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Cutty Sark was launched in 1869. | 0:00:09 | 0:00:12 | |
She is the last remaining ship of her type | 0:00:12 | 0:00:14 | |
and so has been preserved for the nation. | 0:00:14 | 0:00:18 | |
This is the end of a chapter. There won't be any more of her kind. | 0:00:18 | 0:00:22 | |
But in the late 1990s, it was discovered that this iconic ship | 0:00:22 | 0:00:26 | |
was in danger of collapse. | 0:00:26 | 0:00:29 | |
A ship is not built to sit in a dry dock, it's built to be in water. | 0:00:29 | 0:00:36 | |
So the weight of the ship was bursting it more and more at the seams. | 0:00:36 | 0:00:40 | |
Nobody wanted a pile of matchwood at the bottom of the dry berth. | 0:00:40 | 0:00:46 | |
And so a revolutionary vision to save this national treasure | 0:00:46 | 0:00:50 | |
for future generations was put into action. | 0:00:50 | 0:00:54 | |
We're going to lift her about three metres from where she currently is. | 0:00:54 | 0:00:57 | |
We can actually sit the Cutty Sark in its own new sea of glass. | 0:00:57 | 0:01:02 | |
Subliminally, we were saying to each other, "They've gone mad!" | 0:01:02 | 0:01:06 | |
I know Eric and I sort of looked at each other | 0:01:06 | 0:01:09 | |
and thought, "This is absolutely crazy!" | 0:01:09 | 0:01:11 | |
It was a project that was going to be incredibly ambitious | 0:01:11 | 0:01:16 | |
but no-one could have predicted what lay ahead. | 0:01:16 | 0:01:19 | |
What's your reaction to hearing that the Cutty Sark's on fire? | 0:01:19 | 0:01:23 | |
It's just unbelievable. | 0:01:23 | 0:01:25 | |
The thought that it had just gone up in smoke, on my watch, | 0:01:25 | 0:01:29 | |
was unbearable, really. | 0:01:29 | 0:01:31 | |
Yes. | 0:01:31 | 0:01:33 | |
It was very clear that costs were escalating. | 0:01:33 | 0:01:38 | |
We were very concerned about how we could keep the show on the road. | 0:01:38 | 0:01:43 | |
Well, after a year of planning, a year of design, | 0:01:43 | 0:01:47 | |
a year of manufacture, we're now ready to raise the ship | 0:01:47 | 0:01:51 | |
up to its new three metre in-the-air position. | 0:01:51 | 0:01:53 | |
It took over six years to prepare Cutty Sark for her final voyage, | 0:01:58 | 0:02:02 | |
and this is that story. | 0:02:02 | 0:02:06 | |
It's the day before Cutty Sark will be reopened to the public | 0:02:21 | 0:02:25 | |
by the Queen and the Duke of Edinburgh. | 0:02:25 | 0:02:28 | |
And for Richard Doughty, | 0:02:29 | 0:02:31 | |
Director of the Cutty Sark Trust, | 0:02:31 | 0:02:33 | |
it's time to make his final inspection. | 0:02:33 | 0:02:35 | |
We're that close now to the Queen coming, | 0:02:36 | 0:02:39 | |
and inevitably there are all those things that you have to do | 0:02:39 | 0:02:41 | |
last minute. So it's the final push | 0:02:41 | 0:02:44 | |
to get everything ready for Her Majesty. | 0:02:44 | 0:02:47 | |
One thing he can't control is the weather. | 0:02:49 | 0:02:52 | |
I've seen the ship in all sorts of conditions. | 0:02:52 | 0:02:54 | |
Rain, sun, sleet, snow, and, of course, fire. | 0:02:54 | 0:02:59 | |
But it pales into insignificance compared to some of the elements | 0:02:59 | 0:03:02 | |
that have been thrown at her in her working life. | 0:03:02 | 0:03:06 | |
Yeah, I mean, she's been through a lot. | 0:03:06 | 0:03:08 | |
She's an inspiration for me, just coming to look at Cutty Sark. | 0:03:08 | 0:03:12 | |
Seeing Cutty Sark conserved for future generations | 0:03:12 | 0:03:16 | |
resonates with Richard's own childhood memories. | 0:03:16 | 0:03:20 | |
'I did visit Cutty Sark as a boy. I was born not very far away, | 0:03:20 | 0:03:26 | |
'and I can remember coming as a child, both with my grandparents | 0:03:26 | 0:03:30 | |
'and with my parents, and that was an awe-inspiring experience.' | 0:03:30 | 0:03:36 | |
Obviously never imagining that it was going to play | 0:03:36 | 0:03:40 | |
such a significant part in my life later on. | 0:03:40 | 0:03:45 | |
For the last ten years, Richard has been one of the driving forces | 0:03:45 | 0:03:49 | |
behind the Cutty Sark project. | 0:03:49 | 0:03:51 | |
And during this time, the iconic ship has taken over his life. | 0:03:51 | 0:03:56 | |
I suppose, to some extent, I'm guilty of obsessing about her. | 0:03:56 | 0:04:01 | |
But, um, my wife thinks of her as... er, as... um, | 0:04:01 | 0:04:07 | |
the other woman in my life, I suppose. | 0:04:07 | 0:04:11 | |
It's an inanimate object, I know it is, | 0:04:11 | 0:04:13 | |
but there is, you know, a real magic about her. | 0:04:13 | 0:04:18 | |
And, whether it's because she's had to overcome so many hardships, | 0:04:18 | 0:04:24 | |
that, you know... she's a little ship, | 0:04:24 | 0:04:26 | |
and she's come through everything that's been thrown at her, | 0:04:26 | 0:04:30 | |
and I just think it's a remarkable story. | 0:04:30 | 0:04:33 | |
A lot of people have cared about her. | 0:04:33 | 0:04:36 | |
'She's been saved because people love her.' | 0:04:38 | 0:04:43 | |
Cutty Sark is the last of the famous tea clippers, | 0:04:55 | 0:04:58 | |
and one of the fastest sailing ships the world has ever seen. | 0:04:58 | 0:05:02 | |
She was commissioned in 1869 by a Scottish businessman called John Willis. | 0:05:02 | 0:05:07 | |
John Willis was a Scottish ship-owner. | 0:05:09 | 0:05:13 | |
He had a small fleet. | 0:05:13 | 0:05:16 | |
He was quite an eccentric old bachelor, | 0:05:16 | 0:05:18 | |
and his most distinctive feature was his white top hat. | 0:05:18 | 0:05:21 | |
And every time one of his ships went out to sea, | 0:05:21 | 0:05:24 | |
he would go down to the East India Docks, | 0:05:24 | 0:05:27 | |
doff his top hat and say, "Goodbye, my lads." | 0:05:27 | 0:05:29 | |
So he was very attached to his ships and his sailors. | 0:05:29 | 0:05:33 | |
There were many different designs of cargo ships, | 0:05:35 | 0:05:39 | |
but the fastest were nicknamed the clippers. | 0:05:39 | 0:05:42 | |
The traditional design for a ship was a very bluff bow, | 0:05:42 | 0:05:45 | |
a very square ship, that would just rise and fall over the waves. | 0:05:45 | 0:05:50 | |
Cutty Sark and the clipper design was very different, where it | 0:05:50 | 0:05:54 | |
was meant to cut through the waves, this narrow hull cutting edge | 0:05:54 | 0:05:58 | |
and that made them go terribly fast. | 0:05:58 | 0:06:00 | |
Cutty Sark is just over 84 metres long, but only 11 metres wide, | 0:06:02 | 0:06:06 | |
and her sleek shape and narrow hull have fascinated generations. | 0:06:06 | 0:06:11 | |
Hello and welcome. Now, you've put an awful lot of work into this magnificent model. | 0:06:11 | 0:06:15 | |
What was the most difficult part about building it? | 0:06:15 | 0:06:17 | |
It was getting the lines of the hull. | 0:06:17 | 0:06:20 | |
Actually, if I turn it around, we can see the line of the hull. | 0:06:20 | 0:06:23 | |
It's got a beautiful line, actually, has the Cutty Sark, | 0:06:23 | 0:06:26 | |
cos it was a beautiful ship. You can see a nice curve here. | 0:06:26 | 0:06:29 | |
And the shape of her hull allowed her to travel at amazing speeds. | 0:06:29 | 0:06:32 | |
The maximum speed that we know the Cutty Sark travelled at was about 17 and a half knots, | 0:06:32 | 0:06:38 | |
something like 20 miles an hour, | 0:06:38 | 0:06:40 | |
which is an incredible speed for a sailing ship. | 0:06:40 | 0:06:42 | |
And she was covering, sometimes, 300 miles a day. | 0:06:42 | 0:06:45 | |
John Willis wanted to build the fastest ship he could | 0:06:48 | 0:06:51 | |
to bring back one of the most lucrative commodities of the time - | 0:06:51 | 0:06:55 | |
tea from China. | 0:06:55 | 0:06:57 | |
And the great thing was to get the tea crop brought from China | 0:06:57 | 0:07:02 | |
to this country as quickly as possible. | 0:07:02 | 0:07:05 | |
And, of course, the tea that attracted the most interest | 0:07:05 | 0:07:08 | |
was the very first to arrive, so the tea merchants started to offer | 0:07:08 | 0:07:12 | |
an extra ten shillings per ton for the first ship home. | 0:07:12 | 0:07:15 | |
Britain's wealth was built on maritime trade, | 0:07:15 | 0:07:19 | |
and having fast ships like Cutty Sark | 0:07:19 | 0:07:21 | |
was vital to the country's prosperity. | 0:07:21 | 0:07:24 | |
Britain had an enormous sea-faring industry. | 0:07:24 | 0:07:28 | |
London was the largest port in the world. | 0:07:28 | 0:07:32 | |
Dock after dock after dock was being built | 0:07:32 | 0:07:34 | |
throughout the 19th century to cope with the traffic. | 0:07:34 | 0:07:37 | |
In fact, I think it's unique that a city like London, | 0:07:37 | 0:07:41 | |
whose wealth is founded on the merchant navy, | 0:07:41 | 0:07:44 | |
the growth of industry - of prosperity, really - | 0:07:44 | 0:07:47 | |
is founded on ships like Cutty Sark. | 0:07:47 | 0:07:50 | |
And she is a tangible reminder | 0:07:50 | 0:07:52 | |
of the importance of the sea in our lives. | 0:07:52 | 0:07:55 | |
By the end of the 19th century, | 0:08:01 | 0:08:03 | |
much larger steam ships were replacing clippers | 0:08:03 | 0:08:06 | |
for transporting cargo, | 0:08:06 | 0:08:07 | |
using the newly opened Suez Canal to cut down on passage times. | 0:08:07 | 0:08:12 | |
Cutty Sark was making less money, | 0:08:12 | 0:08:15 | |
and so was eventually sold to the Portuguese, | 0:08:15 | 0:08:18 | |
who renamed her Ferreira. | 0:08:18 | 0:08:20 | |
From being one of Britain's finest ships, | 0:08:20 | 0:08:22 | |
she spent the next 30 years being a workhorse | 0:08:22 | 0:08:26 | |
for the Portuguese Empire, carrying cargo all over the world. | 0:08:26 | 0:08:30 | |
Almost forgotten, she was saved from being scrapped | 0:08:30 | 0:08:35 | |
by a rich benefactor called Wilfred Dowman, who brought her back home | 0:08:35 | 0:08:39 | |
to the UK in 1922. | 0:08:39 | 0:08:41 | |
Wilfred Dowman's idea was to restore her back to her former glory - | 0:08:41 | 0:08:46 | |
re-rig her and use her as a sail-training ship. | 0:08:46 | 0:08:50 | |
After Dowman's death, Cutty Sark continued her career | 0:08:50 | 0:08:55 | |
as a training ship up until the early 1950s, | 0:08:55 | 0:08:59 | |
but, by this time, she had again started to deteriorate badly - | 0:08:59 | 0:09:03 | |
so badly, in fact, that her very future hung in the balance. | 0:09:03 | 0:09:08 | |
The Cutty Sark is to be examined by nautical experts. | 0:09:08 | 0:09:12 | |
They will decide her fate, | 0:09:12 | 0:09:13 | |
whether she is fit to survive or whether she must be broken up. | 0:09:13 | 0:09:17 | |
I was a trustee of the Maritime Museum at the time, | 0:09:17 | 0:09:21 | |
and the director was Frank Carr, and he was very interested in, in, | 0:09:21 | 0:09:26 | |
er, well, ships, and old ships particularly, | 0:09:26 | 0:09:30 | |
and he was particularly concerned to try and, er, | 0:09:30 | 0:09:34 | |
keep some of the ones that were just simply disappearing. | 0:09:34 | 0:09:39 | |
In order to acquire her and to build the dock, and to re-rig her, | 0:09:39 | 0:09:45 | |
and everything else, somebody had to do it, | 0:09:45 | 0:09:48 | |
so we established the Trust. | 0:09:48 | 0:09:50 | |
The Trust raised enough money to build a permanent dry dock | 0:09:53 | 0:09:56 | |
to house the ship in Greenwich. | 0:09:56 | 0:09:58 | |
She will make one more trip, to a permanent mooring, where | 0:09:58 | 0:10:01 | |
she will be refitted and preserved as a perfect example of her day, | 0:10:01 | 0:10:06 | |
the day of the tall ships. | 0:10:06 | 0:10:09 | |
She had only the stump mast. There was no rigging of any kind whatever, | 0:10:10 | 0:10:15 | |
so she had to go to a dry dock to be cleaned up and her hull repaired, | 0:10:15 | 0:10:18 | |
and the whole thing rigged from scratch. | 0:10:18 | 0:10:20 | |
And that was quite an undertaking. | 0:10:20 | 0:10:23 | |
The point was to restore her so that she looked right, | 0:10:23 | 0:10:26 | |
but she couldn't have gone to sea with that rig. | 0:10:26 | 0:10:29 | |
With much celebration, the Queen opened the brand new | 0:10:29 | 0:10:33 | |
Cutty Sark visitor attraction in 1957. | 0:10:33 | 0:10:37 | |
It gives me very great pleasure to come to Greenwich today, | 0:10:37 | 0:10:41 | |
to see Cutty Sark, the last of the clippers, | 0:10:41 | 0:10:45 | |
in her permanent dry berth. | 0:10:45 | 0:10:48 | |
Greenwich was already famous for its Maritime Museum, | 0:10:48 | 0:10:52 | |
and Cutty Sark would prove to be another great draw to the public. | 0:10:52 | 0:10:57 | |
Part of the reason why Cutty Sark was preserved in the 1950s was | 0:10:57 | 0:11:00 | |
to be a memorial to the men of the merchant navy. | 0:11:00 | 0:11:03 | |
This was just after the Second World War, | 0:11:03 | 0:11:05 | |
where the losses amongst the merchant navy were colossal. | 0:11:05 | 0:11:09 | |
It was something in the order of one in five died. | 0:11:09 | 0:11:11 | |
She's unique in our maritime history, | 0:11:11 | 0:11:14 | |
because she's the only one of her kind that's still left, | 0:11:14 | 0:11:19 | |
and she was the sort of peak of sail-driven merchant ships | 0:11:19 | 0:11:23 | |
in the 19th century, I suppose. | 0:11:23 | 0:11:26 | |
And it was in this dry dock that Cutty Sark sat | 0:11:30 | 0:11:33 | |
for almost 50 years, attracting more than 15 million visitors. | 0:11:33 | 0:11:39 | |
Then, in the late 1990s, a potentially catastrophic discovery | 0:11:39 | 0:11:45 | |
revealed that time was again taking its toll. | 0:11:45 | 0:11:48 | |
There was a very real sense | 0:11:49 | 0:11:52 | |
that the ship itself might physically collapse, | 0:11:52 | 0:11:55 | |
obviously with disastrous consequences. | 0:11:55 | 0:11:58 | |
She'd been propped up | 0:11:58 | 0:12:00 | |
the way you would normally prop a ship in a dockyard - | 0:12:00 | 0:12:04 | |
for a ship that's going to be there for a few months, not for 50 years. | 0:12:04 | 0:12:08 | |
A ship is not built to sit in a dry dock, it's built to be in water. | 0:12:08 | 0:12:14 | |
So the ship actually, the weight of the ship, | 0:12:14 | 0:12:16 | |
was bursting it more and more at the seams. | 0:12:16 | 0:12:18 | |
And nobody wanted a pile of matchwood | 0:12:18 | 0:12:22 | |
at the bottom of the dry berth. | 0:12:22 | 0:12:24 | |
So that's really when the Maritime Trust, | 0:12:24 | 0:12:27 | |
who were the owners of the ship at the time, | 0:12:27 | 0:12:30 | |
started to give some serious thought | 0:12:30 | 0:12:33 | |
as to how they should tackle the problem. | 0:12:33 | 0:12:35 | |
The challenge was two-fold - | 0:12:35 | 0:12:38 | |
to stop the ship's hull from possible collapse, | 0:12:38 | 0:12:42 | |
and to create a visitor centre within the confines of the dry dock, | 0:12:42 | 0:12:46 | |
the only land the Trust owned. | 0:12:46 | 0:12:48 | |
The first thing the Trust had to do was find an architect, | 0:12:49 | 0:12:54 | |
and, after putting the work out to tender, | 0:12:54 | 0:12:57 | |
Christopher Nash won the contract. | 0:12:57 | 0:13:00 | |
'When I visited the Cutty Sark, | 0:13:00 | 0:13:02 | |
'I was allowed to get down underneath | 0:13:02 | 0:13:05 | |
'and walk around the hull.' | 0:13:05 | 0:13:07 | |
I was reminded, from when I was a child, | 0:13:07 | 0:13:09 | |
going to the Natural History Museum, | 0:13:09 | 0:13:12 | |
and that lovely experience you get | 0:13:12 | 0:13:14 | |
when you walk underneath the blue whale, | 0:13:14 | 0:13:16 | |
the idea of going underneath such a large item. | 0:13:16 | 0:13:21 | |
Inspired by his visit, Christopher came up with a radical plan, | 0:13:21 | 0:13:26 | |
which he presented to the Trust in the spring of 2004. | 0:13:26 | 0:13:31 | |
I remember being in Grimshaw's offices in central London | 0:13:31 | 0:13:35 | |
with Richard Doughty | 0:13:35 | 0:13:37 | |
when suddenly the architect said, | 0:13:37 | 0:13:39 | |
"What do you think about raising the ship?" | 0:13:39 | 0:13:42 | |
We're going to lift her about three metres from where she currently is. | 0:13:45 | 0:13:50 | |
By lifting the ship, you can see this great big space. | 0:13:50 | 0:13:54 | |
We can put a floor in here and make a terrific visitor area underneath. | 0:13:54 | 0:13:59 | |
I know Eric and I sort of looked at each other | 0:14:01 | 0:14:04 | |
and thought, "This is absolutely crazy! Where's he coming from?" | 0:14:04 | 0:14:07 | |
Subliminally, we were saying to each other, "They've gone mad!" | 0:14:07 | 0:14:11 | |
And then we thought about it, and thought about it. | 0:14:11 | 0:14:13 | |
And then you start to think, | 0:14:13 | 0:14:15 | |
"Actually, that's a very clever idea," | 0:14:15 | 0:14:18 | |
because it immediately solves the problem | 0:14:18 | 0:14:21 | |
of taking the weight off the keel. | 0:14:21 | 0:14:23 | |
But, also, people will be able to go down | 0:14:23 | 0:14:26 | |
and actually see this fantastic shape | 0:14:26 | 0:14:28 | |
that we're spending all this time and effort on trying to preserve. | 0:14:28 | 0:14:31 | |
But the vision didn't just stop there. | 0:14:31 | 0:14:35 | |
We have the idea of putting a canopy of glass panels | 0:14:35 | 0:14:39 | |
right around the ship, to stop the rain getting in. | 0:14:39 | 0:14:43 | |
If we put this canopy at about where the sea level was, | 0:14:43 | 0:14:47 | |
at waterline level, we can actually start to sit | 0:14:47 | 0:14:52 | |
the Cutty Sark in its own new sea of glass. | 0:14:52 | 0:14:55 | |
It became a very exciting idea. | 0:14:55 | 0:15:00 | |
I mean, it was a seminal moment, absolutely, in the project. | 0:15:00 | 0:15:04 | |
And I walked out of that meeting really in a daze | 0:15:04 | 0:15:08 | |
because that, unquestionably, was the moment when | 0:15:08 | 0:15:11 | |
the real vision for the ship was formalised. | 0:15:11 | 0:15:15 | |
It was a new and ambitious concept, but it was also controversial, | 0:15:18 | 0:15:23 | |
and some people asked why the ship simply wasn't put back to sea. | 0:15:23 | 0:15:27 | |
We certainly looked at the idea | 0:15:27 | 0:15:30 | |
of putting Cutty Sark back into the water. | 0:15:30 | 0:15:33 | |
There's no question the best support for the hull is water. | 0:15:33 | 0:15:38 | |
The difficulty comes when you try to balance that | 0:15:38 | 0:15:42 | |
with the fact that you don't want to build a replica by stealth. | 0:15:42 | 0:15:47 | |
We would have had to have physically cut out so much of the ship, | 0:15:47 | 0:15:51 | |
we would have had to have put in so much additional equipment - | 0:15:51 | 0:15:56 | |
bulkheads and safety equipment - it wouldn't have been Cutty Sark, | 0:15:56 | 0:16:01 | |
So we rejected that idea. | 0:16:01 | 0:16:04 | |
What we wanted to do was | 0:16:04 | 0:16:06 | |
to retain as much of the original material as was humanly possible. | 0:16:06 | 0:16:12 | |
The conservation and engineering needed for the new vision | 0:16:12 | 0:16:15 | |
meant it was clearly going to be an expensive project. | 0:16:15 | 0:16:19 | |
So Richard approached the Heritage Lottery Fund for money. | 0:16:19 | 0:16:24 | |
The projected cost was around about 25 million. | 0:16:24 | 0:16:28 | |
And they looked to us to give them 12 or 13 million. | 0:16:28 | 0:16:32 | |
And that was what their original grant award was for. | 0:16:32 | 0:16:37 | |
Well, the Heritage Lottery Fund put up 13 million pounds. | 0:16:37 | 0:16:40 | |
That left us a target of 12 million pounds to raise. | 0:16:40 | 0:16:45 | |
With half the money secured, the rest came from private donors | 0:16:49 | 0:16:53 | |
and various fundraising activities. | 0:16:53 | 0:16:56 | |
I'm looking for a bid of £5,000, ladies and gentlemen. | 0:16:56 | 0:16:59 | |
Work finally began in the winter of 2006. | 0:16:59 | 0:17:03 | |
By now, Cutty Sark was 137 years old, | 0:17:10 | 0:17:13 | |
and the first job was to strip her back to the very core. | 0:17:13 | 0:17:18 | |
One of the major tasks was removing the wooden planks | 0:17:26 | 0:17:30 | |
attached to the hull, | 0:17:30 | 0:17:32 | |
but halfway through the process, disaster struck. | 0:17:32 | 0:17:37 | |
The 19th-century tea clipper the Cutty Sark is on fire. | 0:17:37 | 0:17:40 | |
These are the latest moving pictures we've just got in, | 0:17:40 | 0:17:43 | |
and look at the size of that fire. | 0:17:43 | 0:17:45 | |
We can talk now to Richard Doughty, | 0:17:45 | 0:17:47 | |
who's chief executive of the Cutty Sark Trust. | 0:17:47 | 0:17:50 | |
He's apparently on a train on his way to Greenwich. | 0:17:50 | 0:17:52 | |
What's your reaction to hearing that the Cutty Sark's on fire? | 0:17:52 | 0:17:57 | |
It's just unbelievable. | 0:17:57 | 0:17:58 | |
I mean, this is original fabric. | 0:17:58 | 0:18:00 | |
This is the ship that sailed to the South China Seas. | 0:18:00 | 0:18:03 | |
If we're losing original fabric, we're losing history. | 0:18:03 | 0:18:06 | |
I was numb. | 0:18:06 | 0:18:08 | |
I was absolutely numb. | 0:18:08 | 0:18:11 | |
I was kind of... my adrenaline was kept going because, um, I just was | 0:18:11 | 0:18:15 | |
taking this string of telephone calls all the way up to London. | 0:18:15 | 0:18:20 | |
I discovered, in my haste to get away, I didn't have my wallet, | 0:18:20 | 0:18:25 | |
I didn't have a train ticket. I had nothing. | 0:18:25 | 0:18:28 | |
And I hailed down a taxi, and I said, | 0:18:28 | 0:18:31 | |
"Look, I've got no money, but the Cutty Sark is alight, | 0:18:31 | 0:18:34 | |
"and I need to get there. | 0:18:34 | 0:18:37 | |
"Here's my card. I'll pay you afterwards." | 0:18:37 | 0:18:40 | |
And he drove me to the bottom of Deptford creek. | 0:18:40 | 0:18:44 | |
And the awful, awful thing was | 0:18:44 | 0:18:47 | |
this sort of very intimate smell of Stockholm tar, | 0:18:47 | 0:18:52 | |
that you really only got when you were down in the hold of the ship, | 0:18:52 | 0:18:57 | |
was sort of hanging over Greenwich. | 0:18:57 | 0:18:59 | |
There was this pall of smoke, you know, | 0:18:59 | 0:19:03 | |
and I absolutely feared the worst. | 0:19:03 | 0:19:06 | |
And, you know, I turned, I turned the corner thinking she was lost. | 0:19:06 | 0:19:11 | |
I was immensely sad because, you know, I've, um, you know, | 0:19:36 | 0:19:43 | |
put an awful lot of time and thought | 0:19:43 | 0:19:47 | |
and enthusiasm into this project. | 0:19:47 | 0:19:52 | |
And the thought that it had gone up in smoke, | 0:19:52 | 0:19:54 | |
on my watch, er, was unbearable, really. | 0:19:54 | 0:19:59 | |
Yes. | 0:19:59 | 0:20:01 | |
We've got members of the emergency services here, sir, | 0:20:13 | 0:20:16 | |
that were on site yesterday. | 0:20:16 | 0:20:17 | |
You were putting the fire out, were you? | 0:20:17 | 0:20:19 | |
We were putting the fire out, sir, yes. | 0:20:19 | 0:20:22 | |
The very next day, the president of the Cutty Sark Trust | 0:20:22 | 0:20:25 | |
made a personal visit to the site to see the damage for himself. | 0:20:25 | 0:20:30 | |
I think in retrospect that it wasn't anything like as serious as it looked, | 0:20:30 | 0:20:35 | |
because most of the stuff that was burning was stuff that had been... | 0:20:35 | 0:20:40 | |
was a tent that was there for the purpose of restoration, | 0:20:40 | 0:20:45 | |
it wasn't significant. | 0:20:45 | 0:20:46 | |
All in all, we got away remarkably lightly. | 0:20:46 | 0:20:51 | |
Because much of the ship had already been removed for conservation, | 0:20:53 | 0:20:58 | |
the main loss suffered was the decking. | 0:20:58 | 0:21:01 | |
Fortunately, these decks dated from previous restorations | 0:21:01 | 0:21:05 | |
and contained very little of the original timber. | 0:21:05 | 0:21:10 | |
She came through it. | 0:21:10 | 0:21:12 | |
And I think that is part of the enduring appeal of Cutty Sark, | 0:21:12 | 0:21:19 | |
the fact that she is a survivor, the fact that, you know, | 0:21:19 | 0:21:22 | |
she survived the storms of Cape Horn, | 0:21:22 | 0:21:26 | |
she survived the ravages of salt corroding her framework, | 0:21:26 | 0:21:30 | |
she survived that fire. | 0:21:30 | 0:21:32 | |
The cause of the fire has never been conclusively established, | 0:21:32 | 0:21:37 | |
but it set the project back by nearly a year | 0:21:37 | 0:21:39 | |
and pushed the projected cost up to about £35 million pounds. | 0:21:39 | 0:21:43 | |
The Cutty Sark is the only Grade I listed ship in the United Kingdom, | 0:21:43 | 0:21:49 | |
and we're there to help save things that are of real value to this country. | 0:21:49 | 0:21:54 | |
So it was exceptional circumstances | 0:21:54 | 0:21:57 | |
and trustees felt that it was appropriate | 0:21:57 | 0:22:00 | |
to give a grant increase, | 0:22:00 | 0:22:02 | |
which was a further £10 million. | 0:22:02 | 0:22:05 | |
But Cutty Sark wasn't lost. | 0:22:16 | 0:22:19 | |
This legendary ship had made yet another of her miraculous escapes. | 0:22:19 | 0:22:24 | |
By the spring of 2008, the conservation was back in full flow. | 0:22:46 | 0:22:51 | |
Everything that could be removed from the ship was removed, | 0:22:51 | 0:22:56 | |
including the rest of the wooden planks that covered the hull. | 0:22:56 | 0:23:00 | |
And so all that was left in the dry dock | 0:23:02 | 0:23:04 | |
was the iron frame that made up Cutty Sark's skeleton. | 0:23:04 | 0:23:09 | |
Traditionally, ships were all wooden. | 0:23:09 | 0:23:11 | |
Cutty Sark, though, is something that's called a composite. | 0:23:11 | 0:23:14 | |
She has a wooden hull but she's reinforced with an iron framework. | 0:23:14 | 0:23:18 | |
It's the iron framework which holds her together. | 0:23:18 | 0:23:21 | |
The ship's body is rather like our own ribcage. | 0:23:21 | 0:23:25 | |
It has these ribs that form the hull. | 0:23:25 | 0:23:27 | |
The original ironwork that made the frame was so corroded | 0:23:34 | 0:23:39 | |
that engineers had to add extra steelwork to strengthen it. | 0:23:39 | 0:23:42 | |
To preserve the ship's iconic shape, these extra ribs provide | 0:23:46 | 0:23:50 | |
additional support for the structure. | 0:23:50 | 0:23:53 | |
They're painted grey so visitors won't confuse them with | 0:23:55 | 0:23:58 | |
Cutty Sark's original framework, which has been painted white. | 0:23:58 | 0:24:02 | |
The white is the original ironwork of the ship which, as you can see, | 0:24:04 | 0:24:09 | |
has rotted away seriously from the salt attack over all the years | 0:24:09 | 0:24:13 | |
since the ship was built. | 0:24:13 | 0:24:15 | |
This has all been grit-blasted and protected with a new paint | 0:24:15 | 0:24:20 | |
system that will hopefully conserve her for 50 years. | 0:24:20 | 0:24:24 | |
But, in addition, these new pieces have been put in | 0:24:24 | 0:24:26 | |
to strengthen the ship so she's no longer fragile. | 0:24:26 | 0:24:30 | |
And it's this new strengthened structure that the wooden planks | 0:24:32 | 0:24:37 | |
that cover Cutty Sark's hull will be bolted onto. | 0:24:37 | 0:24:39 | |
Each of the 541 planks were removed | 0:24:43 | 0:24:47 | |
and stored at a nearby workshop ready for conservation. | 0:24:47 | 0:24:52 | |
It was a mammoth task to take them all off, | 0:24:55 | 0:24:58 | |
and they've all been boxed up, each side going round to protect it, | 0:24:58 | 0:25:01 | |
because when they came off, a lot of them were very fragile. | 0:25:01 | 0:25:04 | |
Every plank has a unique reference number, | 0:25:08 | 0:25:10 | |
so we know exactly where it came off, | 0:25:10 | 0:25:12 | |
know what it's made of, and what condition the plank is in. | 0:25:12 | 0:25:16 | |
Almost all of the hull planks | 0:25:18 | 0:25:21 | |
date from the day Cutty Sark was launched in 1869, | 0:25:21 | 0:25:25 | |
but because ships are designed to sit in water, | 0:25:25 | 0:25:29 | |
the years she's spent in the dry dock have not been kind. | 0:25:29 | 0:25:33 | |
Lots of different techniques and skills are used to conserve the wood, | 0:25:34 | 0:25:39 | |
because, depending on where it's been on the ship, | 0:25:39 | 0:25:43 | |
each plank has specific damage that needs repairing. | 0:25:43 | 0:25:46 | |
A lot of the damage is around bolt holes like this one, | 0:25:46 | 0:25:50 | |
where the water gets in and has got nowhere to go, | 0:25:50 | 0:25:53 | |
so it just rots all around the bolt. | 0:25:53 | 0:25:57 | |
To repair something like this, you cut the whole section out | 0:26:00 | 0:26:03 | |
and put a whole new piece in, | 0:26:03 | 0:26:05 | |
without trying to waste too much of the original material. | 0:26:05 | 0:26:10 | |
We've got this piece of teak to repair this hole that | 0:26:10 | 0:26:14 | |
I've just chopped out, and we use the teak because the plank's made of teak | 0:26:14 | 0:26:20 | |
so it'll expand and contract at the same time in the seasons. | 0:26:20 | 0:26:24 | |
Now this one's in place, we'll leave it to dry | 0:26:24 | 0:26:26 | |
and we'll move on to the next one. | 0:26:26 | 0:26:29 | |
Conserving the planks took four years and, as batches of them | 0:26:29 | 0:26:33 | |
were finished, they were added back on to the outside of the ship. | 0:26:33 | 0:26:37 | |
We've just started to put the planks back on to the hull. | 0:26:50 | 0:26:53 | |
There are about 540 planks to go back on, | 0:26:53 | 0:26:56 | |
and these are about ten, so we've only just started. | 0:26:56 | 0:27:01 | |
Some planks are up to 18 metres in length and fitting them back | 0:27:05 | 0:27:10 | |
into position isn't straightforward because some have to accommodate | 0:27:10 | 0:27:14 | |
the new steel frames that have been added to strengthen the hull. | 0:27:14 | 0:27:18 | |
At the moment, I'm chopping out a section in the timber | 0:27:18 | 0:27:22 | |
to accommodate a new piece of steel. | 0:27:22 | 0:27:25 | |
What we find is you have some frames which are sticking out, | 0:27:25 | 0:27:28 | |
others that are recessed, so part of what I'm doing at the moment | 0:27:28 | 0:27:32 | |
is either sinking channels into this plank, | 0:27:32 | 0:27:35 | |
or building it up a little bit, so that | 0:27:35 | 0:27:38 | |
it will rest snugly against those frames, | 0:27:38 | 0:27:41 | |
so you can get a proper fixing, | 0:27:41 | 0:27:43 | |
and also that it matches precisely the original curve of the ship. | 0:27:43 | 0:27:47 | |
It's just more interesting, really, than normal carpentry. | 0:27:47 | 0:27:51 | |
I mean, I'd rather be working on a project like this | 0:27:51 | 0:27:54 | |
than fitting kitchens. | 0:27:54 | 0:27:55 | |
It's going to take around 10,000 bolts to fix the planks back | 0:27:57 | 0:28:00 | |
on to the hull, each one helping Cutty Sark regain her famous curves. | 0:28:00 | 0:28:05 | |
You can't help but invest in it emotionally. | 0:28:05 | 0:28:08 | |
In fact, I know a lot of people who are exactly the same. | 0:28:08 | 0:28:11 | |
I mean, people always talk about ships as though they're people. | 0:28:11 | 0:28:14 | |
You know, everybody really cares about the Cutty Sark | 0:28:14 | 0:28:17 | |
as though it was somehow alive, | 0:28:17 | 0:28:19 | |
and, I don't know, working here, you can feel that sometimes. | 0:28:19 | 0:28:22 | |
So it's a real privilege. | 0:28:22 | 0:28:25 | |
And it's not just the outside of the ship that's coming together. | 0:28:29 | 0:28:33 | |
Inside, work on putting back the decking has also started. | 0:28:33 | 0:28:38 | |
Looking at the ship in cross-section, | 0:28:42 | 0:28:45 | |
Cutty Sark was basically split into three. | 0:28:45 | 0:28:48 | |
On top, there's the main or weather deck, | 0:28:48 | 0:28:51 | |
so called because it was exposed to the elements. | 0:28:51 | 0:28:54 | |
Beneath it is the middle or tween deck, | 0:28:54 | 0:28:57 | |
which would have been filled with cargo | 0:28:57 | 0:29:00 | |
and which was built between the main deck and the hold below. | 0:29:00 | 0:29:03 | |
The hold itself contained ballast to help balance the ship, | 0:29:03 | 0:29:09 | |
but, like the tween deck, | 0:29:09 | 0:29:11 | |
its main function was to carry Cutty Sark's precious cargo. | 0:29:11 | 0:29:15 | |
When she was a working ship, | 0:29:19 | 0:29:21 | |
this would have just been packed | 0:29:21 | 0:29:23 | |
from the very bottom of the hold, all the way up to the beams, | 0:29:23 | 0:29:26 | |
carrying tea, wool - whatever she could get her hands on. | 0:29:26 | 0:29:29 | |
After originally working in the tea trade for almost ten years, | 0:29:29 | 0:29:33 | |
Cutty Sark was then used to transport wool | 0:29:33 | 0:29:36 | |
from Australia to London. | 0:29:36 | 0:29:38 | |
This meant taking a much more dangerous and stormy route, | 0:29:38 | 0:29:42 | |
a route she wasn't actually designed for, | 0:29:42 | 0:29:45 | |
yet she survived all that was thrown at her. | 0:29:45 | 0:29:48 | |
The wool years were Cutty Sark's most successful. | 0:29:48 | 0:29:51 | |
That's when she really made the record passages | 0:29:51 | 0:29:54 | |
that everyone remembers her for. | 0:29:54 | 0:29:56 | |
Cutty Sark set sailing times from Sydney to London | 0:29:56 | 0:29:59 | |
that no other sailing ship of that size has ever managed to this day. | 0:29:59 | 0:30:04 | |
The most famous captain during this period was Richard Woodget. | 0:30:05 | 0:30:10 | |
Of all the captains, he worked her to the absolute maximum. | 0:30:10 | 0:30:13 | |
He was one of those captains who would never lower a sail | 0:30:13 | 0:30:16 | |
if he really didn't have to. | 0:30:16 | 0:30:18 | |
Captain Woodget was also respected by his crew, | 0:30:18 | 0:30:21 | |
as rare film of someone who actually worked with him | 0:30:21 | 0:30:25 | |
on Cutty Sark reveals. | 0:30:25 | 0:30:27 | |
Captain Woodget was the finest skipper I ever sailed with. | 0:30:27 | 0:30:31 | |
Course, his motto was "keep her going". | 0:30:31 | 0:30:35 | |
He never eased her down, not even in head winds - | 0:30:35 | 0:30:39 | |
always kept her going free. | 0:30:39 | 0:30:41 | |
He was a fine sailor and a good man, all round. | 0:30:41 | 0:30:45 | |
And just, straight to his men. | 0:30:45 | 0:30:49 | |
Captain Woodget was also responsible for capturing | 0:30:51 | 0:30:55 | |
some of the only photographs in existence of Cutty Sark | 0:30:55 | 0:30:59 | |
at sea and under sail. | 0:30:59 | 0:31:01 | |
So this is the camera of Captain Woodget. | 0:31:01 | 0:31:05 | |
It's actually enabled us to have super photographs | 0:31:05 | 0:31:09 | |
of the ship herself in full sail, which is a really unique photograph. | 0:31:09 | 0:31:13 | |
Probably taken from one of the ship's boats, | 0:31:13 | 0:31:15 | |
he's got the crew to row him out there. | 0:31:15 | 0:31:17 | |
But apparently he gave instructions to the crew not to hove the ship to, | 0:31:17 | 0:31:21 | |
so she didn't slow down, | 0:31:21 | 0:31:23 | |
so he could capture Cutty Sark in her full sail with all the sails billowing. | 0:31:23 | 0:31:27 | |
And this is a actually a photograph, | 0:31:27 | 0:31:29 | |
just west of Cape Horn, of one of the icebergs. | 0:31:29 | 0:31:32 | |
There are some fabulous accounts and letters of the crew about | 0:31:32 | 0:31:35 | |
going through icebergs and the noises that it made, | 0:31:35 | 0:31:38 | |
and the ship passing penguins, | 0:31:38 | 0:31:40 | |
so to have a photograph capturing that moment | 0:31:40 | 0:31:43 | |
as he's going just west of Cape Horn is really exciting. | 0:31:43 | 0:31:48 | |
Cutty Sark was originally built to be a tea clipper, | 0:31:53 | 0:31:56 | |
but she arrived just as the Suez Canal opened, | 0:31:56 | 0:31:59 | |
and, therefore, the tea trade disappeared, it went to steamers. | 0:31:59 | 0:32:04 | |
So owners looked for another trade, | 0:32:04 | 0:32:05 | |
and the obvious trade for them was the wool trade to Australia. | 0:32:05 | 0:32:09 | |
Now, that changed the route a great deal. | 0:32:09 | 0:32:12 | |
Now they had to go through the whole of the southern ocean. | 0:32:12 | 0:32:15 | |
You get the biggest waves in the world down there - | 0:32:15 | 0:32:18 | |
80 to 100 feet high. | 0:32:18 | 0:32:21 | |
Those waves are like watery Himalayas. They're huge. | 0:32:21 | 0:32:25 | |
So, suddenly, this ship is having to cope | 0:32:25 | 0:32:28 | |
with a rather different type of sea to the one she was designed for. | 0:32:28 | 0:32:31 | |
She survived because she was built to the very highest standards | 0:32:31 | 0:32:35 | |
of the 19th century. | 0:32:35 | 0:32:37 | |
And, whenever they can, the team undertaking the conservation | 0:32:37 | 0:32:43 | |
are following the exact same methods. | 0:32:43 | 0:32:45 | |
The deck that was here was lost in the fire. | 0:32:45 | 0:32:48 | |
The deck wasn't actually original. It was done in the '30s | 0:32:48 | 0:32:51 | |
So we're replacing that with the same timber, from the same origin, | 0:32:51 | 0:32:56 | |
North America, to the same specifications, | 0:32:56 | 0:32:58 | |
five inch by three inch deep, Douglas fir. | 0:32:58 | 0:33:01 | |
In between each plank, | 0:33:01 | 0:33:02 | |
you have a joint where it butts up to the next plank. | 0:33:02 | 0:33:05 | |
And into that joint, an organic fibre, hemp fibre called oakum, | 0:33:05 | 0:33:09 | |
is caulked, basically, hit with a wooden mallet, | 0:33:09 | 0:33:13 | |
and a wedge-shaped steel iron if you like, a caulking iron. | 0:33:13 | 0:33:16 | |
And then on top of that, melted Stockholm tar, or pitch, | 0:33:16 | 0:33:20 | |
is poured on, and that's the final seal to the joint. | 0:33:20 | 0:33:23 | |
Above the tween deck is the weather deck. | 0:33:37 | 0:33:41 | |
Although destroyed by the fire, | 0:33:41 | 0:33:43 | |
most of this deck actually dated from the 1930s onwards, | 0:33:43 | 0:33:47 | |
and rather than replacing it using traditional methods, | 0:33:47 | 0:33:50 | |
the Trust decided to lay a modern deck instead. | 0:33:50 | 0:33:54 | |
It's a composite deck, with three layers of ply, glued together | 0:33:54 | 0:34:00 | |
with 20mm thick teak planks, run along on top of that. | 0:34:00 | 0:34:04 | |
And with a composite deck, because it's so interwoven | 0:34:04 | 0:34:07 | |
and there's so much glue et cetera, | 0:34:07 | 0:34:09 | |
it's pretty bullet-proof against any sort of water coming through. | 0:34:09 | 0:34:12 | |
It's a controversial decision. | 0:34:12 | 0:34:15 | |
We've probably spent more time on that one aspect of the project | 0:34:15 | 0:34:19 | |
than anything else. | 0:34:19 | 0:34:21 | |
I always wanted to lay a traditional deck. | 0:34:21 | 0:34:25 | |
We're doing something different, and I was kind of won over in the finish | 0:34:25 | 0:34:29 | |
because I do believe that if the technology that we've used had been | 0:34:29 | 0:34:33 | |
available to the people who built Cutty Sark, they would have used it. | 0:34:33 | 0:34:39 | |
The main deck is using the latest 21st-century construction techniques | 0:34:42 | 0:34:45 | |
to guarantee everything below it is protected from rainwater. | 0:34:45 | 0:34:50 | |
But most of the conservation work on the ship uses traditional methods. | 0:34:59 | 0:35:05 | |
At his workshop in Bedfordshire, Paul Ferguson is restoring | 0:35:11 | 0:35:14 | |
the Cutty Sark gild-work. | 0:35:14 | 0:35:17 | |
This is real gold. This is 23 and a quarter carat, | 0:35:19 | 0:35:23 | |
which is a lot more real than a lot of jewellery. | 0:35:23 | 0:35:27 | |
Paul has been gilding for over 30 years, and uses traditional | 0:35:27 | 0:35:33 | |
techniques the original gilders of the ship would have recognised. | 0:35:33 | 0:35:37 | |
We wipe the brush on our face | 0:35:37 | 0:35:40 | |
because it picks up just a little of the oils from your skin, | 0:35:40 | 0:35:45 | |
which is just enough for the gold to stick to the brush while | 0:35:45 | 0:35:51 | |
you're picking it up, but not enough to make it a permanent stick, | 0:35:51 | 0:35:55 | |
which allows you to manoeuvre the gold | 0:35:55 | 0:35:58 | |
on to whatever it is you're gilding. | 0:35:58 | 0:36:01 | |
There's a lot of patience with gilding. | 0:36:03 | 0:36:06 | |
I find that you can't rush things. | 0:36:06 | 0:36:08 | |
It's very easy to try and get the gold on, | 0:36:08 | 0:36:10 | |
and you can rush that and get the wrong colours for the piece, | 0:36:10 | 0:36:13 | |
especially when repairing work. | 0:36:13 | 0:36:14 | |
He's great, when he gets it right! | 0:36:14 | 0:36:16 | |
Matthew, my son, has helped me for many years and, | 0:36:16 | 0:36:21 | |
if it was his desire, he could follow in my footsteps. | 0:36:21 | 0:36:24 | |
I've been working here since I can remember, | 0:36:24 | 0:36:27 | |
I've been sweeping up since the age of about four, round here, | 0:36:27 | 0:36:31 | |
but properly gilding probably since I've been about 12, | 0:36:31 | 0:36:34 | |
so about 10 years now. | 0:36:34 | 0:36:36 | |
100 years from now, the work we're doing now will have weathered | 0:36:36 | 0:36:40 | |
and someone else will be standing here, | 0:36:40 | 0:36:43 | |
and restoring what we're restoring now. | 0:36:43 | 0:36:47 | |
There'll be people who perhaps haven't even been born yet | 0:36:47 | 0:36:50 | |
that'll be working on this. | 0:36:50 | 0:36:53 | |
And it's nice to feel that continuity, | 0:36:53 | 0:36:55 | |
continuity with the people that have gone before us, | 0:36:55 | 0:36:59 | |
and who are coming after. | 0:36:59 | 0:37:01 | |
Today we have bought the figurehead of the Cutty Sark | 0:37:10 | 0:37:13 | |
back to be fitted on the ship. | 0:37:13 | 0:37:15 | |
This is Nannie here. She's had a new lick of paint on her, | 0:37:15 | 0:37:19 | |
she's been worked on down at our workshop. | 0:37:19 | 0:37:21 | |
There is a long tradition of figureheads on ships, | 0:37:23 | 0:37:27 | |
and Cutty Sark's is called Nannie. | 0:37:27 | 0:37:30 | |
The original will be displayed inside the ship. | 0:37:30 | 0:37:33 | |
This one, which will be exposed to the elements, | 0:37:33 | 0:37:36 | |
is actually a replica, carved in the 1950s. | 0:37:36 | 0:37:39 | |
The story of the figurehead goes that | 0:37:39 | 0:37:42 | |
she originally came from a poem by Robert Burns called Tam o' Shanter. | 0:37:42 | 0:37:46 | |
Tam o' Shanter, of course, was a ne'er-do-well farmer. | 0:37:46 | 0:37:50 | |
Every market day, in Ayr, he would get drunk, | 0:37:50 | 0:37:54 | |
and then try and find his way home, on his horse Meg. | 0:37:54 | 0:37:59 | |
One dark and stormy night, | 0:37:59 | 0:38:02 | |
he's riding his horse and he comes to Alloway Kirk, | 0:38:02 | 0:38:05 | |
which he sees lights on and, being drunk, he goes and peers. | 0:38:05 | 0:38:10 | |
And inside the church there's all kinds of shenanigans going on, | 0:38:10 | 0:38:14 | |
there are naked people dancing around, there's the devil | 0:38:14 | 0:38:17 | |
playing the bagpipes, the altar's been desecrated, | 0:38:17 | 0:38:21 | |
and he sees this terribly beautiful witch, though, called Nannie. | 0:38:21 | 0:38:26 | |
And she's wearing a short nightdress, a cutty sark, | 0:38:26 | 0:38:31 | |
and he screams out, "Well done, Cutty Sark!" | 0:38:31 | 0:38:33 | |
Of course, everyone then realises he's there and starts chasing him. | 0:38:33 | 0:38:38 | |
He leaps on his horse and makes his getaway. | 0:38:38 | 0:38:41 | |
Leading the chase is Nannie, the beautiful witch, | 0:38:41 | 0:38:45 | |
and he gets to the keystone of the bridge. | 0:38:45 | 0:38:50 | |
Nannie, being a witch, can't cross running water, | 0:38:50 | 0:38:53 | |
but she pulls out the horse's tail. | 0:38:53 | 0:38:55 | |
And he makes his escape. | 0:38:55 | 0:38:57 | |
Now, why Jock Willis would name the ship after | 0:38:59 | 0:39:03 | |
the undergarment of someone who couldn't cross running water | 0:39:03 | 0:39:08 | |
has never been really explained. | 0:39:08 | 0:39:11 | |
Another traditional craft involves conserving the wires that hold up the masts. | 0:39:17 | 0:39:22 | |
These wires make up what's called the standard rigging, | 0:39:22 | 0:39:26 | |
and there are over two kilometres to repair. | 0:39:26 | 0:39:30 | |
The Cutty Sark's the biggest rigging job we've undertaken | 0:39:30 | 0:39:34 | |
on one vessel at one time. | 0:39:34 | 0:39:35 | |
We've got wires here that are 60 metres long. | 0:39:35 | 0:39:37 | |
They're longer than our shed. | 0:39:37 | 0:39:39 | |
So the first process is to clean the wire. | 0:39:41 | 0:39:43 | |
This wire's been cleaned and it's now been treated with this mixture | 0:39:43 | 0:39:46 | |
of lanolin and tallow. Lanolin is an extract from wool fat, | 0:39:46 | 0:39:51 | |
which is very good for your skin, | 0:39:51 | 0:39:53 | |
so all these boys have lovely soft hands! | 0:39:53 | 0:39:55 | |
So what we do is we put the tallow and lanolin together, | 0:39:55 | 0:39:59 | |
and we've got a chip fat fryer, | 0:39:59 | 0:40:01 | |
and that just keeps it nice and hot, so it's a nice thin liquid which | 0:40:01 | 0:40:04 | |
we can then apply on to the wire. | 0:40:04 | 0:40:06 | |
And by holding the pot underneath, we can just brush that in there | 0:40:07 | 0:40:11 | |
and get it right into the nooks and crannies. | 0:40:11 | 0:40:13 | |
It's an anti-corrosion product. | 0:40:13 | 0:40:15 | |
You never see a rusty sheep, so it must work. | 0:40:15 | 0:40:18 | |
We then parcel the wire, and that'll be parcelled with hessian. | 0:40:18 | 0:40:22 | |
Cut it into strips, then we wind that on, on top of the lanolin. | 0:40:22 | 0:40:25 | |
Once parcelled, the wire is given an additional covering | 0:40:25 | 0:40:29 | |
to further protect it. | 0:40:29 | 0:40:32 | |
And, just like before, | 0:40:32 | 0:40:33 | |
the techniques used date right back to the ship's original construction. | 0:40:33 | 0:40:37 | |
The men who sailed and worked on the Cutty Sark | 0:40:37 | 0:40:40 | |
would have been quite pleased, if they came back as ghosts today, | 0:40:40 | 0:40:42 | |
to recognise the tools that I'm actually using. | 0:40:42 | 0:40:46 | |
They would also recognise, without doubt, the smells, | 0:40:46 | 0:40:49 | |
because the smell in here, the Stockholm tar, | 0:40:49 | 0:40:52 | |
people say it's the real essence of the old sailing ships. | 0:40:52 | 0:40:55 | |
They would have walked through this door | 0:40:55 | 0:40:57 | |
and known what it's about, and they would have known the process. | 0:40:57 | 0:41:00 | |
By 2009, three years into the conservation, | 0:41:00 | 0:41:04 | |
Cutty Sark was being prepared for her biggest challenge - | 0:41:04 | 0:41:08 | |
being lifted into the air by three metres. | 0:41:08 | 0:41:12 | |
But as the moment approached, a major discovery was made | 0:41:12 | 0:41:16 | |
that was going put the project into yet more jeopardy. | 0:41:16 | 0:41:20 | |
The sides of the dry dock, | 0:41:20 | 0:41:23 | |
which were supposed to support the ship's weight once lifted, | 0:41:23 | 0:41:26 | |
had serious structural problems. | 0:41:26 | 0:41:29 | |
I could physically put my hand into the concrete structure | 0:41:30 | 0:41:34 | |
and pull out the gravel. | 0:41:34 | 0:41:37 | |
And we were relying on that structure to be able to | 0:41:37 | 0:41:42 | |
properly support the ship, so we had to reinforce that dry berth. | 0:41:42 | 0:41:47 | |
We ended up, indeed, having to cut off the whole top | 0:41:47 | 0:41:50 | |
of the structure and recast it. | 0:41:50 | 0:41:54 | |
We had to pump grout down into the concrete. | 0:41:54 | 0:41:58 | |
Those things added hugely to the cost of the project. | 0:41:58 | 0:42:01 | |
And it wasn't just the problem with the dry dock. | 0:42:03 | 0:42:06 | |
The conservation itself was costing a lot more than estimated. | 0:42:06 | 0:42:11 | |
It was very clear that there were far more serious issues | 0:42:12 | 0:42:16 | |
in restoring the Cutty Sark than people had realised to begin with. | 0:42:16 | 0:42:20 | |
So costs were escalating. | 0:42:20 | 0:42:23 | |
At that point, in around 2009, we had a review of the whole project. | 0:42:23 | 0:42:30 | |
There certainly was a time where we were very concerned about how | 0:42:30 | 0:42:35 | |
we could keep the show on the road. | 0:42:35 | 0:42:39 | |
We always had to be mindful that we weren't trading insolvently. | 0:42:39 | 0:42:44 | |
With rising costs, it was clear that the project was going to need | 0:42:44 | 0:42:48 | |
much more money, and someone was on the horizon who could help. | 0:42:48 | 0:42:52 | |
I got involved with the Cutty Sark when, frankly, it was broke, | 0:42:55 | 0:43:00 | |
and in considerable disarray, | 0:43:00 | 0:43:03 | |
resulting that an assessment had to be made | 0:43:03 | 0:43:07 | |
as to how the devil were we going to fund it? | 0:43:07 | 0:43:11 | |
Lord Sterling, former executive chairman of P&O Ferries, | 0:43:11 | 0:43:15 | |
had a love of the sea and a passion for sailing. | 0:43:15 | 0:43:19 | |
He was already the chairman of Britain's National Maritime Museum | 0:43:19 | 0:43:23 | |
and had lots of important and wealthy contacts. | 0:43:23 | 0:43:27 | |
But, before he would become involved with the Cutty Sark project, | 0:43:28 | 0:43:31 | |
he had conditions. | 0:43:31 | 0:43:33 | |
The first was to bring his own team on board. | 0:43:33 | 0:43:37 | |
Cutty Sark has had an awful lot of challenges. | 0:43:37 | 0:43:39 | |
You're working on six or seven different levels, | 0:43:39 | 0:43:42 | |
all at the same time. | 0:43:42 | 0:43:45 | |
Lord Sterling got me involved, and said could I help him? | 0:43:45 | 0:43:49 | |
I said I would, to get things done in difficult circumstances. | 0:43:49 | 0:43:53 | |
With his team in place, Lord Sterling's second condition | 0:43:55 | 0:43:59 | |
was to have a complete audit of the entire project. | 0:43:59 | 0:44:03 | |
There's no point whatsoever trying to find out where we could | 0:44:03 | 0:44:07 | |
raise the funds, and put one's name on the line to do it, | 0:44:07 | 0:44:12 | |
unless we were absolutely sure what the problems were, | 0:44:12 | 0:44:15 | |
and can we deal with them? | 0:44:15 | 0:44:17 | |
So the first thing that had to be done was to assess it properly. | 0:44:17 | 0:44:21 | |
The audit concluded that taking the fire, | 0:44:23 | 0:44:27 | |
the new work needed to fix the dry dock, | 0:44:27 | 0:44:29 | |
and rising conservation costs into consideration, | 0:44:29 | 0:44:33 | |
the total amount to complete the project | 0:44:33 | 0:44:35 | |
would come in at around £50 million, twice the original estimate. | 0:44:35 | 0:44:41 | |
50 million pounds! | 0:44:41 | 0:44:43 | |
Would you spend that much money on the Cutty Sark? | 0:44:43 | 0:44:46 | |
With the best will in the world, I don't know. | 0:44:46 | 0:44:49 | |
I'd almost sort of step back and have to think. | 0:44:49 | 0:44:53 | |
We are where we are and I do believe that the ship | 0:44:53 | 0:44:57 | |
will repay the investment that's been put into her by the bucketload. | 0:44:57 | 0:45:03 | |
And with this new price tag, and his team on site, | 0:45:03 | 0:45:06 | |
Lord Sterling went to work with his powerful contacts. | 0:45:06 | 0:45:11 | |
He was able to open doors. | 0:45:11 | 0:45:14 | |
You know, for me suddenly to be sitting in a room | 0:45:14 | 0:45:17 | |
with Boris Johnson, for example, was amazing. | 0:45:17 | 0:45:21 | |
To be able to persuade | 0:45:21 | 0:45:23 | |
the Department of Culture, Media and Sport | 0:45:23 | 0:45:27 | |
to invest in this project was quite extraordinary. | 0:45:27 | 0:45:32 | |
Lord Sterling, what would you like, tea or coffee? | 0:45:32 | 0:45:35 | |
-I'm going to have a tea. -Tea. Right, OK. | 0:45:35 | 0:45:37 | |
Lord Sterling managed to attract enough | 0:45:37 | 0:45:40 | |
private and public funding to get the project back on track. | 0:45:40 | 0:45:44 | |
Cutty Sark could now enter the most critical phase of her rebirth, | 0:45:49 | 0:45:53 | |
and this would be her toughest journey of all. | 0:45:53 | 0:45:56 | |
At the site, the engineers who were going to lift Cutty Sark had arrived. | 0:46:18 | 0:46:23 | |
Well, after a year of planning, | 0:46:23 | 0:46:26 | |
a year of design, a year of manufacture, | 0:46:26 | 0:46:29 | |
we're now ready to raise the ship | 0:46:29 | 0:46:31 | |
up to its new three metre in-the-air position. | 0:46:31 | 0:46:35 | |
She's 650 tonnes of very fragile ship, | 0:46:35 | 0:46:39 | |
but we think everything is covered. All the checks have been done. | 0:46:39 | 0:46:43 | |
Everything's been ticked off this morning, | 0:46:43 | 0:46:47 | |
and we're finally ready to go. | 0:46:47 | 0:46:48 | |
We've added 150 tonnes | 0:46:48 | 0:46:52 | |
of strengthening steelwork into the ship. | 0:46:52 | 0:46:55 | |
It's an exciting day. | 0:46:55 | 0:46:57 | |
It's not very often that someone lifts up a Grade I listed ship. | 0:46:57 | 0:47:01 | |
I mean, today is, is the... | 0:47:01 | 0:47:02 | |
It's a culmination of months and months of work. | 0:47:02 | 0:47:05 | |
Meeting after meeting after meeting. | 0:47:05 | 0:47:08 | |
And at last we're there. | 0:47:08 | 0:47:11 | |
To turn the architects' vision into a reality, | 0:47:11 | 0:47:15 | |
some of the world's top engineers have been brought in | 0:47:15 | 0:47:19 | |
to plan and execute the lift. | 0:47:19 | 0:47:21 | |
The ship has been sitting on its keel in the dry dock | 0:47:22 | 0:47:25 | |
for 50, 60 years. | 0:47:25 | 0:47:26 | |
Ships are designed to be supported uniformly, by the sea, | 0:47:26 | 0:47:31 | |
all around their keel, giving it a uniform buoyancy. | 0:47:31 | 0:47:33 | |
When you sit it on the keel, ships start to sag, | 0:47:33 | 0:47:37 | |
because they've got just a line of load, | 0:47:37 | 0:47:39 | |
and the ship sags like an old man, the stomach drops | 0:47:39 | 0:47:42 | |
and it starts to fold out on itself. | 0:47:42 | 0:47:45 | |
And this changes all the stresses, all the form of the hull. | 0:47:45 | 0:47:48 | |
And that's when the ship is finally finished. | 0:47:48 | 0:47:51 | |
As part of the lifting process, | 0:47:51 | 0:47:53 | |
it was looking at how we could elevate that ship, | 0:47:53 | 0:47:56 | |
not just elevate it, but also reverse that bellying process, | 0:47:56 | 0:48:00 | |
to bring the hull back to its original form. | 0:48:00 | 0:48:02 | |
And so the engineers came up with an ingenious plan. | 0:48:02 | 0:48:06 | |
So we looked at the idea of having a strut... | 0:48:06 | 0:48:10 | |
..like this, a converted coat hanger, which grabbed the keel | 0:48:12 | 0:48:17 | |
and grabbed the ribs along its side. | 0:48:17 | 0:48:20 | |
This huge upside-down steel coat hanger is going to hold the ship | 0:48:20 | 0:48:26 | |
as she is lifted, and then transfer her weight on to the dry dock. | 0:48:26 | 0:48:31 | |
We're able to reverse this bellying process by adjusting | 0:48:34 | 0:48:38 | |
the length of these struts or ties here. | 0:48:38 | 0:48:40 | |
As engineers prepared for the lift, | 0:48:45 | 0:48:47 | |
the man who helped rescue her 50 years ago was invited to see her | 0:48:47 | 0:48:51 | |
sitting on her keel for the very last time. | 0:48:51 | 0:48:55 | |
After a final get-together and, appropriately for Cutty Sark, | 0:48:56 | 0:49:01 | |
a cup of tea on the deck, the whole site is prepared for the big day. | 0:49:01 | 0:49:06 | |
She's resting on 24 jacks, each capable of lifting 200 tonnes. | 0:49:13 | 0:49:20 | |
This box here is a jack. | 0:49:20 | 0:49:22 | |
What happens - each jack has a ram in the centre, | 0:49:22 | 0:49:26 | |
which will extend and raise this box by 100 millimetres. | 0:49:26 | 0:49:31 | |
It's not going to go whoosh up into the air like an elevator, | 0:49:31 | 0:49:35 | |
it's going to be lifted very slowly. | 0:49:35 | 0:49:37 | |
As the lifting is going on, | 0:49:39 | 0:49:42 | |
we're monitoring everything that is going on in the ship in real time. | 0:49:42 | 0:49:45 | |
And the data which is collected there | 0:49:45 | 0:49:48 | |
is then fed through the window here, into our command post. | 0:49:48 | 0:49:51 | |
We have cameras set up inside the ship and outside the ship. | 0:49:51 | 0:49:55 | |
And, also, all the data that's connected to the jacks | 0:49:55 | 0:49:59 | |
and the jack loads which is coming into the computers here. | 0:49:59 | 0:50:03 | |
Cutty Sark weighs around 650 tonnes and, | 0:50:03 | 0:50:07 | |
even with all the extra steel added to strengthen her, | 0:50:07 | 0:50:11 | |
there is a very real danger she'll twist and fracture during the lift. | 0:50:11 | 0:50:15 | |
The moment of truth is when it lifts off the ground, yeah. | 0:50:19 | 0:50:24 | |
That's the point when it really says you've got it right | 0:50:24 | 0:50:27 | |
or you've got it wrong, and there's nothing you can do. | 0:50:27 | 0:50:30 | |
Everybody is working towards that moment, | 0:50:30 | 0:50:33 | |
and you can see it in everybody's faces that | 0:50:33 | 0:50:35 | |
there's a slight amount of tension there that it should all go right. | 0:50:35 | 0:50:39 | |
Everybody's ready out there, I give the all clear | 0:50:54 | 0:50:57 | |
and we're going. | 0:50:57 | 0:50:59 | |
And, with the simple push of a handle, | 0:50:59 | 0:51:03 | |
Cutty Sark takes her final voyage. | 0:51:03 | 0:51:06 | |
We all expected something to snap, | 0:51:25 | 0:51:28 | |
something to groan, something to creak, | 0:51:28 | 0:51:31 | |
and we all anticipated having something to deal with. | 0:51:31 | 0:51:34 | |
She just proved to be so strong | 0:51:37 | 0:51:39 | |
and just lifted without bending, or anything. | 0:51:39 | 0:51:44 | |
She just took it in her stride. | 0:51:44 | 0:51:46 | |
Fantastic girl! | 0:51:46 | 0:51:49 | |
It takes two days to lift Cutty Sark three metres. | 0:52:17 | 0:52:22 | |
Go on, stand underneath it. Go on! | 0:52:32 | 0:52:35 | |
Absolutely fantastic! | 0:52:45 | 0:52:48 | |
Bit... I'm actually speechless. | 0:52:48 | 0:52:51 | |
Cutty Sark now rests in her final position, | 0:52:55 | 0:52:59 | |
looking out forever across the River Thames, | 0:52:59 | 0:53:04 | |
to the city she helped build. | 0:53:04 | 0:53:07 | |
But with just a year to go before the grand opening, | 0:53:18 | 0:53:21 | |
there's still a huge amount of work to be done. | 0:53:21 | 0:53:25 | |
Last board in there, lads. | 0:53:25 | 0:53:27 | |
The new composite deck is completed. | 0:53:27 | 0:53:30 | |
And the final planks are attached to the hull. | 0:53:34 | 0:53:38 | |
After five years, it is an utter relief, I must say. | 0:53:38 | 0:53:42 | |
It's been a huge achievement. | 0:53:42 | 0:53:44 | |
At long last, Cutty Sark gets her rudder back. | 0:53:44 | 0:53:49 | |
Just about there, yeah. | 0:53:49 | 0:53:51 | |
Nice one. Don't drop it on anyone's foot. | 0:53:51 | 0:53:55 | |
The hull is adorned with brass. | 0:53:57 | 0:53:59 | |
And gets a final coat of paint. | 0:54:02 | 0:54:05 | |
This is the last letter. | 0:54:05 | 0:54:07 | |
So, Darren, you're going to have a cheque ready for me | 0:54:11 | 0:54:14 | |
-when the inspection's finished, yeah? -Cheque? -Yeah. -What is cheque? | 0:54:14 | 0:54:17 | |
Work also continues on the canopy that will surround her. | 0:54:17 | 0:54:21 | |
She'll soon sail on a sea of glass and steel. | 0:54:21 | 0:54:25 | |
With the work drawing to a close, | 0:54:25 | 0:54:27 | |
the team work day and night. | 0:54:27 | 0:54:31 | |
The riggers are back on site, and, as her masts return, | 0:54:34 | 0:54:39 | |
Cutty Sark will once again be seen from miles around. | 0:54:39 | 0:54:43 | |
It's taken years of planning, craftsmanship and sheer hard work, | 0:54:45 | 0:54:50 | |
but, for Richard and the team, | 0:54:50 | 0:54:51 | |
the end is finally in sight. | 0:54:51 | 0:54:55 | |
I'm absolutely buzzing. She looks magnificent. | 0:54:55 | 0:54:59 | |
She's been raised up, | 0:54:59 | 0:55:01 | |
she's surrounded by this sea of glass, | 0:55:01 | 0:55:03 | |
she is fit for a queen! | 0:55:03 | 0:55:06 | |
And 55 years after Her Majesty first opened Cutty Sark here | 0:55:06 | 0:55:10 | |
in Greenwich, she's coming back | 0:55:10 | 0:55:12 | |
with His Royal Highness the Duke of Edinburgh. | 0:55:12 | 0:55:15 | |
It's now all about the last-minute arrangements for the royal visit. | 0:55:15 | 0:55:20 | |
And Richard takes a moment to reflect on all they've achieved. | 0:55:25 | 0:55:28 | |
This is what it's all about. You can actually see the frames of the ship. | 0:55:28 | 0:55:35 | |
These white iron ribs, the cross-bracing, the planks. | 0:55:35 | 0:55:40 | |
And we're now trying to give people an idea of what it was like | 0:55:40 | 0:55:45 | |
to be literally inside the cargo hold. | 0:55:45 | 0:55:47 | |
This is what it's all been about - bringing it back to our public. | 0:55:47 | 0:55:52 | |
It's the day of the royal opening, | 0:56:03 | 0:56:06 | |
and, despite the terrible weather, | 0:56:06 | 0:56:09 | |
the crowds have gathered to watch the momentous occasion. | 0:56:09 | 0:56:13 | |
The Queen and the Duke of Edinburgh are taken for a tour | 0:56:19 | 0:56:23 | |
around the ship. | 0:56:23 | 0:56:25 | |
And, after a wave to the crowd, | 0:56:25 | 0:56:28 | |
it's time to meet the team who've made it all happen. | 0:56:28 | 0:56:31 | |
INAUDIBLE | 0:56:42 | 0:56:47 | |
APPLAUSE | 0:56:53 | 0:56:55 | |
It's like you've been on a very long voyage, | 0:57:02 | 0:57:04 | |
and you've now come to the end and you're stepping off. | 0:57:04 | 0:57:06 | |
And although it's fantastic it's finished, | 0:57:06 | 0:57:08 | |
it was just such a great thing to be part of. | 0:57:08 | 0:57:10 | |
Now the sun's come out! | 0:57:10 | 0:57:12 | |
Such a beautiful shape, the way the light glints off it. | 0:57:12 | 0:57:15 | |
It's just been a very, very special day, | 0:57:15 | 0:57:19 | |
and it's just absolutely perfect to be celebrating with all the people | 0:57:19 | 0:57:26 | |
who made this project possible. | 0:57:26 | 0:57:28 | |
She really now has a chance for a whole new lease of life. | 0:57:28 | 0:57:32 | |
Well done, Cutty Sark! | 0:57:32 | 0:57:35 | |
The ship is a part of yesterday, part of today and part of tomorrow. | 0:57:53 | 0:57:56 | |
The Cutty Sark is an absolutely critical national treasure. | 0:58:01 | 0:58:06 | |
She is, I think, a sort of tangible reminder | 0:58:08 | 0:58:11 | |
of a different way of life. | 0:58:11 | 0:58:14 | |
That's really why she captures my imagination. | 0:58:14 | 0:58:18 | |
This is the end of a chapter. | 0:58:21 | 0:58:23 | |
There won't be any more of her kind. | 0:58:23 | 0:58:25 | |
Subtitles by Red Bee Media Ltd | 0:58:49 | 0:58:52 |