Ecclesiastical and Heritage World by DMMonline

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FEATURES

LEAD 7 Lead Contractors launch 2011 Directory with a warning ROOFING 10 Roofing experts achieve new heights of professionalism 10 Roof cleaning the right way

COVER STORY: The LCA Murdoch Awards sponsored by ALM – Page 5

In this issue...

Ethical stripping

Pride of Mayfair – St George’s Hanover Square undergoes major renovation

Selectaglaze keeps the faithful warm

The National Funeral Exhibition – the UK’s premier funeral industry event

The fine art of finding a true craftsman

Keeping ancient skills alive

Wake-up call to heritage crimes

At the cutting edge of restoration – the Arbortech AS170 Allsaw put through its paces

Stansted Park Chapel re-opens following restoration of ancient locks and window

A new organ for St Matthias & St George

NEW FOR THIS ISSUE... Church & Heritage Supplies – Classified Section

UEL RESTORATION PROJECT 12 Restoration project at the heart of London’s regeneration 13 Traditional foundry skills hold water at UEL LIGHTNING PROTECTION 14 Reaching new heights in lightning protection industry training 17 Looks good... works well... costs less! 18 Lightning repairs reap rewards

PEST CONTROL 19 Pest Problem? See an Expert 20 EPL Skylift in control of pigeon problem at York Minster 21 Bird control TRAINING 24 Dorset Skills Centre hosts UK team training 24 Assessment of significance 25 Apprenticeships at Moulton College 26 Dedicated to our built heritage BELLS 27 28 29 LIME 30 31

INSIDE THIS ISSUE...

& CLOCKS Still ringing in the news – after 100 years Time to call on the experts Master bellfounders with a 700 year history operate world’s largest bell foundry Profiling Eden Lime Mortar The benefits of lime putty mortar

SPRING 2011 Richard Shepherd Business Development Manager Tel: 0161 850 1684 Mob: 07913 740380 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. 1DJJ

Perfect partner in Quality First – to last! When a manufacturing and distribution business is seeking to promote its company ethos of making quality standards a priority when it comes to the three ‘P’s’ – professionalism, product and performance – a high profile, contractor-based organisation that epitomises those very same ideals provides the opportunity for a perfect partnership.

ince its formation Associated Lead Mills have driven the standards project might sometimes be overlooked when competing with the larger, of customer service up to new levels. Part of the Jamestown Group, more eye catching leadwork installation. As a result the Murdoch Sponsors ALM have quickly developed a ‘quality first’ reputation and now Award was successfully introduced by the LCA in 2006 to recognise provide a wide range of roofing metals and ancillary products on a projects using less than 5 tonnes of lead sheet. national basis. Both awards are now keenly contested annually, with the winners As the name suggests however, the company’s foundations and first announced at a Gala Dinner which concludes the LCA Conference love surrounds the UK’s lead sheet market and from the outset this each October. The winners are also re-presented with their awards the involved the direct support of the specialist exponents of the craft – the following May at the National Roofing Awards ceremony organised each members of the Lead Contractors Association. year by the NFRC. Managing Director Graham Hudson saw a reflection of his own The LCA remains the flagship for leadwork in the UK, at a time when business attitudes in the LCA’s zero tolerance approach to sub standard even in the heritage refurbishment market, where quality standards should design and workmanship. be sacrosanct, corners are being cut to save money. “At a time when bottom line price seems the priority for most decision The pressure to cut costs too often leads to the sacrifice of long term makers, every company is looking for an edge in a fiercely competitive performance in favour of short term cut price expediency. Driving prices market and for ALM that edge is provided by the standard of product and down results in material suppliers and installation contractors competing service we offer our customers” he said. at unrealistic and unsustainable levels, a downward spiral where many For LCA members, the standard of ‘product’ is the expert knowledge businesses eventually pay the ultimate price. and hands on skills of an experienced craftsman when it comes to the Some are now realising that if the demand continues for cheaper detailed design and installation of leadwork. alternative materials and barely adequate workmanship, by the time Regular on-site inspections result in their work being graded, with specifiers and clients realise the long term cost of their mistaken short term grades being published in the LCA Directory and on the web site www.lca. expediency, it will be too late for the producers and installers of the quality gb.com, so LCA members cannot afford to let their standards slip. end product. For members of the LCA, the ultimate craft accolade is to win the At least in the lead sector there is resistance to a ‘price at all costs’ Murdoch Award, an annual competition among LCA members to find the misconception. “The pressure is always on, but there are signs that some outstanding leadwork project of the year – effectively the very best of the key players among the client groups are starting to recognise that long best. term quality performance provides the best value for money option where The Award was created in honour of Richard Murdoch when he retired leadwork is concerned” states Graham Hudson, “and as a reflection of from the lead industry in 1996. Richard had served the industry since ALM’s own business ethic – a positive partnership – we are determined 1973 in his role as Senior Technical Officer of the Lead Development to support the LCA long term in their continuing fight to keep quality Association, which has now become the Lead Sheet Association. standards as a priority.” As well as writing the leadworker’s Bible – The Lead Sheet Manuals – Richard was also instrumental in creating the Lead Contractors Association ALM and LCA, not only a positive partnership, but a perfect one in in 1984. At a time when the construction industry in general had a poor Quality First – to last! q reputation for quality standards, there was no regulated body of specialist contractors and leadwork was historically carried out by plumbers. • For further details visit www.associatedlead.co.uk As a result of Richard’s determination to change perceptions and have quality standards in leadwork more widely recognised and appreciated by designers and architects, LCA members were able to provide their clients with a long term commercial advantage through the quality of their work. The LCA creating the Murdoch Award as a symbol of that quality also provided ALM with the opportunity to publicly support an initiative which matched their own objectives and in 2004 they became the official sponsors. “It was a perfect chance for us to support and celebrate some of the incredible workmanship LCA members produce and I was delighted when the LCA accepted our offer of sponsorship” said Graham Hudson. “We have no influence whatsoever in the competition, are not part of the judging panel and there is no restriction on the lead used, provided it is either rolled BSEN12588 material or traditional sand cast sheet, in accordance with the LCA Constitution.” The Murdoch Award presentation photo features (L-R) Dick Murdoch, David Martin (LCA Chairman), One thing ALM did suggest however was Steve Hempstock (NW Lead), Graham Hudson (Associated Lead Mills) that perhaps the smaller, more intricate lead

Eight decorative lead lion cartouches from the Regent Palace Hotel refurbishment project

Lead Contractors launch 2011 Directory with a warning

n audience of more than 70 architects, contractors and manufacturers gathered at the Institute of Materials, Minerals and Mining in London at the end of January to listen to a series of presentations launching the 2011 edition of the Directory of Specialist Leadwork Contractors. LCA Chairman David Martin opened the event by asking what price architects, specifiers and main contractors were prepared to pay in order to save money? He warned that trying to save money by not using a specialist leadworker could prove a false economy, with dire consequences for their client. Nigel Miles, of NDM Metal Roofing and Cladding, then described the trials and tribulations of painstakingly restoring eight decorative lead lion cartouches from the Regent Palace Hotel refurbishment project. His team of carpenters spent 64 man days restoring the timber carcasses, before two teams of lead craftsmen, working in pairs, spent an average of ten days on each lion, fabricating each section and then ‘float’ welding the individual pieces of lead together. Standing 1.16m high and 1.25m wide, some 5m² of Code 7 lead sheet was used for each cartouche, which weighed 300kgs when finished. “I think these are incredible pieces of lead craftsmanship and I am very proud of my teams for the exceptional quality of work they have produced” said Nigel. Caleb Cross presented an in depth case study on Richardson Roofing’s refurbishment work at Cardiff Museum, emphasising the amount of care that had to be taken in reproducing the stonework design of the lower levels in lead for the vertical panel sections of the roof. The attention to detail demanded by the architect was obvious throughout the project and the effort was rewarded by the project being selected to feature on the front cover of the new LCA Directory. The next warning was then provided by the Chairman of the LCA Technical Awareness Committee, Carl Bream, who showed leadwork that LCA vetting officers were sometimes presented with by contractors wanting to join the Lead Contractors Association. Carl used slides to show simple errors in design, setting out and fixing which had caused (or would shortly cause) the lead to fail. “The real problem” he said “is that these contractors genuinely believed there was nothing wrong with what they had done and in some cases they were quite proud of their work.”

2010 Murdoch Sponsors Award winning Oakfield Park, County Donegal (M & I Lead Ltd) and (inset) Murdoch Award winning Dewsbury Town Hall (Northwest Lead Ltd)

Showing numerous examples of poor design and lack of knowledge, he emphasised the longevity of performance of lead sheet, but only if the installer knew what they were doing. “We all know lead sheet lasts for more than 100 years” he said “provided it is designed and fitted correctly at the outset.” This theme was picked up by LCA Secretary Ray Robertson in highlighting the advantages of using a member of the LCA for leadwork design and installation. LCA members have their work regularly inspected as part of an annual vetting programme and if faults are found they must be immediately corrected without cost to the client, otherwise the contractor’s LCA membership would be forfeited. “All lead contractors are not the same, so who checks your contractor’s leadwork if they are not members of the LCA?” he asked. As well as vetting being mandatory, LCA members were required to offer a 25 year guarantee of their work as further evidence of their commitment to quality standards and peace of mind for the client. Just as all contractors were not the same, Lead Sheet Association Technical Officer John Woods warned that all lead sheet was not the same, as many architects, specifiers and clients mistakenly assumed. Only rolled lead sheet was made to a European Standard, BSEN12588, and this formed the basis on which the recommendations in The Lead Sheet Manual were made. The historical long term performance of traditional sand cast sheet was also recognised and John showed how this oldest of roofing metals was still made in the traditional manner today. LSA General Manager Nigel Johnston then announced the details of the Young Leadworker of the Year Award, sponsored by the Lead Sheet Association. This new competition was using LCA members as guinea pigs in its first year and was open to anyone aged 25 or under on the closing date for entries of March 31st 2011.

Work would be inspected on site regionally before six finalists were invited to a Grand Final at the LSA in September. The eventual winner will receive a training bursary worth £3,500, as well as £500 in tools. The final presentation, from Rod Bexson of Associated Lead Mills, featured the ultimate accolade in leadwork, the Murdoch Award, which his company was proud to have sponsored for the past seven years. The Murdoch Award had started in 1996 and Rod showed all the previous year’s winners. In 2006 Associated Lead started the Murdoch Sponsors Award to recognise the smaller project (less than 5 tonnes) and both Awards were now vigorously contested each year. To conclude the event Steve Hempstock, of Northwest Lead, was called forward to be presented with the Murdoch Award for 2010 for his work on Dewsbury Town Hall. q

Roofing experts achieve new heights of professionalism

pecialists in copper, stainless steel and zinc roofing, Metal Roof Ltd carried out a project at Scraptoft Church in Leicester, where they fitted the entire church, which had previously been covered in lead, with stainless steel standing seam roofing. The church comprises three sections and the work therefore consisted of fitting three roofs as well as the porch. Based in Lewes, East Sussex, Metal Roof Ltd employ a workforce with 10 years experience in England and Europe, and expertise in all types of metal roofing and cladding, both for new build and renovation work. Materials are fabricated in the company’s workshop and assembled and hand-finished on site. Metal Roof are a small, friendly company and offer a personal service and attention to detail. The company is a member of the Federation of Traditional Metal Roofing Contractors and is happy to advise on projects at the design and planning stage. Roofing materials are required to give a long life, be aesthetically pleasing, be easily and economically applied, require little or no maintenance and be environmentally friendly – and the company believe copper, stainless steel and zinc embody these qualities better than any other material. Very formable and ideal for cladding complicated details and shapes, copper, zinc and stainless steel can be dramatically modern or discreetly traditional. Whether it be the luminous green of copper, the rich warm matt grey of zinc or the sheen of stainless steel, a metal roof enhances any building. In addition, over the long-term, metal roofing can be the most costeffective. A typical metal roof can last over 100 years whereas other roofing materials need to be replaced, sometimes more than once, during that time. A properly installed copper, stainless steel or zinc roof is a once-and-onceonly job, with little or no maintenance required. No chemicals are needed as the roof is resistant to decay and naturally fire proof. What’s more, copper, zinc and stainless steel are much lighter than other

roofing materials and require less structural support – so there is a consequent reduction in cost throughout the whole project. In terms of the environment, copper, zinc and stainless steel are completely recyclable, thus lowering demand on resources and energy. Copper roofs have surmounted European architectural masterpieces for centuries, from medieval cathedrals to the great civic buildings of nineteenth century London and Paris. Zinc has been used in building since the 1700s, the celebrated beauty of the Paris skyline owing much to its grey zinc roofscape. The newcomer, stainless steel, has been applied in building since the 1920s. It is the material that defines the skyscraper and the modern era and it famously clads the Chrysler and Empire State buildings in New York. Today, these metals are enjoying renewed appreciation from architects and builders who increasingly value their beauty, flexibility and cost-effectiveness – qualities uniquely matched to the demands of modern building. q

Roof cleaning the right

he benefits of maintaining roofs clean are well known but few companies offer a complete system to do so safely and efficiently. Thames Valley Specialist Products is offering a proprietary process fulfilling the service. The system comprises a powerful algaecide and the equipment to apply it safely and quickly. The discolouration, moss and lichen begin to wither and fade within a few hours and the roof recovers its former appearance progressively over a period of a few months. The process is not aggressive to the roof finishes and therefore suitable for the maintenance of old tiles and asbestos covering. TVSP Ltd provides training and support to roofing companies new to the process. A specification template is on download from the website www.roofclean.co.uk. q

Thames Valley Specialist Products Ltd, PO Box 1945, Maidenhead, SL6 2XR Tel : 01628 687022 Email: info@roofclean.co.uk

www.roofclean.co.uk 10

way

Ethical stripping O

ur historic buildings need all the help we can give them in order to preserve our heritage, writes Colin Smith of The APR Company. With repair, maintenance and restoration budgets getting smaller the works that are carried out have to be cost effective, in order to prevent the creation of other problems that will need to be rectified at additional cost. There are many reasons for paint to be removed. These can be for aesthetic reasons, for the safe removal of lead based paint, to create a sound base for repainting, to restore lost detail and even to allow the building to breath again and reduce or stop damp. All these require a system that is efficient at removing the coating and which is financially viable. Old buildings were originally decorated using lime washes or distempers and coloured using naturally occurring pigments. These natural coatings allow water vapour to pass through therefore allowing the building to breathe. These days buildings are painted in an effort to protect the substrate as well as for decorative purposes. Most modern paint coatings create an impermeable coating that stops the building from breathing, allowing a build up of moisture, either through penetrating or rising damp, that could lead to substrate decay. Paint removal comes in three main forms â&#x20AC;&#x201C; sand blasting, mechanical stripping and chemical stripping. All these systems have their place in various areas of construction and restoration, however the condition of the historical substrate must always be considered as well as the finish that is to be applied. Chemical strippers used in the restoration and conservation of our old and historic buildings are ideal for most substrates, especially the softer substrates. Instead of breaking up, eroding or wearing away the surface coating the

chemicals will dissolve the coating and enable the user to wash the surface clean. Another advantage is that chemical systems are wet and are therefore good for the removal of lead based paints. The chemical systems can be made to look difficult and expensive if the wrong type of product is being used on the wrong type of coating. It is not simply a case of throwing a strong acid at coatings nor is it a case of using a small tin from a local DIY store to strip the paint from a stately home. Most manufactures will be happy to offer advice on the best product in their range for the coating and size of project you are involved with and there are companies that specialise in carrying out paint removal. As with all systems the health and safety implications should be fully explored before choosing a system as dust, contamination (including lead) and vapours all need to be considered. Chemical paint removal has the advantage that surfaces can be left paint free and undamaged. Bricks keep their weather face, lime pointing is left in place, cornices retain their sharp edges and fine detail and original tooling marks on timber and stone can also be revealed again. q â&#x20AC;˘ Colin Smith, of the APR Company, has worked in the paint removal industry for over 17 years, some of which was in manufacturing. Having started at the grass roots his knowledge in this field is based on a good understanding of the paints and removers and the problems encountered by the two as well as an understanding of the use of lime in period properties. More information at www.theaprcompany.co.uk.

Before (l) and after (r) the paint has been stripped

Restoration project at the heart of London’s regeneration

ome to three schools, with renovated historic buildings sat alongside modern purpose built laboratories, the UEL finds itself at the heart of London’s regeneration. Centrepiece to the campus is the Grade II listed University House and associated Passmore Edwards Museum on Romford Road, designed by Gibson & Russell in 1890. The elaborate Baroque style elevations include many fine details including ornately carved friezes, high level colonnades and elaborately carved Dutch gables. The jewel in the crown being the four sandstone life size statues, carved by the renowned Scottish sculptor W.B. Rhind, each located in niches within the two towers either end of the Romford Road elevation. Owing to the region being heavily industrialised in the late 19th and early 20th centuries the façade’s masonry had suffered greatly from atmospheric pollution, with Rhind’s four depictions of Confidence, Knowledge, Industry and Perseverance affected the most. As a result of the damage to the stonework, at some point within the building’s history the decision was made to decorate all the Portland stone in masonry paint. In 2009, Triton Building Conservation were approached by the client’s surveyors, Bailey & Simpson, to undertake trial cleaning and repairs to the east tower to help establish a protocol for treating the remaining façade and associated elevations. Various cleaning techniques were adopted which included JOS/TORC, DOFF, application of paint removal systems, degreasing agents and a conservation clean with intermittent nebulous sprays. Once the original masonry had been revealed a full survey was undertaken by Triton’s site team to record all necessary repairs to the Portland stone and red brick façade. Difficulties in sourcing matching replacement bricks meant a specialist supplier had to be commissioned

to produce a project specific replacement which is now known as a ‘UEL’ (University of East London) red. All natural Portland stone indents were carved by hand on site by Triton’s in-house, skilled banker masons using traditional methods, and reset within the façade on natural hydraulic lime. In addition to the masonry repairs the scope of works included the repair and replacement of all the existing cast iron rain water system and the introduction/ reinstatement of ornamental lead weatherings including lead cast dolphin motifs to the box gutter. The final crowning glory was the conservation works to Rhind’s figures which had so badly eroded that their very existence was in doubt. Numerous layers of inappropriate paint and unsympathetic repairs were removed and the statues restored to their original detail by Triton’s specialist conservators working from photographs and records taken from the University’s own library. After the successful completion of the Romford Road elevation, Triton Building Conservation were invited back to negotiate the undertaking of the restoration of the final two elevations of University House and the Passmore Edwards Museum, which have now been completed on time and within budget. The successive works to each elevation has left the University with a legacy that generations of students will be able to appreciate. q

Traditional foundry skills hold water at UEL

raditional foundry skills are back in vogue in the restoration of the exterior of one of London’s former technical colleges. Master craftsmen from Hargreaves Foundry have supplied bespoke and off the shelf cast iron rainwater goods as part of a £1.5m external refurbishment to University House, a Grade II listed building which is now part of the University of East London (UEL). Hargreaves’ craftsmen created new moulds to replicate the intricately patterned earbands needed to hold in place 200m of 100mm x 75mm rectangular pipes. All offset pieces were manufactured as specials in the Halifax-based foundry within three weeks. A Hargreaves site survey revealed that after a century of excellent service the cast iron rainwater system had disintegrated. Some bespoke replica fittings needed specially casting so as to complement standard items specified from the Premier Rainwater range of traditional cast iron rainwater pipes, gutters, heads and fittings. The building was formerly part of West Ham Technical Institute which opened in 1898 and taught art, engineering and science. Its apprenticeship classes included foundry skills. As part of an external renovation programme, funded by the UEL and ‘gift aided’ to local people, specialist contractors Triton Building Conservation cleaned and restored three facades of the building and those to the adjacent Passmore Edwards Museum. Triton Building Conservation’s site manager, Zak Crafer said “Hargreaves provided a faithful reproduction of the century-old earbands and offsets. Their comprehensive site survey and ability to include special castings over a short timescale meant no downtime on the project and the replica pieces were easy to install by our own skilled team.” Cast iron is a sustainable material and so after serving the drainage needs of a building for its lifetime it can be fully recycled, not ‘downcycled’. Ironically, Hargreaves Foundry, which was established in 1896, is just two years older than the building it has helped to restore. q

Reaching new heights in lightning

eared to continually raising standards through systemic training within the lightning protection industry, the Steeplejack & Lightning Protection Training Group (SLPTG) was formed in 1974 and was initially known as the ATLAS Training Group. Since the successful introduction of CSCS cards throughout the construction industry, there is an even more important need for the continued training and development of people in the lightning protection field.

Working closely with ATLAS (Industry Federation), the Construction Industry Training Board (CITB) and Construction Skills at the National Construction College in Norfolk, the SLPTG has formulated a national apprenticeship scheme and continues to expand training availability, providing a full range of courses for new apprentices and adult learners. These courses cover all industry-related training right through to bespoke supervisory and management levels. Over the last decade there has been a considerable marked improvement in the pass rate of the NVQ II qualification for Lightning Conductor Fitters. Any person carrying out this type of work should have a CSCS photo ID card clearly stating their personal CSCS registration number on the front and stating their lightning conductor fitter NVQ qualification and level on the reverse. To assist contractors and sub contractors in demonstrating compliance with the duty of care detailed in the Health & Safety at Work Act, the SLPTG can provide comprehensive information on the required worker training, qualifications and experience necessary to fulfill this legal requirement. According to the chairman of the SLPTG: “If an operative cannot produce a CSCS card stating that they are a qualified Lightning Conductor Fitter NVQ II or NVQ III, then do not let them carry out work on your lightning protection systems. This protects both the client and the operative.” The SLPTG’s Bob Kirkland says: “The SLPTG fully understands the commitment and consequent investment that is required for training, because adaptable skilled people are vital to the success of our industry.”

protection industry training Alan Ritchie, General Secretary of the Construction Union states: “A fully CSCS-carded workforce is a safer and better trained workforce”, whilst Richard Diment, director general of the Federation of Master Builders says, “The FMB, as the leading trade association representing SMEs 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.” Chief Executive of the National Federation of Builders, Julia Evans, comments: “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.” Full information on the CSCS Card Scheme can be found at www.cscs. uk.com The SLPTG continues to develop training for the industry by working closely with clients, main contractors, training providers, suppliers and SLTPG members to ensure that the training delivered to workers is improving the quality of the workforce in all areas. This will mean the introduction of more dynamic forms of training which will, in turn, elevate industry standards. q • For further information, contact Lynne Fletcher, Group Training Officer, on 01625 664500, e-mail info@slptraininggroup.org.uk or visit the website at www.slptraininggroup. org.uk.

Looks good... works well... costs less! FOLPS members offer their clients a low cost, low carbon footprint solution to lightning protection.

he trade body is unique in approving both the Faraday Cage and ESE approaches to lightning protection. Where there are concerns or issues relating to building aesthetics, such as with historical buildings, our members are trained in providing an ESE solution based on the Helita Pulsar system of protection. Members provide a site specific solution and can work from drawings or make site visits and recommendations where appropriate. Member companies are experienced in the lightning protection industry, with member involvement on the European Standards Committee and the Steeplejack and Lightning Protection Group. The average FOLPS company has been trading for 20 years. A typical client with a historical building is looking for a lightning protection system that works, is cost effective and invisible on the building. Although the Faraday Cage is well proven, the system can be expensive and is often a messy system from a visual impact point of view. FOLPS members are trained in providing their clients with an equal alternative that overcomes the issues of aesthetics and cost whilst providing an excellent form of protection. FOLPS certifies and approves only one ESE system due to it’s unique BSI Test Report no. 227/5069. The Helita Pulsar system is manufactured by the engineering group ABB, and distributed in the UK by sole agent and FOLPS member David Andrews Products Ltd. The Helita Pulsar is an efficient system, and as such only requires a minimum of 2 paths to earth or ‘down conductors’. This often means that the down conductors are concealed behind rain water pipes or similar, and so cannot be seen on the building. As less equipment is used in a typical installation, it means that there can often be a cost saving of up to 70%. The Helita system has been installed on historical buildings such as The Royal Albert Hall, The Victoria and Albert Museum and the Central Hall at the Houses of Parliament and there are over a quarter of a million installations around the world. In terms of installation standards, ESE systems can be installed to EN62305. There is an ESE standard that is recognized as a product specification and indicates the ‘rules’ specific to an installation where an ESE is used. FOLPS members are well versed in specifying and installing all standards and offer professional advice in the most appropriate system of lightning protection.

Lightning repairs reap rewards

However, it is not just about standards and specifications. ABB has set up a dedicated in situ test area high in the Pyrennes mountains in the south of France. Fitted with strike counters to monitor lightning activity, Helita systems are put through their paces to help make incremental improvements and advances. Things are not standing still in this industry, with improvements in technology helping clients to understand when their buildings have been hit. Helita ABB has developed a unique approach – a silicon band installed on the Helita air terminal will turn red when hit with lightning. For very sensitive buildings and structures, FOLPS members will soon be able to offer a service whereby text messages can be sent to mobile phones automatically the instant a Helita system is struck. Who says lightning protection is not moving forwards with the pace of new technology? q • Article co-written by James Heatley BSC HONS, lightning protection consultant and FOLPS member and C Field B ENG, a consultant engineer and FOLPS member.

uring a violent thunderstorm St Andrew’s Church at Tangmere, West Sussex was struck by lightning causing extensive damage (above) to the shingle-clad spire and clay tiled roof slopes to the nave. Fildes Roofing Ltd of Bognor Regis, West Sussex was awarded the contract to re-instate the roof to the church, involving the use of new oak cleft shingles to the spire and clay peg tiles laid to the remaining roof slopes. The spire required some new structural timbers as one had been vapourised and others badly damaged by the lightning strike. A high level of skill was demonstrated by two senior operatives, Yusof Abdullah and Pete Cullingham, in re-shingling the spire. The project won the National Federation of Roofing Contractors Award 2007 in the Wooden Shingles and Shakes category. q

Completed roof (clay peg tiles) and spire (oak cleft shingles) Pictures courtesy of Fildes Roofing Ltd

Completed oak cleft shingle spire

Pest Problem?

See an Expert P

estEx 2011, to be held on 6 and 7 April 2011 at the ExCel Centre in London’s Docklands, is the place to be for all those with an interest in pest control. On display will be the most up-to-date array of products designed for use in the control of pests – be they of the flying, crawling or scampering variety. Of particular interest to the construction industry will be the stands from the leading European manufacturers of rodent control and flying insect killing machines – for example Jafo, Bradenburg and Insect-O-Cutor. Similarly, delegates can meet pest control experts on a range of subjects from bird control to repelling rodents. The event is organised by the British Pest Control Association (BPCA), which promotes the highest standards of professionalism within the industry. Formed in 1942, it plays a major role in enhancing these standards by way of training courses and examinations, publications, exhibitions and conferences. The aims of the association are to represent a responsible industry committed to the control of public

health pests without risk to the general public, as well as non-target animals and the environment. It represents the interests and opinions of the UK pest control industry to Government, other key decision makers, the general public and associated industries, encouraging high standards of professionalism within the industry and explaining the role of the industry in today’s society and its benefits to the community.

Pest control within a Heritage environment Pests can cause immeasurable damage, especially to areas of historic interest, that will be costly to repair and may be impossible to replace. Rats and mice will gnaw through electrical cables and gas pipes causing fires, and can flood buildings by chewing through water pipes and tanks. Rodents can also gain access into a building through the smallest of gaps, which means controlling rats and mice in older buildings can be extremely challenging and should be undertaken in partnership with a trained professional.

Bird droppings and debris can also be challenging problems for ecclesiastical and heritage sites due to the acidic nature of bird debris that will stain and damage building fascias. There are also health and safety concerns for staff and visitors who can contract illness form bird droppings or can injure themselves by falling on bird deposits. The blocking of drains and gutters with nesting material may also cause flooding and water damage to sites. As with all aspects of pest control, prevention is better than cure and measures should be taken to seal buildings against bird activity. It is vital that any bird prevention measures are undertaken by a company with trained and qualified staff, as poorly fitted equipment can cause damage and detract from the character of the building. Bird infestations can also encourage a host of insects that are unwelcome and can cause serious damage to historical artefacts. Carpet beetles, dermestes beetles and clothes moths will damage fabrics and attractions of animal origin and these can be expensive and difficult pests to eradicate. Again, you will need the support of a pest control contractor who is well trained and has an excellent knowledge of the pest species biology and treatment methods.

environmental and health and safety legislation, buyers cannot afford to make a mistake. By choosing a BPCA member company you are ensuring that the contractor is able to provide a thoroughly professional and consistent service. Membership is open to organisations involved in any aspect of the business of professional pest control. However, before being able to join the BPCA as a full member, the business must initially be able to meet, and then maintain, the rigorous criteria laid down for membership. In brief this includes industry held qualifications, demonstration of CPD, insurances and site assessments to name but a few. Members must further conform to the Association’s Code of Practice and Code of Conduct. q • Entry into the exhibition is free of charge for visitors. For further information on PestEx 2011, call 0845 108 5504. For a list of BPCA members or for any further questions please call 01332 294 288.

Why choose a BPCA member?

When purchasing services, unlike goods, buyers cannot see what they are getting before making up their mind. The decision to take on a service contractor is, therefore, something of an act of faith. With current

EPL Skylift in control of pigeon problem at York Minster

PL Skylift, Lavendon Access Services’ vehicle mount division, recently supplied the access equipment required to carry out pest control work at one of the UK’s finest Gothic Cathedrals, York Minster. The famous ‘Rose Window’, situated in the south transept, provides an excellent roosting spot for pigeons and, along with the surrounding stonework, is also susceptible to damage from what pigeons usually leave behind! York Minster required a quick, safe and easy way to access the medieval window, whose glass dates from about 1500 and commemorates the union of the Royal Houses of York and Lancaster. Their specialist cleaning contractors, Reactive Group Services, contacted EPL Skylift. The task included the instillation of netting to protect the building, so EPL Skylift suggested a truck-mounted platform which provides up to 50 metres of working height. Before the netting was installed, the stonework was inspected by York Minster’s Master Mason, John David and its Conservator Mason, Lee Godfrey. Rebecca Thompson, Superintendent of Works at York Minster, also took advantage of the T50B being on site to take photographs of the window. She said: “The EPL Skylift machine allowed us to carry out an inspection, take records and install the netting in one day and this minimised

disruption to the public visiting York Minster. “In the past, access to the Rose Window would have been via a scaffold. In 1984, the fire brigade had an extendable ladder which allowed the glazier, Peter Gibson OBE, to inspect the fire damage to the Rose Window, but this did not offer the viable, safe working platform that we hired from EPL Skylift. The T50B also allowed us to safely collect loose fragments for inspection at ground level. “York Minster is a huge building, with a central tower extending to 60 metres in height. Using a truck mounted platform granted access to a large section of vulnerable areas of the building that we were not possible to reach as easily in previous years, including the West Towers which bear the brunt of extreme wind.” Rebecca added: “The T50B was arranged via Reactive Group Services, who provided an exceptionally professional service for the installation of the pigeon netting. The success of using powered access was aided hugely by the EPL Skylift operator, Stuart Hulley, who was very considerate to us as we are not regular users of the equipment. It is essential to feel safe and to be able to trust the operator completely. Due to Stuart’s competence and exceptional skill, we were able to review the stone, without concern, standing in a ‘basket’ at 35m in the air!” q

Bird control E

very year we get asked “How can we get rid of these blasted birds?”. We have had enquiries for crows that are pinching golf balls during games, starlings that are making a real mess of a car park when they come in to roost, gulls dropping pebbles onto a glass atrium, pigeon droppings in belfrys, pigeons roosting on ledges and just about every other reason you can think where birds are causing a problem. What is the answer? The time spent, the method used and effort put in – more often than not failure to move the problem birds on will be a single method being used or a technique being used at the wrong time of year. Flying a bird of prey to shift pigeons from a church when the pigeons have been roosting for years, or started to nest, is like shutting the stable door after the horse has gone. By far the best method is to stop the birds coming in any numbers in the first place by making the area seem to be unsafe as soon as they start to arrive. Once birds are established can they be moved on? Of course they can.We use what we call our ‘predator-death aversion method’. By making use of the in built self preservation sense that all birds have we con them into thinking they will be attacked by a predator or shot if they enter an area. Our methods include audio devices, kites, pyrotechnics, birds of prey, flashing lights and large cardboard cut outs of menacing eyes to name but a few. You can easily make an area seem unsuitable for all species if you stand back, look at the problem, and ask why are they here? Is it food they are after, roosting, keeping dry, nesting or something else? Each situation will require a different approach which, as a basic guideline, will be subject to the time of day and time of year. For the crow species we would opt for hand held audio devices worked alongside a suitable ‘Bang’ to shift them. With pigeons we would go for an audio device worked with a strong bird of prey and a kite to deep stamp the aversion. For gulls, random audio sounding supported by bird flying, kites and other visual deterrents. Starlings require ‘Bangs’, audio and flashing lights for just a few nights. You need to be aware that all wildlife species are afforded some form of protection under one or more pieces of legislation so, if you are not sure, you need to consult a professional. Years ago it was thought that shooting was the only way to control birds, then it was breaking eggs, then the way forward was to oil eggs – none of these worked. Things are changing, have you noticed in the papers that seagulls are no longer called seagulls, they are just called gulls? Could this be that most of them have never even seen the sea? So what can be done to what species? The wildlife protection offered to birds that are regarded as pests makes it a requirement that a suitable reason for control is needed. Even wood pigeons feeding on a farmer’s field can’t be shot unless non destructive methods have been

used first – and failed! You will need to justify the method before any species is culled. These are the species that are mentioned in one or more of the general licenses issued by Natural England. • • • • • • • • • • • • • • •

Crow Dove, collared Lesser black-backed gull Jackdaw Jay Magpie Pigeon, feral Rook Woodpigeon Canada geese Herring gull Parakeet, monk Parakeet, ring-necked Parakeet, ring-tailed Egyptian geese

The licenses can be viewed at http://www.naturalengland.org.uk/ ourwork/regulation/wildlife/licences/generallicences.aspx#3 Think carefully if you go for bird proofing as this can work out to be very expensive if it’s not positioned correctly first time. The large national pest control companies will be rubbing their hands together if you give them a call for bird proofing. Look for independent pest control companies who will have pride in their work and want to get it right first time. q Andy Beddoes, ABComplete Pest Control www.abcomplete.co.uk/proofing/

St George’s Hanover Square has been a very special place of worship, celebration and culture in London’s West End for almost 300 years. Its elegant interior has just undergone a £1.5 million renovation by heritage contractor Holloway White Allom that has left it gleaming spectacularly.

t George’s Hanover Square is an iconic church, much loved by architectural enthusiasts as well as those who are fascinated by its rich history, thanks in part to the composer George Frederick Handel whose local church it was. Now its elegant interior has undergone a major renovation. One of the few surviving churches entirely designed by architect John James – a former apprentice of Sir Christopher Wren – St George’s was completed in 1725 and is very much a church of its time. With its classical front and six great Corinthian columns supporting a pediment, as well as a bell tower that rises from behind the portico, it is impressive for its masterly use of a small space. Inevitably a building of such age needs a major overhaul at some stage. The restoration programme that recently closed the church for 26 weeks was, therefore, totally necessary to revitalise and rejuvenate the church and preserve its fabric for years to come. Costing £1.5 million, the conservation was carried out with the utmost respect for James’s original work, yet was also sensitive to the subsequent additions. Architect Colin Kerr, of Molyneux Kerr Architects, felt it was important

Photos by Laura Hodgson

Pride of Mayfair

Interior of the newly renovated church, gleaming and freshly decorated not to take the church back to a theoretical period, but to embrace all stages of its historical development. “Over 300 years St George’s was gradually adapted and enriched, but always presented a pleasing aesthetic whole,” explains Kerr. Contractor Holloway White Allom, a specialist in the renovation of listed heritage buildings, had the challenging task of carrying out the work. “A big proportion of the job was cleaning every inch of the fabric of the church right back to its bare bones,” says Scott Rodell, project manager for Holloway White Allom. “It took 3 1/2 weeks just to put up the scaffold because there was so much surface area to cover and in one area alone we removed 17 coats of paint.”

The other important part of the renovation was updating a building which desperately needed fireproofing, an alarm system, modern lighting and sound – critical needs for a church which is often used for musical performances, and in particular the annual London Handel Festival. “There were complex electrical works going on in every part of the church,” says Rodell. “The new lighting allows for ambient dimming in particular areas of the church that is controlled from a single panel and the chandelier can be flooded with light through a newly installed glass panel in the roof.” There were, however, more serious aspects to this renovation. As the contractor peeled away the layers all sorts of problems were unearthed that needed correcting – some of them critical – from a roof that needed some re-strengthening to major water damage. “In many areas the fibrous plaster was crushed or collapsing,” explains Scott. “This meant we had to recreate the original reverse squeeze moulds to make up entirely new sections.” At any one time there were 20 specialists up and down the dozens of ladders – not just the decorators and carpenters from Holloway White Allom, but also their specialist paint studio, who were carefully repairing the 23.5 gold carat to the ceilings. Add to this the experts in stained glass and chandelier cleaning as well as French polishers, electricians and fibrous plasterers and it was quite a team. q

Restrengthened and regilded ceiling of St George’s

Selectaglaze keeps the faithful warm S t. Paul’s Church in Hatfield Road, St. Albans, which celebrates its centenary this year, has recently undergone a major modernisation programme to the church and it’s adjacent halls. To remain in active use all buildings need to be kept up to modern day standards whether they are private residential, commercial or ecclesiastical. As testament to this the Vicar of St. Paul’s, Canon Tony Hurle, says: “The new design helps us celebrate the past while giving us first class facilities for use by both the community and the congregation for the next 100 years. A number of environmentally friendly features have been incorporated into the refurbished buildings, including photovoltaic panels on the roof, the use of low energy and sensor lights and an enhanced level of insulation to the existing walls and roofs of the church hall. Additionally, further energy efficiency improvements are achieved with the provision of secondary glazing to the Church Hall.” Fourteen complex windows were treated with a total of 46 secondary glazed units, mostly curved hinged or fixed units to match the existing window design. These also provide significant levels of noise insulation, an important consideration to limit the impact of the hall on local residents. The windows were installed by St. Albans based Selectaglaze, the UK’s foremost designer and manufacturer of secondary glazing systems. An exterior shot (right) and the church hall curved heads (below)at St Paul’s Church in St Albans

This project is the latest undertaken by Selectaglaze involving church refurbishment or change of use. Two other exceptional examples include the Grade II* Listed St. John the Evangelist Church, Hammersmith and the remarkable ‘Rock Tower’ (formerly St. George’s Tufnell Park, North London) which dates back to 1861.

St. John the Evangelist Church which, having been decommissioned by the Church of England and taken over by the famous Godolphin and Latymer School is now a state-of-the-art performance centre. St. George’s Tufnell Park’s design was based on a medieval church in Salonica. The building provides a multi-functional centre for the local congregation and wider community. In addition to its function as a place of worship, ‘The Rock Tower’ is now regularly used for live music events and theatrical productions.

Stained glass window at St John the Evangelist Church

The interior at ‘The Rock Tower’

Purpose designed secondary glazing can be unobtrusive, sympathetic to the building and will markedly improve the window’s thermal efficiency, noise insulation and levels of security. Full factory assembly allows rapid installation with minimal disruption to the building and its occupants. • Established in 1966 and a Royal Warrant Holder since 2004, Selectaglaze has a wealth of experience in all types of building up to Grade 1 listed. The company has produced an extensive range of literature including test results for energy efficiency, noise insulation and added security, all of which are free upon request from the Marketing Department on 01727 837271, e-mail: enquiries@selectaglaze.co.uk or by visiting the company’s comprehensive website: www.selectaglaze.co.uk.

Dorset Skills Centre hosts UK team training

or one week in January Weymouth College’s Dorset Skills Centre hosted the training for the UK Stonemasonry Team for WorldSkills 2011. Alex Boyd, Chris Berridge and Thomas Whitehead had the challenge of recreating a sculpture from the 2007 WorldSkills event held in Shizuoka, Japan. The three stonemasons were given all the tools and facilities necessary to complete their challenge, ready for the review from their stone masonry training manager, Kevin Calpin from UKSkills. Alex Boyd, 20, who completed the NVQ Level 2 and 3 working for Wells Cathedral Stonemasons and attending college in Moulton was selected for the opportunity through a series of mock competitions and heats: “It’s been a challenging, yet really good training event, and it gives us the opportunity to meet new people and improve on our skills because throughout the event we have had the opportunity to work on a lot of specific stonemasonry skills. I’m pleased with what I’ve done, I’ve met a lot of new people and the tools and facilities which we have been using are really good.” The three stonemasons had space to work in the Centre’s fully-equipped workshop and their non-stop hard work could be seen with the high standard of carving that was produced. q

Assessment of significance by HENRY RUSSELL OBE MA(Cantab) DipBldgCons FRICS FSA IHBC Tutor in Building Conservation

he planning system has caught up with the faculty system by requiring assessments of significance to support changes to historic buildings. These were introduced with Planning Policy Statement 5: Planning and the Historic Environment in 2010, but statements of significance have been required in support of faculty applications in the Church of England for a decade. English Heritage defines what is meant by ‘significance’ in Conservation Principles, Policy and Guidance (2008) as the sum of all the cultural and natural heritage values of a place. In its widest sense this means assessing the importance of the building fabric, its design and quite probably its importance to the community. In the case of a place of worship its sacred and religious value is important. For historic landscapes the ecological aspects will have value as well. It is as well to remember that assessments of significance which may be required under PPS5 are limited to architectural, archaeological, historic and artistic, so there is some limit to the application of the significance process. This reflects the criteria for protecting listed buildings and scheduled monuments, with the addition of the artistic value. It is tempting to consider assessments of significance a bureaucratic bugbear, but if they are well prepared and give priorities to values so their relative importance can be gauged, they become very useful documents. They are related to their big brother, the conservation management plan, which is typically prepared in support of a major project funding bid, and which involves more research and consultation. q

Apprenticeships at Moulton College

ith over 20 years experience in the industry and following 10 years of training apprentices on the job, Craig Murphy was employed to set up stonemasonry courses at Moulton College in Northamptonshire. Through the introduction of a full time training programme, the college was able to initially offer modern, and then advanced, apprenticeships. Fast forward 5 years and Moulton College is now recognised as one of the leading stonemasonry colleges in the UK. APS Masonry said, “Moulton College is a breath of fresh air in training stonemasonry apprentices. Being fairly local to Oxford, the college is not only convenient but is open and forward thinking in its training approach. Overall, excellent communication with employers, coupled with its ability to provide good training, instils in apprentices the ethic of surviving in a commercial world. This makes its programmes very attractive to employers”. As with any employer base it is important to maintain good communications. Regular site visits to assess students’ progress enables tutors to provide employers with meaningful feedback on their apprentices and to discuss any specific requirements or suggestions. Wells Cathedral Stonemasons said, “As an employer, we needed to find a college that can teach with the same enthusiasm and professionalism that we pride ourselves on. Moulton College provides all this, and more. Stonemasonry for us is a passion and to find that Moulton shares this enthusiasm is not only good for the training of our own apprentices, but for the education of the craft as a whole. The employer-college relationship is based upon mutual respect. With Moulton we have not only this, but a mutual enthusiasm and passion for the craft.” The recent purchase of a waterfall-cutting booth was a direct result of such discussions. Once students have completed their NPTC Safe Use of

Abrasive Wheels certificate, the cutting booth and disk cutters are available for level 3 students to use with the roughing-out of their waste material only, and not for a cut and spin exercise. The cutting booth is situated in the saw shed along with a Wells bridge saw and overhead 2 tonne gantry which all students are trained to use. Students see the full production process, from quarry block to dimensional stone that is ready for the workshop. Those who complete their qualification earlier than planned are provided with the opportunity to extend their skill base through carving, lettering or complex setting out projects using the fully equipped tool store. Dust extraction is provided within the workshop to promote a healthier working environment, and a strict health and safety policy is enforced during all practical sessions. Courses currently available at Moulton College are the Level 2 and Level 3 Diplomas, which may be completed on either a full-time or a part-time basis. Modern and advanced apprenticeships are offered for the Banker Mason NVQ route, which is delivered as either a Day Release or a Block Release programme. OSAT (On Site Assessment and Training) is offered for all Stonemasonry NVQ level 2 and level 3 qualifications including the Heritage NVQ3. The OSAT route is for experienced workers, and candidates must be working at the appropriate level in the industry. With recent sponsorship from a local organisation, the stonemasonry area is developing a ‘heritage project’, which allows students to fix coursed rubble walling, ashlar and quoins to a blockwork structure. This structure will also accommodate a large tracery window on the gable end, a 900mm diameter tracery window and a three light mullion window. Once in place the windows will give students the opportunity to train in the restoration of such structures. This will put the college in a prime position to offer the NVQ3 Heritage Skills apprenticeship once the pilot scheme has been completed and approved. q

Dedicated to our built heritage Heritage Craft Alliance Ltd is a C Skills accredited training and assessment provider, who are dedicated to our built heritage.

stablished in 2009 the company has grown and expanded its client base to include such businesses as British Waterways, The National Trust, The Princes Foundation for the Built Environment, The Heritage Building Bursary Scheme, local authorities and the NHS. They have assessed over 100 heritage skills level 3 qualifications across a range of disciplines and are continuing to expand their network across the UK. Their main business is the training and assessment for the adult heritage skills workforce. They understand that it is critical to the wellbeing of the sector to improve the status of our heritage workforce through accreditation and also to ensure that the traditional skills are understood and maintained. The long term survival of our historic buildings is in the hands of a shrinking number of expert craftsmen and conservators. The availability of these skills is statistically decreasing year on year due to retirement of traditional craftspeople. There has been a skills gap developing over a 25 year period from the 1970s which has led to a major deficit in the heritage skills workforce.

Meeting the needs of the heritage craft sector Much of the companyâ&#x20AC;&#x2122;s recent work has been re-dressing the balance of training which has led to the side-lining of traditional skills and materials. They have achieved this in many instances by adding to contemporary craft training qualifications and by up-skilling craftsmen with heritage skills training and education workshops. This work can be bespoke or delivered to meet accredited standards and qualifications. Whichever approach is taken, they set out to achieve the very best results from the most appropriate interventions. This strategy has proved to be very successful for learners of all ages.

CSCS cards Many of the craftsmen and contractors they work with require the heritage CSCS card in order to be able to contract with owners of historic properties. The demand for this endorsement of skills is on the increase where contractors, property owners, English Heritage and others are becoming more

stringent with their contractor engagement strategies. Through assessment for heritage skills level 3 diplomas and conservation supervision and management qualifications, Heritage Craft Alliance are able to prepare craftsmen and managers to apply for the card. Once you have the appropriate qualification and have sat your health and safety on line GOLA test, your application for a heritage CSCS card is accepted.

Working with schools The company believes that it has to address the needs of our younger aspiring craftspeople and with this in mind they work with schools, meeting some of their needs in relation to history, design and technology and vocational interventions â&#x20AC;&#x201C; all highlighted in the National Curriculum. This is becoming an increasingly popular activity, where they deliver hands on educational days for schools and colleges. The students never fail to show great interest and all seem to have fun learning in this way. q

The UK’s premier funeral industry event

ne of the world’s leading funeral exhibitions and the UK’s premier funeral industry event, the National Funeral Exhibition will be held at Stoneleigh Exhibition and Event Centre in Coventry, Warwickshire on 10th - 12th June 2011. The exhibition is one of the most important events in the international funeral calendar and features products and services from every sector of the industry including hearses, coffins and caskets, mortuary products, memorial urns and keepsakes, funeral equipment, music, furniture, IT software, insurance, funeral plans, masonry, remembrance items and stationery. The Innovations Village at NFE 2011 has now become the biggest feature at the show. The area, situated in Hall 1, is specifically designed for new, smaller companies introducing themselves into the funeral sector and the variety of products is very diverse. With over 170 exhibitors already booked for 2011, the exhibition is the one place to see everything that is new in an industry that has seen many changes in the last few years. As well as all the products and services on display, there will be a speaker’s corner event and practical seminars. The National Funeral Exhibition, reformed in 2007, now runs every two years and incorporates the Tradex / Craftex show which was originally run independently by NAMM (The National Association of Memorial Masons). q • For further information see: www.nationalfuneralexhibition.co.uk

Still ringing in the news - after 100 years

he weekly magazine for church bell ringers – The Ringing World – this year celebrates the centenary of the publication of its first issue. The centenary was marked by a day of celebratory events in London in March, attracting bell ringers from across the UK and beyond. The centrepiece of the celebration was a special service of choral evensong at Westminster Abbey, by kind permission of the Dean and Chapter of Westminster. There was also a grand reception at Central Hall, Westminster, two portable rings of bells in Dean’s Yard and a concert of handbell music in nearby St Margaret’s Church. Other events included a bell ringing competition for young ringers (aged 18 and under) at St Saviour’s Church, Pimlico and an exhibition of art inspired by bells at the ROA Gallery in the Royal Opera Arcade, Pall Mall. Additional attractions for bell ringers included tours of the Whitechapel Bell Foundry, trips up the tower at Westminster Abbey and many churches around the London area making their bells available for visiting ringers. q

The art exhibition ‘Inspired by Bells’ at the ROA Gallery in Pall Mall has been drawn together as part of The Ringing World’s centenary celebrations which opened last month

Time to call on the experts

illett & Johnston has been manufacturing, installing and servicing clocks of all types for clients around the world since 1844. Their commissions – including church and tower clocks, projecting and promotional clocks, golf club, stable and pavilion clocks, railway clocks, digital clocks, floral clocks, street and pillar clocks, dials / hands and turret clocks – can be seen in landmark sites worldwide, as well as in quiet secluded corners for local people's appreciation. While safeguarding the heritage of fine timepieces, the company also continually add to their range of clocks and services, using the latest designs and technology. With this history of dedication to craftsmanship and precision engineering skills, together with their commitment to value and service, Gillett & Johnston is the natural choice for today’s challenging commissions.

Clock restoration The Company are masters of the challenging art of heritage timepiece restoration and have successfully completed many prestigious projects. These include the overhaul and refurbishment of the Queen of Time clock at Selfridges store. Gillett & Johnston supplied and fitted a quartz master clock and programmer monitored by MSF Signal (atomic clock), together with new drive units and bell hammers, after which they refurbished the entire installation. The Queen of Time is now a highly accurate clock with quarter chimes and an hour strike that can be adjusted to meet both Selfridges’ and the local residents’ requirements.

Another project involved the restoration of the Tottenham Hotspur clock, originally manufactured by Gillett & Johnston in the 1950s. The clock had deteriorated over the years and was in need of a complete restoration with new bracketry. The weight of the clock was causing damage to the structure of the building. Gillett & Johnston fabricated a new clock case matching the original, with the support framework constructed from stainless steel and clad in brass sheet. The existing hands and dials were used but new laminated cover glass was provided for each dial. Back lighting was installed and controlled by a light sensor and the cockerel motif was thoroughly cleaned and the surface gilded in 24 carat extra thick English gold leaf. A new quartz master clock with MSF radio receiver was also installed with two 000E slave drive units. The whole installation was installed using stainless steel bracketry, fixing nuts and bolts. The clock and case is now structurally sound and weighs considerably less, thus diminishing the possible damage to the building.

Clock equipment A wide range of equipment is manufactured or supplied by Gillett & Johnston and most items benefit from the company’s 10 year guarantee. Equipment which the company can supply includes includes: EPC automatic winding units; pendulum regulators; electromagnetic hammers; strike, chime and melody systems and electronic clock control equipment.

Services Other services include clock gilding, service and maintenance and, occasionally, items for sale.

New timepieces Every Gillett & Johnston new timepiece is manufactured to produce a unique masterpiece by coupling traditional craftsmanship with modern practices to produce a clock that will be appreciated by generations to come. The clocks, are individually commissioned and built to precise design specifications produced by the company’s design team and in cooperation with the client.

Bells Gillett & Johnston supply, service and rehang bell installations including stationary and auto swung bells. Hand claviers and bell ropes can also be supplied. Their strike and chime control units work on existing bells, taking over the roll of the mechanical clock or carillon when it has come to the end of its economic life.

Coats of Arms Coats of arms carved in stone or marble can inevitably begin to show signs of deterioration. To rectify this problem, Gillett & Johnston specialise in the refurbishment and redecoration of these heraldic symbols. q

Master bellfounders with a 700 year history operate world’s largest bell foundry n

Continuing an eminent and historic line of bellfounding, bellhanging and carillon building, unbroken since the middle of the 14th Century, John Taylor & Company operate the world’s largest bell foundry and founded Britain’s largest bell – ‘Great Paul’, in St Paul’ Cathedral, London. The business, which settled in Loughborough in 1839, has been in the hands of the Taylor family since 1784. The company cast ‘Great Paul’, a massive Bourdon bell weighing 37,483 lbs (17,002 kgs), in 1881. Centuries of experience, combined with up to the minute advances in technology, have put Taylors at the forefront of the design and manufacture of bells, their fittings and frameworks for all methods of sounding bells.

Creating a new Taylor bell A new Taylor bell is cast from a mould which is painstakingly hand-crafted in two parts – the core, which gives the inner profile of the bell, and the case which gives the outer profile. The bell can be beautifully decorated and carry a commemorative inscription to customer's requirements. The decoration, inscription and founder’s mark are carefully impressed into the case, thus producing the decoration on the outside surface of the bell. The core and case are then brought together, clamped and sealed to form the completed mould. The mould is placed in a sand pit and sand placed around it. The molten metal is degassed and properly alloyed, before being poured into a header box on top of the mould. It is then allowed to flow under control to fill the space between the two parts of the mould. After a few days, the casting is cool enough to be removed from the mould and is thoroughly wire brushed. The mould is destroyed in removing the bell casting, which

means every bell is unique. The bell casting is then taken to the tuning shop where it is placed, mouth upwards, on a large vertical lathe which has a revolving turntable. The bell is struck with special mallets to vibrate the metal in the areas which produce the main harmonics. After assessment by the bell master, the bell tuner removes small chips of metal uniformly from the inside of the bell, until the vibrations of each of the main harmonics reach the correct frequency. Taylors introduced their five tone principle of bell tuning in 1896. This produces the purity and sweetness of tone and allows the bell to sound with the full and rich mellowness which gives Taylor bells their special characteristic and sets them apart from all other cast bronze bells. The bell master and bell tuner work on five principle harmonics – the hum, fundamental, tierce, quint and nominal – but these in turn influence and affect many others. When the correct frequency for each of these harmonics has been achieved, the bell is in tune with itself. In a set of bells, each bell is tuned using the same standards applied to its own frequencies, and thus each bell in the set is not only in tune with itself, but also with each bell in the set. Current projects At The Guildhall, Kingston upon Hull, eight

‘Great Paul’ – Britain's largest bell new 1¾cwt bells are being cast and tuned to fit in the Guildhall chime. At the Church of of St Cynbryd in Llanddulus, Clwyd, a near derelict chime of eight tubular bells is being completely refurbished, including casting new hammer parts that have been lost. In Truro, Cornwall, at the Cathedral Church and Parish of St Mary, a classic Taylor ring of 10 is being augmented to 12. Two additional bells are to be provided to give a light 10. All bells are having new fittings and the frame rearranged and extended. Moving further afield, at Thellippalai Thurkadevi Thevasthankam Temple in Sri Lanka, a new 18 cwt 3' 9.5" bell has been cast and supplied with new slow swinging fittings, whilst at the University of Michigan, USA, the whole transmission has been stripped out for overhaul, with every bell being removed from its headstock to allow the build up of rust to be removed. Each bell will have new bell bolts, new isolation pads and a new clapper. q

Work on the bells at the University of Michigan

Profiling...

Eden Lime Mortar

den Lime Mortar was formed in 2001 when Tim Wells began renovating his 17th century house and adjoining barn with the help of Mike Armstrong from MEA Eden’s lime builders. Up until then Tim had worked on the family dairy, beef and sheep farm, but with all the animals being killed in the foot and mouth epidemic, Tim set to work on the renovation. As he was taking the old pointing out of the external walls Tim began to notice that where there was cement pointing the stones were very damp, whilst the stones where lime pointing surrounded the area was dry – the interest had begun!! Tim made the lime mortar for his own house and was then asked to make some for another property, then another. From those early beginnings Eden Lime Mortar has been producing lime mortar products for customers throughout the UK. In 2010 Eden Lime Mortar and Mike Armstrong developed a lime insulation plaster which is applied internally on to stone walls and is proving very popular with customers. The insulation can be applied in 15mm layers to whatever thickness is required – 45mm of this product having a thermal conductivity reading of 0.113 (W/m.K). They also have products for condensation problems which again are proving popular. The company makes two different mixes which are always in stock but will make bespoke mixes if the sand can be sourced. It also sells lime putty, Singleton and Birch natural hydraulic limes, as well as lime dyes, laths, goat hair and, in many cases, advice!! Eden Lime Mortar has been involved with many listed churches and historic buildings as well as some new straw houses. It also works closely with Natural England in the restoration of many old stone barns.

Why use Eden Lime Mortar? Lime is more flexible than gypsum or cement, so is less likely to crack when plastered on walls or used for mortars or repointing. Until the beginning of this century most buildings were constructed with lime – often hydraulic. Many of those now remaining have been repaired in recent years using portland cement based mortars and renders often with the following consequences: • All buildings move, especially those pre-1900 which had less solid foundations. Cement mortars and renders are rigid and crack under stress. Often cement is stronger than the masonry – transferring fractures into surrounding brick or stonework. • Cement, due to its high density and crystal structure, is ‘non porous’. Cement renders will crack, eventually allowing water into the wall with little ability for it to evaporate. In the case of cement mortars the evaporation can only take place through the masonry. This may result in increased spoiling of soft stone and brickwork leaving the mortar standing proud like a shelf, to collect more water, increasing the masonry’s deterioration. In addition, walls will get damp resulting in internal mould and unhealthy living conditions. • Chemical action between brick or stonework and cement can take place causing unsightly salt staining and, in the case of some sandstone, very rapid spoiling. To some extent modern methods of construction have reduced, but not entirely eliminated, these problems. With modern and older buildings therefore there are good reasons for using lime mortars, such as: • Walls breath better and moisture can evaporate. • Mortars and renders do not set too hard. • Thermal movement can be accommodated without damage. • Expansion joints can often be avoided. • Insulation is improved and cold bridging reduced. • Reduced risk of condensation. • No risk of salt staining. • Alterations can be effected easily and masonry re-used. • Masonry life is increased. Another reason for using limes relates to their environmental benefits. Because they are easy to remove, lime mortars allow recycling of valuable masonry units such as bricks, which have high embodied energy. q • Eden Lime Mortar, along with Mike Armstrong, also hold training days which can be booked via Tim Wells. Visit www.eden-limemortar.co.uk or contact Tim via email: edenlimemortar@hotmail. co.uk or tel: 07717 400 233/017683 41291

The benefits of lime putty mortar

he benefits of using lime putty mortar on traditional properties are numerous, not least that it can withstand a certain amount of movement and, because it is porous, allows moisture to evaporate thus helping to keep the interior of a building free of damp. Lime mortar should be made from high grade, mature lime putty mixed with good quality sand. There are various grades of lime mortar, depending on what itâ&#x20AC;&#x2122;s used for. Hair can be added at the time of applying the mortar to give it strength and stop it cracking. q â&#x20AC;˘ Further information on lime mortar products is available from www. heritagecobandlime.com.

Finished wall rendered with lime mortar

Exposed cob that has been covered in cement render

The fine art of Keeping ancient finding a true skills alive craftsman E

AG (English Antique Glass Ltd) is unique within the U.K. in producing handmade flat glass by use of traditional techniques dating back to the middle ages – and they are determined to keep this ancient skill alive. Going into its 10th year of manufacturing EAG has established a reputation for fine quality glass, technical innovation and flexibility in customer service. Trading has on occasions been extremely difficult, with many technical problems to overcome, and some diversification has been necessary to ensure the business continues to flourish. The unique and innovative nature of this business continues to be recognised with the company featuring in several television series. The main product of EAG is handmade flat glass in a variety of finishes and colours which is traditionally used in cathedrals and churches to repair old, or install new, stained glass windows. EAG also produce traditionally made bullions and Norman slabs which are particularly sought after by individual and corporate customers who are involved in restoring old properties. More recently they have moved into the manufacture of lightingware and many bespoke items for leading UK suppliers. A smaller part of the company’s output is in table and giftware. EAG have supplied clear glass for the restoration of specialist ‘greenhouses’ involving The National Trust and English Heritage and have exported specially produced glass sheets to Canada, Japan and Australia. The small factory at Alvechurch, near Redditch, is a delight for anyone with even a passing interest in glass. Professional and amateur artists can pick the exact type and colour of glass they want from EAG’s extensive stocks and if it is not on the shelf they can often make it to suit. Visitors are welcome at the factory to see the handmade flat glass being produced but are advised to telephone first as there are days when there is no production. q

t can be hard to find a true craftsman who will do a professional job - which is why the Guild of Master Craftsmen offers a quick and effective solution by way of searching their website: www.findacraftsman.com - the only website to list members of The Guild Of Master Craftsmen exclusively. The Guild of Master Craftsmen continues a great tradition established by the guilds of medieval Europe. The earliest of these were ‘frith’ or ‘peace’ guilds – groups bonded together for mutual protection following the breakdown of the kins, which were groups related by blood ties. Merchant guilds – associations of international trades – were powerful in the 12th and 13th centuries, but lost their ascendancy with the rise of the craft guilds – associations of master craftsmen, journeymen, apprentices and the various trades connected with a particular craft. All the guilds came to be devoted largely to the regulation of their crafts and the struggle to support their members’ interests against the competing ones of their suppliers or of related trades. Undoubtedly, there is as much need today for a guild to represent skilled craftspeople as there has ever been. The world-renowned College of Arms in London awarded the coat of arms of The Guild of Master Craftsmen in 1992, after four years of assessment. Designed by heraldic expert Peter Greenhill to reflect the many categories of Guild membership, it features: three escutcheons (shields) to represent artists, painters and stainers; a pair of compasses opened in chevron for building, construction and carpenters; a dovetail to represent cabinetmaking, woodworking and joinery; and a gavel and chisel for masons and stoneworkers. The southern keep of Lewes Castle, which overlooks The Guild’s headquarters, is featured above the helmet as the crest. q

Wake-up call to heritage crimes English Heritage calls on communities to help tackle heritage crime

rimes and anti-social behaviour that damage England’s historic environment will for the first time be tackled in a much more co-ordinated way through a new initiative launched by English Heritage last month. Under the strategic guidance of English Heritage, the police and the Crown Prosecution Service, a nationwide network is developing among enforcement bodies, local authorities, non-governmental organisations, professional groups and amenity societies to systematically tackle and reduce offences such as architectural theft, including metal theft, criminal damage, illegal metal detecting, graffiti, vehicle nuisance and arson. Representatives from more than 40 organisations, including The National Trust, The Church of England, The Woodland Trust and The Historic Houses Association, met for the first time to discuss the formation of the Alliance to Reduce Crime against Heritage (ARCH). ARCH is a voluntary national network that will be used to take forward the initiatives and galvanise local action. Local history societies, amenity groups, neighbourhood watch and residents associations will be encouraged to raise awareness of the risk of criminal damage to historic sites and buildings in their area. The model of Neighbourhood Policing, established to tackle the crime and day-today anti-social behaviours most affecting local neighbourhoods, provides a useful model for tackling heritage crimes. Local communities are urged to understand the heritage assets in their area that may be at risk of irreversible damage from crime and to report suspicious behaviours to their neighbourhood policing teams. The profile and accountability of heritage crimes among police officers will also increase. The true extent of heritage crime is difficult to ascertain due to the way in which it is recorded and the fact it tends to be under-reported by victims. This initiative seeks to address the reluctance to report such crimes by increasing public awareness and placing the emphasis on a coordinated effort. The 2009 English Heritage study of illegal metal detecting suggested that the problem is growing and reported cases are only the tip of the iceberg. Metal theft from churches is also a serious issue, with the number of insurance claims in 2010 being twenty times as many as that in 2005. In the next 12 months or so, the heritage crime initiative will focus on the prevention and detection of four broad types of crime: • Damage caused to the historic environment – this refers to physical damage as a result of fire, graffiti, vandalism and damage caused by cars, motorcycles and other means. • Unlawful excavation and removal of articles from the historic environment

– this refers to theft from scheduled monuments or protected wrecks and includes illegal metal detecting. • Architectural theft – this refers to theft of items from historic buildings and structures like stone walls, vintage street signs and pavements. In recent years a new trend has emerged in the theft of lead and metal from roofs and guttering. • Unlawful alteration and demolition of listed buildings. Baroness Andrews, Chair of English Heritage, said: “Heritage crime robs us of our history. Its effect on our lives is insidious and felt often too late. Beautiful buildings are scarred forever, places we treasure and enjoy lose their identity and appeal, evidence about our past is lost and tourism suffers, not to mention the burden on owners to repair and put things right. Society needs to work together to combat these criminal activities.” q

At the cutting

edge of restoration

deal when carrying out building renovation, restoration and repair work and perfectly suited to the tasks encountered in church refurbishment and conservation projects, the Arbortech AS170 Allsaw Brick & Mortar saw is proving an invaluable and versatile tool. Unique in its abilities to plunge cut with low dust, the Allsaw represents a revolution in cutting technology and incorporates a heavy duty 1250 watt motor, vibration reducing handle and ergonomic slim grip handle. The time and labour-saving benefits of using the Allsaw were graphically demonstrated during a visit to see PAYE Stonework on their restoration project at the 18th century St Alfige’s Church in Greenwich. The Allsaw was put through its paces – with highly impressive results. Years before, molten lead had been used to repair the narrow joints on top of the steeple. In view of re-pointing this with lime mortar the contractors were required to rake out the lead from the 3mm joints. Previously, the only way to remove it was to chip down each side of the lead using a hammer and chisel or grinder which, not only was a hard, tedious job, but also resulted in widening the joint – and conservation officials were not happy about this. Primarily designed for cutting brick, stone and mortar, we discovered the Allsaw will also cut lead! This was a major breakthrough on the St Alfige’s project. Now, using the Allsaw, it is simply a matter of following the mortar joint – there’s no risk of damaging the historical stonework and very little dust is created.

The depth of the blades was another advantage. Crack and patch repairs to eroded stonework and corroded structural ties were required on the St Alfige’s job. The Allsaw cuts to 120mm deep through the stone when required – a 9” grinder wouldn’t go that deep so a 12” grinder would be the only other option to do some fairly delicate cutting (to get the depth) which is dangerous stuff when working with the saw at chest height. The Allsaw was safer, not as noisy and made nowhere near the amount of dust. Complete with toolbag and various blades, the Arbortech AS170 Allsaw Brick & Mortar Saw provides a virtually dust free, precise and safe job. Using a unique orbital cutting motion with two forward-facing blades that combine to perform both a gentle hammering and cutting action, the AS170 allows for clear visibility and empowers the user with the ability to cut square, cut deep, cut dry and cut safe with little dust on the most delicate of structures. The dust it does create is like sand and falls to the ground rather than becoming airbourne. The AS170 also cuts faster than any existing reciprocating saw, and as fast as most small angle grinders. It offers extreme levels of precision, accuracy and control allowing the tool to be used for a wide range of applications, including the cutting of wood, plastic, mortar, brick and soft stone. It is the only small, handheld saw that is able to cut to depths of 120mm into 90° corners, requiring no over-cutting or bolstering. The standard blades cut to a width of 7mm – perfect for those installing lead flashings. q • To find out what the Allsaw can do on your project call Arbortech Sales: 0800 980 99 99.

The Allsaw was put through its paces at St Alfige’s Church in Greenwich

Stansted Park Chapel re-opens following restoration of ancient locks and window

he elegant Regency Chapel of St Paul at Stansted Park will re-open to the public this month following extensive conservation work over the winter. The chapel, which stands on the site of the first great Stansted House (ruined in the Civil War), needed urgent work to its ancient locks and East Window which, because of its subject matter and rare technique, is unique in an English church. Stansted brought in metalwork tutor Jon Privett from the West Dean Centre of Conservation and Making as well as international glass expert Mark Bambrough to carry out the work during 2010. Both the locks and window were re-installed in time for a service of re-dedication in January for St Paul’s Day by the Assistant Bishop of Chichester. Work on a high security, 17th century chamber lock from the main chapel door was carried out by West Dean College metalwork

student Hannah Collacott as part of her postgraduate diploma. The lock, which was no longer working, is made from wrought iron with a copper alloy handle and has a slide lever and bolt system. The mechanical interior is ornate in design but was found to be heavily corroded. Mark Bambrough carried out restoration work to the East Window, which had previously been repaired following bombing during WW2,

but in recent years it became clear the repairs were failing. The glass was cleaned and fragments painstakingly re-assembled before being housed in protective panes and re-installed. It is painted, not stained, with a delicate enamel technique. The original artist is thought to have been either Joseph Backler or James Edwards but no documentation survives. q

Mark Bambrough working on the window

The lock after work

A new organ for St Matthias & St George by JONATHAN LANE Managing Director of Jonathan Lane & Associates Ltd

s I write this we are working on site to install the new organ for St Matthias & St George, Astwood Bank, Redditch in the West Midlands. The chancel dates back to 1884, however the nave, which although relatively short is also quite lofty, was built 100 years ago this year. Since then the church has possessed four organs and is about to have its fifth, installed in a large first floor chamber at the base of what should have been the tower but was never completed. The previous organs are generally known, thanks in part to the National Pipe Organ Register (www.npor.org.uk) – consequently our research work has been easier and they have all been of two manuals and pedals. There are photographs and extensive details of the 1949 organ, a large two manual instrument by Kingsgate Davidson of London, which lasted only until 1965 when a Walker extension organ was installed, wholly enclosed except for the Bourdon basses. Additional work was done in 1982 adding an Open Diapason rank to make the organ louder in the church. This organ, whilst adequate, never quite had the versatility that reeds and strings would have added and was conceived by the then organist to play some of his favourite repertoire, Baroque music, particularly Bach Trio Sonatas. Forty-five years later this organ was removed to make way for the ‘new’ three manual organ by ourselves. We say new, and it certainly is new to the church, but almost all the pipework is secondhand, as are the reservoirs (bellows), some of the unit chests and the console, although the latter has been extensively rebuilt. The core of the organ is the 1850 Walker organ from St Andrew, Cobham in Surrey, and a significant amount of the 1911 Conacher from Ramsgate Baptist Church. In addition, the previous organ’s pipework has been entirely re-used, as well as ranks by Henry Willis, Gray & Davison, Norman & Beard, Ravensdale and Mander, together with some ranks of uncertain origin. There is much new work in the organ, including the electrical system, soundboards and substantial parts of the console. New slider soundboards have been built for the Great, Swell & Choir, and the console has received additional drawstops to encompass the new specification. This has involved redesigning the Compton console to take stop jambs of increased height, as well as the addition of numerous playing aids, ensuring comprehensive control of the instrument by the player. The electrical switching and capture system, including 64 channels of memory and a sequencer, has been built by Musicom Ltd and is both versatile and creative in its use of technology, whilst providing elements, particularly in the control interface, of elegance and ease of use. The connection between the console, which will be moveable, and the organ chamber is by Cat5 cable, a Puffers releathered

Case prior to restoration far cry from the earlier system which used hundreds of individual wires. In addition to the usual couplers and accessories the organ has been fitted with a divided pedalboard, which enables the player to couple different sounds to the top and bottom halves of the pedalboard, and some unusual couplers, including Great to Choir and Swell Reeds on Great, the latter disabling the Swell Reeds from the Swell Manual while coupling them down to the Great Organ simultaneously. Tonally, the organ is eclectic, relying heavily on the Englishness of the original material, with an essence of the French romantic. At 53 speaking stops, some 55 ranks with little borrowing on the manuals, the organ appears large on paper. At a little under 3,000 pipes the organ is bigger than average, however what is significant is that the specification is designed to be versatile and comprehensive rather than loud – although it will be louder than the old organ! Variety of tone has been significant in the design, with each department having Principals, Flutes, Strings and Reeds, and independent Mixtures occurring on two different manual departments and the pedals. In fact the Great has two compound stops, a three-rank Mixture and a four-rank Fourniture. There is a Gamba in each manual department and Violone on the Pedal, creating a useful homogeneity of tone between departments whilst helping with greater versatility. There are nine separate reed ranks, chorus reeds on the Swell and Pedal, as well as a Trumpet available on both the Great and Choir, and voiced to bridge the gap between a chorus and solo reed. There is a four foot Chalumeau on the Pedal and an enclosed Voix Humaine in the Swell. Finally the existing case is being re-used and fully restored. The origins of this case are unknown, with many believing it to be from an earlier house organ, being enlarged and extended when installed in the church. The casework itself is being restored whilst the display pipes are being restored, cleaned and put back on speech after many years. Twenty-two of the display pipes were speaking pipes, with space for two further pipes in the outside towers, while the remaining pipes in the display are wooden dummies. The speaking pipes will be returned to life as the Choir Gamba. This has been an exciting project for us as organ builders and, as the largest project we have completed to date, a significant challenge. We have embraced the project with enthusiasm, both for its technical opportunities and musical versatility that the organ will display. As a performer, it is an organ that will be capable of realising the vast majority of the organ repertoire with some degree of authenticity. q • Jonathan Lane trained first as a communications engineer and subsequently as a musician. Having spent twenty-five years working as a professional music teacher, organist and choir trainer in a number of churches and at Londonderry Cathedral, he started Jonathan Lane & Associates in 2005, becoming a limited company in 2010. The company has two staff at present, Jonathan and a Budapest trained organ builder, Ferenc Dobos, and has a growing reputation and cliental in the South and Midlands. Jonathan Lane & Associates Ltd can be contacted via their website: www.organ-builder.co.uk.

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