The Society for the Protection of Ancient Buildings (SPAB) believes old buildings have a future. From cottages to castles and from churches to cathedrals we are here to help buildings and the people who care for them. Through our unique training schemes, courses, advice and research we help people put our expertise into practice.

Founded by William Morris in 1877, the SPAB was established in response to the work of Victorian architects whose enthusiasm for harmful restoration caused irreparable damage. Today the SPAB encourages excellence in new design to enrich and complement the built historic environment. We train new generations of architectural professionals and building craftspeople to shape this landscape with sensitivity and skill, and we play a statutory role as adviser to local planning authorities. In our casework we campaign actively to protect old buildings at risk.

Master stone carver Simon Smith designs, models and carves marble and stone for many varied commissions. From his London studio he undertakes stone carving projects ranging from restoration carving of historic ornament and figurative carving to contemporary sculpture and memorials. He has been commissioned by Liverpool City Council, The Royal borough of Kensington and Chelsea, Palace of Westminster, Westminster Abbey and the National Trust among others, as well as many private individuals.

“I aim for my work to appear free and effortless, within a framework of craftsmanship and integrity.”

“I like to work with my clients, whether they be a committee on a large project or an individual with a deeply personal headstone, trying to understand what they hope for, and then try to express it in a sculptural form. If it’s a statue, I try to capture the humanity of the subject, giving the piece an expression and spirit. If the work is restoration carving, I conduct extensive research before trying to carve with the style and rhythms of the original.”

Simon Smith has worked with stone for more than thirty years. He served his apprenticeship as a stonemason at Woburn Abbey. Simon then went on to study Stone Carving and Sculpture at the City and Guilds of London Art School.

Please contact Simon to discuss any stone carving, sculpture, memorial, headstone, restoration project or anything other project you may be considering.

We work to conserve the rich, historical legacy of old buildings and homes in London. With our rich stock of architectural salvage including doors, fireplaces, mouldings, reclaimed flooring and ironwork, we assist individuals and businesses in finding and restoring reclaimed building material and architectural salvage that works with and often matches the original building's design and materials.

Everyone has driven or walked past a forlorn and unloved historic building at some time. You may have wondered why it isn’t being used or why someone doesn’t do something with it. The answer is often complex and the solutions equally so. It takes a special group of people to identify a way forward and restore these buildings to the benefit of the community.

Scottish Historic Buildings Trust (SHBT) is a dynamic and innovative charity that does just that. It is dedicated to regenerating significant historic buildings for the benefit of others throughout the whole of Scotland.

W. Thomas Restorations was formed in the late 1920’s by William Thomas Oatway and became a limited company in 1958. Working almost exclusively for the thriving antiques trade the company became a leading authority on the restoration of carved wood and gilded furniture and ornaments.

In 1986 the company was taken over by Partridge Fine Arts, who were at the time the world’s foremost antique dealers. William (Bill) Thomas remained with the business as a consultant until his death in 1992.

This new period led to the company taking on a more varied client list and some large projects. Restoration and re-gilding at Althorp was followed by contracts to restore suites of giltwood furniture from the Mansion House, Alnwick Castle and Downing Street. The catastrophic fires at both Uppark House and Windsor Castle saw us restore and meticulously replace many lost decorations.

The work at Windsor was so successful that the Queen and the Queen Mother both made private visits to our workshops to see the restoration in progress. We continued to restore further rooms at Windsor undamaged by the fire and in 2003 were awarded the Royal Warrant from Her Majesty the Queen. We continue to carry out work for the Royal Collection.

Ray Dudman joined W. Thomas Restorations as an apprentice woodcarver in 1974. Ten years later he was appointed a director and after thirty six years with the company he became the new owner in 2010. Three of our team of craftsmen and women joined as apprentices at sixteen years of age and have served more than 30 years each with the company. In April 2016 with the help of funding from the Queen Elizabeth Scholarship Trust (QEST), we have been able to take on our first apprentice woodcarver this century.

Although specialising in woodcarving and gilding the company has expanded its repertoire with the addition of a cabinet maker, polisher and paint specialist all working in-house and upholsterers and metal workers as sub-contractors. We are now able to take on almost every kind of restoration work and have the ability to assemble a highly skilled team to tackle most contracts.

Gilding and Woodcarving Restoration & Conservation Specialists:

- The company has been involved in many important restoration projects, including work at Windsor Castle, Buckingham Palace, Uppark, Mansion House, The Wallace Collection and with leading antique dealers in England and America.

- W Thomas Restorations Ltd also make reproductions to the same exacting standards as their 18th century counterparts and carry out commissions to copy or design giltwood mirrors and ornaments.

We specialise in the conservation, restoration and protection of stained glass and leaded glazing from the 12th Century to the 20th Century. Typical jobs may involve the cleaning and protection of medieval stained glass; the restoration of finely painted stained glass of the 17th and 18th centuries, or the stabilisation of loose or bulging Victorian windows.

Whatever the scale or historic significance of a job, our aim is to safeguard the stained glass or glazing scheme within its architectural setting, limiting intervention and preventing further deterioration.

Jim Budd is an ICON accredited conservator-restorer and winner of the 2020 Moat Memorial Award for excellence in conservation report-writing.

Conservation Projects - Over 32 years in practice we have worked on a wide range of conservation projects which has led to the team gaining an excellent reputation for successfully undertaking specialist work and has led to long term relationships with many of our clients. We pride ourselves on our site-fixing work ensuring that all work is sympathetically installed, particularly within an historic context where traditional materials and methods are employed.

Protective glazing for deteriorating stained glass - The deterioration of glass (particularly medieval glasses) and its delicate painted surfaces is exacerbated by the presence of moisture both from the elements and from condensation. Corrosion processes of a window can be halted by the introduction of ventilated protective glazing. We have been designing, manufacturing and installing environmental protective glazing systems for over 20 years.

Surveys and Reports - We undertake methodological condition surveys which analyse the condition of and provide conservation options for either an individual window or an entire glazing scheme. Fully illustrated reports are made for diocesan faculty-applications and grant-applications to funding bodies, including the Heritage Lottery Fund, the Churches Buildings Council and The Glaziers Trust.

Repair of damaged stained glass - Stained glass may be damaged by accident or by vandalism. It is our aim to restore what has been lost by repair, or replacement if necessary, using the same materials and techniques used in the original window. Where possible in-situ repairs are carried out.

Ashley Sands and Robert Randall set up Sands & Randall in 2000. We met while studying at City & Guilds London Art School, Kennington, and we undertake a wide variety of projects, ranging from traditional to contemporary woodcarving, producing reproduction and original pieces. We bring a wide range of skills and experience to our work: Robert has a background in cabinet-making (he is a graduate of the London College of Furniture) and Ashley has worked for his family firm of specialist restorers and mural painters. We share a strong interest in both historic and contemporary art, and are passionate about the English woodcarving tradition.

Our work encompasses architectural wood carving, historic restoration, gilding and new commissions. We work with many private and public bodies, including interior designers, artists, antique dealers, restoration and conservation firms, architects, museums and Royal palaces. Our clients include the National Trust, English Heritage, the Victoria & Albert Museum, Windsor Castle, English Heritage, Shakespeare’s Globe Theatre, the Geffrye Museum, Thomas Heatherwick Studios, St James’s and Buckingham Palaces, Westlands architectural salvage company, St Paul’s Cathedral and other Wren churches in the City of London. We have recently been creating sculptures designed by the Brazilian artist Tonico Lemos Aud, restoring the library at the Reform Club in Pall Mall and working on a new capital for the front of Kenwood House in Hampstead.

We like to use native, indigenous woods, such as lime and oak, and enjoy creating our own designs for specific projects, which we often model in clay before carving them in wood. We are expert in gilding and polychroming as well as finishing the wood with suitable oils, stains and waxes. We have strong links with colleagues in related trades and professions, from stonecarvers to muralists, so can advise on a wide range of work. We enjoy the variety of our work, and are open to all kinds of projects. We are based in London and Bristol, with our main workshop in Tottenham, north London.


Ashley Sands - I studied A levels and a foundation art course in Bristol then joined my father’s business of picture conservation at the International Fine Arts Conservation Studios. Here I spent a few years learning various trades in the restoration field including picture lining, architectural gilding, paint finishes and fine decoration. I worked on a variety of projects including The Cubed Rooms at Wilton House, Salisbury, Nottingham Catholic Cathedral, The Gaiety Theatre, Isle of Man and The Hay House, Georgia, USA, as well as painting restoration at Hampton Court, Kensington Palace and The Royal Academy.

In 1994 I went into further education at The City and Guilds of London Art School, where I studied conservation for one year and then traditional woodcarving and gilding for a further two years. Both Robert and I graduated in 1997 and we set up our business together the following year.

In 2004 I went to Gibraltar and spent two years living there and in Spain. I joined the Gibraltar Arts and Crafts Centre, taught evening classes and showed in exhibitions. I returned to live in Somerset with workshops based there and in London.

I often work alongside my former colleagues at IFACS and Bush and Berry Conservation Studios on restoration projects including The Reform Club, Pall Mall, Worcester Guild Hall and Wellington School Chapel in Somerset.

I also work with my brothers Mark and Corin (www.corinsands-art.de), who are both specialist painters and artists who work internationally. We have worked on restoration projects together including Avebury Manor and Windsor Castle.


Robert Randall - After leaving school in North London I began a three year cabinet making apprenticeship, proceeding from there to The London College of Furniture where I studied furniture making and design. On completion of the course I worked for Bim Burton as a designer and furniture maker.

Drawing has always been important to me and I continued to draw throughout this period at this time mainly from the model. The combination of the two practices led me to carving and the City and Guilds School of Art. My furniture making experience and knowledge supported the discipline of carving and guilding. It was here at the school I met Ashley Sands and after leaving the school we formed our company Sands and Randall. In the last 15 years our commissions have been extensive and varied from chainsaw carving at the Folkstone Triennale to restoration at the Reform Club Pall Mall, work for Shakespeare’s Globe Theatre, restoration in Royal Palaces and to collaborating on work with contemporary artists.

I teach as senior carving lecture at the City and Guilds where I have been for the past three years.

We lead and enable Scotland’s first historic environment strategy Our Place in Time, which sets out how our historic environment will be managed. It ensures our historic environment is cared for, valued and enhanced, both now and for future generations.

We’re a non-departmental public body with charitable status. We're governed by a Board of Trustees, who were appointed by Scottish Ministers.

We’re responsible for more than 300 properties of national importance. Buildings and monuments in our care include Edinburgh Castle, Skara Brae, Fort George and numerous smaller sites, which together draw more than 5 million visitors per year.

We’re also responsible for internationally significant collections including more than 5 million drawings, photographs, negatives and manuscripts, along with 20 million aerial images of locations across the world.

We invest about £14 million a year in national and local organisations, supporting building repairs, ancient monuments, archaeological work, the Conservation Area Regeneration Scheme and the voluntary sector.

Our conservation experts provide guidance, training and technical research into Scotland’s built environment. Through our outreach programme, we promote community and individual learning engagement with Scotland’s heritage. We contribute to the Scottish Government’s strategy to tackle climate change and reduce Scotland’s carbon footprint.

Bulmer bricks are made from the finest London Clays, dug from our seams almost continually since Tudor times. All Bulmer bricks are hand made, using traditional methods of making, drying and are fired in a coal burning, down draught kiln. This helps to give the distinctive finish that blends so well with the originals. The process takes time - something to consider at the project planning stage.

We are a small family business continuing the traditions of brickmaking on this site dating back to the Middle Ages. Our facings and specials can be made with almost any texture, from coarse veined to smooth with some 150 different sizes o facing and a range of over 5000 special shapes, including all standard plinths, squints and copings, and extends to purpose made chimney bricks, terracotta, mullions, jambs, floor bricks, pamments, decorative plaques, garden edgings and a full range of rubbing blocks.

We work on large projects for the National Trust, English Heritage and Historic Royal Palaces, but are just as proud of some of the small private work undertaken by individuals.

Wood Carving and Furniture - Over thirty years’ experience as a highly skilled woodcarver and furniture maker has led to Julian’s deep understanding of his medium, wood. This, combined with a lifelong affinity with nature, has resulted in the creation of beautiful sculptures. These capture and use the natural quality and character of the wood, translating into fluid and tactile forms. His wide-ranging drawing and design skills have enabled him to produce personalised woodcarvings and furnishings which reflect the lifestyle and passions of the client.

Much of Julian’s work is commissioned by private clients all over the world and entails working with top interior designers, furniture companies and architects, ranging from classical to contemporary designs. He produces highly original pieces, often inspired by the Art Nouveau period, Islamic culture and great names such as Chippendale and William Kent, among others. Another influence is one of Julian’s favourite periods, the 18th Century, with its lavishly carved Venetian furniture, French chairs and English chinoiserie, of which he also makes meticulous copies that can be ultimately enhanced by the use of the finest gilding, painting and marbling, polishing and upholstery.

Julian’s work encompasses tables, consoles, chairs, settees, mirrors, chandeliers, stools, lamps, lighting, sculptures

Julian is a Member of the Master Carvers’ Association. Please click on the membership logo (below) to see Julian’s page at the MCA.

Painting - Having drawn and painted all his life and coming from a farming background, Julian had readily available models of cows, calves and horses on his doorstep. Having studied agriculture after school, Julian’s artistic leanings eventually took him to art college and then on to two and a half years with a master carver in High Wycombe. This ultimately led him to setting up his carving, furniture and sculpture business.

For a long time, Julian has had a desire to develop his equestrian art, which has sprung from a love of horses, especially racing. Julian has ridden most of his life and spent probably the best part of twenty five years in his spare time riding out for numerous racing yards, mainly National Hunt and friends’ point-to-pointers, and for one season he raced his own pointer.

Julian finds the scope with these animals complements his interest in painting landscapes and he now include horses in them, and enjoys depicting the hugely colourful racing scene.

Julian is a Friend of the Society of Equestrian Artists (SEA). Please click on the membership logo (below) to see Julian’s page at the SEA.

Ulster Architectural Heritage is the lead independent voice for built heritage in Ulster. A not for profit organisation, UAH works to promote the value of built heritage, its protection, conservation, and regeneration for people and communities. The Society produces books, organises lectures and outings, undertakes planning campaigns, consultancy work and works with other bodies to raise awareness of the built environment.

UAH also run and maintain the Heritage at Risk NI register in partnership with the Historic Environment Division of the Department for Communities.

Promotion– highlighting the significance and value of the historic environment by encouraging people, communities and their elected representatives to engage with it.

Protection– promoting recognition of the fragility of the historic environment and ways in which it might be better protected.

Conservation– promoting the care, restoration and repair of the historic environment, and traditional building skills essential to assist with this.

Regeneration– promoting heritage-led regeneration, highlighting ways in which it can be achieved in order to contribute positively to social, cultural and economic wellbeing.

Born in London in 1965 into a family of artists and engineers, I originally trained at the Hereford School of Blacksmithing before mastering my craft working with several artist blacksmiths in the UK, Poland, and Portugal. I subsequently ran my own workshop/studio in the UK for many years, creating contemporary and traditional metal work for a wide range of businesses and individual clients, before relocating to South-west France in order to expand my studio and develop my own work further.

My work combines traditional and contemporary techniques with engineering precision and an artist's eye, to create sculptural and flowing metalwork as exclusive 'one-off' pieces forming anything from a small sculpture to a spiral staircase or large gate. I enjoy working with a wide range of metallic materials including iron in its wrought form, steel, stainless steel, copper, brass, bronze and titanium, as well as with other materials such as glass, stone and wood depending on the design.

I love to design, to play with an idea, shape or form, and then look at its functionality and turn it upside down. Why should a gate have a four-sided frame? The form should be an integral part of the working of the piece.

My interests lie in our engineering heritage, the Industrial Revolution, the relationship between our our rural past and our technological future, and in the amazing beauty found in nature. Traditional techniques such as mortice and tenon joints, punched-through bars and rivets may seem like analogue processes in a digital world, but I believe it is important to see the method of joining the parts to create the whole. Just as with a visible stitch in clothing, I also like to see form and function go hand in hand with line and proportion.

Saxum Stonemasons is an Uckfield based firm which undertakes work on historic buildings and gardens throughout Sussex and parts of Kent. Our specialist stonemasons undertake workshop and site work with granite and marble, Sussex Sandstone, York Stone, limestone and historic brickwork. We are a small independent business run and directed by craftsman Jamie Wallace.

With years of experience and specialist training in geology (Aberystwyth University BSc) and lime mortar (Weald and Downland Living Museum and The SPAB) you can rely on us for professional advice, high quality craftsmanship and an ardent and friendly approach. In 2021 the team at Saxum were awarded the Best Lime Mortar Firm – Sussex by BUILD Construction and Engineering Awards.

The team specialises in working with lime mortar. All of our stone work is fitted with lime in order to protect the stone by providing a flexible and breathable joint. We also undertake re-pointing work removing old lime mortar and cement and replace this with a suitable hydraulic or non-hydraulic lime. All of our mortar mixes are site specific to ensure our work is long lasting, aesthetically pleasing and suitable for the location. We offer free advice for anyone considering stone repairs or lime mortar re-pointing.

As a small independent stonemason in Sussex we are able to offer very reasonable prices and a methodical approach to all of our projects.

The Sash Window WorkshopWhich? Trusted Trader of the Month Nov 2021 specialise in manufacturing, installing and repairing timber windows and doors across London and the South. Our employees are experts in their fields and will provide you with high quality, thermally efficient windows and doors that will work perfectly.

Our History - The Sash Window Workshop was founded in 1994 by our Managing Director, Richard Dollar. The company started trading in a converted pig shed in Ascot, Berkshire.

Today we are still an independently run company. However, we now operate from two purpose designed workshops in Bracknell, Berkshire and employ around 70 members of staff.

We have experience working on a wide range of properties, from small flats to prestigious buildings, including Buckingham Palace and The Admiralty Buildings.

Our Goal - We believe that windows and doors are an important feature in any home and that they must not only be as energy efficient as possible, but also be in keeping with the architectural style of the building. Our goal is to ensure that they enhance the look, feel and value of your property.

Whether you are looking to draught seal a couple of windows in your home, or working on a large project to replace multiple windows and doors, we recognise the importance of providing a tailor made solution to suit your requirements.

Customer Service - Customer service is very important to us. We value and rely on customer recommendations for much of our new business. We are proud to be able to offer our customers extensive knowledge and experience in the timber window and door industry, combined with excellence in the delivery of both products and service.

We understand that your requirements are unique and have set ourselves service standards to ensure that we meet your precise needs. Our aim is to ensure that you will want to recommend us to others! We are therefore proud that over half our orders come from existing customers and recommendations.

Verity & Beverley, Architects and Designers are a creative and innovative practice experienced in the conservation, restoration and refurbishment of listed buildings, new houses, modern structures within historic environments and interior architectural design.

Originally founded in 1871 by Thomas Verity the practice designed numerous iconic landmark buildings throughout the United Kingdom including The Criterion Theatre in Piccadilly Circus, the Pavilion at Lord’s Cricket Ground, Scarborough Spa and many of the Art Deco theatres and cinemas for the Paramount company.

Based in Tetbury in Gloucestershire since 1981 we have built up a strong reputation throughout the Cotswolds and surrounding Counties for our pragmatic yet creative design approach with both traditional Cotswold vernacular and also contemporary new buildings and alterations to meet modern living requirements.

Vlad Navratil is the founder and driving force behind our creative portfolio. A qualified Art & Heritage Blacksmith and Engineer with 20 years metalwork, carpentry and construction experience. Accredited with a Certificate of Merit from the Worshipful Company of Blacksmiths, Vlad has travelled globally working extensively with the Artisan Blacksmith community to learn and develop historically authentic work crafting techniques.

Services offered to commercial and residential customers are:

- Architectural design and repair
- Gates and Fences
- Staircases
- Antique/Structural Restoration
- Cast Iron
- Fabricating
- Gazebos
- Sculptures
- Housewares – Doors and Furniture etc
- Welding
- Souvenirs

Examples of Vlad’s work can be found at:

- Lincoln’s Inn Fields
- Greenwich Park, London
- Tobacco Dock
- St Clements Church/School

The Vernacular Architecture Group was formed in 1952 to further the study of traditional buildings, originally those of the British Isles. In recent years, its membership and publications have also reflected a growing interest in buildings from other parts of the world.

Members are involved in all aspects of the recording and study of vernacular buildings including:

- Detailed local or regional surveys
- Studies of particular types of buildings including houses, farms, industrial and urban buildings
- Building materials
- Techniques of building, including carpentry and masonry
- Documentary evidence

The Group encourages communication between members in a number of ways:

- A four day conference held each spring in a different region
- A two-day winter conference with papers on one topic
- An occasional joint weekend school with Oxford University's Department for Continuing Education
- Publication of a journal
- A twice-yearly newsletter with notices of events and new publications
- A library of offprints for circulation to members (index available on Members' Area)

The Group produces a refereed journal of national standing - Vernacular Architecture - the authoritative voice on the subject. All members automatically receive a copy of Vernacular Architecture and are eligible for free online access to current and back issues. See the Publications page for full details.

Place Services is the leading public sector provider of environmental assessment, planning, design and management services. We trace our roots back to 1968 and became a local authority traded service in 2014. From our local authority beginnings, we have developed a unique specialism in this sector. Our role is to support public sector organisations enabling them to deliver sustainable development.

Established in 1959, COTAC’s founding principle was in its recognition of the need for specialists to properly specify and oversee work involved in repairing and conserving historic buildings and churches. Over the years COTAC has persistently and influentially worked to lift standards, develop training qualifications and build networks across the conservation, repair and maintenance sector of the construction industry. As a Charity this has involved working influentially with national agencies, professional and standard setting bodies, educational establishments and training interests.

The Council's 21st century objectives are to advance the education and training of all those involved in the protection and preservation of the historic environment that is of cultural, architectural or historical value, and to provide knowledge in support of training and education in the arts and skills required to protect and preserve it. To advance conservation education and training and support its knowledge base, COTAC will adopt an integrated lay, craft, specialist and professional approach, whilst engaging with a wide range of interested parties to achieve its aims.
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COTAC is a UK registered charity No 1162750. The charitable purposes of COTAC are as follows:

- Set, maintain and promote standards for conservation education and training;
- Develop, produce and promote education and training materials:
- Collaborate with other organisations, voluntary bodies and agencies with interests in conservation with a view to influencing and promoting relevant issues;
- Promote courses at all levels in conservation of the historic environment which are relevant and in accordance with recognised criteria;
- Publish relevant material;
- Arrange seminars, conferences and participate in exhibitions relating to relevant heritage issues;
- Provide bursaries and other support for relevant studies and course attendance.

The museum was set up in 1977 in order to rescue from demolition the abandoned ancient church of St Mary's which is the burial place of John Tradescant, the first great gardener and plant-hunter in British history. His tomb is the centrepiece of a knot garden planted with the flowers which grew in his London garden four centuries ago.

In 2008 the interior was transformed into a centre for exhibitions and events by the construction of contemporary gallery spaces. Three exhibitions each year explore the making of British gardens, and a programme of over 30 talks and interviews celebrates heroes and heroines from the forgotten plant-hunters and gardeners of the past to the designers and writers in fashion today.

The Garden Museum is next door to Lambeth Palace, sitting on the bank of the Thames looking across to Parliament. We are a ten minute walk from Vauxhall, Westminster and Lambeth North stations.

All visitors, including Friends of the Garden Museum, must book a ticket online ahead of your visit. Before you visit please read our Visitors’ Charter and Q&As for the measures we’ve put in place to ensure your visit to the Museum is safe and enjoyable.