Appendix B
CONSERVATION PLAN
AS LODGED
Conservation plan All Saints’, Palmerston North Revised February 2018
IAN BOWMAN Architect and conservator
Contents 1 Introduction 4 1.1 Background to the plan 4 1.2 Methodology for the plan 4 1.3 Photographic sources 4 1.4 Copyright 5 1.5 Contributors to the plan 5 1.6 Scope and limitations 5 1.7 Heritage status and legal description 5 1.8 Acknowledgements 5 2 History of the place 6 2.1 History of the church 6 2.2 Chronology of events 8 2.3 People and organisations associated with the buildings 9 3 Describing the place 14 3.1 Architecture 14 3.2 Schedule of spaces and fabric 18 3.3 Materials used in the building 18 4 Assessing the place 19 4.1 Significance assessment 19 4.2 Summary statement of heritage significance 22 4.3 Degree of significance 23 5 Conservation issues 27 5.1 Influences on conservation policy 27 5.2 Threats to heritage values 34 6 Managing the place 37 6.1 Policies and priorities 37 Bibliography 46 Published 46 Unpublished 49 Websites 49 Appendix 1 50 ICOMOS New Zealand Charter for the Conservation of Places of Cultural Heritage Value Revised 2010 50
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Appendix 2 57 Detailed schedule of spaces and fabric 57 Exterior 57 Interior 60 Appendix 3 64 Criteria for assessment of heritage values 64 Appendix 4 66 Ranking heritage values and significance 66 Appendix 5 69 History of building materials used 69 Appendix 6 73 Contemporary architectural styles - the New Zealand scene 73
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1 Introduction This revision of the 2008 Conservation Plan was commissioned by the All Saints’ Church Building Advisory Board. 1.1 Background to the plan A conservation plan is a guide to the long term care of a heritage place by owners, managers and users; in particular it acts to ensure that the heritage values associated with these places are maintained or, where warranted, enhanced. Within such plans the conservation policies and actions recommended relate to the established range and extent of heritage values identified, and are determined through an assessment of the degree of potential threat to those values. Their selection is also informed by the ICOMOS New Zealand Charter for the Conservation of Places of Heritage Value, which outlines appropriate principles to assist owners, managers and heritage professionals to conserve and manage heritage places throughout New Zealand. (ICOMOS, Charter for the Conservation of Places of Cultural Heritage Value, 2010) 1.2 Methodology for the plan This Conservation Plan aligns with the methodology described in J.S. Kerr's The Conservation Plan; A Guide to the Preparation of Conservation Plans for Places of European Cultural Significance (National Trust of Australia, 1990), but has been adapted to meet New Zealand requirements. Consistent with this guide, the plan contains the following sections: • History of the place: an outline of the physical and social history and significant people or organisations associated with the building and setting; • Describing the place: a summary of relevant place related information associated with the building (e.g. legal description, land area, controlling authorities, zoning) as well as a description of its development, construction, materials and setting; • Assessing the place: an assessment of the heritage values and degree of significance attributable to the building and setting based on the criteria within the Heritage New Zealand (HNZ) Sustainable Management of Historic Heritage Guidance Information Sheet 2, 2007; • Conservation considerations: an outline of the key legislative/non- legislative requirements and potential threats that have a bearing on the future management of the building; • Managing the place: a description of policies and prioritized actions to guide future management and conservation of the building in a way that respects and retains its assessed heritage values. 1.3 Photographic sources The author took contemporary photographs. The sources of other photographs are identified under each photo.
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1.4 Copyright This plan is the copyright of Ian Bowman, architect and conservator. 1.5 Contributors to the plan Comments on the 2008 plan were made by Brent Costley, member of the Church Building Advisory Board and long-time parishioner of All Saints’ and these comments have informed this current plan. The sections on the social history and the list of significant parishioners was written by Mike Chilton, Development Consultant to All Saints’ and are incorporated from the 2008 plan. Ian Bowman, architect and conservator, compiled and wrote the remainder of the plan. 1.6 Scope and limitations This plan is not a structural or fire safety survey and does not address specific issues of Building Act compliance. No condition report was commissioned with this conservation plan. Assessments of fabric and spaces are visual only and from the ground and all easily accessible locations. 1.7 Heritage status and legal description All Saints’ was included on Heritage New Zealand’s New Zealand Heritage List/Rarangi Korero, category 1, list number 191 on 16 November 1989. The church is listed on the Palmerston North District Plan, listed in Appendix 17A “Schedule of Buildings and Objects of Cultural heritage Value, Category 1”, as “All Saints’ Church, 344-348 Church Street, Palmerston North, legal description Pt Sec 838 Town of Palmerston North. 1.8 Acknowledgements I would like to acknowledge the assistance of David Chapple and Vince Neall.
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2 History of the place 2.1 History of the church1 In 1872, the first Anglican service in Palmerston North was held in a sawmill. Regular services for the Anglican pioneer families were then held in the Courthouse, on alternate Sundays with Presbyterians. In 1875 Bishop Octavius Hadfield (1814-1904) purchased bush-covered section 838, Palmerston North for use by the Anglican Church. That same year, the foundation stone for the first church, a simple wooden structure, “1875, First Anglican Church erected in Palmerston had been laid by Sunday School North”, C96 Churches, Palmerston North Library teacher Mrs G M Snelson. The building was constructed by Meyricj, Perrin and Oakley, builders. The Rev. Henry Bevis was the priest in charge of the district, which extended from the Rangitikei River to the Manawatu River. Land was purchased next to the church and a vicarage was built. The arrival of full-time vicar Reverend John Lloyd Keating boosted attendance and by 1881 the parishioners began considering a new church. On 1 December, 1881, a foundation-laying ceremony was held for the church, which was designed by Mr E Larcomb. It “consisted of a nave about thirty feet wide by fifty-six feet long, the chancel being formed by the old church.”.2. In 1891 the church was enlarged to accommodate a growing congregation, and again in 1901 when a south aisle was added with space for an extra 90 seats. By 1904 the church required substantial maintenance and the parish agreed that a new church was “1910, The Borough Council Offices and All Saints necessary. Anglican Church”, C42 Churches, Palmerston In 1905, determined that the parish North Library should have 'a brick church really worthy of being the House of God', Archdeacon C. Coleridge Harper commissioned the architect of the Anglican diocese Frederick de Jersey Clere to
1 from NZ Historic Places Trust field record form 2 Dent., Rev. G W, A Short History of the Parochial District of All Saints Palmerston North, J M Dent and Sons, London, 1928, 12.
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complete plans for a new church. Clere's initial design for the brick church was rejected as it provided less seating than required and incorporated elements better suited to a timber church. Yet the desire for a new church remained and in 1910 the site was prepared for the new building by moving the much enlarged 1881 timber church to the rear of the property. In 1913, amid growing concern that the nearby Grand Hotel Original plans by Clere, page 20 Palmerston North Library (1906) overshadowed the church, Clere was commissioned to complete a new design for the building. Archdeacon Harper declared the plans were suitable, amongst other things, for the “tower will rise several feet above the top of the Grand Hotel tower”. Contributions for the construction of the church were slow and it wasn’t until Revd. Rosher assisted by Vicar’s Warden E H Morrah, a bank manager, and secretary of the Building Committee galvanised the parish into seriously raising funds, that the possibility of actually constructing the church became a possibility. Stalls, plays, and donations brought forth money, but the most successful idea for raising funds was by buying a brick for Mr Harry White, page 37 a shilling. Palmerston North Library Tenders were called in December 1912, and a tender of £7,800 was accepted in February, 1913. The foundation stone was laid on 1 November, 1913 by the Right Rev. Thomas Henry Sprott, Bishop of Wellington with many others in attendance including James Nash, Mayor of the Borough of Palmerston North. The successful tenderer was John Henry Meyer who began construction on the new All Saints' building in February 1913. Harry White was selected by the contractor to construct the tower. The symmetrically designed interior allowed
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seating for up to 950 people and incorporated a small chapel and baptistery. On May 6 1916 the church was dedicated by the Bishop and was finally consecrated on 29 October, 1916. In 1926 the church spent £600 on the organ3 In 1936 the church weathered a cyclonic storm with little damage, although St Columba’s in Linton suffered extensive damage. In 1939 the Sanctuary was furnished with the stone altar designed and carved by Mr Guernsey, whose studio was in Christchurch. In 1944 the reredos was installed, also carved by Mr Guernsey. In the early 1950s the choir vestry was enlarged with new robe lockers, new altar rails were installed, and Mr Guernsey carved new choir stalls, clergy boxes and the Vicar’s chair. The sanctuary was recarpeted, a litany desk was installed, electronic bells were purchased, and a pulpit was carved also by Mr Guernsey. In 1958 the panels on the side walls of the sanctuary were carved by Mr Guernsey’s pupils, Messrs Vivian and Sherwood. In 1970 the kauri screen was erected between the chapel and chancel. In 1958 the most of the church was re-roofed in copper leaving the transepts and tower. New pews were installed in 1959. A public address system was installed in 1958. In 1970 the creeper was removed from all but the tower and the brickwork was treated with a waterproofing chemical. A new hall was dedicated in 1954. Other events are recorded below. 2.2 Chronology of events 1872 First church service in Palmerston North 1878 Purchase of the existing site for the church by Bishop Hadfield 1878 First Anglican church in Palmerston North constructed 1882 Second church built 1891 Enlargement of church 1901 Second enlargement of church 1913 Church designed 1913 – 1914 Construction of present church 1924 Great East Window fitted in stained glass 1929 New organ installed 1939 Wooden altar removed and replaced with a stone altar
3 Wigglesworth, R P., Never ending still beginning, Simon Printing Ltd., Palmerston North, 1975
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1944 Kauri reredos placed in church to strengthen the back walls 1949 Kauri choir stalls installed 1953 Kauri pulpit installed 1958 Kauri panelling continued around walls of the sanctuary; church re-roofed in copper with the removal of giblets in the roof and panelling to the apex of the roof; surround sound system installed 1970 Kauri screen erected between chapel and chancel. The tiles were removed from the roof except for the transepts and the tower, and the main roof areas replaced by copper. (People can see what the roof was like because some areas were left.) 1990s Unflued, unguarded gas heaters were replaced with externally vented ones. 1999 New carpet was laid. 2001 Wheelchair ramp erected to provide access to the front door on the west elevation of the church 2007 October 17 the 1882 church was destroyed by arson 2009-10 Construction of building replacing the 1882 church, designed by Darren Shadbolt of Shadbolt Architects, constructed by Colspec Construction Ltd. The building also incorporated the remains of the former Sunday School Hall opened in 1918 2011 September 2011 hall used for the first time 2013 Closure of the church following an earthquake strength assessment in 2012. Estimates of the NBS level vary from 3 to 10% A flagpole to the tower was removed at an unknown date. 2.3 People and organisations associated with the buildings
Former Vicars of All Saints’ Palmerston North Title Name Qualification(s) Term of service Rev Henry Bevis MA 1874-1877 Rev T.A. Newth MA 1878-1880 Rev J.L. Keating 1880-1882 Rev E.L. Carus Wilson 1883 Rev W.A. Leech 1883-1884
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Rev H.E. Copinger 1884-1887 Rev Canon H.B. Harvey BA 1887-1895 Rev H.F. Hunt MA 1895-1900 Rev Canon Charles Coleridge Harper MA 1900-1910 Rev H.G. Rosher MA 1911-1915 Rev H.G. Blackburne MA 1915-1924 Rev Canon W. Fancourt MA 1924-1929 Rev Canon G.Y. Woodward 1929-1945 Ven Arch H.W. Monaghan MA 1945-1951 Ven Arch H.S.I. Kenney MA 1951-1965 Ven Arch L.M. King BA 1965-1979 Rev Canon D.J. Penman BA PhD LTh 1979-1982 Rev Canon B.R. Carrell MA BD 1982-1991 Rev Canon John G.B. Wilson BMedSc MB ChB BD 1992-2005 Ven John Marquet BA, BD, GDipMin, Member ACSDANZ, 2007–2016
H G Rosher, M A, 1911-1915, in Lt Col William Malone Dent, Rev. G, W., A Short History http://www.dnzb.govt.nz/dnzb/default.a of the Parochial District of All sp?Find_Quick.asp?PersonEssay= Saints, Palmerston North, J M Dent M151_1-012824wgmalone.jpg and Sons Td, London 1928,
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Notable Parishioners of All Saints’ Palmerston North N.B. This is a non-exhaustive list, based on memorials around the church building. Rev Charles Coleridge and Ethel Harper had a daughter Gwyneth Acland Harper who died at sea in 1904 aged 3. She was their youngest child. John Webb was the verger at All Saints’ for 18 years. He died in 1920. Brig Gen Sir Herbert Hart KBE CB CMG DSO VD died 1968. Lt Col William George Malone, killed in action, Gallipoli 8/8/19154. A farmer, lawyer and military leader, William George Malone was one of New Zealand's outstanding soldiers of the Gallipoli campaign. Malone was active in local affairs as chairman of the Ngaire Road Board from 1883, and a member of the Hawera County Council (1885--1890) and the Taranaki Hospital and Charitable Aid Board. He played an important role in forming the Stratford County Council and was its first clerk and treasurer. He was appointed a justice of the peace in 1892. On the outbreak of war in August 1914 Malone was appointed to command the Wellington Battalion of the New Zealand Expeditionary Force. As part of the ANZAC Corps, the Wellington Battalion landed on the Gallipoli peninsula on 25 April. Malone immediately began to impose order. By example, determination and drive he transformed weak defences held by frightened men into ordered garrisons, which dominated their Turkish opponents. He consolidated and secured the ANZAC Corps perimeter whenever it was threatened. The Wellington Battalion played a pivotal part in the August offensive. After a confusing night march, at dawn on 7 August they secured the Apex on Rhododendron Ridge some 500 metres below the infantry brigade's objective of Chunuk Bair. Malone's battalion seized Chunuk Bair on 8 August; there was little opposition. Malone personally led counter-attacks to keep the crest clear of Turkish troops. At 5 p.m. supporting artillery fire, probably from a New Zealand howitzer battery, burst over Malone's trench and killed him. The seizure of Chunuk Bair was the one success of the August offensive. It was not exploited. William Malone was an outstanding battalion commander who proved in action to have the capacity for higher command. His efforts in August almost compensated for the ineptness displayed by his superior commanders. The tenacity displayed by the Wellington Battalion on Chunuk Bair on 8 August 1915 embodied the spirit of their commanding officer. Lt Col Charles Frederick Denman Cook DSO died on service 2/5/1918. George Mathew Snelson was a lay reader and churchwarden at All Saints’ who was the first mayor of Palmerston North. He was a consistent benefactor of the church and the parish, and promoted its welfare by all means in his power. He died in 1901 as did his wife, Louisa Matilda Snelson. Lionel Augustus Abraham 1863-1939 and Constance Palgrave his wife 1864-
4 Pugsley, Chris. 'Malone, William George 1859 - 1915'. Dictionary of New Zealand Biography, updated 22 June 2007 URL: http://www.dnzb.govt.nz/
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1943. (The Abraham family gave money for the pulpit). Arthur Edward Russell 24/8/1845-May 1924, wife Ethel Alice 24/3/1863-May 1949 and sons Gerald Arthur died aged 9 and Guy Campbell died aged 21. Frederick de Jersey Clere (1856-1952 ) architect5 Frederick de Jersey Clere was born at Walsden, Lancashire, England, on 7 January 1856, the second son of Ellen Vaughan and her husband, Henry Clere, an Anglican clergyman. Frederick was educated at St John's School, Clapton, and then at the age of 16 articled to the architect Edmund Evan Scott of Brighton. From 1875 to 1877 he was chief assistant in the London office of Robert Jewell Withers. Clere emigrated with his family to New Zealand in 1877, arriving at Wellington on the Hurunui on 12 December. After working briefly in Wellington, he practised in Feilding from 1879 to 1883 and in Wanganui from 1883 to 1886. He married Mary Goodbehere at Feilding on 18 April 1883; they were to have three daughters and two sons. In 1886 Clere and his family moved to Wellington, where he was a partner in a succession of architectural firms. The scope of Frederick Clere's work illustrates his versatility. From 1883 to 1888 he was architect to the Wanganui Education Board. He designed large country homes, such as Overton near Marton, and many houses in Wellington. His surviving commercial buildings include Wellington's AMP building Frederick de Jersey Clere and two harbour board buildings on Queen's http://www.dnzb.govt.nz/dnzb/default.a Wharf, Wellington. Clere's early houses and sp?Find_Quick.asp?PersonEssay= his commercial and public buildings were C113_0_PAColl-5936-06ClereFdj.jpg generally conservative in design. His building techniques, however, were more innovative, particularly in their attempt to minimise earthquake and fire damage. Clere is chiefly known, however, for the more than 100 churches he designed as architect to the Wellington Anglican diocese from 1883. Until 1904 these were of timber and were mostly in country districts; they are exemplified by St John's in Feilding. For urban churches on a larger scale Clere made increasing use of brick, as at All Saints' in Palmerston North, and ferro-concrete, notably for St Mary's in Karori, St Matthew's in Hastings, St Mary of the Angels in Wellington, and St Andrew's in New Plymouth. Almost without exception Clere's churches were an economical and unostentatious adaptation of the contemporary Gothic
5 Maclean, Susan. 'Clere, Frederick de Jersey 1856 - 1952'. Dictionary of New Zealand Biography, updated 7 April 2006 URL: http://www.dnzb.govt.nz/
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Revival style, expressed particularly by the pointed arch and a variety of roof- truss constructions and forms of tower or belfry. About 85 of these churches still stand. Clere was elected an associate of the Royal Institute of British Architects in 1882 and a fellow in 1886; he was honorary New Zealand secretary for many years. He resigned from the institute only in 1948 at the age of 92. Clere also served as president of the Wellington District Branch of the Association of Architects, and was a foundation member, treasurer and later a fellow of the New Zealand Institute of Architects. He published a number of articles, on art and architecture. Apart from his involvement in his profession, Clere served on the Wellington City Council, the Lower Hutt Borough Council, the Anglican diocesan and general synods, and the licensing bench. He was a life member of the Waiwhetu Lodge of Freemasons and of the New Zealand Academy of Fine Arts, with whom he exhibited watercolours. Clere was awarded the King George V Silver Jubilee Medal in 1935. Mary Clere died at Lower Hutt on 7 April 1904. On 17 October 1905, at St Paul's Cathedral Church, Wellington, Frederick Clere married Elizabeth (Bessie) Johnston Ingles; they were to have two daughters. He died at Wellington on 13 August 1952, at the age of 96; Bessie Clere had died in 1920. A devoted family man of deep personal integrity, he cared greatly for the reputation of his profession. In both his personal and professional lives he rejected affectation and excess. As an architect he is highly regarded for his success in marrying European styles to New Zealand conditions.
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3 Describing the place 3.1 Architecture
Description of the church Clere's revised design for All Saints’ church reflects his skilful adaptation of European architectural styles to suit New Zealand conditions. The Church was designed in a mix of styles but more elements were in the Perpendicular Gothic style favoured by American architects of the period. The design celebrates the use of brickwork, and was reputedly made from 365,000 red bricks arranged in the strong, English bond pattern. The Church was based on a rectangular plan and dominated on its west elevation by a rectangular tower that soared above the Grand Hotel building opposite. The symmetrically designed interior allowed seating for up to 950 people and incorporated a small chapel and baptistery. Regularly placed arches of jarrah supported the roof frame. As with many of Clere’s designs, the church uses a familiar palette of architectural elements, but which are combined in a unique manner. The church has two main entrances, one under the tower on the north-east corner, and the other on the other side of the central baptistery (the front entrance is described as the west elevation on Clere’s drawings and this reference point will be used to describe the church). Side entries are on the north and south. The baptistery has a triple arched opening into the nave. The nave comprises a rectangular space with aisles but without clerestory. The chancel with Choir and Sanctuary are contiguous with the nave with the same ceiling height and continuation of hammer beam trusses to the east window. The organ is located opposite the chapel and the Choir Vestry is to the south of the organ chamber. The Clergy Vestry is at the east of the organ chamber and can be accessed from the exterior, the Choir and the Choir vestry. A north porch is located by the chapel and a south porch is opposite by the organ chamber. The church has a main gable facing the street extending the full length of the church with a south gabled transept over the organ chamber. The chapel has a gabled roof parallel with the main roof and the north and south porches both with gables at right angles to the main gable. The tower porch has a skillion roof extending from the base of the tower and the west porch has a stepped gabled roof facing the street. The baptistery, choir and clergy vestry have flat roofs. The exterior has exposed brick walls, parapets, buttresses with gabled copings,
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string courses, hood moulds, and a plinth at the base. The baptistery parapet has blind arcading as does the top of the tower. The tower has corner and intermediate pinnacles, also of brick.
The structure of the interior is exposed, with rimu sarking, hammerbeam roof framing, iron bolted arches between jarrah posts, and uncoated brickwork to the walls. The aisle arches are joined by simple lancet shaped timber arcading off which are the hammerbeam frames to the nave roof. The chapel is separated from the chancel by two arches with timber screen infill. The east window, in Perpendicular style, has five main leaded painted windows, with four smaller windows above the three central windows and three windows above the side main windows. The west window has the same form as the east but with diamond leaded glazing. The bays between buttresses have double leaded and painted glass windows also in the Perpendicular style. The general style of the building is Gothic, but with a combination of elements from different Gothic periods. The relatively compact but spacious plan form of All Saints’ was common in both the Decorated and Perpendicular periods. The main east and west windows are Perpendicular with drop arches of the period, but the windows to the aisles are flat, uncommon for any Gothic period. The hammerbeam roof is also typical of the later decorated or earlier Perpendicular period while the more common Perpendicular roof was shallow or flat. The nave has no clerestory (a feature of the original design), as was common for a number of Clere churches, while his signature use of sharp angled windows can be seen in the gable above the west porch. The buttresses are relatively flat,
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common in earlier forms of Gothic, while the gabled copings are more common on Early English Gothic. The plain hood moulds without crockets or returns was common in the Decorated period while the tower, without a spire follows the Perpendicular period.
Significant items and their association with All Saints’ Interior spaces and fabric have associations with significant events, parishioners and benefactors6. The kauri reredos was dedicated in memory of Mr D J Rogers, a benefactor of the church. Above the reredos is the east window, which was installed as a memorial to those who died in the First World War and as a thanksgiving to peace. “Christ is enthroned in glory as the Peacegiver. He is surrounded by soldiers of the Allied Nations with the flags of their countries, kneeling in homage to the Lord. Around this central group in a magnificent array of colour – amber, ruby, gold and blue – are the Apostles, Saints and Martyrs of the Church, united in the “Te Deum Laudamus”. The font in the baptistery, consecrated by the Bishop on 6 May, 1914, is fixed on top of the foundation stone of the church. Under the stone is a copper time capsule. The five windows in the baptistery are, from the south, in memory of the All Saints’ Guild founded in 1892, Archdeacon Kenney, Gwyneth the daughter of Archdeaon Harper, Beverley Stevens, and Mrs Mabel Runnicles, wife of choirmaster Mr Runnicles. The choir stalls were the gift of All Saints’ Guild in 1949, and were carved by Frank Guernsey. The organ was built in 1929 by George Croft and Son of Auckland. Frank Guernsey also carved the reredos, a memorial to Revd. H G Rosher. and the Oamaru limestone altar, given in memory of pioneer layman Alan Skerman. Two niches by the foot of the altar contain two stone carvings, given in memory of John Holmes Runnicles, organist and choirmaster. The communion rails were given in memory of Mrs. Thomasine Hewitt. The handrail by the choir stall was given in memory to Mr H G Bagnall, People’s Warden and Secretary and Mrs Bagnall. The kauri screen to the Chapel was dedicated in 1970 to the memory of Mr H L Butcher. On either side of the screen on the chancel side is carved a border of six New Zealand birds, a penguin, fantail, kea, bellbird, kaka and gannet. The Chapel side has a kiwi, weak, duck, tui, black teal and an albatross. The carvings were carried out by
6 King, Bettyer and Wright, E R, A thing of beauty, Manawatu Standard ,Ltd, 1975, 12-
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Mr J C Vivian, a pupil of Frank Guernsey. In 1973 the organ was overhauled with the pneumatic action replaced by electric. The Chapel has windows depicting St Chad, St Aidan and St Columba. The St Chad window was installed in memory of Own and Ellen Tyerman, and was built by James Powell and Sons, Whitefriars Stained Glass Studios in Middlesex, England. The St Aidan window is in memory of Edward Howard Morrah, Vicar’s Warden, while the St Columba window is dedicated to James Mitchell who succeeded Edward Morrah as Church Warden. The centre window is in memory of James and Caroline Skerman, parents of Alan Skerman who was a pioneer layman. Kauri partitions matching the kauri screens were installed were given in memory of Dugald MacKenzie. Other windows as memorials include the four lights at the top of the Resurrection window in memory of Henry Scott McKellar and the St Francis of Assisi window is a memorial to Mrs Mabel Runnicles, a parishioner; Furniture and fittings, such as the pulpit, lectern and reading desk, were also given in memory to parishioners.
Architectural analysis of All Saints’ As can be seen, the design of the church mixed a number of Gothic styles common in the Free Gothic of the Arts and Crafts tradition but with more elements following the Perpendicular style. In this respect Clere follows the American, rather than the English, Arts and Crafts style but with an English freedom and inventiveness in interpretation of Gothic forms and details. The building was designed for the site as a parish church, with a tall tower, which would be visible from a great distance, in the traditional English tradition. The site was long and narrow and the design of the church reflects this, following the simplicity of English Arts and Crafts architects of the time. The plan form of All Saints’, Palmerston North, can be compared to the ‘ideal’ Gothic parish church plan in the decorated style, which the High Victorian followers of Gothic would have regarded as a model. These churches commonly had a central tower, clearly articulated separation between nave and chancel, aisles, entry on the side but under the tower was acceptable, transepts were optional and a vestry off the chancel. Clerestories were almost obligatory. Perpendicular parish churches were generally rectangular in plan, without transepts, and aisles the full length of the church. The tall pinnacled square towers were either centrally located or to one side, but within the rectangular plan. Entries were from the centre front or from the side. All Saints’, Palmerston North, instead follows neither of these historical precedents fully, but a mix of both and with elements of neither. The building
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has a corner tower but outside the nave plan, it has an entry at its base with others on the north and south, no externally defined transepts, no clerestory, and one chapel as an extension of the nave, but no symmetry of plan or form with the organ chamber. The vestry is behind the organ chamber as a separate extension from it. The hammerbeam roof framing was common in the Early English period. Not consistent with the Arts and Crafts tenet of using locally hand-made elements, the Church includes machined Australian timber and brick but many of the interior fittings are hand crafted including the font, pulpit, reredos, altar, lectern, and communion rail. It is likely that the bolts and arched interior timber were also wrought by hand. The church design therefore clearly follows a combination of English Arts and Crafts Free Gothic architectural styles and philosophies while also following, in some areas, an academic use of the Perpendicular style popular in the United States. This is to be compared with Clere’s contemporary church architects, who largely followed an academic approach to Gothic.
Adjacent townscape All Saints’ is set in the centre of the CBD near the south-west corner of the Square and clearly visible from over one diagonal half of it. There are two and three storied buildings adjacent and opposite. A brick wall and cast iron gate enclose the southern landscape of the church which contrasts with the otherwise built streetscape. To the west are smaller commercial buildings and car parking for the Council building. 3.2 Schedule of spaces and fabric A detailed inventory of spaces and materials is included in the appendices. 3.3 Materials used in the building The use of materials is an area of assessment in the HNZ guide discussed under the headings of architecture and technology. In order to make an assessment of the qualities, representativeness and potential rarity of any materials, an understanding of their use and history is warranted. The main materials used in the construction of the church are brickwork, timber roof and interior framing, flooring and trim details, tile roofing to the entry porch and relatively new copper roofing to the remainder of the church. An outline history of the original materials is included in the appendices.
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4 Assessing the place 4.1 Significance assessment The significance of a place is generally derived through a process of: • Understanding the heritage values associated with the place and • Assessing the relative importance of these values based on a range of relevant criteria. For the purposes of this Plan the assessment of the significance of the building and its constituent fabric/elements has been informed by the qualities identified in the definition of historic heritage contained in the Resource Management Act 1991 (RMA). (Resource Management Act 1991) These are as follow: a) means those natural and physical resources that contribute to an understanding and appreciation of New Zealand's history and cultures, deriving from any of the following qualities: (i) archaeological: (ii) architectural: (iii) cultural: (iv) historic: (v) scientific: (vi) technological; and b) includes - (i) historic sites, structures, places, and areas; and (ii) archaeological sites; and (iii) sites of significance to Maori, including wahi tapu; and (iv) surroundings associated with the natural and physical resources. Although the RMA provides no further clarity regarding the meaning of the qualities outlined in (a)(i) – (vi), interpretive guidance is provided in Sustainable Management of Historic Heritage Guidance Information Sheet 2, 2007 prepared by Heritage New Zealand Pouhere Taonga (HNZPT). The following assessment of heritage values is based on the guidance provided in this information sheet as well as other relevant international criteria. Each value is graded as high, moderate, low and negligible with an explanation of each in Appendix 2.
Physical values • Archaeological information The archaeological values of the church have not been assessed in this conservation plan. However, as a previous church was on the site prior to 1900, the existing location is an archaeological site under the Heritage New Zealand Act. • Architecture The church has high architectural values as an uncommon combination of the English Arts and Crafts influenced Free Gothic and Perpendicular Gothic styles. Clere, the architect of All Saints, designed over 100 churches in a number of styles and materials with each uniquely designed to suit the requirements of the parish community.
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The church is a key heritage building in the urban fabric of Church Street and The Square, the heart of Palmerston North, since it was founded. Its location, forms, scale, materials and details greatly enhance the south-west corner of The Square. • Technology and engineering values The church has moderate technology and engineering values as it was constructed using mostly standard building techniques and materials of the period, such as brick and timber. However, a number of elements have been well detailed and made, such as string course and base details to the brickwork and internal timber hammerbeam and truss details. The screens, reredos, window joinery, door joinery, leaded painted glass, and other carved details are of exceptional quality of design and execution reflecting a high level of craftsmanship. • Scientific All Saints’ has low scientific values in its use of locally manufactured brickwork and, it is presumed, locally milled timber. • Rarity The church has high rarity values as the largest parish church in the Wellington Anglican diocese. The church is one of few brick churches Clere designed. Clere used a number of styles as well as combining styles, when designing churches, whereas his contemporaries tended to follow the High Victorian decorated Gothic. • Representativeness The church has high representative value as one of over 100 churches designed by Clere, many of which are listed on district plans. It is one of 20 churches of a total of 27 buildings designed by Clere registered with Heritage New Zealand. The building is a representative example of an Anglican church in its plan form, style and elevations, as well as a substantial example of a church designed by Clere. • Integrity The church has high integrity with the only major modification to the building being the replacement of most of the roof with copper. • Vulnerability Being constructed of brick masonry, the building is vulnerable to earthquake damage. It has no sprinkler system. • Context or group The building has high group values being a primary heritage building on Church Street and The Square, while also being one of the 100 or more churches designed by Clere in the lower North Island.
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Historic values • People The church and site have high historic people values. The site is associated with Bishop Hadfield who purchased section 838 with the intention of constructing a church. Since this time, the churches and site have been associated with the clergy and parishioners, many of whom were or are significant members of the wider community such as former Mayor George Snelson, who served the church in many ways. The church was designed by Frederick de Jersey Clere the most significant church architect of the period in New Zealand and well recognized for his other non-church commissions. Many of his buildings, both church and secular are now registered with HNZ and listed on local authority District Plans. • Events The church has moderate historic events values with both major and regular events. The major events comprise the foundation stone laying on 1 November 1913, dedication on May 6 1916 and the consecration on 29 October 1916. Other significant events included the World War I memorials being installed in the Church, and the installation of the WWI memorial east window in 1924. The regular, typical services of a parish church include church services, weddings, baptisms, and funerals. • Patterns The church has high historic pattern values as it reflects concern of early settlers to have a place of worship. The first settlers arrived in Palmerston North in 1867 with the first building erected in 1870. In 1872, the first Anglican service was held in a saw mill and subsequent services were shared with Presbyterians in the court house. The first church on the site was constructed in 1875.
Cultural values • Identity The building has high identity value as a local landmark because of its scale, design, form, use of materials and visual prominence on Church Street. The heritage values of the building are well known with the building being listed by Heritage NZ and the Palmerston North City Council. • Public esteem The building has high public esteem values as evidenced by the public interest in its retention and strengthening. • Commemorative The building has high commemorative values as seen in the numerous
21 Conservation Plan • All Saints, Palmerston North
memorial plaques within the church. One of national significance was that of Lt Col. William George Malone, one of New Zealand’s most outstanding soldiers in the Gallipoli Campaign. • Education All Saints’ has high education values in the history of church architecture in New Zealand as well as the history of the Anglican church in Palmerston North, and the All Saints’ parish in particular. • Tangata whenua Not assessed. • Statutory recognition The building is registered category 1 with HNZ and listed on the Palmerston North City District Plan. The building is located in a Council listed heritage area.
Authenticity The church has high levels of authenticity. Form and design The form and design of the building has been retained unchanged. Materials and substance As the whole of the building has been retained, its materials and substance have also been retained. Use and functions The church has retained its original use and function. Tradition, techniques, and workmanship Given that the original fabric, fittings, fixtures and fabric have been retained, so too have the traditions, techniques and workmanship of their manufacture, construction and finishing. Location and setting Several historic buildings between 1900 and the 1940s survive near to the church. These include the Grand Hotel opposite, Square Edge (the former City Council Building), the Theosophical Hall and houses at 320 and 314 Church Street. Other surrounding buildings are more recent with building mainly from the 1980s and 90s. The church is located in close proximity to The Square, which is the dominant urban design element of the city. Spirit and feeling The style, scale, use of brickwork and interior design give the building a sense of solidity, age, quiet dignity, and ambience appropriate to a church. 4.2 Summary statement of heritage significance All Saints’ has high regional significance for its association with the history of
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the Anglican Church in Palmerston North and for its architectural qualities. The Diocese purchased the site nine years after the establishment of the township and three years after the first building was erected. It has owned the site for 142 years. The third church on the site, the present church, was designed by the foremost church architect of the period, Frederick de Jersey Clere. He was the Diocesan architect and designed over 100 churches in the lower half of the North Island. It is the largest church in the Wellington Anglican Diocese. Clere’s design of All Saints’ is an individual and finely detailed expression of the Gothic style with a very high quality of construction and internal fittings. It also achieves its design intention of creating a landmark on Church Street and at the southwest corner of The Square. While it is a typical parish church, it contains memorials to local and national figures, with one being the highly decorated Gallipoli war hero Lt Colonel William George Malone. The building is held in high public esteem not only for its high heritage values but also as a principal building at the centre of the city. 4.3 Degree of significance
Explanation In order to formulate policies to care for All Saints, spaces, elements and fabric, the relative significance of the main spaces, the exterior elevations and the fabric of both are assessed according to the following levels of significance: • High significance indicates that the space or element has a primary role in understanding the heritage significance of the place; • Some significance indicates that the space or element has a secondary role in understanding the heritage significance of the place; • Little significance indicates that the space or element has a minor role in understanding the heritage significance of the place; • No (or none) significance indicates that the element has no role in understanding the heritage significance of the place; • Intrusive indicates that the heritage significance is adversely affected by the inclusion of the space or element. The spaces are also assessed according to the relative levels of authenticity as High, Some, Little, or none where appropriate. The assessments are made on the basis of the information available when writing this plan, and where additional information becomes available, the assessment of spaces and fabric may have to be revised.
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Exterior
Element Significance Reason Authenticity
Roof and High The roof is the fifth elevation and, with Some -high. The roof tower the tower, is a highly visible and an form and structure are intrinsic part of the overall composition. original, but with most of The form and detailing of the roof are the cladding replaced. consistent with the Free Gothic style
North High A simple side elevation defining the High. The elevation is elevation northern aisle, it reflects the largely unchanged since straightforward interior planning of the 1914.
church. Its scale, forms, materials, openings, buttresses and decorative detailing are character-defining elements in the design and are consistent with the Free Gothic style.
East High The major and minor gables with their High. The elevation is elevation large east windows are significant elements largely unchanged since in the design of the exterior, which express 1914. the form and location of the chancel and chapel. Its scale, forms, materials, openings, buttresses and decorative detailing are character-defining elements in the design, and are consistent with the Free Gothic style. The link with the new parish centre is modest and has little effect on the visibility and understanding of the elevation.
South High Although more complex that the north High. The elevation is elevation elevation, it too demonstrates the planning largely unchanged since of the church with the external expression 1914. of the organ loft, choir room and vestry as well as the southern aisle. Its scale, forms, materials, openings, buttresses and decorative detailing are character-defining elements in the design and are consistent with the Free Gothic style.
West High This is the primary street elevation where High. The elevation is elevation Clere has successfully balanced tower, largely unchanged since nave, aisles, baptistery and entries. It is a 1914. Changes to the well recognised landmark in the CBD immediate environment of defined by its scale, form, and materials, the elevation include which are also its character defining installation of the ramp,
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Element Significance Reason Authenticity
elements. and the iron fence on the wall being removed at the north-west end.
Landscape Some There is little obvious landscape design to Little/some the garden, however the wrought iron fence to the south of the West Elevation has some value in its traditional design and materials while also defining the boundary of the church with the street.
Ground floor
Element Significance Reason Authenticity
Nave, chancel High These are the primary spaces for High. The spaces are largely Anglican worship with related unchanged. furniture and fittings. The interior represents the very highest level of design, craftsmanship and materials.
Aisles High As they are interconnected High. The spaces are largely physically and visually with the unchanged. nave, the aisles are also primary spaces. They are a practical and traditional element of the interior planning of larger churches. Like the nave and chancel, they represent the very highest level of design, craftsmanship and materials. In addition there are a number of memorials associated with past parishioners and clergy, which are intimately associated with the life and history of the church.
Chapel High As it is interconnected physically High. Largely original. and visually with the nave and chancel, the chapel is a highly significant space, for worship or prayer. It has similar but fewer fittings and fixtures as the chancel and, like the chancel, its design, craftsmanship and materials are of the highest standard and equal to the nave and chancel
25 Conservation Plan • All Saints, Palmerston North
Element Significance Reason Authenticity
Baptistery and High The baptistery is a primary space Some – high. The two spaces south-west where a principal sacrament of the were originally open between entry porch Christian church takes place, but but a partition has been which still retains a visible and open installed7. connection to the nave. The font is the focus of the space, which, with the stained glass windows, contribute to its quiet dignity. These elements have also been designed and crafted to the highest standards.
North-west High This is the main entry to the church High. Largely original. corner porch and is a primary space. The details are simple but appropriate with substantial solid timber doors to the street and leaded glass doors to the church giving light and view into the interior.8
North and Some The spaces are secondary yet High. Largely original. south entry maintain the high quality of design, porches materials and craftsmanship of the remainder of the church.
Choir room Some The space is a secondary space for Some. Space has been and vestry meetings and robing, and has been subdivided and refurbished designed as a more utilitarian space. including creating a corridor The quality and design of the door from the new access from the and window joinery is the same as parish centre. the remainder of the building.
7 The church notes that the Baptistery has not been used for baptisms in over 30 years. They advise that it is unlikely to be used for the sacrament of baptism in the future. 8 The church notes that entrance is not appropriate for the health and safety requirements of the 21st century. They advise that it is too small for the size of the church.
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5 Conservation issues 5.1 Influences on conservation policy
Owner’s objectives The following text in italics was contributed by the church. All Saints’ Church is owned by the Wellington Diocese of the Anglican Church. Accordingly the goal for the building is to facilitate the mission, vision and values of the Diocese: • We are family, we are disciples, we care for the last, the lost and the least. • We are a transformative movement of joyful and loving local faith communities bringing the good news to all. • We are wholehearted disciples of Jesus, proclaiming the kingdom of God, growing in faith, trusting in the Holy Spirit, and bringing people to Christ. These are fully supported by the Parishioners of All Saints who fund, maintain and, until recently inhabit and worship in the All Saints Church (note that due to the risk of earthquake, the Church building has not been used since 2013). The building has a heritage of over 100 years as the centre of worship and community in the City of Palmerston North; the Parishioners (and the wider community) are keen for this legacy to endure for another hundred years. To strengthen the building to 100% of present building / earthquake standards will cost $5-6m (it presently rates at ~3% of NBS). This is a substantial amount for the Church and Community to raise and can only be justified if the building is to offer practical utility to both Parish and City over the long term. This will require some present building inadequacies to be addressed while still preserving the historic nature of All Saints Church. Clearly there are many features of the existing Church that have special appeal to the Parish and the City: • An ecclesiastical presence in the centre of the city for over 140 years • It is a “splendid example of the High Victorian Gothic principle of honesty in construction. The brickwork, which is among the finest in New Zealand, is not disguised; neither are the interior wooden roof supports. The overall style of the church illustrates Clere's free interpretation of Gothic Revival architecture.” (Heritage NZ) • The distinctive red brickwork and prominent tower make a strong visual impact on the Square • The attractive interior that has been in place for the past 50 years with its extensive wooden carving, stained glass windows, and the magnificent pipe organ. • A number of significant memorials, especially relating to World War I (when the existing Church was brand new); one is to the nurses who served, which is unusual. • The large and potentially flexible space with a different atmosphere than most other
27 Conservation Plan • All Saints, Palmerston North
community spaces in the city (which are generally 80 years younger and sterile in comparison to the All Saints building). Once inside the building (the entrance being a specific issue), it offers a warm and welcoming ambience. This encourages groups to explore different ways of meeting and coming together in community and fellowship. These features need to be preserved to appeal to both Church-based users and the wider community. To give some appreciation of the spread of users, the following table identifies past and potential future uses of the Church facilities: Church Community
Past Worship Services (ranging from formal & Concerts featuring a wide range of musical traditional style with full choir and organ styles and artists (e.g. Dave Dobbyn, Bic to modern family and youth services with Runga, Brooke Fraser, PN Jazz a band to intimate Prayer & Praise Festival, etc.) services) Community meetings Public celebrations including Midnight Services and Activities for a wide variety Mass and the Traditional 9 Lessons & of community groups (Schools, Scouts / Carols Services (which historically fill the Guides, Youth, Women’s Groups, etc) building to capacity) Funerals
Weddings Synod services (for the wider diocese)
Etc.
Potential Full Diocesan Synod Meetings Art displays
Archdeaconry Meetings Theatre
Ecumenical Church events for the wider A variety of different activities that will Palmerston North faith community emerge over future years
A variety of different experiences of God and Spirituality
To ensure that All Saints can re-establish its place as a key part of the Parish and City communities, the earthquake strengthening project must deal with fundamental building inadequacies. These alterations need to retain the historical features of the Church but also take into account future use of the building for the next 100 years. There is an expectation that whilst respecting the character of the interior, the restoration will allow the building to fulfil the goals of today’s worshipping community and changing patterns of worship. The Church sees 7 major inadequacies that it would like to address in any future building project. These are: Goal Inadequacy Countermeasure
1 Be a welcoming, The present Church Street The general Church opinion is that open Church frontage is “unfriendly” with the building needs to be more open heavy wooden doors and narrow and inviting, allowing pedestrians a
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egress. Before closing the at-risk visible connection to the inside of the building in 2013, this already Church. The planned inhibited casual visitors and was countermeasure is that the Baptistry, challenging for both funerals and barely used for its original purpose weddings (e.g. carrying a casket since 1980, be redesigned for the through the entrance was main entrance to the Church, with difficult). This would be glass sliding doors to provide open accentuated in any strengthening lines of sight to the Church. A of the tower, where the revised location and format for baptism entranceway will need to be even is under consideration. narrower to accommodate thicker walls and cross-bracing.
2 Be an hospitable Hospitality occurs over food in It is planned to provide a covered Church gathering spaces; presently there meeting facility, adjoining the Church is no capacity for groups to gather entrance. (A number of the churches except in the Community Centre in Palmerston North have added a at the back of the property. facility on their street frontages for While this facility is excellent, its parishioners to assemble either before location means it is mainly or after services in a covered area, to appropriate for events taking protect them from wind and rain). place in the Community Centre, During the week this area would also not those taking place in the provide a meeting area for small Church. There is an increasingly church groups. An extension of the common practice to serve tea and roof over the pavement would provide coffee after Church services to weather protection for weddings and build fellowship in the funerals. community.
3 Be a versatile Church The fixed pew seating limits the Flexible & removable seating (already facility use of the Church to formal and accepted by the Parish) provides traditional services and concerts versatility to accommodate different types of events, such as community meetings, art displays, theatre, etc.
This extends the potential uses of the Church, especially during weekdays e.g. it would be ideal for holding the Diocesan Synod or conducting art displays. This would provide an increased income stream for the Church.
4 Be an accessible The present office location at the Offer a reception accessible from the Church back of the Church is almost street as part of the proposed entrance invisible to people and thus facility. This will allow the Church inhibits “the last, the lost and to function more effectively, as it will the least” from accessing the have a daily presence on the street services of the Parish community.
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Note that since the closure of the frontage to help those in need. main building there has been a 50% reduction in visitor numbers.
5 Be a safe Church for Even with the strengthening of Replace masonry parapets with light the community the building the frontage weight reinforced materials. Passers-by continues to carry some risk for will be further protected by the passers-by with its heavy proposed entrance facility. masonry parapets
6 Be a practical Church There are extensive and It is planned to replace the existing inevitable deficiencies in the 100- roof (already a replacement for the year old construction – especially original), and gutters. Replacement with respect to weather-tightness materials would be selected for long & long term maintenance term maintenance and reasonable cost and where practical environmental technologies will be incorporated.
7 Be a modern Church There are extensive and Replace electrical, lighting and sound inevitable deficiencies in electrical, systems with latest technologies. A lighting and sound systems modern electrical system will be both more cost efficient and safer while the lighting system will not just be energy efficient, but enhance the interior beauty of the building. Improving the sound system is critical to offer flexibility for different types of event – both music and speaking.
Building condition A condition report was not commissioned with this conservation plan. It is presumed that the condition of the church is similar to that in 2008 when the author prepared a condition report to accompany the previous conservation plan. Based on a site visit to inspect and photograph the building to assess changes since 2008, some general items relating to its condition were noted. There are: • moss, lichen and algae on parapets, coping, sills, hood moulds; • residual ‘bloom’ from a possible application of Formstar; • splitting brickwork, likely due to rusting hoop irons and rusting steel lintels; • rusting cast iron downpipes; • there is vegetation growing close to the base of the building; • efflorescence, particularly to the interior; • some (water?) staining to the ceiling; • areas of missing pointing to the interior and exterior;
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• some staining on interior brickwork; • coating damage to interior and exterior timberwork. Note that some leaded, painted windows are protected with wire mesh on the exterior, which is not recommended. The building is earthquake prone and requires strengthening. It has not been used for services since 2013.
Legislation
Heritage New Zealand Pouhere Taonga Act 2014 (HNZPTA) The building is listed category 1 on the New Zealand Heritage List/ Rarangi Korero as an historic place (see 1.7 above). HNZ is required under HNZPTA to establish and maintain a register of historic places, historic areas, why tapu and wahi tapu areas. Registration with HNZ is an indication of the heritage value of the place only and does not place any form of control or restriction. At least one building is known to have been constructed on the site prior to 1900 therefore its location is deemed an archaeological site under the HNZPTA. Consequently, an archaeological assessment may need to be prepared prior to any future activity (e.g. earthworks) being undertaken. Consultation with HNZ is recommended.
Building Act 2004 (BA) The BA regulates all building work in New Zealand and outlines the functions of territorial authorities as building consent authorities. In exercising functions under the BA, building consent authorities need to ensure that buildings are safe, promote physical independence and wellbeing, have adequate fire escape provisions and are designed, constructed and able to be used in ways that promote sustainable development. They are also required to take into account the principles in section 4, which include the need to facilitate the preservation of buildings of significant cultural, historical or heritage value and the importance of recognising any special traditional and cultural aspects of the intended use of a building. Regardless, there can be tensions between the requirements of the BA and the purpose and principles of the RMA and HNZPTA. The tension stems from the focus on ensuring building safety, amenity and access under the BA, and protecting historic heritage under the RMA and promoting minimal change to heritage buildings under the HNZPTA. Although the general repair, maintenance and replacement of existing building components are exempted from building consent, building work involving any alteration to the building is likely to require a building consent and will need to comply with the requirements of the BA.
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Resource Management Act 1991 (RMA) Under section 6(f) of the RMA the protection of historic heritage from inappropriate subdivision, use and development is a matter of national importance. Historic heritage is further defined as those natural and physical resources that contribute to an understanding and appreciation of New Zealand’s history and cultures, derived from the associated archaeological, architectural, cultural, historic, scientific or technical qualities they possess. Such resources include: • Historic sites, structures, places and areas; • Archaeological sites; • Sites significant to Maori, including wahi tapu; and • Surroundings associated with these resources. The requirement to protect historic heritage is largely facilitated through the policy and regulatory framework contained in policy statements and district plans prepared and administered by local authorities, including the need for a resource consent to be sought and obtained for any works that could have an adverse effect on identified heritage values.
Palmerston North City District Plan Under the RMA, the Palmerston North City Council is required to recognise and protect the heritage value of sites, buildings, places or areas. The Council therefore has included Section 17: Cultural and natural heritage in the District Plan. This section includes objectives, policies, methods and rules relating to built heritage. The section also includes a schedule of buildings and objects of cultural heritage value under Appendix 17A. Generally routine maintenance and repair and internal alteration and demolition are permitted activities. External alterations to Category 2 scheduled buildings located in the residential zone are controlled activities in relation to cultural heritage values and design and appearance. Restricted discretionary activities include the relocation of Category 2 buildings in relation to cultural heritage values and design and appearance. Restricted discretionary activities also relate to Category 1 and 2 buildings not located in the residential zone in relation to cultural heritage values and design and appearance. Total or partial demolition or the destruction of a scheduled building is a discretionary activity. As described above, All Saints’ church is listed, reference 1, in the schedule as a Category 1 building.
International conservation recommendations
ICOMOS NZ Charter 2010 The International Council on Monuments and Sites (ICOMOS) is a non- governmental body organised through UNESCO, which promotes the
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practice and standards of conservation through its international and national committees. Each committee is required to determine standards for conservation in its member country. The New Zealand National Committee of ICOMOS is recognised by HNZPT, the Department of Conservation and many local authorities as the body, which sets conservation standards and ethics for conservation in New Zealand. In 2010 the New Zealand National Committee published a revised ICOMOS New Zealand Charter, the purpose of which is to act as the guiding standard for conservation in New Zealand (refer Appendix 3). The Conservation Plan has been prepared to comply with the principles outlined in the ICOMOS New Zealand Charter (2010). All future decisions relating to the conservation of the building should be made according to the Charter principles, including ensuring that any proposed interventions are consistent with the accepted international conservation practice outlined in the Charter. The key principles in the Charter can be summarised as follows: • All work should be thoroughly documented; • Any conservation work undertaken should be the minimum necessary and reversible where possible; • Any changes should retain the significance of the place; • Any change should be based on evidence, not conjecture; • Prevention of further deterioration is desirable; • Conservation work that would enable renewal of a significant use is desirable; • Reconstruction may be desirable to improve interpretation; and • Conservation work that helps to minimise identified risks or threats to the place is desirable. Additional ICOMOS Charters and recommendations relevant to conserving the structure include the Riga Charter on Authenticity and Historical Reconstruction in Relation to Cultural Heritage (2000), the Nara Document (1994) and the World Management Guidelines for World Cultural Heritage Sites (ICCROM, UNESCO, ICOMOS) of 1993 by Sir Bernard Feilden and Jukka Jokilehto.
Authenticity Herb Stovel paraphrases Jukka Jokilehto’s chapter on ‘Treatments and Authenticity’ in the World Heritage Operational Guidelines in explaining the relationship between authenticity and intervention strategies. These strategies: … must maintain authenticity by maximizing retention of historical material, by ensuring harmony with original design and workmanship, by not allowing new additions to dominate over
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the original fabric but respecting the archaeological potential meeting the test of authenticity in design, material, workmanship or setting. … Jokilehto introduces a process for defining appropriate treatments whose first priority is to establish, safeguard and maintain the cultural resource values… and which seeks to ensure that all conservation treatments (e.g. protection, consolidation or restoration) guarantee the protection of the authenticity of the heritage site, prolonging the duration of the authenticity of its integrity and preparing it for interpretation. (Stovel, Origins and Influence of the Nara Document on Authenticity, 2008) 5.2 Threats to heritage values A key component of the management of heritage structures is identification of areas of vulnerability to their associated heritage values and implementation of appropriate actions to avoid, remedy or mitigate any actual or potential damage. The primary threats to the building are highlighted below under the following themes: • Authenticity, heritage values and use; • Building condition and structural adequacy; • Upgrading of facilities and services • Management; • Legislative influences; • Funding; • Damage that is intentional, accidental or from natural causes; • Information loss, recording and access. Corresponding policies to address the impact of these threats are set out below. Threat Explanation
Authenticity, heritage values and use a The building has high levels of authenticity. Inappropriate modification to the building fabric and spaces including partial or complete removal or loss of immovable and moveable heritage fabric can significantly reduce authenticity and therefore heritage values. This includes furniture, fittings, and memorials. b Inappropriate modification to the immediate or wider environment is likely to reduce authenticity of the setting and impact on heritage values. c The principal use of the building as a church is an intrinsic element of its heritage value. A change to a completely non-church use would considerably reduce authenticity and heritage values
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Threat Explanation
Building condition and structural adequacy d The building fabric, services and equipment require on-going repairs and maintenance. Ensuring the works are timely and appropriately defined, specified and implemented will ensure good conservation outcomes. Inadequate or inappropriately informed management of necessary works or activities could potentially undermine heritage values. e The building requires strengthening. Inappropriate seismic strengthening design may affect the authenticity of the building and remove significant elements. f Even when strengthened, the building may be damaged after a seismic event. Without appropriate planning, information and readily available materials and equipment, fabric may be lost or irretrievably damaged.
Upgrading of facilities and services g Insensitive additions or alterations to the exterior and interior of the building will result in a reduction of loss of physical and cultural values and authenticity. h Many churches require new designs for lighting, sound, heating, and visual display. The inappropriate design and installation of these elements can cause negative physical and visual impacts on heritage values and fabric.
Management i The way in which works or activities are conceived and/or executed will have a bearing on the authenticity and integrity of the building. This may include, for example, works that are poorly specified, delays in undertaking required maintenance/repairs and unsympathetic remedial or restorative work. j Obtaining inadequate or unqualified advice through employing consultants or workers with little or no training and experience of built heritage conservation to undertake design or physical work on the building is likely to impact on heritage values, significance and authenticity.
Legislative influences k The requirement for statutory compliance with existing and future changes in legislation affecting buildings, such as recent and far ranging changes to the Health and Safety Act, may impact on the authenticity, heritage values and significance of the building. Changes to the District Plan may also affect heritage values. l The recent history of the building shows that demolition has been seriously discussed as an option because of costs to strengthen. Demolition would result in total loss of heritage values. The current protection for the building is listing on the District Plan, which is not absolute protection. Enhancing protection of the church for its long-term
35 Conservation Plan • All Saints, Palmerston North
Threat Explanation
retention is of extreme importance.
Funding m Maintenance, repairs and seismic upgrading will require adequate funding. There will also need to be an adequate funding source or sources for on going maintenance and repair. Without adequate funding the building is likely to fall into disrepair with future loss of heritage values.
Intentional or accidental damage n Arson caused the destruction of an earlier church in the site. The interior of the church has extensive timberwork that could be damaged by fire. The building is located in an area that is publicly accessible where graffiti and vandalism are not uncommon. The potential damage and costs involved in carrying out repairs may be substantial depending on the extent of damage. o The building is earthquake prone. An inappropriate design can damage authenticity and heritage values. Even when strengthened, there is the possibility of damage. Appropriate measures will need to be in place to limit possible loss of heritage fabric. p Climate change is occurring with extreme weather events possible. As with earthquake damage, appropriate measures will need to be in place to limit possible loss of heritage fabric.
Information, recording and access q Where interventions such as modifications, maintenance and repairs are not recorded, it will not be clear what has been undertaken and when. This can result in confusion as to what is original or later fabric as well as an inability to monitor the effectiveness of previous interventions. r Similarly, the failure to record and appropriately store interventions and losing and/or damaging archival information (e.g. documents, photographs, unrecorded oral histories) could erode an understanding of heritage values and success or otherwise of interventions. s Limiting information and access to the church may affect appreciation of it by the public and a consequent diminution of interest in and funding for it.
.
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6 Managing the place 6.1 Policies and priorities The conservation policies and actions outlined in 6.2 and 6.3 below have been developed in response to the significant heritage values associated with the building identified in section 4.2, and the potential threats to these values identified in section 5.2. To help put the policies into context and to facilitate their implementation alongside each policy is the relevant threat/s to which they are a response along with their relative priority. The priorities have been assessed and assigned using the following graduated scale: • Immediate – As soon as possible; • Urgent – Within three months; • Necessary – Within one to three years; • Needed – To be implemented when the circumstances require; • Desirable – Whenever possible, or as funding permits; • On-going – Implemented over time as funding permits.
6.1.1 Policies Identified Threat9 Policy Policy Priority No.
General
5.2.2 a, b, d, e, g, h, I, 6.1.1.1 The polices identified in this plan should be Desirable ,j, k, l, n ,o, q, r adopted by those responsible for the church as a guide to future maintenance, repair and conservation.
5.2.2.a, b, c, d, e, f, g, 6.1.1.2 All conservation work should be consistent with On-going I, j, n, o, p, q, r the ICOMOS NZ Charter for the Conservation of Places of Cultural Heritage Value 2010.
5.2.2 g, j, k 6.1.1.3 All statutory requirements should be complied Needed, with, and careful attention applied to any on-going requirements that have the potential to compromise the character and integrity of significant elements and fabric.
Conservation, repair and maintenance Skills
9 Refer Section 5.2
37 Conservation Plan • All Saints, Palmerston North
Identified Threat9 Policy Policy Priority No.
5.2.2. b, d, g, , h, I, j, 6.1.1.4 All design, planning, documentation and Needed, q, r resulting maintenance, repair and stabilisation on-going work should be undertaken or supervised by people with appropriate qualifications, training and experience, including tradespeople and/or conservators.
5.2.2. a, g, I, j 6.1.1.5 Any work to the leaded and painted glass Needed windows should be carried out only by a stained glass conservator member of the New Zealand Conservators of Cultural Material.
Maintenance and repairs
5.2.2. d, I, j 6.1.1.6 Maintenance and repair should be carried out to Needed, a high standard to ensure the building is in good on-going condition.
Fittings and fabric
5.2.2 a, d, I 6.1.1.7 Retain in situ, maintain and repair, where On-going necessary all significant internal fittings and fixtures including panelling, screens, the organ, memorials10.
5.2.2 a, d, I, j 6.1.1.8 The organ is historically significant and is a Needed valuable instrument. Obtaining appropriate professional advice on maintenance is essential.
5.2.2 a, g, h 6.1.1.9 The installation of new heating, lighting, audio Needed visual and sound equipment can have a detrimental effect on heritage fittings and fabric. Discrete location of these elements is paramount to avoid negative visual and physical impacts on the interior
Restoration/reconstruction, adaptation
5.2.2 a, c, g, h, j 6.1.1.10 Any restoration, reconstruction or adaptation of Desirable the church should be based on the heritage value of the space and element.
External additions
5.2.2 a, b, g, I, 6.1.1.11 Where any external additions are contemplated Needed for the church, these shall be located in such a
10 Note that the Church resolved 5 years ago to replace the pews with chairs. This will give flexible use of the church space for a multitude of purposes.]
38
Identified Threat9 Policy Policy Priority No.
manner that they do not impact on the heritage values of the church, including visibility of and views from and of the street elevation. They should comply with the ICOMOS NZ Charter, and other relevant guides.
5.2.2 a, b, g, j 6.1.1.12 The church should select an architect with Needed experience in designing alterations and extensions to heritage churches that should also consult and liaise with a suitably qualified and experienced conservation architect to ensure the best design advice is obtained.
Structural issues
5.2.2 a, b, e, j, k 6.1.1.13 Any structural design work should comply with Needed national and international best practice guidelines.
Security
5.2.2 a, n 6.1.1.14 There are potential threats from theft, arson and Necessary vandalism. Mitigating this risk through a sprinkler system should be considered.
Setting
5.2.2 a, b, 6.1.1.15 Heritage values of the setting should be On-going maintained or enhanced where possible, in particular views to and from the church so that the landmark status of the building is maintained.
Archaeological impact
5.2.2 a, I, k 6.1.1.16 Activities within the site involving ground Needed disturbance (excluding normal grounds maintenance) should not be commenced until HNZ has either confirmed that an archaeological authority is not required or an authority has been obtained from them.
Protection and management Protection
5.2.2 a, n 6.1.1.17 Given the very high heritage values of the Needed church, protection of the building from demolition is paramount. This includes protection against man-made and natural catastrophic events.
39 Conservation Plan • All Saints, Palmerston North
Identified Threat9 Policy Policy Priority No.
Management
5.2.2 c 6.1.1.18 Encouraging interest in the church will assist in On-going increasing numbers of people willing to look after the church, and allow for succession planning for the existing group involved in caring for the church.
5.2.2 a, d, e, g, h, I, j 6.1.1.19 All persons involved in the management of the Immediate church, fittings and fixtures, including its and on- associated maintenance and repair, should be going made aware of elements and fabric identified as having significant heritage value.
Legislative changes
5.2.2 b, k, l 6.1.1.20 Monitor and submit on district plan changes that Needed and may affect the building and immediate on-going surroundings, particularly any new buildings in close proximity that may affect views, view shafts and the landmark status of the church.
Use
5.2.2 c 6.1.1.21 The existing use is intimately associated with its On-going heritage value. Maintaining a predominantly church-related use is critical to retention of heritage values.
Access
5.2.2 m, s 6.1.1.22 Continuing public access to the structure is On-going encouraged where this is feasible and does not compromise the safety and security of the Church.
Interpretation
5.2.2 s 6.1.1.23 Consideration should be given to suitable Desirable & interpretation of the Church through published On-going and/or web based formats. This could be in conjunction with appropriate organisations such as the Council archives and HNZ.
Documentation and recording
5.2.2 q, r, s 6.1.1.24 Documentation of the church and its heritage Needed & values should be considered, including further On-going documentary and photographic research into its history, use, occupation and the people
40
Identified Threat9 Policy Policy Priority No.
associated with it and preparation of detailed plans of the structure.
5.2.2 a, f, n, o, p, q, r 6.1.1.25 Inventorying and photographing all moveable Immediate fittings and fabric will assist in mitigating some of and on- the risk from theft, natural disasters and potential going earthquake damage.
5.2.2 q, r 6.1.1.26 All work to the structure should be recorded, Needed & including maintenance, repair and stabilisation On-going works.
5.2.2 q, r 6.1.1.27 Documentation should be stored in a manner Needed and that facilitates its long-term survival, accessibility on-going and easy retrieval.
6.1.2 Actions Identified Action No. Action Priority Threat11
General
5.2.2 q, r 6.1.2.1 The conservation plan is a ‘living document’ and should Needed be reviewed every 10 years at a minimum or as new and on-
material information comes to light. going
5.2.2 a, b, g, 6.1.2.2 Best practice heritage design guidelines for issues such as Needed k, n fire and egress and access for people with disabilities and on- should be followed. These include going Access: • HNZ, Providing for physical access to heritage places, 2 October • 2011, Thomas C. Jester and Sharon C. Park, AIA, Brief 32, Making historic properties accessible, 1993, US National Park Service Preservation Fire: • HNZ, Fire safety and heritage places, 25 June 2012 • Advisory Council on Historic Preservation and the General Services Administration, Fire Safety retrofitting in historic buildings, August 1989
Conservation, repair and maintenance Church
11 Refer Section 5.2
41 Conservation Plan • All Saints, Palmerston North
Identified Action No. Action Priority Threat11
5.2.2 d, I, j, 6.1.2.3 The 2008 condition report should be updated and all Urgent & m maintenance and repair work should be based on the On-going revised report with work carried out according to the revised levels of urgency.
5.2.2 d, I, j, 6.1.2.4 The church requires brick and pointing repairs, external Needed m repainting, internal recoating among other likely repairs. and on- These should be carried out as soon as practicable, going specified and observed by appropriately experienced and qualified conservation architect and implemented by appropriately qualified and experienced tradesmen, as per policy 6.1.1.4.
5.2.2 d 6.1.2.5 A preventative cyclical maintenance plan for the Necessary structure should be prepared and implemented and & On- should be reviewed on a regular basis to ensure its going continued relevance.
5.2.2 d, m 6.1.2.6 Review maintenance activities and budgets at least at Necessary yearly intervals. and on- going
Fittings and fabric
5.2.2 d, i 6.1.2.7 When work on the interior of the building is to be Needed implemented, such as the structural strengthening, adequate protection from the effects of noise, dust and vibration on the organ shall be implemented.
Restoration, reconstruction, adaptation
5.2.2 a, b, d, 6.1.2.8 A high heritage value will be a primary consideration in Needed g, h, I, j any intervention to preservation, repair, maintenance, and on- and minimum adaptation for critical statutory going requirements. Spaces and fabric of lower heritage are able to adapted to a greater extent based on the advice of an appropriately qualified and experience conservation architect.
Possible areas of restoration are limited to reinstatement of the missing roof gablets, the gable apex panelling, the tower flagpole and the original external and internal colour schemes. Taking into account earthquake issues, when roofing requires replacement a lightweight roofing material with similar visual characteristics as the original tiles should be considered.
42
Identified Action No. Action Priority Threat11
5.2.2 b 6.1.2.10 The landscape to the south of the building has not been Desirable developed. Restoration, reconstruction and/or adaptation would be appropriate
5.2.2 a, b, d 6.1.2.10 When installing new facilities in the interior of the Needed church or considering minor interior alterations, follow and on- the advice of: going
• Historic England, New work in historic places of worship, 2012. Section three covers the issues of new equipment and services.
External additions
5.2.2 a, b, g 6.1.2.11 The design of any additions to the church should be Needed consistent with the ICOMOS NZ Charter particularly and on- clause 21 Adaptation (see appendix 1). A Resource going Consent is likely to be required for any external alterations and following the assessment criteria for alterations and additions in Section 17.7.2 of the District Plan is appropriate and also will ensure an easier passage through the consent process.
In addition designs for alterations should specifically follow:
• HNZ guide, Information Sheet 12, Alterations and Addition
• Historic England, New work in historic places of worship, 2012.
5.2.2 g, j 6.1.2.12 Prior to the preliminary designs being prepared advice Needed should be obtained from HNZ and the PNCC to ensure and on-
a smooth passage through regulatory authorities. going
Structural issues
5.2.2 o 6.1.2.13 The structure has been assessed as being earthquake Urgent prone (less than 34% of the National Building Standard,
(NBS). Strengthening of the building should be undertaken as soon as possible to at least 67% NBS, the level most commonly recommended by earthquake engineers for heritage buildings.
5.2.2 o 6.1.2.14 Appropriate guidelines for strengthening heritage Needed buildings should follow the following guides: and on- • Ian Bowman and Lou Robinson ,Guidelines for going Earthquake Strengthening, New Zealand Historic
43 Conservation Plan • All Saints, Palmerston North
Identified Action No. Action Priority Threat11
Places Trust
• NZNSEE 2008 Conference proceedings , A.G. Cattanach, G.W. Alley and A.W. Thornton Appropriateness of Seismic Strengthening Interventions in Heritage Buildings: A Framework for Appraisal
5.2.2 o 6.1.2.15 The structural design should be prepared in conjunction Needed with a person appropriately qualified, experienced and and on- trained in built heritage conservation to ensure it is going consistent with conservation principles.
Security
5.2.5 n 6.1.2.16 A fire engineers report should be commissioned to Immediate determine the level of risk from fire and to recommend appropriate actions. Setting
5.2.2 b 6.1.2.17 Any proposed modifications of the immediate or wider Needed setting should follow the recommendations in Historic and on- England, The Setting of Heritage Assets, 2011 going
Funding
5.2.2 m 6.1.2.18 Raise funds for conservation of the church and its on- Immediate going maintenance. and on-
going
Protection and management Protection
5.2.2 l 6.1.2.19 Given that demolition has been discussed and Urgent demolition is not a prohibited activity in the District
Plan application to the Council for a heritage order should be considered. An alternative is to implement a heritage covenant to protect the church for the future.
5.2.2 o, p 6.1.2.20 The Parish should implement appropriate disaster Urgent management procedures. These include evacuation plans and storage of emergency equipment, including a plan for emergency salvage of significant fabric should the church be damaged in an earthquake.
5.2.2 o 6.1.2.21 New Zealand is a signatory to the Hague Convention, Desirable which identifies and protects buildings from unnecessary demolition following a major natural event such as an earthquake or tsunami. It is recommended that the Hague symbol be displayed on the exterior of the
44
Identified Action No. Action Priority Threat11
building to identify it to the relevant authorities so that they are aware of the heritage significance of the building. Civil Defence should be notified of the significance of the building and advised that it will display the Hague symbol.
Interpretation
5.2.2 r, s 6.1.2.22 Any publications or web-based interpretive material Desirable & developed for the structure should be prepared in On-going collaboration with key stakeholders (e.g. the Parish, the Diocesan Office, HNZ , Palmerston North City Council). This information should be updated regularly. Documentation and recording
5.2.2 q, r, s 6.1.2.23 Appropriate standards for recording to be followed Needed include: and on- going • HNZ Archaeological Guidelines Series No. 1, Guidelines for the Investigation and Recording of Buildings and Standing Structures. (Trust, Guidelines for the Investigation and Recording of Buildings and Standing Structures, 2006).
• Heritage Information Series, Photographic Recording of Heritage Items Using Film of Digital Capture, Heritage Office, Department of Planning, Parramatta NSW, 2006
• English Heritage, Understanding Historic Buildings A guide to good recording practice, English Heritage, 2006
• ICOMOS, Principles for the recording of monuments, groups of buildings and sites, 1996
5.2.2 r 6.1.2.24 Consideration should be given to further research into Desirable the history of the church including oral recordings of those associated with it.
5.2.2 r 6.1.2.25 Accurate measured drawings of the structure should be Desirable prepared to assist with condition monitoring and repair work that may be required. The optimum means of recording the building is through 3-D scanning.
5.2.2 r 6.1.2.26 Any documentation should be stored to an archival Needed standard.
45 Conservation Plan • All Saints, Palmerston North
Bibliography Published Apperly, R, Irving, R, Reynolds, P, Identifying Australian Architecture, Styles and Terms from 1788 to the Present, Angus and Robertson, 1989 Arden and Bowman, The New Zealand Period House A Conservation Guide, Random House, 2004 Beaven P, and Stacpoole J, New Zealand Art and Architecture 1820-1970, Reed 1972 Blair, W. (1879). Building materials of Otago and South New Zealand Generally. Dunedin, New Zealand: J Wilkie & Co, Princes Street. Bowman I., Palmerston North Heritage CBD Heritage Audit, Palmerston North City Council, 1993 Bowman, I. (1992). Historic Brick Structures. Wellington: New Zealand Historic Places Trust. Bowman, I., & Robinson, L. Heritage Guideline Earthquake Strengthening (Vol. 3). Wellington: New Zealand Historic Places Trust. Building Act 2004 Chambers, H. (1976). Cyclical maintenance for historic buildings. Washington: US Department of the Interior. Clifton-Taylor, A. (1980). The Pattern of English Building. London, United Kingdom: Faber and Faber. Clifton-Taylor, The Pattern of English Building, Faber and Faber Ltd, London, 1972 Cyclopedia Company, L. (1906). Cyclopedia of New Zealand, Industrial Cyclopedia Company, N. Z. (1897). Wellington. Wellington: Cyclopedia Company of New Zealand. Dent, Rev. G, W., A Short History of the Parochial District of All Saints, Palmerston North, J M Dent and Sons Td, London 1928 Diamond, J. (1985, March ). Machines come to brickmaking. Historic Places in New Zealand . Diamond, J., "Machines come to brickmaking", Historic Places in New Zealand, March 1985 Dixon, R., Muthesius, S., Victorian Architecture, Thames and Hudson, 1978 Documenting Maintenance Repair Work (Vol. 1.2). (2004). Sydney: New South Wales Heritage Office. Fletcher, Sir Bannister, A History of Architecture on the Comparative Method for Students, Craftsmen and Amateurs, B.T. Batsford Ltd., 16th Addition, 1956 Freeman, P, Martin, E, Dean, J, Building Conservation in Australia, RAIA Education Division, Canberra, 1985
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Gayle, M. L. (1992 ). A Historical Survey of Metals. In M. L. Gayle, in Metals in America’s Historic Buildings. Washington: US Department of the Interior. Handlin, David P, American Architecture, Thames and Hudson, 1989 Hanrahan, M., "Crum's Kiln", Historic Places in New Zealand, March 1985 Hills, D., Thomas Hills, A Brickmaker, Rangiora, DA Hills, Christchurch, 1977 Hitchcock, H-R., Early Victorian Architecture in Britain, Da Capo, 1954 ICOMOS Australia. (1999). Burra Charter 1999 for the Conservation of Places of Cultural Significance. Burra Charter 1999 for the Conservation of Places of Cultural Significance. ICOMOS Australia. ICOMOS, International Charter for the Conservation and Restoration of Monuments and Sites (the Venice Charter), ICOMOS 1966 ICOMOS. (1994). Nara Document on Authenticity. ICOMOS,. ICOMOS. (2000). Riga Charter on Authenticity and Historical Reconstruction in Relationship to Cultural Heritage. ICOMOS. ICOMOS. (2010). Charter for the Conservation of Places of Cultural Heritage Value. ICOMOS NZ. Jaggard, W., & Drury, F. (1932). Architectural Building Construction. Cambridge: Cambridge University Press. Jester, T. C., & Park, S. C. (1993). Making Historic Properties Accessible. Preservation Brief 32 . Jokilehto, J., & Feilden, B. (1994). Management Guidelines for World Heritage Sites. Paris: UNESCO. Kerr, J. (1990). The Conservation Plan: A Guide to the Preparation of Conservation Plans for Cultural Places of European Significance. Sydney: National Trust of Australia. King, B and Wright, E R, A thing of beauty, Manawatu Standard ,Ltd, 1975 Lewis, M. (1988). 200 Years of Concrete in Australia. North Sydney: Concrete Institute of Australia. Lundy, J., Nine Thousand Bricks A Day, NZ Historic Places Trust, 2005, McClean, R. (2007). Sustainable Management of Historic Heritage Discussion Paper No. 2 Assessment of Effects on the Historic Environment. Wellington: New Zealand Historic Places Trust. McClean, R. (2010). NZHPT Sustainable Management of Historic Heritage Guidance Series (draft for consultation) Earthquake Strengthening Improving the Structural Performance of Heritage Buildings. Wellington: NZHPT. McGill, D. (2000). Landmarks; notable historic buildings of New Zealand. Wellington: Phantom House. Millar, W. (1897). Plastering Plain and Decorative. London: Donhead. Morrison, R., McCredie, P., & Shaw, P. (2003). A History of New Zealand
47 Conservation Plan • All Saints, Palmerston North
Architecture. Auckland: Hodder Moa Beckett. National Trust. (2005). Manual of Housekeeping. National Trust. New South Wales, H. O. (2004). Preparing a Maintenance Plan (Vol. 1.1). Sydney: New South Wales Heritage Office. New Zealand Historic Places Trust. (2006). Guidelines for the Investigation and Recording of Buildings and Standing Structures (Vol. 1). Wellington: New Zealand Historic Places Trust. New Zealand Historic Places Trust. (2007). NZHPT Sustainable Management of Historic Heritage Guidance Information Sheet 16 Assessing Impacts in Surroundings associated with Historic Heritage. New Zealand Historic Places Trust. New Zealand Historic Places Trust. (2007). Sustainable Management of Historic Heritage Guidance Information Sheet 9 Information Sheet 9 Preparing a Heritage Impact Statement. New Zealand Historic Places Trust. New Zealand Historic Places Trust. (2007). Sustainable Management of Historic Heritage Guidance Information Sheet 1 Principles for Assessing appropriate or inappropriate Subdivision, Use and Development on Historic Heritage Values. New Zealand Historic Places Trust. New Zealand Historic Places Trust. New Zealand Historic Places Trust. (2007). Sustainable Management of Historic Heritage Guidance Information Sheet 22 Assessing Impacts of Designations on Historic Heritage. New Zealand Historic Places Trust. NZ Government. (1991). Resource Management Act. NZ Government. (1993). Historic Places Act. Park, S. (2007). Maintaining the Exteriors of Small and Medium Size Historic Buildings. 47. Pevsner, N. (1997). A history of building types. New Jersey: Princeton University Press. Pevsner, N., An Outline of European Architecture, Penguin Books, 1975 Porter, F., ed.., Historic Buildings of New Zealand North Island, New Zealand Historic Places Trust, Methuen, 1983 Porter, F., ed.., Historic Buildings of New Zealand South Island, New Zealand Historic Places Trust, Cassell, undated Resource Management Act 1991. (n.d.). Resource Management Act 1991. Retrieved from New Zealand Legislation: http://www.legislation.govt.nz/act/public/1991/0069/latest/DLM233671.html Sandwith, H. a. (1985). The National Trust Manual of Housekeeping. Harmondsworth: Penguin. Service, A., Edwardian Architecture, Thames and Hudson, 1977 Sinclair, Keith, A History of New Zealand, Penguin, 1973 Smith, M. P. (1875). Rivington’s Building Construction England (facsimile 2004 ed., Vol. Vol.3). St Mary, Shaftesbury: Donhead.
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Smith, Major Percy Rivington’s Building Construction, 1875, revised 1904 Stacpoole, J. (1976). Colonial Architecture in New Zealand. Wellington: A H and A W Reed. Stamp, G., & Amery, C. (1980). Victorian Buildings of London 1837-1887. London: The Architectural Press. Stamp, G., Amery, C., Victorian Buildings of London 1837-1887, The Architectural Press, 1980 Stanley, C. C. Highlights in the History of Concrete. London: Cement and Concrete Association. Stovel, H. (2008). Origins and Influence of the Nara Document on Authenticity. APT Bulletin , XXXIX (2-3), 9. Thornton, G., New Zealand’s Industrial Heritage, Reed, 1982 Trust, N. Z. (2006). Guidelines for the Investigation and Recording of Buildings and Standing Structures (Vol. 1). Wellington: New Zealand Historic Places Trust. US Department of the Interior, National Park Service, The Secretary of the Interior's Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings, US Department of the Interior, National Park Service, 1983 Vossler, G., Assessing Places and Areas for Inclusion on the Historic Places Trust Register Guidelines for Interpreting Registration Criteria for Historic Places and Historic Areas, New Zealand Historic Places Trust, March, 2001 Wigglesworth, R P., Never ending still beginning, Simon Printing Ltd., Palmerston North, 1975 Wilkes, Joseph, Encyclopaedia of Architecture, Design, Engineering and Construction, Wiley and Sons, 1988 Unpublished NZHPT Architects Glossary, 1990 Websites http://www.historic.org.nz/Register http://www.dnzb.govt.nz/ http://www.corrugated-iron-club.info/iron1.html http://www.teara.govt.nz Maclean, Susan. 'Clere, Frederick de Jersey 1856 - 1952'. Dictionary of New Zealand Biography, updated 7 April 2006 URL: http://www.dnzb.govt.nz/ Pugsley, Chris. 'Malone, William George 1859 - 1915'. Dictionary of New Zealand Biography, updated 22 June 2007 URL: http://www.dnzb.govt.nz/
49 Conservation Plan • All Saints, Palmerston North
Appendix 1 ICOMOS New Zealand Charter for the Conservation of Places of Cultural Heritage Value Revised 2010 Preamble New Zealand retains a unique assemblage of places of cultural heritage value relating to its indigenous and more recent peoples. These areas, cultural landscapes and features, buildings and structures, gardens, archaeological sites, traditional sites, monuments, and sacred places are treasures of distinctive value that have accrued meanings over time. New Zealand shares a general responsibility with the rest of humanity to safeguard its cultural heritage places for present and future generations. More specifically, the people of New Zealand have particular ways of perceiving, relating to, and conserving their cultural heritage places. Following the spirit of the International Charter for the Conservation and Restoration of Monuments and Sites (the Venice Charter - 1964), this charter sets out principles to guide the conservation of places of cultural heritage value in New Zealand. It is a statement of professional principles for members of ICOMOS New Zealand. This charter is also intended to guide all those involved in the various aspects of conservation work, including owners, guardians, managers, developers, planners, architects, engineers, craftspeople and those in the construction trades, heritage practitioners and advisors, and local and central government authorities. It offers guidance for communities, organisations, and individuals involved with the conservation and management of cultural heritage places. This charter should be made an integral part of statutory or regulatory heritage management policies or plans, and should provide support for decision makers in statutory or regulatory processes. Each article of this charter must be read in the light of all the others. Words in bold in the text are defined in the definitions section of this charter. This revised charter was adopted by the New Zealand National Committee of the International Council on Monuments and Sites at its meeting on 4 September 2010. Purpose of conservation 1. The purpose of conservation The purpose of conservation is to care for places of cultural heritage value. In general, such places: (i) have lasting values and can be appreciated in their own right; (ii) inform us about the past and the cultures of those who came before us; (iii) provide tangible evidence of the continuity between past, present, and future; (iv) underpin and reinforce community identity and relationships to ancestors and the land; and (v) provide a measure against which the achievements of the present can be compared. It is the purpose of conservation to retain and reveal such values, and to support the on-going meanings and functions of places of cultural heritage value, in the interests of present and future generations. Conservation principles 2. Understanding cultural heritage value Conservation of a place should be based on an understanding and appreciation of all aspects of its cultural heritage value, both tangible and intangible. All available forms of knowledge and evidence provide the means of understanding a place and its cultural heritage value and cultural heritage significance. Cultural heritage value should be understood through consultation with connected people, systematic documentary and oral research, physical investigation and recording of the place, and other relevant methods. All relevant cultural heritage values should be recognised, respected, and, where appropriate, revealed, including values which differ, conflict, or compete. The policy for managing all aspects of a place, including its conservation and its use, and the implementation of the policy, must be based on an understanding of its cultural heritage value. 3. Indigenous cultural heritage The indigenous cultural heritage of tangata whenua relates to whanau, hapu, and iwi groups. It shapes identity and enhances well-being, and it has particular cultural meanings and values for the present, and associations with those who have gone before. Indigenous cultural heritage brings with it responsibilities of guardianship and the practical application and passing on of associated knowledge, traditional skills, and practices. The Treaty of Waitangi is the founding document of our nation. Article 2 of the Treaty recognises and guarantees the protection of tino rangatiratanga, and so empowers kaitiakitanga as customary trusteeship to be exercised by tangata
50
whenua. This customary trusteeship is exercised over their taonga, such as sacred and traditional places, built heritage, traditional practices, and other cultural heritage resources. This obligation extends beyond current legal ownership wherever such cultural heritage exists. Particular matauranga, or knowledge of cultural heritage meaning, value, and practice, is associated with places. Matauranga is sustained and transmitted through oral, written, and physical forms determined by tangata whenua. The conservation of such places is therefore conditional on decisions made in associated tangata whenua communities, and should proceed only in this context. In particular, protocols of access, authority, ritual, and practice are determined at a local level and should be respected. 4. Planning for conservation Conservation should be subject to prior documented assessment and planning. All conservation work should be based on a conservation plan which identifies the cultural heritage value and cultural heritage significance of the place, the conservation policies, and the extent of the recommended works. The conservation plan should give the highest priority to the authenticity and integrity of the place. Other guiding documents such as, but not limited to, management plans, cyclical maintenance plans, specifications for conservation work, interpretation plans, risk mitigation plans, or emergency plans should be guided by a conservation plan. 5. Respect for surviving evidence and knowledge Conservation maintains and reveals the authenticity and integrity of a place, and involves the least possible loss of fabric or evidence of cultural heritage value. Respect for all forms of knowledge and existing evidence, of both tangible and intangible values, is essential to the authenticity and integrity of the place. Conservation recognises the evidence of time and the contributions of all periods. The conservation of a place should identify and respect all aspects of its cultural heritage value without unwarranted emphasis on any one value at the expense of others. The removal or obscuring of any physical evidence of any period or activity should be minimised, and should be explicitly justified where it does occur. The fabric of a particular period or activity may be obscured or removed if assessment shows that its removal would not diminish the cultural heritage value of the place. In conservation, evidence of the functions and intangible meanings of places of cultural heritage value should be respected. 6. Minimum intervention Work undertaken at a place of cultural heritage value should involve the least degree of intervention consistent with conservation and the principles of this charter. Intervention should be the minimum necessary to ensure the retention of tangible and intangible values and the continuation of uses integral to those values. The removal of fabric or the alteration of features and spaces that have cultural heritage value should be avoided. 7. Physical investigation Physical investigation of a place provides primary evidence that cannot be gained from any other source. Physical investigation should be carried out according to currently accepted professional standards, and should be documented through systematic recording. Invasive investigation of fabric of any period should be carried out only where knowledge may be significantly extended, or where it is necessary to establish the existence of fabric of cultural heritage value, or where it is necessary for conservation work, or where such fabric is about to be damaged or destroyed or made inaccessible. The extent of invasive investigation should minimise the disturbance of significant fabric. 8. Use The conservation of a place of cultural heritage value is usually facilitated by the place serving a useful purpose. Where the use of a place is integral to its cultural heritage value, that use should be retained. Where a change of use is proposed, the new use should be compatible with the cultural heritage value of the place, and should have little or no adverse effect on the cultural heritage value. 9. Setting Where the setting of a place is integral to its cultural heritage value, that setting should be conserved with the place itself. If the setting no longer contributes to the cultural heritage value of the place, and if reconstruction of the setting can be justified, any reconstruction of the setting should be based on an understanding of all aspects of the cultural heritage value of the place. 10. Relocation
51 Conservation Plan • All Saints, Palmerston North
The on-going association of a structure or feature of cultural heritage value with its location, site, curtilage, and setting is essential to its authenticity and integrity. Therefore, a structure or feature of cultural heritage value should remain on its original site.
Relocation of a structure or feature of cultural heritage value, where its removal is required in order to clear its site for a different purpose or construction, or where its removal is required to enable its use on a different site, is not a desirable outcome and is not a conservation process.
In exceptional circumstances, a structure of cultural heritage value may be relocated if its current site is in imminent danger, and if all other means of retaining the structure in its current location have been exhausted. In this event, the new location should provide a setting compatible with the cultural heritage value of the structure. 11. Documentation and archiving The cultural heritage value and cultural heritage significance of a place, and all aspects of its conservation, should be fully documented to ensure that this information is available to present and future generations. Documentation includes information about all changes to the place and any decisions made during the conservation process. Documentation should be carried out to archival standards to maximise the longevity of the record, and should be placed in an appropriate archival repository. Documentation should be made available to connected people and other interested parties. Where reasons for confidentiality exist, such as security, privacy, or cultural appropriateness, some information may not always be publicly accessible. 12. Recording Evidence provided by the fabric of a place should be identified and understood through systematic research, recording, and analysis. Recording is an essential part of the physical investigation of a place. It informs and guides the conservation process and its planning. Systematic recording should occur prior to, during, and following any intervention. It should include the recording of new evidence revealed, and any fabric obscured or removed. Recording of the changes to a place should continue throughout its life. 13. Fixtures, fittings, and contents Fixtures, fittings, and contents that are integral to the cultural heritage value of a place should be retained and conserved with the place. Such fixtures, fittings, and contents may include carving, painting, weaving, stained glass, wallpaper, surface decoration, works of art, equipment and machinery, furniture, and personal belongings. Conservation of any such material should involve specialist conservation expertise appropriate to the material. Where it is necessary to remove any such material, it should be recorded, retained, and protected, until such time as it can be reinstated. Conservation processes and practice 14. Conservation plans A conservation plan, based on the principles of this charter, should: (i) be based on a comprehensive understanding of the cultural heritage value of the place and assessment of its cultural heritage significance; (ii) include an assessment of the fabric of the place, and its condition; (iii) give the highest priority to the authenticity and integrity of the place; (iv) include the entirety of the place, including the setting; (v) be prepared by objective professionals in appropriate disciplines; (vi) consider the needs, abilities, and resources of connected people; (vii) not be influenced by prior expectations of change or development; (viii) specify conservation policies to guide decision making and to guide any work to be undertaken; (ix) make recommendations for the conservation of the place; and (x) be regularly revised and kept up to date. 15. Conservation projects Conservation projects should include the following: (i) consultation with interested parties and connected people, continuing throughout the project;
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(ii) opportunities for interested parties and connected people to contribute to and participate in the project; (iii) research into documentary and oral history, using all relevant sources and repositories of knowledge; (iv) physical investigation of the place as appropriate; (v) use of all appropriate methods of recording, such as written, drawn, and photographic; (vi) the preparation of a conservation plan which meets the principles of this charter; (vii) guidance on appropriate use of the place; (viii) the implementation of any planned conservation work; (ix) the documentation of the conservation work as it proceeds; and (x) where appropriate, the deposit of all records in an archival repository. A conservation project must not be commenced until any required statutory authorisation has been granted. 16. Professional, trade, and craft skills All aspects of conservation work should be planned, directed, supervised, and undertaken by people with appropriate conservation training and experience directly relevant to the project. All conservation disciplines, arts, crafts, trades, and traditional skills and practices that are relevant to the project should be applied and promoted. 17. Degrees of intervention for conservation purposes Following research, recording, assessment, and planning, intervention for conservation purposes may include, in increasing degrees of intervention: (i) preservation, through stabilisation, maintenance, or repair; (ii) restoration, through reassembly, reinstatement, or removal; (iii) reconstruction; and (iv) adaptation. In many conservation projects a range of processes may be utilised. Where appropriate, conservation processes may be applied to individual parts or components of a place of cultural heritage value. The extent of any intervention for conservation purposes should be guided by the cultural heritage value of a place and the policies for its management as identified in a conservation plan. Any intervention which would reduce or compromise cultural heritage value is undesirable and should not occur. Preference should be given to the least degree of intervention, consistent with this charter.
Re-creation, meaning the conjectural reconstruction of a structure or place; replication, meaning to make a copy of an existing or former structure or place; or the construction of generalised representations of typical features or structures, are not conservation processes and are outside the scope of this charter. 18. Preservation Preservation of a place involves as little intervention as possible, to ensure its long-term survival and the continuation of its cultural heritage value. Preservation processes should not obscure or remove the patina of age, particularly where it contributes to the authenticity and integrity of the place, or where it contributes to the structural stability of materials. i. Stabilisation Processes of decay should be slowed by providing treatment or support. ii. Maintenance A place of cultural heritage value should be maintained regularly. Maintenance should be carried out according to a plan or work programme. iii. Repair Repair of a place of cultural heritage value should utilise matching or similar materials. Where it is necessary to employ new materials, they should be distinguishable by experts, and should be documented. Traditional methods and materials should be given preference in conservation work. Repair of a technically higher standard than that achieved with the existing materials or construction practices may be justified only where the stability or life expectancy of the site or material is increased, where the new material is compatible with the old, and where the cultural heritage value is not diminished. 19. Restoration The process of restoration typically involves reassembly and reinstatement, and may involve the removal of accretions that detract from the cultural heritage value of a place.
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Restoration is based on respect for existing fabric, and on the identification and analysis of all available evidence, so that the cultural heritage value of a place is recovered or revealed. Restoration should be carried out only if the cultural heritage value of the place is recovered or revealed by the process. Restoration does not involve conjecture. i. Reassembly and reinstatement Reassembly uses existing material and, through the process of reinstatement, returns it to its former position. Reassembly is more likely to involve work on part of a place rather than the whole place. ii. Removal Occasionally, existing fabric may need to be permanently removed from a place. This may be for reasons of advanced decay, or loss of structural integrity, or because particular fabric has been identified in a conservation plan as detracting from the cultural heritage value of the place. The fabric removed should be systematically recorded before and during its removal. In some cases it may be appropriate to store, on a long-term basis, material of evidential value that has been removed. 20. Reconstruction Reconstruction is distinguished from restoration by the introduction of new material to replace material that has been lost. Reconstruction is appropriate if it is essential to the function, integrity, intangible value, or understanding of a place, if sufficient physical and documentary evidence exists to minimise conjecture, and if surviving cultural heritage value is preserved. Reconstructed elements should not usually constitute the majority of a place or structure. 21. Adaptation The conservation of a place of cultural heritage value is usually facilitated by the place serving a useful purpose. Proposals for adaptation of a place may arise from maintaining its continuing use, or from a proposed change of use. Alterations and additions may be acceptable where they are necessary for a compatible use of the place. Any change should be the minimum necessary, should be substantially reversible, and should have little or no adverse effect on the cultural heritage value of the place. Any alterations or additions should be compatible with the original form and fabric of the place, and should avoid inappropriate or incompatible contrasts of form, scale, mass, colour, and material. Adaptation should not dominate or substantially obscure the original form and fabric, and should not adversely affect the setting of a place of cultural heritage value. New work should complement the original form and fabric. 22. Non-intervention In some circumstances, assessment of the cultural heritage value of a place may show that it is not desirable to undertake any conservation intervention at that time. This approach may be appropriate where undisturbed constancy of intangible values, such as the spiritual associations of a sacred place, may be more important than its physical attributes. 23. Interpretation Interpretation actively enhances public understanding of all aspects of places of cultural heritage value and their conservation. Relevant cultural protocols are integral to that understanding, and should be identified and observed. Where appropriate, interpretation should assist the understanding of tangible and intangible values of a place which may not be readily perceived, such as the sequence of construction and change, and the meanings and associations of the place for connected people. Any interpretation should respect the cultural heritage value of a place. Interpretation methods should be appropriate to the place. Physical interventions for interpretation purposes should not detract from the experience of the place, and should not have an adverse effect on its tangible or intangible values. 24. Risk mitigation Places of cultural heritage value may be vulnerable to natural disasters such as flood, storm, or earthquake; or to humanly induced threats and risks such as those arising from earthworks, subdivision and development, buildings works, or wilful damage or neglect. In order to safeguard cultural heritage value, planning for risk mitigation and emergency management is necessary. Potential risks to any place of cultural heritage value should be assessed. Where appropriate, a risk mitigation plan, an emergency plan, and/or a protection plan should be prepared, and implemented as far as possible, with reference to a conservation plan. Definitions For the purposes of this charter: Adaptation means the process(es) of modifying a place for a compatible use while retaining its cultural heritage value. Adaptation processes include alteration and addition.
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Authenticity means the credibility or truthfulness of the surviving evidence and knowledge of the cultural heritage value of a place. Relevant evidence includes form and design, substance and fabric, technology and craftsmanship, location and surroundings, context and setting, use and function, traditions, spiritual essence, and sense of place, and includes tangible and intangible values. Assessment of authenticity is based on identification and analysis of relevant evidence and knowledge, and respect for its cultural context. Compatible use means a use which is consistent with the cultural heritage value of a place, and which has little or no adverse impact on its authenticity and integrity. Connected people means any groups, organisations, or individuals having a sense of association with or responsibility for a place of cultural heritage value. Conservation means all the processes of understanding and caring for a place so as to safeguard its cultural heritage value. Conservation is based on respect for the existing fabric, associations, meanings, and use of the place. It requires a cautious approach of doing as much work as necessary but as little as possible, and retaining authenticity and integrity, to ensure that the place and its values are passed on to future generations. Conservation plan means an objective report which documents the history, fabric, and cultural heritage value of a place, assesses its cultural heritage significance, describes the condition of the place, outlines conservation policies for managing the place, and makes recommendations for the conservation of the place. Contents means moveable objects, collections, chattels, documents, works of art, and ephemera that are not fixed or fitted to a place, and which have been assessed as being integral to its cultural heritage value. Cultural heritage significance means the cultural heritage value of a place relative to other similar or comparable places, recognising the particular cultural context of the place. Cultural heritage value/s means possessing aesthetic, archaeological, architectural, commemorative, functional, historical, landscape, monumental, scientific, social, spiritual, symbolic, technological, traditional, or other tangible or intangible values, associated with human activity. Cultural landscapes means an area possessing cultural heritage value arising from the relationships between people and the environment. Cultural landscapes may have been designed, such as gardens, or may have evolved from human settlement and land use over time, resulting in a diversity of distinctive landscapes in different areas. Associative cultural landscapes, such as sacred mountains, may lack tangible cultural elements but may have strong intangible cultural or spiritual associations. Documentation means collecting, recording, keeping, and managing information about a place and its cultural heritage value, including information about its history, fabric, and meaning; information about decisions taken; and information about physical changes and interventions made to the place. Fabric means all the physical material of a place, including subsurface material, structures, and interior and exterior surfaces including the patina of age; and including fixtures and fittings, and gardens and plantings. Hapu means a section of a large tribe of the tangata whenua. Intangible value means the abstract cultural heritage value of the meanings or associations of a place, including commemorative, historical, social, spiritual, symbolic, or traditional values. Integrity means the wholeness or intactness of a place, including its meaning and sense of place, and all the tangible and intangible attributes and elements necessary to express its cultural heritage value. Intervention means any activity that causes disturbance of or alteration to a place or its fabric. Intervention includes archaeological excavation, invasive investigation of built structures, and any intervention for conservation purposes. Iwi means a tribe of the tangata whenua. Kaitiakitanga means the duty of customary trusteeship, stewardship, guardianship, and protection of land, resources, or taonga. Maintenance means regular and on-going protective care of a place to prevent deterioration and to retain its cultural heritage value. Matauranga means traditional or cultural knowledge of the tangata whenua. Non-intervention means to choose not to undertake any activity that causes disturbance of or alteration to a place or its fabric. Place means any land having cultural heritage value in New Zealand, including areas; cultural landscapes; buildings, structures, and monuments; groups of buildings, structures, or monuments; gardens and plantings; archaeological sites and features; traditional sites; sacred places; townscapes and streetscapes; and settlements. Place may also include land covered by water, and any body of water. Place includes the setting of any such place. Preservation means to maintain a place with as little change as possible.
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Reassembly means to put existing but disarticulated parts of a structure back together. Reconstruction means to build again as closely as possible to a documented earlier form, using new materials. Recording means the process of capturing information and creating an archival record of the fabric and setting of a place, including its configuration, condition, use, and change over time. Reinstatement means to put material components of a place, including the products of reassembly, back in position. Repair means to make good decayed or damaged fabric using identical, closely similar, or otherwise appropriate material. Restoration means to return a place to a known earlier form, by reassembly and reinstatement, and/or by removal of elements that detract from its cultural heritage value. Setting means the area around and/or adjacent to a place of cultural heritage value that is integral to its function, meaning, and relationships. Setting includes the structures, outbuildings, features, gardens, curtilage, airspace, and accessways forming the spatial context of the place or used in association with the place. Setting also includes cultural landscapes, townscapes, and streetscapes; perspectives, views, and view shafts to and from a place; and relationships with other places which contribute to the cultural heritage value of the place. Setting may extend beyond the area defined by legal title, and may include a buffer zone necessary for the long- term protection of the cultural heritage value of the place. Stabilisation means the arrest or slowing of the processes of decay. Structure means any building, standing remains, equipment, device, or other facility made by people and which is fixed to the land. Tangata whenua means generally the original indigenous inhabitants of the land; and means specifically the people exercising kaitiakitanga over particular land, resources, or taonga. Tangible value means the physically observable cultural heritage value of a place, including archaeological, architectural, landscape, monumental, scientific, or technological values. Taonga means anything highly prized for its cultural, economic, historical, spiritual, or traditional value, including land and natural and cultural resources. Tino rangatiratanga means the exercise of full chieftainship, authority, and responsibility. Use means the functions of a place, and the activities and practices that may occur at the place. The functions, activities, and practices may in themselves be of cultural heritage value. Whanau means an extended family which is part of a hapu or iwi.
ISBN 978-0-473-17116-2 (PDF) ISBN 978-0-473-17111-7 (Paperback)
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Appendix 2 Detailed schedule of spaces and fabric Fabric used to construct and line the building is listed with each space and is defined as original or early historic fabric (hf), reproduction/replacement fabric (rf), old but not original fabric (of), and non-historic fabric (nhf). Exterior Roof Fabric Copper sheet (nhf), ceramic tiles to entry porch roofs (hf), copper pointed pinnacles (hf), painted timber crosses (hf), Marseille tiles to the porches and Chapel and over the main entry (hf)
Tower Fabric Brickwork (hf), diamond leaded windows with timber frames (hf), painted timber louvres (hf), wrought iron crosses at pinnacles (hf), painted timber flagpole (hf)
West elevation Fabric Brickwork walls and buttresses, painted on parapet tops (hf), painted and diamond leaded windows with timber frames (hf), painted timber double doors (hf), painted timber gable apex (?nhf), cast iron guttering (hf), cast iron grilles (hf), steel grilles over windows (nhf), sheet copper cladding to west wall of south transept (nhf?)
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Space
North elevation Fabric Brickwork walls and buttresses, painted on parapet tops (hf), painted and diamond leaded windows with timber frames (hf), painted timber double doors (hf), painted timber gable apex (?nhf), cast iron guttering (hf), cast iron grilles (hf), steel grilles over windows (nhf)
East elevation Fabric Brickwork walls and buttresses, painted on parapet tops (hf), painted leaded windows with timber frames (hf), painted timber gable apex (?nhf), cast iron guttering (hf), steel grilles over windows (nhf), plastic downpipe and metal rainwater head (nhf), painted timber basement door and metal grille (hf)
South elevation Fabric Brickwork walls and buttresses, painted on parapet tops (hf), painted and diamond leaded windows with timber frames (hf), painted timber double doors (hf), painted timber gabble apex (hf), cast iron guttering (hf), cast iron grilles (hf), steel grilles over windows (nhf) Space Fabric historical physical authenticity
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Landscaping Fabric Concrete and cast-iron fencing with signs, trees, asphalted drive, grassed area, timber pic nic tables
Townscape Fabric Views to and from the building, the location on the Square, relationship with other heritage and non-heritage buildings, silhouette and skyline
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Interior
Nave, chancel and aisles Fabric Ceiling Coated timber lining (hf), stained exposed timber (jarrah?) purlins, rafters and arched trusses, cross bracing (hf) Walls Uncoated tuck pointed brickwork to walls, hood moulds over door and arched openings (hf), stained timber braces and posts (hf), cast iron grilles (hf), clear coated timber reredos to chancel (hf), clear coated glazed timber Perpendicular styled screen to chapel (hf) Floor Clear coated timber (hf), carpet to aisles (nhf) Windows Clear coated timber Perpendicular styled windows, diamond and painted leaded with steel hoppers “T F Curtis, ward and Hughes London, 1923 (hf) Doors Clear coated double timber ledged and braced with leaded glazing arched (hf), timber match lined toplight in arch (hf), furniture (hf) Fixtures and fittings Bronze, marble and timber plaques (hf), timber framed notice boards (nhf), clear coated timber pews (hf, of), communion rail, kneelers, prayer and reading desks, stands (hf), marble communion table (hf), organ (hf), tables, chairs in southern aisle (nhf) etc.
Chapel Fabric Ceiling Coated timber lining (hf), stained exposed timber (jarrah?) purlins, rafters and arched trusses, (hf) Walls Uncoated tuck pointed brickwork to walls, hood moulds over arched openings (hf),
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clear coated glazed timber Perpendicular styled screen to chancel (hf) Floor Clear coated timber (hf), carpet to aisles (nhf) Windows Clear coated timber Perpendicular styled windows painted leaded with steel hoppers “T F Curtis, ward and Hughes London,(hf) Doors - Fixtures and fittings Bronze and timber plaques (hf), clear coated timber pews, communion rail, stands, kneeler, reading desk, communion table (hf)
Baptistery and south west entry porch Fabric Ceiling Coated concrete to baptistery (hf), clear coated stained timber match lined and exposed framing to entry porch (hf) Walls Uncoated tuck pointed brickwork to walls, hood moulds over door and arched openings (hf), boarded up opening to north west entry Floor Carpet to baptistery (nhf), tiles to entry porch (hf) Windows Clear coated timber Perpendicular styled windows, diamond and painted leaded with clear coated timber architraves (hf) Doors Clear coated timber double ledged and braced with leaded glazing arched (hf), timber match lined toplight in arch (hf), furniture (hf), clear coated double timber double ledged and braced, furniture (hf) Fixtures and fittings Stone font(hf), clear coated timber cupboards (nhf)
North-west corner porch Fabric Ceiling Painted concrete (hf), clear coated timber hatch and ladder (hf)
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Walls Uncoated tuck pointed brickwork to walls, hood moulds over door and window openings (hf) Floor Ceramic tiles (hf) Windows Clear coated timber imitation diamond leaded with clear coated timber architraves (hf) Doors Clear coated timber double ledged and braced with leaded glazing arched (hf), timber match lined toplight in arch (hf), furniture (hf), clear coated double timber double ledged and braced, furniture (hf) Fixtures and fittings Clear coated timber coat rack with cast iron hooks (hf), brick encased metal safe (hf)
North and south entry porches Fabric Ceiling Clear coated stained timber match lined and exposed framing (hf) Uncoated tuck pointed brickwork to walls, hood moulds over door and arched openings (hf) Floor Ceramic tiles (hf) Windows Clear coated timber diamond leaded with clear coated timber architraves (hf) Doors Clear coated timber double ledged and braced with leaded glazing arched (hf), timber match lined toplight in arch (hf), furniture (hf), clear coated double timber double ledged and braced with glazed two pane toplight, furniture (hf) Fixtures and fittings Clear coated timber cupboards and coat rack with cast iron hooks (hf)
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Choir room and entry Fabric Ceiling Coated concrete (hf) Walls Painted brickwork (hf), clear coated and stained timber architraves (hf), aluminium framed glazed partition (nhf) Floor Carpet to choir room (nhf), tiles to entry (hf) Windows Clear coated timber Perpendicular styled windows, diamond leaded with clear coated timber architraves (hf) Doors Clear coated timber double ledged and braced arched (hf), timber match lined toplight in arch (hf), furniture (hf), clear coated single timber ledged and braced, furniture (hf), aluminium glazed joinery to glazed wall (nhf) Fixtures and fittings Sink and bench (nhf), clear coated timber cupboards (rf)
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Appendix 3 Criteria for assessment of heritage values
Definition of historic heritage under the Resource Management Act as amended in 2003
Historic heritage (a) means those natural and physical resources that contribute to an understanding and appreciation of New Zealand's history and cultures, deriving from any of the following qualities: (i) archaeological: (ii) architectural: (iii) cultural: (iv) historic: (v) scientific: (vi) technological; and (b) includes - (i) historic sites, structures, places, and areas; and (ii) archaeological sites; and (iii) sites of significance to Maori, including wahi tapu; and (iv) surroundings associated with the natural and physical resources.
HNZ Guidance document A guide for assessment published by HNZ (Trust, Sustainable Management of Historic Heritage Guidance Information Sheet 2, 2007) gives definitions for these qualities, and includes other useful qualities, termed values in the document, for assessing built heritage. These are as follows, with the RMA qualities shown in bold: Physical values • Archaeological information The potential for information about human history through archaeology • Architecture Architectural significance through design and use of materials or craftsmanship • Technology and engineering Significant innovation or invention in the use of construction, technology or materials • Scientific The potential for scientific information on the region • Rarity • Representativeness • Integrity • Vulnerability
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• Context or group Historic values • People • Patterns • Events Cultural values • Identity • Public esteem • Commemorative • Education • Tangata whenua • Statutory recognition
Authenticity While HNZ guidance discusses the issue of integrity, a fuller explanation and definition is warranted. The definition of heritage values of buildings and landscapes has been considered by a number of groups and international bodies, particularly over the last twenty years. The Management Guidelines for World Cultural Heritage Sites by Bernard Feilden and Jukka Jokilehto. ICCROM, UNESCO, ICOMOS, 1993, outlined the criteria for consideration of World Heritage listing. The concept of authenticity was considered as being crucial to the assessment, although a clear definition was not provided, in order to consider appropriate treatment strategies. The areas of authenticity in the Guidelines comprised design, material, craftsmanship and setting. It was considered that these areas of authenticity did not allow for cultural differences, which led to the ICOMOS Nara Document on Authenticity, 1994. In this documents relative values were described with respect to “form and design, materials and substance, use and function, traditions and techniques, location and setting, and spirit and feeling”.12 Again a specific definition of authenticity was not provided. This was left until 2000 when the Riga Charter on Authenticity and Historical Reconstruction in Relationship to Cultural Heritage, confirmed in Riga, Latvia, defined authenticity as: “The measure of the degree to which the attributes of cultural heritage [including form and design, materials and substance, use and function, traditions and techniques, location and setting, and spirit and feeling] credibly and accurately bear witness to their significance.” This concept of authenticity is used to assess heritage values in this assessment.
12 ICOMOS Nara Document on Authenticity, 1994
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Appendix 4 Ranking heritage values and significance
Physical Archaeology High has the potential for national or regional archaeological values i.e. rare site types, sites from the first phase of settlement, particularly intact physical remains Moderate has the potential for local archaeological values i.e. relatively early, possibility of relativity intact physical remains, representative types Low known to be pre-1900, or has the possibility of pre-1900 evidence, but unlikely to have high or moderate archaeological values Architecture High highly original, early, ideal, landmark or innovative design, style, use of materials, or craftsmanship for the period Moderate good design, style, use of materials, or craftsmanship for the period Low typical design, style use of materials, or craftsmanship for the period Technology High highly original, ideal, innovative or early construction design for the period Moderate good example of construction design for the period Low common construction design for the period Rarity High first, only remaining or one of very few of the period, locally/regionally/nationally Moderate one of few of the period, locally/regionally/nationally Low common for the period, locally/regionally/nationally Representivity high has all the key characteristics of architecture or technology of the period Moderate has many of the characteristics of the architecture or technology of the period Low has few characteristics of the architecture or technology or period Integrity high unchanged or has had important modifications since construction
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retaining heritage values Moderate unimportant changes since construction but essential character and most heritage values retained Low character changed significantly with few heritage values remaining Group high principal contributor to the dominant values of the group moderate compatible with the group but not a principal contributor to the dominant values of the group low of little importance to the group
Historic People high intimately associated with a group or person of national or regional significance moderate intimately associated with a group or person of local significance low minor or peripheral connection to a locally significant group or person Events high intimately associated with events of national or regional significance moderate intimately associated events of local significance low minor or peripheral connection to a locally significant event Pattern high intimately associated with pattern of national or regional significance moderate intimately associated with pattern of local significance low minor or peripheral connection to a locally significant pattern
Cultural Identity high focus of national or regional community identity, sense of place or social value or has special age value such as constructed within the first 30 years of settlement moderate focus of local community identity, sense of place or social value or has age value such as construction between 1870 and 1900 low has minor community focus, sense of place or social value Public esteem high focus of national or regional community identity, sense of place or
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social value, recommended for listing, discussed in national publications, or received an award at the national, or local level moderate focus of local community identity, sense of place or social value, or recommended for listing and discussed in local publications low has minor community focus, sense of place or social value
Commemorative high commemorates national or regional endeavours or people at a national, regional or local level moderate commemorates local endeavours or people at a local level low has minor commemorative value Education high has a very high potential for education of heritage values at a national or regional level moderate has a high potential for education about heritage values at a local level low has minor potential for education
Assessment of significance The values of the place or object High at a national, regional or local level it is ranked highly in a number of heritage areas and has high integrity or has very significant values in one heritage value Moderate at a local level it has few high heritage values and/or has moderate integrity Low it has few heritage values The place or object has significant heritage values: National at a national level Regional at a regional level Local at a local level
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Appendix 5 History of building materials used
Marseille tiles Marseille tiles, as the name suggests are made in Marseille and are a ceramic single lap tile, a development of the traditional “over and under” tile. An early form of this tile was developed by the Greeks who are also given credit for the first European single lap tiles dated approximately 1,000 BC. The Romans adopted the Greek design, which spread throughout their Empire. The French Pattern tile called 'Marseilles' was based on a design created by the Gilardoni Brothers in 1850. The Societe des Tuileries et Ceramiques were a group of Marseilles tile manufacturers who developed the Gilardoni Brothers' design and marketed large numbers of the new interlocking tile, which was available in grey for Europe and red for 'tropical' climates The tiles were used extensively in Australia and New Zealand for turn of the nineteenth century Arts and Crafts and Queen Anne styled houses as well as later neo-Georgian houses where the roof was a prominent element of design. Most of the tiles used in this period were unglazed but some manufacturers also made glazed tiles. A number of optional details were developed to suit the architectural style of the building, such as cresting and finials.
Brick manufacture The first recorded brickfields in the colony were two in Auckland, four in Wellington and four in Nelson in 1844. Probably the oldest brick kiln in New Zealand is at Upokongaro near Wanganui which dates from 185713. The earliest in Christchurch was Jackson and Bishop who established their brickworks in 1861. By the 1870’s additional brickmakers included George Reynolds in Hereford Street, the Farnley Brick, Drain Pipe and Pottery Works operating from St Martins and Malvern Hills owned by Austin and Kirk, Langdon and Company, W. Neighbours and three other brickyards by 1879. In 1877 Thomas Hill of Rangiora constructed a circular Hoffmann kiln for his firm Rangiora Brick and Tile Works14. Ruins of the kiln still exist with parts of the tunnel chamber still intact. His own brickworks in Invercargill in 1863, and his plant included a Hoffmann kiln15. Otago produced some of the greatest numbers of bricks and most extensive brickyards. The first was the Howell brickyard, which opened in Filleul Street, in Dunedin. The gold rushes led to a huge demand for bricks. By 1862 there were four brickyards in Dunedin and two years later there were another ten. The most significant of these included the Water of Leith Brick and Tile Works in North East Valley, the Shiel Brick and Tile Works at Saddle Hill near Mosgiel
13 Thornton, G., New Zealand’s Industrial Heritage, Reed, 1982, page 115. 14 Hills, D., Thomas Hills, A Brickmaker, Rangiora, DA Hills, Christchurch, 1977 15 ibid., page 121 [Delete these footnotes.]
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and the Walton Park Brick and Tile Company Limited at Fairfield. Jack Diamond considered that by the 1890's Hoffmann kilns were common in New Zealand following the trends overseas16. Eaves identified Hoffmann kilns existing in Auckland in the 1860's, with Bourkes Brickworks having constructed a Hoffmann kiln in 186217. Nine Hoffmann kilns are noted by Eaves as being constructed between 1862 and 1904 in Auckland18. The Tonks family, well known early Wellington settlers had established a brickmaking Ted Kempson, 1883-1986, from Lundy, J., Nine Thousand Bricks A business in 1846 in Webb Street, and Enoch Day, NZ Historic Places Trust, 2005, Tonks, son of the fonder of the business page 51 constructed a Hoffmann kiln in the 1890's19. Coates Ltd. of Huntly constructed a Hoffmann kiln in the early 1900's, while Napier, Patea and Palmerston North are other North Island noted as having Hoffmann kilns by Thornton20. The Palmerston North kiln is the only other continuous kiln to remain in New Zealand. A complete history of brick making in Palmerston North, Nine Thousand Bricks A Day, has been written by Jim Lundy. In his book he mentions Ted Kempson, who was one of the team of bricklayers who built All Saints’. Lundy lists the many other brick buildings constructed by Kempson.
Cast and wrought iron (Arden & Bowman, 2004) Cast iron has a high level of carbon and is, as its name suggests, cast into the shapes needed. Cast iron has a high carbon content, up to 5% and is not able to be worked like wrought iron, as it is brittle. Cast iron is very good in compression and is very resistant to rusting. Cast iron is joined by bolts, rivets or screws, and is difficult to weld because of its brittleness. Cast iron was an early metal used mainly for decorative elements in houses. These include brackets joining verandah posts and beams, verandah posts and balustrading, fences and gates and cresting on roofs. Cast iron was also used for down pipes, gutters, sewer and vent pipes and other forms of plumbing and drainage. Cast iron could also be used for hinges, and door hardware and furniture. Cast iron was used for columns, beams and girders bolted together. With the awareness of earthquakes in New Zealand builders used cast iron to strengthen larger masonry houses against earthquakes in the form of straps laid in courses of brick or stone. These were called hoop irons and helped to hold the house
21 MacLean, page 114 21 MacLean, page 114 21 MacLean, page 114 21 MacLean, page 114 21 MacLean, page 114
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together. Iron rods could be added to masonry walls after they were built and cast-iron spreader plates were used to spread the load. These plates could be round or in the shape of an ‘S’. Wrought iron is the purest form of steel and has less than 1% of carbon. It is thought to be the oldest type of steel used in buildings. Wrought iron is not strong in compression but very strong in tension, that is supporting weight by being pulled such as a diagonal member of a gate. Like cast iron, wrought iron does not rust easily. Wrought iron is hammered and rolled into shape, hence the name wrought. The metal is wrought on anvils or in rolling machines and the more wrought iron is worked, the stronger it is. As with cast iron, wrought iron is joined by bolts, rivets or screws but can also be welded. It can also be heat joined where, with white heat, two pieces of wrought iron will fuse together. Wrought iron was traditionally used in buildings as plates joining or strengthens joints between timber members and for door and window hinges. It was also used for decorative work much the same as cast iron such as roof crestings, brackets, fences and railings. The combination of wrought and cast iron was quite common. In the fences and gates lining many of New Zealand’s parks and gardens both have been used recognising the different qualities of each. To tell the difference, the design, means of shaping and use of the metal is a guide. Cast iron elements are usually massive and repetitive in design. Blow holes and casting marks from manufacture should be visible and if cast iron is hit it will often chip. Cast iron is used in compression, that is weight bearing directly down, such as for columns or posts. Wrought iron elements can have a beaten surface and a sliver can be taken from it with a chisel.
Timber The earliest recorded European use of timber in New Zealand was in Captain Cook’s journal of 9 October 1769. “after landing as above mentioned we had not gone a hundred yards into the woods before we found a tree that girted 19 feet eight inches, six feet above the ground, and having a quadrant with me, I found its length from the root to the first branch to be 89 feet; it was as straight as an arrow and taper' nut very little in proportion to its length, so that I judged that there was 356 solid feet of timber in this tree, clear of the branches…..Here are forests of vast extent full of the straightest and cleanest trees we have ever seen.” (Cooks Journal 1769 9 October). The timber was pit sawn, a method of cutting timber which was common until the 1860’s. There was an extensive timber trade, following Cook’s observations as England needed a dependable supply of timber following the American Independence in 1776, as the US had supplied much of England’s timber requirements. There was a need especially for masts and other ship timbers for the British navy in India. Sealing and whaling industries required timber for boats and housing, store houses, casks for oil, wharves. Missionaries became involved in the timber
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industry, felling and selling timber to pay for their missions as well as constructing boats for travelling around the coasts. The first was built for Marsden, which was a 20-ton flat-bottomed boat. The first circular saws were in action in Mercury Bay in 1837 and this form of sawing timber superseded pit sawing by the 1860’s. The first circular saws were water powered, then they were powered by steam, and finally by electricity, with the first electric machine used in 1906. Kauri was used for masts, spars, ships, wharves, bridges, sleepers, tramways, struts for underground mines, general building construction, weatherboards and was split for shingles. Rimu, was used for house construction, weatherboards, framing and is now used for furniture and veneers. Matai, was used for piles, bridges, wharves, sleepers, bed plates for machinery, flooring and weatherboards. Totara, was used for piles railway sleepers, tramways, house timbers, bridges, shingles, window joinery and exterior verandah flooring. Jarrah, or Eucalyptus Marginata is a native hardwood of Western Australia Heartwood which is very hard and durable. The heartwood is a dark red while the sapwood is pale yellow. It has a coarse even texture with some interlocked grain. The timber has been used throughout New Zealand for particularly wharves, railway sleepers, mining and telephone poles.
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Appendix 6 Contemporary architectural styles - the New Zealand scene At the turn of the century, Clere was the major architect of Anglican churches in the top half of the North Island. He also designed Catholic and Non-Conformist Churches. Other New Zealand significant church architects of the time, who practised in the lower half of the North Island included Thomas Turnbull and Sons, Benjamin Mountfort, F W Petre, William Crichton, Joshua Charlesworth and J S Swan. Thomas Turnbull (1825–1907), was a significant church architect of the late Victorian period in Wellington. Amongst his most important buildings were the academic Gothic churches of St Peter (1879) and St John (1885), both in Willis Street, and the Romanesque Wesley Church on Taranaki Street (1880). His preference for the academic high Victorian Gothic is reflected in the Willis Street churches and the General‚ Assembly Library (1899). Benjamin Mountfort (1825-98) was a significant Christchurch church architect of the mid to late Victorian period. During his career he designed many churches and additions to churches; those still standing include the Trinity Congregational Church in Christchurch (1874), St Mary’s Church in Parnell, Auckland and the Church of the Good Shepherd in Phillipstown, Christchurch (1884). In 1857 he became the first architect to the province of Canterbury. He designed the Canterbury Provincial Council Buildings in three stages from 1858 to 1865. The stone chamber of this building can be considered the greatest accomplishment of his career. He was involved in many important commissions from the 1870s, including the Canterbury Museum (1869-82) and the Canterbury College including the Clock-tower Block (1877) and Great Hall (1882). He was also involved in the construction of Christchurch’s Cathedral and made several major modifications to the original design. One of New Zealand’s foremost Catholic church designers of the period, F W Petre (1847-1918) preferred a more classically inspired style. Among his significant designs are the basilicas of Timaru, Oamaru and Invercargill as well as the Catholic Cathedrals of Christchurch, Dunedin and Wellington. These were more typical of Catholic Churches of the time. Petre’s two early significant church buildings in Dunedin were completed in the Gothic style - St Dominic’s Priory and St Joseph’s Cathedral. However later church work was almost exclusively classical. “The great frustration of St Joseph’s was that it was clear beyond argument that Gothic, except for the smaller parish churches, could no longer be regarded as a viable style for the young colony. The cost was beyond reach.” William Crichton (1862–1928) , Wellington Baptist church designed in 1895 . The church is Carpenter Gothic style with prominent gabled front flanked by faceted bays and gabled porch to the street. A French gothic fleche is tops the eccentric eclectic building. Joshua Charlesworth (1861–1925), architect for the Wellington Town Hall in
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1901, designed St Barnabas’ church on Grafton Road, Roseneath in 1899. It is a simple Early English chapel with angle buttresses and open bell tower. John Sydney Swan (1874–1936), was the other major architect of Catholic Church buildings. He was articled to Frederick de Jersey Clere and his work for the Catholic church included St Gerard's Church, Mt. Victoria (1910), Scared Heart Convent (later Erskine College), Island Bay (1909), and Wanganui Convent (1912). The Gothic employed by Swan was less strictly academic than that used by Clere in Saint Mary’s. Swan possibly followed the more individualistic Arts and Crafts philosophy of the English movement, although the Sacred Heart Convent Chapel is a more European influenced design, reflecting the origins of the Order. A comparison of other churches designed by Clere shows the diversity of his church design. St Alban’s Puatahanui, 1895 is a chapel size version of Rangiatea with European tourette, very steep single gabled roof and exposed truss buttresses. St Matthias, 1921, in Makara is an Arts and Crafts version of a Norman church with square central tower chapel and single gabled nave. St Mary’s Karori, 1911, is an Arts and Crafts version of Romanesque Basilica with low-pitched gabled nave, chancel and transepts with an open timbered campanile. St John’s in Johnsonville, 1921, is in the Free Perpendicular Gothic with square tower, gabled nave and chancel, and hipped single transept. St Thomas’ in Riddiford Street, 1895, was a tall stick style inner city church with hipped chancel and gabled transept and open timber bell tower atop the side aisle. All Saints’ in Hataitai, 1928, is the closest to All Saints’ Palmerston North in its construction and layout. It was the largest of the Wellington Churches and, according to Susan MacLean, “is the foremost brick church of the period, one of Clere’s finest churches anywhere and deserves to be known better.”21 The church has a cruciform plan, with a Lady Chapel and vestries in the north and south transepts, and, like many of his churches, these is no chancel arch and the two spaces are continuous. All Saints, Ngaio was intended to be constructed in reinforced concrete, and was designed with a similar plan as All Saints’ Hataitai. Instead, when it was built in 1928 it was constructed in brickwork and on a smaller scale. Towers of all three brick churches are similar and designed in the Perpendicular style. MacLean suggests his use of the later Gothic style evolved from his youth spent in Somerset, England.
21 MacLean, page 114
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