A Project Presentation by
Locker and Riley Fibrous
Locker & Riley believes the plasterwork created at Hanover Lodge to be an exceptional nature and
standard and hereby submits the works for consideration for the Residential Plaisterers Trophy. In
particular, Locker & Riley would like to submit the Main Hall and Main Stairs for the Trophy.
In terms of architectural accuracy, artistic excellence and sheer scale, the drawings and
representations received from Quinlan & Francis Terry for the Hanover Lodge works were
“A project like this is very rare and very special, and Locker & Riley feel privileged to have contributed
in its completion. A new benchmark has been set” – Jon Riley, Managing Director.
In addition to the quality, the quantity of fibrous plaster in this project has been immense, with 70% of
the decorative plasterwork being produced and installed by Locker and Riley. The strength of the
relationship with the contractor and architect and the confidence they showed in Locker & Riley was
instrumental in overcoming the many challenges faced within such a demanding project.
The demands in terms of program, co-ordination and project management further makes Hanover
Lodge an appropriate project for submission for the Residential Plaisterers Trophy.
Receipt of drawing from the architect.
Survey of each area, ensuring viability of the scheme.
Discussing details, considering the production requirements.
Assessing depths, thickness and base materials.
Approval of model by the architect.
Assessment of individual components.
Assessment of loads.
All works required detailed, stage by stage, client approval. The entire project was carried out in con-
stant liaison with the Main Contractors; Walter Lilly and the Architect; Quinlan and Francis Terry.
“For us it has been a pleasure working with professionals at the highest level, both from an architec-
tural and main contractor’s perspective. This is, by far, the highest level of quality and workmanship I
have ever experienced in my 25 years of service. In one single project, we have seen the embodiment
of all the skills and all that is special about the fibrous plaster art.” - Kevin Ackland, Contract Director.
Hanover Lodge – Regents Park
Hanover Lodge was built in about 1827 by Decimus Burton, and later remodeled by Sir Edwin
Lutyens circa 1910.
In 1947 much of Lutyens work was removed when the building became a Hall of Residence for
Bedford College. It was in 1995 that the college left and the unsightly additions that the college
had made in the 1960s were removed and the Crown Estate offered a lease of the building for use
as a private dwelling.
It was in 1995 that the renowned architects Quinlan & Francis Terry, who specialize in the design
of high quality classical buildings, became involved in Hanover Lodge.
Quinlan Terry drew up plans which made the existing “adhoc” design into a symmetrical classical
house. A wing was added, balancing out the existing lutyens wing; large reception rooms were
added to the back and a giant ionic portico was designed for the front with symmetrical gate
lodges to the park entrance.
The Main Hall is a complete new build reconfiguration within the existing structure. This hall
was created by removing the existing floor from the original house to make a double height base,
lit by a newly formed elliptical skylight symmetrically placed within the new ceiling. The Hall in-
spired by Inigo Jones’s Queens House in Greenwich (1616-35) and by the Stone Hall in Hough-
ton Hall in Norfolk (1734) by Colen Campbell, James Gibbs and William Kent is one of the most
imposing and richly ornamented interiors of recent times. Full scale, freehand drawings by Fran-
cis Terry for the plasterwork introduce a vibrancy and sensitivity to plant forms and associated
classical ornament on a scale unparalleled in modern British Architecture.
Lodge: How it looked before the modernisation project
Main Hall Beam Enrichment
The individually modelled leaves and plant forms created a life
like, organic feel to the beams in the main hall. Each leaf was
bespoke to avoid duplication to achieve a natural ‘growth’ from a
point of origin.
Some 400 leaves were individually hand-dressed on flat beams
in a precise order, governed by the one to one drawings by
Francis Terry. The whole area was also balanced so moulds
needed to suit the ceiling dimensions, with mitres all being hand
crafted for accuracy.
Main Hall Brackets
The development of these
ceiling brackets was quite a
challenge. The exacting
specifications, level of un-
dercut and scale de-
manded that we formulate
a process which ensured
that the brackets remained
completely square and
identical when cast.
Once again, we employed
a variety of materials to
complete the components
of this piece, which in-
cluded modelling clay, ep-
oxy putty, aluminium, cop-
per, brass and silver.
In the finished piece, the
juxtaposition of the engi-
neered architectural vo-
lutes and the sharp curved
lines form an interesting
contrast to the ‘organic’
feel of the feathers.
Main Hall Shell
There was a great deal of R & D involved with this impressive piece.
We collected a variety of real shells, (from as far away as beaches in Amer-
ica!) to assist with the initial designs and to properly capture the correct natu-
ral form of their shape. The organic insert provided a fabulous contrast to
the engineered elements of the shell.
1:10 scale models were produced for architect approval, which proved in-
valuable in developing a process to complete such a large and demanding
The scale of this piece can be seen from our photos and provided quite a
challenge when we came to install. A section had to be left out of the cove
and suspension bars were inserted to allow adequate support.
Additional enrichments were applied after installation as seen in the photo
Main Hall Cartouche
This was the single most challenging
item from the whole project. QFT saw
it as the centrepiece of the main hall
design and we received beautiful full
size artist impressions of this element.
We utilised a whole range of materials
and technologies in the production of
the cartouche model, from hand-
hammered copper for the centre to di-
minishing wooden discs for the crea-
tion of the wreaths that frame the pe-
rimeter. Each disc had 10 leaves indi-
vidually attached to them and each
wreath had more than 200 leaves, all
The architects demanded that the flutes
that surround the copper centre must
‘look natural’ and in order to achieve
this we engineered 12 different flute
modules, this time in resin, that all di-
minish very slightly.
The palms that extend from the sides
of the cartouche were sculpted in clay
to intentionally contrast the precision of
the flutes and scrolls.
The lower wreaths needed to appear to
be suspended away from the cartouche
and you will see from the photos what
we mean by this. We accomplished this
unique effect by wiring back the
wreaths right through the scrolls of the
cartouche in order to create the pen-
Main Hall Candelabra & Swag
Incredibly detailed one to one drawings were received for
what was one of the first elements of work undertaken.
Through a gradual process of sample submission, we were
able to attain the desired level of workmanship the archi-
tects demanded for this project and in the process, set the
benchmark for quality and realism required for the rest of
You can see from the photos of the model overlaid on one
of the QFT drawings that the level of detail is quite out-
standing and three different sizes were required to cater for
different room sizes.
A selection of epoxy putty and modelling clay were used to
create the originations with the casts in both resin and plas-
ter, in accordance with the delicate nature of the moulds.
Main Hall Cornice Enrichment
Additional drawings were received for further works to the plain
These new elements of enrichment comprised of swags, framed
rosettes and acanthus leaves. It is worth noting that it was neces-
sary to produce varying sizes of components to suite each area.
All castes were in plaster and made to a very high level of speci-
fication. This was achieved by our ability as a company to com-
bine traditional craftsmanship with modern materials and proc-
esses. In this instance, the models were produced from alumin-
ium, copper and brass to produce an incredibly sharp and crisp
Main Hall Oculus Swag
The detail of this piece is quite exceptional and like many of the drawings
we received from Quinlan & Francis Terry, were exceptional pieces of work
in their own right.
There was a maximum relief of 70mm on this enrichment which gave our
modellers licence to create a piece that was ultra realistic.
The flowers were sculpted full size using real specimens as a reference in
order to make them as authentic as possible. We used a detailed bed of
leaves for the flowers to sit on which added depth and shadow to the work
and many of the flowers were individually applied to maximize the whole
organic feel. Due to the need for high detail, resins were used to produce
many of the fine detail models and originations.
Main Hall Cove Enrichment
Additional enrichments were required after the cove was installed.
We assisted the architect with this task and further ornamentation
was drawn directly onto the face of the cove whilst insitu. The
sketches can clearly be seen in the photos supplied.
The enrichments were then templated and produced for approval.
The method of installation had to be carefully considered due to
application onto a primed surface. Many proprietary adhesives
were tested until a suitable method of fixing was agreed.
The Main Stairs
Oculus, Beam Enrichment and Rinceau panels
The ornamentation in this area is extremely detailed and noticeably
delicate in its relief. This can clearly be seen in the finery of the
Rinceau panels and especially the floral elliptical band.
The band framing the oculus is comprised of hundreds of individu-
ally applied flowers and leaves and it is important to note that each
module of the panel is bespoke with no pattern repeat. There are in
fact two layers of flowers; the first layer is a subtly textured plastaline
flower pattern, the second comprising of full size individual flower
components applied over the first to give depth and create shadow.
The balustrade feature installed in the lay light completes the area
quite beautifully. The models produced for the balusters were turned
by lathe from a virtually grainless hardwood. This was how we man-
aged to attain a finish free from imperfections.