Breathing new life into old mills | Q&A with Sunny Bank Mills
The restored textile mill in Farsley, Leeds has been transformed into a vibrant mixed-use site by the descendants of the original owning family, John and William Gaunt. Today, the 10-acre site houses offices, studios, cafés, galleries, and shops, serving as one of Leeds’ largest creative hubs. Place Yorkshire spoke to William Gaunt about the highs and lows of redeveloping this landmark building into something suitable for modern use.
Q. What originally motivated you to embark on the long-term restoration and redevelopment of Sunny Bank Mills, rather than opting for a full demolition and rebuild?
A. When we ceased manufacturing, we had three key ambitions for Sunny Bank Mills: it should remain a place of employment, we should preserve as much of its heritage and culture as possible, and we should re-engage with the local community. Our family have been connected with, but not always owned, the Mills since their founding nearly 200 years ago when a group of 31 weavers in Farsley pooled their resources together to form a “Club Mill” in the village. As a family we have a deep connection with them, and we felt it would be our legacy to ensure their survival for future generations to enjoy.
Q. Can you talk us through the earliest stages of the project – what were the biggest challenges in deciding what to preserve, what to adapt, and what to modernise?
A. The first challenge was to build a good team of professionals around us to help us achieve our vision. We were skilled in manufacturing and exporting some of the finest cloth on the globe, but we were completely naive to the world of property development.
In terms of the site, we needed to make it more accessible to people and vehicles, so we identified buildings that were of poor quality and lesser historic value that we could clear to create a more porous site that worked for occupiers and visitors alike. For example, the weaving sheds and scouring were not adaptable for re-use, and they locked in the historic Old Woollen building, they were single storey and had multiple internal columns; so they had to go.
Q. How did you balance the functional requirements of contemporary commercial and creative spaces with the need to respect the Mills’ historic architecture?
A. The remaining buildings are very adaptable, although making them fully accessible is sometimes a challenge, so we try and find workable compromises and justify our decisions to stakeholders. For example, beautiful stone steps that have been worn down by centuries of use are not ideal, but to repair them would wipe out the traces the mill workers who, over the years, have climbed the stairs with their hob nailed clogs wearing away their mark on the building. Most users of the Mills celebrate the golden exposed stone sills and the light that floods in through the large windows. Any unique features were subject to an archaeological survey prior to any development starting.
Click on any image to enlarge
- William Gaunt (L) and John Gaunt (R). Credit: Richard Moran
- Aerial view of the development. Credit: via Robert Beaumont Associates
- John Gaunt (L) and William Gaunt (R), joint managing directors of Sunny Bank Mills. Credit: Giles Rocholl
Q. What elements of the Mills’ heritage were the most important for you to retain, and why?
A. We have retained all the key buildings that reflect the growth of the Mills from its inception in 1829 through to the 20th century. Each building represents a different period of architecture, from the well-proportioned utilitarian Georgian mills of the 1830s, to finer the Victorian grandeur of later in the 19th Century, finishing with hints of the Art Deco in the later Edwardian offices.
In the Museum & Archive we preserve the history of the mill workers and the cloth that was produced here. For example, there are more than 60,000 designs, all the dying recipes and beautifully written cash ledgers.
Q. Many heritage projects require working closely with planners, conservation officers, and community stakeholders. What has that collaboration process been like throughout the development?
A. We have always managed to hold a positive relationship with all our stakeholders. At the start of the process there was a lot of mistrust, especially with the community, but once we demonstrated that we were being a positive impact to the community, they have been very supportive.
We place importance on the task of listening carefully to other ideas and we are very respectful of the fact that we are temporary custodians of Sunny Bank Mills. In particular, with regards to heritage stakeholders, we have become an exemplary project, which is very satisfying.
Q. What have been some of the most technically complex aspects of restoring a Victorian textile mill for modern use?
A. Without doubt, the sensitive clearance of a number of buildings in the centre of the site. This was very challenging due to the unknowns, the complex nature of taking down structures that were physically linked to buildings we wished to protect, and the fact that we were working on a live site with paying tenants running their businesses in adjacent buildings.
In a turn of fate, we were halfway through the demolition when Covid struck; on one hand this incurred some delays, but on the other, once work restarted on site most of our tenants were working from home and the general public were not out and about either, so they did not have to witness the pain of lots of muck and noise.
The project finished in June 2021 and we were able, with a certain “coup de theatre”, to welcome back our users to a reconfigured, accessible estate.
Q. How do you view the wider role of heritage-led regeneration in supporting local communities – particularly in towns like Farsley?
A. We are a great believer in the importance of the connections we have with the past. In particular, in West Yorkshire generally there is a great affection for our industrial heritage. It is part of our DNA, and it has very much shaped our community; with stories of families that came to the region from all over the world to work in the Mills and settle here.
In terms of the physical environment, the Mills are handsome, imposing buildings that shape the visual identity of our towns, and the preservation of good examples like Sunny Bank Mills is crucial. There is a strong demand for commercial and leisure spaces that are rooted in their neighbourhood, rather than being city centre focused. This localism has a positive impact on the community and the environment.
Q. Did you have a particular vision for how the redeveloped site should contribute to the creative and business ecosystem of Leeds? How close is the project to that vision today?
A. Our vision remains centred around employment, heritage and culture, and community and we are delighted how Sunny Bank Mills has had an impact in the wider context of Leeds. Sadly, some of that impact is due to the fact that other cultural venues have not thrived in the challenging economic environment, particularly in the visual arts arena.
We have become the largest creative hub in Leeds, which itself creates a centre of gravity and energy that is very positive for growth. We are first to admit that this has been achieved with the help of our 120 cultural and commercial occupiers who bring crucial expertise, enthusiasm, and investment. In addition, they represent over 500 employment opportunities. We would like to build on that success and invest in a more fit-for purpose built environment. We also advocate for more cultural and business activity to happen outside the city centre.
Q. Restoration projects often uncover unexpected architectural or historical features. Were there any discoveries at Sunny Bank Mills that reshaped your development plans?
A. So far, there has been no major recasting of plans due to unexpected discoveries, although some have certainly been unhelpful, such as the discovery of two old bell pits that needed filling in. On a small scale, on top of the iconic 1912 Mill, there is a charming lightening conductor – instead of painting it black we covered it in gold leaf, and on sunny days it sparkles like a crown over the Mills but we are still waiting for a royal visit!
Q. Looking ahead, what do you see as the future of heritage mills in the UK? And what do you hope Sunny Bank Mills represents as a model for similar restoration projects?
A. We are hopeful that mills will remain a central part of life. Many have been very successfully repurposed to give them relevance in today’s post-industrial society. They are well constructed, beautiful buildings that deserve preservation, not as dusty museum pieces, but as living, breathing entities. Like any plot, each mill will present a different opportunity, whether that is residential, mixed-use, or commercial.
Preserving old mills tends not to be of interest to larger property companies, but there are plenty of motivated visionary individuals out there who are willing to take the risk and sensitively restore these wonderful places. Sunny Bank Mills is typical in this respect and we often spend time discussing challenges with other mill owners and sharing our experience.
Q. If you could give one piece of advice to other custodians or developers considering heritage-led regeneration, what would it be?
A. It’s a long haul, but stick at it and you will be rewarded!
