bex Simon for her work on the Westminster Magistrates Court public art project (pictured). To meet the criteria, all work should be in the UK or Northern Ireland and preferably be accessible to the general public. Modern and traditional techniques are equally acceptable, as is work in any metal and heat process. The age of the piece should not exceed five years from completion. Nominations, incorporating as much information as possible on the submission, should be sent to the chair of the Tonypandy Committee, along with a portfolio of past commissions, by 31 December for the 2020 award. q

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Icynene goes green Spray foam insulations specialist Icynene is doing its bit to reduce the ever-growing mountain of plastic waste by incorporating recycled plastic into the formulation of its closed-cell foam insulation product.

[ EVERY YEAR, Europe generates roughly 25m tonnes of plastic

waste but less than 30% is collected for recycling (The Guardian). As a first step in tackling the problem, Icynene has started to process recycled PET bottles as one of the basic ingredients in its spray foam insulation. Over the coming year, Icynene expects to recycle in excess of 750,000, biting a fair-sized chunk out of this ever-growing mountain of plastic. Spray-applied foam insulation is one of the quickest and most effective ways to reduce heat-loss from buildings (right). And by making our homes, offices and factories more thermally efficient, Icynene insulation also makes a significant contribution to reducing CO2 emissions – one of the principal causes of global warming. Icynene spray foam insulation is already an environmentally friendly system. The closed-cell foam uses Hydroflouroolefin (HFO) as a blowing agent and has a global warming potential (GWP) of 2 and an ozone depletion potential (ODP) of 0. Furthermore, Icynene does not emit any harmful gasses once cured and is completely inert. To further reinforce the company’s green credentials, Icynene is committing a portion of sales revenue to a tree planting programme in woodland near its manufacturing base in Central Europe. For every barrel of basic product sold, Icynene will plant trees in the forests surrounding the Tatra Mountains in Slovakia – an area devastated by storms a few years ago.

Forests are Mother Nature’s lungs and by helping rebuild them through this programme of tree planting – the company expects to plant over 40,000 this year – Icynene hopes it will help in the fight to reduce carbon emissions and slow the rise in global warming. q • For more information visit www.icynene.co.uk

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Heritage railway’s new facilities showcase brick specialism

[ONE OF THE projects looking for success in the Refurbishment

category of the Brick Awards in November is the new refreshments and toilet block at the historic Bridgnorth station. Opened in 1862, Bridgnorth is now the working terminus of the Severn Valley Railway (SVR) – a popular heritage steam railway. Lying within the Bridgnorth Conservation Area and overlooked by Pan Pudding Hill – a scheduled ancient monument – the site is a highly significant heritage asset and all key original buildings still remain. The main station building is Grade Two-listed, and since 1979 had been served by a ‘temporary’ Portakabin refreshment room, which has detracted from the setting of the listed station. Planning permission and listed building consent were granted for a new building to provide both refreshments and toilets – on the basis that the new building was of demonstrable high quality, to minimise its impact on the sensitive heritage landscape.

The new design is in the style of a typical ancillary structure of the Great Western Railway (GWR) from 1910, and of a scale which remains subservient to the main listed station building. Drawing from the vernacular of the GWR, considerable attention has been paid to external and internal details, materials and finishes. The planning, listed building application and construction drawings were produced by Oxford Architects LLP, in close collaboration with Robert Marrows and David Postle from the SVR Conservation and Heritage Committee who also project managed the development. The external face of the wall was built with over 25,000 Staffordshire blue multi solid Class A engineering bricks from Ketley Brick. The bricks have a natural blue tone, with random flecks of red and brown on the face giving an antique brindle appearance. They were carefully selected by hand in order to achieve the level of colour variation that would have been seen in that type of brick at the turn of the 20th century. An English bond laying pattern was used. Due to the insulated cavity construction process, 13,000 headers were cut by Darren Cadet’s team at main contractor Iris Construction Projects Ltd. The brick detailing, using Ketley plinths and bullnose specials, creates the decorative areas of brickwork for this authentic example of early 20thcentury Great Western architecture. The simple single-storey structure, with pitched slate roof and gable ends, has four elaborate brick chimney stacks in the same Ketley brick. Windows and doorways are defined by brick arches above and bullnose brick reveals. Corbelling beneath the eaves, as well as plinths at the base of the building, allow for a change in depth to the brickwork – attracting shadows and adding interest and authenticity. Considerable care was taken to select a mortar consistent with the 1910 GWR aesthetic. Ty Mawr Light Blaenavon crushed aggregate was used in the cement, lime and sand mix. Inside, Ketley quarry tiles have been laid to form the floors, adding warmth, character and authenticity to the spaces. The level of detail and quality of the brick work delivered by Iris Construction Projects Ltd and their brickwork subcontractor, Jason Harrison and his team at Newdawn Construction, has been described as ‘outstanding’. The whole team has shown considerable skill, knowledge and pride in their work. One viewer observed that the overall appearance of the building, both inside and out, is so effective that it’s ‘hard to believe that it’s all new’. q www.ecclesiasticalandheritageworld.co.uk

Replacing windows in heritage and listed buildings By ANDREW MADGE, Managing Director of Gowercroft Joinery

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FINDING APPROPRIATE replacements for old and degraded single-glazed windows in heritage and listed properties can be a challenge – particularly when trying to combine building conservation requirements with the modern desire for a comfortable and energyefficient living environment. When the original wooden window frames are too rotten to be repaired, the traditional approach has been to specify like-for-like handmade single-glazed timber replacements, which usually means having to accept a relatively poor level of thermal and acoustic performance or opt for secondary glazing solutions to compensate. In an ideal world, most of today’s owners of old and period properties would like to benefit from modern performance standards, including durability, sustainability and a good level of energy efficiency, in order to create a pleasant living environment, but without spoiling the original aesthetic.

Energy efficient double-glazing Although superior energy efficiency can be achieved through standard factory fitted double-glazed units (typically with a 16-20mm Argon filled cavity), the giveaway ‘double shadow’ on the glazing and the thicker profiles required to accommodate heavy double-glazed units are almost invariably unacceptable for period properties. This has led to the popularity of ‘low sightline’ slim double-glazing,

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which aims to combine some of the features of a slim window with better thermal performance. This is achieved by using a heavier inert gas such as Krypton or Xenon to reduce the thermal conductivity sufficiently to create an effective smaller cavity in between the panes. The sightline – which is the area from edge of the glass to the top of the spacer bar – is typically reduced to just 5-6mm to allow thinner window sections. However, this type of window is now the subject of some controversy, not least within the Glass and Glazing Federation, because in order to achieve such a slim sightline it is necessary to reduce the amount of sealant and desiccant used in the perimeter of the unit. This can cause instability and increase the likelihood of unit failure. In fact, there is an ongoing discussion as to whether some of these units even comply with the Construction Products Regulations. As a result of these still unresolved matters, striking the right balance between performance and aesthetics has become even more complicated and challenging.

Vacuum glazing An alternative option which is now beginning to attract interest in the heritage sector is ‘vacuum glazing’, where all the air is extracted to form a vacuum cavity between a pane of low emissivity (low-e) glass and a pane of clear float glass. With no air or gas between the panes, there is nothing to transfer heat, so the energy efficiency is much greater. The same applies to sound. Originally developed in Japan over twenty years ago as a lightweight, energy efficient solution for buildings in earthquake zones, Pilkington Spacia™ is the first commercially available vacuum glazing in the UK which offers U-values of 1.1 W/m2K on its standard units and 0.9W/m2K on its higher performance Spacia™ Cool units. With a total thickness of 6.2mm (the vacuum cavity being just 0.2mm), it is roughly a quarter of the thickness of a conventional double-glazed unit and half the thickness of a typical slimline double-glazed unit. It is also approximately two thirds of the weight, which makes it narrow and light enough to fit into most existing timber frames without giving any discernible double reflection. However, the vacuum process can only be

achieved by creating a hole in the inner pane, which is located 50 mm from the edge of the glass and covered by a permanent 12 mm black plastic cap. For some conservation officers this can be a distraction, but for many others it is barely noticeable behind the curtain sweep. Similarly, the 0.25 mm micro-spacers, which sit at 20mm intervals to keep the two panes a fixed distance apart, are visible on close inspection, but not in day to day use. The sustainability of a glazed unit imported from Japan could also potentially be challenged, until one considers that the embodied energy required in the production of inert gasses used in the manufacture of most conventional double glazing is far higher than the energy involved in global shipping. Despite its imperfections, vacuum glazing technology is now opening up opportunities for owners of heritage properties looking to replace the glazing on old windows, whilst preserving as much of the original joinery as possible. It is also being adopted by specialist joinery companies wanting to create traditional looking windows with modern

performance benefits for those period homes where the original frames cannot be salvaged.

A modern period window As modern methods of fabrication can so easily destroy the overall aesthetic that conservation officers are trying to preserve, it is vitally important that any thin glazing solution is combined with traditional joinery and hardware, and that any modern performance enhancing features are as unintrusive as possible. Gowercroft Joinery is the first window manufacturer to have incorporated Pilkington Spacia™ into a traditionally crafted range of heritage windows made with modern materials like Accoya® – a modern modified timber whose cellular structure has been treated to increase its durability, stability and longevity – sprayed with a unique formulation of protective paint, guaranteed to deliver zero maintenance for 10 years. Whilst the range does not claim to use real putty to secure the glass panes like the windows of yesteryear – in a modern high-performance window this would be incongruous – the putty line is replicated in the outer profile. Although more regular looking than traditional putty, it does significantly improve security and coating longevity. Similarly, modern seals that are designed to keep the windows weather-resistant are neatly concealed within the joinery. Arguably, any attempt to provide an acceptable modern solution for a listed property will involve some degree of compromise. The perfect window for ‘modern living’ in a heritage home may not yet have been designed to everyone’s satisfaction, but conservation officers, specifiers and owners of listed properties do now have options, including some highly functional, futureproofed and genuinely sympathetic modern products. q • For further information visit the website at www.gowercroft.co.uk www.ecclesiasticalandheritageworld.co.uk

ANTIQUE FURNITURE RESTORATION

ARCHIVE STORAGE BOXES

BAFRA

ARBORICULTURAL CONSULTANTS

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BELLS

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

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BUILDING CONSERVATION & RESTORATION

CHURCH HEATING & INSULATION

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