Directory
Pages for Companies and Organizations
The Victorian Society in the UK is a leading authority dedicated to the preservation and appreciation of Victorian and Edwardian architecture and design. Founded in 1958, its mission is to protect the rich architectural and cultural heritage from the 1837–1914 period, which saw some of the most innovative and iconic building styles in British history. By raising awareness of the historical and aesthetic significance of these structures, the Society plays a pivotal role in ensuring their survival for future generations.
For building conservation professionals, the Victorian Society offers an invaluable resource, providing expert advice and access to comprehensive research and case studies. Through its work with local authorities, heritage bodies, and property developers, the Society influences planning decisions, ensuring that listed buildings and conservation areas are safeguarded. Its publications, such as The Victorian magazine, and detailed reports on architectural conservation issues, are essential tools for professionals in the field.
Homeowners of Victorian and Edwardian properties benefit significantly from the Society's expertise. The organization provides guidance on sympathetic restoration and maintenance practices, ensuring that the architectural integrity and original features of these homes are preserved. Through workshops, seminars, and a network of specialist contacts, the Society empowers owners to make informed decisions about their properties while enhancing their understanding of their historical value.
Enthusiasts of Victorian and Edwardian design can engage with the Society’s vibrant program of events and activities. These include guided tours, lectures by leading historians, and exclusive access to buildings of interest. The Society’s advocacy campaigns also provide opportunities for individuals to actively contribute to the preservation of endangered sites. Membership offers enthusiasts a deeper connection to the rich history of this period, fostering a community of like-minded individuals who share a passion for architectural heritage.
The Victorian Society is more than just a conservation body; it is a movement that celebrates the beauty and significance of Victorian and Edwardian architecture. By combining advocacy, education, and expert advice, it provides a comprehensive platform for conservation professionals, homeowners, and enthusiasts alike. Through its tireless efforts, the Society ensures that the architectural treasures of the 19th and early 20th centuries remain a source of inspiration and pride for all.
Triskele Heritage is a UK-based organization dedicated to the conservation, restoration, and celebration of historic buildings and landscapes. With a mission to bridge the gap between traditional craftsmanship and modern conservation practices, Triskele Heritage provides tailored services that empower building conservation professionals, homeowners, and heritage enthusiasts. The company’s work reflects a profound respect for cultural heritage, emphasizing sustainable approaches that honor the authenticity and integrity of historic sites.
At the heart of Triskele Heritage’s mission is the belief that historic buildings are not just structures but living legacies that tell the story of communities, craftsmanship, and culture. The company offers a diverse range of services, including specialist consultancy, condition assessments, and bespoke conservation training. These services are designed to equip professionals and enthusiasts with the knowledge and tools needed to preserve historic structures while maintaining compliance with national heritage standards.
For building conservation professionals, Triskele Heritage provides expert guidance on project planning, materials selection, and traditional techniques. The company’s hands-on training workshops are particularly valued, offering opportunities to learn time-honored methods such as lime plastering, stone masonry, and timber conservation. These sessions not only enhance technical expertise but also foster a deeper appreciation of the skills required to maintain historic buildings.
Homeowners with historic properties benefit from Triskele Heritage’s personalized approach to conservation and restoration. Whether addressing specific issues such as damp management or guiding long-term maintenance planning, the team offers practical, sustainable solutions that respect the character and history of the home. Their advice is grounded in a thorough understanding of traditional building materials and methods, ensuring that interventions are both effective and sympathetic to the property’s heritage.
Triskele Heritage also serves as an invaluable resource for heritage enthusiasts, hosting lectures, community engagement programs, and curated site visits that bring the stories of historic buildings to life. Through these initiatives, the company aims to inspire a wider audience to value and engage with the UK’s rich architectural legacy. In everything they do, Triskele Heritage combines technical expertise with a genuine passion for heritage, making them a trusted partner for anyone invested in preserving the past.
Crenellated Arts specializes in illustration and digital interpretation services for the arts and heritage sectors in the UK, offering tailored solutions for building conservation professionals, homeowners, and enthusiasts. Their mission is to preserve, celebrate, and reimagine the rich architectural and cultural heritage of the UK through innovative visual storytelling. By blending artistry with historical accuracy, the company supports projects that require engaging, detailed visuals to bring historic structures, sites, and narratives to life.
At the core of Crenellated Arts’ offerings are bespoke illustrations and reconstructions of historic buildings and environments. These creations range from detailed technical drawings and watercolour renderings to immersive digital reconstructions. With a deep understanding of architectural heritage and conservation principles, the company ensures that each illustration is both visually compelling and meticulously accurate. Their work often serves as a key resource for conservation reports, restoration projects, and public education campaigns.
In addition to static illustrations, Crenellated Arts provides digital interpretation services designed to enhance engagement with historic sites and narratives. Using cutting-edge tools such as 3D modeling, augmented reality (AR), and virtual reality (VR), they create interactive experiences that allow users to explore reconstructed spaces or visualize changes over time. These tools are invaluable for museums, heritage sites, and educational programs, offering audiences a dynamic way to connect with history.
Crenellated Arts also supports private homeowners and enthusiasts by delivering customized illustrations and interpretive materials for historic homes and gardens. Whether documenting the restoration of a Georgian townhouse or illustrating the original layout of a medieval estate, the company helps clients understand and showcase the historical significance of their properties. These services include creating house histories, interpretive signage, and artistic renderings suitable for personal collections or public display.
Ultimately, Crenellated Arts serves as a bridge between the past and present, making history accessible and engaging for a wide range of audiences. Their work celebrates the UK’s architectural heritage while providing practical tools and resources for its preservation. With a commitment to artistry, authenticity, and innovation, Crenellated Arts stands out as a trusted partner for anyone passionate about understanding and preserving historic spaces.
The Centre for Building Conservation Studies (CBCS) is a UK-based institution dedicated to advancing the field of building conservation through comprehensive education and hands-on training. Established in 2019, CBCS aims to become a central hub for learning and discovery in building surveying and conservation. Their mission is to make conservation accessible to everyone by offering specialised courses and training sessions led by established experts, emphasizing practical experience and the application of the latest conservation philosophies and technologies.
CBCS offers a diverse range of courses tailored to various experience levels, from undergraduates and homeowners to industry professionals. Their programs include informative Continuing Professional Development (CPD) sessions and Level 6 Diplomas in Building Surveying and Building Conservation. These diplomas are designed to provide participants with the skills necessary to conduct surveys of residential, commercial, ecclesiastical, and industrial buildings, as well as to work in property development, heritage sectors, and construction projects. The curriculum covers a wide range of building ages, types, uses, and conditions, ensuring a comprehensive understanding of the field.
A distinctive feature of CBCS's programs is the inclusion of practical experience through site visits and hands-on tasks. Participants attend the Building Conservation Summer School and engage in international study trips to explore historic sites and contemporary conservation challenges. For instance, in 2025, the Building Surveying Diploma includes a trip to Copenhagen, while the Building Conservation Diploma offers a visit to Bucharest. These experiences are designed to provide real-world insights into the complexities of building conservation on a global scale.
CBCS is also developing a dedicated learning center in a Grade II Listed Building in Gosport, Hampshire. This former Royal Navy property is being transformed into a vibrant community space for heritage skills training, arts, and culture. The facility will offer training in various traditional building skills, including roofing, lime work, carpentry, oak framing, stone masonry, and straw bale construction. This initiative underscores CBCS's commitment to preserving traditional craftsmanship and promoting sustainable conservation practices.
For building conservation professionals, homeowners, and enthusiasts, CBCS provides an invaluable resource for gaining practical skills, professional qualifications, and a deeper understanding of historic building conservation. Their flexible approach, combining online learning, classroom instruction, and practical site visits, ensures accessibility and affordability. By fostering a passion for conservation and offering hands-on experience, CBCS equips individuals with the knowledge and confidence to care for and preserve historic buildings effectively.
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.
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.
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.
“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 now have a stock holding of over 6000 square metres of stained glass, consisting of over 160 stained glass colours, 30,000 glass rondels and 500 glass bullions.
A glazing division, Quorn Glass, was formed in 1992, which in 1994-1995 re-glazed over 2000 square metres of clear antique restoration glass in Somerset House, London.
New premises were purchased in 1999 together with a glazing company in Loughborough, and our glazing division is now known as Quorn and Loughborough Glass. We also became a member of the Glass and Glazing Federation.
We now have a stained glass factory of over 10,000 square feet, with a large stained glass showroom displaying the full range of antique glass, coloured glass and stained glass for customers or architects to view.
We also stock Schott heritage range of glass and can provide heritage double glazed units – please look at our Restoration page for details.
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.
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.
I have worked on many Flint walling projects, mainly in Sussex and Southern counties.
Prestigious flint and brick works include extensive replacement and repairs at Worthing clock tower on the seafront as part of the leisure centre new build which included rebuilding some of the columns. Also the rebuild of Brighton Groynes for the seafront defence, and Brighton College Tower
In addition, I am a qualified bricklayer and have worked on many conservation brickworks and repairs.
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.
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.
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.
When you work with us, there are no limitations to what we can create. We employ the same methods and tools used by the generations of wood carvers before us. Look closely and you’ll discover there is a delicacy and beauty that only carving by hand can reveal.
BEAUTY WITHIN BUDGET. DELIVERY WITHOUT DELAY.
At Agrell Architectural Carving, design is everything. Whether it’s a simple yet elegant hand-carved wood fireplace mantel or a series of complex renaissance panels, we proudly stand by our commitment to provide you with workmanship of outstanding quality. You can also be confident your project will be delivered on time and within your budget, regardless of volume, project size or location. The key is collaboration.
To ensure an open and continuous dialogue and complete confidentiality, Ian Agrell personally directs all projects from start to finish. The Agrell Architectural Carving team includes over 15 highly skilled wood carvers and three project managers. Which means, in addition to our large wood carving capacity, we also provide you with your own project manager who, alongside Ian, ensures that all details are managed to your complete satisfaction and that your project moves forward in a timely man
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.
Stephen Bellion started his career as a church restorer in 1979. He was an apprentice to Peter Larkwothy, the great grandson of Alfred Bell of Clayton and Bell.
In 1991, Stephen became a partner in Howell and Bellion until 2015, when he formed Stephen Bellion Church Art Restoration. Over the last 40 years Stephen and his team have worked in churches and historic buildings all over the country, cleaning and restoring original decorative schemes and executing new ones.
Stephen Bellion Church Art specialises in the conservation and restoration of decorative interiors and statues, monuments, organ pipes and cases.
Our skilled teams apply the latest technology alongside our traditional metalworking skills to offer exceptional levels of service to clients who expect nothing less than the best. As well as delivering inspired creativity and precision execution for new projects, our craftsmen restore and repair fine heritage metalwork for some of the most architecturally sensitive buildings in the world.
We thrive on creative and technical challenges, whether we are restoring traditional ironwork or creating bespoke new furnishings for modern properties. We back up our metalworking skills with a complete service offer, encompassing everything from planning and design to installation and logistics management.
An international reputation - Topp & Co. supplies architectural metalwork worldwide. We have the operational and logistics management expertise to take care of your entire project, including specification, shipping, delivery and installation. Where required we can send our own installers overseas to coordinate with local specialists on your behalf.
- Promote for the public benefit the appropriate repair of Scotland's traditional and historic buildings;
- Advance education through the provision of advice, training and practical experience in the use of lime for the repair and conservation of such buildings and
- Promote and further the preservation and development of Scottish building traditional, crafts and skills.
Scottish Lime Centre Trust is a charity registered in Scotland No: SCO22692.
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.
We are specialists in all types of traditional pitched roofing from Kent Peg Tiling to slating and modern concrete tiling. We are specialist leadworkers and can provide services for lead cladding and roofing as well as ornamental casting.
We also install flat roof coverings in both traditional 3-layer built up felt along with a more modern Dryseal fibreglass system.
Over the last 150 years we have built a reputation for expertise, quality and service that is the envy of our industry.
Throughout this time we have worked on many prestigious buildings including Tower Bridge, St. James Palace, and The British Museum in London, Rochester Cathedral and Portchester Castle in the South East, as well as famous hotels, mansions and thousands of residential properties and homes, both large and small, all of which are just as important in the eyes of their owners and all of which have received the same care and respect from our craftsmen.
Our craftsmen use skills and techniques passed down through generations and they are all holders of the Heritage registration card for the Construction Skills Certification Scheme operated by the Construction Industry Training Board.