Andrew Smith, MA CEng MIStructE. is a structural engineer. Much of his work has been on existing structures, often historic, usually to repair and sometimes to adapt them to new uses. He first went to Jamaica on a ‘bus man’s holiday’ in 2005 and has returned several times since. In recent years he has become more of an amateur historian, currently developing ideas about 3 pre-stressed iron bridges from the mid-19th century, and for several years he has researched the origins of London’s New River, which first brought water to London in 1613 and still supplies a small proportion of its needs, and the people who contributed to its achievement.

Until relatively late in the colonial era, all cast iron was brought to Jamaica from somewhere else – almost entirely from Britain. Although cast iron was relatively cheap in relation to the British economy, its weight and the consequent cost of transport made it considerably more expensive in Jamaica in relation to the island’s economy. Alongside cast iron, other forms of iron were also imported – wrought iron and crucible steel – but as their production and working didn’t require an industrial scale and could be done on a smaller ‘blacksmithing’ scale, the ability to produce the tools and other necessities that used these materials was probably present on the island from the time of the Spanish occupation.

Speaking broadly, cast iron was brought to Jamaica to satisfy two motives – to support the power of government and administration, as exerted both from Britain and on the island, and to support the wealth extracted from the island. Those on the island who had the vote were reluctant to agree to expenditure that increased their own taxation, and those in Britain who had political power were amongst those who benefitted most from the wealth patriated from Jamaica – the self-styled ‘Interest’ which successfully delayed the abolition of both the slave trade and then of enslavement itself. When both were eventually abolished, the same ‘Interest’ secured compensation for themselves at enormous expense to Britain.

This system of self-interested power meant that expenditure to bolster the power of government was usually delayed and then tended to be niggardly. In contrast, expenditure to support the generation of that wealth was more likely to be made promptly, particularly when the abolition of the slave trade made enslaved labour more expensive, and so such expenditure both stimulated and followed technological developments in Britain.

As the proportion of the island’s population that was neither enslaved nor white grew, of whom a few became wealthy themselves, they began to import iron artefacts that supported their lives on the island. Seen from this perspective, the cast iron that survives on the island is an integral part of the history of the colonial enslavement economy and its slow and sometimes repressed evolution into the present after the abolition of enslavement itself.

Andrew will discuss several cast iron artefacts he has looked at on the island and their context to exemplify this broad perspective

Time: May 8, 2024 12:00 PM London

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Whether you photograph old buildings for work or as a hobby, join us on this always-popular four-step workshop with experienced professional photographer Ralph Hodgson.

You’ll receive guidance on techniques and composition to develop your appreciation of the space and light of old buildings and to boost your confidence in photographing their textures, details and features.

Spaces on this workshop are limited to allow for small group discussion. You’ll need some familiarity with DSLRs or mirrorless cameras and a few photography basics. The workshop consists of approximately 5 hours of guided learning and an independent task to submit. Certificates of attendance for CPD purposes are available on request.

This workshop is suitable for:

- Anyone with a general interest in photographing old buildings.
- Property managers or building conservation professionals who wish to enhance the composition of their photography for record keeping and reporting.

“The course exceeded my expectations, helping me to better understand some of the general principals of architectural photography, but also how to be more critical of the images I create and use. It was very good value, and well-paced, giving time to absorb the information and apply it practically.” – workshop participant.
Workshop schedule

Step 1: from 22 April 2024, you will receive access to a pre-recorded presentation by professional photographer and workshop tutor Ralph Hodgson. Watch this recording to prepare for step 2.

You have access to this pre-recorded presentation for the duration of the workshop to view as many times as you like. Ralph’s presentation provides inspiration, technique advice and guidance on photographing old buildings, and introduces the independent task required to complete this workshop.

Step 2: join us for an informal online group session on Wednesday 8 May 2024 from 11am – 12.30pm (BST).
Workshop tutor Ralph Hodgson will provide examples for improving your photography and further explanation of the independent task. Gaps in photography technical knowledge will also be addressed with helpful tips from Ralph. This will be an opportunity for you to virtually meet others on the workshop, and to ask us any questions before embarking on the independent task. The meeting will be recorded and you will receive access to this for the duration of the workshop.

Step 3: for the independent workshop task, you should use a digital SLR or mirrorless camera and a tripod (if you have access to one) to photograph an old building that interests you and create a miniseries of photographs (photo essay) during the workshop timeframe. Ideas of how to approach the task are covered in the pre-recorded presentation and during the first group session (steps 1 and 2). The independent task submission deadline is midday on 11 June 2024. Details of how to submit your task will be shared in the workshop information pack.

Step 4: your photographic essay will be reviewed by Ralph Hodgson in a relaxed online group feedback session live on Wednesday 19 June 2024 from 10.30am – 1pm (BST). This meeting will also be recorded for you to watch again on demand.

“The constructive feedback from Ralph was very useful and done so in a relaxed environment with a friendly tone. Such evaluations will ultimately make me a better photographer, of old buildings or otherwise. I used the course as the basis of a workplace objective, so it was useful proof of CPD for my career.” – workshop participant.
Workshop prerequisites

- Digital SLR or mirrorless camera (and a tripod, if you have access to one).
- Familiarity with basic photography skills, composition and techniques.
- An opportunity to photograph an old building. *
- The ability to digitally transfer your workshop task (photographic essay) to the SPAB.
- Access to the online presentation and group sessions – a device, connected to the Internet, which can play audio and visual. You do not need to be on camera for the group session (although we do encourage it). To be able to contribute to the discussion you would need a microphone or be able to type your comments during the session.

Please contact us if you would like to discuss any of these prerequisites before registering for the workshop.

* If you require permission – for example from the owner – to photograph your chosen old building, please obtain it before you start. Access to the inside of an old building is not essential for this activity. The SPAB cannot be held responsible for any actions (by you or others) when you are photographing an old building for this workshop.
Use of your photographs

We have been inspired by and proud of photographs taken by previous workshop participants. By registering for the workshop, you consent to the SPAB displaying your photo essay in the live online group discussion session (which will be recorded for participants to watch on demand for a limited time), and to use of your photographs for further promotion of this workshop by the SPAB through our digital and printed communications. Full credit will be given to the photographer. The SPAB will not use your photographs for any other purpose without your prior written consent. Please contact us if this is something you would like to discuss before registering for the workshop.

If you work in building conservation, have you ever wanted the chance to peel back the layers on someone else’s repair project and reveal the thinking behind each step?

As the exterior repairs at our Old House Project come to an end, join us for this one-off day of CPD exploring the SPAB Approach in action on our most challenging repair project to date.

You’ll hear from key specialists involved in this award-winning repair project, including the lead architect, structural engineer, project manager, contractor, and specialist craftspeople. Through talks, discussions and demonstrations, you’ll get an unvarnished view of the challenges they faced, the considerations they juggled, and the sometimes-unconventional solutions they adopted to bring this Grade II* listed ‘building at risk’ back to life.

Whether you’re an architect, engineer, surveyor or other professional, you should end the day with fresh connections, new ideas, and learnings you can take forward on projects of your own.
Who is this course for?

This one-day course is perfect for building conservation specialists, including architects, engineers and building surveyors.
You will learn

-The key principles of the SPAB Approach to building conservation, with real-world case studies to show what this looks like in practice.
-How specialist appraisals, investigations and monitoring systems can be used to develop low-intervention structural recommendations.
-The approaches you can take to develop design solutions that are sensitive to both the building’s historic fabric and the needs of its future occupants.
-The different repair options that may be available to you on a project like this, and how to collaborate with other professionals and specialist craftspeople to put them into practice.