Ecclesiastical & Heritage World Issue No. 99

COVER STORY

CONGREGATION OF FIRE-RAVAGED LONDON CHURCH LOOK TO THE FUTURE

This issue’s front cover shows the devastation a fire in a church can cause. The congregation of St Mark’s in Maida Vale, London now has to pick up the pieces following the blaze in January 2023. Fortunately, insurers Ecclesiastical were quickly on the scene to organise the stabilisation of the building and bring in teams of professionals to clear the site and identify what can be salvaged and restored. The company also helped refurbish the church hall so worship can continue.

The community at St Mark’s can now start to make plans for the rebuilding of their cherished church building.

Read the full story on page 7

8 Fire doors: where and why might you need them?

9 Liverpool’s Canning Dock plan receives green light

11 Extent of heritage crime revealed

13 NT survey shows mixed picture of pest infestations

15 Scotland looks to encourage heritage skills

36

Ironworkers look forward to next conference

Shining brighter together: church embraces eco-friendly lighting upgrade

17 Pit disaster memorial garden given national recognition CONSERVATION & RESTORATION

18 Taking tea among the camellias is now a reality at Yorkshire country house

19 The place of conservation in repurposing ecclesiastical buildings

20 Brian’s brush enables Yorkshire’s churches to shine

21 York firms embark on iconic city building’s conservation project

22 Globetrotting pierhead clock returns to Cardiff following restoration

Exhibition will showcase all that ’s best in stage technology 29 New AV system provides the complete solution

Creating a ‘church without walls’

Sound and AV organisation celebrates yet another successful annual bash

32 RNID and its partner help improve accessibility for the National Portrait Gallery

A successful AV system design starts with an informed customer

Works of art: value beyond structure

ROOFING & LEADWORK

37 For the finest leadwork, get Silk

39 Church and heritage projects feature again in Roofing Awards shortlist

SECURITY

40 Why video surveillance on scaffolding matters

ACCESS & LIGHTNING PROTECTION

41 Paramount praises new 40m Hinowa as a ‘gamechanger‘

43 In lightning terms, it ’s the grounding that counts BRICKS

45 How urban mining can help reach net-zero goals WINDOWS

46 Art Deco architecture is given a makeover by Clement Windows

48 Richard III cathedral praises ISO Chemie’s load bearing bracket support system

[OUR FRONT COVER this issue shows the burned-out interior of St Mark’s Church in Maida Vale, London. It’s a sad sight – a reminder of the power of fire to destroy in an instant the cherished results of years of endeavour. It’s also a reminder of the power of the human spirit to rebuild, as has been seen recently with images released of the rebuilding of Notre Dame in Paris. In the case of St Mark’s the church’s insurers, Ecclesiastical, were quick off the mark in arranging a team of professionals to ensure the site was safe and to begin to assess the damage. Thoughts can now turn to rebuilding.

• The photograph of St Mark’s was taken from scaffolding erected around the building to prevent further collapse. Scaffolding is essential for many refurbishment projects; but it is also a temptation for thieves and vandals. There have been many instances of churches being vandalised or lead stolen from roofs by miscreants gaining access via scaffolding erected for repairs. A number are recounted by our contributor from Ace Defence, whose work involves installing video surveillance systems onto scaffolding to deter vandals and thieves.

• More instances of the theft of lead from church roofs, as well as the theft of valuable stone and anti-social behaviour such as arson, have been provided by Historic England and the National Police Chiefs’ Council in their report Heritage and Cultural Property Crime. The report presents a mixed picture, with a rise in stone theft set against a fall in metal theft and a fall in illegal metal detecting mirroring a rise in thefts of valuable artefacts.

• Arson is a major cause of fire in churches and heritage buildings: another is lightning. Most of us thought of the invention of lightning rods as being the sole property of Benjamin Franklin: not so. We look into the life and work of another inventor who can lay claim. An eccentric-sounding cleric from Bohemia claimed to be able to ‘capture’ the lightning. He also invented an electric musical instrument.

• However damage is caused, its value needs to be determined. In fact, it is better to have the value of cherished objects determined before anything happens to them – although hopefully nothing will. In his second article on the subject, Patrick Bowen turns his attention to stained glass. In the real world insurance companies need to know what they are insuring and for how much. Patrick explains how he carried out the valuation of the collection of the Stained Glass Museum at Ely Cathedral.

• Circumstances where cherished objects can become damaged are when buildings are repurposed. Such projects must involve the careful conservation of treasures to ensure they don’t fall victim to redevelopment. Lewis Proudfoot of Cliveden Conservation has much experience of such projects and shares some of it.

• There are many ways in which valuable heritage assets become damaged. Vandalism and fire are two; a third is by the action of pests. Clothes moths destroy valuable costumes, furniture and hangings; silver fish devour books, other paper material and cotton.

Last year saw a fall in such pests, according to the latest survey of its sites by the National Trust. The fall has been attributed to a combination of a fall-off from mushrooming during the COVID lockdown and the sodden weather of last year.

• One of the major crimes of the past few centuries, the slave trade, is now being called out, and nowhere more so than in Liverpool. The docks that witnessed much of the trade – and where many of the slaving ships were maintained – are now being opened up to the public. Work on the next phase is due to commence in the autumn. q

Chris Stokes

Editor, Ecclesiastical & Heritage World

CONGREGATION OF FIRE-RAVAGED LONDON CHURCH LOOK TO THE FUTURE

[SPECIALIST INSURER ECCLESIASTICAL has released images from inside St Mark’s Church in Maida Vale, West London, revealing the scale of the damage following a devastating fire last year. The photographs, taken from scaffolding erected around the church, show what remains of the Victorian Gothic building following the blaze that occurred on the evening of 26 January 2023.

As the church’s insurer, Ecclesiastical arranged for loss adjustors to attend the site the following day, to assess the damage to the muchloved community church. Due to the scale of the damage the priority has been making the site secure and ensuring the church is stable.

One of the main challenges of the project has been the removal of several trusses precariously positioned above the nave, ensuring there was no further damage to the external walls. Structural engineers, specialist scaffolders and demolition firms were consulted and a solution developed, with work completing early this year.

Work has since taken place to clear debris, with archaeological and heritage experts supporting – identifying what can be preserved and restored as the project progresses.

The latest images were captured during a visit to the site last September, when members of the church PCC, London Diocese, loss adjustors and Ecclesiastical Insurance met to inspect the site and to get an update on the latest developments.

For Revd Kate Harrison, it was her first time up on the scaffolding surrounding the church, and seeing the scale of the damage brought mixed emotions.

“It was really moving to be back inside the church,” she said. “I was able to go up onto the scaffold and see the scale of the damage below. It really brought home the devastation caused by the fire and the task ahead – but we’re hopeful for the future.”

stone and brickwork, and stained glass windows. The restoration of the church was completed in 2022, bringing a much-loved community asset back into use. The moving story was featured in Ecclesiastical and Heritage World last year.

Helen Richards, church operations director at Ecclesiastical (pictured below left with Revd Harrison), visited St Mark’s alongside colleagues from the claims team and said: “I was lost for words at the scale of the devastation when I visited the church. It’s always difficult for a community to see their church like this and it can be hard to look past the damage caused.

“However, we have a huge amount of experience working with churches on these complex restorations. Our expertise is what sets us apart from other insurers. We understand that historic buildings often need complex solutions to help preserve their heritage and prevent further damage and we’ve engaged with specialists to safely develop a plan to progress with the project.

Ecclesiastical’s unrivalled expertise in protecting communities, properties and the nation’s heritage for 135 years has helped them to restore other historic churches damaged as a result of fires. In 2017 the Church of the Ascension in Salford, Greater Manchester was gutted in a blaze which caused significant damage to columns, roof structures,

“That’s the reason customers choose to insure with us and we will be there to support them every step of the way as we bring the church back to life, so it can serve the community for another 200 years and beyond.”

Last year, during the summer months, the church hosted services in the vicarage garden and for the winter months Ecclesiastical helped to fund a refurbishment of the church hall to provide a warm and welcoming space where services continued indoors. It also gave the church the opportunity to restart hosting events which had become a fixture of the church calendar and an invaluable source of income.

The church will also be carrying out a consultation to establish whether the church makes any changes or modifications to the fabric of the building as part of the restoration. q

• For more updates from Ecclesiastical visit the website at www.ecclesiastical.com/media-centre/st-marks-maida-vale And for the latest news from St Marks visit www.stmarks.london

FIRE DOORS: WHERE AND WHY

MIGHT YOU NEED THEM?

[IN THE PUBLIC MIND fire doors are often confused with fire exit doors. The purpose of a fire door is distinctly different and is twofold: to create or protect an escape route through a building in a fire and to ‘compartmentalise’ a fire to stop the smoke and flames spreading.

A useful description of fire doors and their deployment is to be found on the website of ChurchSafety: a not-for-profit based in South Wales.

ChurchSafety says: “Fire doors, or doorsets as they are also known, are designed to offer protection from the smoke and flames of a conflagration for a minimum specified length of time. This is typically 30 minutes, which should allow sufficient time to evacuate the premises and for the emergency services to respond.

“Where a fire door is deployed in a restricted area that is not usually populated, such as the boiler room, it should be kept locked shut. These would be marked with a sign stating ‘Fire Door Keep Locked Shut’.

“On the other hand, fire doors that form part of the escape route

Fire Door Safety Inspection Services

T: 07791 097 961

E: allan@fdsis.co.uk

W: www.fdsis.co.uk

through the building must be able to open freely, to facilitate evacuation in case of fire, and must not be obstructed. In order to perform their function in resisting a fire, they must also be able to self-close. These would be marked with a sign ‘Fire Door Keep Shut’.

“The final exit door of the escape route (which may also be the main entrance to the church) does not have to be a fire door. It should remain unlocked all the time the church is occupied and be clearly signed as the Exit.”

The writer goes on to describe the composition of fire doors before addressing the issue of self-closing.

“If, however, during the normal business of the day it is more efficient to keep the fire door open, it can be done with a dedicated door retainer. One example is the battery operated Dorgard: easily and quickly fitted, it allows the fire door to be held open at any angle, but releases the door to close when it hears a continuous alarm of 65 decibels or more. Other door-holding methods often need to be wired into the fire alarm system.”

Fire doors should never be wedged open: “the practice, though frequently observed, is both unsafe and unlawful.” q

• For more information visit www.churchsafety.org.uk

LIVERPOOL’S CANNING DOCK PLAN RECEIVES GREEN LIGHT

[NATIONAL MUSEUMS LIVERPOOL’S Waterfront Transformation Project has reached a significant new milestone, with Planning Permission granted to transform Canning Quaysides and Dry Docks into a space for education, contemplation and recreation.

The £15m redevelopment, which is supported by a £10m contribution from the government’s £4.8bn Levelling Up fund, will see the south dry dock, built in 1765, become accessible to the public. A new stop wall will be built behind the existing timber gates and a staircase and lift will enable visitors to descend into the historic site for the first time. Plans also feature a twin-lever footbridge from the Royal Albert Dock across to the Canning quayside.

Construction work on the designs, which are being led by architects Asif Khan Studio and internationally-renowned artist Theaster Gates, are due to start in the autumn.

Canning Dock’s history is rooted in Liverpool’s deep involvement in transatlantic slavery. The graving dock was used to clean and repair ships, including those that were destined to traffic enslaved people across the Atlantic to work. Millions of people died during the crossing, many on board Liverpool-built ships. The transformation will bring that history into the public realm and create a space for contemplation of its significance.

Asif Khan Studio has been working closely with community partners 20 Stories High, Squash, Writing on the Wall and Liverpool Black History Research Group to ensure Liverpool’s communities are engaged and represented in the development of the design and narrative.

Liz Stewart, head of the Museum of Liverpool, which overlooks the Canning Dock area, said: “This is such a transformational project: a once in a lifetime opportunity. Working with local community arts organisations, we have a unique chance to really enhance people’s experience of this space. As well as creating an overall cohesive visitor experience, we’re determined to truly represent the profound historic significance of the site.

“The dry docks and quaysides have such a powerful heritage narrative, and throughout the process of co-production, we’ve ensured the feedback and ideas coming directly from our communities is integrated into the designs.”

The pedestrian bridge linking the Royal Albert Dock with Canning quayside will create a better journey for visitors and enhance connectivity between the International Slavery Museum, Maritime Museum, Museum of Liverpool and the wider waterfront.

south dry dock has been collaboratively reimagined by Khan and Gates. The multi-use space will be a ‘destination’ site that will draw upon voices from across Liverpool and its historic global footprint.

Theaster Gates commented: “It heartens me that a city is willing to grapple with its complex history and make space for the unfortunate truth of violence against other people. Even better, Liverpool is making space for celebration, community and new histories. I’m excited to be a part of this work.” q

The

Image © Asif Khan Studio

EXTENT OF HERITAGE CRIME REVEALED

[IN MARCH Historic England and the National Police Chiefs’ Council (NPCC) – both members of the Alliance to Reduce Crime Against Heritage (ARCH) – released research findings on the scale and extent of heritage and cultural property crime in England.

The Heritage and Cultural Property Crime research was funded by Historic England and carried out by crime analysts at the National Crime Intelligence Unit for Serious Organised Acquisitive Crime (Opal) between February 2020 and February 2023.

The assessment has identified the diverse range of active and emerging threats to the historic environment, including the theft of historic lead and stone, high-value burglaries targeting cultural objects, unlawful metal detecting (nighthawking) and the removal of artefacts from the nation’s protected wreck sites.

The research also highlights the problem of antisocial behaviour, particularly arson, vandalism and graffiti, and has led to recommendations for more effective prevention and active enforcement of heritage crime.

Key findings of the research

Theft of historic stone (including York stone) from some of England's most cherished historic sites is on the rise, particularly walls and paving slabs in Yorkshire and Cheshire, as well as granite cattle troughs and fountains from Kent and London. It continues to be at risk from those intent on stealing and trading for financial gain

Metal theft from historic places of worship increased during the lockdown periods of the COVID-19 pandemic, but effective preventative and enforcement action has since resulted in a steady decrease

A reduction in unlawful metal detecting (nighthawking) has been achieved with the support of landowners and the metal-detecting community, with offenders being identified and brought to justice

Offences relating to the theft of cultural objects from art galleries, museums and stately homes are on the rise, with artwork and antiques being the most frequently stolen items. It is estimated that over £3.2m worth of cultural property was stolen in the 2021/22 period

The ARCH partnership calls for the development of more accurate police recording processes for offences relating to the loss and damage to heritage sites and cultural property. That will lead to a more detailed understanding of the scale and extent of crime and anti-social behaviour in the historic environment.

Other threats identified in the report include:

• Cost of living crisis. The theft of valuable heritage materials and cultural objects by opportunist offenders and organised crime groups is likely to increase as inflation continues to impact the price of commodities.

• Anti-social behaviour. Arson, vandalism and graffiti continue to pose a significant threat to the owners and managers of England’s nationally important historic buildings and archaeological sites. Initiatives such as the Heritage Watch programme and the work of the National Fire Chiefs’ Council and the National Rural Crime Network are having an impact

• Protected wreck sites. Last autumn Historic England, working with MSDS Marine and the Cultural Heritage Agency of the Netherlands and partners, announced an innovative forensic marking system to protect some of England’s 57 most historic and archaeologically important wreck sites. They include the Dutch warship Klein Hollandia. The new technology should act as a deterrent to those seeking to steal historic artefacts such as cannon from the seabed

• Cyber-enabled crime. The use of the internet has grown and it is likely that stolen items will continue to be sold online where offenders can –often anonymously – make a profit. It is also likely that a higher number of fakes will enter the market as scams and fraudulent activity online rises

Duncan Wilson, chief executive of Historic England, explained: “Heritage and cultural property crime robs us of our collective history. This

research marks the next stage in our commitment to tackle such crime. More effective crime recording across all police forces in the UK, including a heritage marker to highlight protected sites and cultural property crime, would help us to understand trends better and to tackle serious organised crime and anti-social behaviour.”

Assistant Chief Constable Rachel Nolan, NPCC Lead for Heritage Crime, said: “When metal, stone or other items are stolen from our historic buildings and cultural sites, it impacts the communities who enjoy those spaces. We welcome any research into this area of criminality, which helps us to better understand the issue and, therefore, tailor our response to pursue offenders and deter any future opportunists.

“We are committed to tackling this issue and our heritage crime officers across the country will continue to work with Historic England and other partners, to reduce offending and educate the wider public about the long-lasting damage heritage crime can have.” q

The aftermath of lead theft from a church in Leicestershire (left); and paving slabs stolen from a bridge over the River Aire in West Yorkshire (right)

Photo © Simon Headley

Photo © Historic England

NT SURVEY SHOWS MIXED PICTURE OF PEST INFESTATIONS

[CLOTHES MOTH NUMBERS tumbled in historic houses last year, the National Trust’s annual insect pests report has found. The report collates information gathered by house staff around the Trust, helping the charity to safeguard over a million objects: from precious books and tapestries to silk hangings on state beds.

The 18% drop in the moth tineola bisselliella – the larvae (pictured) of which, can damage carpets, upholstery, taxidermy and woollen or silk objects – follows on from a 39% slump the previous year.

The Trust’s assistant national conservator, Alexandra Radford, who compiled the report, said: “The alarming increase we saw in 2021, driven by lockdown closures, is now a distant memory. This is excellent news for all our collections.

“The drop is likely because pest numbers are still falling from their lockdown highs; but it also reflects the decisive action and relentless efforts of house teams to manage moth numbers. We’ve put in place more training and resources to help property teams with integrated pest management, which is crucial to good collections care.”

Overall insect counts were also down by 11%, compared to the Trust’s 2022 data. That was

probably aided by another year of turbulent weather, with record temperatures and rainfall, numerous named storms and rapid fluctuations.

Alexandra said: “Without a doubt, the on-going unpredictability and extremes in temperatures and moisture are feeding through into insect breeding cycles and patterns.”

However, silverfish, which feed on books, paper and cotton, comfortably retained top spot in the pest ‘leaderboard’, with recorded numbers rising by 6%.

Alexandra added: “This slight rise does coincide with the UK becoming wetter over the past few decades. While we aren’t necessarily getting more rain, incidents of heavy rainfall have slightly increased. These more intense periods of rainfall can lead to water run-off and flooding, and we know silverfish will seek out and thrive in damp environments.”

Also on the rise are woolly bear – carpet beetle larvae which feed on silk, wool, fur and feathers –and booklice. Booklice and silverfish can graze on mould, with higher numbers to be expected when there is intensely wet weather and high humidity. There was more positive news from the East of England, where monitoring showed steady declines in insect pest counts in the NT’s houses.

Those have been helped in part by work to control clothes moths and silverfish at Blickling Hall in Norfolk, where a trial of moth pheromones has been particularly effective.

But the report also found that the traditional spring and summer breeding periods are continuing to merge into one, possibly driven by earlier springs and more protracted, mild autumns.

Alexandra said: “In the past, we saw a more distinct spike in breeding cycles, but these are becoming blurred. Optimum breeding conditions are starting earlier and carrying on for a longer period of time to create one long reproductive season.

She concluded: “Knowing this will help house teams prepare for the peak times when nymphs and larvae begin to emerge and take action before they start causing problems for our collections.” q

SCOTLAND LOOKS TO ENCOURAGE HERITAGE SKILLS

[A NEW FIVE-YEAR PLAN

has been launched to help tackle Scotland’s heritage skills gaps. The skills strategy is a collaborative framework to create collective solutions that support the future of Scotland’s historic environment and the communities that rely on it.

The Skills Investment Plan (SIP) identifies priority actions to build a healthy and sustainable skills system which supports paid staff, volunteers, sole traders and organisations of all sizes spanning the diverse sector. Over its lifespan, the plan will focus on three priority themes: to grow provision and build capacity; attract future talent and improve access to the workforce; and foster innovation.

system for the historic environment sector that will provide a fairer and more sustainable future for everyone.”

The publication of the plan follows the launch of a campaign by HES to urge people of all ages to consider a career in the heritage sector, to help boost the current and future workforce needed to protect Scotland’s historic environment. The new campaign, I Make History, was launched to raise awareness about the opportunities to develop traditional and new skills within the heritage sector.

Historic Environment Scotland (HES) and 15 sector partners coordinated extensive research with 160 organisations and 340 individuals to support the development of the refreshed plan, including sector partners, employers, volunteers, professional bodies, skills bodies and educational institutions. Together the groups identified the priority areas for action to continue to build on the roadmap set out in 2019 in the sector’s first dedicated skills strategy.

Culture Minister Kaukab Stewart said: “The launch of the refreshed Skills Investment Plan for the Historic Environment represents a significant step forward in our collective efforts to safeguard and celebrate our historic environment. But it is only the beginning and I call upon those involved to actively engage in the delivery of the Skills Investment Plan over the next five years and face the challenges head-on together, with confidence and innovation.

“Through this refreshed Skills Investment Plan, and through collaboration across the country, we aim to build an accessible skills

Stonemasons, blacksmiths and digital innovators are among the crucial roles that play a part in maintaining Scotland’s historic environment and ensuring the nation’s treasured heritage continues to be enjoyed for generations to come. Those skilled workers are transforming the way in which we interact with our heritage through lifelike rendering and photogrammetry – vital work in the face of climate change, HES points out.

A survey commissioned by HES found significant support for traditional and heritage-related skills, with 83% of respondents stating it’s important for young people to be taught traditional skills in school. Two thirds of respondents said they are interested in a career in the heritage sector, with existing skilled workers most likely to be interested.

Alex Paterson, chief executive of HES, said: “It’s vital we train and retain traditional and emerging skills for the heritage sector and the benefit of Scotland’s past, present and future. We need more young people to think about coming into the sector from school, college or university. And we need more skilled workers and those seeking a career change to consider switching sectors.” q

PIT DISASTER MEMORIAL GARDEN GIVEN NATIONAL RECOGNITION

[A MEMORIAL GARDEN in Senghenydd, near Caerphilly in South Wales, which commemorates those who died in the worst disaster in the history of British mining, has been given the ‘recognition it deserves’. It has been formally acknowledged by the Welsh Government as the National Mining Disaster Memorial Garden of Wales.

The village’s garden of remembrance was officially opened on the 100th anniversary of the 1913 disaster when 439 miners were killed after an explosion tore through the Universal Colliery. Now, it has been added to the Statutory Register of Historic Parks and Gardens in Wales and received endorsement from First Minister Mark Drakeford and the Deputy Minister for Arts, Sport and Tourism, Dawn Bowden, to become a dedicated site remembering the many thousands who died in mining disasters throughout Wales.

Mark Drakeford said: “Mining is a big part of our identity as a nation. More than a century after the Senghenydd disasters, and as we mark the 40th anniversary of the miners’ strikes, the legacy of coal is still an essential part of our history.

“It is only right that a site of such symbolic importance as Wales’s National Mining Memorial receives formal recognition –

honouring the thousands of miners who died in colliery tragedies across Wales, while keeping the culture and memory of pit communities alive.”

The site includes a bronze statue (pictured) which depicts a rescue worker coming to the aid of a survivor after a mining disaster, a wall of remembrance dedicated to those who lost their lives in the two Senghenydd mining disasters in 1901 and 1913, and a path of memory with a tile for each of the 152 mining disasters that have occurred across Wales.

On a visit to the garden and nearby Aber Valley Heritage Museum, Dawn Bowden said: “We are conscious that the memorial garden commemorates not just those who died at Senghenydd, but also in mining disasters across the length and breadth of Wales.

“It’s such an important site of public commemoration and memory with an important role to play in connecting people with the past so I’m delighted we have been able to give it the recognition it deserves.”

Gill Jones of Aber Valley Heritage Group added: “We are so very proud that our wonderful Garden of Remembrance has now become the National Mining Disaster Memorial Garden of Wales and has been added to the

Statutory Register of Historic Parks and Gardens in Wales.

“It is through the determination and hard work of our volunteers, who spend many hours in all-weather to maintain it to the high standards required for such an honour.

“It is a lasting legacy by our volunteers to the 530 men and boys killed in the Universal Colliery disasters in 1901 and 1913, as well as the many thousands who died in disasters throughout the Welsh coalfields, all of which are listed in the garden.” q

TAKING TEA AMONG THE CAMELLIAS IS NOW A REALITY AT YORKSHIRE COUNTRY HOUSE

[FROM DERELICT SHELL on the Heritage At Risk Register to beautifully restored global tea house, a new life has dawned for Wentworth Woodhouse’s Grade Two*-listed Camellia House.

Set in a secluded spot in the gardens of the prestigious stately home in Rotherham, the building served as a peaceful retreat for its aristocratic owners from 1738. It was built as a tea house, where the Marchioness of Rockingham Lady Mary Finch and her wealthy friends would sip the most fashionable drink of the day.

It later became home to some of the first camellias to arrive in Britain from China, each of which reputedly cost keen collector the 4th Earl Fitzwilliam the equivalent of a housemaid’s annual wage.

In the 20th century, it was still a beloved family haunt: Lt Col Burton ‘Bertie’ Gething chose the Camellia House as the idyllic setting to propose to Lady Donatia, third daughter of Billy and Maud Fitzwilliam. But after the family departed in the 1980s, the Camellia House fell into decline and its blooms were forgotten.

When Wentworth Woodhouse Preservation Trust bought the mansion for £7m in 2017 it was one of many buildings close to dereliction. Listed as Grade Two*, it was on Historic England’s Heritage At Risk Register. Only the once-pampered camellias had thrived: exposed to the elements, they had trunks the width of trees and were 30 feet tall!

In 2019, a discovery by head gardener Scott Jamieson gave the trust even more reason to act swiftly. Many of the 19 camellias existing from a collection once numbering up to 30 were originals, likely dating from the early 1800s. They were deemed some of the oldest surviving in the Western world by the International Camellia Society.

Now, thanks to a year-long £5m restoration, funded primarily with £4m from The National Lottery Heritage Fund and just over £614,000 from Historic England, the Camellia House has been saved and its precious plants protected. Officially launched on 22 March, the Camellia House opened on 2 April as a tea house (pictured), where people can take tea among camellias still thriving after 200 years.

Sarah McLeod, Wentworth Woodhouse Preservation Trust’s CEO, commented: “Saving the Camellia House, removing it from the Heritage At Risk Register and giving it a new life is a huge achievement for us. It’s a significant step in our mission to build a financially sustainable long-term solution for Wentworth Woodhouse, so it can be enjoyed and used by local people for many years to come.

“We prioritised the Camellia House because it was in the most urgent need and it was vital that we protected our historic camellia collection. It now provides much-needed facilities for the gardens and means visitors can enjoy tea among the camellias, as the Marchioness did in the 1800s.” q

THE PLACE OF CONSERVATION IN REPURPOSING ECCLESIASTICAL BUILDINGS

Modifying places of worship for new and additional uses is one way of tackling the crisis of the growing number of historically significant churches across the UK which are crumbling away and becoming redundant. Here, Lewis Proudfoot, managing director of Cliveden Conservation, focuses on educational uses and the role of conservation in future-proofing these buildings.

[DWINDLING

CONGREGATIONS,

a lack of funds and resources are just some of the reasons UK churches face closure every year – which is not just a tragedy but a national catastrophe. Repurposing these historically significant buildings undoubtedly gives them a new lease of life, but the change of use can put additional wear and tear on sensitive fabrics.

That is true of the many schools and colleges that occupy historic buildings and support a more modern usage, which can take its toll on highly-decorative rooms serving as classrooms, dining halls and other communal spaces. A proportion of our work is now focused on these educational spaces, which require timber repairs, decorative plasterwork, painted surfaces and the cleaning and repair of historic floors and internal masonry.

It is reassuring to know that these historic buildings are being looked after and that, with regular maintenance and repair, architecturally important buildings are preserved and appreciated. There are also opportunities to replace and rediscover lost or missing historic decoration and objects.

We have conserved many decorative plaster ceilings, displayed painted timber panels at Christchurch College, Oxford and created copies of lost statuary at Stowe House.

Breathing new life into ecclesiastical buildings

We were delighted to be part of Bradfield College’s St Andrew’s Project, which has secured the future of the 14th-century Grade Two*-listed St Andrew’s Church in Bradfield, Berkshire. Now under the ownership of Bradfield College, the church is being converted into a unique learning centre with a blend of spaces that include a library, tiered seating space and mezzanine floors, while retaining the architectural features of the original building.

Cliveden Conservation was contracted to carry out stone and brickwork cleaning and repairs to both the interior and exterior of the church. The project presented various challenges due to the busy school environment and the need to co-ordinate with the other contractors involved. Careful planning, effective communication and strong project management skills were required.

Our conservation work included stone cleaning of all the internal stonework, repointing and repairs to masonry window surrounds, restoration of tiled floors and internal plaster repairs.

Externally, we undertook work on the church tower and other elevations, which entailed stone repair, brick replacement and repointing flintwork. That included finding exact matches to seven different brick sizes. With the help of HG Matthews, a Buckinghamshire brickwork company, all the different sized bricks were successfully sourced, then hand-made and wood fired.

During the project Cliveden Conservation was pleased to be joined by two students from the Prince’s (now King’s) Foundation Building Craft Programme, who worked alongside our stonemasons and bricklayers while they repaired the church tower. Another highlight of the project was the design and hand carving of new gargoyles (left) and roof finial crosses (below) for the restored church tower.

Our conservation team achieved an exceptional standard of stone and brickwork restoration on the project, leaving a significant mark of best practice on St Andrew’s Church. We were pleased to establish a good working relationship with the main contractor Feltham Construction, which resulted in the smooth running of the entire schedule of works. Throughout the project Cliveden Conservation received fantastic support from the client Bradfield College and the architect.

Maintaining the future of repurposed church buildings

Restoring and transforming redundant and dilapidated church buildings into new spaces means these architectural gems can be saved. It is also a much greener and a more ethical solution than demolition or ‘managed decline’, which would be catastrophic for the UK’s heritage landscape. Such a sustainable approach is the right way of ensuring the longevity of our heritage buildings.

However, repurposing a church or a chapel does not mean it can be left without an on-going programme of maintenance and repair work to ensure architectural and decorative elements are preserved. Our role as conservators is to not only make these transformations possible through our skill and knowledge, but also to educate others in what is needed to safeguard the future of heritage treasures. q

• For more information visit www.clivedenconservation.com

LIME TRAINING DAY

Cliveden Conservation is partnering with the Stone Federation to deliver a Lime Training Day on 14 May 2024 at Reading Abbey Ruins, Reading RG1 3BA. It offers a unique opportunity to learn more about using lime mortar and to practice your skills. Cost is £200 + VAT (pre-booking required) Email sara@stonefed.org.uk to book your place.

BRIAN’S BRUSH ENABLES YORKSHIRE’S

CHURCHES TO SHINE

[TO OUTSIDERS the dour reputation of Yorkshire folk may be thought to be reflected in their churches. And while that may be true in some cases, the opposite is the case in others. Some of Yorkshire’s churches – of all denominations – boast the most exquisite decoration and gilding.

Some of the most notable of the modern gilding has been carried out by a company with its base in the very heart of Yorkshire: Brian the Brush Ltd. Brian The Brush Ltd provide traditional hand-painted signwriting and goldleaf gilding services from premises in Bradford and over the Pennines in Cheshire.

The company’s principle, Brian himself, has been in the business for over four decades and is one of the most experienced signwriters working within the UK. Brian’s outstanding creative ability, combined with his teams’ project management skills, ensure that the finest artistic work is produced every time – on time and to budget.

Among the Yorkshire churches Brian the Brush has worked on is Bradford Cathedral. The weather vane (top right) and large cross situated high above the cathedral were skilfully gilded by the team.

Said Brian: “This gilding project was a pleasure to undertake and our clients were absolutely delighted, not only with the high quality of our craftsmanship, but also that the project was completed on time and within their budget.”

More gilding has been

carried out in Bradford: a 24” antique Dove of Peace (left) now shines above the altar of a Roman Catholic church in the city. The project involved the rubbing down of the wooden dove until the surface was smooth enough to apply numerous coats of primer, before the final gilding in 23.25ct gold leaf.

A few miles from Bradford, in Heckmondwike, another church offers the blessing of the Ave Maria to parishioners from an arch (below). The message was hand-painted in metallic gold and then outlined in a dark brown to gain the maximum contrast to the piece.

that could not be

charge of the project was delighted with the results.

Non-conformist churches are also among those boasting Brian the Brush’s gilding prowess. Among them is Silsden Methodist Church. Brian’s team applied four gold leaf crosses onto newlycommissioned church furniture (right), using traditional methods, with 23.25ct double thickness gold leaf.

Brian explained: “We are always more than happy to undertake restoration work for all religious organisations.”

Brian is proud to be a true artisan of the ‘old school’ traditional skills and values associated with hand signwriting and gold leaf gilding. He is a genuine, time-served, traditional signwriter and gilder, and also something of an original and one-off himself! q

• To find out more visit www.brianthebrushuk.com

Access was obtained from scaffolding towers spanning over church furniture

moved. Brian remarked that the architect in

YORK FIRMS EMBARK ON ICONIC CITY BUILDING’S CONSERVATION PROJECT

[ YORK’S BAR CONVENT is undertaking a major conservation project, in conjunction with local contractors, that will involve the careful restoration or renewal of many of the building’s original features, helping to ensure the historic property is preserved for future generations to celebrate and enjoy.

Famed for being Britain’s oldest living convent and the country’s second ever school for girls, the Bar Convent is one of the city’s best known buildings, located on the corner of Nunnery Lane and Blossom Street near Micklegate Bar. Formally known as the Bar Convent Living Heritage Centre, it houses an 18th-century chapel which features the relic of St Margaret Clitherow, a modern exhibition, an award-winning 22-bedroom guest house, café, gift shop, garden and three meeting rooms.

It has a rich and diverse history, having been founded in 1686 by the Congregation of Jesus, whose foundress is Mary Ward, at a time when education for girls was rare and it was illegal to be Catholic. Despite that prohibition, a group of brave religious sisters, now known as the Congregation of Jesus, opened the secret convent and their legacy lives on today, with the Bar Convent being central to the global order, and more than 200 schools worldwide bear Mary Ward’s name.

The restoration and refurbishment project will involve the repair and redecoration of more than 280 windows, the re-roofing of 9-21 Blossom Street by using Welsh slate and improving the thermal insulation, and a host of minor repairs to the building’s brickwork and stonework. The historical significance of the Bar Convent is reflected in parts of the building being Grade One-listed, and others Grade Two, which means all the building work must be conducted within strict guidelines.

The Bar Convent wanted to give local companies the opportunity to get involved in the project to ensure they could contribute to the longevity of the prominent building. Yorkbased CG Building & Restoration Ltd have been tasked with completing the sensitive conservation work, working closely with local project managers Gate & Bar.

James Foster, chief operations officer at the Bar Convent Living Heritage Centre, said: “We work continuously to keep the buildings in good condition but, given their age, every few years it is inevitable that more substantial conservation work needs to be undertaken. This latest project is our first major programme since 2015, giving us the chance to renew some significant exterior features of the building with the help of local construction professionals who know the city and the Bar Convent’s heritage extremely well.”

Vernon Carter, managing director of CG Building & Restoration Ltd, added: “We are thrilled to have been given the opportunity to work on such a high-profile historic building in York. The work required suits our expertise perfectly, and we look forward to making our contribution to the long-term future of a building that is not only locally significant, but internationally.”

As the main contractor, CG Building & Restoration is organising all the logistical, access and safety measures needed for the building team to complete their work, including scaffolding which spans the whole external wall of the Bar Convent facing onto Blossom Street. They will also install a temporary roof structure for the re-roofing works to ensure disruption to residents, hotel guests, visitors and other stakeholders is minimised during the work.

While the erection of the scaffolding has enabled the repair and renovation work to begin in earnest, project managers Gate & Bar have actually been working with the Bar Convent for the past 12

months. They have been involved in assessing the conservation requirements in detail, conducting extensive surveys of the building, including through the use of a drone, and advising on an appropriate scope of works.

Nathan Hughes, director of Gate & Bar, commented “This project comes with a great level of responsibility to safeguard the future of the building. Our team are now familiar faces at the Bar Convent, given the significant time spent there to understand the complexities of both the conservation and current use of the site. We are delighted to have appointed CG Building & Restoration as main contractor to work with ourselves and the client to work towards such a meaningful goal.”

CG Building & Restoration work on a wide variety of schemes, but they have a particular specialism in projects where the building is either listed or architecturally sensitive. Its team is skilled in the use of traditional building methods, which are important in helping to preserve original features of heritage buildings like the Bar Convent, as well as the latest building techniques and materials.

Work on the latest conservation project at the Bar Convent is due for completion in approximately six months. q

• For more information on CG Building & Restoration visit www.cgbuildingandrestorationltd.co.uk

Pictured (L-R): Nathan Hughes, director of Gate & Bar, with Vernon Carter, managing director of CG Building & Restoration Ltd, and James Foster, chief operations officer at the Bar Convent Living Heritage Centre, as work starts on the major new conservation project at the Bar Convent.

GLOBETROTTING PIERHEAD CLOCK RETURNS TO CARDIFF FOLLOWING RESTORATION

[THE ICONIC pierhead clock in Cardiff, created by Potts of Leeds, has undergone a comprehensive refurbishment by a team of clockmakers from Smith of Derby.

Originally gracing the Bute Docks Building, it was removed in 1973 and embarked on a journey that saw it travel across the Atlantic and back before finally returning to the city in 2005, having been acquired by Cardiff City Council.

It stood on St Mary’s Street before Smith of Derby’s clockmakers were entrusted with the task of bringing the clock back to life in 2010. Over recent months they have undertaken a complete refurbishment of the clock.

A meticulous process

November last year marked the beginning of the clock’s revival. Having been carefully lifted from its glass enclosure by S G Haulage, the clock and its steel roof made their way to Smith of Derby’s workshop. There, a team of skilled craftspeople undertook a thorough refurbishment of the clock. It's intricate brasswork was meticulously cleaned using a high-pressure water blaster, revealing its stunning sheen. The heavily oxidised black base received a complete makeover with shot-blasting and powder-coating.

Modern enhancements for enduring timekeeping

Given the clock’s usual placement inside a thick glass case, an autowind system is essential to keep it running smoothly. Smith of Derby’s latest AW11 model was installed, ensuring the clock’s precise operation for years to come.

The team also refurbished the upper drive gear and incorporated additional LED downlighters to illuminate the brasswork. The steel frame supporting the gears and lights received a fresh coat of powder coating, complementing the base’s makeover. The frame also houses the clock’s bell, cast in 2010 by the now-closed Whitechapel Bell Foundry.

The clock’s journey

The Potts flatbed clock was made in 1897 for the Bute Docks Building in Cardiff Bay and came to be known as The Pierhead Clock. In 1973 British Rail removed the clock and replaced it with an electronic drive motor. It was acquired by Cardiff City Council in 2005, after spending a number of years in the workshop of American collector Alan Heldman, who had bought it from a ‘Mr Pearce of London’.

Mr Heldman had planned to restore the clock himself, but after reading an article about the city’s missing clock in a journal, plans were put in place to return the clock to Cardiff and that led to it being incorporated into the current design in 2011. Following the most recent refurbishment which began last year, it was returned to its place on St Mary’s Street in March.

A collaborative effort

Reflecting on the project, complex project manager Martin Butchers said: “It has been a pleasure working with Cardiff City Council. Estates management officer Tye Whithear has orchestrated the smooth running of the project and our Smith of Derby team have worked expertly to complete the refurbishment of the Potts of Leeds Clock. It is a privilege to return this clock to the people of Cardiff: a community who will hopefully enjoy it for many more years to come.”

Council and residents express gratitude

Tye Whithear expressed his and the council’s sincere appreciation to Smith of Derby for their exceptional work. He commended Martin, Dean, Duncan and the entire Smith of Derby team for their professionalism and dedication throughout the restoration project.

“The outstanding work in returning our much-loved Pierhead Clock back to its former glory has been met with tremendous positivity from residents and visitors alike,” he said. “The new lighting has truly brought the clock to life, and it’s a joy to witness the appreciation from passers-by.” q

• For further information visit the website at www.smithofderby.com, call 01332 345569 or contact Jane Betts at jane.betts@smithofderby.com

The clock before (left) and after refurbishment

The clock during reinstallation (left); fully refurbished in place (centre); and lit up at night with the new LEDs (right)

CRE: LOCAL LEADERS GET THE LOW-DOWN OVER LUNCH

[ LOCAL CHURCH LEADERS and office holders within striking distance of Milton Keynes have been invited to find out about CRE 2024 – which is being held there in October – at a special lunch in the city on 21 May.

“In our (almost) 40-year history, we are bringing the exhibition to the area for the first time in October,” explained CRE owner Steve Goddard. “We know from experience that, while some will have visited the exhibition somewhere else at some point over the years, many hundreds will have no idea we even exist!

“In association with Churches Together in Milton Keynes we are therefore inviting everyone in some form of leadership in their local church to join us for lunch. We will lift the curtain on our plans for CRE 2024 at the Marshall Arena and show how local churches of all denominations and sizes will be resourced in hundreds of new and innovative ways. Even if you live some way from the town, you are still welcome!”

Meanwhile, exhibition spaces for the show are filling up fast, with more than three quarters of the stands already taken. CRE 24 at Milton Keynes on 9-10 October is their only exhibition this calendar year, so demand is high.

A unique event in the UK church calendar, visitors will meet local leaders, office holders and members from hundreds of local churches, looking for vital products or services, expertise and advice.

“With fewer than 40 stands available, if you want the cream of the crop, I strongly advise you get in touch today,” said CRE sales consultant James Batterbee.

Musical maestros

A highlight of the event will be the Worship Stand, which this year will see composer and performer Roger Jones join fellow worship leaders Chris Bowater and Lou and Nathan Fellingham.

Roger’s vision to write musicals began as head teacher at Aston Manor School in 1973, when the school choir performed Jerusalem Joy: a performance he wrote around Jesus’ ride into the holy city on a donkey. He then wrote five more musicals before going full time into Christian music, becoming director of Christian Music Ministries, publishers of his music and other books.

Lou and Nathan Fellingham are tireless in their pursuit of writing and recording powerful songs that lift heads and stir hearts. Lou has recorded 10 albums and is known for her prophetic edge and distinctive voice. An accomplished musician, Nathan is also a producer, speaker, pianist and writer. His passion is to combine rich theology with soulful melody. Part of Emmanuel Church in Brighton, the Fellinghams are actively involved in leading worship there.

For nearly 50 years Chris Bowater has been at the heart of the contemporary worship revolution in churches in the UK and many other countries across the world. Chris served on team as worship pastor at New Life Church, Lincoln – now Alive Church – and more recently as senior pastor at New Life Church, Sleaford. q

SHINING BRIGHTLY TOGETHER: CHURCH EMBRACES ECO-FRIENDLY LIGHTING UPGRADE

[ST FRANCIS XAVIER Roman Catholic Church (SFX) is a Grade Two*-listed building designed by Charles Day of Worcester and built initially for the Jesuits. It sits in Broad Street, Hereford in the shadow of the cathedral.

The laying of the foundation stone was on 19 September 1837 when Queen Victoria sent her representative the High Sheriff of Herefordshire to represent her. This was the first time in 300 years that a reigning monarch and head of the Anglican Church had a representative at a Catholic ceremony.

In 1858 the Benedictines created nearby Belmont Abbey and control of SFX was handed

over to them, where it remained until 1954 when control was given to the Archdiocese of Cardiff. In 1992 the archdiocese asked the community at Belmont if they would again serve the parish and they have been doing so ever since.

The neoclassical frontage must have been passed by many locals who have never ventured inside – if they were to do so, there is little doubt that they would be impressed by the ornately decorated and imposing interior.

The church was designed without windows for fear of them being broken due to the anti-Catholic sentiment at the time. The only natural light to enter the interior is through the 60ft-high curved dome (left), based on the ceiling of the mausoleum of the Empress Galla Placidia in Ravenna. It is decorated by 390 golden stars on a background of dark blue.

The elegant gilded tabernacle was modelled on the one in the Chapel of the Blessed Sacrament in St Peter’s, Rome and it holds relics of The Venerable Bede, St Francis Xavier, Pope Pius X, St Francis de Sales and St Jane de Chantal.

To the south of the altar is the shrine of St John Kemble (right), one of the Forty Martyrs of England and Wales, and it contains one of his preserved hands. He was arrested in 1678, accused of being involved with the ‘Popish Plot’ and, although he was acquitted of any involvement, he was still sentenced to execution for being a Catholic priest which at the time was a treasonous crime. St John Kemble was beatified in 1929 and canonised in 1970.

By 1995 the church had fallen into such a state of disrepair that the diocese considered putting the building up for sale as the expense of repair would have been too great. For the parishioners this would have been unthinkable and they set to work forming a charity to apply for grants from English Heritage and the National Lottery amongst other organisations. By 2002 enough grants and funding had been secured and a major and successful reordering took place.

Anthony J Smith (Glos) Ltd designed and installed the lighting and electrical system for the parish in 2002 and in 2020, when

St Francis Xavier Roman Catholic Church, Hereford

Fr Michael Evans OSB accepted that the existing lighting was becoming harder to maintain and needed a major upgrade, he knew who to contact.

Fr Michael said: “Having installed and maintained the existing lighting system, and always having been so responsive and helpful, I knew that Anthony J Smith (Glos) Ltd would be willing and able to assist with our requirements. The original lighting worked well and I wished to keep the original pendants but was unsure if this would be possible.”

Che Polley of Anthony J Smith (Glos) Ltd added: “Many of the existing lighting outlets had become unserviceable due to phased-out lamps and component parts. The church had two realistic options; either replacements on an as when failed basis, which is normally not ideal due to the increased costs over a period of time, or a phased upgrade approach which always provides a better solution and value for money over the longer term.

“Fr Michael expressed a wish to retain the prismatic glass reflector/refractors for illuminating the main body of the church and a retrofit solution was totally out of the question. We ran some tests by inverting the glass bowl and then placing a mixture of dedicated chipsets, heatsinks and drivers onto a fabricated plate and the results were very encouraging. We removed the eight pendants and sent them to Great British Lighting in Fleetwood and, as per normal, they sent them back professionally converted to our requirements.

“The spot and floodlights illuminating the sanctuary were all substituted for latest generation LED outlets and we made minimal alterations to the existing cabling, allowing us to install an easy-to-operate-and-alter scene setting system which controls all of the outlets to precisely the required levels through the touch of a single button.”

Fr Brendan OSB, the new parish priest of SFX, added: “Whilst I only became the parish priest towards the end of the project, I can fully see why my predecessor Fr Michael wanted to retain the existing glassware of the pendants – the new LED light shines through in a most attractive way. The way that the levels of light

and set scenes can be easily programmed to deliver the visual aesthetics this wonderful building deserves is a credit to the entire team at Anthony J Smith and I can see why my predecessor was keen that they be involved with the project.”

Anthony J Smith (Glos) Ltd have been designing and installing lighting systems within churches and other liturgical buildings for over 40 years and they always feel privileged when they get invited back to assist with churches where they have previously worked.

One such church is Christ Church, Turnham Green in Chiswick where they installed external floodlighting back in 1996. The floodlights still worked although they were becoming more difficult to maintain and source spares for as the component parts had been phased out several years previously.

Church administrator Nikki Lovell said: “It was great to re-engage with Anthony J Smith (Glos) Ltd once we had managed to secure funds to upgrade the external lighting to LED

and, whilst they were here, we also managed to make some alterations to the internal lighting outlets which included upgrading the lights to LED without needing to spend large amounts of money. Both the internal and external projects were a great success with countless favourable comments being received from the congregation and the wider community.”

Other recently completed church lighting projects by Anthony J smith include St George’s Catholic Parish Church, Taunton and St John’s Church, Keynsham.

Che Polley of Anthony J Smith (Glos) Ltd said: “It is always good to talk to potential new church clients but it is also encouraging to speak to previous clients who wish to discuss potential upgrades to systems which we have previously designed and installed.” q

• For further information call 01453 825 130, email the team at enquiries@anthonyjsmith.co.uk or visit www.anthonyjsmith.co.uk

Christ Church, Turnham Green in Chiswick

St George’s Catholic Parish Church, Taunton (left); and St John’s Church, Keynsham (right)

EXHIBITION WILL SHOWCASE ALL THAT’S BEST IN STAGE TECHNOLOGY

[WITH MORE AND MORE churches and heritage properties taking to the stage to bring their message to life, the technologies associated with the theatre are becoming more and commonplace.

The technicians who hitherto have been dealing with static presentations are now dealing with live performances: whether it be a live reenaction of historic events or an interpretation of a Biblical story. More and more sophisticated equipment is being deployed and operated by better and better trained technicians.

The exhibition where the broadest collection of specialist suppliers supporting live performance technology, production and education gather to connect with others in the world of theatre, performance, events, festivals, music and more is the ABTT Theatre Show, which will once again taking place at the stunning Alexandra Palace, this year on 5 and 6 June.

Organised by the Association of British Theatre Technicians (ABTT), the show is the UK launch pad for new theatre products from both local and international brands. Whether you are seeking lighting fixtures, sound desks, staging technologies or software, it’s waiting to be seen on the show floor.

With over 150 suppliers relating to live

performance technology engaging with those responsible for delivery in the world of theatre, events, festivals, sport, film and TV, the ABTT Theatre Show also provides a range of peripheral activities to support the exhibition, including a variety of meetings, debates and seminars, and providing spaces for all ABTT’s sister associations and bodies to meet in person – a well-established annual networking opportunity for the technical community.

The ABTT Theatre Show draws exhibitors and visitors from all over the world, whether they be interested in lighting, audio visual, scenography, rigging, set construction, sound, costume, seating, staging, wigs, make-up,

pyrotechnics or anything else employed in a performance. It provides the essential meeting point for the performance community – supporting suppliers, service providers and networks with the opportunity both to renew existing relationships and to forge exciting new connections.

The show is also the place for conversation, collaboration, mentoring and training, no matter how visitors connect to the theatre and live performance sector.

One of those exhibiting will be ISCVE who are gearing up to showcase the benefits of membership. They will be exhibiting on Stand F42. q

NEW AV SYSTEM PROVIDES THE COMPLETE SOLUTION

[THE RE-ORDERING of Holy Saviour Church in Bitterne, Southampton, has seen the culmination of over four years of project work by Creative Audio-Visual Solutions (CAVS).

Within the main church, full sound, visual and streaming systems have been installed for complete versatility and long-term development potential. The audio system features eight Electrovoice EVC 8” speakers for effective coverage throughout the main nave and side aisles – supplemented by dual compact ELX200 active subwoofers. Additional S-series speakers provide additional chancel coverage for service leaders.

Dynacord DSA and C-series intelligent amplifiers – via an Allen & Heath AHM-32 matrix processor – tune the speakers to the room’s acoustics to maximise intelligibility and reduce the likelihood of feedback – especially when the eight Sennheiser radio microphones are in use.

Allen & Heath were also chosen for the audio mixing system: an SQ6 digital mixer with remote GX4816 stagebox housed with the amplifiers in the vestry. The stagebox links to eight recessed dais floorboxes – each with multiple XLR, in-ear-monitoring and additional portable stagebox connections for larger

events. Four of the floorboxes, along with a dedicated altar connection, feature HDMi inputs and outputs for laptop and personal visual monitor connectivity.

Images within the church are provided by three Epson laser projectors for main images in the nave and side aisles, with Iiyama 32” anti-glare displays for pillars facing the musicians and a large format 86” confidence monitor on the face of the balcony. Those are all driven via a Wyrestorm HDBaseT Matrix – allowing complete visual flexibility on any projector/display.

A PTZoptics motorised camera provides main images from the balcony, with cabling installed for an additional two cameras on

the side pillars to be added in due course. Those, along with local console and dais connections, are connected to the Roland V8-HD production mixer, which drives both the in-house projection and online streaming system from a single tactile unit.

Outside the main church, audio-visual systems were installed in five meetings rooms with connectivity for independent meeting and service relay. 24/7 signage displays utilising Brightsign servers provide church information for visitors in three locations.

For church security, CAVS also installed a 20-camera Hikvision 4K CCTV system for complete internal and external coverage, with remote access and motion alerts.

The church network was also supplied and optimised by CAVS – based on Engenius managed switches and wi-fi access points for secure public, private and audio-visual connectivity.

The complete system truly highlights the capabilities of Creative Audio-Visual Solutions to provide the complete technology solution for the modern church. For an on-site installation consultation or advice on the right equipment for your church, call or email CAVS. Local references are available upon request. q

CREATING A ‘CHURCH WITHOUT WALLS’

[ST HILARY’S CHURCH in Killay, Swansea has seen its services transformed by technology thanks to the expertise of audio-visual integrator, Vaughan Sound.

The worship venue is located around three miles west of Swansea city centre and forms part of the Gower Ministry Area – a community of 20 Anglican churches in the Diocese of Swansea and Brecon.

Vaughan Sound was approached by the parish as they sought a new live streaming solution for St Hilary’s Church that would be ‘very simple to operate’. The primary goal was to broadcast services on their new YouTube channel, to bolster a core aim of the parish in creating a ‘church without walls’.

With capacity for just over 70 worshippers, St Hilary’s required a system that would enable them to open up to a much wider audience, including the infirm and those unable to attend services in person.

The live streaming system needed to

integrate with the existing audio-visual and sound equipment in situ, which was previously installed by Vaughan Sound and has been regularly serviced since.

Following a site meeting to ascertain the full brief and end user requirements, Vaughan Sound proposed a full high-definition moving camera (PTZ), along with a fixed camera which would focus on a close up of the altar.

Direct feeds from the cameras and an audio connection from the church’s sound system are connected into a Blackmagic Design ATEM Mini Pro. This has been configured to broadcast to St Hilary’s dedicated YouTube channel without the need for an additional laptop or PC. Furthermore, this set-up provides the ability to access services on demand, as the streams are recorded by default onto the YouTube channel. The existing sound equipment incorporated into the new setup includes wireless radio microphones and gooseneck condenser microphones installed at the pulpit and reader’s lectern. The direct connection provides a high level of audio – a crucial element of any live stream.

With a 30x optical zoom, the broadcast camera specified by Vaughan Sound handles the various pre-set focal positions with ease, delivering crystal clear imagery.

The camera’s complete parameters can be configured and controlled easily via the included remote control, or alternatively the on-board web server. Additionally, pre-sets can be programmed and accessed effortlessly – a key plus point for church staff and equipment operators.

All live streaming cameras are cabled and connected using 3G-SDI, before converting to HDMI at the ATEM Mini Pro. Vaughan Sound’s selection of industry leading components ensures no latency issues.

Full training was provided as part of the project completion and handover. This involved conducting a test stream to ensure that everything worked as it should and that parish representatives were happy with all camera positions and feeds. St Hilary’s Church successfully broadcasted its first live stream to its YouTube channel the following Sunday.

Intuitive control and simple operation are key features of the system –starting a new live stream before a service is ultimately straightforward and swift. In addition, a new ceiling-mounted 4,000-lumen, WXGA, compact laser projector delivers powerful imagery in the church hall.

Combined with a digital stereo amplifier and a pair of wall-mounted passive loudspeakers for sound reinforcement, the facilities for church meetings and outside events have been greatly improved.

St Hilary’s Church is already benefitting hugely from the ease of use of the systems and the new audio-visual equipment has been extremely well received by worshippers, particularly those that are or have been housebound.

The parish aims to continue using the live streaming system each week to expand its network of channel followers, while supporting those who are unable to physically attend church. q

• For further information and the full project case study, please visit www.vaughansound.co.uk

SOUND AND AV ORGANISATION CELEBRATES YET ANOTHER SUCCESSFUL ANNUAL BASH

[ THE Institute of Sound, Communications and Visual Engineers (ISCVE) is celebrating the overwhelming success of ISCVEx 2024, the latest edition of an event that has stamped its presence on the sound, communications and audio visual industries. The two-day symposium, which took place from 19-20 March at the historic Coombe Abbey in Coventry, brought together more than 250 delegates in a compelling showcase of knowledge, technology and community.

ISCVE hosted an enriching line-up, which commenced with an engaging AGM and featured an illuminating members’ presentation from Jason Williams MInstSCVE on Species AI Capture – The challenges and rewards of working on environmental and conservation projects

Participants then revelled in the camaraderie and insights exchanged at the Networking Dinner, complemented by an exhilarating performance by The Pub Choir.

Highlighting the second day were three thought-provoking seminars. James ‘Brew’ Henry Breward MInstSCVE led the charge with Quiet Please , bringing to the spotlight the advanced audio systems utilised at Wimbledon.

Dr Peter Mapp HonFInstSCVE then captivated the audience with his talk on Myths, Maths & Morphs , exploring the veracities and misconceptions of speech communication, as well as public address systems design.

Concluding the seminar series was an imperative discussion on Tuning in to Cyber Security Risks by Mike Davies, Centrality’s lead consultant, which emphasised the mounting threats of cyber incursions faced across the spectrum of enterprise.

“The feedback on the seminars underscored their captivating and thought-provoking content,” observed Ros Wigmore of ISCVE. “Plans are already underway for next year’s event, propelled by this year’s accomplishments.

“The energy in the exhibition room was palpable, with visitors consistently engaging with more than 30 leading manufacturers and distributors.

“The event provides a splendid platform for our members and the wider industry to foster connections, exchange ideas, and sculpt the future in a nurturing, yet informal atmosphere,” she added with a note of pride.

Andrew Bishop AMInstSCVE of Reclaim Audio commented: “As a new member of ISCVE, ISCVEx 2024 was an opportunity for Reclaim Audio to show off our new products, including a power amplifier that runs off sunshine, to the attendees at the event.”

Alex Farrell of Biamp added: “Biamp has been a supporting member of ISCVE for nearly 10 years and ISCVEx is a fantastic event. It’s a great opportunity for us to meet up with colleagues and Biamp partners the night before [at the Networking Dinner] and during the day of the event.”

Those attending were also treated to a buffet lunch where discussions

flourished, epitomising the event’s focus on both innovation and community spirit.

ISCVE extended its thanks to all participants and contributors who made ISCVEx 2024 a fabulous event over two days.

President Neil Voce MInstSCVE concluded: “For all audio-visual professionals, sound engineers, audio experts, installation companies and industry stakeholders this event stands as a testament to the vitality and collaborative potential within our fields. Join us in looking forward to ISCVEx 2025, where we will continue to cultivate a legacy of innovation, knowledge and collaboration.

“We aim to harness our collective expertise to not only anticipate our industry’s trajectories but to also actively mould its evolution, echoing the forward-thinking ethos that ISCVE embodies.” q

RNID AND ITS PARTNER HELP IMPROVE ACCESSIBILITY FOR THE NATIONAL PORTRAIT GALLERY

[ LAST YEAR, the National Portrait Gallery contacted RNID to discuss how the venue could be more welcoming for art lovers with hearing loss. With the help of one of its corporate partners, the hearing loss charity helped the National Portrait Gallery become more accessible through installing new hearing loop systems.

The National Portrait Gallery’s Inspiring People project – a three-year redevelopment programme to re-present their collection and create new spaces for the public – was completed last summer. The installation of hearing loops was a part of that redevelopment project.

During a six-month programme of assessment and installation, which included staff training, they began by carrying out surveys to assess where loops could be most beneficial to visitors. The obvious sites were those where visitors would be talking directly to staff, such as ticket desks and cloakrooms (pictured), and those areas were the first to be considered for the hearing loop upgrade.

Leah Romaniello, visitor experience manager at the National Portrait Gallery, explained: “It was a huge priority to make it as accessible as possible. We are a public space and, in order to

offer an equal experience to everyone, upgrading our existing loop systems – and adding to them – was very important.”

It was important to get firsthand feedback on the loops and former RNID trustee Janine Roebuck was invited to help. A former mezzo-soprano opera singer, Janine now uses bilateral cochlear implants.

She commented: “I wholeheartedly applaud the National Portrait Gallery for its efforts to make the building, and its event, accessible to people with hearing loss. It was a privilege to test the loops and an interesting exercise for all of us.” Janine said she could hear some interference on one of the microphones, which was then resolved.

RNID supports organisations and businesses that seek to improve their accessibility for people who are deaf, have hearing loss and tinnitus. If an organisation wants to improve their venue for people with hearing loss and is considering a new hearing loop system – or reviewing their current system – they can help. RNID receives a 5% donation for every hearing loop system installed via their dedicated email. q

A SUCCESSFUL AV SYSTEM DESIGN STARTS WITH AN INFORMED CUSTOMER

[ IT’S FAIR TO SAY THAT, when it comes to the world of AV, it is easy to become quickly overwhelmed by the often-complex jargon that is prominent throughout the industry. APi Sound and Visual, specialist audio-visual installers for the church and heritage markets, want to ensure customers can access information they understand. No technical language, no in-depth explanations of the internal workings of equipment, just straightforward answers of what something is, what it does and why it is important (or not).

APi’s sales director Stephen Neath knows how important that understanding can be. “Often, customers have a poor grasp of what they require because they cannot access information which explains things in a way which makes sense to them,” he explained. “This means they cannot always bring ideas to discuss with me or my colleagues when we meet them in their building.”

Therefore, APi has launched a new campaign to create information aimed at churchwardens, facility managers, members of the clergy and everyone in between that presents those complex concepts and terms in plain English. As church and heritage AV specialists, APi hopes that having the information available will lead to customers who have a better idea of their requirements and potential solutions, which will in turn lead to even more successful projects.

“I am one of those people who spends a month researching something before I buy it because I like to know what I’m buying and if it is right for me”, Stephen continued. “I strongly believe that this should be possible for customers who come to us looking for a new sound, projection or streaming system. As much as they have invited me to visit as a specialist to provide a quotation, they know their people and building much better than I do, and I want them to understand what I am recommending and why that is the best option.”

APi has already seen an upturn in interest since launching a new section on its website – a dedicated free learning hub for customers to visit at churchsoundsystems.co/learning-hub/ . It is hoped it will allow customers to get a better understanding of equipment and terms which they hear during a free site visit or which are described in the detailed quotation they will receive.

“There is so much information out there on AV, but almost all of it is directed at tech geeks like us – not at the people in our market who will be using the equipment every week,” Stephen continued. “We have also spent time filming short videos on our social media and YouTube which give people simple, understandable information in response to quickfire questions, with all the technical jargon left in the case.” A reference to the Case of Questions videos APi has been sharing on their social media.

One such video which gained a good response was a short clip where Stephen explains phantom power, how a hearing loop works and options for fixing equipment which does not involve damaging a listed building: all within a two-minute video.

APi Sound and Visual pride themselves on the custom solutions that they can offer. Stephen concluded: “We install specialist products that are difficult to envisage, so sending someone a video of our custom motorised swing-out screen arm or a case study of a system we have installed in a building similar to theirs is a great tool for us.”

Any prospective customers of APi will receive an email with information and videos related to their enquiry for their perusal before a representative from APi carries out a free site visit, where the different options for their new system will be discussed. q

• If you have a question you would like APi to cover in their learning hub, or answer directly, email support@apicommunications.co.uk

APi’s Learning Hub

A recent winch-screen installation in North Devon

WORKS OF ART: VALUE BEYOND STRUCTURE

Fine art consultant Patrick Bowen uses his experience in valuing stained glass to propose a new appreciation of its true value – both financially and artistically

[IN A RECENT ISSUE of Ecclesiastical and Heritage World (No 97) I drew attention to the possibility of a ‘grey area’ between a structural aspect of a building and a chattel which may be considered as movable property. It is an area of concern to all building surveyors and chattel surveyors.

Early this year I commenced a valuation on behalf of The Stained Glass Museum in Ely. It was a challenging undertaking, not least because of the sheer volume of items to be assessed and the nature of the items to be valued. The museum arguably holds the most extensive collection of ‘removed’ stained glass in the country and to be undertaking a valuation of such calibre was a great privilege.

The examples in the collection range from the earliest piece, which dates from the 13th century, to contemporary, more recently commissioned pieces. Prior to this my experience with stained glass had been mainly with pieces in situ which I did not value and represented an aspect of a building rather than a stand-alone work of art: a notable exception being a country house with a church in the grounds and where the specific remit was to include the stained glass windows in the valuation.

There are, to my knowledge, a relatively small number of houses and institutional buildings, mainly Tudor and Stuart in origin, which have stained glass windows, whereas many examples are found in Victorian and Edwardian houses.

The majority of stained glass windows are to be found in church structures. However, over the centuries many of those buildings have been adversely affected by the rigours of conflict, particularly in the mid-17th century. The late 18th and early 19th centuries brought an era of neglect and subsequent deterioration of structures. Subsequently as a direct consequence of this a period of rescue or removal ensued.

Church architecture experienced a revival in Victorian England during the Industrial Revolution, when places of worship were required for the vibrant communities which sprung up. Architects such as Augustus Pugin and Sir George Gilbert Scott became famous in subsequent years for creating numerous buildings, including churches which featured stained glass. Many parish churches and cathedrals were also restored in this period. The building of new churches brought with it numerous exponents of the art of stained glass. Edward Burne-Jones and the company Morris & Co represent good examples of the trend, but there were many others.

The trend decreased in the early 20th century and with it the need for

stained glass design and construction. However, there have been exceptions, for example heavy bombing in Coventry during World War II saw the almost complete destruction of the city’s beautiful cathedral and the requirement for its extensive reconstruction. Within the new building there was a requirement for new stained glass.

The Metropolitan Cathedral of Christ the King was built in Liverpool in the 1960s and once again, stained glass was an integral element of the building. In the meantime, lesser parish churches were deconsecrated or demolished and much stained glass was removed. It became available on the open market with the items becoming more desirable in the fine art boom which occurred during the 1960s and 70s and continues to this day, albeit with different and ever-evolving emphasis.

The Stained Glass Museum at Ely was established in the early 1970s. In its early incarnation the collection consisted mainly of donations, which became more wide ranging as interest in stained glass increased. The museum, which is currently located within Ely Cathedral, attracted many visitors and consequently funding increased. With that the curators of the museum have been able to add to the collection through the purchasing of examples of bespoke and ‘removed’ stained glass.

The collection has a depth to be anticipated in a museum of such calibre and it holds examples of stained glass which range through eight centuries. It is interesting to note that the most valuable pieces are the oldest and the most modern. The former is a 13th-century panel of Christ the King from a source in Soissons in France, while the latter is a large realist interpretation of an American Street character by Kelinde Wiley which was bought in 2021.

There are many other fine and interesting examples representing the centuries in between, including roundels of the seasons, a portrait of George III after Sir Joshua Reynolds, a collection of unusual portraits from 17th-century Europe and a plethora of examples of work from the great Gothic Revival period of the 19th century, including works by Morris & Co, Edward Burne-Jones and Dante Gabriel Rosetti. The more recent niche area representing stained glass as a trending art form holds fine examples by John Piper, Geoffrey Clark and, more recently still, Brian Clark. Even remnants of glass and designs on paper have their place in store. When presented with such a wealth of material I realised that quality stained glass pieces, and in particular examples associated with a world-famous artist or designer, have significant interest and value as stand-alone art works over

13th century, Bust of a King, from Soissons Cathedral, France, French artist (left); Attributed to Jakob Weber, 1646, commemorative panel depicting Frederick Hans Sturtzeneggar holding a standard, his wife offering a goblet (centre); abstract panel, designed by John Piper and made by Patrick Reyntiens, circa 1956 (right)

St Adelaide, 2014, inspired by a stained glass window after Jean Auguste Dominique Ingres. Designed by Kehinde Wiley, made by Skloart Studios

and above and apart from inclusion in the structure of a particular building. Despite this conclusion it remains important to note that works of stained glass are covered in most insurance policies for modern facsimile replacement in the event of damage or loss, unless particular pieces are specifically mentioned and valued. Examples of stained glass of the calibre exhibited at The Stained Glass Museum are rarely offered for sale on the open market, making it difficult to establish value in that sense. It is then left for the assessment of the calibre of the work itself: in particular if the work has been associated with a famous artist of a period and the condition of the panel being of paramount importance.

Another establishment for which I recently undertook valuation work has a fine stand-alone stained glass panel designed by John Piper on display, but inspection revealed a crack in the glass. The curator was dismayed to discover how much it would have been worth had the glass not been damaged in storage. At the same time I was informed that one of the Piper windows at Coventry Cathedral had been spoiled during a burglary in 2020, representing a substantial loss both financially and to the building. It is unlikely that the usual insurance cover in place would cover the expertise necessary to replace the glass to its original calibre or the actual loss.

These examples, taken from my own endeavours, may serve to highlight a new-found vulnerability in the area of stained glass and its role as a stand-alone work of art once removed from a building structure. It also draws attention to the need for proper consideration regarding storage and removal for display purposes. The nature of glass makes it very easy to damage and challenging to repair – significantly reducing its desirability and its value in the current marketplace. These considerations represent potentially heavy losses not only financially but also to the world of art.

In the current uncertainty surrounding the world’s economic structure and its impact on the everyday lives of people, stained glass may also become increasingly vulnerable to theft, as it does not need to remain a part of the structure but can easily become, with removal from the structure, a stand-alone and potentially valuable artefact. q

• All images courtesy of The Stained Glass Museum, Ely.

The trades, crafts and artisanship involved in the supplying and upkeep of ecclesiastical and heritage buildings may seem arcane to the onlooker, but they are every bit a part of the modern world as any other. In the same way, putting those goods and services into the marketplace needs the same mix of technologies.

Having drawn attention to yourself, the modern way to provide in-depth information is online. This new section in the printed version of Ecclesiastical and Heritage World allows you to do just that.

If you are one of our many online readers simply click on any of the web addresses listed below and you will be automatically directed to that particular website.

• We will be expanding this section in future issues, so to take advantage of this opportunity contact micky@dmmonline.co.uk.

IRONWORKERS LOOK FORWARD TO NEXT CONFERENCE

[

THE National Heritage Ironwork Group (NHIG) has shared some information about its forthcoming conference, on the theme Tradition & Innovation, to be held at Hampton Court on 8 October. The conference is beginning to take shape and some great speakers have been lined up on the most compelling topics in the field of ironwork conservation.

Speakers confirmed so far include Jane Sidell, principal inspector of ancient monuments at Historic England, Paul Humphreys of Hare & Humphreys, Peter Meehan of the Historic Metalwork Conservation Company and Lee Bilson of Recclesia.

The NHIG’s Jessica Renison described the feeling of anticipation that is tangible among the group: “Five years on from our inaugural conference at the V&A, we are excited to invite you to Hampton Court Palace, home to some of the country’s finest ironwork, for an exploration of craftsmanship past and present.

“Traditional skills are passed on with the benefit of being tried and tested, and for that reason trusted. But craftsmanship is a fluid, organic process – naturally evolving as new technologies emerge.

“As 21st-century ironwork conservators, we have more options available to us than

ever before. But in a field where each project presents new and unique challenges, how do we know which materials and techniques are appropriate for the job?

“Are the ‘old ways’ always the best? Or can new technologies offer viable alternatives? What are the parameters when using modern materials on historic fabric? When is it appropriate and when inappropriate? And what do we need to consider for longevity? These are some of the questions we will be addressing at our ‘Tradition & Innovation’ conference at Hampton Court.

“From fixings and coatings to casting, scanning and 3D printing, we’ll be asking a variety of craft and conservation professionals to share their experience of what works. We hope you’ll join us as they showcase materials and methods both traditional and innovative, debating their pros and cons, so that we can identify the questions which will help us to make decisions in the different scenarios we face.”

The NHIG is also encouraging those who would like to contribute to the conference themselves to message them with their relevant subject for the ‘10-minute champions’ slot.

Said Jessica: “What have you found to be the best thing for a particular job? Whether

it’s traditional or innovative or somewhere in between, pitch your ironwork conservation ‘hero’ for a chance to champion its benefits for 10 minutes at the conference.”

Potential heroes should send in their pitch to Jessica at info@nhig.org.uk

Metalwork Conservation Award

The NHIG has also reminded candidates to submit their projects for the 2024 NHIG Award for Metalwork Conservation. The submission process is straightforward and shouldn’t be laborious or time-consuming, the NHIG’s Proctor Taylor said.

“We would love to see as wide a variety of projects as possible so everything is welcome – if in doubt, just send it in.”

The closing date is 31 May and the entry form can be found at nhig.org.uk/nhigaward/ q

FOR THE FINEST LEADWORK, GET SILK

[ ONE OF THE COUNTRY’S leading leadwork specialists is Silk-Leadwork. Carrying out leadwork in London and all the surrounding areas and working closely with clients, their lead roofing contractors have provided leadwork services to some of the most notable historic buildings in the UK, including projects at The Tower of London, The Houses of Parliament, Westminster Abbey and many more.

In addition to providing expertise and craftsmanship of a high standard in lead roofing and all other metal roofing, their lead roofing contractors are skilled in lead flashing and lead welding services.

In 2017 they were fortunate to have been selected as one of the teams tasked with renewing the leadwork on the lantern atop Westminster Hall (right). The project included stripping all existing perished lead, renewing a significant amount of the timber fleche, then finally renewing the previously stripped sand-cast leadworks.

Another project they are proud to have carried out is the re-roofing of the maids’ quarters at Highclere House – famous as the setting for TV’s Downton Abbey. The works undertaken included the stripping and removal of the existing perished lead flat roof, adaptations of the carpentry works to meet current Lead Sheet Association regulations and finally the installation of new Code 7 sand-cast lead (below).

Both of the projects were undertaken on behalf of DBR Ltd.

Other notable projects involved work at Lambeth Palace, The Tower of London, The Palace of Westminster (Houses of Parliament), Old Royal Naval College Greenwich, Westminster Abbey, Victoria and Albert Museum, Royal Albert Hall, St Marys Church Harrow and Chichester Cathedral.

Founder and managing director Jack Silkstone explained: “At SilkLeadwork we are constantly setting the bar in terms of standard and quality of our work. Our lead roofing contractors have a wide knowledge of all aspects of lead roofing, acquired over 10 years of providing a quality service for our clients. Our skilled professionals provide reliable and durable solutions tailored to your specific roofing needs. Trust us for excellence in leadwork.”

All Silk-Leadwork lead roofing contractors keep up with the latest Building Regulations and comply with important specifications such as the use of rolled lead sheets (BS12588:2006). A risk assessment is carried out before each project, ensuring all work completed follows health and safety standards. The work comes with a guarantee to ensure clients get the best service possible. q

CHURCH AND HERITAGE PROJECTS FEATURE AGAIN IN ROOFING AWARDS SHORTLIST

[ IN MARCH the shortlist for the UK Roofing Awards 2024 was finalised and the NFRC announced the finalists in each of the 16 project categories, in a broad range of roofing and cladding disciplines.

As has become customary for the awards, the Heritage category itself is one of a number of categories to feature projects in the ecclesiastical and heritage sectors.

In the Heritage category, the line up comprises four worthy contenders (pictured left to right above). Diss Cemetery Chapel in Norfolk, by M&J Group (Construction & Roofing) Ltd, vies with East Manley Hall in Cheshire by Emerton Roofing (Western) Ltd, Mill House – a private residence – by R L Lovatt Ltd and Lancarrfe House in Bodmin by Marnick Roofing Ltd.

They form the core of a line-up of shortlisted projects that reflect the scope of roofwork being carried out on churches, museums and historic buildings.

The reroofing of Derby Museum and Art Gallery (right) by NRA Roofing & Flooring Services Ltd is in the line-up for two categories:

Mastic Asphalt and Leadwork.

The Mastic Asphalt category also features Sumburgh Head Lighthouse & Visitors Centre by BriggsAmasco Ltd (Glasgow) and Dover Castle by James Roofing Ltd, while the Leadwork category includes Fettes College Cricket Pavilion by Edinburgh Leadcraft Ltd.

Heritage buildings figure in the Bituminous Hot Applied Liquid Waterproofing category, with Rhodes House by Fenland Flat Roofing Ltd working with Sika Ltd, and the Fully-Supported Metal category with a

copper dome in Tidworth by Prestige Metal Roofing Ltd.

The Roof Slating category boasts the Grade Two-listed Roundhouse in Leeds (right) by Martin-Brooks (Roofing Specialists) Ltd in its shortlist, while the Roof Tiling finalists number among them All Saints Church Fleet by Fildes Roofing Ltd.

Other churches in contention in other categories include the newly-built Emmanuel Church in Eastbourne (below left) by Invictus Roofing Ltd, which is in the line-up for the prize in the Single Ply Roofing category, and the bell tower of St Andrew’s Church (below right) by Matt Timby Ltd.

Congratulating all the shortlisted entries, NFRC CEO James Talman said: “Another amazing selection of projects have been put forward –there will be tough calls for our judges!

“Congratulations to all those who have been shortlisted for the 2024 UK Roofing Awards – there was stiff competition with over 200 projects entered. The finalists should be proud of the fantastic workmanship, project management and problem-solving that has been demonstrated.”

The Roofing Awards will be taking place on 10 May 2024 at the Intercontinental London – The O2. On top of the winners of each category, one winning project will also gain the ultimate accolade of Project of the Year. 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

WHY VIDEO SURVEILLANCE ON SCAFFOLDING MATTERS

[CHURCHES ARE MORE than just places of worship: they often serve as community centres, historical landmarks and even home to valuable artwork and artifacts. When scaffolding is erected for maintenance or restoration projects, the vulnerable structures require an extra layer of security. That is where having a video surveillance system monitoring the scaffolding and the building becomes an important deterrent to crime.

There have been some high-profile examples of scaffolding being used to access churches for vandalism:

• In 2018 the church of St Martin-in-the Fields in central London was

• damaged when vandals threw scaffolding poles from the roof. The

• incident caused significant damage to the church’s stonework and

• stained-glass windows.

• In 2019 Christ Church Cathedral in Oxford was also damaged by

• vandals who threw scaffolding poles from the roof. The poles caused

• damage to the cathedral’s stonework and gargoyles.

• In 2019 Salisbury Cathedral was vandalised when scaffolding was used

• to access the cathedral’s roof. The vandals spray-painted graffiti on the

• roof and damaged leadwork.

• In 2020 scaffolding was set up at St Giles’s Cathedral in Edinburgh for

• essential repairs. However, the scaffolding was soon targeted by vandals

• who spray-painted graffiti on the cathedral’s walls.

That sort of opportunist damage is the hardest to guard against without round-the-clock monitoring of cameras to detect intruders rapidly. For both churches and scaffolding companies, video surveillance systems offer a range of benefits that go beyond just deterring crime.

Benefits for churches

Scaffolding creates easy access points for vandalism and theft. Video surveillance provides constant vigilance, deterring potential criminals and allowing for faster response times in case of an incident. Knowing the church is under video surveillance offers peace of mind for clergy, staff and the congregation. Valuable religious artefacts, historical documents and on-going restoration projects are better protected.

In the unfortunate event of an accident on the scaffolding, video footage can provide valuable evidence for insurance claims and potential legal disputes. It can also help identify safety hazards before they cause harm. Video footage can be used to address concerns from the community regarding potential damage to the church during construction work. It builds transparency and accountability for both the church and the scaffolding company.

Benefits for scaffolding companies

Video surveillance systems deter theft of expensive scaffolding materials, which can become a danger to the public if brackets are loosened. It can also help prevent vandalism that could damage the scaffolding and delay project completion. By demonstrating a commitment to security, scaffolding companies can enhance their public image and attract new clients, particularly those managing sensitive projects like churches.

Video footage can be used to resolve disputes with the church regarding potential damage caused by the scaffolding. That helps maintain a positive working relationship and avoids costly legal battles. In the event of an accident on the scaffolding, video footage can be used to support insurance claims, making the process faster and smoother.

Using a video surveillance system on scaffolding is a win-win situation for both churches and scaffolding companies. It provides a significant layer of security, fosters peace of mind, protects valuable assets and aids in resolving potential disputes. By working together and choosing the right video surveillance system, churches and scaffolding companies can ensure the safety and integrity of the place of worship during any maintenance or restoration project.

Choosing the right CCTV system

Strategically placed cameras should cover all areas around the scaffolding, including access points and vulnerable areas of the church. Because construction sites are exposed to the elements, it is important to ensure the cameras are weatherproof and can withstand harsh weather conditions. For 24/7 monitoring, night vision capabilities are crucial to deter crime after dark. The ability to access live footage and recordings remotely allows for proactive security measures. Secure data storage solutions are essential to ensure footage is protected and readily available for review if needed.

Ace Defence Ltd are approved installers of roof security systems for Ecclesiastical and Trinitas insurance companies. Working with an NSI-accredited monitoring centre, they provide round-the-clock protection for the vital infrastructure of church buildings and for temporary scaffolding installations. They are always happy to work with churches and their scaffolding contractors to plan video systems for temporary works or integrate them with systems already supplied to protect church roofs. q

Site scaffolding monitored by Ace Defence (left); and an Ace Defence camera protecting a site compound

PARAMOUNT PRAISES NEW 40M HINOWA

AS A ‘GAMECHANGER’

[NATIONAL SPIDER LIFT RENTAL

specialist Paramount Platforms has become the first access hire company in the UK to take delivery of the new Hinowa 40.18 Lightlift Performance IIIS.

Access Platforms Sales (APS) has supplied the company with the tracked spider boom –now the largest in the Hinowa range, with a maximum working height of 40.2m.

Paramount Platforms sent the spider platform straight out on long-term hire to support planned maintenance work on a prestigious financial HQ building in central London.

The Hinowa Lightlift 40.18 has a maximum outreach of 17.5m. It has a larger basket than other Hinowa spider lifts, with a maximum capacity of 300kg and an unrestricted capacity of 230kg.

Paramount Platforms director Lee Kerr is full of praise for the platform’s performance and potential. He said: “This Hinowa is the best spider lift in its performance range.

“It’s a gamechanger in terms of the ability of our clients to work independently at heights approaching 40 metres and where significant outreach is needed.

“We almost always supply our other large spider lifts with an operator. The Hinowa 40.18 is so easy to use, if the client has experience using other Hinowa platforms, I have no qualms about the 40.18 going out on self-drive hire.

“Its ease-of-use is not just a nice to have,” he added. “It opens up the possibility of hiring large platforms to a whole new segment of customers, by influencing

judgements about rental risks.”

Lee Kerr continued: “It’s just as simple to operate as a Hinowa 17.75, so with a standard familiarisation training, it can be operated by a cleaning technician or a surveyor carrying out a building inspection.

“Members of the facilities management team who were the first to take our Hinowa 40.18 on hire were amazed at its performance, including how quiet it is. It’s achieving everything we expected, and more.”

Paramount Platforms has taken a bi-energy Hinowa 40.18, with a low-emissions diesel engine and lithium batteries, for all-electric zero-emissions and low carbon operation.

That provides the rental company with maximum flexibility for outdoor and indoor operation, also for working in ultra low emissions zones and where noise-level restrictions apply.

The Hinowa Lightlift 40.18 can also be supplied with diesel engine only or solely with lithium battery electric power.

Founded in 2009, Paramount Platforms has one of the biggest spider fleets in the UK, with working heights ranging from 15.7m to 42m, the biggest proportion of them Hinowa platforms.

Linda Betts, key accounts director at APS, Hinowa's UK and Ireland authorised distributor, said: “It’s very positive that Lee and Paramount Platforms customers are so happy with their new Hinowa 40.18.

“Hinowa puts a huge amount of investment in making all their platforms extremely easy and intuitive to operate, with smart functions that ensure they’re very safe and reliable.

“The 40.18 has the same operating system

as other Performance IIIS platforms, which is why operatives can confidently switch between different machines.

“However, we think it will be the platform’s impressive outreach that rental companies will find gets them plenty of hire requests.

“The Hinowa 40.18’s up and over capability will solve just as many lower working height challenges, between 15 and 30 metres say, where outreach is vital and will allow tasks to be completed with less disruption and cost.”

The Hinowa Lightlift 40.18’s basket is 2,000mm long and 700mm wide, allowing three operatives to work at height at its full capacity of 300kg. In this set-up, maximum working height is still 40.2m, with outreach limited to 16.5m – still an impressive figure.

The platform can also be set up in a narrow stabilisation area for working in particularly confined spaces – another function created by Hinowa to enhance the flexible use of its largest spider platform.

In this set-up, the stabilisation area is 6,675mm by 3,640mm compared with a standard stabilisation area of 5,375mm by 5,040mm.

That gives the platform a maximum working height of 35m and an outreach of just under 11m, with a maximum basket capacity of 230kg. When stowed for tracking, the Lightlift 40.18 is still very compact, with a width of 1,200mm and a height of 1,199mm. That is just 405mm wider than a 20m Hinowa Lightlift 20.10 and the same stowed height. q

•

MDS Consulting Limited

• Lightning Protection

• Church Steeple Repairs

• Chimney Inspections

• Drone Surveys

• Anchor Point Testing

• Window Cleaning & Repairs

T: 07833 785257

E: enquiries@mdsconsulting.co.uk

W: www.mdsconsulting.co.uk

The following companies are all specialists in Lightning Protection Systems:

2 Victoria Cottages, Silton, Gillingham, Dorset SP8 5DG

Lightning Strike Ltd

Lightning Protection and Earthing Specialist for Churches and Historic Properties

• Earthing Systems

• Surge Protection

• Safe Strike ESE Systems

• Lightning Conductor Testing

• Earthing System Testing

• Soil Resistivity Testing

T: 01158 752686 M: 07581 266493

E: info@lightningstrikeltd.co.uk

W: www.lightningstrikeltd.co.uk

452 Watnall Road, Hucknall NG15 6FQ

Horizon Specialist Contracting Ltd

With over 30 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

T: 0115 965 7400 E: sales@horizonsc.co.uk W: www.horizonsc.co.uk

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

• Lightning Conductor Engineers

• Steeplejacks • Flagpole Specialists

• High Level Access

Providing lightning protection and steeplejack services since 1978.

• Churches

• Cathedrals

• Schools

• Hospitals

• High Rise Office Blocks

• High Rise Residential Blocks

• Towers

• Sports Centres

Wiltshire Steeplejacks and Lightning Conductor Engineers

We specialise in:

• Lightning protection systems

• BS EN 62305 & BS 6651

• Earthing and resistivity testing

• High maintenance work

• All rope access work

• Flagpoles

• Full architectural surveys & cover meter surveys

T: 01225 761330 M: 07973 397770

E: info@wiltshiresteeplejacks.co.uk W: www.wiltshiresteeplejacks.co.uk

44 Eastbourne Road, Trowbridge, Wiltshire BA14 7HW

G & S Steeplejacks Ltd

Over 30 years experience in the Design & Installation of Lightning Protection Systems.

• Annual Testing

• Inspection & Maintenance

• Surge Protection

• Height Safety Systems

Churches, Schools, Hospitals, Universities, Colleges

T: 01761 437796 M: 07974 184449

E: graham@gnssteeplejacks.co.uk W: www.gnssteeplejacks.co.uk

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

Cuttings

The UK’s largest independent Lightning Protection & Earthing contractor

Design, installation and maintenance

• Lightning Protection

• Earthing Services

• Surge Protection

• Height Safety Services

Offices in London, Sussex, Essex and Bristol.

T: 020 8371 0001

E: info@cuttings.co.uk W: cuttings.co.uk 10-12 Arcadia Avenue, Finchley Central, London N3 2JU

Lightning Protection Services

For all of your lightning protection and access requirements, we are here to help.

• Lightning Protection

• Earthing Systems

A C Wallbridge & Co Ltd

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

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

• Height Services

• ATV Access

North(Head office): 01461 800323

South: 01582 511036 N.E: 01914 661145

E: info@lightningconductor.co.uk W: www.lightningconductor.co.uk

Ivinghoe Business Centre, Houghton Regis, Dunstable LU5 5BQ

IN LIGHTNING TERMS, IT’S THE GROUNDING THAT COUNTS

[WHEN MOST PEOPLE CONSIDER the issue of lightning protection, it is taken as read that the first lightning rod was invented by the American Benjamin Franklin, following his celebrated flying of a kite in a thunderstorm. The story, as with most when it comes to earth-shattering events, is not quite so simple.

While it is true that Franklin deployed a lightning rod in 1752, it was not effective because it was not earthed. It was not until two years later that a Czech cleric named Prokop Diviš O.Praem, who pursued an interest in science – and electricity in particular – erected a ‘weather machine’ in his parish of Přímětice, which he believed could dispel storms by ‘sucking’ the electricity out of the atmosphere.

The ‘machine’, which he mounted on a 40m-high pole, consisted of several tin boxes and more than 400 metal spikes. The pole was secured by heavy metal chains that grounded his construction – which many people believe was inadvertent. That made it probably the first grounded lightning rod.

He believed his invention was effective at driving off storms, as clouds formed when the pole was taken down and disappeared when it was erected again.

Prokop Diviš, O.Praem was born Vaclav Divisek in Helvikovice, Bohemia, in March 1698. His early education was at the Jesuit gymnasium, or school, in that same town and in 1716 he entered Premonstratensian abbey gymnasium in Louka. After completing his studies he became a novitiate there and took the name Prokop.

He professed his vows and studied philosophy and theology to prepare for his ordination to the priesthood. He became parish priest at Přímětice, where he undertook the construction of water conduits.

One commentator remarks: “As a result, he became interested in a popular new interest in the scientific community of his day: electricity. He began a series of experiments over the next few years, mostly on plant growth and therapy with small electrical voltages.

“The news of the death of Georg Wilhelm Richmann, a professor in St Petersburg who was killed by lightning in 1753 during his attempt at measuring the intensity of the electric field in the atmosphere, caused Diviš to become interested in atmospheric electricity.”

That event led to the construction of his ‘weather machine’.

Diviš died on 21 December 1765 in Přímětice. Interestingly, he is probably better remembered as the inventor of what is claimed to be the first electrical musical instrument. q

Prokop Diviš, O.Praem, by Jan Vilímek

The home of Prokop Diviš, with a ‘weather machine’ on the right

HOW URBAN MINING CAN HELP REACH NET-ZERO GOALS

When considering the heritage buildings of the future, the carbon footprint not only of the buildings in operation, but also the process of construction and the building’s life span – from design, through construction to demolition. An innovative, circular approach is emerging that has the potential to reduce the environmental impact of construction significantly: urban mining.

Here, traditional brickmakers Michelmersh explain the process and its advantages.

[URBAN MINING is the practice of reclaiming and recycling waste materials from unused, manufactured objects and structures. In construction, it primarily relates to the dismantling or strategic demolition of buildings. Materials such as concrete, clay bricks, steel and copper are ‘mined’ from sites that are unusable in their current state.

They are then either:

Recycled – broken down into composite materials to incorporate into new building products.

Reused – reclaimed in their whole form, then reused. That is only possible if the dismantling doesn’t damage the building products.

Urban mining is not yet a widespread practice in the construction industry. That is due, in part, to the specific skillset required to recover materials efficiently. However, feasibility studies in Singapore have found that mining skills develop quickly if workers repeatedly recover the same materials.

What are the benefits of urban mining?

The built environment is estimated to contribute 25% of the UK’s total greenhouse gas emissions. That makes construction companies key players in 2030 net-zero goals. Urban mining is an emerging circular practice in the construction industry that can help the UK lower its carbon emissions in several ways.

Reducing manufacturing emissions – Scope 3 emissions describe companies’ carbon emissions that are not the result of operating assets they own or control. Those could be investment in manufacturing equipment, leased office space or external haulage activities. Scope 3 emissions occur upstream in the value stream, with suppliers, or downstream, with logistics and end users. In construction, they include energy usage and waste produced in building product manufacturing processes. By using urban mined materials, designers and developers reduce the carbon emissions of their projects.

Reducing waste and reliance on raw materials – when you factor in demolition, the construction industry produces a third of the world’s waste. That adds to landfill and the use of incinerators, which contribute over 100 million tonnes of CO 2 emissions in Europe each year. Moreover, mining and processing raw materials such as limestone, timber, clay and iron requires significant energy use. Urban mining prevents waste from going to landfills and incineration and reduces the need to mine more raw materials. That minimises waste and energy consumption for production.

Clearing underutilised structures

Retaining green space is vital for meeting net-zero goals. That is because untouched areas of vegetation and woodland absorb

carbon and improve biodiversity. So it follows that the best land to use for new buildings is that currently occupied by underutilised structures. Urban mining incentivises owners of those structures to clear sites for new structures. That’s because the commercial value of reclaimed materials helps offset demolition costs. As such, more urban land can be freed up to reduce the need for city or town footprints to expand into green space.

Think longer

Urban mining is still a small-scale practice in construction. As such, the open market for urban mined building products is currently geared towards domestic projects. Case studies such as Houlton School and No 76 Southbank show that it is possible to scale up the approach.

The projects ranged from 130,000 to over 300,000 sq ft of gross internal area and used materials that had been urban mined from their original structures. Where needed, new materials were carefully selected to match the existing materials’ aesthetics, quality and sustainability. At Houlton School (pictured), that included handmade clay bricks produced by Michelmersh.

Taking inspiration from the longevity of the reclaimed materials in those case studies, we can also think longer when we design buildings today. Clay bricks extend a building’s lifespan, which reduces its carbon footprint. They can also last over 200 years, improving the reclaim opportunities for future generations. q

• To discover more of the sustainable benefits of clay bricks, as well as Michelmersh’s investment in more sustainable practices, visit sustainablebrick.com

ART DECO ARCHITECTURE IS GIVEN A MAKEOVER BY CLEMENT WINDOWS

[ ART DECO, the prevailing architectural style of the 1920s and 1930s, derived its name from the Exposition Internationale des Arts Décoratifs et Industriels Modernes, which was held in Paris in 1925 and represented a reaction to the reduction of ornamentation in Modernist buildings.

Characterised by geometrical shapes, symmetrical design and stylised natural forms, Art Deco came to reflect the hopes and fun of its era: a period during which a vision of a pleasurable world unspoiled by war or human hardship predominated.

Art Deco used state-of-the-art modern specifications of steel and glass, as well as new materials such as plastic and concrete. Straightheaded slimline steel windows in regular repeated bands with horizontal glazing bars were a mainstay of this architecture, which quickly gained in popularity across North America and Europe.

Best expressed in the magnificent skyscrapers of New York such as the Chrysler Building, or iconic structures such as Battersea Power Station in London, the Art Deco movement was short-lived, with World War Two and its aftermath bringing it to an abrupt end. Thousands of Art Deco buildings survive today, forming an important part of the UK’s architectural heritage – and many of them have been subject to sensitive restoration programmes in recent years.

One of the UK’s leading steel windows manufacturers, Clement Windows Group has been involved in many Art Deco restoration projects – both in the UK and abroad. Clement’s new steel windows provide double-glazed, thermally-efficient, low-maintenance copies of their Art Deco predecessors, meeting the latest performance requirements for insulation, weatherproofing and security demanded by planning and conservation considerations.

Melia White House Hotel

Part of the Melia Hotels and Resorts Group since 1999, Melia White House (pictured above) is situated in a striking Art Deco building close to London’s Regent’s Park.

Opened in 1936 as a luxury apartment building, it took 700 men less than a year to build it. With great facilities also open to non-residents

it became known as the White House Club in the closing years of the 1930s. During World War Two the distinctive shape of the building meant it was used by the Germans as a compass and was consequently never bombed.

In 1959, work started on transforming the apartment block into a luxury hotel, which became the centre of the Swinging Sixties scene with many prominent guests.

The Clement EB24 range of new steel windows, with welded G+ multi-pane system, was installed throughout the building. The regular repeated bands of steel windows are one of the most striking Art Deco features of the building: in total Clement installed nearly 800 windows in two phases.

Bonhams Auction House

Bonhams (pictured below) is a fabulously idiosyncratic 1930s building, situated on London’s prestigious New Bond Street. Viewings and auction sales take place throughout the year and buyers come from around the globe to find antiques and fine art of the highest quality.

The Art Deco-style building is listed and within a Conservation Area. Architects Lifschutz Davidson & Sandilands led a £30m restoration project, completed in 2013. Sensitivity was key and the work included replacing the original steel windows on the front elevation facing Woodstock Street and Blenheim Street.

Clement W20 steel windows were chosen to match the design of the existing windows. The new windows were fitted with toughened, laminated glass and silicone fronted, using dark bronze silicone to replicate the early putty fronting. A feature of the front façade is the set of 15 curved-on-plan windows and Clement made templates to replicate them exactly. All pivots, handle back plates and peg stays were polyester powder coated in RAL 8019 to complement the finish of the frames.

The Eldorado Building, New York

Constructed in 1929–1931, the Eldorado Building (above) has been described as one of the finest Art Deco structures in New York City. The magnificent 28-storey luxury apartment building was the fourth and largest of a sequence designed by Emery Roth along Central Park West. The building was planned around a U-shaped courtyard in order to let as much daylight as possible into the 1,300 rooms of the 186 apartments. Apartment owners in recent years have included Alec Baldwin, Fay Dunaway, Moby and Michael J Fox.

The Eldorado Residents’ Committee contacted Clement’s New York representatives, Skyline Windows, as there was a requirement to replace the original 1930s windows in a number of the apartments.

A strict brief was prepared by Landmark – the US equivalent of Historic England – to ensure that the building’s authentic appearance was retained. Bespoke windows by Clement were specified, as the replacement windows needed to provide an exact match to the existing fenestration while offering improved thermal performance and enhanced security.

Clement’s EB24 multi-point locking steel window system was chosen to sensitively replicate the original windows: polyester powder coated with RAL 7022 grey/bronze matt paint inside and out. Unusually, due to the sensitive nature of the project and the preferences of the Residents’ Committee, single glazing was specified. Satin bronze FF02 multi-point locking handles were fitted, which offer a similar appearance to the original fittings.

Clement Windows Group manufactures an innovative range of steel windows, doors and screens for both private residences and

commercial projects. A selection of conservation rooflights is also available from stock in either a tile or a slate profile. q

• For more information contact 01428 643393; email info@clementwg.co.uk; or visit www.clementwindows.co.uk

RICHARD III CATHEDRAL PRAISES ISO CHEMIE’S

LOAD-BEARING BRACKET SUPPORT SYSTEM

[ ISO CHEMIE’S thermal insulating and load-bearing bracket support system and sealing tapes have been specified for a new development project at Leicester Cathedral.

The move sees WINFRAMER Type 1 units, BLOCO ONE foam sealant tapes and VARIO SD window connection foils installed to support and insulate large Internorm HF410 triple glazed composite windows being fitted in the cathedral’s eye-catching new heritage and learning centre.

Set to open in late summer this year, the extension will provide an exhibition gallery with immersive interpretation, a flexible learning space for school children and community groups, and washrooms.

It’s also part of the cathedral’s ambition to carry out a wide-ranging £11m revamp of the Grade Two-listed historic building and improve facilities for the increasing number of visitors drawn to the tomb of Richard III.

Passivhaus certified and fire rated to up to 30 minutes, WINFRAMER is a prefabricated installation frame, manufactured to accommodate cavities up to 250mm allowing windows to be supported independently from the face of the wall regardless of any external cladding being in place.

Quick and easy to install, the product’s application at Leicester Cathedral has been integrated alongside ISO BLOCO One sealing tapes to achieve Passivhaus certified window perimeter sealing performance. The flexible humidity variable sealing foil ISOCONNECT VARIO SD tape has also been chosen to deliver greater internal air tightness around wall, floor and ceiling joints.

Andy Swift, country director at ISO Chemie, said: “Designers and developers of buildings like the cathedral extension want new ways to deliver low carbon structures, which use sustainable technologies. Our products support this, delivering measurable airtight, acoustic and thermal sealing properties.”

Up to 70% cost savings can be achieved using ISO CHEMIE’s tapes, which enable installers to seal windows from inside the

building and avoid the need to use time consuming and costly scaffolding and ladders among other external access systems.

The tapes offer a single product ‘fit and forget’ solution for fast and effective sealing based around the European RAL principles of three level sealing – the inside seal area is more airtight than the external one, allowing any trapped moisture inside the joint, or within the wall, to escape outwards rather than into the building. q

• For further information visit the website at www.iso-chemie.eu/en-GB/home/.

The WINFRAMER installation

A CGI of the new cathedral extension

ISO Chemie’s Andy Swift (left) with Andy Sykes of Internorm Commercial

ANTIQUE FURNITURE RESTORATION

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MDS Consulting Limited

• Lightning Protection

• Church Steeple Repairs

• Chimney Inspections

• Drone Surveys

• Anchor Point Testing

• Window Cleaning & Repairs

T: 07833 785257

E: enquiries@mdsconsulting.co.uk

W: www.mdsconsulting.co.uk

Raiden Lightning Protection Services Ltd

We provide consultation, installation and aftercare of lightning protection systems, in accordance with the BSEN 62305 code of practice. A high quality, competitively priced, safe and well co-ordinated service.

• Free design & risk assessment

• Surge protection services

• Aftercare & maintenance

T: 0161 302 8766 / 07487 787 854

E: ian.wimpeney@raidenlps.co.uk W: www.raidenlps.co.uk

Unit 2 Ind Estate, Marsland Street, Hazel Grove, Stockport, Cheshire SK7 4ER

LIGHTNING PROTECTION

Earthing Equipment Supplies Southern Ltd is a well-established, ATLAS accredited, company offering a wide range of lightning protection services. ATLAS is the UK governing body for lightning protection. 30 years trading.

• BS EN 62305 2012

• System Installation

• Upgrading

• Remedial Work

• Testing

• Earthing

• Materials Supply

• Free Lightning Protection Quotes

• Lightning Protection Risk Assessment

• Design

• Soil Resistivity Testing

• Surge Arrester Quotes

• Site Visits

T: 0118 976 0239 / 07768 566889

E: sales@earthingequip.com W: earthingequip.com

Lavender House, Church Lane, Arborfield, Nr Reading RG2 9JA

Igoe Up Height Services

Igoe Up employ fully qualified Steeplejacks and Rope Access Technicians to repair and maintain buildings with height. We use a variety of steeplejack access techniques to carry out high-level inspections, surveys, building maintenance and repair services.

• Steeplejack and rope access services

• Stone restoration services

• Church maintenance

• Drone surveys

• Roofing services

T: 01577 531307 / 07481 840581

E: Chris@igoe-up.com W: www.igoe-up.com 17 Dalhousie Gardens, Bonnyrigg EH19 2LP

G & S Steeplejacks Ltd

Over 30 years experience in the Design & Installation of Lightning Protection Systems.

• Annual Testing

• Inspection & Maintenance

• Surge Protection

• Height Safety Systems

Churches, Schools, Hospitals, Universities, Colleges

T: 01761 437796 M: 07974 184449

E: graham@gnssteeplejacks.co.uk W: www.gnssteeplejacks.co.uk

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

2 Victoria Cottages, Silton, Gillingham, Dorset

Wiltshire Steeplejacks

and Lightning Conductor Engineers

We specialise in:

• Lightning protection systems

• BS EN 62305 & BS 6651

• Earthing and resistivity testing

• High maintenance work • Flagpoles

• All rope access work

• Full architectural surveys & cover meter surveys

T: 01225 761330 M: 07973 397770

E: paul.silk@wiltshiresteeplejacks.co.uk W: www.wiltshiresteeplejacks.co.uk

44 Eastbourne Road, Trowbridge, Wiltshire BA14 7HW

Lightning Strike Ltd

Lightning Protection and Earthing Specialist for Churches and Historic Properties

• Earthing Systems

• Surge Protection

• Safe Strike ESE Systems

• Lightning Conductor Testing

• Earthing System Testing

• Soil Resistivity Testing

T: 01158 752686 M: 07581 266493

E: info@lightningstrikeltd.co.uk

W: www.lightningstrikeltd.co.uk

452 Watnall Road, Hucknall NG15 6FQ

• Lightning Conductor Engineers

• Steeplejacks • Flagpole Specialists

• High Level Access

Providing lightning protection and steeplejack services since 1978.

• Churches

• Cathedrals

• Schools

• Hospitals

• High Rise Office Blocks

• High Rise Residential Blocks

• Towers • Sports Centres

A C Wallbridge & Co Ltd

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

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

Lightning Protection Services

For all of your lightning protection and access requirements, we are here to help.

• Lightning Protection

• Earthing Systems

• Height Services

• ATV Access

North(Head office): 01461 800323

South: 01582 511036 N.E: 01914 661145

E: info@lightningconductor.co.uk W: www.lightningconductor.co.uk

Ivinghoe Business Centre, Houghton Regis, Dunstable LU5 5BQ

Direct Strike Ltd

Lightning Protection and Earthing Solutions

• Lightning Protection

• Inspection & Maintenance

• BSEN 62305:2011

• Consultancy & Design Services

• Supply & Installation

• Earthing Systems

• Height Safety & Fall Arrest Systems

• Surge Protection

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

E: enquiries@directstrike.co.uk W: www.directstrike.co.uk

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

South West Lightning Protection

T: 07807 334441

E: south@lightningconductor.org

W: www.lightningconductor.org

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

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