Period architectural features workshops autumn 2007

Greenwich, London UK

* Windows 1: 17th Century, Georgian and Regency 5 Oct 9 Nov
* Windows 2: Victorian, Edwardian and Interwar 12 Oct 16 Nov
* Doors: 16th Century to Early 20th century 19 Oct 23 Nov
* Cast Iron: 18th and 19th century 26 Oct 30 Dec
* Staircases: Late 17th century, to Interwar 2 Nov 7Dec

These workshops are designed to have a maximum of 10 participants and give an understanding of historic evolution of the window, door, staircase and cast iron features in British architecture. They can be booked as individual workshops at £50 per workshop or as a full series of five for £200 exclusive of VAT.

The workshops take place at the Martine Campus of the University of Greenwich. The teaching provided by the collection's founder Charles Brooking, will be accompanied by "handling sessions".

For further information please contact Jenny Lynch, School of Architecture and Construction at the University of Greenwich, telephone 020 8331 9312

Lead paint

Above:Door painted with lead based paint

Technical Advice taken from SPAB (Douglas Kent, the SPAB technical secretary)
What is Lead paint?
Lead paint comprises lead pigment, usually lead carbonate ("white lead"), bound in oil. The pigment creates either a white paint or a base for tinting with colour. Historically, linseed oil was the usual binder and turpentine the thinner, their proportions determine whether the finish was Matt or semi-gloss. From the 20Th century, the flow gloss and drying time was improved by using an alkyd resin medium and the addition of titanium dioxide pigment boosted the covering power.

Lead tetroxide ("red lead") has been used extensively fro metal primers. Mixed with lead carbonate, it forms a pink lead primer for joinery.

Where might lead paint be applied?
Lead paint was popular until the 1960's, particularly on timber and metalwork. It was also applied to lime plaster in grander buildings (this had to have carbonate paint is now restricted by law for use on listed buildings grades I and II only, or, in Scotland, grade A), scheduled ancient monuments and works of art. Where care is taken, its careful application is to be encouraged, especially for the protection of 18Th and 19Th century joinery and conservation of important historic interiors.

What are the pros and cons of lead paint?
Lead paint has unrivalled durability on timber, possessed good flex ability and is "breathable". Its texture, depth of colour and mellow appearance are difficult to emulate with alternatives, and it emits less environmentally harmful volatile organic compounds (VOCs) than modern oil paints.

The main drawback with lead paint is toxicity. A health risk only exists, though, where lead compounds are ingested or inhaled due to unsound or disturbed paint. Dust from sanding old lead paint is the greatest hazard. The presence of lead paint does not justify stripping historic joinery.

How do I identify lead paint?
Old lead paint frequently has a creamy or soft colour. Rather than splitting and peeling, it may develop a fine, oblong pattern of cracking. A chalky surface can provide a further clue, but is not exclusive to lead paint. Detached samples feel heavier than with other paints. Lead paint might be present in nearly any pre-1960s building. Its existence can be confirmed with a DIY test kit or more sophisticated analysis. Where found, it could be safer to renew or cover coat lead paint than attempt its removal. If removing, use wet (not dry) sanding, chemical strippers or low-level heat.

How do I obtain lead paint
Supplies of lead carbonate paint are limited, but still available. The SPAB may be able to advise. You must declare that your intent is lawful, using a form the supplier usually provides. Approval takes several weeks. It is not required when buying red lead paint.

On buildings where the use of lead carbonate paint is no longer permitted, a compatible alternative, such as linseed paint, may enable the retention and over coating of old lead-based layers.

How do I apply and renew lead paint
External redecoration on a 5-10 year cycle is not untypical with lead paint and, internally, it needs renewing infrequently. Because it tends to erode rather than peel, surface preparation may require little more than washing with sugar soap and, where necessary, lightly rubbing down with wet abrasive paper. Only loose paint needs scrapping off. When taking back non-lead overcoats, remove all stripper residue thoroughly. Vacuum cleaners must have HEPA filters. Children and pregnant women should not be present.
Lead paint should be well-stirred and applied thinly with good bristle brushes. Each coat must dry properly before the next is put on. Natural oil based formulations are slow drying and demand great skill by the painter.

Note: I strongly disagree with the idea of using lead-based paints - TK

[Cornerstone Vol 28, No 3 2007 www.spab.org.uk]

Nails - a brief New Zealand history (with links to Britain and the UK)

Above: Ladies nail hammering competion, Tututawa picnic.1910. Mc Allister, James, 1869-1952:negatives of Stratford and Taranaki district (photographic ATL archive)

When Captain James Cook arrived in the Pacific, he found the islands societies lacked iron. Iron nails were not required, as buildings were woven, lashed or pegged together. Throughout the Pacific, Cook traded iron nails for food and mama (status), while his men found other opportunities. Yet on 19 June 1770, when his ship Endeavour needed repair at Endeavour River, Queensland, the nails required were made as in Roman times - by a blacksmith forging each one.

Nails were of considerable value - not only in terms of money but also in utility to early European settlers. The New Zealand Company ship "Glenbervie" included in its 1840 voyage at least 20 kegs of nails (1 keg = 100lbs). Reportedly in 1843 the first house built on the Canterbury plains was constructed without iron nails, as these had been left in Wellington by mistake. 'Ranzau' - a house at hope near Nelson was built around 1844 with handmade nails that had travelled from Europe (probably Gemany), and ranged from 6 cm to 30 cm in length.

Mr Philip Valle travelled with his wife and six children on the 600 ton ship "Mary Anne" from England to Nelson, arriving on 8 February 1842 after a voyage of 137 days. The only loss of the voyage reported in the original passenger list was "1 case of nails value £1 14s 6d" belonging to Mr Valle. On 18 July 1844, two years and five months after his arrival and his nails still lost, Mr Valle wrote to the New Zealand company complaining that he had yet to be refunded the cost of the nails.

The New Zealand imports of nails were so important in the 1800's that they were listed separately in the statistics. In the year 1873, imports of nails were just over 6 kg per head at a cost of 9d and representing 0.5% of total imports. Nails had a critical importance to a country undertaking major building developments.

This extract was taken from Construction History Society Newsletter.

[CHS Newsletter No 78 August 2007 www.constructionhistory.co.uk]

UK's oldest multi-storey garage at risk of demolition

West End, Glasgow UK
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Above: Botanic Gardens Garage, the UK's oldest multi-storey garage

Arnold Clark wants to demolish the B-listed Botanic Garden's Garage, in Glasgow's West End where plans are to build a four storey block of 35 flats, four mews cottages, retail space and a restaurant. The Botanic Garage is the oldest surviving custom built garage in Glasgow. Built c. 1906 it was designed by David Valentine Wyllie and has a distinct facade of green and white terra-cotta tiles and an unusual steel-trussed roof and extensively glazed rear wall, crowned with shaped gables. Eva Branscome, of heritage group said it is 'an important survivor from the earliest days of automobile history.'

A community campaign has been launched to save it via my-space, and they now intend to lobby Historic Scotland to award the garage A-Listed status and safeguard it from demolition.


Above: Inside the Botanic Gardens Garage

A selling exhibition of sculpture at Chatsworth House

Above:Myth (Sphinx) by Marc Quinn, installed by the Canal Pond (picture courtesy of the Chatsworth website)

Chatsworth, Derbyshire UK

Sotheby's present the selling exhibition 'Beyond Limits' with some £14 million of contemporary sculpture for sale held in the grounds of Chatswoth house in Derbyshire. The Duke of Devonshire agreed for the exhibition to go ahead which comprises of a variety of 23 contemporary sculptures, the works include sculptures by Damien Hirst, Marc Quinn, Richard Bray and Carol Sinclair.

The exhibition is open daily from 11am to 6pm, beginning September 8 through to November 4 2007.
Sotheby's

Autumn Decorative Antiques Fair

Battersea Park, London UK

Above: Various pieces on Alex Puddy's stand for Architectural Heritage

The Autumn Decorative Antiques Fair 2-7 October 2007, continued to grow with 135 exhibitors drawn from across the UK and Europe. It was the largest ever held at the marquee in Battersea park London. It aimed to provide inspiration of how 'old and new can blend together as a background for modern living.'

The range of stock was enormously varied and displayed in a stylish but informal way. Particular highlights included Salvo code dealer Architectural Heritage which showcased an array of garden ornaments, fountains, sculptures and Garden Antiques offering a range of garden ornaments, including statuary, urns, finials, sundials, fountains, bird baths seating and other architectural items.

The fair takes place three times a year the 23-28 January, April 24-29 and October 2-7 at the marquee in Battersea park



Above:Architectural Heritage stand at the fair

Above:Damian Sherlock's stand for Garden Antiques UK Ltd

Site

Humberts sale of Extreme Architecture at Hurst Farm

Chilham, Caterbury UK Thursday 27th & Friday 28th September 2007

Up a windy path in the middle of nowhere in the pouring rain was the setting of the iconic sale of the entire stock of architectural salvage, restoration material, garden statuary, stoneware etc of Extreme Architecture.com together with the antiques and decorative furniture and effects from the residential property of Hurst Farm.

Everything had a price tag including the seats inside the marquee, the auctioneer motored through the 1249 lots, whilst the punters like vultures quickly snapped up each piece. Particular highlights included the Temple Bar Lodge which was once the main entrance into London and designed by Sir Christopher Wren. This sold for £26,000 to a UK private. The Royal Box at Ascot remained unsold, however the advertising created from this packed sale will perhaps help to sell it shortly. Dennis Buggins has already booked his stand for next year's Salvo fair to which he is planning to bring the Royal box and the Lloyd's Portico.


Above: Hurst Farm, selected bricks and tiles for auction


Above: The Lloyd's of London portico, an impressive Portland stone portico carved with the Lutine bell