Ecclesiastical and heritage World - Autumn

Issue No.45 ÂŁ5.00

www.ecclesiasticalandheritageworld.co.uk

www.ecclesiasticalandheritageworld.co.uk

contents

OUR EASY-TO-USE ONLINE DIRECTORY PUTS YOU A MOUSE’S CLICK AWAY FROM NEW CLIENTS To book your entry or for full details of all our online advertising opportunities email chris.thornley@dmmonline.co.uk or tel: 0161 850 1674

www.ecclesiasticalandheritageworld.co.uk

WOOD AWARDS 20 Celebrating the best of British

building and design in wood

COVER STORY: Reaching the pinnacle. The story of the successful restoration of one of England’s finest medieval churches by masonry and building conservation specialists Maysand – Page 7

NEWS 4 Historic building rescues slowed

by recession AUDIO VISUAL 4 Better to be heard and seen PERIOD PROPERTIES 9 The benefits of using the correct

materials for traditional buildings 13 A window on history

CONSERVATION 21 Looking for a conservator? Find

accredited professionals in just

one mouse click!

LIME 23

Lime – back in the limelight

GLASS 29 Illuminating history for over a

thousand years

METAL ROOFING 31 Repeat thefts lead to alternatives LIGHTNING PROTECTION 32 Achieving new heights in specialist

training - the Steeplejack and

Lightning Protection Training

Group DIGITAL SURVEYS 34 Laser scanner comes into its own

for heritage work

Chris Thornley Advertising Manager Tel: 0161 850 1674 Mob: 07900 201480 Email: chris.thornley@dmmonline.co.uk All other enquiries: Tel: 0161 850 1680 Fax: 0161 834 0077 3rd Floor, Blenheim Court, Carrs Road, Cheadle, Cheshire SK8 2JY

STONE 18 Celebrating excellence in natural

stone craftsmanship

Copyright Ecclesiastical & Heritage World.

All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Ecclesiastical & Heritage World.

Views expressed in this magazine are not necessarily those of the publisher.

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News

Historic building rescues slowed by recession Heritage at Risk Register 2010, published recently by n The English Heritage, shows a significant slow-down in the number of Grade I and II* buildings being saved from neglect and decay, prompting fears that England might lose the very thing which makes it most special in the eyes of the world.

Between 1999 and 2007, the number of Grade I and II* buildings on the Heritage at Risk Register fell by 17% but since then there has been no percentage change in the number coming off the Register after being rescued. In 1999, one in six buildings on the ‘at risk’ register was fully economic to repair. Now, 11 years on, it is just one in eight.

Dr Simon Thurley, Chief Executive of English Heritage, said: “In the current uncertain climate, English Heritage has two vital contributions to make. First is our Heritage at Risk programme itself. It gives accurate information about the condition of local neighbourhoods and encourages people to become actively involved in restoring what is precious to them.

“Second is our grants and expertise. Where private investors won’t venture, where developers have walked away and where public bodies have other priorities, it is often only an English Heritage grant, coupled with our world-leading expertise, which can save a building from being lost. Our budgets too will be under pressure, but we will do all we can to continue to provide a life-line for the nation’s past. The Heritage Lottery Fund is also of enormous benefit to buildings and other heritage sites which are open to the public and we are delighted the Government intends to restore its share of Lottery income.” q

Audio visual

Better to be heard and seen DAN GOLDSTEIN of InfoComm International explains how certified AV professionals can improve the usability of historic churches, without compromising their infrastructure we hear the word ‘audiovisual’ we often think of things n When hi-tech: digital video projectors, plasma screens, surroundsound speaker systems and so forth. At first glance, these are not technologies which would seem to have much to offer historic buildings – not least because their ‘look and feel’ are so often at odds with traditional architecture.

Yet the idea that audiovisual or ‘AV’ technology has to be ugly to be functional is something of a misconception. Many manufacturers now offer products that are not out-of-place in historic buildings, either because they have been adapted to match the prevailing aesthetic mood, or because they are easy to conceal. The trick is to ensure that the AV system is properly designed to match the user’s needs, and sympathetically installed. In this respect, it is vital to ensure that a building’s AV supplier is experienced and qualified to tackle the job in hand.

Audio: making sense of the acoustic maze One of the biggest problems encountered in historic buildings such as churches is intelligibility – ensuring that the speaker’s voice can be heard clearly in every corner of the room or hall.

The loudspeakers themselves need not appear out-of-place. Many are available in custom paint finishes to ensure that they ‘blend in’ with their environment, while others can be concealed within picture frames or behind furniture, with no loss of audio clarity. And besides, modern technology has allowed the speaker enclosures themselves to become slimmer and more compact, so they are easier to ‘make room for’ as well as being more discreet.

To help neutralise the effects of the challenging acoustics that are a characteristic of historic buildings, a modern AV system will also include some form of digital signal processing (DSP) which will compensate for unwanted echoes and other artefacts. This, together with correct loudspeaker positioning, helps those leading a church service, for example, to ensure that their message is heard clearly in all corners of the building.

Video: making sure that even the back rows can see If sound-reinforcement systems have been a part of the church scene for a while – albeit in limited form in many cases – video is a more recent arrival. Yet congregations at many of the larger places of worship are already reaping the benefits of properly installed video systems. Discreetly positioned cameras, similar to those used in CCTV systems, can be installed and their signals transmitted to flat-panel screens distributed in those areas where congregants have little or no ‘line of sight’ to the service proceedings.

Like their audio counterparts, these video products do not have to detract from the visual appeal of a historic church. Because modern screens are much slimmer than ‘old-fashioned’ TVs, they can be flush-mounted on walls or columns, and even swung up out-of-sight when not in use – thanks to the huge variety of elegant mounting solutions that have become available over the past few years.

A properly installed AV system, while making the best use of the latest technology, will be designed in such a way that it is largely invisible to the user. There is nothing to be afraid of. Many of the functions are automated – for example, if a CD or DVD is played, the signal will be sent to the building’s speakers and screens without any manual switching.

Where some manual selection is required – for example, to select a different acoustic processing setting to reflect the impact of a larger congregation – this can be done by the simple press of a button on the lectern, most commonly fitted next to the microphone.

InfoComm International is the world’s largest professional body representing the AV community. Through its CTS certification programme, it seeks to ensure that those who buy AV systems – owners and managers of historic buildings among them – receive a system that meets their needs, that is properly accounted for and that is correctly maintained.

CTS: a globally recognised certification of excellence in AV InfoComm has offered its CTS (Certified Technology Professional) programme for more than 30 years, and every year certifies more qualified AV professionals than anyone else.

InfoComm's certifications are the only AV credentials to achieve accreditation through the International Organisation of Standardisation (ISO) and the International Electrotechnical Commission (IEC) ISO/IEC 17024 certification of personnel.

Audio visual

Control: making systems easy to use

InfoComm’s CTS programme * Assesses individuals against peer-developed standards of competencies * Provides an assessment (exam) that is independent of any specific course or curriculum * Provides a credential that is time limited * Enhances continued competency through ongoing renewal requirements * Requires adherence to a code of ethics For end customers, CTS certification provides evidence that the holder is a practising AV professional with proven competencies in designing, specifying, installing and maintaining audiovisual systems to the highest standards. q

St Peters – Clarity in Communication n

St Peters Free Church in Dundee has a rich heritage for impacting Christianity starting with the highly effective and well known Minister Robert Murray McCheyne (1813-1843). McCheyne’s ministry in St Peter’s was innovative and radical. He built around himself a group of leaders who initiated a new work which was largely unhindered by the then more traditional perspective. He saw the prime need of the area as evangelism and he acted accordingly.

He was concerned that the services should be as attractive as possible and did his utmost to ensure that the singing was melodious and enthusiastic. He started psalmody classes and sometimes even led the singing himself. His preaching was simple, seeking deliberately to keep his speech plain and to use plenty of word pictures, communicating to the broadest possible congregation. Following in the footsteps of this enthusiasm the current minister David Robertson and his team embarked on a considerable renovation of the building and its presentation capabilities to again “communicate to the broadest congregation”. This was to be a community relevant project whilst revitalising and retaining the traditional rich heritage of the church. Through in depth project team dialogue the Pro Audio and Audio Visual systems needed to meet a number of architectural requirements whilst still obtaining the technical requirement to budget.

It was also a primary requirement that non technical users be able to operate both systems which was achieved through a touch button control system. All is well at St Peter`s as the renovation is complete and the project fulfils its purposes in the community – Clarity in Communication.

All Pro Audio and Audio Visual Solutions provided by d3 Audio & Visual Ltd. www.d3av.co.uk q

St Mary’s Church, Nantwich restoration projects don’t just happen – they often n Successful require a partnership approach between the architect and the craftsmen.

That’s what happened at St Mary’s Church in Nantwich. The church is widely acknowledged to be one of the finest medieval churches in England. It’s certainly one of the great architectural treasures of Cheshire attracting some 50,000 visitors a year.

The Grade I listed building is cruciform in shape with a large octagonal tower built in red sandstone. The church boasts a rare 14th Century stone pulpit and chancel with ‘lierne’ vaulting, intricately carved stone crocketed gables, and highly decorative buttresses and pinnacles.

The 9-month restoration project carried out by Royton based conservation specialists Maysand (www.maysand.co.uk) included external façade work to the west elevation, including the replacement of the pinnacles, and south clerestory.

Tragically, the church architect Anthony Blacklay died during the course of the project, but even when he was seriously ill he ensured the job was handed over safely. His wishes were carried out and the result is a lasting tribute to all involved.

“All the masonry work had to match the existing Mottled Hollington sandstone and pointing was made with a compatible lime mortar mix, as a result of a mortar analysis test. Repointing was also completed using hand held non-mechanical masonry tools,” says Mick Fowles, Maysand’s masonry surveyor.

“Because St Mary’s is such a landmark it was clearly a very prestigious and interesting project for Maysand. But what makes this particular job unique was the fact that the thinking behind how the stone would be repaired had to be worked out on the scaffold. It was a fascinating tribute to the architect Anthony Blacklay.”

Maysand also completed cleaning of the façade using low – medium pressured water to remove superficial dirt, taking extra care not to damage the soft carvings, and fit matching stainless tell.

The other element of the project involved internal work. This included fitting disabled access to the south porch and electrically operated glass doors, as well disabled lift access and restoration to the south porch’s historic geometric clay floor tiles.

It was a typically sensitive approach from Maysand who earlier this year launched a new ethical code in a bid to ensure the materials come from ethical sources. Maysand’s policy has been introduced because the company has become increasingly concerned that some stone imported from India, China and elsewhere comes from quarries where the workers are exploited – often this can be through the use of child or forced labour.

Maysand Managing Director Bryn Lisle says: “This a major issue for the restoration industry and we firmly believe that more people need to be made aware about this kind of activity. We would never stand by and allow children to be used in quarries here in the UK and we believe that we can’t turn a blind eye when we know it is going on elsewhere.

“That’s why we have put this code together to ensure we do everything we can to source our stone from ethical sources. We are a relatively small company but strongly believe that there needs to be greater awareness about the use of child labour and forced labour. I think it would shock a lot of people to discover that an awful lot of the stone that is imported and used on building projects in this country comes from very dubious sources.

“We are actively developing ethical sources for all our supply lines and in the future we will do what we can to influence sub-contractors we work with to increase awareness of the issues. We will also try to influence other key players in the industry. This is an important issue and we need to make sure that everyone involved in the industry – from architects to the general public – understands what is going on.”

Maysand’s ethical sourcing policy means only using quarries where: • children are not used as workers • no workers are forced to work • workers are free to join or form trade unions • workers do not face unsafe or unhygienic working conditions Based in Royton, Maysand has worked on a wide range of restoration, regeneration and preservation projects such as Salford Cathedral, Chester City Walls, Manchester City Art Gallery, Dunham Massey, the Port of Liverpool Building and Chethams School of Music. q

Cover story

Reaching the pinnacle

Project profile

Specialist welding engineers called on for London Tower Bridge restoration work n

Leicestershire based company Cast Iron Welding Services Ltd has been awarded the contract to carry out the much-needed restoration work to the Tower Bridge’s lamp standards and balustrades.

The family-run company has an excellent reputation for its sensitive approach to restoring Heritage-protected cast iron structures – and has developed the specific welding process needed for this demanding work.

Removal of the lantern to have access to the baluster box London’s world-famous Tower Bridge is over 100 years old and is English Heritage category Grade 1 listed. Maintenance and repair work on this iconic landmark requires knowledgeable experts to help maintain its authenticity and historic importance.

Over the years, the balustrade handrails and bottom support beam have exerted excessive pressure on the lamp standards due to natural movements in the bridge and rust building up in the expansion joints of the bridge’s structure causing the lantern balustrades to crack. Cast Iron Welding Services is carefully removing the damaged castings one by one, using purpose-built jigs and hydraulic jacks that hold the The gas fusion welding process

structures firmly to prevent any unwanted extra stress on the bridge’s concrete structure.

After the damaged sections are removed they are transported back to the company’s workshops in Coalville, Leicestershire for restoration.

Decades of paint layers have had to be removed to reveal the original casting before the inspection and restorative welding process can begin to bring the sections back to their original specification and strength.

The restoration work involves ‘gas fusion welding’, a highly specialised technique developed by Cast Iron Welding Services back in 1946.

The welding process requires the castings to be pre-heated at a controlled rate to achieve 600oC which is the perfect welding temperature for this grade of cast iron. This temperature is maintained throughout the welding process whilst the prepared area is subjected to intense localised heat with an oxy-acetylene torch that turns the area to be welded into a molten pool. A skilled operator maintains the molten pool and gradually fills the area up with a cast iron filler material of the same chemical analysis as the original casting.

After the welding process the casting is then reduced in temperature at a controlled rate of 50o per hour to ensure a stress-free weld. The result is undetectable to the eye and will have the same characteristics and strength as the original casting.

Once restored the casting will be primed and ready for careful refitting, the castings are then returned to Tower Bridge and reinstalled. This precise, delicate restoration process is already underway, and is likely to be The damaged box welded and complete by September 2010. q painted, ready for installation

Period properties

The benefits of using the correct materials for traditional buildings

by PAUL TRACE, Managing Director of Tuscan Foundry Products Ltd From North to South, East to West, the UK has approximately half a million Listed buildings. In addition there are numerous period properties dotted around the country in conservation areas and areas of outstanding natural beauty. These buildings form an important part of our country’s history and provide a valuable insight into techniques and designs from years gone by. such as English Heritage exist to protect and n Organisations promote England’s spectacular historic environment and ensure that its past is researched and understood. Supporting this work are the likes of SPAB, The Society for the Protection of Ancient Buildings, which was founded by William Morris in 1877 to counteract the highly destructive ‘restoration’ of medieval buildings being practised by many Victorian architects.

Today SPAB is the largest, oldest and most technically expert national pressure group fighting to save old buildings from decay, demolition and damage. They represent the practical and positive side of conservation and have a firm set of principles about how old buildings should be repaired and the practical knowledge to show how these can be put into effect.

Their successes are visible across the country. Thousands of historic

buildings survive which would have been lost, mutilated or badly repaired without their intervention.

Yet for all these success stories there is still a growing number of period property owners ignoring the past and using inappropriate materials to renovate or refurbish buildings that have stood proud for decades. With budgets currently being squeezed by the economic downturn and an ever increasing range of ‘fake/effect’ products coming onto the market, there is a real risk of these buildings being stripped of the very materials that create their charm and character.

Today, homeowners can choose from fake lead products, prefabricated chimneys, cast iron effect rainwater systems and modern bulky rooflights claiming a ‘conservation style’. With budgets tight these types of products are obviously tempting to period property owners, particularly as many of the manufacturers also claim that these modern materials even offer much coveted environmental benefits.

As Managing Director of Tuscan Foundry Products Ltd, I have seen first hand an increase of plastic rainwater goods trying to emulate the benefits of cast iron. It is certainly true that today these alternative modern materials have made great advances from a few years ago but they still have a long way to go before offering anything like the benefits provided by cast iron. Reliable cast iron has proven its worth over the years in demanding applications, a historical track record unmatched by substitute materials.

A building contractor once said to me that ‘if plastic guttering had been available to the Victorians, they would have used it’. Whilst we will never know whether this might have been the case, we can be reasonably certain that it would not have stood the test of time in the way cast iron has.

It appears the reason for using plastic over cast iron is firstly price and second that it does not require painting. This in itself contradicts the reason why many people choose a period property in the first place. I cannot think of a single customer who chose to own a period property because it was cheap or did not require any maintenance. These buildings have history, need care and are usually a labour of love for the owner.

The Listed Property Owners Club is an organisation helping Listed property owners to be kept informed about their rights and responsibilities. Membership gives access to detailed advice, information and support for just about every conceivable issue associated with ownership.

Director, Kellymarie Smith comments: “Many owners buy listed properties because they fall in love with the character of the building, they are also proud to own a little piece of our heritage. Most owners enjoy researching the history of their property and sharing its story making the property come alive. It’s very disappointing when owners replace original architectural items with modern materials which detract from the character, quite often it is a lack of knowledge on the owner’s part when they don’t realise the visual and sometimes detrimental damage they are doing to their building. We try to recommend owners think about the quality of the repairs and maintenance they are doing, rather than just looking at the price tag. It is also important for them to remember they

Period properties

will need to consult their conservation officer with changes such as the rainwater goods - if the builder says it’s OK owners should still get a 2nd opinion.�

Membership of LPOC will help you avoid potentially expensive pitfalls, stay on the right side of your conservation officer and ensure that owning a listed building becomes less of a chore and more of a pleasure.

There are many product manufacturers that have identified a potentially lucrative market in the refurbishment of older properties.

They have taken existing products, designed for modern applications, and pushed them as something they are not. A prime example is the conservation skylight, where low cost bulky framed rooflights that sit proud of the roof line have a plastic bar attached to the front to give a so called conservation effect. Unfortunately a large number of owners and building contractors are choosing this type of product over genuine conservation rooflights, based not on quality but price.

Whatever company you purchase your products from, it is important that you choose the right materials. When making decisions about whether to use modern alternatives you should remember those quirky period features that originally attracted you to the property. By choosing inappropriate materials you may save money in the short term but this could be at the expense of the original period character and ultimately reduce the value of the property. q

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Company profile

Celebrating 150 Years of Excellence in Church Window Guards n

C. Aiano & Sons Ltd., the leading maker of wire mesh window guards for churches and heritage buildings, is celebrating its 150th birthday this year. In 1860 Charles Aiano, son of the well known Canterbury-based barometer maker, set up his wireworks in Poplar, East London, making C. Aiano & Sons one of the oldest wireworks in the country.

It was a bold move by Charles who had originally followed in his father’s footsteps as a barometer maker, learning his trade among the many Italian barometer makers who settled in London in the nineteenth century. Yet Charles was not content in the barometer business, or perhaps he sensed the times were changing and the Victorian passion for instruments would wane. In any case he decided to branch out into a new kind of business.

He moved his young family to London and set about learning the skills and crafts of wireworking. Charles and his young family lived at the heart of the vibrant Italian émigré community in Hatton Garden on the site of what was soon to become the Italian Church.

Wireworking in those days was quite different from now. There was no such material as weld mesh or stainless steel, of course. But many of the skills and techniques that Charles would have learned, used and developed are still used by Aiano today. To our knowledge, Aiano is the only company in the country still making woven mesh window guards to protect precious stained glass and leaded light windows. Similarly, Aiano has strived to remain true to Charles’ values of quality engineering and craftsmanship learned when he was in the barometer trade. Aiano is unique in retaining and nurturing many traditional wire weaving skills such as diamond mesh, lacing and others.

Aiano has 150 years’ continuous experience of making window guards for churches and heritage buildings and Aiano wireworkers and welders are second to none. They take enormous pride in their work and pay great An Aiano window guard from attention to detail. the 1970s at All Saints, Poplar

A good window guard, an Aiano guard, should be beautiful but barely noticeable Making quality window guards to protect church windows is not only about quality wireworking. Each church building has its own particular requirements and Aiano starts each job with a site survey to take templates and ascertain the exact needs and constraints of the job. This process requires accuracy and experience in order to ensure that the finished window guards fit perfectly into the space allowed for each window. Aiano is especially skilled at making the complex shapes and lines of individual traceries.

Each and every church is different. Some churches have the legacy of a mixture of different guards installed over the years – inside the reveal, over the reveal, weld mesh, woven mesh, galvanised, stainless steel and so on. At some churches, guards have been hammered into place with masonry nails that have cracked and damaged Victorian brickwork. And some guards are simply too ill-fitting to look neat and do their job properly. A bad guard stands out like a sore thumb, whereas a good guard, an Aiano guard, should be barely noticeable.

In recent months Aiano has completed work for St Anne’s Kew Green, Amesbury Abbey Church, These uncoated guards show how St. Simon’s Shepherd’s Bush and perfectly Aiano guards are made to St Alban’s Cathedral, to name but fit and line up within the reveal a few.

Aiano makes window guards from both woven mesh and weld mesh according to the requirements of the job. However, with 150 years’ experience making window guards they are convinced that the traditional woven mesh methods are the best.

Woven mesh guards are longer lasting and have a natural hand-crafted beauty that is more in keeping with the fabric of the church – beautiful stonework, brickwork, iron and stained glass.

One of the secrets of Aiano’s success over the last 150 years has been the ability to blend traditional craftsmanship and understanding of church window guards with a willingness to embrace and adapt to new technologies and materials. Aiano stainless steel window guards, when powder coated black, are extremely long lasting and unobtrusive. The Aiano guard is a beautiful object in itself, a product of 150 years of experience and craftsmanship, but it is a subtle beauty that complements and never competes with or detracts from the stars of the show – the stonework and the windows. q

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Period properties

New steel window guide is a key specification tool Stylish loft living with elegant slimline steel windows

n

The Steel Window Association (SWA) has recently published a new edition of its Specifier’s Guide to Steel Windows.

Demonstrating the full spectrum of steel window ranges available from members of the SWA, the Specifier’s Guide provides a central point of informed knowledge, making it an essential reference for anyone involved in specifying windows – including architects, contractors and other members of the building supply chain.

The new edition was made necessary because of the rapid changes in building technology and standards. At one time the industry would have struggled to meet the latest U-value requirements, but advances in sealed unit manufacture, like the

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use of inert gases, have enabled the steel window industry to achieve improved thermal insulation performances, even with vintage window systems. The latest edition of the Specifier’s Guide also contains a new product range, the W30, a double glazed window section for domestic and light commercial applications which has evolved from W20.

There is added emphasis on the green credentials of steel windows: with the longevity and recyclability of steel sections, coupled with the fact that they are rolled from almost 100% scrap recycled steel, steel windows meet the requirements of increasingly environmentally conscious specifiers.

The natural slimness of steel window sections let the window reap the most from higher levels of solar gain. All SWA window ranges are fully weather tested and thermally evaluated and in addition the W40 range meets the requirements of Secured by Design.

The SWA President, Paul Tomlinson, highlighted the importance of the new Specifier’s Guide to the industry: "There's a wide array of steel windows of different types, styles and section sizes, each with different features and benefits. Some have fire ratings, some have high thermal efficiencies, and some have extremely narrow sightlines which are often essential for conservation work. By using the Specifier’s Guide to decide on a window type, it is easy to go to different companies throughout the UK to seek competitive prices for the same product." q

Period properties

A window on history windows in a period property can be a tricky n Replacing business. Windows are a major element in the architectural design of a building and their sensitive replacement with a style in keeping with the original is vital to the success of any renovation project.

Windows are important. They are, in effect, a building’s ‘eyes’ and often its most prominent feature - as well as being one of the most significant components in creating its character and appearance.

The importance of windows rests not only in their overall appearance, but in details such as their construction and materials, their fittings and mechanics, and even their glazing.

Window design has constantly evolved over the centuries, and is closely related to the evolution of architectural styles, framing materials and, most importantly, to technological advances.

Prior to the sixteenth century, most windows were constructed from stone mullions or timber frames with unglazed openings which could be closed with either sliding or folding wooden shutters, oiled cloth or paper, or even thin sheets of horn.

Only the wealthiest houses could afford to have glazed windows and these would have been constructed from small panes of glass, or quarrels, held in a lattice of lead strips or cames. cont on p15

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Project profile

Tailored to order – Conservation™ fenestration

by Mumford & Wood property refurbishment in one of London’s n Amostsubstantial desirable addresses is now complete offering mixeduse accommodation. Windows by Mumford & Wood, specialist manufacturer of period-style, high performance windows and doors, were specified for this complex project.

In order to satisfy the strict design criteria set out by planners and architects, Mumford & Wood addressed many issues in the design of both sash and casement windows and doorsets in order to match the original fenestration. The extensive structural refurbishment of the building involved the retention of the current facades although the property was underpinned and the existing basement slab removed, replaced and lowered.

Mumford & Wood’s current window specification designs were adapted to meet, as closely as possible, the external detailing of the existing frame sections; meeting rails on the replacement double glazed windows were required to stay in the same position in order to line up with stone features and brick work in the retained facades.

Ground floor box frame windows required special, large meeting rails with a detailed mould fitted to the face; casements

Tailored to order – ConservationTM fenestration by Mumford & Wood

had special external feature moulding to the frame and casement fanlights had a special bar pattern – all of which were in keeping with the original windows.

In this project the windows and fanlights were fitted internally in a check reveal showing only the exact frame proportions.

Mumford & Wood’s Conservation™ products are manufactured from premium quality, clear grade larch which is engineered and laminated to achieve strength, durability and stability. Double glazed products are factory finished, have BFRC energy ratings from A to C, depending on specification, and carry the Secured by Design, Energy Trust and BSI Kitemark badges of distinction. q

ConservationTM fenestration by Mumford & Wood

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Thanks to the newly established Tudor dynasty, the sixteenth century was a period of greatly increased stability and prosperity.

At this time there was a great increase in window size, with these larger windows being subdivided into smaller openings, or ‘lights’ by ‘mullions’(vertical bars of masonry or timber) and ‘transoms’ (horizontal bars).

As glass became more widely available, wealthier households had larger and more extravagant windows, although in smaller houses, glazing remained rare, but nevertheless was still more common than in previous centuries.

Under the influence of the Italian Renaissance in the seventeenth century, windows in England began to conform to new classical ideals. They became taller than they were wide. These windows were typically divided into four lights by a single mullion and transom.

These could be made in masonry, but as the century progressed, they were increasingly constructed from timber.

The sash window was introduced in the latter part of the seventeenth century and consisted of two sashes, or glazed frames; the front one would be suspended in the top half of the frame, and the rear would close the bottom half.

Seventeenth-century sashes were always in timber, usually oak or pine, with a grid of timber glazing bars to hold the glass.

In the early years of the eighteenth century, the sash window altered little from those of the latter seventeenth century. However, as the century progressed, sash design evolved and frames were made almost exclusively from pine. As the quality of glass available improved and panes became thinner, the width of the glazing bars began slowly to reduce.

Period properties

cont from p13

St Vincent Street, Glasgow by Mumford & Wood

cont on p17

n

Making a building more comfortable, warm and efficient is far from easy, especially when you have a period property. Single glazed windows are a major contributor to heat loss and compensating for this is not only costly but requires more energy consumption and therefore greater carbon emissions. Fitting double-glazing is expensive and disruptive whilst with period properties uPVC is out of character, inappropriate in conservation areas and generally not an option in listed buildings.

Clear View has the solution. Fit secondary glazing to your existing windows and hence preserve the heritage of the building. The benefits being – improved thermal efficiency and security, plus a reduction in draughts and cold spots and assisting with condensation problems. The company’s secondary glazing systems are bespoke to the customer’s exact requirements and their specialist fabricators can make windows to virtually any design. Sound proofing is another benefit of secondary glazing as it is by far the most effective noise insulation system for windows.

Clear View is committed to protecting our heritage and the environment – preserving the character of a building by allowing the retention of the original period features and reducing heat loss, costs and carbon emissions.

Clear View are a supplier to the National Trust and well used to sympathetically enhancing the insulation performance of windows in historic buildings with an extremely high quality and high performing system.

For further details please call 0114 279 2875 or visit www.clearviewsg.co.uk q

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Company profile

Clear View has the solultion

Project profile

Company profile

Window specialists n

Founded in 1967 by the late Graham Holdsworth, Holdsworth Windows Limited continues under the leadership of managing director Mark Glover, who joined the company in 1985. They specialise in the manufacture of purpose made hot dip galvanized polyester powder coated steel windows and genuine leaded lights. The steel windows can also be double glazed.

The company can manufacture windows from a variety of sections to suit most requirements, depending on the individual contract. This could be simple angle iron frames, standard sections, W20 or even heavier box sections. The fittings are normally brass, but they do have their own period handles and stays. If required they can often re-use existing fittings. q

The house that quietly rocks! n

Based on a medieval church in Salonica, St. George’s in London’s Tufnell Park dates back to 1861. Like many places of worship, St. George’s has had an interesting and varied career, including a spell as a Shakespearean Theatre. More recently the building was purchased by the Protestant evangelical church organisation, ‘House On The Rock’. Now totally renovated and renamed ‘The Rock Tower’, the building provides a multi-functional centre for the local congregation and wider community.

In addition to its function as a place of worship, ‘The Rock Tower’ will regularly be used for live music events and theatrical productions, so a major consideration during renovation works was acoustic insulation for noise containment.

Working closely with architects Paul Davis and Partners and main contractor Kier Wallis, Selectaglaze, the UK’s leading designer and manufacturer of secondary glazing systems, was called upon to resolve the problem of noise break-out via the windows, the majority of which were gothic arched headed stone mullion with stained glass. The windows to the nave, measuring 4.5m high x 2m wide and some being 11m from floor level, required a composite arrangement of shaped units for the heads with either side hung casements or vertical sliding units below for ease of access and maintenance. As part of the refurbishment process, a mezzanine floor was added to provide a seating balcony; this dissected several of the windows required to be fitted with secondary glazing. Selectaglaze treated

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a total of 60 windows, many utilising their Series 40, 41 and 45 Side Hung Casements, all produced with 6.4mm laminated safety glass.

This project is the latest undertaken by Selectaglaze involving church refurbishment or change of use, including the Grade II* Listed St. John the Evangelist Church, Hammersmith which, having been decommissioned by the Church of England, was taken over by the famous Godolphin and Latymer School and is now a state-of-the-art performance centre.

Purpose designed secondary glazing can be unobtrusive, sympathetic to the building and, in addition to noise insulation, markedly improves the window’s thermal efficiency and increases levels of security. Full factory assembly allows rapid installation with minimal disruption to the building and its occupants.

Established in 1966 and a Royal Warrant Holder since 2004, Selectaglaze has a wealth of experience in all types of building up to Grade 1 listed. The company has produced an extensive range of literature including test results for energy efficiency, noise insulation and added security, all of which are free upon request from the Marketing Department on 01727 837271/e-mail: enquiries@selectaglaze. co.uk or by visiting the company’s comprehensive website: www.selectaglaze.co.uk. q

Throughout the century, sashes became increasingly less expensive. By the middle of the century they were appearing in quite humble houses and by the end they were standard in even the smallest worker’s dwellings.

In the early years of the nineteenth century, the ‘Regency’ era, there was some experimentation with the patterns of glazing bars in an attempt to break away from the simple grid-like arrangements of the previous century.

The use of narrow ‘margin lights’ became common – these were long, thin panes of glass that ran around the edge of the window like a border and were often filled with newly fashionable coloured glass.

After the accession of Victoria, in 1837, plate glass became far more common as improved methods of manufacture made it less expensive and by the middle of the century, most sashes either had only a single, central glazing bar, or none at all.

The latter part of the century saw the rise of two new historical styles, the ‘Arts and Crafts’ movement and the ‘Queen Anne’ movement. Under the former, genuine leaded-lights again became popular, set in stone mullions or oak frames, whilst under the latter, white-painted small-pane sash windows were the style.

The pre-war and inter-war periods of the twentieth century saw a split between revived-traditional and modernist windows.

The revived-traditional windows eventually evolved in two directions: the first simplified to become the common style for most inter-war housing estates, with timber casements, often with small panels of leaded and coloured glass in doors and at the top of windows. The second type evolved into a late-seventeenth/earlyeighteenth-century revival, and was particularly popular for public buildings, where large multi-paned sashes again became common.

At the same time, the modernist windows, influenced by the Art Deco style, were made from recently developed hot-rolled steel.

These ‘Crittall’ windows, manufactured using the latest technology, produced a simple, functional window of strikingly modern appearance. q

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Period properties

cont from p15

Stone

Celebrating in natural stone craftsmanship the sheer beauty and versatility of natural nCelebrating stone as a building material, the Stone Federation of Great Britain’s prestigious Natural Stone Awards, now in their 15th year, are being presented at a glittering ceremony at Lord's Cricket Ground on 26th November 2010.

Open to anyone involved in a project, including clients, professionals, trades and stone suppliers alike, the awards are divided into five categories: New Build (load-bearing and modern, non-load bearing), Repair and Restoration, Interiors, Landscaping and Craftsmanship.

Entries will be judged by a team of internationally recognised architects with advice from stone experts. What the judges will be looking for is a sympathy of scale to any surrounding building or features and, in continuous street frontages, a relationship to any marked general horizontal or vertical pattern.

They will look for an understanding of the requirements of stone detailing and weathering to give a clean and minimum maintenance building or landscape development. Additionally, they will be looking for innovative use of stone in all entries, while great importance will be given to the overall quality of the work undertaken.

Projects do not have to be large to win. What they do need is a demonstrable commitment to excellence, both in the design and the execution of the design.

The award categories demonstrate just how versatile a product nature has produced in stone with its huge range of colours, textures, finishes, sizes and uses. They also show that the skills of the mason are as finely honed today as ever they were, complemented by sophisticated computer-controlled machinery to make the modern stone industry capable of meeting the exacting requirements of the modern construction industry and the innovative designs of the most imaginative architects of our time.

There are many general types of natural stone, including: • Granite – a term which has been applied to almost any igneous stone that can retain a polish. True granites provide many of these stones but other types of igneous stone that may fall into this classification include syenites, gabbros, dolerites and diorites. The metamorphic stones gneiss, schist and granulite are frequently also included in this ‘granite’ classification.

• Sandstone describes almost any stone of sedimentary origin with a granular texture. Some other types of stone that may fall under this classification include gritstones, siltstones, greywackes, conglomerates and marls.

• True slate is defined by the presence of a ‘slaty’ cleavage.

This allows the slate to be split at almost any point through the stone parallel to the cleavage plane. Most true slates are metamorphosed sediments, often formerly mudstones.

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Stone

excellence

Expert techniques wipe out graffiti fast based Community Clean’s fully trained staff are n Dorset specialists in the cleaning of graffiti and have over 15 years of experience in providing a complete graffiti removal and anti-graffiti service.

Community Clean is an inaugural member of the Anti-Graffiti Association and support their aim to promote best practice in the management of graffiti, vandalism and related crime.

The company has supplied anti-graffiti services to local and central government, embassies, the prison service, medical institutions, major construction companies, civil engineering contractors, transport operators, housing associations and the private sector.

With so many companies offering ‘similar’ graffiti removal products and services, Community Clean understands the importance of providing the best value package on the market.

They use state of the art machinery and the latest in highly advanced products to remove graffiti and paint from virtually any surface and any location.

Community Clean has been working hard in communities across the UK to make them better, cleaner and more enjoyable for everyone. The company’s work is often judged by the toughest audience of all, when working directly in front of the public. This has inspired Community Clean to develop one of the most effective, quick and environmentally friendly services in the business.

For further information call 0845 685 0133 or visit www. communityclean.co.ukq

• Limestone occurs naturally in many parts of the UK, with the limestones of the Jurassic period being prominent in this field. These run broadly in a belt from Dorset and Somerset in the south west, through the Cotswolds and Oxfordshire, on into Northamptonshire and Lincolnshire, to just north of the Humber.

• True marble, in the geological sense, is metamorphosed limestone and is principally composed of recrystallised calcite formed into an interlocking granular structure.

• Quartzites are typically the metamorphosed product of an original sedimentary rock such as sandstone, composed almost entirely of quartz.

• Travertine is the name normally given to a type of precipitated calcite associated with the cooling of waters around hot springs or in caves. Being formed very slowly it often incorporates dead matter such as tree debris that later rots away to leave a voided structure.

• Green or verde marble is considered separately to true marble because its origin is often the result of the metamorphism of rocks other than limestones. The green colour is typically derived from the presence of serpentine minerals. q

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Wood awards

Celebrating the best of British building and design in wood excellence in wood in buildings and furniture n Celebrating made in Britain, The Wood Awards, now in its eighth year, is the most respected award for building and design in wood.

The judges for this year’s awards selected an exceptional shortlist from 160 category entries in June at the Carpenter’s Hall, London.

The 27-strong shortlist features charming private houses and stunning small projects, outstanding restorations, splendid public buildings and fabulous bespoke furniture, all strong candidates for The Wood Awards’ main categories: Private & Best Small Project, Conservation/Restoration, Commercial and Public Access, Structural and Furniture – and of course the coveted Gold Award.

Michael Morrison of Purcell Miller Tritton Architects and Chairman of the Judges said, “I am delighted by the standard of entries in my first year as Chairman. It gives me great satisfaction to see good design thriving in the UK. The Wood Awards plays a crucial

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role in promoting the quality of British design in the world’s most sustainable building material.” Overall winners will be announced at the Carpenter’s Hall on 21 October 2010.

A shortlisted project of particular interest this year in the award’s Private/Best Small Project category, is the transformation of the 12th century Grade 1 Listed St Peter’s Church in Peterchurch, Herefordshire, to create a sustainable, multi-use community building now known as the St Peter’s Centre. The scheme was designed and delivered by Communion Design, who specialise in ecclesiastical, residential and community design projects.

St Peter’s Centre is now an exceptional space, developed in partnership with St Peter’s Church, Peterchurch PCC and Herefordshire Council. The ancient building has been superbly reordered to provide a community venue, a place of worship, a children’s Early Years Centre and a public library.

Due to the sensitive nature of the site in heritage and religious terms, Communion endeavoured to change as little as possible about the existing building, and sought to reduce to an absolute minimum the new facilities required to deliver the brief. These facilities included a wood pellet boiler, a kitchen, an accessible WC, a WC, a cleaners area and stair and lift access to the first floor balcony.

To minimise impact, all facilities were designed to be contained within freestanding timber boxes. When use dictates, the boxes are opened allowing the existing spaces to be transformed from 12th century patterns of worship, to more contemporary uses almost instantly. Once the activity is complete, the boxes are closed and the space returns to sacred silence.

The timber boxes are designed as lightweight, freestanding and reversible insertions within the existing space. The outer cladding of the boxes was specific to each. The largest and most complex box was located at the West end of the chancel and housed the kitchen, accessible WC, platform lift and plant room. This gave support to the oak staircase and first floor balcony with bridge to the new library.

The cladding was formed from 20mm thick, 100mm wide American grown oak boards. Great care was required in its construction, since to achieve an elevation of uninterrupted oak boards, the setting out of the internal spaces and the placement of the opening apertures was subject to the matrix of the oak board cladding. This was particularly taxing for the integration of the platform lift door.

Bespoke storage furniture was designed by Communion, and constructed in oak or clad in Portuguese cork, which allows for display of the children’s works within the nave of the church.

The project is an overwhelming success. The building’s lending library is hugely popular, the Sure Start Centre is achieving its full service delivery outcomes and more, whilst the church is continuing to be used as a place of worship for midweek and Sunday services, and is being regularly hired by many community groups. q

Find accredited professionals in just one mouse click! for museums and art n Ais passion something shared by readers of Ecclesiastical and Heritage World and members of Icon, the Institute of Conservation.

As the largest organisation for conservators and restorers in the UK, Icon is committed to helping everyone with an interest in the care and conservation of heritage.

One of the ways this is achieved is by helping people find experienced and qualified conservators to work in museums and galleries. Icon know that it can sometimes be difficult to find someone you can be sure has the conservation approach and level of skill required by organisations such as the Museums Association, English Heritage and the Heritage Lottery Fund.

Provided free of charge by Icon, the Conservation Register is a freely available list of businesses which can be searched online by the type of work to be undertaken and location.

Each of the businesses included in the Register has had to provide extensive information in support of their listing, most of

which is made available to people searching the Register. This depth of information distinguishes the Conservation Register from other directories.

Requiring standards of professional accreditation, the Conservation Register also shows descriptions of work recently undertaken by each business. These project descriptions are regularly renewed and each has been referenced by the client for whom the work was undertaken. To use the Conservation Register please visit: www. conservationregister.com.

Welcoming individuals and organisations from all backgrounds who identify with the conservation and preservation of our cultural heritage, Icon has a dynamic and enthusiastic membership of both professional conservators and people interested in conservation. Membership groups are the main hub of the Institute’s activity and span specialist interests from stone and stained glass to textiles and metals.

In terms of advocacy, the creation of the Institute couldn’t have come at a better time. Science & Heritage, Protecting and

Preserving our Heritage, Caring for our Collections and the National Lottery are some of the topics on which Icon has submitted consultation responses and given evidence over the last year.

Icon also works hard to raise standards in conservation and increase understanding of conservation amongst the wider public.

This is a rigorous peer review process through which conservators demonstrate that they have deep technical knowledge of their subject, significant experience and the ability to make sound and ethical judgements when presented with complex conservation problems. Accredited conservators can be recognised by the letters ACR. Back in 2006, Icon was granted ÂŁ1 million by the Heritage Lottery Fund towards the cost of delivering a new internship scheme in conservation and up to 60 conservators have launched their careers through this route over four years.

For further information on the full range of Icon activities and events, please visit www. icon.org.uk. q

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Conservation

Looking for a conservator?

22

Lime

– back in the limelight

use of building limes as the principal binder in n The mortars and renders has has enjoyed a renaissance over the past few years.

The earliest documented use of lime as a construction material was approximately 4000 B.C. when it was used in Egypt for plastering the pyramids, and the Roman Empire also used lime based mortars extensively. Lime has proven performance that is demonstrated by many structures, including the Great Wall of China, which have lasted for hundreds of years.

The ancient tradition of using lime in building continued until the patenting of Portland cement in 1824 heralded a steady decline in its use. It is therefore likely that the vast majority of our ecclesiastical buildings were built with lime – it is a material that continues to provide well-documented evidence of its superiority as a masonry binder.

Apart from cathedrals, abbeys, churches and other religious buildings, all the castles, stately homes and a considerable percentage of the building stock in this country – constructed before 1824 – were also built using lime. These are the buildings that have stood the test of time and thus deserve the utmost care when carrying out maintenance.

Building limes are fundamentally important to the care, repair and long term survival of historic buildings, yet there are many who still regard their use as a fad propagated by eccentrics.

Such views are even held by many of the professionals and practitioners charged with the care and repair of old buildings.

Most pre-nineteenth-century buildings used lime mortars and plaster. Materials used to repair or replace original masonry should have similar properties so as not to disrupt the balance of interaction within the building and repair mortars should match the original in colour, texture and strength.

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Compny profile

Building on excellence

in the conservation sector n

Craigleith Masonry Company is a ‘can do’ forward thinking organisation and is ambitious to succeed in the building conservation sector of the construction industry and effect the highest quality work for clients at best value prices.

The company want to get back to the situation where architects and surveyors can simply ask them to ‘fix that’ or ‘build that,’ knowing that they have the confidence and knowledge to do a job well.

For the most part, the buildings that Craigleith Masonry deal with are of solid mass wall construction, be it a combination of stone, brick and lime – what used to be called ‘stane and lime’ construction. Roughly up to the 1920s it was the only way to build. If the company do find a building with problems, they know where to get specialist advice and

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seek this as a matter of course – more often than not from the Scottish Lime Centre Trust.

First and foremost, Craigleith Masonry have a well qualified workforce and a company structure that allows their staff members to flourish and progress; they have a route and a path to progress, embracing the Scottish Government’s ambition for life-long learning.

The company’s sites are tidy and safe and are a credit to their organisational skills.

Their health and safety regime is second to none – they closely monitor their staff’s health and well being on an ongoing basis.

If the staff aren’t happy, then neither is the company.

All of Craigleith Masonry’s sites have a foreman in charge and site diaries are kept religiously, ensuring that clients will know what has been achieved each day, and if there are any problems they can be

‘quarantined’ offering each customer total comfort that they are on the case.

The nature of the materials used on a day to day basis, namely natural stone and hydraulic lime binders, require patience until they achieve optimum durability – so that if a client has a traditional masonry building, they can expect the highest quality repair. It might take a little longer, but clients can rest assured that they are in the most capable of hands.

Craigleith Masonry Company are proud to have worked in partnership with the Scottish Lime Centre Trust (SLCT) on a number of conservation projects, including reinstatement of lime finishes and repointing rubblework. They are about to reconstruct a ‘Greek Thomson’ doorway salvaged from a building in Glasgow, by providing the manpower and know-how to reassemble this important piece of masonry for training and education purposes.

Compny profile

The wealth of experience and knowledge at the SLCT is unrivalled and you can always rely on their independent, pragmatic and practical solutions for building repair, whether on new build or the repair of existing buildings.

Craigleith Masonry are a young but ambitious contractor and like to keep ‘ahead of the game’, whilst continuously developing their staff through attendance at the SLCT’s training and education programme. In the last year, Andrew

Innes, owner of Craigleith Masonry, successfully completed three national units in Conservation Masonry with the SLCT, a qualification accredited by the Scottish Qualifications Authority (SQA). Andrew is keen to see that as many of his staff as possible also gain these qualifications as a ‘benchmark’ of competence and to demonstrate to clients their commitment to high quality work.

New for 2010, Craigleith Masonry are now able to offer an independent building

consultancy service, backed up by a combined 60 years of experience in the building conservation field. This service can offer full building surveys, defect diagnosis, full specifications and an on site quality control inspection service to give clients the comfort that the right materials and techniques are being employed on their buildings. Any potential client can be assured that with Creigleith Masonry you are in the best of hands, and the company looks forward to doing business with you. q

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Lime Company profile

cont from p23

Cement pointing is particularly detrimental if applied to soft stone or bricks. It is hard, non-resilient and comparatively non-absorbent. Nor does it respond to the variations in the atmosphere to the same extent as the surrounding stone or brickwork.

Lime mortars used as the bedding material for masonry and for pointing the joints provide a permeable route for the passage of moisture from the core of the wall to the surface where it evaporates. Where the stone is very hard and impervious, this may be the only route available. Where the stone is relatively soft, a more porous mortar will always be preferred to reduce the amount of evaporation which takes place through the stone. Any attempt to weatherproof a traditional wall is therefore pointless. A permeable render provides far more effective protection.

The Society for Preservation of Ancient Buildings (SPAB) publishes an excellent document, The Need for Old Buildings to Breathe that deals with ‘cold bridge syndrome’. This describes the situation where the vapour permeability of solid masonry

300-year-old ‘grey lime’

Combining traditional wisdom with modern technology n

The Limecrete Company Ltd was started in 2006 by husband and wife team Myles and Louisa Yallop. Their background is in groundworks, but as the environmental impact of general construction practices became impossible to ignore (and probably no coincidence that this coincided with starting a family) they began looking towards sustainable construction. Myles learnt about limecrete and was very impressed with the material, however it appeared to be problematic to work with. The more he researched he realised that the problems would be eliminated by understanding the material and mixing it in a more efficient way. He set about modifying a volumetric batching truck in his workshop and the resulting creation was the Big Green Limecrete Machine.

While the birth of the company was environmentally motivated, historic building renovations now make up roughly half of the company’s work. The floor areas of churches and stately homes tend to be large – failures are unthinkable and here the efficiency and experience of The Limecrete Company are invaluable.

Limecrete floors combine traditional wisdom with modern

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technology. Limecrete breathes with traditional building materials and is used without a damp proof course. The insulation layer prevents moisture ingress while allowing damp to escape and also enabling the building to be heated effectively for the comfort and health of the inhabitants.

The future of the company is to maintain the quality standard set for itself, while Myles keeps the inventor within satisfied by developing polished lime screed finishes, efficient mixing and placing methods for hempcrete, and who knows what else. q

walls is compromised by the use of modern impervious materials, such as cement renders externally and gypsum plaster and emulsion paint internally.

The variety of lime mortars varies throughout the world, depending upon the local limestone source and availability of aggregate – in the UK everything from relatively pure limestone through to limestone contaminated with a variety of pozzolans can be found. When fired at 900°C, each of the variants will produce a slightly different form of lime, ranging from a pure non-hydraulic that will cure by absorbing carbon dioxide to hydraulic lime that achieves partial cure on contact with water as well as absorbing carbon dioxide. Early firing of lime was carried out using timber-fed kilns which probably gave rise to the description ‘grey lime’, it being the result of slaking lime which contained a small proportion of wood ash.

Times have changed and today approximately 80% of the current production of non-hydraulic lime in the UK is used by the food and steel industries that, quite understandably, are looking for a pure product. A century ago the lime from beneath our feet was fired almost irrespective of quality and local tradesmen understood the working of local materials. With just 10% of current non-hydraulic lime production being used by the building industry, the product is the purest form of lime and free from the pozzolanic contaminate that afforded feebly hydraulic setting qualities sometimes found in historic mortars.

When identifying a historic lime mortar that is feebly hydraulic it is important to gauge the repair mortar to replicate the same setting characteristics. The average modern cement mix sets to 6.8N/mm2, while the setting strengths of lime mortars may vary between 2N/mm2 or as strong as 40Nmm2.

The environmental credits of lime are considerable. During the production of lime, limestone is burned which gives off carbon dioxide. Later in the cycle, when the lime is being used

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Lime

‘Most pre-nineteenthcentury buildings used lime mortars and plaster ’

Lime

on a building and is setting, it re-absorbs carbon dioxide back into itself. This means that lime has a low carbon footprint.

Cement also gives off carbon dioxide during production, but never reabsorbs it. The carbon footprint for cement is 100, or in other words, for each tonne of cement produced, a tonne of carbon dioxide is also produced. It is estimated that cement production represents around 8.3% of man-made carbon dioxide.

A change from cement to hydraulic lime in the building industry could make a major contribution to the reduction of carbon levels.

Materials built with lime can also be recycled, old lime mortar rubble can be used in a new mix, and non-hydraulic lime will eventually revert to the same material as when it was quarried. q

The Armed Forces Memorial at Alrewas – a modern example of Lime in building

A day’s work completed in minutes!

– innovative new tool speeds stained glass restoration innovative new tool which speeds mortar removal during nAnstained glass restoration, the AS170 Arbortech Allsaw, completed in just 20 minutes a job which would have taken a day or more to carry out by hand.

Ben Sinclair, proprietor of of specialist stained glass restorers Norgrove Studios Ltd, commented on the amazing performance of the tool on a window restoration project at St John the Baptist’s Church at Aston Cantlow, South Warwickshire.

“We used the Allsaw to clear out and deepen existing glazing grooves in a stone window, so that it would easily accept the rebuilt panels. An approximately 74” run was gently chased in 20 minutes, whereas carrying out the same task by hand using a ½” tungsten chisel would have taken a day or more and would not have been completed so thoroughly.

“Subsequently installing the rebuilt and repaired glazing was made

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significantly easier as all grooves were clear and open.

“The Allsaw creates far less dust than a spinning grinding disc, – whose use is often not allowed on heritage sites – with no thrown debris, and is far quicker and less damaging than chasing out a groove with a hammer and small tungsten chisel.

“Although the Allsaw is not suitable for very hard concrete/ cement based mortars, in softer mortars it has the delicacy to plunge between the stone and glass line, though the operator needs to be skilled in its use. Masons who do not possess an Allsaw are jealous when they see it on site.”

The Allsaw can be used to cut brick, mortar, soft stone, wood, plastic and even tree roots covered in soil. It has six blades for various applications and this enables mortar joints as fine as 3mm to be raked with ease.

In addition, the Allsaw has unique capabilities for crack stitching, re-pointing works, damp repairs, chimney repairs and chasing mortar joints. Individual bricks and stones can also be removed intact with a precision and accuracy that was not previously possible.

For more details on the award-winning Allsaw, Call Arbortech Sales: 0800 9800 998 q

Glass

Illuminating history for over a thousand years Britain’s churches, cathedrals and other major n Illuminating buildings for over a thousand years with its brilliant jewel-like colours, stained glass has a long history dating back to the seventh century in England.

By the 12th century, British stained glass had become a sophisticated art form, created using techniques that have hardly changed since then.

Because paper was scarce and parchment very expensive, the fullscale outline of the design for a stained glass window was drawn out on a whitened table top. The designer would indicate the principal outlines of his drawing, the shape and colour of the individual pieces of glass to be used, and the position of lead strips (calmes) that would eventually hold all the pieces of glass together.

The panes of coloured glass were cut to shape with a 'grozing iron' and laid on top of the drawing. Through the glass, details of the drawing such as faces, hands and drapery could be seen and these details were traced with an iron oxide pigment on the surface of the glass.

After painting, the pieces were fired in a small furnace for sufficient time to fuse the paint to the surface of the glass, and then re-laid on the table and assembled by the glazier, using strips of lead, H-shaped in section, which allowed the glass to be slotted into the grooves on each side. The intersections of all the lead strips were then soldered, and an oily cement was rubbed into all the joints in order to make them watertight. The panels were then held in place in the window openings by a grid of iron bars set into the masonry.

Yellow stain was discovered around 1300 and had the ability to turn white glass yellow or blue glass green - adding a whole new palette of colour for the stained glass artisan.

Stained glass continued to flourish in England until the Reformation of the Church in the 1540s, when changes in religious outlook undermined the need for sacred art.

Coloured glass continued to be made in the 17th and 18th centuries, but the craft gradually declined and skills were lost. The 19th century saw a revival of interest in rediscovering the techniques of the medieval glazier - led by those such as the antiquarian Charles Winston and the architect A W N Pugin, who helped to re-establish the scholarly principles for a Victorian gothic revival of stained glass. As a result of Winston's technical experiments in the 1850s, the quality of coloured glass again approached that produced by the medieval glaziers. Today many parish churches and cathedrals contain Victorian stained glass windows of outstanding quality and craftsmanship, and this ancient art continues to flourish and evolve in many different forms. q

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Metal roofing

Repeat thefts lead to alternatives the theft of lead sheet from ecclesiastical nAlthough properties continues to be a widespread problem, it is at least not at the level of two years ago when 200 insurance claims per month were being filed as a result of escalating scrap metal prices.

Whilst better awareness and improved security measures have had some effect, without doubt the major factor in this reduction of lead thefts has been as a result of the limit placed by insurers on the overall value of claims they are prepared to cover from any single property.

Churches facing the problem of replacing stolen lead sheet for the second or third time are therefore being forced to consider other alternatives to traditional lead, although any such change requires approval from the Diocese.

Some have opted for short life span single membrane coverings with a ‘lead like’ appearance, with a view to replacing it with the real thing once metal prices have fallen below the level at which the risks of theft are worthwhile. Traditionalists fear that this is simply the thin end of the wedge and once installed, these ‘plastic’ substitutes will be automatically replaced like with like, as required every few years.

Although traditional lead sheet has a unique long term performance reputation, many also see zinc sheet or stainless steel as an acceptable alternative that still has a good long term performance record.

As always with roofing metals, the integrity of the installation will depend upon the quality of the installer. Too often this is a new experience for those responsible for the property who are advised by tried and trusted regular maintenance people, not appreciating the specialist skills required to fit traditional hard metal roofing.

Of course zinc sheet in particular is often specified in its own right, as shown in the accompanying photographs of St Mary’s Church at Bersham, showing a superb roof supplied by VM Zinc and installed by CEL Ltd, based in Peterborough and members of the FTMRC. The Federation of Traditional Metal Roofing Contractors is the national trade association for specialist aluminium, copper, steel and zinc installers. Members are required to regularly submit their work for on site inspection by an experienced member of the FTMRC Council who will complete a comprehensive vetting report confirming that the required standards are being maintained.

All members are required to work in accordance with the FTMRC Guide to Good Practice, designed to supplement the metal manufacturer’s own specifications. All of the major European metal manufacturers support the quality standards aims of the FTMRC. Although perhaps regarded as more modern materials for roofing and cladding, zinc and stainless steel, along with the more historically used copper sheet, certainly have an increasingly widespread use in traditional roof designs. Zinc and steel sheets have relatively little scrap value and, with a natural grey appearance, have become acceptable replacements for stolen lead in many areas, particularly the hard hit ecclesiastical quarter.

However, for the metal to perform as it should, it must be installed correctly.

Further details of the members of the FTMRC can be found at www.ftmrc.co.uk or by contacting the secretariat on 01342 301627. q

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Lightning protection

Achieving new heights in specialist training

- the Steeplejack and Lightning Protection Training Group to raising standards through systemic training n Geared within the lightning protection and steeplejack industry, the Steeplejack and Lightning Protection Training Group (SLPTG) was formed in August 1974 and was initially known as the ATLAS Training Group.

The group work closely with ATLAS, the Association of Technical Lightning & Access Specialists (previously the National Federation of Master Steeplejacks and Lightning Conductor Engineers) to formulate a national apprenticeship scheme, a qualification system and to expand the training facilities in association with CITB (Construction Industry Training Board) at the National Construction College, Bircham Newton, Norfolk.

With membership predominantly from the steeplejack and lightning protection sector, ATLAS has been continually striving to improve working practices, technical quality and accepted standards. The benefit is naturally felt by ATLAS member companies, but also extends to clients of members who work within this specialist sector.

SLPTG training ranges from courses for new construction apprentices right through all craft training to bespoke supervisory and management courses.

The SLPTG is run by an elected Council of up to 12 people drawn from member companies. Mr Anthony Colley, SLPG Training Group Member says: “The training group demonstrates that we fully understand the commitment and the consequent investment that is required for training, because adaptable, skilled people are vital to the success of our industry.

“The training group can provide cost-effective access to a full range of college courses, apprenticeships and work-based training options. The group can identify and guide you through the full range of courses provided by CITB and any number of specialist private sector trainers and consultants. We are an advisory body which rigorously reviews the industry’s training and development requirements by gathering information from specialist employers and training providers.

“The SLPTG was formed to organise and review training for our industry. However, since the introduction of CSCS cards

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working closely with all the training providers and our members to ensure that the training delivered to our workers is improving the quality of our workforce in all areas. This will mean the introduction of more dynamic forms of training which will elevate the industry.”

For further information call 01727 896081, email info@slptraininggroup. org.uk or visit web: www. slptraininggroup.org. uk. q

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Stannah Lifts’ new Midilift XLplus has brought true democratic mobility to The Avenue Methodist Church and Community Care Centre in Newton Abbot, South Devon.

Hot off the production line, this latest addition to Stannah Lifts’ range of vertical platform lifts has made movement so much easier for mobility compromised people. Every disadvantaged visitor – from a pushchair-pusher to a wheelchair-user – now has access to all functions and facilities, a capability which helps the Church meet DDA requirements.

In operation since March 2010, this deluxe Midilift model opens up first-floor amenities which comprise a large hall and kitchen.

The lift car is entered via a small ramp and clear-glass door. The interior features a halfheight rear mirror, ambient ceiling lighting, satin stainless steel and azure-blue panelling, and grey grip flooring for safety. Enclosed in a white, baked-enamel shaft for swift, costeffective installation, the lift harmonises with the contemporary décor, bringing stylish and invaluable access to a multi-use environment.

The new Midilift XLplus contributes to the pastoral care and a host of other facilities

for the whole community, from pre-school children to teenagers, families and senior citizens. It is the ideal solution for buildings where it is not necessary, practical or possible to install a conventional passenger lift.

Lift users and budget-conscious, spacestrapped owners appreciate the advanced range of ergonomic features such as automatic push-button controls for ease of operation; a partially enclosed car for an enhanced sense of safety; two car styles for a greater choice of finishes, and a new traction drive system for a smooth, quiet ride with an increased travel to 12m for loads up to 400kg.

The Property Committee Chairman praised the Church’s new Midilift XLplus: “This is a busy church and has to function on many levels. The arrival of our Midilift XLplus means that we have opened up the whole premises to the entire area – it truly is a ‘community’ lift! Thank you to everyone involved in this first class project – the Stannah installation team, Marks Building Services and Walker Newton Architecture.”

For more information about Stannah’s range of platform lifts, call Stannah on 01264 339090, or visit www.stannahlifts.co.uk. q

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Product profile

NEW Stannah Midilift XLplus brings democratic mobility to Devon church

Lightning protection

throughout the construction industry, there is an important need for the training and development of the people within our industry. Therefore the training group worked tirelessly with CITB to manufacture and implement the National Vocational Qualification (NVQ) for young people and experienced skilled workers.

“There has been a considerable marked improvement over the last couple of years in relation to the achievement rate of the NVQ 2 for Lightning Conductor Fitters and Steeplejacks.

“Any person carrying out this type of work should have a CSCS card clearly stating their personal CSCS registration number on the front and any NVQ level achieved as either a lightning conductor engineer or steeplejack on the reverse.

“The group needs to develop training for our industry by

Digital surveys

Laser scanner comes into its own for heritage work

surveying company that has recently invested in n AtheTyneside latest 3D laser scanning equipment has demonstrated its suitability for heritage and restoration schemes with a recently completed project involving a survey of Alnwick Castle, Northumberland.

Digital Surveys, established in 1987, has formerly built its reputation on traditional survey work with many prestigious clients in its portfolio including Northumbrian Water, Corus, Balfour Beatty and Bellway.

The two principal advantages of 3D laser scanning over traditional techniques are speed – it vastly reduces the time required on site – and the quality of data gathered.

It is also possible to highlight the difference between materials such as brick, stone, mortar and even varying states of repair, making it an invaluable tool when used for restoration and heritage work.

Ben Bennett, director at Digital Surveys, says: “At Alnwick Castle, we have been surveying the keep as part of ongoing conservation work, a project which we won after a competitive tender. Since completing this scheme we were also given the project of surveying the Auditors Tower at the castle.

“Laser scanning opens up a host of new ways for engineers or managers to visualise a project in its true location and then collaborate with other partners to share dimensionally accurate notes.

“The potential applications for laser scanning are vast and

Ben Bennett demonstrates the latest technology and the results of the 3D scan

might include creating an accurate architectural drawing, generating rich or complicated engineering plans, digitally preserving heritage sites by creating a snapshot in time, as in this case, or even carrying out virtual inspections of nuclear installations.

“Scanning a heritage site for the first time is like taking its first ever photograph. No matter what happens in the future our 3D scans at Alnwick Castle will always be the first taken – giving them a place in history.”

Robin Smeaton, building surveyor for Northumberland Estates, Alnwick, who commissioned the survey, commented “We have used other surveying methods in the past for this type of work but the main keep has many shapes and changes of direction, so the driver for us as part of our conservation strategy, was to be able to produce working drawings that could be submitted to English Heritage as part of a planning application. The 3D laser scanner provided exactly the quality of image and accuracy we needed for this purpose. I am sure we will be able to use this system again in the future.”

Since completing the project at Alnwick Castle, Digital Surveys has produced 3D laser scans for Europe’s largest multi-arts and conference centre, The Barbican in London and the Constables Tower at the Tower of London. q

Alnwick 3D survey image

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