Appendix G Training Manual
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HOLMFIRTH!CONSERVATION!AREA!
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DRAFT!APPRAISAL!
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Appendix!G!
Training!manual!
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HOLMFIRTH CONSERVATION GROUP
GUIDANCE FOR COMPLETION OF
BUILDINGS SURVEY FORM
(Amended 13 June 2016)
CONTENTS
Completion of Building Survey…………………………………………………..
2-4
Guidance for Authenticity Scoring………………………………………………
5
Window Styles (as per Kirklees Conservation) Website)…………………………………...........
6
Door Styles (as per Kirklees Conservation Website) ……………………………………………
7
Building Extensions & Dormers (as per Kirklees Conservation Website) …………………….
8-9
Glossary of Terms………………………………………………………………
10 - 11
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GUIDANCE FOR COMPLETION OF
BUILDINGS SURVEY FORM
1. BUILDING INDENTIFICATION and How to use it when surveying
BUILDING and PHOTO REF No
Each property has been given a unique 3 letter reference, which is marked on the “Master Map”. This identifier will be
used for all references to a specific building and its related photos
Surveying will be allocated to volunteers in batches of between 15 and 35 buildings per volunteer. This may include
garages and sheds. You will be provided with a map of the allocated properties to be surveyed, which will be an
enlarged section of the conservation area map. The area to be surveyed will be outlined with a purple border. Use the
map to identify the property being surveyed and enter its reference into the BUILDING and PHOTO REF No. box.
NOTE:
Buildings have been given their building ref. as if viewed from above. This means that in the case of “Over & Under”
buildings eg some of properties in Norridge Bottom, the map will only show one identifier ref. In such cases you will
need to complete surveys for both properties, entering the building ref. on the survey form but also adding a numerical
ref.
e.g.
Building BRM may be an “Over & Under” building, in which case the ref for each property would be
BRM 1 for the “Over” and BRM 2 for the “Under”.
Cross off each building on the map when it has been surveyed. There is no need to survey any building that is difficult
to access or is problematic for some other reason. Just leave it unmarked on your map and the office will follow up
later.
A supply of the building survey forms will be available for collection from Caroline Anstey at Imagine Toys. Please
email Holmfirthconservation@outlook.com to say when you intend to start so we can ensure there is an adequate
supply of survey forms. When you have completed your allocated batch please deliver them back to Caroline
together with the annotated survey map you were allocated with.
When you have done this email Holmfirthconservation@outlook.com to advise you have finished a survey and
request another map.
You will be provided with a badge to wear when surveying on the back of which will show your allocated volunteer
reference no. for use when completing the survey forms.
There is no time constraint for completion of a batch but the sooner we get some in the sooner we can begin data
input.
DATE
Date survey completed
COMPLETED BY
This is the volunteer surveyor – please write clearly!
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2. BUILDING DESIGNATION
Identity Area
The conservation area has been divided into 7 Identity Areas and can be obtained from the survey map you will be
issued with.
Building Name & No.
Enter if known. If uncertain approximate if possible by reference to nearby building or landmark.
Map Reference
The office will complete this.
Listed Building or Monument
Listed buildings will be surveyed separately so there is no need to complete this.
Key Unlisted Building
A tick in this box indicates this property is important. If there is no indicator but you consider the building to fall within
this category indicate with an X
Character Period
Circle the letter corresponding to the date that you think this building originates. (Reference to pages 5-6 of this guide
might give you some clues by assessing windows and doors. If unsure circle letter f (Unknown)
Current Building Use
This identifies the building use. Circle up to 3.
Building Type
This indicates the general structure of the building. Circle up to 2
3. BUILDING ANALYSIS
General
This section is divided into two parts, Page 2 covers Domestic & Commercial & Shop buildings while page 3 is for
shops only, and should be completed in addition to page 2
The purpose of the survey is to identify the status of three key factors.
1. The Building Materials & Key Features
2. A Measurement of Architectural Authenticity
3. A Measurement of Building Condition.
An analysis of the data collected will provide a foundation for assessing the overall status of buildings in the
conservation area.
NOTE: There will also be a survey of the public realm i.e. Parks and Gardens, Car parks, Riverscape and
Bridges, Street furniture, signage and roads, which will feed into the overall conservation survey
Each building feature is numbered and listed in the left hand column against which the relevant information is
recorded. Guidance for each section is as follows: -
Building Materials & Key features
Circle one attribute that fits best
Authenticity Score
This is to identify those characteristics that most truthfully reflect and embody the cultural heritage values of Holmfirth.
Enter the authenticity percentage for each feature by reference to guidance notes on page 5 of this manual which
provides guidance on the score to choose. (note; Authenticity score for Dormer/Roof Lights is not required)
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Building Condition
Tick the box that most accurately describes the condition of each feature.
NOTE: If a particular feature does not apply i.e. there is no chimney, or it is not visible place a tick in the box
“Not visible N/A”
Use the following guidelines to help make your assessment.
Very good
Feature well-maintained and in excellent condition
Good
Feature in good condition, is structurally sound, weather tight
and no significant problems
Fair
Feature is structurally sound but in need of minor repairs, or
suggests a lack of maintenance
Poor
Feature is in poor condition if there are obvious faults likely to
lead to structural failure
Very bad
Feature is ruinous and derelict
NOTE: The data analysis will calculate the overall condition status from these scores
4. SHOP FEATURES
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Shop Features
Circle as many features as apply
Impact
What is your overall impression of the impact presentation of shop front?
Comment
Any other points you may think relevant
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GUIDANCE NOTES FOR AUTHENTICITY SCORING
(Courtesy Bradford City Council planning Department)
1
Chimneys
a
Full height with pots
100%
b
Minor alterations including the removal of pots
75%
c
Significant alterations including render, paint cornice removal
50%
d
Lowered significantly or combination of multiple alterations
25%
e
Unauthentic/ Removed
0%
2
Roof
a
Traditional roof material, including original dormer windows
100%
b
Minor alterations inc. large or multiple roof-lights, alterations to dormer
75%
c
Significant alterations, inc. modern dormer, tar or partial artificial covering
50%
d
Major alterations, inc, artificial roofing materials and significant alterations
25%
e
Full width dormer window extra storey or artificial roofing material with box dormer
0%
3
Dormer/Roof Lights – Do not Score
N/A
4
Fascia Boards (Bargeboards)
a
Traditional painted bargeboards
100%
b
Replacement painted timber bargeboards which lack moulding
75%
c
Replacement of ornate bargeboards with ones that lack all original detail or part traditional and part
PVC or missing or modern stained
50%
d
Stained replacement timber replacement bargeboards
25%
e
PVC bargeboards/bargeboards removed
0%
5
Rainwater Goods
a
Traditional timber, stone or cast iron
100%
b
Minority of PVC or missing rainwater goods
75%
c
Half traditional, half authentic
50%
d
Majority PVC/unauthentic
25%
e
Unauthentic/ Removed
0%
6
Wall/Stonework
a
Original materials and pointing style and colour
100%
b
Minor alterations inc. excessive clutter, poor pointing, limited paint (eg heads/sills), stone cleaning
75%
c
Significant alterations inc partial paint/render and or multiple minor alterations
50%
d
Major alterations inc. majority render/paint or multiple significant alterations
25%
e
Completely painted, rendered or clad
0%
7
Boundary Wall
a
Authentic boundary feature/appropriate replacement
100%
b
Minor alterations to traditional boundary feature including use of paint/render, replacement or removal
of coping.
75%
c
Significant alterations inc partial removal or multiple minor alterations
50%
d
Only fragments of boundary feature remain
25%
e
Unauthentic/ Removed
0%
8
Door Style
a
All traditional doors
100%
b
More than ½ traditional doors
75%
c
Some traditional doors
50%
d
No traditional doors
25%
e
No traditional doors and original opening altered (eg removal of opening or part/enlargement)
0%
9
Window Style
a
All traditional windows
100%
b
More than ½ traditional windows or all PVC sash windows or minor inappropriate
75%
c
Some traditional windows
50%
d
No traditional windows
25%
e
No traditional windows, original opening altered, (eg complete removal anf filled in, removal of
mullions, or part enlargement of opening)
0%
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Georgian, Regency and Victorian Periods: Sliding Sash Windows
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Common Local Vernacular Window Types
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Inappropriate Windows for Historic Buildings!
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Common Late Eighteenth and Nineteenth Century Door Types
.-
-
-a.
Common
Late
Eighteenth
and
Nineteenth Century Windows
. ..
~eoi=~ib&
Regency and Victorian Periods: Sliding Sash Windows
Sash Window Styles
k
C
e
.>Q
e
.
Early Georgian Lafe Georgian Early Victorian
Late Vidorian Edwardian
@
Georgian
and
Regency
(~1750 c1830) double hung sliding sash windows are recognised by their
elegance of proportions, slenderness and profiles of late Georgian glazing bars and the sparkle of
historic glass with its reams (ripples) and seed (small air bubbles). There are a variety of designs
depending upon the proportions which govern the number and size of pane. This leaflet considers
the most commonly observed types.
Early Georgian windows had small panes owing to the limits on glass size. Thus, the numbers of
panes in each of the sashes could be as high as sixteen in each (see illustration).
As
the period
developed, the number of panes reduced to classic 'six over six' (six panes in each sash). Similarly,
the glazing bars became extremely slender in a variety of mouldings (see below). The thickness
of
glazing bars could be as slender as 12mm.
The sliding sashes needed to be balanced with lead weights so that they ;odd be easily slid up and
down. The weights were enclosed in timber enclosures to the side of the panes. (see constructional
details on accompanying Technical Sheets.)
@
Victorian:
(c1830 ~1900) vertically slidin
g
sash windows carried on the tradition of the Georgian
period in basic'construction, but are noted for the larger sizes of pane (two over two or one over
one) owing to the improvements in glass pane produdion. Victorian sliding sashes were installed in
both neo Classical and neo Gothic buildings.Horns (the proiections below the top sliding sashes)
came into 'fashion' in mid century and are not seen on Georgian or Regency windows.
@
Edwardian
(c1900 191
5)
sliding sash windows were little different from their Victorian forebears
except that the panes were larger often being a single glaa pane above another.
-
-
.
'
Common
Local Vernacular
Window
Types
Stone liniol
Stone
cill
Yorkshire Horizontal Siding Sash Window
The above sashes can be:
@
fixed sash @side hung casements@ Yorkshire jack sash
..~
@
Common local vernacular windows
are of two common types: the Yorkshire sliding sash (now
.
quite rare) and the side hung casement windows. These windows are found in weavers' cottages.
Their glazing patterns follow other historic windows
in,
that the earlier window had more smaller
pariei.
In
Kirkleeo the Victorian pattern is commonly seen with two panes. (See ilkstration althougti
there gr~.excimples of 'earlier types to be found.)
The so-called Yorkshire 'jack sash',
a
small vertically sliding sash window without weights and
pulleys, is found in some vernacular dwellings in west Yorkshire.
'
dveF
&I*"'
.
*
Inappropriate Windows for
Historic
Buildings
Top hung
1
d
-
Insert mullions
PVCu
plastic
double glazed
Top hung
Stained timber Other styles
double glazed
@
During the latter half of the twentieth century, it has become the fashion to replace hrstorlc WlndOWS
with mass manufactured double glazed windows of which there are three basic types:
-
aluminium frames
.
(1
960's 1 970's)
.
;)MIU
-hardwood frames which are often stained brown. (1 970's 1980's)
"'
'-"'
-PVCu windows (1 980's 1990's)
The majority of these windows have outward opening top hung ventilation sashes and are often
installed to the front of the windows reveals thereby spoiling the character of the building and
reducing its value.
&
ne)
&A.
I
.twb~
a#S
They lack elegance, slenderness and sibtlety. Their glazing bars are mostly fake being glued to the
glass (see sketch above).
Common
Local Vernacular
Window
Types
Stone liniol
Stone
cill
Yorkshire Horizontal Siding Sash Window
The above sashes can be:
@
fixed sash @side hung casements@ Yorkshire jack sash
..~
@
Common local vernacular windows
are of two common types: the Yorkshire sliding sash (now
.
quite rare) and the side hung casement windows. These windows are found in weavers' cottages.
Their glazing patterns follow other historic windows
in,
that the earlier window had more smaller
pariei.
In
Kirkleeo the Victorian pattern is commonly seen with two panes. (See ilkstration althougti
there gr~.excimples of 'earlier types to be found.)
The so-called Yorkshire 'jack sash',
a
small vertically sliding sash window without weights and
pulleys, is found in some vernacular dwellings in west Yorkshire.
'
dveF
&I*"'
.
*
Inappropriate Windows for
Historic
Buildings
Top hung
1
d
-
Insert mullions
PVCu
plastic
double glazed
Top hung
Stained timber Other styles
double glazed
@
During the latter half of the twentieth century, it has become the fashion to replace hrstorlc WlndOWS
with mass manufactured double glazed windows of which there are three basic types:
-
aluminium frames
.
(1
960's 1 970's)
.
;)MIU
-hardwood frames which are often stained brown. (1 970's 1980's)
"'
'-"'
-PVCu windows (1 980's 1990's)
The majority of these windows have outward opening top hung ventilation sashes and are often
installed to the front of the windows reveals thereby spoiling the character of the building and
reducing its value.
&
ne)
&A.
I
.twb~
a#S
They lack elegance, slenderness and sibtlety. Their glazing bars are mostly fake being glued to the
glass (see sketch above).
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DORMERS
Common Types of Panelled Doors
Georgian
Six
Panels
c.
1
750
-
1
830
nul
0
0.
ran
Flat or Raised Panels with Fielded, Raised and
Bead or lnset Mouldings Chamfered Panels with
delicate Mouldings
Victorian Four Panels
c.
1
830
-
1
900
1
Five
Panels
Flat or Raised Panels with Fielded, Raised and
Bead or lnset Mouldings Chamfered Panels with
Bolection Mouldings
Edwardian
c.
1
900
-
1
9
1
5
Chamfered Panels with
delicate Moldings
Three Panels
Chamfered Panels with Typical Victorian Door
Bolection Mouldings with Upper Panels Glazed
ornomentol
stained
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Victorian Semi
-
detached House:
Ornate character and original detail retained.
Unspoilt roof
-
line without dormer
Traditional rooflight possibly to rear pitch.
Victorian Semi
-
detached House:
Flat roof dormers to front and rear
Dormer windows large and dominating
Dormers spoil symmetry of dwellings
Georgian Terrace House:
Elegant character and original detail retained.
Unspoilt roofline without dormer.
Traditional rooflight possibly to rear pitch.
J
West Yorkshire Vernacular Dwelling:
Strong local character: Stone slate roof:
Large stone quoins.(not illustrated)
Gable kneelers.
J
Georgian Terrace House:
Large flat roof dormers spoil roof line.
Dormer windows large and dominating.
Dormers out of character.
West Yorkshire Vernacular Dwelling:
Picture window dormer obtrusive and
detracting from local character.
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BUILDING EXTENSIONS
Roof slope same as host building.
Catslide roof to single storey extension.
Traditional rooflight possibly to rear pitch
Matching roof materials to retain character.
Sympathetic House Extensions:
Roof slope same as host building.
Valleys conned to pitched gable roofs.
J
Side extension set back and lower than main roof.
Matching roof materials to retain character.
Sympathetic House Extensions:
Roof slope same as host building.
Possible catslide to rear.
J
Traditional rooflight possibly to rear pitch.
Matching roof materials to retain character.
rear view
Unsympathetic House Extensions:
Flat roofed side extensions do not
harmonise with host building.
Extensions dominate the host building.
Felt flat roofs requiring maintenance.
rear view
Unsympathetic House Extensions:
Flat roofed side extensions do not
harmonise with host building.
Extensions dominate the host building.
Felt flat roofs requiring maintenance.
Flat roof dormers spoil roof line.
8
-v
rear view
Unsympathetic House Extensions:
Flat roofed side extensions do not
harmonise with host building.
Single storey extension out of character.
Felt flat roofs requiring maintenance.
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GLOSSARY OF TERMS
Parapet wall
Low ,usually enclosing a roof or a protective
barrier at the edge of a terrace or on the
side of a bridge
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Coping
Capping stones eg on walls
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Hip Roof
(hipped roof)
A hip roof, hip-roof or hipped roof, is a
type of roof where all sides slope
downwards to the walls, usually with a fairly
gentle slope (although a tented roof by
definition is a hipped roof with steeply
pitched slopes rising to a peak). Thus a
hipped roof house has no gables or other
vertical sides to the roof.
!
Corbels Bracket
In architecture a corbel or console is a
structural piece of stone, wood or metal
jutting from a wall to carry a
superincumbent weight, a type of bracket.
A corbel is a solid piece of material in the
wall, whereas a console is a piece applied
to the structure.
!
Gabled Roof
gable is the generally triangular portion of a
wall between the edges of intersecting roof
pitches. The shape of the gable and how it
is detailed depends on the structural
system used, which reflects climate,
material availability, and aesthetic
concerns.
!
Fanlight
A fanlight is a window, semicircular or
semi-elliptical in shape, with glazing bars or
tracery sets radiating out like an open fan. It
is placed over another window or a
doorway, and is sometimes hinged to a
transom
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! ! 12!
Fascia
Fascia is an architectural term for a vertical
frieze or band under a roof edge, or which
forms the outer surface of a cornice, visible
to an observer.
Dormer
A window that projects vertically from a
sloping roof.
To minimise the visual impact, the following points should be
considered:
• The dormer should not dominate the existing roof. It is
recommended that the top of the dormer be set below the ridge
of the existing building, the bottom of the dormer be set above
the gutter line, the dormer be placed centrally and not take up
more than 50% of the original roof.
• The design of the dormer is important. Whilst flat roof dormers
may be acceptable in some locations pitched roof dormers are
usually preferable and need less maintenance.
• The materials used should harmonise with the existing ones.
The roof, cheeks and frontage of the dormer should have tiles
which match those already there. Large areas of PVCu can
look out of place on some buildings, especially those which are
traditional in character.
DESIGN AND MATERIALS
POLICY BE13:
Extensions to dwellings should
respect the design features of the
existing house and adjacent
buildings, including:
I. materials of construction;
II. window openings;
III. roof styles; and
IV. architectural detailing.
Extensions to dwellings in
conservation areas, or dwellings
which are listed as being of
architectural or historic interest
should, where the proposals
already comply with policy BE3
or BE5, be designed so that the
intrinsic value of the host
building and its surroundings is
retained and the original building
remains the dominant element.
POLICY BE15:
Dormer extensions to the front or
main elevations of dwelling will
normally be permitted provided
that:
I. the original roof form and
covering remains the
predominant feature;
II. the extension does not
exceed more than 50% of
the width of the original
roof, and is centrally
placed;
III. when measured in the
vertical plane a distance of
1.0m approximately is
achieved between the
gutter line of the dwelling
and the base of the front
wall of the dormer and
0.5m approximately is
achieved between the
ridge of the dwelling and
the junction of the dormer;
and
IV. the extension does not
project above the ridge of
the dwelling or (in the
case of a hipped roof)
beyond the slope of each
change in roof direction,
unless the roof is
redesigned to eliminate
any resultant ‘box’ effect.
• The characteristic features of the roof such as chimneys and
ridge tiles should be kept.
Inappropriate style of dormer extension surrounded by
more appropriate dormers.
