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AUTUMN 2010
The People’s History Museum
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All other enquiries: Tel: 0161 850 1680 Fax: 0161 834 00773rd Floor, Blenheim Court, Carrs Road, Cheadle, Cheshire SK8 2LA
Copyright Musuems & Galleries.All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Museums & Galleries.Views expressed in this magazine are not necessarilythose of the publisher. MGA
5 Viewpoint:InthefirstofaregularcolumnAbbyCronin discusseslife-longlearningoutsidetheclassroom
11 MuseumsAssociationConference2010inManchester
13 CollectionscareatStPaul’sCathedral
15 Solarcontrolsolutions
16 ConservationoportunitiesatWestDeanCollege
17 AManifestoforMuseumLearning:Anewfuturefor history?
18 Aretemperatureandhumiditycontrolsreallynecessary?
19 Sustainabilityinpractice–Greencasestudy:Manchester Museum
21 Onyourbikeandreduceyourfootprint
24 Sustainabilityinpractice–Greencasestudy:Killhope –TheNorthofEnglandLeadMiningMuseum
25 Thestructureofpaintings
26 FindingconservatorsusingtheConservationRegister
29 Maintainingandimprovinghighstandardsinpainting conservationandrestoration
31 Nelson’sChair–aconservationvictory
32 AVictoriantreasurefinallypreserved
33 Theconservation-restorationoffurniture–howitall started
CONTENTS
Cover storyThe People’s History Museum, Manchester
7 ‘Therehavealways beenideasworth fightingfor’
8 Theprojectindetail
Richard Shepherd
Business Development Manager
Tel: 0161 232 1124 Mob:07913 740380
email: [email protected]
www.museumsandgalleries.net
Welcome to our
Launch issueSomemightconsideritrecklesstolaunchanewenterpriseinthewakeofthebiggestrecessionmostpeoplecanrememberbutwehavehadwonderfulfeedbackfromthecontributorstothemagazineandIwouldliketothankthemallfortheirparticipation.
IhavehadthepleasuresofarofspeakingtolotsofpositiveandenlightenedpeopleinthesectorandlookforwardtoworkingwiththemandnewvoicesforthenextissueintheWinter.
TheyspeakforthemselvesinthepagesthatfollowandIamsureyouwillbemetwiththesamecourtesyIhavereceivedifyouwishtoknowmoreaboutwhattheyhavetoofferyouandyourorganisationnoworinthefuture.
Wearekeepinganopenmindoncontentsforfutureissuessodoletmeknowifyouhavesomethingtosharewithus–whetheritbeaparticulartopic,project,productorotherrelevantpieceofinformationyoucaretoairwithusandouraudience.
Onethingforsure,thenextissuewillcarryareviewoftheMAConferenceandExhibition,sodoletmeknowifyouwouldliketoflagupyourpresence.Wehaveastandattheshow–No.6–andwillbedistributingcopiesofthemagazine,sopleasecallandsayhello.TheMuseumsAssociationhasbannersonourwebsitetofacilitateinstantandcomprehensiveinformationabouttheevent.Thislinkstoouronlinedirectorywhereyoucanbeincludedifyouwish.
Ifyoufeelwearetherightplatformforyourmarketingeffortswewillobviouslylooktoyounowandinthefutureforyourexpertadviceandknowledgeandwouldwelcomeanyarticlestokeepourreadersinformed.
IwillbehappytogiveyouacallifyouwishorIcanbereachedanytimeonmymobileorviaemail.Onceagainthankyoutoallourcontributorsandwehopewecanhelpyouandotherpeopleinthesectortoreachyourintendedaudience.
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n After30yearsintheclassroom,Ihadcometoacrossroad–shouldIoptforearlyretirementfromuniversitylecturingorsoldierontoage65?Burnoutorchangegear?Imadethedecisiontogo,
butsteppingoffthecollegetreadmillwasmorethanalittledaunting.WouldImissmystudentsandcolleagues?OfcourseIwould,butifIstayed,whenwasIgoingtohavethetimeandenergytoenjoytherichesinLondon’sworld-classmuseumsandgalleries?Afterall,theywereonlyatuberidefromhome.
Itwastherightdecision.Iheadedoffinanewdirectionandfoundmyselfonasuperbpart-timecourseinMuseumandGalleryManagementatCityUniversity.AwholenewworldofculturallifeinLondonopenedup.Iwasrejuvenated.Butitwasimpossibleformetowalkawayfrommypassionatecommitmenttoeducation.MaybeIwouldfindeducationalopportunitiesinLondon’smuseumsandgalleries.Itdidn’ttakelong.IsoonfoundmyselfvolunteeringtohelpwitheducationalinitiativesintheGeffryeMuseumandatApsleyHouse.Imetcuratorsandconservationprofessionalsandlearnedwhatwentintoplanningandmountingexhibitionsforawideaudience.Igainedenormoussatisfactioninhelpingwiththepartiesofschoolchildrenwhowereregularvisitors.ThekidslovedtolearnaboutperiodstylesindomesticinteriorsattheGeffrye.TheVictoriansittingroomwasarealfavourite.I’llneverforgetthejoyexpressedbyalittleboywhosaid:“IwishIcouldlivehere.”
AtnumerousothermuseumsandgallerieschildrenmakeDiscoveryVisitswhichinvolvehands-on,site-basedactivitiesdesignedtomeettheneedsofdifferentgroupsacrossthekeystages.Studentsofallagesandabilitiesmeetcharactersfromthepast,engageinrole-playorhandleintriguingobjects.Theyleavewithagreaterunderstandingofhistory,thearts,designandarchitecturewhichissimplynotaccessibleinclassrooms.TheBritishMuseumorganisefreefamilyeventsasjustoneaspectoftheirdiverseprogramme.TheBMisnotunique.ThroughouttheLondonareanumerousmuseumsandgalleriesinvitefamiliestoparticipateinamultitudeoffreeweekendandhalf-termactivities.It’simpossibletomeasurethebenefitsoftheseopportunities.Surely,inthecurrenteconomicclimate,thevalueofmuseumvisitsfaroutweighsafamilyoutingtothecinema,whenyouconsiderthehugeexpenseofticketpricesandsittinginthedarkforanafternoon.It’scheapertowatchtelevisionoraDVDathome.
DespitethedireeconomiccircumstancesinBritaintoday,wemustquestiontheGovernment’swisdominimposingstringentcutsinfundingformuseumsandgalleries.Thelossoffundinginthissectoristhefalsestoffalseeconomies.Iofferonlyafewexamplestoillustratehowshort-sightedthispolicyis.Specifically,thefashionindustrycontributes£21billionayear(Guardian16.09.2010)totheUKeconomy.Businessskillsarerequiredtomaintainthestrengthofthissector,buttherehasbeenaseriouslossofopportunitiesforyoungpeopletotakepracticalcoursestopreparethemforworkinfashion.CoursesofferedattheFashionandTextileMuseuminSouthwarkhaverecentlylosttheirfundingandclosed.YoungpeopleintheEastLondonareaarelosingopportunitiestodevelopthebasicskillsneededforacareerinfashion.Asecondexampleisthenear-closureoftheworld-famousWilliamMorrisGallery,acentreofexcellenceforthestudyofWilliamMorrisandtheArts&CraftsmovementintheLondonBoroughofWalthamstow.Fundinghasbeensignificantlyreduced,butcompleteclosurehasonlybeenavertedbecauseoftheincrediblefighttokeepthegalleryopen.Third,butbynomeanslast,isarecentArtsPetitionannouncedon11thSeptemberpromotingacampaign,I Value the Arts,urgingthepublictovoicetheirsupportforthearts.Peoplearebeingaskedtoregisteratwww.ivaluethearts.org.uk.
The 100 artists have joined almost 2,000 people who have signed
a petition against proposed cuts to government funding of the arts,
which are expected imminently as part of the Spending Review to
be announced next month.(Independent11.09.2010)
Ihavetoadmitthatmyoptimismforpreservingourpreciousculturalvenuesacrossthemuseumsandgalleriessectorisonthewane.Still,wemustpulltogether,signthepetitionandcontinuetourgetheGovernmenttochangeitspolicyofimposingseriouscutstotheArtsinthiscountry.q
View
poin
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by ABBY CRONIN
•AbbyCroninPhDisanindependentresearcherandfreelanceartsjournalistbasedinLondon.ShelecturedformanyyearsatLondonMetropolitanUniversityandforthepasteightyearshaswrittenacolumnonartsandantiquesforthequarterlymagazineAmerican In Britain.SheisacommitteememberoftheWallpaperHistorySociety.
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Life-long learning outside the classroom
The British Museum organise free family events
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‘There have always been ideas worth fighting for’
nFollowingmorethantwoyearsofre-development,March2010sawtheofficialreopeningofthePeople’sHistoryMuseumin
Manchester-auniquecentrewhichexploresmanyoftheworld-changingideasfoughtforbytheworkingpeopleofBritain,andchartsthehistoryofdemocracyfromtheearly18thcenturytodate.
Theextensive£12.5millionre-developmentwassupportedbya£7.18milliongrantfromtheHeritageLotteryFund,alongwith£2millionfromtheNorthwestRegionalDevelopmentAgencyandadditionalfundingfromtheEuropeanRegionalDevelopmentFund.
Spanningtwocenturies,themuseumprovidesajourneythroughthelives,historiesandissuesoftheworkingpeopleofBritain,andhousesanunprecedentedcollectionofalmost1,500historicobjects,includingtheworld’soldesttradeunionandminers’banner,theTinplateWorkers,1821andAshoverMiners,c1825,andthetableonwhichthe18thcenturywriterandrevolutionaryThomasPainewrotehisground-breakingpublicationRightsofMan.
ThemaingalleriesopenwiththestoryofthePeterlooMassacre–areformmeetingheldonStPeter’sFieldinManchesterin1819,whichturnedtotragedywhenmagistratesattemptedtobringthe60,000plusworkersandfamiliesundercontrolandseveralpeoplewerekilled.TheaftermathresultedinthefirstreformofParliamentin1832
whichgavethevotetosome,butnotall,men.ThegalleriesthentracktheriseoftheRevolutionariesand
Reformersofthelate18thandearly19thcenturies,throughtotheWorkers,VotersandCitizensofthe19th,20thand21stcenturies-thosewhogavebirthtoandfoughtfortheideasbehindmanypoliticalreformstakenforgrantedtoday,includingthewelfarestate,theNHSandgovernmenthousing.Newdisplaysincludethemuseum’scollectionofradicalbannersacrosstheages–thelargestintheworld–andshowhowworkersinthe19thcenturywonandspentprecioustimeoffwork,includingthestoryoftheCo-op.
Award-winningarchitectsAustin-Smith:Lordrenovatedthemuseum’soriginallocation,formerlyanEdwardianhydraulicpumpingstation,andhaverevealedtheeleganceandworkingsofthesitewhichoriginallysuppliedpowertomillsandwarehouses,andfamouslywoundtheTownHallclock.Themulti-millionpoundre-developmentjoinsthisoriginalsitetoafour-storeyextensionbyaspectacularwalkway,andisthefirstpublicbuildinginBritaintobecladinCor-Ten,asteelthatwillrustandprotectitself,changingcolourastheyearspass.Thenewmuseumincorporatesover1384m²ofnewgalleryspaces,afullyoperationalconservationstudio,archive,shopandtheLeftBankcafebar.q
The People’s History Museum, Manchester
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n InJanuary2004Austin-Smith:Lordwereappointedtoleadamulti-disciplinarydesignteamtoexplorethepossibilitiesfor
consolidationofthePeople’sHistoryMuseum’stwooperationalsitesinManchesterintoonelocationthroughanexpansionoftheexistingPumpHouseMuseum.
OccupyingtheonlyoneofthreeEdwardianhydraulicpowerstationstosurviveinthecity,thePumpHouseissituatedtothenorthwestofthecitycentreborderedbytheRiverIrwell,BridgeStreetWestandthenewmulti-storeyCivilJusticeCentreonGartsideStreet.
Thisareaformsthenortherntipoftheextensiveredevelopmentareainthecityknownas‘Spinningfields’.Thisisanareaofthecitythathasundergoneasignificantchangeofscaleandimportancewhichoverthelastfewyearshascreatedover2.5msq.ft.ofnewcommerce,retailandresidentialspace.
TheavailabilityofanareaofcitycouncilownedlandadjacenttothePumpHouseprovidedtheopportunityforconsolidatingallthemuseum’spublicfacingactivitiesontoonesitethroughtheprovisionofanewextensionwhichwouldallowtheexpansionofpermanentgalleriesandnew21stcenturyfacilitiesforthepublic.
ThesitebenefittedfromaprominentriversidelocationattheManchester/Salfordborderand,affordedspacebyboththeriverandthepublicpiazzainfrontofthenewCivilJusticeCentre,hadthepotentialforadramatic‘object’buildingwhichcouldsignificantlyimprovetheMuseum’spresenceinthiskeynewareaofthecity.
TheMuseum,whichre-openedinFebruary2010,hasbeencompletelyrefurbishedandextendedtoprovideafittingnewhomeforauniqueandnationallyimportantcollection.
The DesignThenewmuseumconsolidatesallpublicfacingactivitiesontoone
site.Thenewextensiontakestheformofafive-storeybuilding,builtintothesite’ssloping,riverbanklocationandthesite’spotentialhasbeenexploitedbyaboldanddramaticnewpresenceonthisimportant
citycentrearteryandgatewaylocation.Afullyglazedgroundfloorconcourseprovidesawelcomingnew
mainentrance,allowingdeepviewsacrossthebuildingandprovidingactivityandinterestatstreetlevel,animpressionreinforcedbyacaféterraceoverlookingtheriver.
Thenewconcourseprovidesagenerousspacefornewcafé,baranddiningfacilitiesalongwithanewshop,receptionandtoiletfacilitiesandmostimportantlyencouragesaccessviaadramaticnewglazedlinktowardstheoriginalPumpHousebuilding.
Twolevelsofclimatecontrolledpermanentgalleriesareprovidedathighlevel,accessedbyanewliftandstairtowerthatcelebratesthemuseum’swatersidesetting.ThetopfloorprovidesalargeConservationStudioforbannersandtextiles.
Undertheconcoursealowerlevelfacesontoariversidewalkwayandaccommodatesanewarchive(toBS5454:2000standards)andanewReadingRoomwithriverviews.
Indevelopingamasterplanfortheexpandedmuseumthesuccessfulbalanceofusebetweennewandoldbuildingswasakeyaim.Providingthemajorityofcloseconditionedspaceandvisitorfacilitiesinthenewextensionhasallowedthesensitiverestorationofthekeyspaceswithinthehistoricbuilding.
TheEngineHallhasbeenstrippedofitsoriginalshopandcaféintrusionstorecoveritsdramaticvolumeandnowprovidesamulti-purposespacefordaylighttolerantexhibitions,educationandconferenceevents.
Anewexpandedchangingexhibitiongalleryhasbeenprovidedatgroundfloorlevel,whichcanbelinkedflexiblywiththeEngineHallandthishasallowedtheoriginalformofthefirstfloor‘coalstore’toberecoveredandusedasaconferencefacility.
ThebasementofthePumpHousehasbeenconvertedfromgalleryusetoprovideofficesandthebigwindowstotheriverhavebeenopeneduptofloodthisspacewithdaylightagain.
Theneedforclosecontrolled,light-proofgallerieshasbeenexploited
The People’s History Museum
The project in detail
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visuallytomarktherefurbishedmuseum’spresencethroughstrongsculpturalform-making.ThedesignhasachievedprominencewithoutoverbearingtheoriginalPumpHousebuilding.
TheextensionisunmistakablyanewbuildingyetitestablishesasympatheticrelationshipwiththematurityofthePumpHousethroughthetonalityoftheCOR-tenrainscreencladdingandboldmassingthatechoestheindustrialformsoftheexistingbuilding.
ProjectPartner,ChrisPritchettwrites:ThisisoursecondculturalprojectinManchester’shugeSpinningfielddevelopmentarea.Ourpreviousschemeto‘UnlocktheRylands’sawthere-openingofBasilChampneys’Neo-Gothicmasterpiecein2007afteraprogrammeofsensitiverepairsandalterationsandthedesignofanewlandmarkentranceandarchivebuilding.
ThecreationofthenewPeople’sHistoryMuseumhassharedmanydesignchallengeswiththeprojectto‘UnlocktheRylands’includinganew‘landmark’extension,and,asattheRylands,animportantroleforthisnewbuildingwastore-invigoratetheClient’spublicpresenceinthecitywhichagainrequiredbalancinganappropriatelevelofassertivenessandpersonalitywithasensitivitytothecontextoftheexistinghistoricbuilding.
Thebriefcalledforanewextensionthatwouldbewelcomingandopenenoughtobecomethenewentrancebutthatwouldalsoprovideaseriesof‘closed’spacesforsensitivecollectionsreducingtheexclusionofdaylightandcloseenvironmentalcontrol.
Providinglargewindowlessvolumesinaprominentcitycontextisalwaysanarchitecturalchallenge,withtightcitysitesthemostviablesolutionappearstobetopushthebig,closedvolumesupintotheair,leavingthegroundflooravailableforentrance,circulationandamenityspaceswhichcanbecelebratedthroughhighlyglazedfacades.
Thisnaturaldivisionofclosedandopenspacesseemstocreatenaturallydramaticarchitecturalcompositionswhichperhapsachievemorevisualimpactthanthebuildingmightotherwisedeliver.
AtthePeople’sHistoryMuseumthiseffectisreinforcedbyasimplesculpturalapproachtothemainvolumeofthebuildingandacarefulhandlingofexternalmaterials.
Theconnectivitybetweennewandoldbuildingsisalwaysimportant.Theconcourselinkingnewandoldbuildingsisdeliberatelykeptwidetopreserveviewsintothehistoricbuildingandthelinkisgivendramathroughitsdoubleheightspaceandhighlevellinkingbridgetoprovideavarietyofroutesandasenseofpromenadingthroughthebuilding.
ThedistinctivecolourandtextureoftheCortencladdingwasalsochosentoreflecttheMuseum’sconnectionwithWorkingPeopleandtheimpactofindustrialisationonthedevelopmentofthecounty’spoliticalhistory;asthereisadeliberateelementofnarrativeinthechoiceofthebuilding’sfaçadetreatment.
Thenaturallayerofoxidisationthatformsonthesteel’ssurfacealsoformsasuitablysympatheticfoiltotheredbrickoftheoriginalPumphouse,yetisrichenoughtocontrastwiththepredominantlysilverandglass‘corporate’architecturethatotherwisedominatesSpinningfields.
Thenewbuildingisastronglycontextualresponse;itworkswiththemuchlovedhistoricbuildingtomakeasuccessfulandsustainablemuseum;itdramaticallyreinforcesthepresenceoftheMuseuminthecity;itcelebratesakeylandmarksiteandriversidesetting;itcontributestothecommercialandculturaldiversityofanewcityquarterandtheboldnessofthebuilding’scolourandformaimstoreflecttheindependenceandspiritofthepeoplewhosestoriesaretoldwithintheMuseum.q
The People’s History Museum
4 JORDAN STREET, MANCHESTER M15 4PY
T: 0161 228 7569 E: [email protected]
www.austinsmithlord.com
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Museums Association Conference2010 – Manchestern TheMuseumsAssociationhasannouncedthefull
programmeforitsAnnualConferenceandExhibition,whichtakesplacethisyearinManchester,from4-6OctoberattheManchesterCentralConventionComplex.ItisEurope’sbiggestgatheringofitskindformuseumandgalleryprofessionals.
ManchesterboastssomeoftheUK’sbestmuseumsandgalleriesoutsidethecapital.Theconferencewillincludestudytoursofmanyofthese,aswellasmajoreveningeventsatthenewly-reopenedPeoples’HistoryMuseumandthenewextensiontotheMuseumofScienceandIndustry.
TheConferenceseesoverfiftysessionsaswellastheExhibitionanditsseminarprogramme(freetoall),networkingevents,eveningreceptions,professionaldevelopmentsurgeriesandfringeevents.
Conference themesWorking in partnershiplooksatwhypartnershipsarealltherage
andrevealsthesecretsofcollaborativesuccess.Showing offpositsthattheageoftheblockbusterexhibition
isdeadandlooksathowmuseumsandgalleriescanencouragecreativityandusecollectionstobesteffectwhenthehardtimesbite.
Whose museum is it anyway?examinesthebenefitsandbarrierstopublicparticipationinmuseumdecisionmaking,andasksifitshouldbetheultimategoalofamuseumtobeatrulydemocraticorganisation.
Keynotes•NeilMacGregor,DirectoroftheBritishMuseumontheBMand•BBC’sA History of the World in 100 Objectsseriesanditslegacy.•AlexPoots,DirectoroftheManchesterInternationalFestivalwill•talkaboutleadership,creativityandtakingradicalrisks.•JeremyHunt,SecretaryofStateforCulturewillopenthe•conferencewithanaddress.
For more information see the Museums Association website www.museumsassociation.org/conference. q
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n StPaul’sCathedralisarguablyLondon’sbestlovedbuilding.IthaslongenjoyediconicstatusamongBritonsandtourists
alike.Currently,itsfamousprofileshinesevenmorebrightlyastheCathedralhasrecentlyundergoneamulti-millionclean-upoperationtoremovethreecenturiesofcitygrimefromitsbrilliantwhitePortlandstone.
However,notalloftheworkunderwaytopreservethisjewelof18thcenturyarchitectureissoimmediatelyobvioustothepassingobserver.Withinitswallsworkasmallteamofdedicatedprofessionalswhocareforanamazingassortmentofsculpture,artworksandarchitecturalarchivesthatmakeuptheCathedral’shistoriccollections.
ThesecollectionsarerecordedandmanagedwiththeaidofanAdlibMuseumandArchiveCollectionsManagementSystemsuppliedbyAdlibInformationSystemsLtd.Thispowerfulsoftwarepackageallowsarchivesandcuratorialstafftoemployconsistentterminologyforcataloguingandinventorymanagementofthedifferentcollectionsandalsoenableslinkstobeestablishedbetweentherecordsofartefactsandarchives.
Expansionofthesystemtoincludeawebinterfacetograntaccesstoselectedcollectionsdataforresearchersandthegeneralpubliciscurrentlyunderconsideration.
FormoreinformationabouttheCathedral’scollections,pleaseseewww.stpauls.co.uk.FormoreinformationaboutAdlibsoftware,pleaseseewww.adlibsoft.comq
Collections care atSt Paul’s Cathedral
A design for one of the apse windows by Julius Schnorr von
Carolsfeld and FC Penrose, 1862.Image courtesy of St Paul’s Cathedral
Perspective elevation showing the quire and a proposed open screen, by FC Penrose, October 1860. Image courtesy of St Paul’s Cathedral
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�� museums and galleries nKAD - Asbestos Specialists for Museums & Historical Objectsn Mostpeopleareawareoftherisksassociatedwithasbestos
frombuildingfabricmaterialsinmuseums,buthaveyoueverconsideredasbestosbeingpresentinthedisplayshowcasesorhistoricalobjects?
KADhavespent5yearsdedicatingourspecificallydesignedasbestosservicestoprotecttheliabilityofmuseums,byreducingtherisksofexposuretoasbestosandpreventingthespreadofasbestosinmuseums.
KADhavehandled,inspectedandidentifiedahugenumberofasbestosrisksinhistoricalobjectsbothinstorageandonpublicdisplay.We’veinspectedpracticallyallformsofcollectionsfromaircrafttolightbulbsandfoundasbestosinapprox80%ofthecollectionswe’veinspected!
PracticallyallAsbestosContainingObjects(ACOs)KADhaveidentifiedpresentasignificantrisktocollectionscarespecialists,andinmanycasesthegeneralpublic.Themainreasonforthisissimple–lackofaccurateinformationandknowledgeonasbestosinthecollections.
Toexplainthedifferencebetweenbuildingfabric,AsbestosContainingMaterials(ACMs)andAsbestosContainingObjects(ACOs):-
•Approximately3,000AsbestosContainingMaterials(ACMs)have•beenusedasbuildingfabricmaterials•Thereareover5,000ACMsusedinhistoricalobjects•Buildingshaveusedasbestosforover100years•Historicalobjectshaveusedasbestosforover5,000years•BuildingfabricACMsareusuallyrecordedandingoodcondition•HistoricalobjectACMsareusuallyun-identifiedandinpoor•condition.•Buildingcontractorsareasbestosawarenesstrained•Veryfewcollectionscarestaffareasbestosawarenesstrained•Buildingfabricmaterialsareonlyusuallydisturbedduring•maintenance,repairorrefurbishment•Historicalobjectsarehandled,cleanedandregeneratedonadaily•basisSowhyaretheHSEnowlookingformuseumorganisationsand
heritagesitestomanageAsbestosContainingObjects(ACOs)?Because
therisksofexposuretoasbestosinthecollectionsisfargreaterthantherisksofasbestosinthebuildingfabric.
Fromyearsoftraining,inspectingandassistingUKNationalMuseumOrganisationsinmanagingasbestosincollectionseffectivelyandefficiently,wehavedevelopedmuseumspecificpoliciesandproceduresforasbestosmanagement.Ifsuitablemanagementproceduresarenotinplacethereisasubstantialriskthatinthefuturecollectionscarestaffwhoareexposedtoasbestosmayseeklegalcompensationfromyoutheemployer,towhichinsuranceusuallywillnotcover.
Sohowcanyoureduceyourexposurerisksandlimityourorganisation’sliability?KADhaveworkedcloselywiththeHSEfor5yearsensuringourspecificallydesignedasbestosmanagementproceduresnotonlymeetthecurrentregulations,butexcelthem.KADarecurrentlyworkingwithmanyNationalMuseumOrganisationsthroughoutEngland&Scotlandtominimiseandreducetheirliablerisksandresultshavebeeninstant.KADhavedesignedahistoricalobjectsspecificriskassessmentthatappliestoanyobject,anywhereintheworld,andcompletedbythecollectioncarestaffwithin10seconds!
KADspecialiseininspectinghistoricalobjectsinordertolocateandassessanyasbestosthatmaybepresent.Theinformationisrecordedandpresentedinasurveyreportwithcolourphotos,floorplansandanasbestosregistertocompleteyourlegalrequirements.IfanyasbestosisdetectedKADworkcloselywiththeclienttoensureanytreatmentisconductedsafely,correctlyandeffectivelytoprotecttheobjectsandtheclientinterests.KADcanmakeallnecessaryarrangementstotreatanyACMsthatareidentified,designaremediationproject,projectmanagetheentireprocess,updatealldocumentsandissuecertificatestoensurelegalcompliance.
KAD Environmental Consultancy are the only one-stop-shop asbestos professionals specialising in historical objects and are members of the Museums Association. So remember, before conducting any refurbishment of galleries all building fabric, showcases AND historical objects need to be professionally inspected for asbestos.q
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Solar control solutionsn CSCWindowFilms&Blindsarepleasedtoannouncea
partnershipwithTheScottishHollandBlindCompany.ThispartnershipaimstosupplyqualityBritishmadeblindsusingtraditionalsystemsandScottishHollandfabrics.TheblindswillbemadeexclusivelyforCSCWindowFilms&BlindsatTheScottishHollandBlinds’factoryinScotland.
CSCWindowFilms&Blindsnowofferafullrefurbishmentservicefortraditionalratchet,cap&rackandsheathendrollerblinds.Inaddition,newScottishHollandfabriccoverscanbemadetomatchexistingrollersystems.
AswellasprotectinginteriorsfromUVandinfraredrays,therangeofproductsavailablefromCSCWindowFilms&Blindsisdesignedtoenhanceinteriors,addingadistinctivetouchofstyletoanyroom.
CSCWindowFilmsandBlindsareusedextensivelywithinNationalTrustandEnglishHeritagepropertiestoenableroomstobeopenedtothepublicwhilststillbeingprotectedagainstsundamage.
ThenewpartnershipbetweenCSCWindowFilmsandBlindsandScottishHollandisgearedtoofferingclientscompletereassuranceofsolarprotectionbydealingwiththeleadersinthemarket,andbothcompaniesareproudtobelistedassupplierstotheNationalTrustintheManualofHousekeeping.Anumberofnewservices
previouslynotavailabletotheheritagesectorarenowonoffer,including:
• Refurbishmentofexistingbarrelsandcoversat60%of costofnewblinds,inhouseoron-site.
• Matchingblackoutcolourstocomplementoriginalfabric colours
• NewTandemstyleassemblytoallowshutterstobe closed
• FreeLux&UVon-sitesurveyAsolarprotectionconsultantwillvisitthepropertyanddiscuss‘at
risk’areasandareasofpersonalconcernandwillalsocarryoutafulllightsurvey,enablingclientstodecidehowtheywishtoprotectthecontentsoftheirproperty.Thisserviceisfreeofchargewithnoobligation.
CommissionsundertakenrecentlyincludetheCastleofMey,Chequers,CastleHoward,TorreAbbey,BowesMuseum,BeamishMuseum,KnowsleyHall,KelmscottManor,BurghleyHouseandmanyNationalTrust&EnglishHeritageproperties.
Thecompanycanbecontactedforafreeno-obligationsurveyandquotationontel01159665296oremailsales@cscwindowfilms.co.uk.q
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Conservation opportunities atWest Dean College
n EdwardJamesinheritedtheWestDeanEstatein1912and,whenhecameofageinthe1920s,hebeganinvestinghis
moneyandtimeinsupportingartists,craftspeople,dancersandpoets.Hisexcitementbyallaspectsofthearts,hisdeterminationtopushtheboundariesbyinvestinginartists–notartperse–broughthimintocontactwithmanyofthegreatestartistsoftheperiod.
AttheoutbreakoftheSecondWorldWarEdwardJamesbecameconcernedthat‘certainartswillbecompletelylost,andartistswillneedprotection’.
ThisquestforpreservingtraditionalcraftsandskillsandusingthemwithinthecreationofartandobjectsandintheconservationofourheritageiscentraltoallstudyatWestDean.
TheCollegeishousedinEdward’sformerfamilyhome,a19thcenturyflint-facedmansion,in6,400acresofstunninglandscapewithintherollingSouthDowns.
OverthepastfortyyearstheCollegehasbuiltaworld-widereputationinbothfullandparttimestudy.Full-timeprogrammesofstudyencompassfourbroadareas:ObjectConservation(books,clocks,ceramics,metalsandfurniture),Making(stringedmusicalinstruments,
furniture,clocksandmetalwork),VisualArts(painting&drawing,sculptureandtapestry&textileart)andCreativeWriting.ManyoftheprogrammesarevalidatedbyUniversityofSussex–studentscanstudyfromdiplomalevelthroughMA/MFAtoPhDlevel.
Studentnumbersaredeliberatelykeptlow,andWestDeangraduatesareamongstthemostsoughtafterinthenationalandinternationalworkplace.GraduatesfromtheCollege’sobjectconservationprogrammescanbefoundinsomeoftheworld’smostprestigiousmuseums,heritageorganisationsandcommercialsettings.
Student testimonialsEdward Cheese, Book conservator, Cambridge Colleges’
Conservation Consortium:“WestDeanCollegewasatremendouslyexcitingcollegeatwhichtostudy:enthusiasticexpertsasteacherswhowerefullyengagedandtheethosofexcellenceincraftworkwasdeeplyinspiringandhaveleftalong-lastingdeterminationinmetostrivealwaysforthebestIcando.”
Marc ter Kuile, Self employed clock conservator:“Aftera25yearcitycareer,Iwantedtolearnanewtrade,somethingthatI
coulddofromhome,whichwouldcreateanincome,allowmetobemyownbossand,ideally,wouldforcemetousebothmyheadandhands.IfounditatWestDeanCollege,ontheclockconservationprogramme.”
Georgina Castle, Ceramics and glass conservator:“WestDeanprovidedexcellenttuition,setwithinastimulatingenvironment.InternshipswithintheprivateandpublicsectorswerearrangedtogetherwithvisitingprofessionalswithinthefieldofConservation.MyinternshipstudywasheldattheVictoriaandAlbertMuseumduringwhichtimeIwasinvolvedinthesettingupoftheGlassGallery.InowrunastudiospecialisingintheconservationofdecorativeobjectsinThameworkingforprivatecollections.
Full-timestudentsalsohaveaccesstoWestDeanCollege’sshortcourseprogramme.Over700coursesareprogrammedthroughouttheyearwithintheareasofarts,crafts,buildingandobjectconservation,photography,creativewriting,music,gardeningandfood.q
Formoreinformation:(+44)[email protected]
n museums and galleries ��
A new future
for history?n ‘Culture has plenty of people telling it what to do from the
outside, but no-one on the inside, figuring out its proper place in the modern world’,accordingtoCulture:Unlimited.
Culture:Unlimitedisthenewthink-tankfortheculturalsector.Itisaplacetoshakeuporthodoxy,pioneersomenewideasandinventthefuture.Somewheretodosomeresearchanddevelopmentandtrytoanswerthequestion:Whataremuseumsfor?
Oneexampleofthispioneeringorganisation’sinnovativenewapproachistheirManifesto for Museum Learning.ThegroupwhichconceivedthemanifestowasconvenedbytheCampaignforLearningthroughMuseumsandGalleries(clmg),beforeitwasrenamedCulture:Unlimited.Extractsfromthismanifestooutlinedbelowgiveaflavouroftheorganisation’sradicalthinking.
Indefiningtheroleofmuseums,themanifestostatesthat:
‘At their best, museums can tell us who we are, where we have come from and where we might be going. They are an antidote to short-term tabloid life, a cure for passive living and places whose role in today’s uncertain society is more important than ever.
Museums work by story-telling: they confront us with the familiar and comforting and the new and challenging, inspiring us to look afresh at the world or grasp things that need imagination.
Museums entice us to explore ourselves: they provide opportunities for testing out our ideas, for chance encounter, for discovery and for inventing things anew.
Museums are exploratory, diverse, informal, inspiring and fun: they are purveyors of learning in disguise that appeal to all our senses.’
Themanifestothenintroducestheideaofcreatingmuseumswithlearningattheirheart.Itsuggeststhatoneofthewaysinwhichthisobjectivecouldbeachievedisbyallowingmuseumaudiencestolearnbybeingapartofcreatingthemuseum,aswellasbeingconsumersofitsoutput.Thatoutputtoo,wouldbedrivenbyreachingthepublicwherevertheyare,gettingawayfromtheturnstilethinkingwhichsayssuccessismeasuredbynumbersthroughthedoor.Themuseumwouldessentiallylistentoasmuchasitspeakstothepublic,learnasmuchasitteachesandhaveaninputchannelaswellasanoutput.
Themanifestocontinuesbystatingthatmuseumscouldalsomakethemselvesteachersandlearningorganisationsforprofessionals,aswellaslearningprovidersforthepublic.Amuseumbasedonlearningwouldhaveadutytospread
innovationthroughouttheworldsoflearningandculture.Thiswouldgowaybeyondsanitisedgoodpracticereports,bywelcomingrisk-taking,innovationand,inevitably,failureaspotentlearningtools.
Museumswouldbecomeporous–definedbywhattheydoasmuchasbywhattheyhold–andabletotakeoncontemporaryissuessuchasgenetics,climatechangeorterrorismandholdupaculturalmirrorformodernsocietytoreflectonitsactions.
Anotherinnovativeideaputforwardinthemanifestoistheconceptof4-D–definedaswhatmuseumswouldlooklikeiftheyweredesignedfromalearningpointofview.Theywouldbeplacesofimagination,exploration,debate,democracyandunderstandingforthepublicandtheprofessionals–allofthemonlearningjourneyswithmuseumsastheirnavigators,guidesandguarantorsofsafepassage.
Sowhatwouldtheconceptof4-Dmeaninpractice?Themanifestohassomeanswers.Itsuggeststhatmuseumscouldcontributetorespect,tolerance,dignityandunderstandinginsociety;counteringtheeffectsoflivingin,butnotengagingin,multiculturalBritainbyinitiating,facilitatingandcommunicatingstoriesofcitizenship,cohesionand(multi)culturallife,inanumberofways.
TheseincludeprovidingaculturalwelcometotheUKforallnewarrivals–abitlikethebestinductionprogrammesyougetwhenyoujointop-notchorganisations:somethingtohelpyougetyourbearingsandsomethingthatexplainshowthingsreallywork.Andyes,itwouldbecreatedbymodern,multiculturalBritons,withtheirkaleidoscopeofseveralhundredlanguages,dozensofreligions,myriadethnicgroupsandcountlessoutlooksoneconomics,politicsandsociety.Thelegacyofthis,itsays,wouldbeasetofstoriesaspowerfulinexplaininglifeinBritaintootherBritonsastheyareatunmaskingitfornewcomers.
Anothersuggestionisthatmuseumscouldalsocreatenewculturalgateways–simplytheresultoftakingthewallsoffthemuseum‘box’and‘sprinkling’themanywhere:sowhynottravelagents’windowswithexhibitionsofGreeceandEgypt;GP’ssurgerieswithexplorationsofgenetics;orairportloungeswithmuseumsasanalternativetoshoppingforsuncream?
Forfurtherinformationtel:01288350672,[email protected],visitwww.cultureunlimited.org.q
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Are temperature and humidity controls really necessary?n Parametersforenvironmentalconditionsinmuseumshavebeenin
placeforoverfortyyearsbasedprimarilyonthestableconditionsofundergroundtunnels,cellarsandquarrycavesinwhichsomeBritishartworkswerestoredduringtheSecondWorldWar.Theseparameterswerenarrowlydefinedandacceptedduetovariousfactorsatthetimeincludingrelativelyinexpensiveenergysupplies,inadequatescientificunderstandingandthetechnologicallimitationsofheating,ventilationandair-conditioningsystems(HVAC).Sincethen,timeshavechanged.Notably,thecostofenergyhasrisenandtheeffectsofclimatechangeareincreasinglybeingfelt.Furtherresearchanddiscussionhasleadtoaquestioningofthe‘goldstandard’.
ResearchbyMarionMecklenburgandDavidErhardthasbeenparticularlyusefulinillustratinghowmostheritagematerialsaremoreresistanttotemperatureandhumiditythanwaspreviouslythought.Inlinewiththisresearch,in2004theSmithsonianadoptednewguidelineswhichallowedforgreaterflexibilityintemperatureandhumidity
fluctuation.Thishasledtoenergysavingsofapproximately17%peryear,andreducedcondensationonwalls,resultinginlesswear-and-tearonbuildings.Ithashadnoknownnegativeimpactsonthecollections.Thecostbenefitstomuseumsalonebroughtaboutbyadoptingmoreflexiblecontrolsareobvious.
Inmorerecentyearsprogressinthisareahasaccelerated.InMayandOctober2008,meetingsoftheBizotGroupresultedinateamofUKconservatorsandotherstakeholdersundertakingtoreviewenvironmentalconditionsinmuseums.MarkJonesoftheV&A,Londonisastrongadvocateinbringingaboutchangeinthewaythatmuseumsandfundersimplementenvironmentalstandards.Hestatesthatdifferentobjectsrequiredifferentclimatecontrolsandtheimpositionofblanketrequirementsneedstobereconsidered.SirNicholasSerotaoftheTate,Londonhasalsobeeninstrumentalinadvocatingchange,supportingresearchanddrawingattentiontotherelevanceofclimatechangetomuseumsandgalleries.Asafirststepinreformingpolicies,theNationalMuseumDirectors’Conference(NMDC)hasprovidedguidanceonreducingmuseums’carbonfootprints.Youcanviewtheguidelinesonline.
Sowhat’sbeenhappeningrecently?Afterall,theSmithsonianadoptednewguidelinesin2004andtheNMDCguidelinesappearedin2008.What’shappeningin2010?
InFebruarytheIndianapolisMuseumofArtdecidedtomoveawayfromthegoldstandardofclimatecontrolandgavecurrentandfuturelenderstheopportunitytowithdrawcommitments.AsofAprilnoonehassignalledtheirintenttodoso.
InAprilasymposiumentitledRethinking the Museum Climate,washostedbytheMuseumofFineArts,BostonandtheGettyConservationInstitutetoconsiderandrespondtotheNMDC/BizotGroupdraftguidingprinciples.AtthemeetinggeneralagreementwasreachedoninterimguidelinesforloanstotheAmericanAssociationofMuseumDirectors.
OnMay13ththiswasfollowedbytheThirdRoundtableoftheInternationalInstituteforConservationofHistoricandArtisticWorks(IIC),entitledThe Plus/Minus Dilemma: The Way Forward in Environmental Guidelines.Themeetingraisedtheneedforamoreinterdisciplinaryapproachtoobtainingmoreenvironmentallyfriendlystandards,thelackofproperlydefinedlevelsandtheopportunitiesthatexistthroughcreationofmicro-climatesandthecreativeuseofspace.YoucanfindoutmoreontheIICblog.
So,ifyouhavenotalreadydoneso,perhapsitistimetojoininthedebateandconsiderwhatopportunitiesexistforyourmuseum.
• Greener Museums is a company dedicated to helping museums all over the world accelerate progress towards sustainability. Rachel Madan has over a decade of experience as a sustainability consultant working with NGOs, the US Environmental Protection Agency and major UK companies such as Marks and Spencer and Clifford Chance. She has been quoted in Museums ID Magazine, Museums Journal and Museums Practice and is about to publish a book with Museums Etc on Sustainability in Museums. You can sign up for Greener Museums’ free report on the State of Sustainable Museums at www.greenermuseums.org. q
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by RACHEL MADAN Director of Greener Museums
n museums and galleries ��
Sustainability in practiceGreen case study: Manchester Museum
n ManchesterMuseumhasbeeninitspresentVictorianbuildingnearthecitycentresince1888.PartoftheUniversityofManchester,it
employs94staff.Followingamajorrefurbishmentprojectbetween1999and2003,
itsenvironmentalcontrolsystemsarerelativelyefficient,howeveritisimprovingtheminlinewithitsobjectiveto‘putsustainabilityattheheartofitsoperations…andtocontributetothesustainabilityagendathroughitsownpractice.’
Inaddition,theuniversityhasintroducedsub-meteringofenergysuppliessothatend-users,includingthemuseum,canbechargedfortheirenergyuse.NigelThompson,themuseum’sassistantdirector,says,“Acarbontrustsurveygaveusanoverallpictureofannualenergyconsumptionforthefirsttime.Recommendationsforreducingenergyuseincludedbettercontroloftheenvironmentandlighting,stafftrainingandawareness-raising,improvedproceduresforout-of-hoursshut-downofbuildingservices,time-switchestolocalhot-waterheatersandoccupancysensorstocontrollightinginWCs.”
ThemuseumcommissionedenvironmentalcharityGlobalActionPlantohelp,workingtogetherwiththeuniversity’sWhitworthArtGalleryandtheJohnRylandsUniversityLibrary.
ExamplesofGlobalActionPlaninitiativestochangestaffbehaviourinclude:
•Smallrewards(suchaschocolatebars)forstaffwhoturnedtheircomputersoffbeforeleavingwork
•Betterprovisionforrecycling•GreenDaystopromoteenergyefficiency,encouragewaste
reductionandgatherideasandfeedback.
Currentplanstoembedsustainabilityinvolve:
•Across-departmentalteamtopromoteenvironmentalsustainability
•Departmentalannualoperatingplansthatincludesustainabilitytargetsforprocurement,travelandwastemanagement
•Annualauditsofdepartmentalperformance
Plannedinfrastructureimprovementsincludesharedofficeprintingfacilitiesandthegradualreplacementoftungstenandtungsten-halogenlightingwithlight-emittingdiodes(LEDs).Thompsonsays,“£6,000spentonLEDsinoneofthegalleriescouldresultinannualsavingsof£5,000inenergycostsand£3,000inmaintenanceandlampreplacementcosts–equivalenttoapay-backperiodofjustninemonths.”
The2007CarbonTrustsurveycalculatedthemuseum’sannualCO2emissionstobe800tonnes.By2011themuseumwantstoreduceittolessthan500tonnes,cuttingenergyconsumptionandtheamountofwasteitsendstolandfillby40%.q
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On your bikeand reduce your footprintn Whilstthelatetwentiethcenturyboomincarownership
hasbroadenedthehorizonsofahugemajorityofthepopulationithasalsohadasignificantdownside,bringingnumerousproblemstothecommunityandtheenvironment.Congestion,pollution,laziness,reducedfitnessandpoorerhealthaswellastherecentlycoinedroadrage.
Theincreasedawarenessoftheseissueshasencouragedmorepeopletoquestiontheirneedforamotorcarandselectalternativeformsoftransportthusreducingtheircarbonfootprint.
Agrowingnumberofpeopleofallagesarebeginningtomakeshorterjourneysbybicycle.Theyusetheirbikestotraveltowork,goshoppingandvisitfriendsaswellasmakingrecreationaljourneys.
Whenconsideringrecreationaldestinationsmanycyclistswilllookfordestinationswhichcaterforthemandprovideadequatesafeandsecurecycleparkingappropriatefortheenvironment.Forthisreasoncycleparkingfacilitiesareamustformuseumsandgallerieslookingtoattractthewiderpublicinanincreasinglycompetitivemarket.
Securityandsafetytendtobeuppermostincyclists’mindswhenleavingtheirmounts–youmustgivethemtheabilitytolocktheirbikestoarackorstandwhichwillbothsupportandsecureiteasily.Considerationshouldbegiventothepositioningofanycycleparkingareatoreducethepotentialfor
theftanddamagebyopportunistthieves,aswellasprovidingadequateaccessforthemtoparkandretrievetheirbike.
TheCycleRaxrangeofcycleparkingproductshasbeendesignedtocoveranextensivespectrumofrequirements–environmental,safety,securityandeconomic.Thesheltersaredesignedtocomplementanylocation,providinganuptodate,stylishsolutiontosafeandsecurestorageandweatherprotection.
CycleRaxofferanassortmentoftraditionalstands,aswellasmodernalternatives,tosuitawidevarietyofuses.Theyareavailableingalvanizedandpowdercoatedfinishesaswellasstainlesssteel.
Awidevarietyofverticalandhorizontal,spacesavingcycleracksareavailabletosuiteverycycleandlocation.Theyaredesignedandmanufacturedtomeettoday’schallengingenvironment.Highsecuritylockers,withamodeltosuitanyinstallation,areavailableinverticalorhorizontalversionswithalternativelockingsystems,visionpanelsandmaterials.
CycleRaxcanalsoassistinthedesignofcycleparkingareastoensureoptimaluseofthespaceavailableaswellassafeandsecureparkingforthepeaceofmindofcyclists.
ForfurtherinformationcontactCycleRaxLimitedbyemailatservice@cyclerax.com,telephoneon01709382170,faxon01709480555,visitwww.cyclerax.comorwritetoThornbank,38MoorgateRoad,RotherhamS605QZ.q
A bank of three cycle lockers at Rotherham’s Clifton Park Museum
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Sustainability in practiceGreen case study: Killhope – The North of EnglandLead Mining Museum
n Duringitsheydayinthe1870sParkLevelmineatKillhopewasoneoftherichestleadminesinBritain.NowthesiteisamuseummanagedbyDurhamCountyCounciland
employingupto35staff,manypart-time.HelenMarritt,anadministrativeofficeratthemuseum,isalsoitsgreenchampion.When
shejoinedsixyearsagoherpersonalinterestinsustainabilitymadeherdeterminedtogreenthemuseum.Thatroleisnowpartofherjobdescriptionandsheemphasisestheimportanceofgettingstaffinvolved:“Themovetogreenerbehaviourhasbeenarealsourceofprideamongstaffandthey’realsoapplyingwhatthey’velearntathometoo.”
Kilhopenowhas:•Agreenpolicy,adaptedfromthecouncil’ssustainabilitypolicy,containingtenpractical•objectivesforstaffandvisitors•Inductionpacksandtrainingaboutsustainabilityforstaff•AccreditationundertheGreenTourismBusinessScheme•Agreenteamofstaffmembers
Themuseumencouragesvisitorstobegreenerwith:•A‘greendiscount’of10percentoffadmissionforvisitorswhowalk,cycleorusepublic•transport•A‘lunch-boxchallenge’togetschoolgroupstothinkabouttheresourcesandwaste•involvedintheirpackedlunches–withasmallprizefortheschoolthatgeneratesthe•leastamountof non-recyclablewaste•Acarbon-offsetschemesovisitorswhoarrivebycarcan contributetothecostof•restoringlocalpeatlands•Anoticeboardattheentrancedisplayingthemuseum’sgreenpolicyandinformationon•itsaimsandachievements•Agreennewsletterforvisitors
Themuseumisalsoworkingonthesocialandeconomicaspectsofsustainability.Aswellasemployinglocalpeople,ithelpsyoungpeopleacquiretheskillsneededtofindemployment.Ituseslocalfoodforitscaféandsellslocalgoodsintheshopwhereverpossible–anapproach,saysMarritt,thatsometimeshastobedefendedagainstthecouncil’sprocurementprocedures.
Marritt’sadvicetoothersisnottogetcomplacentaboutachievements,tokeepthepressureupandconstantlylookforwaystoimprove.q
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The Structure ofPaintings
n Paintingswere,andstillare,generallyconstructedoneithercanvasorwoodpanelcoveredwithaplaster-based
groundlayer,uponwhichthedrawingandpaintisapplied.Thismightbefollowedwithfinepaintedglazes.Later,anumberofmonthsafterthepaintingwascompleted,itmighthavebeengivenatleastonecoatofaresinbasedvarnish,notnecessarilybytheartist.Thisvarnishgaveanenrichedappearancetothecoloursofthedriedpaintandhelpedtoprotectthepaintsurface.
Unfortunately,theresinvarnishusedtraditionallyispronetodiscolourationovertheyears,eventotheextentofdisguisingordiffusingthetruecoloursofthepaintbeneath.Addedtothisproblemistheaccumulationofdirtingrainingitselfwithinthesurfaceofthevarnish.
Withage,thepaintandvarnishdevelopfinecrazingorcracks,notalwaysvisibletothenakedeye.Thecanvas,being
hygroscopic,willabsorbmoisturefromtheairanddryoutrepeatedly,graduallyshrinkingovermanyyearsandsometimescausingthepainttocrackmoreseriously.Dirtcanbecomeembeddedbetweenthecrackscausingthepainttolift.Thisdryingoutprocessismoreprominentinwarm,centrallyheatedatmospheres.
Theamountofsubsequentflakingdependsonthequalityofthecanvasandthepreparationusedintheconstructionofthegroundlayersbutperhapsmoreparticularlyontheenvironmentalconditionsthepaintingissubjectedto.
Thefirstchallengeforanyonechargedwithresponsibilityforapainting–betheyowner,curatororconservator–ishowtokeepthepaintinginconduciveconditions,thatistosay,awayfromharmfulsunlight,dustanddamp,whilealsoensuringtheatmospheredoesn’tbecometoodry.
ConservationWecareforpaintingsfrominitialcleaning,repairandessential
treatmenttoconsolidationofflakingpaintincludingliningandnecessaryretouching.Advice,examinations,conservationandrestorationworkisregularlycarriedoutforMuseumsandGalleries,StatelyHomes,Churches,AuctionHouses,LocalAuthorities,FineArtInsurers,LossAdjustersandPrivateClients.Regardlessofqualityorvalue,nopaintingorpaintworkisbeyondconsideration.
Photographsanddetailedreportsarepreparedduringthework,ensuringethicalguidelinesarefollowedandrecordedateverystage.Allworkisassessed,recordedandcarriedouttoMuseumStandardsusinghighqualityreversibleandremovablematerialsanduptodatetechniques.Wherenecessary,microscopic,x-ray,infra-redandchemicalanalysisareusedtosupportexaminationpriortoanywork.
FrancisDowningalsoworksasaForensicConservatorandinvestigator.Withgreaterinterestincollectingandinvestingintheartmarket,arttheftanddeceptionisontheincrease.Theftofbothsmallandlargeitemshasbecomeprolificandorganised.Consequentlysupport,helpandadviceneedstobeavailableforinvestment,preservation,securityandrecoveryofartwhennecessary.
Unfortunatelyforgeryisnotoftennoticeduntiltoolateandsuchdeceptionisrarelyregardedwithsufficientinteresttowarranttracingandexposingtheoriginalsource.Signaturesarealtered,addedorremovedinattemptstoincreasevaluebuteventuallywithsignificantlosstotheinvestor.
Basicassessmentandanalyticalworkcangenerallybecarriedoutonsite,soasimplephonecallwillensureaswiftresponseandasubsequentreport.
For a free, no obligation examination, assessment and estimate, whether at the studio or on site, contact Francis Downing, AIFCA, 01423 886962, email [email protected] or visit the website www.francisdowning.com.q
by Francis W Downing, AIFCA
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Finding conservators using the Conservation Registern Apassionformuseumsandartissomethingshared
byreadersofMuseumsandGalleriesandmembersofIcon,theInstituteofConservation.AsthelargestorganisationforconservatorsandrestorersintheUK,Iconiscommittedtohelpingeveryonewithaninterestinthecareandconservationofheritage.Oneofthewaysthisisachievedisbyhelpingpeoplefindexperiencedandqualifiedconservatorstoworkinmuseumsandgalleries.Itcansometimesbedifficulttofindconservatorsworkingincertainnichedisciplines,andeveninbetterserveddisciplinessuchasstainedglassitcanbedifficulttofindsomeonewiththeconservationapproachandskillrequiredbyorganisationssuchastheMuseumsAssociation,EnglishHeritageandtheHeritageLotteryFund.
TheConservationRegisterisalistofbusinesseswhichcanbesearchedbythetypeofworktobeundertakenandlocation.Itssearchfunctionsaredesignedtoproducealistofbusinessesshowingthosethatareclosesttotheareayouhavesearchedatthetopofthelist.Thismeansthatyouwillalwaysbeabletofindsomeonetohelpyou.EachofthebusinessesincludedintheRegisterhashadtoprovideextensiveinformationinsupportoftheirlisting,mostofwhichisavailabletopeoplesearchingtheRegisterwhocanbuildupagoodpictureoftheservicesonofferbeforegettingintouch.Thisdepthofinformationdistinguishesthe
ConservationRegisterfromotherdirectories.Requiringstandardsofprofessionalaccreditation,theConservationRegisteralsoshowsdescriptionsofworkrecentlyundertakenbyeachbusiness.Theseprojectdescriptionsareregularlyrenewedandeachhasbeenreferencedbytheclientforwhomtheworkwasundertaken.
Attheverybestoflevelsistheexpertontheregister.Heorsheseestheoverall‘picture’andhowindividualactionsfitwithinit,dealingwithcomplexsituationsholisticallyanddecision-makingmoreconfidently.Theyareabletotakefullresponsibilityfortheirownworkandthatofotherswhereapplicable.Fullyacceptablestandardsareachievedroutinely.Depthofunderstandingofdisciplineandareaofpracticearealsonaturalassets.
TheexamplesofworkprovideafascinatinginsightintotheworkcarriedoutbytheConservationRegisterbusinessesandrangefromtheconservationofanarsondamagedcoatofarms,conditionsurveysofstainedglass,throughtocleaningofpaintingsandconservationofsculpture.Iconregisteredconservatorsreceivecompletedreferencesfromclients.Thecommentsreceivedandthetrustandrelationshipsbuiltupbetweenclientandconservatorprovidereassuringreadingforexistingandfuturecustomers.
SomefineexamplesofthisworkarefeaturedinthisconservationsectionofMuseums and Galleriesandthecompaniesconcernedwillbemorethanhappytotakeyourenquiriesforfurtherinformation.
n museums and galleries ��
Finding conservators using the Conservation Register
Asaregisteredcharity,IconprovidestheConservationRegisterservicefreeofcharge.ItispartoftheworkIconundertakestoraisestandardsinconservationandraiseawarenessofthebenefitsofusingaccreditedconservators.Iconalsorunsaseriesofwork-basedtrainingschemestoincreasethefundofskillsandknowledgeinconservation.TousetheConservationRegisterpleasevisit:www.conservationregister.com.
Welcomingindividualsandorganisationsfromallbackgroundswhoidentifywiththeconservationandpreservationofourculturalheritage,Iconhasadynamicandenthusiasticmembershipofbothprofessionalconservatorsandpeopleinterestedinconservation.MembershipgroupsarethemainhuboftheInstitute’sactivityandspanspecialistinterestsfromstoneandstainedglasstotextilesandmetals.Iconnowhasintheregionof20ofthesemembergroupsallofwhichregularlyruneventsandprovideopportunitiesforpeopletomeetandexchangeideas.
Speaking up for conservationScienceandheritage,protectingandpreservingourheritage,caring
forourcollectionsandtheNationalLotteryaresomeofthetopicsonwhichIconhassubmittedconsultationresponsesandgivenevidenceovertheyears.Forconservationtoflourishitisvitallyimportantthatpublicpoliciestakeaccountofitspriorities,andthatpublicfundingflowstowardsitsneeds.MuchconservationtakesplacewithinthepublicsectorandasignificantshareoftheworkundertakenbyindependentconservatorsiscommissionedeitherbypublicbodiesormajornationalorganisationssuchasTheNationalTrust.MakingthecaseforconservationisthusakeyroleforIcontofulfil.
Professional accreditationIconalsoworkshardtoraisestandardsinconservationand
increaseunderstandingofconservationamongstthewiderpublic.Thisisarigorouspeerreviewprocessthroughwhichconservatorsdemonstratethattheyhavedeeptechnicalknowledgeoftheirsubject,significantexperienceandtheabilitytomakesoundandethicaljudgementswhenpresentedwithcomplexconservationproblems.AccreditedconservatorscanberecognisedbythelettersACR.
New ‘Care and conservation…’ guidanceTheConservationRegisterwebsitecannotonlyputyouin
touchwithconservatorsbut,thankstoagrantfromTheRoyalCommissionfortheExhibitionfor1851,itnowalsoincludesarange
ofinformationonthecareandconservationofdifferentobjectsandmaterials.Thishelpsindividualownersandcustodianslookafterawiderangeoftheitemsintheircare.Amongstthesubjectscoveredarecarvedstonework,stainedglassandarchitecturalironwork.Ineachcasetheguidanceoutlineswhatcangowrong,whatindividualscandotopreventdamageandslowdeterioration,andgivesexamplesofinstancesinwhichitisbesttoconsultaprofessionalconservator.Seewww.conservationregister.com/caring.asp.
HLF Training Bursaries schemeBackin2006,Iconwasgranted£1millionbytheHeritageLottery
Fundtowardsthecostofdeliveringanewinternshipschemeinconservation.Upto60conservatorshavelaunchedtheircareersthroughthisrouteoverfouryears-helpingtoaddresstheshortageofconservationskillsacrosstheUKandincreasethenumberoftrainedconservatorsandconservationscientists.Theschemeoffersnewopportunitiesforthosewithoutconventionalconservationtrainingtoentertheworkforce.Italsohelpstobridgethegapbetweentrainingandfirstjobfornewconservationgraduates.
ForfurtherinformationonthefullrangeofIconactivitiesandevents,pleasevisitwww.icon.org.uk.q
A portrait of Lady Stafford before and after restoration, by Francis W Downing
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Maintaining and improvinghigh standardsby SIMON PADFIELD FBAPCR of J H Cooke & Sons.
n Whentheobviousrouteshaven’tworked–personalcontact,therecommendationofacolleague–wheredoesanowner
orcustodianofeaselpaintingsturnwithconfidence?Itispossibletoleavetheweedingoutoflesssuitableorqualifiedrestorerstoalong-standinginstitutionwithexpertmembers.
TheBritishAssociationofPaintingsConservator-Restorers(BAPCR)wasfoundedin1943to‘maintainandimprovehighstandardsinthetrainingandpracticeoftheprofession’.SincethenithasrestrictedevenitsmostbasiclevelofmembershiptopractisingrestorersandforhalfacenturyhasbeenevolvingandimprovingtheaccreditationsystemforitsFellowship.
Duetothehighlyindividualandcomplexcharacterofeachpainting,applicantsforFellowshipareexpectedtohavesevenyears’experienceoffull-timepaintingsconservationbeforetheycanapply.Thisistogivetimeforthemtohavemetwithalargenumberofpictures,foritisthroughimmersioninacontinuallychangingstreamofpracticalexperiencesthatthedeepestsortofunderstandingcanbegained.
Unusually,candidatesforFellowshiparestillexaminedinperson,intheirworkplaces,withthetestpiecesandattendantdocumentationlaidoutbeforethembyspeciallyselectedFellowsfromtheBAPCR–thatis,experiencedpaintingsconservators.
Candidatesareencouragedtoshowawiderangeofproblemswithinthesetestpicturesand,attheveryleast,examplesshouldappearoftwoimportantareasofdifficulty.Thereshouldbesomeevidencethattheyhavedealtsuccessfullywithadifficultcleaningproblem–forexampleahardintractablevarnishandsomeareasofagedoil-paintretouchings–aswellasafairlydamagedpaintingwhichshouldgiveanindicationthatacandidatecanovercometheproblemsofaworn,crackedsurfacewithsomesignificantlossestocomplicatedareas.
AstheFellowshiptesthasevolvedsincethemiddleofthelastcentury,candidatesmustnowalsoshowthattheyworkinastraightforwardandprofessionalmanner,whetherrelatingtorecord-keepingandhealthandsafety,orsecurityandinsurance.Infact,theexamisnowdesignedtocoverallaspectsofmodernpractice.Fellowsshouldbeabletogiveaclearpictureofwhatisrequired,whatispossible,atimescalefortheworkandanestimateofallcharges.AclienthasthefurthersafeguardoftheBAPCRinthebackgroundwiththepowertodisciplineFellowsincaseofanydispute.
ThecorpusofFellowstheBAPCRhasbuiltuparethuscapableoftakingonthewidestrangeofeaselpaintingworkandthenamesandcontactdetailsofFellowsnearbyareregularlygiventooutsideenquirers.Fellowshipisalsoacceptedasahighstandardbyotherinstitutions.ICONacceptsitasoneofagroupofqualificationsthatallowconservationpracticestojointheonlinedatabaseofpractitioners,theConservationRegister.
Manyeminentconservator-restorershavebeen,andare,Fellowsincludingthoseinprivatepracticewhohaveworkedforclientsallovertheworld,headsofdepartmentinnationalmuseumsandgalleriesandseniorstafffromtrainingcoursesbothhereandabroad.
Moregenerally,fromtheBAPCR’spointofview,Fellowshiphasalsobeenanentréetoanyonewantingtohelpwiththemechanics
oftheassociation–Fellowscanbecomeexaminingmembersofthegoverningcouncilaswellasholdingoffice,andareregularlyheardasspeakersattheBAPCR’seveningmeetingsinBloomsbury.ThroughBAPCR’sactivities–meetings,annualconferences,studiovisitsandofcourseourmagazineThe Picture Restorer–FellowsareabletosustaintheCPD(continuingprofessionaldevelopment)insistedonbyallprofessionalbodies.
AlthoughworkingpracticesamongstFellowscanvary–sometimesdependingonwhereandwhentheytrained–thisconstantcontact,asortofmelting-potofideas,isalwaysavailableformembers.
Withthislong-standinghighlyevolvedaccreditationsystem–runbypractitionerswhoworkinthrivingprivatepracticesorgallerydepartments,andwho,bytheircontinuingmembershipofBAPCRformacoherentandforward-lookingcommunity–contactingtheBAPCRisanexcellentstartingpointforanyonewantingtocommissionconservationq
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Nelson’s Chair– a conservation victoryn Furniturethatismadepartiallyofleather
canoftengetarawdealwhenitcomestoitspreservation.
Whilethewoodencarcasswill–hopefully!–beplacedinthehandsofaqualifiedfurnitureconservator,theclientmaynotbeasawareofthenecessitytohavetheleathercaredforbyequallyqualifiedprofessionals.
Fortunately,RichardNoyce,CuratorattheRoyalNavalMuseumatPortsmouth’sHistoricDockyard,knewwhotocontactwhenaveryspecialpieceofhistorywasdonatedtothemuseum.HecontactedTheLeatherConservationCentreinNorthampton.
ThedaybedusedbyAdmiralNelson,whenhewasonboardHMSVictory,arrivedinaverysadstate.Theleatherchairandstoolhadextensiveareasofdamage.Onesidehadsufferedfromatreatmentwheretheoriginalleatherhadbeenremoved.New,inappropriateleatherhadbeenattachedtothesideofthechairwithtackswhichwerevisible,aswerethecutedgesofthenewleather.Theoriginalleatherpieceshadthenbeenstuckdownontothenewleatherwithanadhesivewhichwasnowhardandbrittleandwhichhadfurtherdamagedtheoriginalleather.
Thecutedgesofthenewleathershowedthatachrometannedleatherhadbeenused,ratherthanavegetabletannedleatherastheoriginal.However,theremovalofthisrestorationmayhavecausedconsiderabledamagetotheoriginalleather.Itwasthereforedecidedtoleavethissideasitwasandconservetheothersidewhichwasbadlydamagedwithseveralloosepiecesofleatherandlargeareasofloss.
YvetteFletcher,HeadofConservationandanAccreditedConservatorattheLeatherConservationCentrecarriedoutthework.ThechallengeforYvettewastoreattachthenumerousbrokenpiecesofleatherintheircorrectposition.Thisinvolveddetaileddocumentationandextensiveteststofindthecorrectmaterialsandmethods.Thematerialshadtogivepropersupporttotheoriginalleather,infillareasoflossandmakethedamagedareastoneinvisuallywiththerestofthechair.Inthiscase,differenttreatmentswereneededfordifferentpartsofthechair.
“Thereweremanypiecesofleatherthathadbrokenawayandhadslippeddownthesideofthechair,”saidYvette.“Thesepieceswereattachedtothenewarchivalquality,vegetable
tannedleather,whichIhaddyed.Ithencreatedafinishonthenewleatherthatmatchedtheoriginal.Conservationgrade,reversibleadhesivewasusedtoadherethepatches.ButfirstIhadtobesuretheywereintherightplaceandcorrectlyaligned–abitlikedoingajigsawpuzzlewhenallthepiecesareblack.“
Thetreatmenthasvisuallymadethedaybedlookwholebuthasfollowedtheethicsofconservation.Moreimportantly,ithaspreventedfurtherlossanddamagetotheoriginalleather.
Conservationisoftendescribedasaraceagainsttime.Theaimistoslowdowntheprocessofdeteriorationsothatobjectscanbeenjoyedandunderstoodlongintothefuture.Atitssimplest,thiscanmeanensuringobjectsarekeptinthecorrectenvironment–temperature,humidityandlightlevels–butoftenitcanmeanextensivescientificexaminationandtreatment.
Conservatorsaimtokeepasmuchoftheoriginalaspossible.Nothingisremoved,unlessitiscausingdamage,andnewmaterialsareonlyaddedto:
•Supportfragileareasoftheoriginal•Tofillinareasthatarelost(butwouldnot
bemisinterpretedaspartoftheoriginal)•Toaidinterpretation–forexampleacoffee
mugwithnohandlemaybeseenasavaseConservationisascience-basedprofession
requiringanunderstandingofthematerialsthatareused,howthesematerialsdeteriorateandthehistorictechnologyoftheobject’smanufacture.Theuseofchemicalsandtheirinteractionwiththematerialsalsohastobeunderstood.Butalongsidethisscienceistheabilitytodothehands-onwork,sothatthetreatmentmakestheobjectlookwhole.
Everyprojecthastobeseenasauniqueproblem.Eveniftwoobjectslookthesame,theymayneedverydifferenttreatments.
Thewords‘restore’and‘restoration’areoftenusedincorrectlyinthemediabecausethemediaandthe‘antiqueexperts’(i.e.dealers)donotappreciatethemajordifferencesbetweenconservationandrestorationnortheextensiveacademictrainingconservationrequires.
Itisveryrarethatanobjectcanbemadetolookbrandnew–oftenerroneouslyconveyedinthedreadedphrase‘restoredtoitsformerglory’–becausetheworkinvolvedwouldmeantoomuchinterventiontotheoriginal
material,andpossibledamageorremovalofportionsoftheobject.Also,toomanyguesseswouldhavetobemadeastooriginalcolour,shape,design–i.e.someonewouldbechanginghistory.
TheLeatherConservationCentrecarriesouttreatmentsonawiderangeofleatherobjectsincludingbooks,fashionaccessories,cars,carriagesandarchitecturalfeatures.Theirinternationalclientbaseincludesmuseums,historichouses,corporationsandprivatecommissions.Itisamajorcentrenotonlyforconservationbutalsoeducationandresearch.
TheyarelocatedatUniversityCampus,BoughtonGreenRoad,NorthamptonNN27AN.Theirwebsiteiswww.leatherconservation.org.q
Admiral Nelson’s Chair before...
during – realigning the leather fragments...
and after conservation.
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A Victorian treasure finally preservedn ThisVictorianmasterpiecemeasuring3mby4.5misoneofthe
largestoilpaintingsinManchesterand,despitethebesteffortsofgenerationsofrestorers,ithaslanguishedunseenforoveronehundredandfiftyyears–untilnowwhereitcanbeseenatManchesterArtGallery.
‘TheSirens’wasexhibitedattheRoyalAcademyofArtin1837.Itwasboughtunseenfor£250byDanielGrant,aMancuniancottonmerchant.Soonafter,GrantgavethepaintingtohisbrotherWilliam,whoin1839presentedittoManchesterArtGallery.SadlythepaintingbegantodecaysoonafteritwascompletedduetoEtty’sexperimentalpaintingtechniquesandhehadtoberecalledtorepaintlostpiecesthathadfallenaway.In1857itwasexhibitedintheArtTreasuresoftheUnitedKingdomatOldTraffordinManchesterandsoonafterwasputintolongtermstorage,asitsconditionwastoopoorforittobedisplayedanylonger.Sincethenseveralattemptshavebeenmadetoconsolidatethepaintingtopreventfurtherdeterioration.Inthe1980’sthepaintingwasbroughtoutofstorageandclearedofdiscolouredvarnishesandoldrestorations.DuetoGallerycommitmentstheprojectwasputonholdandthepaintingwasreturnedtostorage.Whenconservationstaffexamineditin2003,theyrealisedthatifnothingwasdone,Etty’smasterpiecewouldsoonbebeyondrepair.Finallyin2005,withfundingfromtheEsmeeFairburnFoundationandAxaArtInsurance,thecampaigntorescue‘TheSirensandUlysses’waslaunched.
JuliaDalzellACRFBAPCRwasemployedbyManchesterCityGalleriestoleadthisambitiousconservationproject,toconserveandstabilisethepaintingreadyforitsrestorationphasethatwastotakeplaceintheGallery,alsocoincidingwiththeArtTreasuresExhibitionin2007.
“Itwasaprojectnotforthefainthearted!”saidJulia.“Thepaintingwaslyingfacedownonthetablehavinga1930’sglueliningremovedwhenIarrived.13.5squaremetres,thatinitselftookoverayeartocomplete!Itthenhadtobeturnedoverbeforeitcouldbere-lined,butpaintandgroundlayershadbecomedetachedfromthecanvassupport.Amelinexenvelopewascreatedarounditandwiththeairvacuumedoutofthe‘parcel’itwasturnedover.TimingoftheprojectwascrucialandhadtobemeticulouslyplannedtofitinwiththebusyscheduleoftheGallery”. q
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The conservation-restorationof furniture – how it all started
By MICHAEL BARRINGTONCEO BAFRA
nTheBritishAntiqueFurnitureRestorers’AssociationwasbornatWestDeanCollege,WestSussexin1979whenstudentsona12
monthfurniturerestorationcourseresolvedtoaddressthedamagebeingdonetoantiquefurniturebyrestorersinafastgrowingantiquesmarket.FortunatelythisambitionattractedthesupportoftheBritishAntiqueDealersAssociation(BADA)whowerealreadysponsorsofWestDean’scourse.Theteachingonthatyear’scoursewasexcellentandcarriedoutbyasmallteamofexperienced‘restorers’.Twofundamentalprinciplesinfluencedthewaythecoursesweredesigned–talentandexperience.
Atthispointitisworthrememberingthatfurnitureandotherrestorationskillsoriginatedamongst‘collectors’intheearly18thCentury.Therestorationtradehadaverypoorstartandwaspredominantlycarriedoutbycabinetmakersorwoodworkerswithlittleornoknowledgeoftheoriginandsurfacefinishesoftheobjectstheyworkedon.Thedamagingfashionfor‘changeofuse’developedatthesame
timetogetherwithchangesindecorationsuchasfixingshortcurtainsalongthebasesoffurnituretohidethelegs–inthesamewayaswomenworelongskirts!Anotherlater‘fashion’wastheebonisingofshowsurfacestomarkpublicmourningofthedeathsofPrinceAlbertandlaterQueenVictoria.AmoremodernformoffurnituredesecrationisalteringcabinetfurnituretohousetheTVset.
Talent and ExperienceUnpopulartoday,butneverthelesstacitlyrecognisedintheeducation
world,istheideathat‘talentisinbornandcannotbetaught–itcanonlybedevelopedorimproved’.Forconservationandrestorationinanyfield,butparticularlythe‘moveableheritage’ofwhichfurnitureformsahugepart,anaturalaffinityinhandskillsisvitalandwithoutitapotentialstudentwillfail.Peopleknowveryearlyintheirliveswhethertheyhavenaturalhandskillsandtendtodeveloprelatedhobbiesoractivitiessuchasmodelmaking,carpentry,potteryandneedlework.Oftentheseskillsareaccompaniedbyartistictalentofvaryingdegree.Althoughhandskilldevelopmentdoesnotfeatureasstronglytodayasitdid30yearsago,determinedstudentscanusuallygethelpanddeveloptheirnaturalskillsfromanearlyage.
Withregardto‘experience’,TheWestDeancourseusedtorequire
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entrantstotakeapracticalassessmentbeforebeingacceptedandsomeofthetasksgiven,allwoodwork,wereverychallenging.Candidatesknewwhattheywerefacingand,iftheyhadnoexperienceinwoodwork,theymadesurethatbythetimeoftheassessmenttheyhadenoughtomeetthechallenge.Thisprocessensuredthatonlytalentedandwellmotivatedpeoplejoinedanddidnotwastetheirownandtheirtutors’timelearningandteachingbasichandskills.Thatprocesswentonforseveralyearsbutwasabandonedastheexperienceandqualitiesofprospectivestudentschanged.BritainsharedthatsystemwithcertainlyGermanyandmaybeothercountries,someofwhomcontinueditsuseforlonger.
NootherteachingestablishmentsinBritain,exceptperhapsfortheoldLondonCollegeofFurniture,usedthisrigorousselectionprocessanditsoonbecameclearthatourcollegesneededallthestudentstheycould–tofundcoursesandpayforthebestteacher-craftsmen–andsocouldnotaffordto‘test’courseapplicants.Theresultwas,andstillis,thatmanygraduatesleavewithouttheessentialnaturalhandskills.
Inthelate1990stherewereatleastadozencollegesinBritainrunningfurniturerestorationcoursesbasedoncentrallysetstandards.TwelveofthembecameaffiliatedwithBAFRAprovidinganimportantpartnershipforteachingstandardsandprogrammes.TheNVQsystemwasnot,andisstillnot,regardedbyBAFRAasanadequateskillsandexperiencemarker.SadlytherearenowonlyfourcollegesrunningthesecoursesleftinEnglandandtwoinScotland,althoughsomeprivateenterprisesdorunpopularcourses.Anaturalresulthasbeenthatpeopleseekingtojointheprofessionaretakingupquasi-apprenticeshipswithBAFRAFullMembers.BAFRAhasdevelopedahighqualitytrainingschemeforitsAssociateMemberslookingtowardsaccreditation.
FromtheveryearlydaysBAFRAhasdevelopedarigorousassessmentsystemforitsFull(Accredited)Members.Oftenoursystem
isreferredtoasbeing‘toooldfashioned’butweareconstantlytoldbythepublic,andindeedthemuseumcommunity,nottolessenourstandardsbuttostrivetoimprovethem.Wehaveseveralothermembershipcategoriescoveringoverseas,retired,student,graduateandcollegeteachingmembersandalsoalongstandingandverysupportivegroupofBAFRAFriendsstartedbyJohnBly,ourone-timePatronandahighlyrespectedmemberoftheantiquefurnituredealers’trade.
What can our Members do?OnecharacteristicofBAFRAmembershipisthewidevarietyof
‘additionalskills’practisedbyFullMembersandlistedinourannualdirectory.Theadditionalskillslistislonganddiversecoveringskillssuchaskeyboardinstruments,textileconservation,marble,metalwork,upholstery,painting,graining,carving,gilding,religiousartefacts,marquetry,orientallacquer,japanning,barometers,clockworkofmanytypesandmarinemodels.BAFRAalsohasseveralgroupsofAccreditedSpecialistMemberswholimittheirworktoareassuchasmechanicalmusicandcarpetconservation.Newspecialismsrelatedtofurnituremaybeaddedasandwhentheyariseandtheassessmentdetailforeachisconfirmedandrefinedwiththehelpofthefirstspecialistineacharea.
Intheearly1980sBAFRAwasinvitedtobecomethefurnitureandwoodworkspecialistsectionoftheUnitedKingdomInstituteforConservation(UKIC)–nowcalledTheInstituteforConservationandaregisteredcharity.ForpurelyfinancialreasonsarisingfromchangesinCharityLawandtheneedtomaintaincontroloverourownfinanceswedidnotremainwithICON.BAFRAwasnottheonlyspecialistsectionwhichtookthisstep.
ICON’sProfessionalAccreditationforConservator-Restorers(PACR)wasinpartdesignedbytwoBAFRAmembersandourAssessmentCriteriaarestillacceptedasequivalenttoPACR.ICONownsandrunsTheConservationRegister–alargegroupofAccreditedConservator-Restorersinarangeofskills–andmostBAFRAAccreditedMembersfeatureontheRegister.
ThereisalargeamountofinformationontheBAFRAwebsitewww.bafra.org.ukincludingpapersonvariousaspectsofconservation-restoration,aninterestingpublicforumandnotesonBAFRAevents.CallstoBAFRAHeadOffice01305854822andemailheadoffice@bafra.org.ukarealwayswelcomed.q
Many projects entrusted to Full and Specialist members are very unusual. To list a few: An 18th Century Hurdy Gurdy (left), an Arts and Crafts Church Communion Table by W R Lethaby, a Hindu God’s Horse, The Master’s and Wardens’ Throne & Chairs from the United Grand Lodge of England (below), a disc musical box and The Grand Staircase in The Royal Institute of Great Britain
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