...
Frequently Asked Questions
based on contributions to
GRAND DESIGNS MAGAZINE
since 2004 by our writers
JANET COLLINGS & BEVIS CLAXTON
as GRAND DESIGNS' CONSERVATIONISTS
The answers are
generic - and, as in the magazine, are published without responsibility. Published questions may be
shown re-formatted for clarity. Information given in
short Q&A format cannot be a substitute for proper on-site
assessment of problems - always follow up with specific on-site advice from a
conservation-accredited professional.
-
PLEASE CLICK MAIN SECTION TITLE AND SCROLL DOWN TO DESIRED SUB-HEADING -
LIME
SUBJECTS
LIME
MORTAR
LIMEWASH
LATH AND PLASTER
WINDOWS
SASH
WINDOWS VS LEADED LIGHTS
SASH WINDOW REPAIR
AND IMPROVEMENT
LEADED-LIGHT
CHURCH WINDOWS
REPLACEMENT
WINDOWS
GEORGIAN
GLASS
DOORS
GEORGIAN PANELLED
DOORS
GLAZED DOOR
TIMBER
BEAMS AND FRAMES
WOODWORM
TIMBER FRAMED WALLS
AND NOISE
INTERNAL FINISHES TO
OAK
LIGHTENING
ROOMS
STONE
WALLS
STONE REPAIRS
FLINT WALL REPAIR
DAMP PROOF COURSE IN
A STONE WALL
CEILINGS
ROSE AND CORNICE
PAINT PROBLEMS
FIREPLACES
OUT WITH THE 1930s?
FLOORS
TERRA COTTA FLOOR
TILES
WOODWORM
IN FLOORBOARDS...
...AND REPAIR
EXTERNAL
GROUND FINISHES
EDWARDIAN DRIVEWAY
ALTERATIONS,
RESTORATIONS
AND PLANNING ISSUES
SOME LISTED BUILDING
ISSUES IN BRIEF
CONSERVATORY FOR A
GEORGIAN HOUSE
VICTORIAN
LOO CONVERSION
OPEN
PLAN ISSUES
SAVING
AN UNLOVED HOUSE
EXTERIOR PAINTING OF
GEORGIAN TERRACE
REDRESSING
UNSYMPATHETIC WORK
VICTORIAN
HOUSES
VICTORIAN PARLOUR
VICTORIAN
PORCH
HEATING
UNDERFLOOR HEATING
FIRST
TIME CENTRAL HEATING
SUSTAINABILITY
ISSUES
CHOOSE
OLD OR NEW?
ADAPTING
OLD HOUSES
GREYWATER
RAINWATER
GOODS
CAST IRON PIPE
REPAIR
FINDING
PEOPLE
CONSERVATION
ORGANISATIONS
BUILDERS
LIME SUBJECTS
LIME MORTAR
I’ve
heard that a lime/sand mix is best when re-rendering the walls of an old
house but I can’t persuade my builders to work without cement.
You are right to
persist - lime render could save you future repairs. Whether your walls
are brick or timber frame, lime is usually flexible enough to cope with
seasonal movement whereas relatively brittle cement could develop
cracks.
Lime rendering is
different but not particularly complex – all builders did it before
industrialised cement manufacture – plasterers doing conservation work
will already be comfortable with the ‘no cement’ idea. Bear in mind
that lime is very sensitive to frost so avoid the run up to winter as
lime takes time to set.
Correctly-mixed lime
render ‘breathes’ and, if finished with limewash instead of paint,
moisture taken up by the house should dry out naturally. Cement render
and conventional paint are, unfortunately, much less ‘breathable’
and can trap damp inside walls.
Lime render’s
flexibility and ‘breathability’ appeal to builders experimenting
with earth-wall and straw bale houses. Lime’s relative energy and
carbon efficiency has sustainability benefits too – and everyone can
appreciate the gentle textures and colours that are possible.
more information in our books and
lime
download
LIMEWASH
I've
given an outside wall of my seventeenth century house two coats of
limewash to protect a very old lime-rendered wall but the finish is
patchy and the tubs of limewash aren't cheap; should I give up and use
ordinary masonry paint?
Limewash can need four
or more coats first time, but the first undercoats might be uncoloured.
Someone properly experienced in the use of lime (well protected as it
burns!) could make up reasonable plain white cheaply using good, dry,
hydrated lime powder from builders' merchants.
Brushing marks and
rain-dappling give limewash character that ordinary modern masonry paint
lacks. Each limewash application needs to find its own time to dry - the
'suction' of the surface and the drying climate are critical factors.
Hazards include strong sun, wind, rain and freezing (ideally allow
months before frosts).
If additive-free,
limewash should permit old lime render or bricks underneath to
'breathe', helping old walls stay dry and sound, whereas 'plastic'
masonry paint can lock damp in. Once on, future limewash re-coats can
involve less preparation than with paint.
more information in our books and
lime
download
LATH AND PLASTER
I
live in an old house with lath-and-plaster walls and want to put some
shelves up - but it seems to be impossible.
Lath-and-plaster walls
are usually thin horizontal strips of wood (laths) nailed between
vertical timber studs. Plaster grips through narrow gaps between the
laths. Nailing or screwing into the laths is pointless, because they are
springy and flimsy, and it risks loosening the plaster.
It is necessary to
locate and fix into the more solid studs but, since their design and
condition are probably uncertain, even they should not be relied on for
heavier loads such as bookshelves, kitchen cabinets or to carry
electrical items.
Electronic stud
detectors can be fooled by thick plaster so there's often no choice but
to carefully drill fine experimental holes until the studs are mapped
out. Beware of concealed pipes and cables (again special detectors have
limitations). Without X-ray vision you still won't know whether you've
found the centre of a stud or something less substantial, so extra
'belt-and-braces' support positions are advisable.
Studs are unlikely to
be just where you want so you might have to fix suitable battens to them
to attach shelves to, which is ungainly but was a traditional solution.
Old walls can be (charmingly!) uneven, so designing shelves to suit both
the contours and the studs can be rewarding. But the time-honoured and
common-sense answer is free-standing furniture.
more information on lath and plaster in our books
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WINDOWS
SASH
WINDOWS VS LEADED LIGHTS
I
am repairing a Tudor farmhouse but it has much later vertically sliding
sash windows. Is it a good idea to revert to the original, I would
guess, leaded-light windows? If I keep the sash windows how old are they
likely to be and how do I go about repairing them?
If modern listed
building controls had been around in past centuries no-one would have
got away with installing sash windows in a mediaeval building! Trying to
reinstate the originals now would be entering the twilight zone that
conservationists call ‘conjectural restoration’ – making guesses
about what was there based on little physical evidence and a lot of
imagination. It is doubtful you would get permission to do this. It
might be better to treat the sash windows as an honest record of the
building’s history and repair them.
Vertically sliding sash
windows became popular from the eighteenth century, once it was possible
to make larger sheets of glass - up to about the size of an A4 sheet of
paper - rather than the tiny ‘quarries’ that make up leaded lights.
The Georgians favoured this new type of window frame as it suited their
style of architecture. To allow in the maximum light they used thin but
strong glazing bars and the clever sliding mechanism would have been
useful in towns to allow windows to open directly onto the street or
behind closed shutters.
When repairing old sash
windows bear in mind that part of their appeal is the slightly flawed
hand-made glass that casts attractive reflections. True sash windows are
unsuitable for conversion to double-glazing, which needs thicker glazing
bars. Sash window repair skills are accessible to competent joiners;
when repairing stick carefully to the original design details and
don’t be too eager to make them totally airtight - ventilation is good
for old buildings and even modern windows have to allow some ventilation
under Building Regulations.
more information on windows and glazing in our books
SASH WINDOW REPAIR AND
IMPROVEMENT
I
am currently renovating a Georgian grade 2 listed building with sash
windows throughout, fitted with 5mm glass. I think many of the windows
need to be replaced or re-conditioned. As the house lies under and
airport flight path I was wondering what options I have to replace or
re-condition the windows to provide better insulation and sound proofing
- preferably without needing to install secondary double glazing
I wonder if your sash
windows have wooden shutters inside. These are a great way of increasing
insulation when they are fully closed and help with sound proofing. If
you do not have shutters then heavy thermally-lined curtains can be
drawn at night and when the room is not in use.
The glass you mention
seems extremely thick - about a ¼ of an inch - perhaps someone in the
past has replaced the panes. If they give ‘crinkly’ reflections then
the chances are the glass is old, if perfectly mirror-like then the
glass is probably new. It is usually difficult to accommodate such thick
glass in delicate Georgian sashes. Old glass is a visual asset and
should be retained.
However ‘bad’ your
existing windows seem they are very unlikely to be beyond conservative
repair. The less they are altered from the original, the more valuable
they will be as antique components of the house. It is also
environmentally friendly to conserve rather than replace!
If going for secondary
glazing, get this carefully designed (maybe in a hardwood timber for
slenderness, probably painted) and, to preserve the original value of
your house, make sure the installation is reversible (can be removed
without a trace in the future). Before carrying out any work confirm
with the Conservation Officer at your local council whether an
application for Listed Building Consent is required for repairing or
secondary glazing your particular windows.
more information on sash windows in our books
(esp. V&E, M&ROH, OHC&R)
LEADED-LIGHT
CHURCH WINDOWS
I
am doing up an old church. I would like to keep the stained glass
windows in place, yet we live in a crime-ridden area. Can they be
reinforced to protect against noise and vandalism?"
The established range
of window protection for churches starts with simple wire grids,
recently stainless steel. Sometimes reinforced glazing has been
suspended over stained glass. More valuable glass may require extra
measures. Seen from the outside wire can be surprisingly unobtrusive if
carefully designed to respect existing features, whereas large sheets of
glazing can create distracting reflections. All fixings should be
designed to avoid damage to masonry surrounds - perhaps aligning fixings
with mortar joints - and to permit de-mounting for maintenance and
cleaning.
Noise usually requires
separate measures: if the problem is severe investigate how internal
secondary glazing might fit in. For sound reduction it would
traditionally be up to a hand-span from the original glass and those
secondary panes might themselves be double-glazed for warmth.
Trying to combine
protection with insulation by turning the stained glass itself into part
of double-glazing could be troublesome as leaded glazing is not
particularly airtight, also any condensation within may harm the old
glass. A conservation architect would deal with any necessary planning
or other consents but could also assess knock-on effects of changes to
thermal performance and, very importantly, pursue the least obtrusive
solutions.
more information on leaded lights and secondary
glazing in our books (esp. V&E,
M&ROH, OHC&R)
REPLACEMENT
WINDOWS
I
have a 17th century farmhouse and need to replace the windows. I don't
want standard UPVC but would like to keep the cost down. Are there
council grants for new wooden windows?
Firstly, do the
existing windows really need replacing? If any of them is more than,
say, seventy years old then it is likely to be a traditional and
interesting antique accessory to the house. Older windows, most likely
of wood or iron, could be quite straightforward to repair. Virtually
anything still hanging in an opening is potentially repairable - ideally
allowing retention of old glass with its special visual qualities (look
closely for reflections and manufacturing blemishes).
Window frame repair can
be an economical and sustainable route. If the house is listed (quite
likely if 17th century) or in a certain type of protected
area, replacement or significant repair would require special planning
consent, to avoid stiff legal penalties. If it is not then any
un-moderated interpretation of the building regulations might lead to
incongruously heavy double-glazing - and suddenly a period house becomes
a modern mess.
Grants might be rare
but the council's conservation officer may be able to help locate
craftspeople for repairs or, if absolutely necessary, designers of
properly authentic traditional frames. To keep the sparkle and delicacy
of traditional single-glazing, consider insulating with secondary
glazing behind, using discreet bespoke frames that can be removed in
summer (and which are reversible – see above).
more information on window care and upgrades in our
books (esp. CCC, M&ROH, OHC&R)
GEORGIAN
GLASS
I've
had an old Georgian sash window repaired but sadly a pane of the
original glass was broken and the new piece looks out of place. I would
like to match the old uneven glass in the rest of the window, can this
still be supplied?
Fortunately yes.
Georgian glass was hand-made, or rather mouth-blown, and the finest
examples may show a slightly bowed surface, like a sail. Otherwise it
may have concentric lines, like the tracks on an old vinyl record, or
just look irregular. Whichever, it will cast sunlight very prettily.
An old repair trick was
to substitute second-hand greenhouse glass as this was thin enough and
just about imperfect enough to fit the frame and look the part. But
times have changed and regulations now require safety-glass in certain
window locations and even special 'insulating' glass, and anyway modern
horticultural glass looks different and might be 'toughened' so cannot
be cut down.
So, for a good physical
match, look for some new hand-made glass that meets, or can be adapted
to, modern regulations: local authorities' building control departments
deal with those rules and, if your house is listed or in a conservation
area, seek help from the conservation officer in interpreting them.
more
information on old glass in our books
(esp. M&ROH, OHC&R)
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DOORS
GEORGIAN PANELLED DOORS
We
are lucky in that the doors of our Georgian house are mostly intact.
However one or two are developing cracks in their panels. Is there a
simple way to restore these or should we remove them and install new
panels?
Cracks can often appear
in door panels – this can be caused by wear or central heating. Treat
your doors kindly in order to reduce the likelihood of cracks in the
first place. As the timber expands and contacts over the seasons the
cracks will open and close. This is simply a feature of real wood and a
real old house. Replace them and you have lost the authenticity of your
home.
If the cracks really do
annoy you then you could consider filling them with a lightweight
filler, or even papier-mâché, and re-decorate them. It is probable
that over time the filler may fall out, especially if the doors are in
heavy use. Another option is to put a scrim-reinforced lining paper over
the panel and then paint over it, but again at certain times of the year
the paper may pucker or stretch.
As always with an old
house – treat it as a working antique: whatever you decide to do - if
anything - do make sure that it is reversible. You should not be the
owner that future generations point a finger at for removing genuine
features.
more information on doors and joinery in our
books (esp. M&ROH, OHC&R)
GLAZED DOOR
Question: I've just moved into a period house with a three-panelled
glazed front door. The glass is original patterned glass and I would
love to keep it, but wondered if there was something I could do to make
it more secure against burglars, for example by attaching a film over
the glass?
An original door with original glass should certainly add value and
interest to an old house. The problem with applying plastic film to
patterned glass is that it won’t stick so well to an embossed surface.
Usually the moulded or etched side of obscured glass faces inside to
avoid soiling – the same side that films tend to be applied for weather
protection.
But, depending on the
construction of the door, it might be possible to have a discreet frame
designed to securely back-up the existing glass with a sheet of rigid
plastic or strengthened glass. This can improve insulation and, if
designed so that it can one day be detached without leaving a scar, then
the door is not devalued.
An alternative burglar deterrent
might be metal bars, or a bespoke blacksmith’s wrought-iron grid. But
take care as old glass can be easy to scratch and old glass patterns can
require persistence to match if broken. In flats and some houses it may
be a requirement or just advisable to consider fire-resistance as well
as security, this requires specialist design. Also there are modern
building regulations governing safety in new glazing.
Older doors may have had timber
panels replaced with glass over time, perhaps weakening them: some
Georgian doors were first installed when most ordinary glass was only
available in sheets little bigger than A4 paper size, so only quite
small panels were able to be glazed initially - but it is not uncommon
to see later patterns of Victorian glass cut into the former wooden
panels.
more information on doors and glazing in our
books (esp. M&ROH, V&EH, OHC&R)
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TIMBER BEAMS AND
FRAMES
WOODWORM
What should I do
about the woodworm in my timber-framed house?
Firstly you should
establish where this is active woodworm or not (woodworm is the name
commonly applied to the furniture beetle whose larvae burrow in timber,
the mature adult exit through flight-holes up to 2mm in diameter. There
are other beetle pests).
Do this by first
removing any existing sawdust like material from near the holes and see
if any new is created (this would happen in spring and early summer), as
you may be looking at flight-holes that are very old.
If you do have active
woodworm, they are only active because the moisture content in the
timbers is higher and therefore more attractive to eat!
Reducing the moisture
content in timber is about reducing dampness. This is done in a number
of ways: Most importantly increase ventilation, but drying out can take
a while - allow at least six months before expecting any change.
If woodworm is
affecting a piece of furniture, then moving it to a dryer room with
better ventilation should help speed up the solution.
There are a number of
conservation-friendly ways of reducing damp in old houses
See
‘Damp’ at www.oldhouse.info for the importance of
breathability to old houses).
more
information on wood pests in our maintenance/care books
(esp. CCC, M&ROH, OHC&R)
TIMBER FRAMED WALLS AND
NOISE
I
live in a terraced cottage whose downstairs party wall is of exposed
timber posts and with little insulation between the houses. Do you have
any ideas of how to improve this without ruining the beams?
I assume that, in a
terrace, you are concerned more about sound insulation between
properties rather than heat-loss.
A traditional method of
improving both thermal insulation and quietening a room was to hang
tapestries. A heavy curtain, that could be drawn back to display your
timbers, might only help a little with noise-reduction from next-door
because effective sound insulation really relies upon mass - to deaden
the vibration - and the absence of air paths that conduct noise. In some
modern buildings rooms are specially isolated from each other
structurally to avoid sound-transmission but this is rather too
difficult to achieve in an old building.
Adding mass is likely
to be unsightly and structurally difficult so the first practicable step
is to track down any air passages that lead to next door. In an old
house sound may not only be coming through the wall but, say, between
open joists in the cellar or via an old shared chimney or a common
roof-space. Make sure that any cracks alongside the timbers are filled.
Originally this might have been done with a ‘daub’ mix or a lime
mortar - the latter may be an option now and should be compatible with
old fabric.
You might create a
pleasant low-level background sound on your side of the wall to offset
sound from the neighbours at their ‘peak’ times. Bringing your
neighbours’ attention to your concern might work too - they may simply
not have noticed the walls are poorly insulated if you yourself live
very quietly.
more information on timber frame in our books
(esp. CCC, M&ROH, OHC&R)
INTERNAL FINISHES TO
OAK
I have a 17th
century cottage with a 1980s extension, some of the internal timbers are
waxed or oiled and are a lovely, mellow light colour but some,
particularly the newer areas, have been covered with a nasty dark stain
or varnish. How can I tell what has been used, is it simple a job for a
tin of paint remover and can I return timbers to that mellow
yellow/brown?
In the 1880s there was
a popular misconception that black timbers were authentically mediaeval,
by the 1980s this notion had shifted to brown. Naturally aged timber may
be nearer the truth (your mellow brown inside, silver-grey out).
If the dark colour
dates from the 1980s then ask the former occupants, their builder or
architect about it. Pick at an inconspicuous area to see if the colour
peels off or whether, much worse, it has sunk into the wood.
There is no one 'silver
bullet' for removing paints, varnishes and stains. Answers must be
tailored to both the finish and the timber beneath - and there will be
mess to be tolerated. Expert advice, plus trial and error, may explore
options such as gentle abrasion and/or chemical softening and perhaps
chemical bleaching to combat stains. (This is explored in the
Paints and
Paint Removal download at www.oldhouse.info which would be a useful
starting point).
But be very, very
careful: chemicals can be a hazard, some finishes release toxic dust or
fumes and abrasion or chemicals can irreversibly alter the wood,
destroying valuable original detail or natural colour. Some surfaces may
need specially gentle dry or wet proprietary techniques (council
Conservation Officers may know of local operators). Occasionally
mediaeval artwork survives under later paint - now that might be a cue
for some modern artistry to cover stubborn finishes or permanently
stained wood without attacking the surface.
Those lucky enough to
have unfinished oak can simply avoid paints and varnishes to keep it
that way. The maximum treatment that conservationists might ordinarlily
consider would be ‘boiled’ linseed oil outside and beeswax inside.
more information on paints and removal in our books
(esp. CCC, M&ROH) and
paint download
LIGHTENING
ROOMS
My
bedroom has wooden beams running up the walls and across the sloped
ceiling. They are quite close together, and are very dark, as is the
floor. Since it only has a small window, low ceilings and is quite a
small room anyway, the beams make the room feel quite claustrophobic. Is
there anything I can do to lighten the woodwork, or is it better to just
leave it as I find it?
Exposed wall-studs and
rafters are part of the original construction of many old houses. If
never painted or stained, dark colouring could be the timber's natural
mellowing, maybe assisted by ancient smoke-blackening if built in the
days before chimneys – so potentially quite interesting. Stripping
that sort of patina removes not only interest but probably value too.
If there is paint or
varnish, removing it can risk destroying interesting underlying original
finishes or inscriptions and might expose old toxic paints. Where
timbers have unfortunately been painted with something horribly
difficult to remove, like blackboard paint or gloss, one cosmetic answer
might be a light over-coating with some modern 'natural' water-based
paint, provided it is easily removable later. But many people would give
quite a lot to have a cosy room with plenty of ancient timbers on show!
more information on paints and removal in our books
(esp. CCC, M&ROH) and
paint download
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STONE WALLS
STONE REPAIRS
We
have recently moved into a Georgian building with a stone portico.
Unfortunately one stone column has eroded and is very powdery and dry.
The rest is pretty much intact. How should we treat it to prevent
further erosion? We don't want to use a water sealant as I have heard
they create a shiny surface, and obviously we don't want to paint the
stone.
This sort of problem
has been successfully solved in the past with a ‘shelter-coat’, made
simply of limewash mixed with matching stone dust (perhaps finely
grinding and re-cycling bits that have fallen off). You are wise to
avoid sealants and paint here – they would be more difficult to
reverse and would change the way in which the stone absorbs and expels
moisture.
If your column is
limestone the limewash will dry to a very similar chemical composition
and help consolidate the stone. Limewash is particularly friendly to
many historic materials as it is very ‘breathable’. It is very
caustic until dry so must be mixed and applied with great care: goggles,
overalls and rubber gloves are essential. Limewash should only be
applied when there is no danger of frost for about a month. More
essential information on this useful material can be found at
www.oldhouse.info and in Janet Collings’ book Old House Care &
Repair.
As the limewash
shelter-coat will gradually wear away over time this method may be
considered ‘reversible’. And if it doesn’t work out the right
colour first time, adjust the stone in the mix for the next coat. Three
or four thin coats may be needed so there is scope for experimentation.
Limewash alone is naturally semi-transparent to bright white and can
fade but an experimental application of cold, strong tea has been known
to tone down over-bright results on very small jobs – though beware of
staining the stone itself.
more information in our
lime
download and in our
books on stone care (esp. M&ROH)
FLINT WALL REPAIR
Our lovely old flint
house is showing some sign of wear and tear with some of the flintwork
dropping off and leaving unsightly holes. We are keen to restore the
property but want to do it sensitively. Can you recommend the best way
to proceed ie what mortar or grouting is best to use, and whether we
need to consult a specialist?
There is definitely an
art to repairing flintwork successfully – so that it looks as though
no work has been carried out at all.
The most important
material is the flints – retrieve any that are still lying around as
it can be difficult to find flints to match the existing ones. Often in
repairs the existing flints are spread out to make up for missing flints
but this will look awful – you need to find enough replacements.
Sometimes you might
also find that there are smaller pebbles or chips of flint pushed into
the mortar joints - this is known as ‘galletting’ and needs to be
reproduced in any repair otherwise the repair will stand out.
Before carrying out any
work, you should establish what has caused the holes in the flintwork in
the first place. This is where a specialist who is knowledgeable about
flint buildings will be able to determine whether the problem is
superficial or a symptom of something more serious.
To avoid future
problems the mortar should match the existing and original, which for
any age of building is likely to be a lime mortar - though there is more
than one specification of lime mortar and choosing the correct mix is a
specialist job.
Make sure you see some
examples of any craftsperson’s work before you commission them, as
there is an art to repairing flints walls. Ask the conservation officer
at your local council for names.
more information on mortar in our
lime
download and in our
books on stone care (esp. M&ROH, OHC&R)
DAMP PROOF COURSE IN A
STONE WALL
An
existing extension to our newly-acquired stone house has a damp-proof
course but not the old part. The walls of the old part have been
described as 'dry stone' and we were wondering if a damp proof course
will be necessary?
Twentieth century
wisdom was that any building without a damp-proof course (DPC) was
deficient. So all new buildings had a DPC and old buildings, whether
they were damp or dry, often had chemicals fed into them and bits
knocked out of them to install a DPC.
Modern impervious
materials allow brand-new houses to be virtually damp-proof all-over.
That is fine. But olden builders had to accept their buildings would
soak up some water – from rain, condensation or the ground. Usefully
most traditional materials were ‘breathable’ enough to allow
drying-out again by natural ventilation. But it is not usually
practicable to turn an old house into a modern one since the resulting
mix of materials can be mis-matched in terms of damp performance.
The old and the new
parts of your house sound as if they have been built each to the
standards of their time in terms of damp management. With luck the old
part is still working as intended so think very hard before applying
modern ideas of ‘waterproofness’ to an old building that was
intended to ‘breathe’ (harmful ‘waterproofness’ can be
innocently applied in the form of modern paints and finishes - visit
See ‘Damp’ at
www.oldhouse.info for the importance of breathability to old houses).
to
understand the dangers).
Walls of irregular
stones with little or no mortar are suited to natural ventilation
keeping damp in check. But clogging with earth or coating with cement
render and plastic paint can trap dampness within. Keep alert for high
external ground levels, broken rainwater pipes, render in contact with
the ground and also see if you have minimised condensation inside your
home that may infiltrate the walls.
If your older walls do
prove to be damp you may need to appoint a surveyor or architect
properly versed in old buildings (both professions have conservation
accreditation schemes) to help decide where it is coming from and
whether you can usefully re-tune your particular old building to any
form of ‘natural’ damp-management.
more information on damp and alternative approaches
to DPCs in our maintenance/care books
and our damp article
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CEILINGS
ROSE AND CORNICE PAINT PROBLEMS
I’m
currently restoring my home, but am unsure what to do with the ceiling
roses and cornicing. They’ve been badly painted over by previous owners
and I want to strip them back to their original state. What’s the best
way to do this without damaging them?
Traditional ceiling
roses and cornices were usually either pre-fabricated in plaster of
Paris and then applied to lath and plaster ceilings (often in Victorian
and Edwardian houses), or otherwise moulded in place from the same lime
plaster as the ceiling itself (a technique dating back to mediaeval
times). Either way the material is relatively soft, porous and
vulnerable.
Traditional
distemper paints would have simply brushed or washed off before
redecorating but modern emulsion can stick aggressively, so removal
would have to be carefully done to avoid damage - and also gently to
avoid dislodging the moulding. Conservators might start with brushes and
gentle non-metal tools. If modern plastic emulsion paints have built up
and are obscuring detail it might be that a layer of underlying
distemper could be exploited if it is weakening the bond under the newer
paint – but don’t count on it. Special strippers or steam could be a
last resort.
It can all be
costly, uncomfortable work, and at height too, so a cheap, quick
solution can be to paint over any existing emulsion with old-fashioned
distemper: This improves the look while preserving the scene for future
conservation much more benignly than yet another coat of emulsion.
White ‘soft
distemper’ has a bright matt chalky finish that resists yellowing and it
just looks right on an old building. Traditional ceilings really need to
be inspected for security by an expert who understands them, as people
only familiar with plasterboard can be frightened into unnecessary
destruction and replacement when simple repair might be all that is
needed.
more information on ceilings and
paint in our books - and on paint
removal in our
paint
download
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FIREPLACES
OUT WITH THE 1930s?
We
want to replace a Thirties tiled fireplace with a salvaged cast-iron
Victorian one. Can this be done without a lot of mess?
No one knows what lies
behind your fireplace until it comes out – so be prepared to adapt
your plans when it does. If your house is really old the 1930s fireplace
might conceal an alcove for an old range or a giant inglenook. There
could be structural implications.
The minimum-mess
approach is to design a new traditional-looking surround that frames the
tiled one and leaves it in place. When 1930s fireplaces become
fashionable, as they surely will, you will be ahead of the game.
Buy a salvaged
Victorian fireplace if you are sure that there was a reasonable case for
it being removed from its original home, otherwise you could be
contributing to the erosion of another building’s history. An
intermediate approach is to buy a good reproduction fireplace that suits
the age of your house, or even get a suitable modern one made by a local
craftsman as your own contribution to the house’s history. There are
rules in the Building Regulations and Building Standards about hearths
and fireplaces.
As to mess, you can
reasonably expect lots of soot even by dismantling a non-structural
surround. Anything structural is a builder’s job, so you should
prepare to evacuate the room and seal it and its access routes off from
the rest of the house.
more information on period fireplaces
in our books
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FLOORS
TERRA COTTA FLOOR TILES
Our
cottage has big chunky terra cotta floor tiles, almost a foot square
that have adhesive left on them - how can we remove this and renovate
the tiles?
These sound very
similar to Norfolk ‘pamments’ which are in turn quite similar to
French ‘tomettes’, the latter having a greater range of traditional
shapes and sizes.
You do not say which
side of the tiles still have adhesive on them? I assume that you
uncovered the tiles beneath a layer of something else and the adhesive
was still attached to the upper face of the tiles.
On a small area try
‘white spirit’ to see if that dissolves the adhesive. The correct
solvent will depend on the particular type of adhesive. The approach
(though maybe not the materials) being broadly similar to the trial and
error experimentation in paint removal – see
our Paints and Paint Removal
download for further information.
Gentle heat from a hot
air blower may soften some adhesives if you are lucky, others might
become brittle if ‘frozen’ with ice cubes. Then carefully scrape or
chip it off.
Even if you do find a
solution, it is likely to be time-consuming and it is probable that not
all the adhesive will come off. It might wear off in time or
alternatively, if re-laying the tiles, use the best ones in the most
prominent places, with the less successful ones either under furniture
or in dark corners. Or maybe they are suitable to relay upside down?
If still no luck then
traditional terra cotta floor tiles are still made (though check the
sizes). Consider re-laying as traditionally intended on a breathable
base - for pamments this was bare earth (not recommended now of course)
or a bed of lime mortar (some manufacturers may advise the easy-to-use
adhesive trend when selling to new building owners but this can conflict
with breathability in an old house
-
see ‘Damp’ at
www.oldhouse.info for the importance of breathability to old houses)
In keeping with
breathability, the tiles should allow moisture to pass through them, so
avoid sealing them with any sort of finish. Keep them free from grit and
wash sparingly with water when necessary.
more information on period floors and care in our
books
WOODWORM
IN FLOORBOARDS...
How
do I deal with woodworm? At the moment it is rampaging through my
floorboards but they are very handsome pieces of timber and I am
reluctant to replace them. Is there an alternative?
Wood
becomes attractive to these beetles when it has become nicely damp. Not
wet to the touch just relatively damp. Take away that slight dampness
and eventually the beetles should lose interest.
However,
suddenly drying-out the timber in your house may cause it to crack or
twist. Look instead at long term improvements, ensuring good ventilation
above and below the floorboards.
See ‘Damp’ at
www.oldhouse.info for the importance of breathability to old houses).
Double
check that your woodworm are active - if so there will be tiny piles of
fine dust from spring. If the infestation is old and inactive - and has
not seriously weakened the boards - simply fill the holes with a
coloured repair-wax. If they are weakened there are various cunning ways
to 'conservatively' repair them using joinery techniques so that their
appearance is preserved.
Chemical
woodworm treatments are avoided by some conservationists and only
resorted to sparingly, and very locally, by others. Chemical
insecticides are not the sort of thing to have inside a house where
children and pets roam or if the fumes are going to be a nuisance. Not
only are there health and safety issues - insecticides can also kill
natural beetle-predators such as spiders.
For
those reasons some take a long-term view and gradually and gently ensure
that timber is kept slightly drier year by year - hoping that the little
piles of dust eventually disappear forever.
more information on period floor care and wood pests
in our maintenance/care books
...AND REPAIR
My lovely
old floorboards seem to be damaged by woodworm but I don't want to rip
them out and put in new ones, can they be repaired?
If floorboards are
weakened, and were old enough to have become attractive to woodworm,
they may not be easy to replicate off-the-shelf and like-for-like
anyway.
However they might
be repairable - either strengthened with ‘invisible’ reinforcements of
timber or metal underneath, or professionally patched and matched
using straightforward joinery techniques.
For authenticity, conservationists tend
to resist swapping damaged boards around since the patterns of the
original construction and of historical wear would be distorted - and
damage can also result from de-nailing.
If some of the
boards have really reached the end of their life and are beyond all
cunning and ingenious methods of preservation, then arguably the optimum
route is to have replacements made out of seasoned timber of the same
species, if possible, and to the same dimensions and finish. This would
normally be limited to damaged areas only, sound areas should not be
sacrificed, though there may be structural considerations.
There would need
to be some soul-searching about whether the replacements start life as
the original floor would have done - and allowed to colour and wear in
slowly over time to match - or whether the new surface is treated to
some kind of accelerated wear to match the surrounding patina. Either
way this avoids the slightly uncomfortable feeling you get when using
reclaimed old boards because, deep inside, you know that somewhere there
is probably another old house sadly missing its original floor! Mark the
underside of the new replacements with the current date - just to give
future conservationists an easier time and avoid confusion over the old
and new in years to come.
It’s also worth
taking a look at the condition of any timber structure underneath -
floor joists and beams - to see if that has been affected and
needs reinforcing.
more information on period floor care and wood pests
in our maintenance/care books
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EXTERNAL GROUND
FINISHES
EDWARDIAN DRIVEWAY
My
1906 red Accrington-brick villa has a driveway that has long been
covered with tarmac. If wanted to restore the drive to its original
state, what materials might have been used?
I happen to have done a
bit of driveway exploration and it is fascinating, in a Time Team sort
of way, scraping away the layers: gravel over 1950s tar-and-shingle over
nineteenth century bricks and cobbles - all within the top few inches.
What you might find should relate to the age of your house and the
purpose of the drive.
1906 was on the cusp
between horses and motors, your predecessors might have expected either
to call. Chunky stone slabs, setts, gravel or a fine 'hoggin' surface
may have been choices, or even concrete. All dependent on local geology
and the transportation available to the builders.
Hard paving bricks were
popular at about the same time as your Accringtons. Amongst them
stable-blocks - those richly-burnt paving bricks that look like slabs of
dark chocolate. The deep moulded patterns promised better traction for
horses.
If DIY archaeology
gives no clues, then try local research. Museums, preserved buildings,
library photos and heritage societies are good sources. Look for local
houses of a similar date and status.
With less machinery and
transport, material may have been used more sparingly in 1906: perhaps
only paved wheel tracks rather than the infinite vistas of modern
paving. If you are lucky enough to uncover old stones or bricks, note
how they were laid and make any repairs compatible - conservationists
always worry about introducing modern cements and adhesives into older
softer fabric, they can prove too harsh.
Current concerns about
overloading public drains and depleting the water table are now
favouring permeable finishes that are self-draining. Try also to keep
hard paving away from house walls to avoid splashing and help aerate the
soil next to the bricks, also make sure paving doesn’t drain against
the walls.
more information on historic building-friendly paving
in our books
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ALTERATIONS,
RESTORATIONS
AND PLANNING ISSUES
SOME LISTED BUILDING
ISSUES IN BRIEF
We'd
love to live in a listed building but we're concerned about limitations
on what we could do to the house. Does listed building status mean that
changes - even to the interior - can become difficult?
Anyone attracted by an
old property surely wouldn't want to harm its character or fabric.
Protecting these features is principally what listed building legislation
is about, rather than preventing continuing use.
However there is much
that people routinely and innocently do to old houses that undermines
their solidity, looks and resale value, so any changes, even simple
redecoration, need guidance and sometimes official permission. An old
house is more than a lifestyle backdrop and anyone wanting all the
indulgences of the 21st century without compromise would probably find
that a modern building makes a better starting point.
Strictly, statutory
listing applies to everything (whether mentioned in the official listing
summary or not), inside or out, ancient or modern. And it influences the
site, perhaps areas sold off long ago. There are very stiff penalties for
working on a listed building without proper consent, but council
conservation officers can offer advice and pointers, so talk to them.
Prospective owners
should check that all past work was in accordance with official consents
or they could find themselves liable to rectify it. Most importantly, seek
knowledge: Understanding and working in harmony with old buildings can be
much more rewarding and economical than trying to force them into being
something they are not.
more information on design and planning issues in our
books
CONSERVATORY FOR A
GEORGIAN HOUSE
We
want to make more space in our Georgian townhouse and are wondering
about a conservatory. We like the idea but are worried that it might not
fit the character of the building
The Georgians had
garden hot-houses for serious plant-rearing. Town-dwellers were perhaps
less able to participate in plant husbandry - so finding a suitable
pattern for a Georgian urban conservatory could be a challenge.
Wealthy Victorians
popularised conservatories for displaying plants - and some were
successfully added to Georgian houses.
But modern
conservatories as living space (becoming discouraged because of energy
issues) have to cope with thermal and safety regulations and so tend to
be built of chunkier, often standardised components - which can make
them much less graceful than some Victorian designs.
An architect concerned
with conservation would ask clients to look at how they use the space
they have got before considering building more. It is surely better that
people find the right house for their needs rather than change an
existing building just to suit their own brief occupancy or fashion.
There is sometimes room
for really good new design and for this you will need the right
architect and the assistance of a helpful conservation officer. If they
tell you that your particular house is not right for a conservatory then
go with the flow and look at another solution - you might find something
better!
more information on design and planning issues in our
books
VICTORIAN
LOO CONVERSION
I’ve
got an idea to convert an old Victorian public loo into a house but it
will need quite a large extension to make it work. As it’s in a
Conservation Area I am wondering about a modern design or
Victorian-style.
The site - how much
land, neighbouring buildings, views - may dictate. Meet the Conservation
Officer and talk about the options. One case for a really modern design
is that it can be easier still to 'read' a small original old building,
which could otherwise get lost if wrapped up in a copy.
But beware of following
modern fashions - they date quickly. Whichever way you go, try to take
design cues from the original, use an architect who understands real
period detail as well as new. A truly modern extension can be exciting
because of sympathetic interplay between ancient and modern. A
successful copy relies on the quality of match, so reject half-hearted
details and promises that 'this might weather down', hold out for 'I
really can't tell the difference'.
more information on design and planning issues in our
books
OPEN
PLAN ISSUES
I
have ambitions of open-plan living and I’m looking at town houses in
central London to convert myself a flat. Those in the most convenient
locations for me are listed buildings – is that likely to be an issue?
Scooping out the
innards of old houses and replacing them with open-plan became popular
with designers in the 1960s. The contrast between comfy old and racy new
can be very thrilling, like a hot-rod car, but there are now several
reasons to be wary of doing this to some old houses. The first is that
listed buildings are, like antiques, often more attractive if authentic
and complete. Even if the interior is not mentioned in a statutory
listing, it has the same protection as the exterior, and changes require
consent.
Attitudes to
sustainability are likely to make a difference - one big open space can
demand that everywhere is heated to the max, whereas rooms allow
individual control; plus there is the ‘embodied energy’ as used in
creating the material for and building the existing layout, and that may
still have useful life.
If an old house does
not suit without expensive alteration it can be kinder to find another
one that does, since continual ‘lifestyle’ alterations to historic
properties, as opposed to necessary repairs and adaptations, rapidly
erode our heritage and use up resources.
more information on design and planning issues in our
books
SAVING
AN UNLOVED HOUSE
How can I save a
lovely old house in my street that a developer is proposing to demolish
and put a block of flats in its place - that I know a lot of people
would think are cool. The house is 1920s, not listed and not in a
conservation area.
New
houses can indeed be cool but it's also cool to be green - so trashing
an existing resource the size of a house seems definitely uncool. Maybe
the developer or the local planners will be open to exploring creative
and profitable ways to use the existing building, probably saving
energy, resources and money being expended unnecessarily.
The
official planning process allows objectors to air their views, perhaps
the local conservation officer might offer advice. Communicating
admiration for a building, in a way that committees and businesses might
relate to, can be difficult: Perhaps the house has particular design or
craft qualities, associations with important events or characters, or
uses rare local materials? Its scale and its balance with open space may
fit the street scene well, maybe it’s even a last survivor 'as-built'?
That is all aside from any practical issues that may affect the
particular site.
Planners
should try to achieve the best for all categories of buildings and the
environment. But decisions can go either way, so Plan B is to also seek
assurances that any new building would be truly sympathetic to its
surroundings, more beautiful than the one it replaces, and extra
energy-efficient to try to compensate for the demolition - not just tick
the current minimum-requirement boxes.
more information on design and planning issues in our
books
EXTERIOR PAINTING OF
GEORGIAN TERRACE
We
want to paint the exterior of our Georgian terrace but have been told
that this may make it more difficult to re-sell, which has made us
wonder. If we went ahead would there be any conservation restrictions?
Think what altering the
original finish of an eighteenth century antique would do to its value.
Do buyers of Georgian houses want visual survivals from Jane Austen's
world, or displays of shiny modern paint with the commitment to
redecorate?
If a house is Listed
or, for example, inside a Conservation Area or National Park then
official consents would usually be required for a change in finish or
even colour. Failure to comply could potentially result in quite serious
punishment, and even subsequent owners can be affected.
On a practical level,
many older houses manage the dampness that gets into their fabric, and
it's not all from rain, by continually drying it out through their walls
- so it can be a big gamble to seal them up with paint. Aside from the
gentlest traditional limewash, there are very few exterior paints that
will not reduce a wall's ability to dry itself naturally when applied to
bare brick, render or stone that are still to their original
specification. Experience shows that trapped damp leads to decay, so it
can be well worth getting the house examined first to understand the
conservation implications of any possible change.
more information on design and planning issues and on
paint in our books (esp M&ROH,
CCC, OHC&R) and on paint in our
paint
download
REDRESSING
UNSYMPATHETIC WORK
With
a house that has been thoroughly but insensitively modernised in the
last few decades, what sort of problems are likely to crop up in
restoring it to original condition?
Check that all past
alterations had appropriate consents. New owners might have to redress
earlier contravention of Listed Building legislation.
If past work was
excessive, or ignored the Building Regulations waivers sometimes granted
to Listed Buildings, it might now be difficult to restore features that
would not meet current standards (e.g. regarding staircases, insulation,
access and fire precautions arrangements). Conservation experience plus
ingenuity are necessary to seek effective compromises, also to help sort
out inevitable mis-matches between ancient and modern building materials
that can cause decay.
If there is no evidence
for lost historic features, don't let over-enthusiastic guesswork create
an architectural Frankenstein's monster. Conservationists often prefer
honest sympathetic modern work to 'conjectural restoration'.
more information on design and planning issues in our
books and (esp. CCC, M&ROH)
on redressing past 'mistakes'
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VICTORIAN HOUSES
VICTORIAN PARLOUR
We've
bought a Victorian house with a living room floor covered in carpet.
There are floorboards underneath. The skirtings and window cill are
stripped pine. Are there any pointers for restoring this room to its
former glory?
Strictly 'former glory'
for a Victorian house can mean brown woodwork, a big rug and the room
full of furniture with tassels on. Not everybody's cup of tea now, but
acknowledging some history helps keep character rather than having a
modern re-fit. Avoid destroying surviving original features, however
humble; they can add interest. Be aware that, when repairing, there is
appropriate reinstatement and there is 'faux' Victoriana - chose
carefully.
Show a Victorian person
some bare pine and they would ask when the painters were coming, but
wood-effect was popular. Graining could be fun if you are artistic.
Victorian carpets were
carpet-size, not room-size, and bordered by polished floorboards.
Traditionally laid floor timbers need to 'breathe' so if cleaning boards
up consider non-varnish finishes. And don't sand them to death - they
have spent a century acquiring character. If using fitted carpet on
grounds of comfort consider a breathable carpet/underlay. Check that any
original external iron grilles are properly venting any underfloor voids
to reduce rot.
If you have original
lath-and-plaster ceilings be aware that fitting inset lights (downlighters)
could destabilise them (by cutting through the laths) and may also be a
fire-hazard (by heating up floor voids and also potentially allowing
passage of fire and smoke).
Importantly, read up
about how old houses need to 'breathe' before repairing plaster and
before choosing your decorations - both inside and out - this could help
spare you worries later over damp.
See ‘Damp’ at
www.oldhouse.info for the importance of breathability to old houses).
more information in our books
(esp. V&EH, M&ROH)
VICTORIAN
PORCH
I
have a small Victorian end terrace cottage, rendered and painted white.
The front door opens straight into the living space so I was wondering
about adding a small porch, to help keep the heat in and store shoes and
coats. Can this be done while maintaining the integrity of the building,
or is it not such a good idea?
A carefully designed
porch might be appropriate subject to any necessary consents - ask your
local council’s planning department as permissions would depend
whether you house is listed, in a conservation area or national park for
example (even if otherwise regarded as ‘permitted development’). It
would be wise to speak to the building control department as well to
explore any building regulations implications.
You
can get an idea of how successful it might look if there are any others
in your row. A porch does not necessarily have to be a lavish or massive
construction in the same materials as the house. In conservation terms
‘reversibility’ is desirable - touching the existing building only
lightly (while still of course being secure) - so if any future owner of
your cottage wishes to remove it, this could be done without leaving a
scar. Though many have not survived, it is possible to find photographs
of some charming early twentieth century wood and glass porches that
might be inspiring.
If
a porch would not be permitted officially or would simply look ungainly
then why not explore the cheaper options of carefully draught-proofing
your existing front door? Victorian and later houses were often fitted
with cunning internal door curtains that opened with the door.
more information on design and planning issues in our
books
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HEATING
UNDERFLOOR HEATING
We
are rebuilding an early nineteenth century brick house and would prefer
to have uniform flooring throughout the ground floor with underfloor
heating. We cannot decide between a wood or wood-effect finish and
natural limestone.
Taking a very, very
important step back: rebuilding, rather than repairing, an old house
implies that it is no longer going to be thoroughly old, which (apart
from loss of historical interest) can lead to problems where old and new
ways of handling damp and movement conflict. If your house is listed you
will need consent before changing anything inside or out.
Underfloor heating is
fine designed-in to a new building but in old property check there is
sufficient depth from finished floor level down to the bottom of your
old walls' foundations to take the screed, pipes and all the necessary
thick insulation - otherwise you could end up undermining your house!
This column is always
preaching the need for old houses to 'breathe'. Filling floors with
waterproof screed and insulation can force any damp that used to
evaporate through the floor to climb the walls instead. If there were
concrete floors before there ought to be less noticeable difference (and
less old fabric left to sacrifice this time). But old houses are
unpredictable, you ought really to check with a conservation accredited
architect (ask the RIBA) or surveyor (RICS) that your house can take
such radical changes. If it can then floor finish is a matter of taste
and function:-
Stone feels good
underfoot when warm even though it's hard, but can be slippery when
polished; natural wood is a bit kinder to dropped china but might deform
under continual heat (it’s a balance between thickness to reduce
twisting and thinness to stop it trapping the heat); and plastic wood
effect is, well, plastic and just not very 'old house'. If floors are
going to become your radiators then you'll find that superficial
finishes that tend to insulate - the softer, thicker and generally more
cuddly ones (like carpets and rugs) will make your heating less
effective.
more
information on heating issues in old houses in our books
FIRST
TIME CENTRAL HEATING
I
am about to install central heating in my Edwardian townhouse,
previously heated with gas fires. The house is very draughty but I
realise that ventilation is important so I’m concerned about the
effects of plugging gaps on the general well-being of the fabric.
Over
their starched collars and whalebone corsets, Edwardians wore thick
winter wool. If they had red wine it was drunk at a room temperature
nearer 13 degrees than today's 21. Open fires drew in fresh air via
various household gaps. That air swept up dampness from walls and
floors; it helped disperse the steam from suet puddings and condensation
from the weekly bath. Thick curtains, screens and sausagey knitted
things under doors took the bite from these draughts but they were still
there as they were necessary. There was a system.
Introducing
central heating into an old house can be a bit like strapping a racing
car between the shafts of an ox-cart. Exhilarating at first but cracks
begin to show if driven hard. If an old house dries out too quickly you
risk cracks in door panels, timbers and finishes.
Central
heating is not invisible and it will involve knocking lots of holes for
pipes and wires, so consider how to minimise the visual and structural
upheaval. People sometimes blithely go on to block up useful ventilation
paths, hermetically-seal chimneys and suffocate walls with impermeable
paints and papers. The house appears warm and dry but, without air
movement, dampness plus warmth can be nurturing the unseen enemy: Rot.
Enjoy
your heating but remember that old houses may benefit from being less
hot and more airy - which is probably good for the both the environment
and us if we can achieve the right balance.
more
information on heating issues in old houses in our books
see also our insulation
article
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SUSTAINABILITY
ISSUES
CHOOSE
OLD OR NEW?
My
partner and I are looking for a house, I would love an old house but we
are keen to live sustainably and he feels we should be responsible and
build ourselves an eco-house. There's plenty of information about new
eco-homes but what is the conservation angle?
Sustainability means
consuming less and conserving more. Creating new and more efficient
things, whether domestic appliances, cars or buildings, consumes
resources that will take a long time to offset against gently keeping
older versions adapted.
Old houses are our
great slumbering eco-heros since they have long lives, most were built
from local resources without using a drop of oil and they were even
designed to be heated by sustainable wood!
It is us who have
changed, deciding we deserve more luxury than our northern climate
offers. Properly conserving and adapting old houses while adjusting our
lifestyles to a more realistic level can be a valid sustainable
alternative to the massive consumption in replacing them with new ones.
Yet there are still practical problems to be addressed in carefully
upgrading our existing very old housing and so, while the whole building
industry comes to terms with the task, it pays to tread carefully.
all
our books address a range of
sustainability issues in old houses
see also our insulation
article
ADAPTING
OLD HOUSES
I
live in an old house and I want to be environmentally responsible but
there are also visual and planning issues with adding things like solar
panels and turbines. Should I move to a new property?
Living in an old house
is actually part of a very sustainable process. The house would have
been built using local materials and craftspeople and, for older houses,
without burning any fossil fuel. Add longevity and that is truly
sustainable.
However, modern
expectations of luxury living make people feel they ought to alter an
old house to suit their own temporary needs. This creates a cycle of
unsustainable alterations that also erode the genuine 'oldness' of a
property.
Heat and insulation is
a big issue now. Many occupants of old houses already insulate
themselves with seasonal clothes rather than selfishly heat hundreds of
unused cubic metres of house. Occupants of more modern homes are going
to have to get used to that idea too in the future, so old houses are
still at the cutting-edge of real-life sustainability.
It is reasonable to
assume that demand plus technological progress will produce more
graceful ways to harvest energy for older houses. There are some
difficult practical problems to be addressed in the meantime, not least
how to add insulation without disturbing the appearance of old houses
and creating problems within them of dampness and condensation.
all
our books address a range of
sustainability issues in old houses
see also our insulation
article
GREYWATER
I
have a Georgian terraced house in a conservation area. I want to install
a greywater recycling system. Is this possible and who would I consult?
Greywater is used water
from washing machines, wash-basin and bath wastes and, once filtered,
stored and pumped, can be fit for flushing WCs or gardening.
But the equipment and
electricity involved mean that it can be more sustainable to first try
reducing any water usage in those appliances. Perhaps also simply
diverting used bathwater, if salt and detergent-free, onto a dry garden.
Modern rainwater
harvesting involves similar automated equipment and the raw material
naturally looks better - it can be used for WCs, car washing and perhaps
washing machines and is a hi-tech version of the old-fashioned outdoor
water-butt.
Alterations to pipework
should be referred to the council's Building Control department and the
water company to ensure drinking water supplies are not contaminated. If
the house is listed then changes both inside and out - even to some
pipework - may require Listed Building Consent so it is important to
contact the council's Conservation Officer, advisable anyway in a
Conservation Area. A system needs careful visual and technical design
and may be required to pass official approvals before plumbers and
electricians can move in.
all
our books address a range of
sustainability issues in old houses
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RAINWATER GOODS
CAST IRON PIPE REPAIR
My
1930s house has a beautiful cast-iron drain pipe which is cracked. I
would like to repair it if possible – can this be done or will I have
to replace?
It depends where the
crack is and whether it is leaking. Traditionally plumbers might have
tried special mastic putty mixtures. It might be possible at a pinch to
patch a purely decorative piece of cast ironwork with epoxy adhesives
and car body filler but not where taking the slightest load or if in
contact with water, which rules out most situations.
If the pipe can be
taken down then some metalworkers might attempt a welded repair, though
welding cast iron is a gamble. A poor repair that leaks could jeopardise
the house so it is often best to go for a replacement: By the 1930s cast
iron rainwater goods in the UK were reasonably standardised and remained
so for decades. Sadly some modern cast iron pipes and fittings are not
as graceful as those old 'British Standard' patterns, but fortunately
these plus some elaborate historic patterns may still be available as
stock items or specials.
You may need to look
hard because not all suppliers and manufacturers of traditional building
paraphernalia have yet embraced the internet, and don't forget second
hand sources. Keep paint in good order to preserve cast iron and make
sure decorators paint properly behind downpipes.
painting
and repair of cast iron rainwater goods features in our maintenance/care
books (esp M&ROH)
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FINDING
PEOPLE
CONSERVATION
ORGANISATIONS
I
need to reinforce the original structure of my Tudor cottage but also
conserve its architectural heritage, so I don’t want modern intrusions
spoiling the period feel. Is there an organisation specialising in this
kind of maintenance?
A cottage that has
survived 400 years is very likely protected by statutory listing. Speak
to the Conservation Officer at your local authority in the first
instance who should also be able to advise on any necessary official
permissions.
The Society for the
Protection of Ancient Buildings (a charity organisation) offers general
advice on old buildings and is keen to promote appropriate conservation.
Engaging a conservation-accredited architect, surveyor or engineer as
appropriate can help assess what repairs are actually likely to be
necessary (the professional institutes keep registers of
conservation-accredited members).
A
conservation-accredited professional's experience ought to be able to
save you carrying out unnecessary works and target the effort to where
it will do most good, as well as dealing with applications for the
appropriate permissions. They should also be equipped to understand and
respect the original feel of the building and know of suitable
specialist tradespeople in their area able to help you preserve that in
any repair work.
see
our maintenance/care books for some specialist
trades and organisations with notes on contacts
BUILDERS
I’ve
bought a bargain cottage – it’s gorgeous but it's also crumbling and
needs lots of work. I’ve never done this sort of thing before but
I’m told that builders who have experience in renovating this type of
old house would be more efficient. Where can I find them?
Builders with
experience of repairing older properties range from the 'modernise-damp-proof-and-cement-everything-in-sight'
kind through to those who understand how old buildings were put together
and are not afraid to use traditional skills and materials, such as
lime, in repairs so that there is no mismatch in appearance or function.
On the one hand there
are people who beat an old house into submission (and it might end up
looking a bit too new) and on the other hand there are people who
understand how to work in tune with old buildings and get the best out
of them.
When it is in
reasonably original condition, an old house functions entirely
differently to a modern house even though apparently built of similar
materials. Misguided repairs - even the wrong type of paint - can
accelerate decay and bring about costly problems in the future. A
conservation-accredited architect or surveyor should help avoid the
pitfalls.
Yes, experience helps
but how do you know whether it is experience in sound repairs? To help
select a team with a proper understanding of old buildings, acquire a
basic understanding of the subject: There are books introducing the care
of old buildings, while organisations such as The Society for the
Protection of Ancient Buildings offer advice. Local councils often have
helpful publications, and perhaps information on grants, while their
conservation officer would advise on any permissions needed and should
have useful local knowledge.
see
our maintenance/care books for some specialist
trades and organisations with notes on contacts and (esp CCC, OHC&R, M&ROH)
the building process and people
©
Old House Info Ltd
2002 - 2011
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