52 CONTEXT 189 : SEPTEMBER 2026 to repair historic plasterwork in a manner that is authentic to its period. The text assumes no prior knowledge, and early chapters introduce tools, materials and mixing techniques, enriched by straightforward advice such as how simple visual analysis can inform an appropriate mix without the need for laboratory testing. The author shares his ‘golden rules’ for reducing failure in new plaster finishes and guides the reader through the process of applying traditional three-coat lime plaster as if we were there with him on site. Gaches demystifies a subject that can often seem overly complex in other publications. For example, he focuses on a small number of proven mixes applicable to most situations, helpfully summarised in an easy-to-reference table. The chapters devoted to the repair and conservation of historic plasterwork are particularly engaging. Detailed photos clearly illustrate each stage of the work, while discussion of the philosophical considerations accompany the practical instruction. The result is a guide that addresses not only how repairs should be carried out, but also why certain approaches are preferable. Subsequent chapters explore the creation of new decorative work using traditional methods, including running in-situ mouldings and casting ornamental plaster. Historical context is woven throughout, helping the reader understand both the techniques and their place within the broader development of the craft. More contemporary methods, such as the production of reverse silicone moulds, are explained through clear, step-by-step guidance. Decorative finishes including scagliola and sgraffito are also covered, before the book concludes with a chapter on renders and pargeting. Throughout, the personal accounts and first-hand experience help make the technical content an enjoyable read. Among the highlights is the case study of the restoration of Cobham Dairy. This fascinating account demonstrates how physical evidence on site, combined with reference to Wyatt’s original drawings, informed the authentic reinstatement of the decorative plasterwork to an exceptional standard. There are, of course, other books on historic plasterwork, but what sets Plastering apart is the accessible advice borne from 45 years of experience. In this respect the book is more of a practical craftsman’s guide than other references. In capturing and sharing his knowledge, Gaches has made a valuable contribution that will help preserve the skills, understanding and traditions of decorative plastering for years to come. Simon Malam, director, Donald Insall Associates A social art Percy Thomas: modern architecture as a national service Robert Proctor, University of Wales Press, 2025, ISBN 978-1-83772-2105, 132 black-and-white and colour illustrations, hardback, £65 Percy Thomas is an architect known to many, but not as many as he and his work deserve. This excellent new biography of the man and his ever-expanding practice puts that right. Described as ‘the most important twentieth century architect in Wales’, this reputation rests not only on major works such as Swansea Guildhall and its famous Frank Brangwyn murals, but on further ‘municipal palaces’ of the interwar period like Swinton and Pendlebury Town Hall, Tunbridge Wells Civic Centre and, of course, the Temple of Peace in Cathays Park, Cardiff. These buildings, and others of the stripped classicism he made his own, may be seen as the epitome of the architecture of the civic centre which began at Cathays Park. Swansea’s magnificent Guildhall is dealt with in the second chapter – ‘Modern Classicism and Municipal Democracy’ – which makes it clear that restriction of budget led to the removal of the usual classical portico. We should be thankful. In its place Thomas designed a great gaping semi-circular arched opening – a sort of moderne triumphal arch – which soon became something of a hallmark of the new civic buildings by go-ahead (aka strapped-for-cash) local authorities, appearing also in Accrington’s fire and police station. At Swansea it is twinned with the centrally placed and excessively tall tower that also shows an influence that was not budgetary. The contemporary classical architecture of the American beaux-arts was starting to permeate Britain not simply in the idea of the civic centre but the imperial Roman character of its architecture. One of Thomas’s contemporaries, E Vincent Harris, also came under that spell, but maintained the bells and whistles of classicism that Thomas increasingly did away with. The two men, frequently placed in the same competitions, make an interesting comparison. In 1914 they both entered the competition for the Board of Trade offices in Whitehall. Harris won and it is interesting to see Thomas’s submission illustrated. Harris spent the next 45 years of his long career working on it before it opened to be what we now know as the Ministry of Defence. Harris also won the Tunbridge Wells Civic Centre competition but was ‘removed’ due to cost. Where Harris refused to compromise Thomas made the scheme work – again sans porticos.
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