The Shed magazine February/March 2026 issue 125 on sale now
Going solar
Solar power seems like a great idea; who doesn’t want free power, right? But, what to choose, and what are the pitfalls of solar?
Regular The Shed writer, Andrew Broxholme, has just completed a large solar installation on his property and shares all the good, the bad, and the ugly aspects of his solar power journey.
I’m environmentally aware, but am not an environmentalist, so I’ve gone solar for only one reason, because it makes good financial sense to do so, that said it isn’t necessarily going to be right for everyone and its impact on your power bills will depend on where you are in New Zealand and the orientation and design of your house relative to where the sun rises and sets.
I’ve been interested in renewables for many years. I first looked at it while living in the UK. The early systems had promise, but really didn’t make financial sense as the cost of installation and ongoing maintenance wasn’t offset by big enough reductions in power bills. They wouldn’t repay that investment during their service life, which at the time was 15–20 years (maximum).
That’s no longer true, with higher volume, the equipment has got a lot cheaper, it is more efficient, but we have also seen huge increases in energy costs; this, in particular, changes the economics dramatically. That doesn’t, however, mean that you can buy the first solar system presented or recommended to you. Read on to find out why.
My shed the barn
Capacity is always the issue. My two sheds at home were each at their limit. I had woodwork in one and a one-off car suffering fabrication right on top of it in another.
When it came time to plan a new house on the new section, I thought of a barn-sized shed. In this barn, I would build all the joinery for the house. But first I had to build the barn.
I had a design that had been kicked around for ages and required a giant leap forward in capacity. This barn as my workshop would have good height, tall openings, a range of areas for different tasks and that all-important swing room around the main machine, a multi-function dimension saw.
Like other glimpses I enjoy of by-gone eras, I have always loved those English “oak barns” typically housing Aston Martins in magazines portraying classic cars. The vision I had for my barn was of posts and beams and the roof crouching over long flanks, suggesting back rooms filled with the rare and the useful.
A life in harmony
There is such a thing as serendipity. When Paul Downie was 11 years old a chance meeting at his grandmother’s house was to eventually set him on a course that would define his career.
“I was learning the piano at the time and her friend had a harpsichord that he invited me over to see. I thought it was marvellous,” he recalls. “He told me I should build one and although it sounded like a ridiculous idea, it never went away.”
When he was 22, Paul embarked on the project, researching how to build a harpsichord, scouring junk shops for old tools, sawing bits of wood, and gluing them up until he had constructed the instrument.
“I enjoyed the whole process so much that when I was 23 I decided to build another one. I discovered that overseas museums had very detailed technical drawings of old instruments which you could buy – when they are restored everything about the instrument and the mechanisms are recorded.
“I went on to build two more harpsichords. The first one did work but it wasn’t up to the same standard so I ended up pulling it apart and my sister burnt it as fire wood,” he says laughing. “The others have survived and are owned by very good musicians.”
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