Ecclesiastical and Heritage World by DMMonline

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York Spotlight York is one of Britain’s most historic and

dynamic cities, and moreover has been a centre of craft skills since the Middle Ages. In this issue we take an in depth look at some recent projects that have been undertaken in the city including the work of the York Consortium of Conservation and Craftsmanship and its members – Pages13-30 COVER STORY: Award winning restoration puts museum back on track – Page 4

Features... LEAD 6 8 8

Award-winner helps match new pool to Palladian style Oldest building in Slough beats lead thieves with Sarnafil Pals church saved – at a cost

9 9

Martin-Brooks counts cost of lead theft Scrap law changes broadly welcomed

ENVIRONMENT 11 Churches reduce footprint by turning to the light 11 New man gets straight on with the job LIME 33 34

Take a tour of a Roman house - with the plasterer Tarmac Building Products’ Limelite Renovating Plaster

ECOLOGY 36 Churches provide the perfect haven 37 Joint initiative addresses bat issues 37 More than bats in the belfry 38 Reconciling conflicts between ecology and heritage landscapes

HERITAGE & PERIOD WINDOWS 41 The humble sash that is a window on history 42 Bespoke windows and doors adorn new classroom block in former royal palace 43 New steel window guide is a key specification tool

LIGHTNING PROTECTION 51 Lightning engineers: if they can’t show the card, give ‘em their cards

PARKS 45 45

Edward II: grand tomb marks an ignominious end

Time to get PRomotion!

Bank has new life as restaurant

Urgent repairs halt decay of local landmark church

Historic Highgate Chapel finally regains its ceiling

Asbestos in buildings

& GARDENS Chiswick celebrates the beauty of the camellia Enjoy the early blooms and help cancer charities

THE HISTORIC CHAPELS TRUST 47 Unitarian ‘cathedral’ is brought back to life by HCT 47 What is the HCT? HERITAGE ANGELS AWARDS 49 ‘Angels’ re-establish disused church as a new ‘Left Bank’

THE MASTER CARVERS’ ASSOCIATION 54 Carving out an enviable reputation

Also in this issue...

Classified Section p55 Richard Shepherd – Business Development Manager Tel: 07429 516265 Email: richard@dmmonline.co.uk All other enquiries: Tel: 0161 850 1680 Fax: 0161 850 0918 61 Lower Hillgate, Stockport, Cheshire SK1 3AW Copyright Ecclesiastical & Heritage World. All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Ecclesiastical & Heritage World. Views expressed in this magazine are not necessarily those of the publisher. 1DNN

Brock Carmichael Architects sensitive restoration and adaptation of an early Victorian railway goods shed in the centre of Bury for the East Lancashire Railway Company has regenerated the Bury Transport Museum and added a further flagship heritage museum project to the town. 4

Picture courtesy of Headland Design Associates

Bury Transport Museum

Award winning restoration puts museum back on track

Fusilier Museum and the restored and relocated Lutyens War Memorial

he Bury Transport Museum follows hot on the heels of the Fusilier Museum completed by the practice a year earlier and located just a stone’s throw from the transport museum site. Both projects have utilised dilapidated listed buildings and balanced the need to maintain the historical significance and detail, whilst responding to the new use and user needs, by the use of contemporary materials and details. The Goods Shed was constructed in 1848 and provided handling and distribution facilities for over one hundred years until its closure by British Rail in 1963. The simplicity of plan and consistency in use ensured minimal alteration of the original design and detail. The large stone detached building with a Welsh slate roof on a massive timber truss and cast iron column structure, incorporated roof glazing for good internal natural lighting and large door openings on each elevation to facilitate ease and flexibility of access by rail and road vehicles. A set of seven sidings, two of which ran into the warehouse, trailed back from a loop siding. A series of internal timber platforms, cranes and ancillary spaces allowed goods to be delivered, unloaded, recorded, weighed, sorted and packaged for subsequent distribution. Upon closure of the building in 1963, British Rail demolished the remaining external/ ancillary buildings, removed the internal corner mess/office/storage spaces, sold the cranes and lifted large areas of track. The site and building were purchased by Bury MBC in 1965 and the use transferred to the East Lancashire Railway Preservation Society in 1972 to create the Bury Transport Museum. The progressive failure of materials, poor detailing of the original roof and gutter components and the poor discharge of rainwater resulted in signiﬁcant water ingress into the building and extensive dilapidation of the roof structure and fabric. Failure of primary timber structural components and consequential movement of the roof structure resulted in extensive propping and temporary works, with the consequential restriction on public access in 1997 followed by closure in 2003 on health and safety grounds. The securing of major financial support from HLF, NWDA, Bury MBC and other funding organisations has allowed the building to be repaired and put back to full productive use. Externally, the building envelope has been accurately restored to reflect the original appearance. Internally, the original elements of the building have been retained, repaired and restored to allow interpretation of the historic form, structure and character whilst new elements sensitively designed and inserted to provide staff and visitor facilities. The internal faces of the walls and the principal components of the roof structure are lime washed to reinstate the former finish which, combined with new lighting, provides a stunning backcloth to the large road and rail vehicle exhibits. The exhibits are arranged on the two original raised platform areas and within the large central ground ﬂoor area. A combination of stairs, platform lifts and bridge links provides safe access for all visitors. The bridge links are designed to rise hydraulically above the principal access doors to facilitate ease of movement of rail exhibits as required. The provision of a new upper storey space allows the ground floor area to be maximised for display and provides high level views of the building and collection. The self-contained space provides a large and flexible room with dedicated kitchen, storage and accessible lavatory facilities for a wide variety of users during museum hours and for out-of-hours use. The museum is exceeding visitor projections and the project won an award at the prestigious National Railway Heritage Awards in December 2011. q

Bury Transport Museum principal facade from the east

Ground Floor area looking east to entrance area with flexible spaces at upper level

View of building and display areas from the flexible spaces at upper level

View of building and display areas from the raised south platform with lifting bridge visible

T: 0151 242 6222 | www.brockcarmichael.co.uk

• Pictures courtesy of Headland Design Associates

Award-winner helps match

new pool to Palladian style T

he Murdoch Sponsor’s Award for 2011 was won by Dorset-based A P Chant. The awardwinning leadwork was carried out at an imposing Palladian mansion near Taunton in Somerset. Constructed of Bath stone, the building was designed by John Collins and constructed by Thomas Prowse in 1755. Over the past five years a programme of internal alterations and external repairs has been carried out, under the direction of the Bath branch of the architects Donald Insall Associates Ltd. The latest project involved the creation of a new indoor swimming pool, with ancillary accommodation and a new kitchen. The pool was created in an existing internal courtyard. A P Chant’s involvement was with the roof of the pool, where a large oval lantern provides natural light for the space underneath. It is built off a steel structure. Beneath the lead the roof build-up comprises 25mm plain boards on 75mm x 50mm firrings, laid on 25mm WBP plywood over 200mm x 50mm joists, with 200mm thick insulation between and over them. The fascia is of Code 5 lead, with copper strip support to form the drip detail, and incorporates a ventilation detail at the top. In accordance with Lead Development Association recommendations, great care was required during construction to ensure that ventilation pathways were not in any way restricted. The lead bays are formed from 1800mm x 2400mm sheets of Code 8 lead, which were considered to be the most economical, considering the shape of the roof. The undersides of the bays were treated with a chalk emulsion and, after drying, laid on Grade A building paper. The design also incorporates an impressive finial. Turned on site from ash, the underside is hollowed out to form a ventilation detail, while the bossed sections are covered in Code 7 lead. The pinnacle is a solid casting, again made on site. Managing director Ashley Chant declared: “We feel that the end result creates an impressive addition to the property, totally in keeping with the existing structure. We are delighted to have won the Murdoch Sponsors Award 2011, sponsored by Associated Lead Mills, and are proud to have our work recognised in this way by the industry’s leading trade organisation.” q

For further information contact A.P. Chant on: T: 01308 420170 F: 01308 420180 E: info@apchant.com W: www.apchant.com

Oldest building in Slough beats lead thieves with Sarnafil

hen St Laurence’s Church in Slough was robbed of the original lead lining from its roof valley gutter, its parish warden was determined to find an alternative rather than replace the metal and risk thieves striking again. The 12th century church in the parish of Upton-cum-Chalvey is the oldest building in the borough and is protected by a Grade I listing. As such, it came as no surprise to warden Allan James – who is responsible for three churches in the parish – when insurers told him the roof would have to be replaced with the original metal to the tune of £12,000. Fortunately, however, Allan had heard about Sarnafil single ply roofing systems. Mimicking the look of lead and copper roofs, these highperformance waterproof membranes are proving a popular choice for buildings affected by metal theft. Having received an insurance payment of just £4,000 to cover repair work, Allan lobbied to use Sarnafil’s lead grey membrane instead of lead. “The gutter is hidden from public view, so I was determined not to put lead back up there,” he says. “It’s just like feeding the birds – the more ‘food’ you put out, the more they come back.” With the local police – who say there are seven metal thefts reported per day in Berkshire – in support of Allan’s proposal, he was able to persuade council and planning authorities to specify single ply. Sarnafil registered contractor Owlsworth Roofing, based in Henley-on-Thames, was tasked with installing the stretch of narrow guttering to the historic church. “Sarnafil was the ideal replacement,” says Owlsworth’s Peter Mably. “Its flexibility and welded nature meant it was relatively easy to fit between the two pitched tiled roofs either side. We got the job done within a week, which meant we were able to protect the church from water ingress while we worked. The thieves damaged the downpipe rainwater hopper when they took the lead, so we replaced that too. Overall we were very pleased with the finished roof.” Allan, too, is delighted with the finished roof. “I’m very pleased with Owlsworth’s workmanship – it looks very professional. Because of Sarnafil’s lead grey colour, you wouldn’t know it’s not metal. In my opinion it’s the best alternative – it was suggested we use aluminium or stainless steel, but that makes such a noise when it rains. And felt is not the answer. By using Sarnafil we’ve not only saved around £3,000, but the product is also protected by a 10-year guarantee – and it won’t appeal to local criminals.” q

St Laurence’s Church after its roof valley gutter was stripped of its lead; and then refurbished with Sarnafil single ply

• For further information on Sarnafil’s metal-effect membranes and refurbishment service, call 01603 748985, email sarnafilroofing@ uk.sika.com or visit www.challengeustoday.co.uk.

Pals church saved – at a cost

he distress that theft of lead from churches can cause is apparent to anyone reading local papers or watching local TV. Week in, week out there are stories of churches having to find money to replace lead roofs – sometimes following a theft of new lead fitted after an original theft! Perhaps the worst case is that of St John the Evangelist in Accrington, Lancashire. The church suffered no fewer than NINE raids in

the space of three months, according to a report in the local newspaper, the Lancashire Evening Telegraph. The church houses the memorial chapel of the celebrated Accrington Pals battalion of the East Lancashire Regiment – immortalised by Peter Whelan in his play of the same name – and had been threatened with closure if it could not raise the funds for refurbishment. Although the building has been saved in time for the Pals memorial

service in February, the refurbishment has had to be put on hold because of the cost of replacing the lead and securing the church. The February memorial marks the valedictory service in the church in 1915 before the battalion marched off to eventual slaughter on the Somme in 1916. Ironically, the barbed wire that is such a powerful symbol of the horror of World War One has had to be deployed on the church roof to deter the thieves. q

Martin-Brooks counts cost of lead theft

he integrity of our historic buildings is being threatened by the ongoing rise in metal thefts claims Sheffield-based heritage roofing specialists, Martin-Brooks. Following a huge surge in scrap metal prices, Martin-Brooks is being inundated with calls from residential and commercial property owners whose roofs have been stripped of lead. The problem is so prolific in the heritage sector that Martin-Brooks has been called out to an average three churches a month for the last three years, to deal with problems ranging from missing flashing to the complete removal of lead from large flat roofed areas. Martin-Brooks director, Nick Brooks, said: “The cost of replacing lead is massive, but added to this, there is the burden of associated damage caused by wind and water ingress that occurs when the fabric of these precious buildings is exposed to the elements. Many heritage sites are now installing alternative materials such as stainless steel. This is a good replacement, but it cannot compete with lead for quality and longevity.” Metal theft has become such a problem that churches can now only insure against 50% of lead value and are subject to a cap on individual claims. This is bringing new products to the market, such as smart water, which can be used to mark lead roofs, but adds further expense to the cost of installation. Nick added: “Whilst churches are bearing the brunt of metal theft, the problem is much more widespread and is having a significant

Typical damage caused to a church roof by lead theft impact on private owners of listed properties and organisations like English Heritage who are responsible for the protection of a large proportion of our architectural history. Continued criminal activity will only result in increased use of alternative products and this will ultimately have a negative impact on the long term cost of preserving these beautiful buildings.” q • Martin-Brooks was shortlisted for the second consecutive year in the Heritage Roofing category of The Roofing Awards 2011, run by the National Federation of Roofing Contractors (NFRC) and is listed on its heritage register. For further information call 0114 244 7720 or visit www.martin-brooks.co.uk.

Scrap law changes broadly welcomed

hanges in legislation to tighten up the rules on scrap metal dealing and impose tougher penalties for those found dealing in stolen scrap have been broadly welcomed across a wide spectrum of industries, as well as councils, police and pressure groups – from the Energy Networks Association and the journal of the heating and ventilation industry, H&VNews, to former Home Office Minister Alistair Burt and Sefton Borough Council in Merseyside. The changes have also been welcomed by the Church of England and Ecclesiastical Insurance. Anne Sloman, chair of the Church of England’s Cathedral and Church Buildings Council, said: “This is excellent news. The Church has campaigned for a long time for legislation to outlaw cash transactions for scrap metal. We are still suffering the theft of lead from 10 church roofs a day, and every weapon the Government and the police can use to help us combat this crime is greatly to be welcomed.” The only dissenting voice appears to come from the precious metals trade. Apparently, there is no distinction in the Bill between precious metals and base metals, according to the Antiques Trade Gazette, so the world of ‘cash for gold’ looks to be about to disappear. q

Churches reduce footprint by turning to the light

he recent Court of Appeal decision that the Government’s attempts to move the goalposts for the solar Feed-in Tariff were unlawful will have caused a sigh of relief in a number of churches across the country. When the Church of England joined with the National Trust to protest against the move in a letter to Climate Change Minister Greg Barker it was to safeguard community energy programmes that had signed up to the solar programme on the back of the promised savings and payback. However, churches have themselves been at the forefront of the solar revolution. There are many reasons for churches to be exemplary candidates: they have large expanses of sloping roofs which usually face south (the standard layout of a church makes this highly likely) and they have large open spaces inside which need heating. The Church of England has committed itself to a cut in carbon emissions of 42% by 2020 in its ‘Shrinking the Footprint’ campaign. As part of that initiative, the C of E reported in December that over 300 churches had installed solar systems. It wasn’t always solely on economic grounds, but sometimes to set an example. The environmental advisor to the Archbishops’ Council, David Shreeve, told the BBC: “It’s not always straightforward, but a lot of churches thought it was a good opportunity to get involved, to be a good example to the local community." Among the most prominent examples of the projects completed are St James’s in Piccadilly and St Silas’s in Pentonville. Most recently and most prominently, Coventry Cathedral has unveiled plans to become the first cathedral in the country to carry solar panels on its roof. St James’s in Piccadilly, in London’s West End, was very much a pioneer in the scheme. The 40 panels in the photovoltaic array were installed in November 2005. As with almost all churches, the building faces east-west, so the nave has a south-facing roof. The main array of panels at St James’s was installed on the flat area above the south aisle, with four smaller panels installed on a small area above the tower. In the case of St James’s the panels are mounted at an angle onto boxes, which are free-standing and weighted to keep them in place. That makes the entire array non-intrusive into the fabric of the Wren church and entirely demountable. The cabling is also discreetly installed and, again, removable. Conversely, at the Church of Saint Silas in Pentonville the solar array is integrated into the roof tiles themselves, and coloured to match the rest

The demountable solar panels at St James’s, Piccadilly of the new slate roof. The project was born when the roof leaked and was to be replaced in any case. The solar programme was initiated by the Junior Church, together with Islington Council’s Green Living Centre. Architects Thomas Ford and Partners described the project thus: “The new PV installation is projected to generate 12,300kW/h, or 47% of the church’s electricity requirements, with any surplus power sold back to the National Grid. The Grade Two-listed church dates from 1863 and was designed by the eminent Victorian architect S S Teulon. Great sensitivity was required to avoid adversely affecting this important historic building. The PV array has been integrated into the south-facing nave roof using Nu-Lok’s innovative tile carrier system. This can accommodate the natural slate roof and PV panels with the same pitch between courses.” While still at the stage of planning applications to Coventry City Council and the Church Commissioners, the proposals for Coventry Cathedral would dwarf the two examples cited above, with 178 panels covering 200m2. The plan has drawn gasps of derision from elements of the press: the Daily Mail asked “Is nothing sacred?”, while The Telegraph’s Brendan O’Neill attacked the plan as an example of the church reverting to Sun worship. q

New man gets straight on with the job

ew Energy Secretary Edward Davey lost no time in establishing himself in his role when he visited BRE’s Innovation Park in Watford on 6 Feb accompanied by Deputy Prime Minister Nick Clegg. They were welcomed by BRE Chief Executive Peter Bonfield (pictured on the left). In an assessment of his new job, he said: “My priorities are very simple: green jobs, green growth and getting the best deal for energy bill payers.” A trained economist and an environmental campaigner since his university days, he went on to say: “I have long believed in the need to marry our economic and environmental

agendas. Greening the economy isn’t just good for the planet – it’s good for the wallets, purses and pockets of every British citizen too.” The Energy Secretary also announced that

155 community energy projects across the country have won a share of £5.1m of funding from the Local Energy Assessment Fund (LEAF). BRE itself is engaged in helping to promote sustainability in heritage projects. It runs a course in Sustainable Refurbishment Training for Heritage Buildings. The course covers practical issues concerning traditional materials and building methods, for example lime mortars, leadwork dressings, ornamentation and the importance of allowing old buildings to breathe. It also introduces new, sympathetic materials and techniques which can be used to improve the performance of older houses. q

YORK

Ancient city reflects the country’s history and crafts

here is no doubt that there is a frisson of excitement that stirs in anyone with an interest in the history or heritage of England as they approach the ancient city of York. Standing proud above the surrounding countryside, with the massive tower of the Minster visible for miles on all sides, it is a city that shouts out its importance as a centre for culture, art and history. York has seen it all: the Romans were there, the Vikings conquered it and the battles of the Middle Ages and Civil Wars took place around it. Later the railways were centred there – although the stage coaches were also terrorised from there in the person of Dick Turpin, who was hanged in the city. There are museums celebrating all periods in its history, many with grim antecedence. The Yorkshire Museum reminds us of the ruthlessness with which Rome maintained its empire, while the Jorvik Viking Centre tells us the same about the Norse invaders. Clifford’s Tower – all that remains of William the Conqueror’s castle and the site of the massacre of York’s Jews in 1190 – bears testimony to the cruelty that can be the result of prejudice against those who do not share our beliefs. More recently the city has become a centre for conservationists and traditional crafts, born out of the requirement to restore and protect the unique legacy the city has maintained. It is that aspect of the city that fascinates architect Andrew Wiles, now director of Wiles and Maguire, which is based in the city. Andrew says: “I have often wondered what makes York such a centre for conservation craftsmen and professionals. The wealth and diversity of historic buildings in the city is an almost unrivalled resource for those who wish to study and learn from the craftsmen of history. “A further legacy is the scattering of craftsmen and workshops that have survived through the years repairing, adapting and renewing these buildings. In the case of the cathedral workshops there is an unbroken thread of craftsmen stretching way back.” Like many of York’s enthusiasts, Andrew’s association goes back to his student days: “I first moved to York in 1988 to work with Martin Stancliffe Architects as a year-out student,” he recalls. “In the twelve

years that followed I was lucky to share in a remarkable open exchange of advice and training. The learning opportunities were both formal and informal and provided, through a network of architectural practices, the York Minster Workshops, Dick Reid’s Studio and the Centre for Advanced Architectural Studies at the university. “For many years this network was a relatively disparate affair but through the inspiration of Peter Burman and carver Peter Coates, the York Artworkers’ Association was created in 1993. Still in operation today the association’s monthly meetings have broadened the conservation network into a range of pure arts, performance and academic interests.” To that list of august bodies was added the York Consortium for Conservation and Craftsmanship (YCCC) in 1998. In addition to individual craftspeople, that organisation includes other organisations such as the York Glaziers’ Trust and the National Railway Museum. In this issue we examine in some depth the work of the YCCC and some of its members. q

YORK

Museum plans get HLF support P

lans for a £2.4m upgrade of York Castle Museum were given a boost in November when York Museums Trust was told it had initial support from the Heritage Lottery Fund for its grant application. If finally approved, the £1.3m grant will help to transform the upper levels of the Debtors’ Prison side of the museum, including a major exhibition to mark the centenary of World War One. The Trust will use the money to create 1914 – When the World Changed Forever, a fiveyear blockbuster exhibition which will change and refresh through its lifetime to mark centenaries between 2014 and 2018. The work will be one of the largest learning projects ever to take place in York. It will create 500 volunteering opportunities and involve hundreds of people from across York and the region in developing and delivering the exhibition, activities and gallery spaces. It will take place in a newly created exhibition space on the first floor of the museum. A lift will be installed, allowing disabled access to the floor for the first time, and more space will be opened up – with all office space moved to the second floor. Janet Barnes, chief executive of York Museums Trust, said: “We’re delighted that the Heritage Lottery Fund has given us the backing we need to develop this project. It is fantastic to have their support in helping us to achieve our ambitious plans for York Castle Museum,

which we hope will see thousands of extra visitors to the museum by 2018. “No other war has ever had such a significant impact on nearly every aspect of life in Britain. This exhibition will look at the key political moments and the battles but also how culture and society’s values were revolutionised in this period.” The remaining funds for the proposals would come through York Museums Trust’s and other national development funds and by applying to other charitable trusts and private sponsorship. The Trust will hear whether they have been successful in the second round of their HLF bid in January 2013. q

Photarc Surveys Ltd is a long established survey, mapping and 3D visualisation company that has specialised in the architectural and archaeological heritage field. As well as many projects in York on the city walls, the towers and the Minster we have been contracted nationally and internationally to provide our services and utilise the experience we have gained in over thirty years. Past projects include the Tate Gallery, the Imperial War Museum, Salisbury Cathedral, Fountains Abbey, Caernarfon, Conwy, Beaumaris and Harlech Castles in Wales, Edinburgh Castle and Glasgow City Chambers amongst many others. International projects have included a Mayan Hieroglyphic Stairway in Honduras, the Reichstag building in Berlin and Breda Castle in the Netherlands. As part of a long term programme of conservation and repair work at Lincoln Cathedral we are now on our nineteenth contract and are currently surveying the north-west transept. This has followed surveys of the main west facade, the Morning Chapel and the Dean’s Eye Window. The latter was a very detailed survey and 3D modelling exercise to assist in the redesign and reinforcement of the tracery to allow re-installation of the 13th century stained glass after many years in storage. We use all survey techniques available (instrument survey, photography, photogrammetry, laser scanning) and apply the methods most suitable for the requirements of the project. Most architects and conservators prefer 2D or 3D digital drawings but we are increasingly supplying 3D surface and solid models for visualisation and analysis purposes. These can provide environmental context and educational information as well as comprehensive detailed datasets for the planning processes. • For further information or advice please contact Clive Boardman at jcb@photarc.co.uk or telephone 01423 871629.

YORK

Skills, service, safety

ward winning York company, Geoff Neal Roofing Limited, aims to celebrate its 30th anniversary in 2012 by building on its success in delivering outstanding workmanship, customer service and safety in its conservation roofing and historic building restoration contracts. Founded and run by Managing Director, Geoff Neal, the family firm employs 26 roofing specialists and craft operatives carrying out around 250 domestic and commercial roofing projects a year.

2011 highlights • Last year the company’s restoration work on the 600 year-old St Nicholas’ church in Wetwang, East Yorkshire earned it first place in the ‘Specialists Awards’, run by Construction News magazine and the National Specialists Contractors Council to highlight the vital role of specialist

contractors in the construction industry. The company are again shortlisted for the 2012 awards for work carried out at Bootham Park Hospital in York. • The project also earned the company a finalist place in the annual Murdoch Awards, run by the national Association of Specialist Lead Contractors to recognise the best leadwork projects across the country. • Following its awards success the company won restoration contracts as principal contractor at four more churches in East Yorkshire: All Saints’ at Low Catton, St Mary’s at Watton, All Saints’ at Wighill and St Mary’s at Thixendale. All these projects involved specialist skills not only in roof slating, leadwork and joinery but also in glazing, masonry and stainless steel. • In November, Geoff Neal and one of his leadworkers, Carl Tumman, received Craftmanship Merit Awards presented by the York Guild of Builders to recognise excellence within the city’s construction sector.

Training for success Geoff Neal Roofing Limited invests heavily in the safety and training of its employees to create a skilled, loyal and highly motivated team. • The company invests in training its leadworkers with the Lead Training Academy (LTA) • GNRL is one of the only companies in the North East region to hold Heritage CSCS cards for its employees in recognition of its specialist skills in heritage renovation and conservation roofing • GNRL is a member of the NFRC’s Heritage Roofing Register and the prestigious Lead Contractors Association. • Since 2009 the company has achieved ‘Investors in People’ status and won three consecutive Gold Awards for ‘Safety in Roofing’ by the National Federation of Roofing Contractors (NFRC). q

Geoff Neal Roofing Limited, Sutton Road, Wigginton, York, YO32 2RB Contact Geoff Neal: Tel: 01904 763894 Email: admin@nealroofing.com

www.nealroofing.com

YORK

Proven track record leads to awards

odds Roofing Services Limited is one of the north’s leading independent roofing specialists with a proven track record of working on heritage and listed buildings. Established in 1995, Dodds have a reputation for attention to detail, especially when working on those buildings that require slightly more ‘TLC’ than the norm. The company’s work in this field has achieved a string of industry awards, the most recent for work on a Tithe Barn at Penistone in Yorkshire, where there was a requirement to use natural stone, and at the old railway station at Pickering, the home of the famous North Yorkshire Moors Railway. Here, Dodds laid more than 16,000 Penryn Welsh slate tiles to bring the 1846-built station roof back to its original glory. Based on the Kelleythorpe Industrial Estate at Driffield in East Yorkshire, Dodds have completed a number of high profile projects, including refurbishment work at Whitby Marina and restoration of the roof of Swiss Cottage, one of 200 properties on the magnificent Castle Howard Estate. The cottage’s design was inspired by the Arts and Craft movement developed during the second half of the 19th century. The steep pitched roof features a geometric pattern and had to be entirely replaced as the old tiles had become severely weathered. In addition to clay plain tiles, Dodds used arrow head feature tiles to meet the requirements of the planning authority. Managing Director Graham Dodds said: “Completing major contracts on commercial or public sector buildings is always satisfying but we get a special sense of achievement when we are asked to look after or repair buildings that are important to our heritage. “When history is involved, it is important to protect the character of the building, even though we use the latest products and techniques”. Dodds Roofing Services has achieved the ‘Investors in People’ standard and is a member of the Confederation of Roofing Contractors. It has a team of ‘heritage’ specialists, staff who hold the Heritage Skills Roof Slater and Tiler

Swiss Cottage, one of the many properties on the Castle Howard Estate in North Yorkshire, where Dodds Roofing laid 16,000 Welsh slate tiles to refurbish the roof of the historic building. card, showing they have the special skills and experience needed to work on heritage and listed buildings. Through its sister company, Dodds Solar, the organisation is also one of the north’s leading providers of solar PV (photovoltaic) installations to homes, commercial properties and agricultural buildings. q • For further information on Dodds Roofing Services and Dodds Solar, visit www.doddsroofing.co.uk or www.doddssolar.co.uk or call 01377 272777.

Case Study

Pigeon control at Wakefield Market

akefield council had spent millions of pounds on their new state of the arts Market Hall and Outdoor Market. The impressive building was admired by both the market traders and the general public alike. Unfortunately however, it was also admired by the local pigeon population and soon became an ideal location for these birds to nest and roost. This in itself created problems for the market with pigeon droppings and nesting materials blocking drains as well as contaminating structures and the pavements below. York based VermEx were called in to advise on what could be done to control this problem and their preferred solution was to net off all the underside of the roof area and thus prevent pigeons from roosting. This control method was agreed by the council and VermEx proceeded to supply and fit this pigeon deterrent system, with the result that Wakefield’s market traders and shoppers can now enjoy a pigeon free environment. q

YORK

Where will we find the craftsmen of tomorrow?

York Consortium is on the case! I

Sensitive conservation work recently undertaken at St. Augustine’s, Hedon by William Anelay’s masonry department

t is now generally accepted that there is a diminishing pool of the craft expertise required to restore and conserve the nation’s historic heritage to the standards that created it. That is not to say that there are not outstandingly skilled craftsmen working today, but rather that insufficient younger people are being trained to achieve the same standards of work, and that this in turn is attributable to the difficulties faced by craftsmen, particularly those working on their own, in taking on and training new apprentices. A number of initiatives have been taken to remedy the situation through English Heritage, the National Trust and the Heritage Lottery Fund. The Prince of Wales, through his Prince’s Foundation, is a major supporter of heritage training, particularly in relation to building-related crafts. Another organisation trying to contribute directly to offsetting the shortage of craftsmen and conservators is the York Consortium for Conservation and Craftsmanship. The Consortium, through its charitable arm the York

YORK

Fair Isle Stewardship Stone, carved in Broughton Moor Slate by Charles Smith, Letter & Stone Carver Foundation for Conservation and Craftsmanship, offers bursaries each year to assist craftsmen and conservators to extend their skills and to take on new apprentices or trainees. Since the Foundation’s inception in 2000 it has granted bursaries to a total value of £71,500 and 80 people have benefited. As a result of donations from many supportive individuals, organisations and charitable trusts, the Foundation has built up an investment fund of just over £200,000. The annual interest from that funds the bursaries. In recent years additional bursaries have been given, alongside those of the Foundation itself, by other organisations which share the Consortium’s concerns. They include the Yorkshire region of the Historic Houses Association, the Provincial Grand Charity of the Freemasons and the York Company of the Merchant Taylors. The bursaries offered are of two kinds: up to £1,500 for individual craftsmen and conservators to extend their skills and knowledge, and up to £3,000 to assist established practitioners to take on new apprentices or trainees. In 2011 bursaries totalling £9,500 were granted to seven craftsmen and conservators, with the winners ranging from a lead roofing contractor for his new apprentice to a paper conservator towards the fees for her MA conservation course. Applications will shortly be invited for the 2012 bursaries, with a total sum of £11,000 hopefully available. The closing date will be the end of March and details will be obtainable from the Consortium’s website at www.conservationyork.org.uk. The Consortium itself was formed in 1998 to bring together the many skilled individuals, companies and organisations from York and its environs who are involved with heritage crafts and conservation, in the belief that benefits could be obtained for members and heritage generally that would be unobtainable by individual members on their own. Priority was given to promoting the work of members and to advancing the training of craftsmen and conservators. Membership is now more widely spread – covering the whole of Yorkshire – and totals just over 120, two thirds of whom are active practitioners. They range from an antique locksmith to specialist gilders, and from railway

Yarm Parish church (above) and All Saints Greek Orthodox Cathedral (below) both had work carried out on them by Sebastian Wakefield, expert in painting, gilding and decorating

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Quarter century experience!

stablished in 1918, Hare & Ransome have remained a family business through five generations of joiners, from their workshops and offices in the City of York. The company’s current staff of eleven craftsmen has a combined experience of over 250 years and continue to produce quality work for all aspects of the joinery trade. From ecclesiastical and architectural restorations to bespoke items for domestic refurbishment, work has taken the company throughout Yorkshire and around the UK. Hare & Ransome are proud to serve many distinguished clients at some of the most illustrious of properties and ecclesiastical buildings, most recently at Bradford Cathedral, Stewart Park in Middlesborough and Ripon Cathedral. All operatives hold CSCS cards with the new Heritage Skills accreditations, a requirement by English Heritage for working on Listed Properties.q

• Please visit the website for further information and follow them on Facebook for more up to date news – Unit 9a, Ebor Industrial Estate, Hallfield Road, York YO31 7XQ, tel: 01904 438833, email: mail@ hareandransome.com, web: www.hareandransome.com.

YORK engine restorers to photographic conservators. They include conservation architects, training establishments and sponsors of restoration and conservation projects. Many members have national, if not international reputations and among them can be counted blacksmiths Don Barker and Chris Topp, the Surveyor of St Paul’s Cathedral, the Department of Conservation Studies at the University of York, the York Glaziers Trust and the National Railway Museum. All are dedicated to the highest standards of workmanship, and also to the training of future successors. q • Further information about the Consortium and its bursary scheme can be found at www.conservationyork.org.uk. A directory of members is available free of charge from the secretary, at York Consortium for C and C, The Merchant Adventurers’ Hall, York YO1 9XD; email conservationyork@ hotmail.com.

A replacement Carved Devils Head for a Boots store on Cony Street, York – carved by woodcarver Iain Broadbent

Glenn picks up the training baton

here are many gaps in the process of providing training in heritage-related crafts – a shortage of qualified assessors being a key one. Last year, YCCC member Glenn Young took an entrepreneurial approach to the problem, by opening The Heritage Training Centre in Bedale. Created by Glenn’s company, Heritage Craft Alliance Ltd, the Centre aims to work with contracting companies, individual craftsmen, craft departments of further education colleges and heritage site owners to provide opportunities for craftsmen to gain advanced qualifications in heritage crafts by working on heritage sites and having their skills relevantly assessed. The key to that has been finding – and training – the assessors, and bringing them into contact with the qualifying craftsmen and their employers. The initial target is to get more craftsmen qualified to NVQ3. Glenn has all the right background, having himself started as a carpenter and joiner 40 years ago in rural Yorkshire. He then worked as trainer and assessor with large educational establishments such as the BSI, and finally as manager of the Centre for Construction and Heritage Skills at Craven College, where he built a formidable reputation. Unsurprisingly, then, the Centre’s first year has been highly successful, with five heritage assessors and two verifiers trained and 100 candidates facilitated in achieving NVQ3 in heritage skills. His assessment clients include British Waterways, the National Trust, the HLF Building Bursary scheme and the Prince’s Foundation. His training clients include the NHS, local authorities and schools. q

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YGT’s master glazier receives prestigious award

onservator and master-glazier Tony Cattle received the Master’s award for excellence at The York Guild of Building’s annual ‘Craftsmanship Awards’. The prestigious award was given for his skill in the re-glazing of the conserved panels of the great Apocalypse cycle that forms the largest section of York Minster’s Great East Window. This major five-year conservation project is part of the Heritage Lottery funded York Minster Revealed Project. Tony, who joined the York Glaziers Trust team in 2010, was delighted to receive this prestigious award, he said: “This is one of the proudest moments of my career, the first time my work has received this kind of recognition. To be part of the Great East Window project is, of course, very exciting.” Tony re-trained as a conservation glazier after his work as a scaffolder was cut short by a serious accident. He rose to become foreman at the conservation specialists Riverside Studio in Hull and has also worked

for a number of other wellknown local glazing firms before joining the Trust. His colleagues at the York Glaziers Trust nominated him as they feel that Tony’s unsung contribution is Award winner Tony Cattle easily overlooked in the conservation process and that he is an exemplary colleague who shares his expertise very generously with his team. Tony received a framed certificate at a special Guild reception and ceremony held at Bedern Hall, attended by the Very Revd Keith Jones, the Dean of York. Sarah Brown, Director of the York Glaziers Trust, commented: “We are delighted that Tony’s extra-ordinary skill has been recognised in this prestigious award. The skill of the glazier is all too often under-valued in the conservation process. Tony has joined the team at this critical time in the Trust’s history and helped to make a difference. The Trust is now going forward with a full complement of exceptionally talented craftspeople.” The conservation of York Minster’s Great East Window, made between 1405 and 1408 by a workshop led by master-glazier John Thornton of Coventry, can now been seen close up by the public at the Bedern Glaziers Studio where visitors can follow the progression of the project. Details about tour days and times can be found on the York Glaziers Trust website at www.yorkglazierstrust.org/bedern. This is the second time that the York Glaziers Trust has been the recipient of a Craftsmanship Award from The York Guild of Building. In 2006 Rachel Thomas won the award for a window made for New College, Oxford. The Guild was founded in 1954 to encourage communication between the many different sections of the construction industry and professional organisations within the city and represents all the skills, which have connections with the construction and maintenance of buildings. The Guild is committed to the advancement of design, management, science and craft in building and the encouragement of a better understanding of the problems and achievements of those engaged in building. More information about The Guild can be found at www.yorkguildofbuilding.org q

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Spreading York craftsmanship beyond the border

perfect example of how the craftsmanship that is found in York can benefit a wider population is the portfolio of William Birch & Sons, a member firm of the York Consortium for Conservation and Craftsmanship. Established in 1874 by its eponymous founder, the company remains a family firm with Chris Birch at its head. Throughout its history it has been involved with landmark buildings constructed using traditional craftsmanship. Over 60 years ago the company built the Abbey Chapel at Ampleforth, renowned for its college and Benedictine monastery on the same site. Ampleforth is only one of a large number of ecclesiastical projects the company has carried out, for a cross-section of denominations: Anglican, Roman Catholic, Methodist, Quaker, Mormon and the Salvation Army. In Yorkshire those projects have included the internal reconstruction of St Mary’s on Bramhall Lane in Sheffield, as well as considerable structural repairs. The project involved installing two mezzanine floors on a steel frame as well as lifts.

St Chad’s in Headingley, Leeds Also in Yorkshire, the Church of St John and St Mary Magdalene in Goldthorpe is unusual in that it is a listed church constructed from reinforced concrete. William Birch & Sons carried out concrete repairs, reroofing and internal repairs. The project won the 2008 Concrete Society Award for Mature Structures. Essential to the work the company do is the ability of the church to function while the work is being carried out. In the case of St Chad’s in Headingley, Leeds, that meant the organist practising while wearing full protective gear – including the obligatory hard hat – and playing requests from the builders! That kind of relationship with the owners

and users of buildings they are working on earned William Birch & Sons two Bronze Awards in the Considerate Constructors Awards in December, with scores of 37 out of a possible 40. The quality of craftsmanship is also a trademark of the firm. No fewer than 80% of the company’s site workforce carry the Heritage Construction Skills Certification Scheme card, meaning they are eminently qualified to work on the Grades One and Two buildings which are the company’s specialism. It also means they are eminently suited to understand the periodic upgrading and repair that church buildings need. q

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A challenge to mind and hand

ilvanus Interiors is a small Yorkshire business established 8 years ago with the aim of filling a growing gap in the current market: the design, manufacture and fitting of bespoke staircases and, more precisely, of curved staircases whilst at the same time being able to answer enquiries in any particular sector. The company’s philosophy is that of a true belief in the intelligence of the hand. Because of this, they will take on any work – as long as it is challenging to both mind and hand. Over the years this has led to work on a variety of projects such as the replica of a bandstand for Weston Park in Sheffield, the design and making of a pair of hand carved and gilded mirrors as a private commission and, of course, countless staircases. They have also undertaken work in local churches, notably a set of pews and a hand carved President’s chair for St Wilfrid’s Church in York, all in solid oak. Also for St Paulinus in Guisborough, another President’s chair as well as a lectern, both in the Arts & Crafts style and mixing oak and purple heart. All of these pieces can be viewed on their website www. silvanus-interiors.co.uk. q The President’s chair and lecturn created and designed for St Paulinus in Guisborough

Hand carved President’s chair for St Wilfrid’s Church in York

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Sandtoft delivers restoration project for Castle Howard Estate

n historic residential property on the Castle Howard Estate in Yorkshire has been sympathetically restored using Sandtoft’s Humber clay plain tiles, handmade decorative ridges and arrow head feature tiles. Located in a conservation area, ‘Swiss Cottage’ is one of over 200 properties on the Estate, which is situated within the Howardian Hills, an Area of Outstanding Natural Beauty, just 15 miles north east of York. The design of the house was inspired by the Arts and Craft movement, which was developed in England during the second half of the 19th century. The steep-pitched roof features a distinctive geometric pattern and had to be entirely replaced as the tiles were severely weathered. Sandtoft’s Humber clay plain tiles in Natural Red and Antique Slate have been used on the main roof, together with an extensive number of arrow head feature tiles, also in Antique Slate. To meet the requirements of the local planning authority, the pattern had to be replicated using handmade tiles and ridges. Graham Dodds from Dodds Roofing Services, who were responsible for the re-roofing, said: “We partnered with Sandtoft as it has extensive experience of working in conservation and restoration projects. The team advised us on the most appropriate products as well as the fixing specification. The decorative ridges and diamond shaped tiles were all handmade by Sandtoft’s skilled craftsmen. “Recreating a geometric pattern is no easy task, but with the support of Sandtoft and its heritage service, we have succeeded in replicating the original design and restoring this character cottage back to its former glory.”

Nigel Dyer, Sandtoft’s heritage services manager, added: “The roofers had to carefully draw the pattern onto a grid to enable our craftsmen to match the original tiles and fittings. Using our technical knowledge and specialist methods, we have produced authentic finished products which meet both the requirements of the local planners and the Castle Howard Estate.” Over the last five decades Castle Howard has committed millions of pounds to conservation and essential repairs, in addition to regular spending on maintenance and management, as part of the Estate’s ongoing restoration and conservation programme. In December 2007, Castle Howard partnered with English Heritage and Ryedale District Council to draw up a management plan to ensure a sustainable future for the Castle Howard Estate. This plan won the Heritage category at the national planning awards hosted by the Royal Town Planning Institute (RTPI) in February 2010. q

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Grave issues at Yorkshire Priory

The Priory cottages

Work being carried out at Syningthwaite with the refurbished Priory in the background

illiam Anelay are used to unearthing interesting finds at the many historic sites they work on across England. However, few compare to the 138 bodies buried around the grounds of the Grade I listed, 12th Century Syningthwaite Priory near Wetherby. The Cistercian Priory, situated on 500 acres of arable land, was built in 1155 as a home for nuns and continued in that vein for nearly 400 years until King Henry VIII’s Reformation. The Priory, which at one point featured on the Buildings at Risk Register, served as a blacksmiths and farm worker accommodation but has remained unoccupied for the last 17 years. Site Manager Kevin Webster explained: “Our remit was to carry out remedial restoration work to the Priory to make it watertight and prevent further deterioration. This covered roofing repairs, structural stabilisation, a full programme of re-pointing work and extensive stone repairs to the fabric of the building including windows and sills with new mullions and replacement leaded lights. “The owner of the property also commissioned us to build seven new two- and three-bedroom holiday cottages and communal facilities”, added Kevin. The new cottages, constructed from brick and incorporating reclaimed stone, have taken shape with three either side of an attractive landscaped courtyard area. Each cottage has been individually styled to a very high standard. An additional two storey cottage is sited next to the entrance and linked to the rebuilt Threshing Barn, which provides open space and a glazed reception area. Within days of starting on site, the process of stripping back the soil revealed skeletons just below the surface and a team of archaeologists was called in from Mike Griffiths and

Associates. Tests have shown them to be nuns who are thought to be former residents of the Priory. Kevin continued “This did have an impact on the project programme. Instead of working on all three of the East Block cottages simultaneously we had to follow the progress of the archaeologists.” Stuart Fullerton, a partner with Wetherby based architects Wildblood Macdonald, who has been closely involved with the development throughout as project manager said: “The project at Syningthwaite has been complex and challenging from the very beginning, with the historic significance of the Priory demanding a sensitive approach to both the remedial works and the new build elements. Once work began on site, the rising body count certainly added to the complexity of project, but equally provided us all with a greater insight to the rich history of the Priory. Now that the project is complete, it’s clear that the attention to detail and care employed by all throughout has certainly paid dividends, with the end product being extremely well received by all who visit.” William Anelay’s managing director, Vernon Carter commented: “Each project always has a story to tell but this has been a particularly interesting one. Despite the unusual circumstances, keeping to programme remained a project priority so that the cottages were ready in time for the first holiday guests.” David Rawlings, owner of the Priory and holiday cottages adds, “It’s been a long process getting here but to see the project plans turn into reality is one step nearer towards turning Syningthwaite Priory back into a family home. The quality of workmanship and high standard of finishes is a real credit to everyone involved.” q

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Plasterers help raise the roof at award-winning station project

he 2011 Team Craftsmanship Award from the York Guild of Building was won by the team erecting the new roof at Pickering Station in North Yorkshire, led by Houlton’s. The new roof is a replica of the original 1830’s structure, which was taken down over 60 years ago. Local firm Ryedale Plasterers Ltd was therefore delighted to be asked to run the external traditional lime cornice in situ. Catherine Windross of Ryedale Plasterers explained: “There were some tricky areas to work on under the eaves, where another roof came up to meet the main roof, and

some of the work had to be completed by men lying along the scaffolding.” The cornice was formed onto scotch brackets using stainless-steel expanded rib lath and fastened by stainless-steel screws. A lime haired scratch coat was applied, followed by a float coat which was rubbed up to give a sandstone effect finish.

All the mitres were hand formed using traditional tools and methods. As was extremely time consuming, but the overall effect is superb and provides a real finishing touch – as can be seen from the photo. Said Catherine: “The finished job is a credit to all those who were involved and is visited daily by many tourists. One of the highlights of the job was the fact that the steam trains were still running and the station bustling, which created a really pleasant and unusual environment for working.” Another award-winning project that Ryedale Plasterers have recently been involved in was the three-year restoration of Aldourie Castle in Inverness. The project, carried out by Roger Tempest of Broughton Hall, Skipton, won the title of Historic Houses Association (HHA) and Sotheby’s Restoration of the year 2011. Ryedale Plasterers worked on many different areas of the castle, using sympathetic designs and restoring areas that were damaged. The whole project began in 2007 and finished in 2010, an incredible achievement in which Ryedale Plasterers expressed themselves very priveleged to be involved. q

Specialist skills in demand

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he heritage sector of the construction industry has been far from immune from the effects of the current difficult economic climate resulting in a number of high profile companies ceasing trading in recent months. Despite this, York based specialist architectural joiners and woodcarvers Houghtons of York, are experiencing an encouraging and healthy demand for their high quality services with current projects running across Kent, Gloucestershire, Berkshire and Scotland as well as around its base in North Yorkshire. The well established family run company have an exceptional highly skilled workforce renowned for their quality work and attention to detail. Houghtons of York are able to take on a diverse range of commissions from new-build through to restoration, conservation, repairs and maintenance for clients that include private homeowners, The National Trust, English Heritage, parish churches, cathedrals and contractors. The specialist wood carving department of the company are currently repairing the 400 year old Christchurch Gates at Canterbury Cathedral. Each of the gates, estimated to weigh over 1 tonne, have been removed for cleaning and the repair or replacement of damaged carvings. The company were called in to offer initial advice to the cathedral architect back in 2009 with work only commencing on site in November last year. The delicate work is anticipated to take 4 months to complete. q

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Iron Man Don barges into top blacksmith’s role

ork based blacksmith Don Barker has adopted a novel approach when it comes to carrying out his duties as Prime Warden of the Worshipful Company of Blacksmiths. Don, the first working smith for several generations to be elected to the position of Prime Warden, has to attend many meetings in London and has cruised down to the capital from Doncaster in his narrow boat with wife Barbara. Blacksmithing runs in the family as Don confirmed: “My grandfather was the village blacksmith in Hutton Buscel following a continuous family tradition of blacksmithing that can be traced back over 300 years. “The urge to bash hot metal is in my blood!” exclaimed Don. “My year in office involves attending many appointments in London and we have found a pleasurable way of avoiding a lot of travelling by cruising our narrow boat from Doncaster down to London. “We are enjoying being ‘Londoners’ on a temporary basis but will not be too sorry to leave the bright lights behind and head north again,” he added. Born and raised in Scarborough, Don left home aged 16 to take up a five year engineering apprenticeship in Manchester. Blacksmithing was a paying hobby for him but it soon became his full time occupation. Don’s York-based forge has carried out many prestigious commissions including restoration and new work at Westminster Abbey. He was commissioned to create two new Gothic style lanterns which now grace the State Entrance to the Abbey and to restore the railings and create a new matching section. He was also commissioned to create a new public entrance on the north side of the Abbey including oak doors with bronze handles, an internal lobby and cash desks so that an admission charge could be introduced and the numbers of visitors entering

Prime Warden of the Worshipful Company of Blacksmiths, Don Barker and his wife Barbara pictured on their narrow boat the Abbey could be monitored and controlled to comply with fire regulations. Don also produced new flambeau style lighting for the OBE Chapel at St Paul’s Cathedral. His work can be seen in many cathedrals and churches throughout Britain and his services are frequently sought by the National Trust, English Heritage, Historic Scotland and CADW in Wales. A recent commission was for the four bronze lanterns which light the new monument to the Queen Mother on The Mall in London. The lanterns are over five feet tall and stand on fifteen foot high columns. Don’s forge also produced over seventy metres of bronze handrails for the steps and walkways

which surround the monument. “Every single one had to be made to measure,” says Don “but it’s all in a day’s work for us.” In 2009 Don featured in the BBC2 series Mastercrafts presented by Monty Don, where he had to teach three complete novices the basics of blacksmithing in six weeks. “It was exhausting but great fun and very satisfying. One of my students enjoyed it so much he went on to attend college and has become a fully qualified blacksmith” explained Don. Another TV appearance for Don was a program with Tommy Walsh in which Tommy tries his hand at forging a railing top for some new railings at Harewood House. He then helps Don to install them using molten lead. “This is the traditional way of installing railings,” Don explains, adding “We have epoxy resins we can use today but for important heritage sites we prefer to use the old traditional techniques.” The Worshipful Company of Blacksmiths is one of London’s ancient Livery Companies being number 40 in the order of precedence. Originally formed in the thirteenth century to monitor and control the activities of blacksmiths working within the ‘Square Mile’, it has not only survived for over seven hundred years but extended its influence to the whole of Great Britain. q • For more information about the Worshipful Company of Blacksmiths visit www. blacksmithscompany.org.uk. To contact Don Barker tel 01904 607711 or visit www. theblacksmiths.co.uk.

Edward II: grand tomb marks an ignominious end T he early 14th century was a turbulent and fascinating time in English and European history. Following defeat by the Scots, controversy at home and humiliation by the French and his wife Isabella, Edward II was forced to abdicate, after which he was imprisoned and allegedly murdered at Berkeley Castle in Gloucestershire in 1327. He was buried at St Peter’s Abbey, now Gloucester Cathedral, and his elaborate tomb, commissioned by his son Edward III, was visited by thousands of pilgrims, including Richard II in 1378. Donations and royal patronage enabled the abbey to remodel its choir and presbytery and build its famous cloisters, which were innovative and celebrated examples of their style, while the famous Great East Window was built following Edward III’s French campaign. So great were the numbers of pilgrims that niches were cut into the pillars on each side of the tomb, so crowds could walk round it. Therefore, the tomb was almost certainly the original source of funding and inspiration for much of the cathedral building we know and love today. The tomb’s presence may have also discouraged Henry VIII from sacking the abbey church in the 1530’s. Standing in the north ambulatory of Gloucester Cathedral it is the only monarch’s tomb in the South West and one of only a few outside London – as such it is of both historical and architectural significance. The tomb is an early example of the English Court style with plinth/base, effigy and ornamental canopy. Happily, Edward’s tomb retains its oolitic limestone canopy, which Pevsner described as “…arguably the most thrilling of all tomb canopies”. The alabaster effigy was the very first of its kind in

England; the limestone base, clad in Purbeck marble, was probably made in London. Over the past few years a great deal of work has been carried out in the form of archaeological research and investigation of the materials used. The conservation work started in late 2007 and included much-needed repairs and other measures to conserve this magnificent structure for many years to come. The requirements were complex, involving repairs to, and conservation of, the plinth, alabaster effigy and ornamental canopy. Of necessity this involved a range of heritage professionals and craftspeople including ornamental plasterwork specialists Hayles and Howe of Bristol. The work on the tomb was completed in June 2008 and the Princess Royal came to unveil the tomb. The major funders of the £100,000-plus project were the Heritage Lottery Fund, Gloucestershire Environmental Trust and the Summerfield Trust. q

Time to get PRomotion! A

growing number of firms within the restoration sector are discovering the benefits of getting PRomotion! PRomotion, a PR consultancy based in Silsden, West Yorkshire, was founded in 2004 and works with a number of clients within the sector including building restoration contractors William Anelay Ltd, specialist plastering firm Ornate Interiors, steel roofing suppliers U-Roof and blacksmith Don Barker. Rob Wilkinson, a former journalist and editor who set up PRomotion, said: “Getting your messages out to your target audiences is critical to any business and with marketing budgets being continually squeezed it’s essential to get maximum value for money. “PRomotion’s work within the restoration sector covers a wide range of elements including conventional media relations, copywriting, video, social media, newsletters and increasingly Search Engine Optimisation activity. “It means that a press release, case study or opinion piece has a much wider variety of uses and can utilise far more platforms for exposure than in times gone by. It’s also about seeing a genuine correlation between PR activity and generated sales leads. “You need to get maximum value for money for every pound you spend on marketing and PRomotion is ahead of the game in that respect as we charge considerably less than established PR agencies yet deliver far more.” Vernon Carter, MD of William Anelay Ltd, explained how PRomotion has helped the business: “We have worked with PRomotion for 6 years now and get a regular flow of positive media

Rob Wilkinson of PRomotion coverage in our target online and printed media. It represents great value for money.” Ronnie Clifford of Ornate Interiors echoed Vernon’s words: “We started working with PRomotion in 2004 and have accumulated hundreds of media clippings which has significantly helped to raise our profile.” q • For more details about PRomotion or for a free PR tips and advice visit www.getpromotion.co.uk.

Bank has new life as restaurant

n the heart of the financial quarter of Manchester city centre is the edifice that is known simply as 100, King Street. Designed by Edwin Lutyens in 1928 and built between 1933-35, it housed the Midland Bank until the bank closed and relocated to St. Ann’s Square in June 2008. A castle-like Art Deco building, surrounded moat-like by roads on all four sides, it is constructed of Portland Stone around a steel frame. The building has been subject to a major refurbishment over the past 18 months and now features a luxury penthouse apartment and floors of retail and office accommodation. The banking hall and basement has become one of Jamie Oliver’s Italian Restaurants. During the refurbishment, by Marshall Construction under the direction of architects Stephenson Bell, cleaning of the external Portland stone facades was carried out by Stockport based Aura Conservation Ltd, using a combination of nebulous spray and JOS low-pressure abrasive techniques. They also extensively re-pointed the building using lime mortar and the restoration of defective areas of stone was carried out in situ, using specialist lime restoration mortar or replacing with new Portland stone to match the original detail. Fractures in the stone were carefully pinned using stainless-steel dowels and epoxy resin. The building has now been returned to pristine condition to start its new life. q

Take a tour of a Roman house - with the plasterer

n 23 February members of the public will be able to take part in a guided tour of one of the most unusual buildings to be built in this country using traditional lime plaster – led by the plasterer and mate who actually did the job! Wroxeter Roman Town House in Shropshire is an authentically recreated Roman town house, built using Roman materials and engineering for a documentary series screened on Channel 4 in February 2010. Owned and managed by English Heritage, the house holds a number of guided tours, some by its creator Professor Dai Morgan Evans of the University of Chester. When filming for the series had finished English Heritage took over the building and, as with any other, have had to carry out maintenance, particularly as last winter was particularly harsh. The challenges have been unusual, as the filming schedule meant some building processes had to be quicker than would actually have been the case. For example, plasterer Tim only had a matter of days to leave layers of lime render to cure, rather than the weeks or even months that would have been required for the real house. So it is particularly relevant that Tim and his labourer Ben will be leading the tour on 23 February, with a second ‘Meet the Builders’

tour planned for 22 March. As Mark Badger of English Heritage explained: “As with any property, you would expect to have to conduct some maintenance after extreme weather – but it does give us an insight into how the traditional Roman building techniques would have responded to the damper British climes, which is an important part of this exploration project.” The tour costs £30 for adults (£25 for

EH members) and advance booking is recommended, on 0870 333 1183. q • Wroxeter, or Viroconium, was the fourthlargest city in Roman Britain. It was first excavated in 1859 and became one of the country’s first archeaological visitor attractions. Much of it remains underground, but the municipal bath house is the most impressive exposed site.

Tarmac Building Products’ Limelite Renovating Plaster

any heritage buildings affected by wet weather, torrential rain and flash flooding are facing the prospect of extensive repairs. In older buildings that still have their original lime and sand plaster, the ideal solution is to replace like-for-like and use a traditional ‘lime-haired’ plaster, which allows walls to breathe and retain flexibility and setting. Gypsum-based plaster and plasterboard are not compatible as they are very sensitive to moisture and salts and degrade in the presence of both. Certain types of gypsum plasters are also resistant to damp and contain water repellants that seal the surface and prevent walls from breathing. It is not always practical to use an authentic lime plaster, so Tarmac Building Products has created their Limelite range of plasters, mortars and grouts as modern equivalents of traditional products. Our Heritage Range of bagged, high performance plaster products is a range of specialist renovating plasters, mortars and grouts designed to give historic buildings the care and protection they need and deserve. To ensure the correct selection and application of these products, you can rely on the unrivalled expertise of our support team. For buildings that are in need of sensitive historic restoration, look no further than the Limelite range of heritage mortars, grouts and plasters from Tarmac Building Products to deliver the ultimate property face-lift.

Key features of our Limelite Renovating Plaster Limelite Renovating Plaster includes man-made fibres that imitate traditional ‘lime haired’ plaster, which adds to the authentic appeal of the product and reduces the likelihood of cracking. Limelite is considered by conservationists to be a replacement for original lime plaster. The plaster controls dampness passing through walls and provides an effective barrier against salt transfer. It also retains a level of ‘breathability’ and flexibility once it has set. Limelite Renovating Plaster has been used for more than 30 years to help solve the common problems of dampness associated with heritage buildings and for remedial work after damp proofing. The plaster reduces the possibility of condensation, whilst adding thermal qualities to the building. It also helps to minimise efflorescence and rusting of metal lathing and conduits, as well as controlling stain and mould growth. The range is available as a pre-blended product from a nationwide network of builders’ merchants or as a custom made, blended product for unique properties direct from Tarmac Building Products. q

Benefits of using our Limelite Renovating Plaster: • Uniquely formulated to control dampness • passing through plastered walls • Consistent, pre-blended quality assured • mix • Conveniently pre-packaged, reducing • • waste • Resistant to mould growth, reduces • • • • • condensation and inhibits efflorescence • Can be applied shortly after the insertion • of a new damp-proof course or system • Contains man-made fibres to control • shrinkage and improve flexural strength • Use with Tarmac High Impact Finishing • plaster for a grade D impact resistant • • plaster • No problems associated with moisture • • • trapped under plaster in heritage • buildings Our Limelite Heritage products have been used in the restoration of many landmark buildings including St. Paul’s Cathedral, the Beaney Institute and St. Pancras Station.

Our Heritage Range of products

Case Studies • Beaney Institute, Canterbury city centre – This project was designed to conserve, repair and restore the existing Grade II listed Beaney Institute in Canterbury city centre. The new extension will double the building’s size, creating more and better space for both museum and library services. • St. Pancras Station, London – We provided our Heritage Mortars and Grouts which were used in the extensive restoration of St. Pancras Station into its Victorian splendour, completed by the end of 2007. • St. Paul’s Cathedral, London – We provided a specially created blend of Pulverised Fuel Ashes (PFA), cement and special additives originally developed in 1975 for the restoration of St. Paul’s Cathedral. Our St. Paul’s Grout Mix was used to strengthen and fill voids in the Cathedral’s masonry walls, completed in 1975. All of our products are manufactured to BES 6001 (sustainability standards) and factory blended, tested and packaged in accordance with BS EN ISO 9001 (quality management system). We encourage all readers to put their faith in our Limelite Plaster and see the benefits for themselves! To find out more visit www.tarmacbp.com/heritage or ask for Limelite at your local builders’ merchants.

• Limelite Renovating Plaster • Limelite Quick Drying Plaster – dries • approximately 30% quicker than • traditional plasters • Limelite Easy-Bond – pre mixed, dry • powder keying aid for Portland cement • based plasters, renders and screeds • Limelite Cement Backing Plaster • Whitewall One-Coat Plaster – Anhydrite • based, hard white, durable surface • achieved in a single coat • Whitewall High Impact Backing Plaster • – mixed with High Impact Finishing • Plaster to provide a hard white surface • unparalleled in its resistance to impact • Tarmac High Impact Finishing Plaster • – for use over Limelite backing coats • or traditional gypsum plasters and sand • • cement mixes and is a BBA approved • finishing system for damp walls

Churches provide the perfect haven by DR E. BODSWORTH & A. KATTAN

he attractiveness of churches and other historic buildings is undeniable; the sense of peace, history, their dramatic architecture and setting make them some of the most valuable and notable buildings in our towns, villages and countryside. It is no surprise that they attract visitors from all over the world, but what is less well-known is that churches can be havens for wildlife. Ancient trees, wildflowers and rare lichens adorn churchyards and the peaceful surroundings attract a profusion of bird life. Although not obvious to the casual eye, some of our rarest, most enigmatic and highly secretive mammals can also be found hidden within the buildings. We are of course talking about bats, perhaps one of the most fascinating and misunderstood groups of animals in Britain.

With the gradual reduction in natural roost sites, these adaptable creatures have found a comfortable refuge â&#x20AC;&#x201C; with churches, Scheduled Ancient Monuments and other historic buildings providing a wealth of opportunities for roosting that have remained largely unchanged for hundreds of years. Buildings prove not only to be a substitute for natural roost sites, but in some cases are arguably superior. Large maternity roosts can gather in attics and lofts, the large wooden beams providing the perfect substitute to ancient trees; gaps within mortise-and-tenon joints offer cosy crevices for shelter; and ice houses and cellars mimic conditions that would be found in caves, with stable temperatures that are ideal for winter hibernation. There are 17 species of bat in the UK and each species has its own unique ecology, so it is astonishing to think that buildings can be used by all species. It is also astonishing to find bats in all sorts of places including tiled roofs, castle walls, porches, blast furnaces and chimneys, even behind information boards and in latrines! Bats receive extensive legal protection, not only protecting the animals from harm but safeguarding their roost sites, and a bat licence and mitigation strategy are often required when working on buildings where bats are in residence. This ensures that an approved approach and strategy to protect bats is taken, helping guarantee that natural history continues to be a valued part of our monuments and churches. Championing the conservation of these protected species is not always straightforward and employing a specialist ecological consultant is advisable when approaching any new project where bats might be encountered. q â&#x20AC;˘ Dr. Edward Bodsworth and Anton Kattan are experienced ecological consultants working at Windrush Ecology and Pure Ecology and can be contacted on 01993 200245 and 07870 668974, or visit www.windrushecology.com.

Joint initiative addresses bat issues

here is anecdotal evidence that the presence of bats in churches has been on the increase in recent years, despite the fact that bat populations as a whole have declined. There are 17 species of bat resident in the UK, all of which have been declining. Loss of traditional woodland habitats and the increase in intensive agriculture has meant colonies have been driven to seek refuge in more permanent structures such as churches, whose naves and chancels provide bats with large open spaces (bats rarely roost in belfries). According to Natural England, the Government’s advisory body on wildlife and the natural environment, most churches have resident bats. Often they go unnoticed, but serious problems do occur in some churches – and they can be exceptionally difficult to resolve. Most people are aware that bats are protected by various pieces of legislation – most recently the Conservation of Habitats and Species Regulations 2010. They can, however, cause a great deal of nuisance, particularly from their droppings and urine.

Last year Natural England and the Church of England joined forces to create the Bats in Churches Working Group to raise awareness of the issues. The project aims to provide those responsible for church buildings with guidance and advice on how best to manage resident bats, including how to deal with legal obligations. A leaflet produced by the working group outlines research projects currently underway, designed to improve understanding of bat behaviour and explore ways to minimize their impact on church buildings and congregations. Natural England’s regulation director Janette Ward commented: “We know what a serious issue bats can cause for churches and we have no wish to see congregations inconvenienced in their worship. I am delighted with the progress which the working group is making in producing pragmatic solutions to address

the requirements of church users and bat conservation laws.” Anne Sloman, chair of the Church Buildings Council, who leads the working group said: “I am delighted that the church is reaching a better working relationship with Natural England. We can only offer serious practical help to congregations who are suffering from the problems caused by bats by working together. The research projects are important because, although they offer no instant solution, the more we understand about bat behaviour the easier it will be for Natural England to grant the licences which we apply for. Often it’s not a case of banishing bat colonies but encouraging them to move to less intrusive parts of the church or indeed to bat boxes outside.” q

More than bats in the belfry

pecialist ecological consultancy Access Ecology Ltd has significant experience of working on heritage buildings with regard to protected and notable species and habitats. The company’s team of ecologists includes fully-licensed bat specialists, all with experience of working with historically sensitive buildings in addition to holding survey or development licences for a number of other protected species. They have worked with clients ranging from national bodies such as English Heritage to specialist conservation architects, individual churches and home owners. Each project is tailored to the scale of work proposed and the individual character of each estate or building. Their ecologists use the latest technologies alongside accepted methods, achieving a more accurate interpretation of the significance of the site for protected or notable species and habitats and allowing a more complete and costeffective mitigation and compensation plan. Their approach consists of four main stages: pre-works risk assessment and subsequent specialist surveys; licensing; mitigation and compensation; and post development monitoring. During the process, they hold a rolling dialogue with the client and other interested parties (architects, English Heritage, Natural England etc) to come up with the most cost-effective, efficient and sensitive solutions. Where possible any mitigation features required are designed to be cost-effective, low maintenance and sympathetic to the fabric of the buildings. The aim is to help clients achieve an effective solution for their heritage project whilst ensuring that all statutory considerations are appropriately addressed. q

Reconciling conflicts between

Ecologist Peter Lawrence and landscape architect Matthew Tickner, of environmental consultancy LUC, look at considering ecology within heritage landscapes prior to restoration works

UC is fortunate to have worked on some of the UK’s most celebrated heritage assets, with recent examples including Buckingham Palace, Lacock Abbey (Wiltshire), Quarr Abbey (Isle of Wight) and many of our National Parks such as the Lake District. Occasionally LUC landscape architect and ecology teams come across significant conflict between ecological and cultural objectives. Those involved are often passionate about changes to heritage landscapes, and often have opposing viewpoints which may depend on personal interests and the level of understanding of the various issues. Are bats destroying property, or is an important refuge being provided for a threatened species? Both perspectives have validity. Conflicts can be heightened by the level of legal protection afforded to some species, in contrast with the relatively low level of protection afforded to some heritage features. But is it necessary for conflict to be so prevalent when there are many positive opportunities for co-existence? After all, our natural heritage is an integral component of our heritage, having shaped and, in turn, been shaped by our cultural heritage – including buildings, monuments, books and artifacts or our traditions, aesthetic and spiritual beliefs. LUC finds that early ecological involvement and following an informed and constructive approach, for example the Conservation Management Plan (CMP) process, can help build consensus and develop achievable and robust restoration objectives, whilst ensuring legal compliance.

What makes historic designed landscapes so ecologically rich? By nature of their design, historic landscapes often support a diverse patchwork of ecologically rich habitats, with the role of nature of great importance to designed landscapes. One of the most widely agreed principles of landscape architecture is that landscape design should always be adapted to the context in which it is located. The combination of natural factors (such as vegetation, soils, climate etc.) and designed landscape interventions often results in rich and valuable habitats, which are both aesthetically pleasing and attractive for wildlife. The continuity of land use and management can be particularly important for wildlife. At Sawston Hall in Cambridgeshire, vegetation surveys by LUC informed reinstatement of grazing and water management to improve the condition of the nationally important fen habitats. Habitats can also be created ‘by accident’, of course. In the Walled Garden at Fawsley Hall in Northamptonshire owls have taken up residence in the former head gardener’s house, and the abandoned glasshouse heating flues provide roosting opportunities for bats.

ecology and heritage landscapes

The National Trust’s Lacock Abbey, Wiltshire

A way forward for restoration works – consensus building and management plans Conflicts often arise when continuity of management has not been maintained, resulting in degradation of the designed landscape and built structures, declining value of existing wildlife habitats (such as silting up of waterbodies) and potential colonisation of new species which may be legally protected (for example, badgers or reptiles in overgrown gardens). For some species there is a long history of cohabitation with humans, such as bats in buildings. Entering into restoration works can then feel daunting, with the threat of legal action potentially hinging on the often complicated and seasonal behavior of a species. LUC regularly deal with such issues and the key is to develop an understanding of the site and major issues as early as possible. Importantly, all stakeholders should be brought together early. This helps to get ecologists excited by the landscape/ cultural history and historians excited by ecology, and to look for Quarr Abbey, Isle of Wight common ground. At Hampstead Park in Berkshire, through detailed historic analysis and ecological survey, we identified veteran trees for ‘rescue’ by the felling of surrounding plantation woodland, restoring both historic parkland character and a valuable wildlife feature. This consultation process is a key component in the development of CMP’s, which are recognised as best practice to guide the management of designed landscapes. The process enables early identification of conflicts, and provides a process to understand their relative value and to tease out a way forward. We have successfully applied this approach on numerous sites, including most recently at the National Trust’s Lacock Abbey. This comprises the Grade I Listed Abbey, its Grade II registered gardens and park, parts of the village of Lacock, and agricultural and common land. Of value to nature conservation is the River Avon County Wildlife Site, calcareous grasslands and parkland habitats with ancient trees, and protected species including a roost of 1,000 bats, which emerge from a gargoyle’s mouth! Here the CMP process has facilitated the objective consideration of the varied site assets, including consultation with village residents and the identification of objectives and methods for the maintenance of the site’s significant heritage features, both cultural and natural. q

LUC can help you: • Research and understand the historic development of your site, setting out design intentions and significance. • Review baseline information and undertake ecological surveys, including habitat (Phase 1 and 2 Habitat survey, river and ancient tree survey) and protected species surveys. • Manage stakeholder consultation and build consensus for site objectives and delivery mechanisms. • Develop proposals for the restoration and management of heritage landscapes. • Prepare Conservation Management Plans, Management and Maintenance Plans, and tree and woodland strategies. • Develop and deliver ecological mitigation strategies, including protected species licences. • Procure and supervise restoration and management works on site.

The humble sash that is a window on history

o many people the mention of windows in buildings in a heritage setting conjures up mighty stained-glass panels in churches or civic buildings, large multipanelled constructions allowing floods of light into the drawing room of a country mansion or squares of crown glass in a listed coaching inn or similar. Those are the grandiose and the romantic examples of early glazing – some of it so extravagant as to cost as much as the building they were installed in, such was the price of glass until the early part of the 19th century. However, the great majority of historic windows most people see on a regular basis are installed in the inhabited homes of the late 18th, 19th and early 20th centuries. Most of these are sash windows with cords and pulleys. They are to be found throughout the industrial areas of the UK, from Glasgow to London and from Wales to Humberside. Sadly, many of these beautiful and elegantly simple window sets were discarded and replaced by top-hung casements during the 1960’s and 70’s (including an early 20th-

century terraced property later inhabited by this writer). Often the replacement was seen as necessary because of the irreparability of the original window and could have been insisted upon as a condition of mortgage. Nothing, however, could have been farther from the truth. The sash window is built to be dismantled and repaired, with many components being able to be made by ‘a competent joiner’. Another reason given is that sash windows are thermally inefficient. That myth was put to bed by a study carried out in 2009 by Glasgow Caledonian University for English Heritage which found that over 60% of the heat loss through a traditional woodenframed sash window could be eliminated by fitting secondary glazing and shutters. Sash windows have a long history in this country, having been introduced from continental Europe. They are an elegant piece of machinery that is eminently repairable and set the visual tone for many of our urban and suburban streets. Fortunately, many owners of such pieces of our history are now beginning to appreciate them. q

Bespoke windows and doors adorn new classroom block in former royal palace

new classroom block at one of the UK’s foremost Catholic independent schools – New Hall in Essex – features speciallydesigned timber sash windows, casements, external doors, doorsets and special shaped windows from the ConservationTM range by specialist manufacturer Mumford & Wood. Tew & Smith Architects of Northampton worked with contractor Cadman Construction Ltd of Colchester on the two-year Priory Court project, which was completed in 2010. The fenestration on the project was put forward for the British Woodworking Federation’s prestigious John Hedgecock Award. Sponsored by Timbmet the award was first introduced in 2010 as a tribute to the BWF’s former technical manager and one of the leading authorities on woodworking and joinery manufacturers who died in 2009. The award is given to individuals, companies, projects or products which demonstrate exceptional technical excellence, achievement or innovation in joinery manufacture. Approached from a mile-long, tree-lined avenue, the main building occupies the magnificent former Tudor palace of Beaulieu. In 1517 the estate was acquired by King Henry VIII from Sir Thomas Boleyn, father of Anne Boleyn. Henry greatly enlarged and enhanced the building and called it Beaulieu. For many years it was the home of Mary Tudor and was subsequently granted to the Earl of Sussex by Queen Elizabeth I. Oliver Cromwell later procured the estate, commonly called New Hall, for five shillings. In this prestigious project Mumford & Wood met a challenging brief

from the architect and client, with products of standard specification and only minimal adaptation. The company’s high-performance products, which are made from premium quality, clear-grade, laminated larch or oak, were architecturally specified for the Priory Court classroom block, which is situated alongside the Grade Onelisted palace building, amid the surrounding historic park and gardens. The double-glazed ConservationTM products are designed and manufactured in the UK and offer BSI energy ratings A-C, depending on choice of specification. They provide an overall frame U-value of 1.4 W/m2K, which out-performs the requirements of current Part L Building Regulations. At the same time the products offer the charm and character of traditional originals, which successfully blends old with new while providing ultimate levels of modern performance. High acoustic performance was required of the window specification, as befits a school environment with upwards of 1,000 pupils. Mumford & Wood’s products can reduce unwanted noise entering or leaving a building while still achieving a traditional appearance. Working closely with gasket, acoustic and glazing specialists, Mumford & Wood have developed acoustic variations of 38dB for ConservationTM casements and 36dB for sash and box sash windows. Performance has been independently UKAS tested in accordance with BSEN ISO 717-1:1997, to provide outstanding levels of air and sound resistance. ConservationTM entrance doors installed at New Hall were made to measure with decorative fanlights. Mumford & Wood use traditional mortice and tenon joints and a 57mm-thick leaf within a substantial 68mm frame for ultimate strength and stability. The doors feature a Secured by Design PAS 23/24-approved multi-point locking system. Specially adapted enhanced security catches on the ConservationTM sash windows were approved by the Crime Prevention Officer of South East England. Installation was an important element of the brief and Mumford & Wood were able to provide installation teams from a register of approved installers, who ensure work is carried out to the most exacting standards. Delivery of over 90 ConservationTM products in four consignments met the critical schedule and the installation work was carried out to co-incide with New Hall’s holiday calendar to avoid any disruption to pupils and staff. q

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

he 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 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 past 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

Chiswick celebrates the beauty of the camellia

ebruary sees the opening of the second annual Chiswick House Camellia Festival. Set in the newly-restored and planted Italian garden and its spectacular conservatory, the festival – which runs from 18 February to 18 March – will bring a burst of glorious colour to a drab winter. The Chiswick House camellia collection is a national treasure and probably the oldest in the Western world. It includes rare and historically important examples of the beautiful plants, with a fabulous array of blooms – pink, red, white and striped. Many of them are descended from the original planting in 1828 and amongst them is the unique Middlemist’s Red (pictured), brought to Britain from China in 1804 by Londoner John Middlemist, a nurseryman from Shepherds Bush. It is one of only two in the world known to exist, the other being at Waitangi in New Zealand. The Chiswick House and Gardens Trust will celebrate these spectacular blooms in the setting of the Chiswick Gardens Conservatory, designed by Samuel Ware in 1813. The festival will feature new camellia displays by specialist nursery Trehane and experts will be on hand to

advise on every aspect of camellias and how to grow them. To complement the festival, the newly restored Italian garden, created for the 6th Duke of Devonshire in 1814, has been replanted with an early display of spring flowers. When it was created in the early 19th-century, Chiswick’s Italian garden was at the cutting edge of horticultural fashion and extravagant gardening. To complement the festival, the shop will be selling special camellia-inspired merchandise,

as well as a range of varieties of camellia plants. The award-winning café will be serving a delicious seasonal menu. All profits raised will help to support Chiswick House and Gardens Trust, a registered charity dedicated to the preservation and continued enhancement of the historic Chiswick House gardens, which are open free to the public from dawn to dusk every day. Tickets for the festival are £8 and include a free camellia guide. q • For more information visit www.chgt.org.uk.

Enjoy the early blooms and help cancer charities

his year, a selection of the 3,700 private gardens in England and Wales that open to the public for charity as part of The National Gardens Scheme (NGS) will be opening early to showcase their spring flowering gardens up to the end of February. NGS chief executive George Plumptre declared: “Early spring openings have a special magic for visitors. After the long winter the NGS is able to offer you the opportunity to get out, despite the cold weather. “With Valentine’s Day just around the corner a trip to a local NGS garden at this time of year can be a romantic experience for visitors, friends and family. Not only does it directly benefit charity, it is a wonderful chance to take in some beautiful winter scenes at a small cost, with most allowing under-16s in for free.” In 2010 the NGS donated £2.6m to charity and in the past ten years has raised more than £26m. Its largest single beneficiary, Macmillan Cancer Support, has received £13m to date. The NGS also donates money to Marie Curie Cancer Care, Crossroads Care, Help the Hospices, The Queen’s Nursing Institute, The Royal Fund for Gardeners’ Children, Perennial and the National Trust. q • Details of the early spring gardens open in January and February can be found at www.ngs.org.uk.

Urgent repairs halt decay of local landmark church

ctober saw the completion of a major programme of repairs at the Grade Two-listed church of St James in Shaw, Oldham. The repairs, costing around £250,000, were carried out with the help of a £190,000 grant from English Heritage and generous contributions from members of the church and the parish of East Crompton St James with St Saviour. St James’s is a fine stone building of some architectural merit, built in 1847 by Joseph Clarke for the Church Commissioners. It is set in mature grounds and forms an attractive focal point for the streets and houses around it. The tower and spire act as a landmark within the local St James Conservation Area. In 2008 the quinquennial inspection report by architects Anthony Grimshaw Associates identified a number of urgent high-level repairs which needed to be carried out within two years if serious problems were to be avoided and the historic fabric of the church conserved. Subsequent to the quinquennial inspection a high-level wall painting had come away from its backing and rotten roof timbers had been discovered elsewhere. The urgency of the work was therefore increasing. The roof coverings were in very poor order and

the church had frequently suffered water ingress in at least five places. Much of the slate roof had been covered with a bitumen/membrane-type product which was peeling off. Not only did it not allow the slates to move naturally, it also made repairs very difficult. The reslating project was not able to make use of any of the existing slates, making re-roofing much more expensive. The poor condition of the roof was disproportionate to the condition of the remainder of the church, which was reasonably good. Indeed, at first glance the church appeared in good condition, but the problems of the roof were serious: rotten timbers had already been positively identified and if the raining-in was left unattended to it could have lead to a serious and widespread outbreak of dry rot. Once the English Heritage grant was obtained, all the roofs were re-covered using only new blue Welsh slates with new leadwork laid on breathable felt. The walls of St James’s are of random coursed gritstone, with softer stone ashlar mouldings and tracery. ‘Strap’ pointing butters the face of many of the joints. Minor patch pointing and stone repairs were carried out on the worst areas using a correct lime mortar specification and ensuring the proper raking out of joints using an

appropriate technique. Copings were rebedded and repointed and then clad with stainless steel. The high-level masonry was checked for stability. Some pieces of stone had fallen from the chancel, so were refixed. All the rainwater goods were replaced using new painted cast iron rainwater pipes of a larger diameter than previously. Internally, there were some specialist timber repairs and consequential making good. In March 2009 a close inspection had been made from scaffolding of the internal painting above the chancel arch and the linen backing was found to be coming away from the wall. A specialist paint conservator was called in to conduct an inspection and write a report. A further paint conservator – John Burbidge from Granville and Burbidge of London – carried out repairs, refixing and cleaning. During his investigations he discovered an earlier painting beneath the present artwork. The painting is now fully secured. The programme of work was completed in October last year. q

Unitarian ‘cathedral’ is brought back to life by HCT S tanding on a hill in the Yorkshire mill town of Todmorden and commanding the surrounding area is a church built in the Gothic revival style, on an Anglican plan with a long nave, a tower and high spire. Inside it is lavishly decorated, with stained glass from Brussels, a communion table and choir stalls. The tower boasts a peal of eight bells, a carillon and a clock. Yet this is no establishment church – it is Todmorden Unitarian Church, built in memory of industrialist and Member of Parliament John Fielden. Fielden was born a Quaker, but converted to the Unitarian Methodism of Joseph Cooke. His sons commissioned the chapel from architect John Gibson and it was built between 1864 and 1869. The burgeoning Unitarian congregation in Todmorden in the 1850’s and 1860’s led to the size of the building being described as “…more suggestive of a small cathedral than a nonconformist chapel.” It houses more than 500 people. In recent times the chapel fell into decay, despite its Grade Onelisted status, and it closed in 1987. In 1994 it was acquired by the Historic Chapels Trust, which put in place a restoration programme. That programme has finally borne fruit and the chapel is now once more open for worship. The £1m restoration has involved both internal and external repairs and the re-instatement of the landscaping. Works on the fabric have included repairs to the roofs, stained glass, carillon and clock, the refurbishment of the interior of the tower and the rehabilitation of the listed ‘lodge’. A new heating system has been installed as has a new kitchen and WC’s. The electrics have also been replaced. A working party of volunteers now regularly undertakes maintenance of the landscaped grounds, and the church is a party to the innovative ‘Incredible Edible Todmorden’ movement. q

What is the HCT?

stablished in 1993, The Historic Chapels Trust (HCT) takes over redundant chapels and other places of worship that are not part of the Church of England and which are Grade One or Grade Two*listed. They include nonconformist chapels, Roman Catholic churches, synagogues and buildings of other faiths. According to the HCT: “The object is to secure their preservation, repair and maintenance for public benefit, including contents, burial grounds and ancillary buildings.” Once a building has been acquired, HCT appoints an architect to carry out a survey and supervise repairs and upgrading. During repairs, where possible, chapels are open to visitors and available for a range of suitable events, including occasional services. Again, according to HCT: “HCT establishes local events management committees for each chapel and actively seeks non-denominational community uses for its buildings, provided the purposes are compatible with the chapel’s former religious character.” q • For further information visit www.hct.org.uk.

‘Angels’ re-establish disused church as a new ‘Left Bank’

Left Bank central aisle – picture courtesy of Bukkie dos Santos

n 31 October the winners were announced of the inaugural Heritage Angels awards, jointly funded by English Heritage and the Andrew Lloyd Webber Foundation, and supported by The Telegraph. The winner in the Best Rescue of a Historic Place of Worship category was an ecumenical Christian organisation called Left Bank Leeds, for their restoration of the Church of St Margaret of Antioch in the city. The judges – Andrew Lloyd Webber, Simon Thurley, Melvyn Bragg, Bettany Hughes and Charles Moore – said of the project: “Left Bank Leeds… brought enormous energy, creativity and life back to their vast red brick hulk of an inner city church.” St Margaret’s was built in 1907-9 to the designs of Temple Moore, who was the architect of many fine churches in Yorkshire in the three decades before the First World War. Moore’s biographer and the leading authority on his work, Dr Geoff Brandwood, has said: “Moore produced designs of great beauty and subtlety and greatly enriched our architectural heritage. Sadly St Margaret’s was never completed as he intended, but the interior is one of his most notable achievements – a powerful, grand design of considerable originality.” Mike Love, one of Left Bank’s steering group, was first inspired by the

building in 1978, when it was in regular use as an Anglican church. When the building was closed in 1995, Mike began to imagine how the building could be used in the future. Eventually, a dedicated group of local people set up a trust to buy the building in 2002. A lot of the original ideas for the building were dropped and the idea of Left Bank Leeds began to emerge as people got involved and asked to use the building for art and music events. With a much needed injection of Heritage Lottery funding, repair work began in 2007 and since then the ‘Left Bank’ has slowly taken shape within St Margaret’s. The architects on the project were Wiles and Maguire of York. When the team first visited St Margaret’s they were not prepared for what met them. A priority, they had been told, was to remove the pigeons, which created a stink that could be smelled at floor level. Director Andrew Wiles recollected: “We were expecting on our visit to be overwhelmed by a pungent welcome; it was, instead, the remarkable quality of space of the Temple Moore interior which took our breath away. A weak winter light was streaming in through the south windows, sending long blades of sunlight into the dusty interior. It was clear that this had been, and could still be, a remarkable building.” The repairs themselves were “…relatively straightforward, if extensive in scale and cost”. The final phase of the work took in the restoration of porch glazing and roof lights by George Pace. Andrew Wiles commented: “While the main Temple Moore interior always was guaranteed to be impressive, the dark cave of an entrance had always been an unappreciated and wasted space. Restored, it now provides the welcome that was always intended.” q

Historic Highgate Chapel finally regains its ceiling I

n October last year, work was carried out to reinstate the Victorian Gothic ceiling of the chapel at Highgate Cemetery. The work was part of a programme to restore the chapel to its former glory and allow greater use of this world-famous and historic place. The designer was Jon Allen Architects, Cliveden Conservation Workshop Ltd were the construction site managers and Thompson Lewis Ltd the plastering contractors. Before the Friends of Highgate Cemetery took over responsibility for the site in the 1970’s the original chapel ceiling had already crashed to the floor after years of dereliction, and had been cleared away leaving no trace. The original walls, however, had remained intact and they showed how a Gothic interior had dominated the greater part of the building. Jon Allen designed a new scheme, with Gothic groin vaults and high lancet windows, punctuated by leafy motifs on the new capitals and bosses, and a niche to display a new stained glass panel which re-created an original window. The designs grew out of the fine details remaining on the original walls of the chapel. Conrad Lindley-Thompson of Thompson Lewis described how the new ceiling was created. “The first job off site was to complete the drawings. From these we could manufacture the groin backgrounds from which the whole job takes shape. This

drawing is the most important part of the job and is where the manufacturers translate the architect’s designs into drawings they can build from. Whilst we were discussing these we were also able to put together the first samples for the cornice and the arched ribs. So we eventually ended up with our ceiling drawn and the first few mouldings approved.” At the beginning of September – and with only an eight week window on site – the steel team of Thompson Lewis Ltd arrived on site. Their job was to erect a substantial steel suspended frame to support what was going to be a substantial weight in plaster.

It was a major job but at the end of that phase it left the form for what was to come. Conrad Lindley-Thompson takes up the story: “The ceiling was then plastered and the groin ribs and cornice, which had been made at our Bristol workshops, were installed. Whilst work on site was progressing the final artistic details were being modelled and cast including some fine capitols and a pair of bosses over the rib intersections. Finally, the work was finished at the end of October, the scaffold struck and the room handed over to the painters.” q

The completely restored ceiling of Highgate Cemetery chapel

Lightning engineers: if they can’t show the card, give ‘em their cards

or information on specialist lightning protection companies regarding their training, qualifications and experience, the place to go is the Steeplejack and Lightning Protection Training Group (SLPTG). The SLPTG can provide clients with all the information necessary to ensure that any contractor or sub-contractor they are considering working with can demonstrate that they and their workforce are competent and have the correct qualifications, knowledge and experience to carry out tasks on lightning conductors or lightning protection systems.

Protect yourself – check the CSCS Smartcard Under the Health and Safety at Work Act building owners and managers have a ‘duty of care’ to ensure that operatives can provide proof of competence and demonstrate experience and knowledge to carry out a task. A CSCS Smartcard with photo ID is a simple and very effective way of checking that someone working on or testing a lightning conductor or lightning protection system can provide such proof. The card clearly states that they are either NVQ II or NVQ III lightning conductor engineers – and of course the photo proves they are who they say they are. The SLPTG’s Lynne Fletcher advises: “If they cannot provide that, you should not let them continue until they or their company can demonstrate their competency to your satisfaction. If something were to happen it may eventually come back to you and this simple but very effective measure is there to assist.” Throughout 2009 and 2010 there were two-day Lightning Protection Test and Inspection courses available via accredited learning centres. A number of companies have used that course to add the testing and inspection of lightning conductors to their range of services. However, it is only one of many official training units/certificates that are required for a lightning protection engineer to gain their specialist NVQ qualification. That particular unit/certificate does not provide the operative with the necessary experience and knowledge – it is a certificate of training, so should not be accepted as proof of competence on its own. The minimum any client should be looking for is that the operative holds an in-date CSCS Smartcard with photo ID, stating clearly on the rear that they are NVQ II or NVQ III lightning conductor engineers. Richard Diment, director general of the Federation of Master Builders, said: “The FMB, as the leading trade association representing SME’s in the British construction sector, supports and promotes all aspects of craft

management and health and safety training. It recognises CSCS as a vital means by which its members can record and provide proof of the skills and competency of their workforce and sub-contractors.” Julia Evans, chief executive of the National Federation of Builders, added: “CSCS provides a base line standard which is broadly accepted by the majority of the construction industry. It enables workers to demonstrate important proficiencies and companies to demonstrate a commitment to safe and efficient working.” Alan Ritchie, general secretary of the Construction Union, declared: “A fully carded workforce is a safer and better trained workforce.”

Developing the training Working closely with National Specialist Accredited Centre (NSAC) and CITB ConstructionSkills at the National Construction College at Bircham Newton in Norfolk, the SLPTG has formulated and developed the lightning conductor engineer national apprenticeship scheme, along with adult learning, and continues to expand training availability for this very specialist industry. According to the SLPTG’s Colin Sanders: “The SLPTG demonstrates that we fully understand the commitment and consequent investment that is required for training, because adaptable, skilled people are vital to the success of our industry. It provides our clients with the confidence that the training, experience and skills given to our operatives can demonstrate the competence required to allow them to carry out their tasks.” The SLPTG continues to develop training for the industry by working closely with clients and customers, main contractors, training providers and its members to ensure that the training delivered to its workers is improving the quality of the workforce in all areas. That will mean the introduction of more dynamic forms of training, which will elevate the industry. Remember: if an operative cannot provide a CSCS card which states their NVQ II or NVQ III qualifications on the rear, do not let them carry out the work! q • For further information, contact Lynne Fletcher on 01625 664500; e-mail info@slptraininggroup.org.uk; or visit www.slptraininggroup.org.uk.

Asbestos in Buildings R

ecently the Health and Safety Executive launched their ‘Hidden Killer’ campaign to highlight the danger of exposure to asbestos fibre, particularly to maintenance and other tradesmen when working in buildings. This high profile campaign graphically indicated that around 20 tradesmen per week die as a result of exposure to asbestos and that tradesmen are still being exposed to these risks, even today, mainly due to the fact that they are unaware of the presence of asbestos in their workplace.

At around 4,000 deaths per year, asbestos is still the country’s biggest industrial killer. Any building constructed or refurbished between 1890 and 1999 could contain asbestos in one or more of its many forms and uses. From the 1930’s asbestos was hailed as the ‘wonder building material’ and in terms of its use, reached its height in the UK in the mid 1970’s. Asbestos was used for many applications including fire protection, thermal insulation, anti-condensation and acoustic coatings, wall boarding, boxing, panelling and roofing to name but a few. In churches it has been used as pipe and boiler insulation, boxing and casings to organ blowers, permanent shuttering over pipe trenches, behind radiators, under radiator shelves, in rain water goods and as sprayed coatings to the underside of roofs. The Control of Asbestos Regulations (CAR) 2006 places an explicit duty on those responsible for buildings (The Dutyholder) to manage the risk from asbestos in their property, not only for their own employees and visitors but anyone who may come into contact with it including, of course, any tradesmen who may be working in it. A major requirement of CAR 2006, and subsequently any asbestos management plan, is to inform anyone who may come into contact with it, of the presence of asbestos containing materials within the property and to give those people adequate training in how to recognise asbestos containing materials and manage the risk of exposure. The starting point of any management plan is to find out if the building contains asbestos materials by an asbestos survey. A survey will provide an asbestos register, record its location, extent and type and assess the risk of exposure on the long term health of anyone who may come into contact with it. This will generally mean that, as a minimum, a ‘management’ asbestos survey will be required in order to comply with the regulations and if any work is planned within the premises a more in-depth ‘refurbishment/demolition’ survey may be necessary. To avoid confusion, these survey types are fully detailed in HSE Guidance HSG 264 which describes the scope and content of the survey types, how they should be

undertaken and the competency requirements of UKAS Accreditation for those undertaking them. Training is the next important criteria, as unless the survey information is imparted to those likely to be exposed it has very little value. Similarly, tradesmen need to be aware of any asbestos materials they may encounter to prevent unintentional disturbance leading to exposure, not only to themselves but to anyone else in the vicinity. Companies you choose to undertake asbestos surveys should be accredited by UKAS (United Kingdom Accreditation Service) to ISO/IEC 17020 to undertake inspections and to ISO/IEC 17025 to undertake bulk sample identification and testing. This accreditation ensures that you will get the best possible survey in accordance with HSG 264. Training requirements are also regulated and described in Regulation 12 of the Control of Asbestos Regulations 2006. Asbestos training organisations are accredited by UKATA the United Kingdom Asbestos Training Association. q • For more information on asbestos management, surveys or training contact Tersus Consultancy Limited on 0121 244 1828, via their website www.tersusgroup.co.uk or by e-mail to info@tersusgroup.co.uk

Carving out an enviable reputation by PAUL FERGUSON, Honorary Secretary, The Master Carvers’ Association

he Master Carvers’ Association was founded in 1897 as an employers’ association, by a number of companies who employed carvers, to enable national negotiations with the emerging unions. I joined the carving branch of a union when I was training in the early 1970’s. My union number was thirty five and I was the youngest at the meetings. In 1992 the rules of the Association were changed to enable individual self-employed carvers to become members. Then, to widen the scope of the association, in 2009 the rules were changed once again to create a third category of membership: associate member. This category is open to budding carvers and others who have a particular interest or contribution to make to professional carving. There were previously just two categories: full and honorary. The honorary category is reserved for those members with distinguished careers who retire. Today the Association remains alone in representing professional carvers and has become the only body able to uphold the standards of the carving crafts. All members are professional carvers with years of experience. To join one has to submit a portfolio of recent work and to have been in business for a minimum of five years. The committee reviews each application for membership. The carving skills represented in the Association are as diverse as the projects with which the members are involved, from minor restorations to vast projects such as the Windsor Castle fire restoration, in which many members were involved, or creating faithful reproductions for interiors such as Timothy Lees’ five marble fire surrounds for Hanover Lodge in London, for which he was awarded a Natural Stone Award for Craftsmanship. Other members include Ricardo Rodriguez, who initially trained in his home town of Toledo in Spain. There he studied furniture design and ornamental woodcarving, followed by a four-year apprenticeship with a local cabinet making firm. It was only after he moved to England in 1980 that he met the greatly talented sculptor and woodcarver the late Gino Massero – who became his good friend and mentor – and established his own workshop. Ricardo specialises in producing high-quality replicas of period pieces and architectural wood and stone carvings, usually commissioned by interior designers or architects who are involved with conservation work. For a number of years he was also the official woodcarver for the Royal College of Arms, and was engaged in the production of heraldic woodcarvings for the Order of the Garter and Order of the Bath. Those works can be found at St George’s Chapel in Windsor Castle. Graham Heeley Studios is a workshop based in Cranleigh, Surrey, making commissioned sculpture-based work through carving and modelling. Having recently carved and fitted two limestone plaques of hunting subjects, such as the trout for a large house in the Scottish Highlands, Graham is presently working on a house near Farnham in Surrey, carving a selection of bawdy

scenes from Chaucer’s The Millers Tale in relief on an exterior exposed oak beam 16ft long and 12in high. Also underway is a figure of an angel to be finished in bronze resin for a chapel of rest. Last year Graham completed a project which required the supply of 150m2 of vaulting panels which were reproduced in resin at his workshop from a set of originals that Graham carved in oak. Gerald Adams obtained a fine art degree at Exeter, then worked for a large Norfolk furniture-maker making fine reproductions before studying carving at the London College of Furniture and setting up on his own. The workshop has been in production since 1986 producing components for the furniture industry, as well as design, architectural detail and sculptural work for large private houses and churches. Gerald gained a Cert Ed in 1998 and has taught at adult education and technical college level for many years. He now also offers carving courses in the workshop. As can be seen, employing members of the association ensures competence in stylistic accuracy and quality of work. Many more members are showcased on the Master Carvers’ Association website, at www. mastercarvers.co.uk; or for a full list email info@mastercrvers.co.uk. q • A selection of members can be found in the classified section of this magazine under the MCA logo.

Education Fostering Progress, a life size clay model ready for casting in bronze, after Albert Toft, for the monument to Edward VII, Birmingham by Timothy Lees

Vaulting section by Graham Heeley

Jacob Desmalter sytle armchairs by Ricardo Rodriguez

ACCESS EQUIPMENT

ANTIQUE FURNITURE RESTORATION

ARCHIVE STORAGE

ARCHAEOLOGY

ASBESTOS

AUDIO VISUAL ARCHITECTURAL METALWORK

BELLS

BLACKSMITHS BESPOKE JOINERY

BRICK REPAIR TOOLS

BUILDING CONSERVATION & RESTORATION

BIRD PROOFING BUILDING SERVICES

CANDLES

CARVERS

CHURCH HEATING MASTER CARVERS ASSOCIATION

CLERICAL CLOTHING

CLOCKS

CONSERVATION ENGINEERS

DAMP PROOFING

CONSERVATION DISABLED ACCESS

CONSERVATION BUILDERS

DRAINAGE

ELECTRICAL CONSULTANTS

ENGINEERING CONSULTANTS

ENVIRONMENTAL MONITORING

LANDSCAPING

EXHUMATION SERVICES

LEADWORK FENCING

FURNITURE

GUILD OF MASTERCRAFTSMEN

JAPANESE KNOTWEED

LIGHTING & SOUND

LIGHTNING PROTECTION

THE STEEPLEJACK AND LIGHTNING PROTECTION TRAINING GROUP

LIME

MOSAICS

ORGANS

ORGAN PIPES

PAPER CONSERVATORS LOOP SYSTEMS

PAINT REMOVAL MEMORIAL FIXINGS

MORTAR SUPPLIES

PAINTING CONSERVATION

PLASTERERS

PAINTING & DECORATING

PERIOD PROPERTY CONSERVATION RESTORATION

PEST CONTROL

PHOTOGRAPHY

ROOFING

PHOTO PLAQUES

SASH WINDOWS

SCAFFOLDING

SCULPTURAL METALWORK

SECONDARY GLAZING

SIGNS

SOUND SYSTEMS

ROOF TILES

STAINED GLASS STONE CARVERS

STOVES

SUNDIALS

TERRACOTTA

STONE

TESTING AND CONSULTANCY

TIMBER RESTORATION

TRAINING

TREE SURGERY & CONSULTANCY

WEB DESIGN

WORSHIP

WROUGHT IRON