In 2024 Michael Goodger received a Training Grant from GCHT to do three days of training with CHALK Plaster Design, learning about decorative fibrous plasterwork. In this blog he reflects on his experience and why the continued learning of traditional skills is so important for protecting our built heritage.
GCHT’s Training Grants are designed to help fund traditional skills training and professional development opportunities. Through these grants, we hope to help cultivate a skilled workforce, foster innovation in heritage projects, and contribute to the sustainable stewardship of our built environment for future generations.
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The importance of hands-on learning
For the past ten years I have worked across the heritage sector in various different roles, primarily with a focus on the delivery of traditional craft skills programmes. I initially studied architecture at undergraduate level, where I gained an appreciation for the many complexities of the built environment, how to draw it, survey it, model it and so on. However, one thing architecture school didn’t teach me was how to physically build a building and I was often bewildered as to how little practical knowledge of construction the course provided. I have always gained a great deal of fulfilment from working with my hands and since studying architecture, I have filled a lot of my spare time participating in short training courses in building crafts, labouring on construction sites or volunteering on community build projects.
Becoming a full time craftsperson
In February 2024 I took the leap to focus on becoming a craftsperson full time, with an aspiration to work in the conservation and repair of traditional plasterwork, both solid and fibrous. Since then I have learnt a great deal from working on live projects with heritage plasterers and vernacular builders in both Scotland and northern England, enabling me to expand my skills and build my confidence.
GCHT’S Training Grant
I received a Training Grant from Glasgow City Heritage Trust to carry out three days of 1:1 tuition with Ffion Blench of CHALK Plaster Design, with the aim of learning more about decorative fibrous plasterwork. CHALK specialises in designing and creating beautiful decorative plasterwork, using traditional techniques in the restoration of historic interiors. I joined CHALK at their new workshop based in Peebles, formerly L. Grandison & Son Ltd, a family-run business specializing in ornamental plasterwork restoration, conservation, and design which opened in 1886. The workshop is a treasure trove packed to the rafters with plaster casts, moulds, sculptures, tools, providing the perfect setting to learn about these historic methods.
Fibrous plasterwork
During my time with CHALK I focussed on a number of different aspects of decorative fibrous plasterwork. Fibrous plaster is a form of decorative plasterwork composed of plaster of Paris, reinforced with layers of hessian and secured within a timber framework. It was used to imitate more expensive and time-consuming traditional lime-based, hand-modelled plaster. Patented in 1856, it was one of the many architectural innovations of the Victorian period. Compared to traditional plaster and lath work, fibrous plaster proved advantageous in its ability to produce complex forms with relative lightness, speed of production off-site during building construction and quicker installation. Unlike traditional lime plaster requiring time to carbonate, fibrous plaster can be decorated soon after installation.
The shortage of training options
The possibilities for sculpting, casting and arranging all of the different elements is endless, something which is captured in the diversity of decorative plasterwork seen throughout Scotland’s castles, public buildings, stately homes, townhouses and tenements. However, I have found that there are limited opportunities to learn this type of work in the UK. Colleges primarily focus on modern methods and any plaster courses that do exist are often limited to 1-day, typically focussing on solid lime plaster finishes. With a significant reduction in plaster workshops in Scotland in recent years and issues surrounding poor maintenance of external building fabric leading to water ingress and damage, Scotland’s decorative plasterwork is certainly at risk.
Going forward
Whilst I haven’t necessarily followed a conventional route to working in conservation and restoration, having not been to construction college, or undertaken a traditional apprenticeship, I have sought out opportunities to learn wherever possible. Whilst there is still much more to discover the Training Grant from Glasgow City Heritage Trust has certainly helped me to fill some of the gaps in my knowledge and given me the confidence to make the shift towards being a full-time heritage craftsperson and I look forward to continuing to work alongside others to conserve and restore Glasgow’s built heritage.