Restoring a listed building is rarely straightforward, but for Stuart Cadman, Managing Director of Cadman Construction, one recent project carried an added layer of responsibility. 

The restoration of a Grade II-listed 16th-century Suffolk longhouse was not only one of the company’s most technically demanding heritage schemes, it was also destined to become his own family home.

The project combined extensive structural repairs to a centuries-old oak frame with the careful integration of contemporary living spaces, balancing conservation principles with modern construction techniques. From uncovering hidden structural defects to working closely with conservation officers and specialist craftsmen, the restoration required patience, precision and a deep respect for the building’s history.

In this exclusive interview with Heritage & Traditional Build, Stuart reflects on the challenges of preserving a property that has stood for more than 400 years, the lessons learned throughout the project, and why traditional craftsmanship continues to have an important place in modern construction.

This wasn’t just another restoration project – it was your property. How did that personal connection influence your approach to restoring a 16th-century Grade II-listed Suffolk longhouse?

We always planned for the house to become our family home, so naturally we put our own stamp on the interior finishes and final details. However, from a construction perspective, we approached the project in much the same way as any other Cadman Construction heritage scheme, following the same professional processes, attention to detail and respect for the building’s historic fabric.

What were the biggest surprises you uncovered once work began, and how did you overcome them?

Stuart Cadman

The biggest surprise was discovering that the south end of the oak frame was actually a random mixture of softwood and oak. The south chimney was also of hybrid construction and, from a conservation perspective, was of very limited historical value.

The softwood elements had deteriorated so badly that they could no longer be safely supported. As a result, we had to submit a fresh planning application and apply for Listed Building Consent to demolish and rebuild much of the south end. That process required a great deal of patience and meant the project was effectively paused for around six months.

We also found that virtually all of the oak sole plates had deteriorated to little more than dust. Replacing them was certainly a significant challenge, although it wasn’t entirely unexpected given the age of the building.

One of the most fascinating aspects of the project was supporting the building in six-metre sections to inspect the original oak frame. Can you explain what that process involved and why it was so important to the success of the restoration?

We decided it was important to leave the building completely intact while supporting the first-floor perimeter beam in manageable sections. Using a propping system designed by a structural engineer, we carefully supported the first six-metre section before carrying out detailed inspections and repairs.

Once we had successfully completed that first section, our confidence grew and we repeated the process across the rest of the building before eventually moving on to the south end, where the more extensive structural issues had been identified.

We may have been able to support the entire building from the first-floor perimeter beams, but we felt far more comfortable taking a measured, step-by-step approach. Given the age and significance of the structure, caution was essential.

How do you strike the right balance between preserving heritage and creating a home that meets modern living standards?

The new extensions were designed to meet all current building standards, so the finished spaces are deliberately modern in both construction and performance. Externally, however, they have been designed to sit comfortably alongside the historic building, with the windows providing one of the clearest distinctions between old and new.

The contemporary additions naturally complement the original structure. As you move through the house, the transition from the 16th century to the 21st century feels seamless. It’s obvious where the historic building ends and the new work begins, but it never feels out of place.

Every material used, from William Blyth clay pantiles to locally sourced lime render, was carefully chosen. Why is material selection so critical when working on listed buildings?

The render and roof tiles are particularly important because they’re among the first things people notice. Traditional materials such as lime create a much softer and more sympathetic appearance than many modern alternatives.

Historic buildings are designed to breathe, and using traditional materials allows them to continue performing as originally intended. That benefits the structure itself by helping manage moisture, while also creating a healthier internal environment. There may well be wider health benefits too.

How important is collaboration between contractors, conservation specialists and local authorities when delivering heritage projects successfully?

Without close collaboration, a project like this would probably take twice as long to deliver. It’s important that everyone involved understands the requirements, priorities and constraints faced by the other parties.

That said, nothing happens particularly quickly on a heritage project. Patience is one of the most valuable qualities you can bring to listed building work.

What does it mean to you to see the restoration complete? Is there a particular feature or moment in the project that you’re especially proud of?

For us, the most rewarding aspect is knowing the building has been preserved for future generations.

When you consider that the original structure and chimneys may have been built by craftsmen working during the reign of Henry VIII, it really puts the building’s history into perspective.

Hopefully, visitors for another 400 years or more will be able to appreciate that history while also seeing how modern construction techniques have been carefully integrated alongside the original fabric of the building.

Has this restoration changed the way you think about heritage construction, and do you see listed building refurbishment becoming a bigger part of the company’s future?

The project has certainly influenced how we approach future opportunities and the types of projects we choose to tender for.

Completing a restoration of this complexity has significantly increased our confidence in delivering heritage schemes. 

We now have a much clearer understanding of the processes involved, the risks that need to be managed and the practical challenges that come with listed buildings, allowing us to evaluate future projects with much greater confidence.