Institute of Historic Building Conservation No 136 September 2014 IHBC Annual School in Edinburgh The art of conservation
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C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 1 Cover: Malcolm Morrison taking annual school delegates on a tour of Sir Walter Scott’s gothic masterpiece, Abbotsford (see page 29) Photo: Jonathan Taylor www.ihbc.org.uk Registered as a charity in England andWales number 1061593 and in Scotland number SC041945. Company Limited by Guarantee. Registered in England number 3333780. Registered Office: 3 Stafford Road,TunbridgeWells, Kent TN2 4QZ. Officers President Trefor Thorpe, president@ihbc.org.uk Chair Mike Brown, chair@ihbc.org.uk Vice Chair Emilia McDonald, vchair@ihbc.org.uk Secretary Eddie Booth, ihbcsecretary@ihbc.org.uk Treasurer Richard Morrice, treasurer@ihbc.org.uk National Office Director Seán O’Reilly, director@ihbc.org.uk Projects Officer Fiona Newton, projects@ihbc.org.uk Consultant Consultations Coordinator James Caird, consultations@ihbc.org.uk Membership Services Officer Carmen Moran, membershipservices@ihbc.org.uk Administration Officer Lydia Porter, admin@ihbc.org.uk Committee Chairs Policy David Kincaid, policy@ihbc.org.uk Membership & Ethics Paul Butler, membership@ihbc.org.uk Finance & Resources Richard Morrice, resources@ihbc.org.uk Education David McDonald, education@ihbc.org.uk Communications & Outreach Charles Strang, communications@ihbc.org.uk Branch Officers North Geoff Underwood, 0191 433 3435 NorthWest Crispin Edwards, 0161 474 2620 Yorkshire David Blackburn, 01943 603479 West Midlands Charles Shapcott, 0121 7044312 East Midlands Roy Lewis, 01623 756623 South Julia Foster, 01296 585888 SouthWest JamesWebb, 01202 732849 East Anglia David Andrews, 07760 208231 South East Sean Rix, 01483 523379 London Sheila Stones, 01223 582716 Scotland Stuart Eydmann, 07525 479835 Wales John Edwards, 07796 440934 Northern Ireland Colin Hatrick, 028 9064 1126 Republic of Ireland Cormac O’Sullivan, 00353 5677 62907 Institute ofHistoricBuildingConservation No 136 September 2014 IHBC Annual School in Edinburgh The art of conservation 2 Briefing 5 Out of Context 6 Periodically Bob Kindred 8 The writer’s voice IHBC ANNUAL SCHOOL 2014 REPORT Our coverage of the annual school was co-ordinated by Deborah Mays, CEO of The Heritage Place 10 The Art of Conservation Richard Majewicz 11 The management of continuity Kate Kendall 12 Digital storytelling Alison McCandlish THURSDAY TOURS 13 Water of Leith walking tour Marsaili Aspinall 14 Edinburgh Old Town projects Sebastian Fry 14 Upper Old Town Gareth Hughes 15 Forth railway bridge David Blackburn 16 Conservation and craft studios Carole Ryan 17 Leith: port, THI and regeneration David Lovie 17 New design in the historic city Sue Howard FRIDAY DAY SCHOOL 19 Art in conservation Trefor Thorpe 20 Scoping and sampling Bob Kindred 20 Art and conservation in architectural design Sara Crofts 21 Steps towards the conservation of Scotland’s best modern building Jules Brown 22 Keynote address: Cultural ambitions Tom Burke 23 Dundee and the art of conservation Tom Hunter 24 Home is where the art is Kate Hannelly 24 Conservation and art of judgment Michael Taylor 25 Touching the intangible Posy Metz 26 Hill House Chris Bennett 26 Creative financing at Greenlaw Stewart Ramsdale SATURDAY TOURS 28 The old burgh of Canongate Ian Lund 28 Edinburgh New Town Julia Foster 29 Sir Walter Scott and Scott-land Catherine Dove 30 Jupiter in artland Kate E Dickson 31 Rosslyn Chapel Michael Atkinson MONDAY-WEDNESDAY TOUR 32 Tour of Orkney Carole Ryan 37 Surveying Glenrothes’ town art Dawn McDowell 41 Heritage under foot Freya Morris 43 Formula business ordinances on Main Street Carolyn Shelbourn 45 Historic environment records Andrew Minting 48 Notes from the Chair Mike Brown 50 Director’s cut Seán O’Reilly 52 Vox pop Jukka Jokilehto 54 Book reviews 57 Products and services 60 Advertisers index
2 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 Editor Rob Cowan Editorial Coordinator Fiona Newton, 01507 602567 editorial@ihbc.org.uk Editorial Board Nigel Crowe Peter de Figueiredo (book reviews) Rebecca Madgin Fiona Newton (chair) Michael Taylor Cartoons by Rob Cowan Context is distributed to all members of the Institute of Historic Building Conservation. © Institute of Historic Building Conservation 2014 ISSN 0958-2746 Publisher Cathedral Communications Limited, High Street, Tisbury,Wiltshire, England SP3 6HA 01747 871717 context@cathcomm.co.uk www.buildingconservation.com Non-member subscriptions to Context Context is available to corporate bodies at an annual subscription rate, including postage, of: United Kingdom £60.00 Elsewhere £90.00 The views expressed in Context are not necessarily held by the IHBC or the publisher. Neither the publisher nor the IHBC shall be under any liability whatsoever in respect of contributed articles. We gratefully acknowledge the support of firms whose advertisements appear throughout this publication.While every effort has been made to ensure that the information contained in this issue of Context is current and correct, neither the IHBC nor the publisher can be held responsible for any errors or omissions which may occur. Briefing Context Copy deadlines Context is published five times a year, in March, May, July, September and November. The next five copy deadlines are: November, issue 137 12 September March, issue 138 16 January May, issue 139 13 March July, issue 140 15 May September, issue 141 17 July John Betjeman Award Sensitive repairs to a 17th-century family monument in the Poulett Memorial Chapel of St George’s Church at Hinton St George in Somerset have won the 2014 SPAB (Society for the Protection of Ancient Buildings) John Betjeman Award. SPAB has also announced commendations for the conservation of the embroidered dossal hung behind the altar at Lanercost Priory, Cumbria, and for consolidation work to the remains of the former south cloister at Tewkesbury Abbey. The award is made for outstanding repairs to the fabric of places of worship in England and Wales completed in the past 18 months. The baroque memorial to John, 1st Baron Poulett – the final phase in a programme of conservation repairs to the Poulett Chapel – had been affected by the chapel’s (formerly) damp environment, and damaged by crude overpainting and heavy repairs carried out in the past. The conservators removed the overpaint to reveal the underlying scagliola (decorative marbling effect). Dated to 1667–69, this is thought to be the earliest example of scagliola in England. Following the long-established principles of the SPAB – to repair what is there, not replace – the work ensured that the monument retained its faded appearance. The conservators resisted remodelling missing elements, including a cherub’s face and the arms of the principal figures, as there was little evidence to suggest how these might have looked. Later crude additions, such as poorly-modelled arms, were removed. However, a St George’s Church at Hinton St George, Somerset, and the restored monument in the Poulett Memorial Chapel A fire at the Grade II* listed Eastbourne Pier has left the main pavilion a shell. Built in the 1870s, the pier accommodated gift shops, bars and restaurants.
C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 3 part of the original arm from one of the figures was identified among architectural fragments found in the chapel and has been refixed. Metal and later additions to the monument which have been removed have been stored for future reference. A survey identified embedded ironwork but this was removed only where it was accessible and its corrosion clearly damaging the memorial. The fabric was not opened in other areas to reach it. Blown surfaces were consolidated and retained rather than being renewed. Barrier layers were used between original fabric and conservation interventions, so the work is identifiable and reversible. Fills (principally in plaster of Paris) were specified to be lighter and less strong than the substrate, and toned in to harmonise with the original. Detached sections of original scagliola were salvaged and refixed. Gilding and paint were consolidated but not renewed. National Maintenance Week Loyd Grossman is leading SPAB’s (Society for the Protection of Ancient Buildings) 2014 campaign (National Maintenance Week, 21 to 28 November) to encourage people responsible for buildings to be aware of the importance of good maintenance. The campaign always takes place in November as this is the time when autumn leaves can start to cause blockages in gutters and gullies, and because it is a good time to take stock of the condition of a property before winter bites and exacerbates existing problems. SPAB’s dedicated maintenance website is at www.maintainyourbuilding. org.uk. Loyd Grossman, chairman of the Churches Conservation Trust, on the roof of St James Church, Piccadilly (Photo: Ralph Hodgson) An illustration for the art trail and (below) two of the trail’s features: the Heaven room at Burghley House, Lincolnshire, and the Italian Garden Mermaid Fountain at Blenheim Palace, Oxfordshire Heritage trails The Historic Houses Association has launched a new online heritage trail to celebrate the great works of art on display to the public at historic houses, castles and gardens. Many HHA properties have important links to artists and schools of art, with the settings of these houses and gardens inspiring and influencing their work. There are also three other online trails: the Great British Royalty Trail (properties which have links to royalty) the Great British Games Trail (properties with links to quirky games and sporting activities) and the Historic Houses Wartime Trail (commemorating the part that that HHA properties have played in wartime, whether as convalescence homes or as private homes feeling the loss of family and estate workers). The trails are all available at www. hha.org.uk.
4 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 THE GUS ASTLEY STUDENT AWARDS Swept away by the depth and rigour Jeremy Musson writes: I very much enjoyed the privilege of being the judge of this year’s Gus Astley Student Awards. I was overwhelmed by the high quality of research in the broad field of historic building conservation, from in-depth analysis of conservation policy to more building-focused studies which highlight the complexity of so many contemporary conservation issues. Selecting my finalists was a challenge, but a rewarding journey. It made me reflect on my own career as historian, lobbyist, curator, magazine specialist architectural editor, and now consultant and author, and how much has changed in 25 years – and how critical the historic environment is to our cultural and social wellbeing. There might not be the money there was in the 1980s, but there is a greater pool of knowledge and skills available to get things right – and better national and international networks of communication and sharing of skills and knowledge than there was then. I notice that the IHBC’s mission statement includes special reference to how important the historic environment is to the whole population. ‘It is all around us and creates a sense of place and local identity. It provides continuity with the past, but also accommodates change and helps places adapt for the present and future.’ Being in Edinburgh, the IHBC conference underlined the importance of the historic environment as a living and creative part of modern life. This was reflected in walks through the main city and the evening event in Summerhall, the former Royal (Dick) School of Veterinary Studies in Edinburgh, now a vibrant ‘creative hub for the arts’ with studio and workshop spaces within a historic group of buildings.We were reminded too of the many links between artists, creativity and the regeneration of the historic buildings and streets. Creative artists and writers have often played an important part in the history of identifying and rediscovering the past: Morris, Ruskin, Turner, Osbert Lancaster, Piper and Betjeman all come to mind. It might be interesting for the IHBC to consider a themed symposium, with artists using places such as Summerhall, or occupying old warehouses as studios, discussing ideas about place and history more widely. Sound knowledge and clear understanding of buildings underpin the best conservation philosophy and practice, so for the first prize I selected the impressively wide-ranging study of Knight Hospitaller commanderies and associated parish churches by Sebastian Fry. I was swept away by the depth of research and the rigour with which Fry tackles and explains this overlooked but fascinating subject. He draws not only on on-site survey work, and visits to structures as far apart as Pembrokeshire and the Mediterranean island of Rhodes, but also on first-hand research in medieval and later sources. This study, which must stand as one of the best surveys of the subject to date, includes both a valuable gazetteer of surviving commanderies (of a historic 37, only 14 remain). It concludes with a thoughtful survey of the history and current practice of the conservation and presentation of surviving commanderies. The other three dissertations I chose for awards have a similarly impressive range, although they tackle very different subjects.Yuk Hong Tan’s ambitious, multi-layered study of five historic colonial era bridges over the Singapore River, built between the 1860s and 1930s, is very well researched and clearly argued. It puts a compelling stress on a holistic approach to the conservation of such bridges, drawing on a clear understanding of their technological, historic, economic and contemporary social significance. Lauren Ayers’ dissertation, on a more everyday subject, caught my eye for its careful and systematic character. It provides an account of the legal conservation protection of the Edwardian terraced house in Britain. This lively study vividly underlines the vulnerability of the Edwardian terraced house, which is a defining feature of the British townscape and way of life. Ayers makes a good case for further nationwide analysis, recording and indeed the extension of legal protection. I was captivated by Tim Lewis’s fascinating study into a muchoverlooked subject that defines the British town: post-war social housing. The provision of post-war housing was an enormous challenge to national and local government. Lewis’s investigation into the new housing on Hester’s Way Estate in Cheltenham, built using non-traditional systems, is rigorous and well-written. It extends a robust understanding of the process and historic context of the design of such houses (which were constructed using poured and precast concrete to speed the delivery of building targets), and of the challenges of repair and maintenance of these houses in modern times. Meeting the runners up and many other students, lecturers and professionals in the field at the conference reinforced the sense of industry and excitement in the new generation, and in people retraining in the heritage field, fulfilling lifelong interests. The work going on in universities and architectural schools today in this field is truly inspiring. It gives great hope for fresh new ideas in the philosophy of conservation and preservation. I am deeply grateful for the institute for my exposure to so much talent and industry. The Annual IHBC Gus Astley Student Award is presented in memory of Gus Astley, former membership secretary of the IHBC, and supported by the IHBC and the Gus Astley Memorial Fund.The award is presented for an outstanding item of taught-coursework accepted as part of either undergraduate or postgraduate courses. Jeremy Musson and Bob Kindred introducing the Gus Astley Student Awards at Summerhall, Edinburgh This year’s GASA winner Sebastian Fry thanks the IHBC for his award
C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 5 ‘ARCHITECTURE, the art of invention, can cross historical and stylistic boundaries to engage with the past without losing the authenticity of the present.’ The architect Sir Richard MacCormac, who died in July ‘I FEEL VERY strongly that heritage is so much more than beautiful buildings. ‘My definition is really anything that people value and that they want to hand on to the future. That can be a memory, a culture, a butterfly inYorkshire or a fantastic landscape in Scotland, as well as a building that has been derelict in the centre of a small community and which, if they could just turn it into something, would transform that community. ‘If you talk to ordinary people, it’s very much about the urban landscape in which they live.’ Dame Jenny Abramsky talking to the Daily Telegraph as she stood down as chair of the Heritage Lottery Fund ‘THE BRUNSWICK Centre is one of Britain’s great modernist masterpieces. Wedging a long rectangular box into the void of the grand entrance portico and on top of the Renoir cinema would harm this Grade II listed building, and overshadow the piazza below. ‘We would also lose fantastic public views up into the vast concrete A-framed structure of the complex that are only visible from this space under the portico. It’s the wrong development in the wrong place.’ Henrietta Billings of the Twentieth Century Society objecting to the addition of a large restaurant structure at the Brunswick Centre in London ‘“We are not about need.We are about market demand.” – City mandarin enraged at Smithfield office rejection, quoted in AJ. Says it all.’ Hugh Pearman on Twitter @hughpearman ‘THE SECRETARY of state sees no reason to disagree with the [inquiry inspector’s] view that the deteriorated state of the buildings is, at least in part, the result of the history of deliberate neglect and that, in assessing the planning balance, less weight should therefore be given to the current condition of the buildings and the consequent benefit of their repair.’ From community secretary Eric Pickles’ decision letter refusing the development proposals for Smithfield Market. ‘IFYOUWISH to have a just notion of the magnitude of this city, you must not be satisfied with seeing its great streets and squares, but must survey the innumerable little lanes and courts. It is not in the showy evolutions of buildings, but in the multiplicity of human habitations which are crowded together, that the wonderful immensity of London consists.’ Samuel Johnson quoted in the Mayor of London’s supplementary planning guidance to the London Plan on character and context Samuel Johnson: London’s ‘wonderful immensity’ ‘HUMAN beings have evolved to move horizontally, unlike some of our primate relatives. As a result our colonies have expanded horizontally. The only reason historically to build upwards was for defence, display or closeness to God.Where geographical constraints demanded high-rise development it tended to cause stress of some kind, as indeed it did when we used it to solve the last public housing crisis.’ Steven Bee, chairman of the Academy of Urbanism, writing on the AoU website ‘WHAT I particularly liked was that the committee’s approach seemed to be the same as the Vatican’s towards new saints: the selection process was precise and lengthy, with the candidate’s worthiness tested to destruction. ‘At the moment, however, the scheme is in turmoil. Two members of the panel – David Edgerton, a professor of the history of science and technology, and Gillian Darley, an architectural journalist – have quit because of the appointment of a host of what’s been referred to as “white men off the telly”... ‘I know that there might be some who considered the committee to be nothing more than a cabal filled with snobs. But the old panel seemed to me to be one I could work with. It wanted the Blue Plaque scheme to extend itself, to go deeper, without losing its credentials and expertise... ‘What with the funding being reduced – which had prompted the resignation of two previous committee members, amid complaints of dumbing down – that could mean only one thing: a big push for private money, or to get money directly from the public. For that, you need people attached who are instantly recognisable... ‘The Blue Plaque was special. Now, by contrast, there are plaques everywhere – not least because people are choosing and erecting their own, and doing it better and faster and cheaper... ‘How will, or can, the Blue Plaque scheme respond? Could this new committee become the launchpad for a kind of X Factor process for old buildings, which engages with the young, and with ethnic minorities, and gets them to actually give a damn about Blue Plaques and heritage in general? ‘The question has to be asked, because at the moment it looks like the scheme is becoming yet another branch of the all-encompassing entertainment industry. Politics is often called showbusiness for ugly people.What a shame it would be if heritage becomes politics for showbusiness people.’ Bonnie Greer writing in the Daily Telegraph after she resigned from the London Blue Plaque selection committee
6 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 Periodically Perhaps one of the most significant issues of a journal for several years is the latest Historic Environment: policy and practice (Vol 5, No 2, 2014). It is entirely devoted to the issues relating to improving the energy performance of historic buildings in a systematic attempt to explore this contentious issue. The issue, bringing together contributions from both practitioners and academics from the UK, Sweden and Italy, highlights the nature of interdisciplinary solutions. This could not have come at a better time, given ever-growing concerns about climate change and the government’s ill-considered Green Deal initiative in relation to upgrading traditional construction. Practitioners know that legislation and good practice require special regard to be paid to architectural, historic, aesthetic and social considerations when managing historic buildings, but rarely how to strike a balance between the intrinsic value of heritage and the need for greater energy efficiency. There is a considerable amount of valuable material here. It is not possible to rehearse the arguments in great detail, but readers are recommended to check out this special issue. Following a long editorial from Kalliopi Fouseki and May Cassar of University College London looking at the future challenges and research needs, Henoc Agbota (also of UCL) looks at some of the unintended consequences of decarbonisation policies stemming from the UK’s commitment to reducing greenhouse gas emissions by 80 per cent by 2050. The author concludes that there is a lack of studies on the human health effects of energyefficiency interventions in historic buildings (and by extension the effect on the condition of historic collections); that energy efficiency is underestimated by building software models; and that insufficient emphasis or guidance is being given to the key role played by occupiers. So far there are few thoroughly explored case studies to draw on, but Oliver Smith of the 5th Studio, an architectural practice in Cambridge, explains the balance that needed to be struck in the sustainable refurbishment of the Grade I listed New Court at Trinity College, Cambridge. This involved the multi-disciplinary input of architects, engineers, building physicists, building condition surveys and industry experts. Smith emphasises not only the complexity of the project but also the difficult, nuanced judgments that had to be made at every level of building physics, design and the interpretation of policy. Projects of this kind require time, money and intellectual rigour, resources not always available for lesser buildings and from less discerning clients. A composite article from four authors (Petra Eriksson from Sweden, Carsten Hermann of Historic Scotland, Sára Hrabovszky-Horváth from Hungary and IHBC member Dennis Rodwell) explains the impact of heritage methodology inherent in the EFFESUS (Energy Efficiency of EU Historic Districts’ Sustainability) research project. This programme commenced in 2012, involving a consortium of 23 partners from 13 European countries. It runs until 2016, comprising six research modules. The authors concentrate on three: the evaluation of heritage significance; definitions of heritage impact; and the heritage balancing process. They illustrate their application to retrofitting measures within a historic district of Visby in Sweden. In a companion paper, six authors based at three universities in Sweden look at the potential and consequences of energy retrofitting in Swedish historic buildings. One third of these were built before 1945. They constitute an important part of the country’s built heritage, despite the majority not being formally protected. Although a methodology is put forward for guiding decisions on the consequences of improving energy performance, the authors make clear that each step of the proposed method requires simplifications, choices and uncertainties that will have an effect on the result. Furthermore, modelling will always involve a balance between, on the one hand, resolution and accuracy and, on the other, manageable data that will permit manipulation to take account of heritage values. Another case study involving institutionally managed buildings looks at the Durham University estate from an interdisciplinary perspective. Four authors from the university and one from Copenhagen IT University argue that applied heritage research has tended to focus on thermal and energy properties of buildings, as distinct from their social meaning and use, and that better outcomes might be achieved if greater contextual consideration were given to the existing possibilities afforded by historic buildings and their users. The authors highlight that within the imperatives of climate change, buildings change and develop over long periods, and are shaped in complex ways by the associational values of users whose behaviour is an important determinant of energy use. They conclude that the inefficiencies relating to energy use may derive less from their intrinsic physical characteristics than from the ways in which institutional contexts produce
C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 7 energy infrastructures that leave little room to be adapted by the users. Perception and opinion are an important part of the debate. Christina Marie Stuart has looked at the degree of consensus among 13 field experts on the retrofitting of historic and traditional buildings. Is it unsurprising there was agreement that energy efficiency measures needed to be done in a balanced way? The paper looks at the drivers for improvement and the range of different values these would achieve. It notes the evolving role of the heritage field –perhaps to be expected given the government’s slow recognition of the nature of traditional versus modern construction methods. The tension between the requirement to preserve external appearance of heritage assets requiring alternative internal upgrading – destroying the intrinsic value and ornamental features of interiors – is explored by Debbie Crockford. She describes three examples of Victorian, unlisted, traditionally constructed properties that have been substantially upgraded. There is brief discussion about the work done to the interiors but as these are not illustrated an assessment of the balance of heritage value and energy efficiency is difficult to assess. Another less physically obvious consequence, changes in condensation, is still being measured. The final paper in this issue is by Vareria Pracchi of the Politecnico di Milan. She expresses her concerns at the absence of proper analytical tools to classify the energy behaviour of historic buildings and the choice of parameters for comparison. The paper explains energy simulation experiments on three Italian listed buildings and makes particular observations about the replacement of traditional windows. The print versions of the Journal of Architectural Conservation continue to appear somewhat behind their intended publication date (the March issue appearing in July). The latest available issue (Vol 20, No 1, 2014) is once again wide ranging, but all but one of the papers deal with highly specialised issues from outside the UK. Probably the most interesting paper for Context readers is Nicholas Ray’s description of repairs to Pembroke College, Cambridge. It poses questions about the extent to which modern interventions are possible and appropriate in historic interiors, particularly reversing or amending where unsympathetic alterations had been undertaken, it seems quite happily, well within living memory. The history of the hall is complex. In the 19th century Alfred Waterhouse had swept away the 14th century hall into which Maurice Webb later inserted an inter-war ceiling. Ray’s task has been to unpick the recent unsympathetic work, while respecting the earlier schemes by Waterhouse and Webb, and improving catering facilities and acoustics. Ray rightly poses a key question facing contemporary architects: whether they have lost their nerve to the extent that the possibility of adding to history with new interventions can no longer be contemplated? The new work obeys the SPAB principles of making new insertions abundantly clear and respects the principle of reversibility. Ray poses a further rhetorical question (in relation to another scheme): should incompetent internal planning of the past, resulting in extraordinarily awkward ‘intestinal’ spaces be retained just because it is characteristic of what it is our duty to preserve? If you don’t know the answer, read this wellillustrated article and ponder further. Elsewhere in the Journal of Architectural Conservation, Djamel Borussaa describes the impact of rapid urban development of inappropriately over-scaled and stylistically alien modern architectural forms on the Al Asmakh historic district in Doha (Qatar), one on many historic centres in the Gulf to have been thus affected. The author detects a lack of coordination by heritage institutions and sees a steady encroachment of high-rise towers and demolition of historic buildings continuing unless better cooperation can be secured. Angeliki Papalou, Konstantina Vozikis, Christina Kamaterou, Anastasios Lambroupoulos and Yana Shvets of the Department of Civil Engineering at the Technical Educational Institute of Western Greece present the history, analysis and approach to preserving ancient rural wells. Their paper is interesting in defining the restoration and strengthening technique which accords with the principles of the Venice Charter. The question of the appropriate extent and type of repair to vulnerable materials is provided in the paper on the conservation and preservation of an 800-year-old, 20-metre-high rammed earth tower at Bofilla near Valencia. F Vegas, C Mileto and V Cristini discuss the distribution of these structures in eastern Spain, the peculiarities of the Boffila Tower and why it has remained standing for so long, before explaining clearly and in detail the careful approach to light cleaning of the exterior and the approach that led to distinctive but harmonious repair. The final paper, by Anabelle Križnar, is an analysis of plaster used to support early 15th-century wall-paintings by Frederic of Villach, one of the most important late medieval artists in Carinthia (southern Austria) and the huge influence on Slovenian gothic art. Križnar discusses the experimental investigative procedures and the composition of the plasters as a basis for ensuring their future preservation. C20, the journal of the Twentieth Century Society, continues to delight, not least with its high production values and excellent photography. In issue 2, 2014, Robert Drake writes Themagazineof the TwentiethCenturySociety Issue22014/£4.50 Cedarwood:houseofthe year in1960 Decorativemodern: PeggyAngusrecalled Passingplaces:20th centurycrematoria C20magazine/issue12014
8 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 about the fine post-war churches of Hans Feibusch and Thomas Ford. Feibusch was possibly the leading mural painter in Britain from the end of the second world war until the 1960s, having left Nazi Germany for Britain in 1933. Initially he designed posters for Shell, and obtained his first mural commission from the modernist architect Maxwell Fry. Feibusch went on to create murals in 12 new churches in collaboration with Ford, who was diocesan surveyor for Southwark. Joshua Mardell considers the careen of Rex Hakesworth, the exception to John Betjeman’s justifiable 1933 diatribe about the speculative builder who ‘buys some virgin fields… measures them out to get as many houses into them as possible… buys a few hundred doors, a few hundred window frames and some bricks. He hurriedly puts them up, nails some beams on the outside to give what he calls character to the house, regardless of local characteristics, with the result – long pinks strips like Euthymol toothpaste smeared across a field’. It sounds horribly familiar, apart from the ready supply of bricks, but Mardall was able to demonstrate just what could be achieved by the spec housebuilder with good design input. The issue also features the work of teacher and designer (of, among other things, tile murals in post-war schools) Peggy Angus (1904–93); and a celebration (the correct word, I think) of the high architectural quality of many 1950s, 60s and 70s municipal crematoria. Few crematoria built to these inspiring standards will be seen in future, as cremations move to the private sector, existing buildings struggle to meet EU emission regulations, and a quasi-vernacular aesthetic emerges to make such buildings indistinguishable from golf clubhouses and supermarkets. You may be reading this immediately prior to the opening, in October (until January 2015) of a major exhibition at the National Portrait Gallery, ‘Anarchy and Beauty:William Morris and his legacy, 18601960’. The exhibition, the biggest on Morris since the V&A’s centenary survey of 1996, is being curated by biographer Fiona MacCarthy, vice-president of the Victorian Society and author of the magisterial William Morris: a life for our time, published in the same year. Morris appears on the cover of the most recent issue of The Victorian (No 46, July 2014). Inside, MacCarthy explains why he is not just a Great Victorian but why he is also a figure of potent contemporary significance. The main focus of the exhibition will be art for the people, and Morris’s view that art was an important part of human personality. On the subject of significant anniversaries, the same issue also celebrates the 200th anniversary of the birth of the architect William Butterfield, a somewhat under-regarded figure until 40 years ago. Michael Hall’s article starts by saying that a good case could be made for saying that the Victorian Society was formed to defend everything that Butterfield stood for. Butterfield’s reputation was rehabilitated by the society after sustained criticism by mid-20thcentury architectural historians, John Summerson in particular. This year is also the 140th since the founding of Watts and Co by three leading architects, George Frederick Bodley, Thomas Gardner and George Gilbert Scott Jr. The company still flourishes as a designer and manufacturer of ecclesiastical vestments and furnishings, and domestic textiles and wallpapers, particularly for the country-house market. An article by Ayla Lepine in this same issue of The Victorian outlines their history. Bob Kindred MBE From Rural Architecture by Lewis F Allen, published in New York in 1852 We are not among those who cast off, and on a sudden condemn, as out of all good taste, the time-honored white house with its green blinds, often so tastefully gleaming out from beneath the shade of summer trees; nor do we doggedly adhere to it, except when in keeping, by contrast or otherwise, with everything around it. For a century past white has been the chief color of our wooden houses, and often so of brick ones, in the United States. This color has been supposed to be strong and durable, being composed chiefly of white lead; and as it reflected the rays of the sun instead of absorbing them, as some of the darker colors do, it was thus considered a better preserver of the weather-boarding from the cracks which the fervid heat of the sun is apt to make upon it, than the darker colors. White, consequently, has always been considered, until within a few years past, as a fitting and tasteful color for dwellings, both in town and country. A new school of taste in colors has risen, however, within a few years past, among us; about the same time, too, that the recent gingerbread and beadwork style of country building was introduced. And these were both, as all new things are apt to be, carried to extremes. Instead of toningdown the glare of the white into some quiet, neutral shade, as a straw color; a drab of different hues—always an agreeable and appropriate color for a dwelling, particularly when the door and window casings are dressed with a deeper or lighter shade, as those shades predominate in the main body of the house; or a natural and soft woodcolor, which also may be of various shades; or even the warm russet hue of some of our rich stones—quite appropriate, too, as applied to wood, or bricks—the fashionmust be followed without either rhyme or reason, and hundreds of our otherwise pretty and imposing country houses have been daubed over with the dirtiest, gloomiest pigment imaginable, making every habitation which it touched look more like a funeral appendage than a cheerful, life-enjoying home.
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10 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 IHBC Annual School 2014 The art of conservation Art:A skill at doing a specified thing, typically one acquired through practice. Conservation: The preservation and repair of archaeological, historical, and cultural sites and artefacts. Following the simple theme of ‘Skills’ at last year’s annual school, delegates this year were asked to contemplate ‘The Art of Conservation’. Is this, by definition, an extension of last year’s theme? With the variety of site visits and topics on offer to delegates, this was never going to be an easy theme to quantify. In his introduction to Fiona Hyslop’s keynote address, Stuart Eydmann admitted that the subject matter was rather ambiguous (themes were intended to help us look at the topic in different ways) and it was this sense of ambiguity that promoted discussion throughout this year’s school. Those of us who reached the top of the Forth Bridge on the first afternoon could certainly marvel at the art of its construction, but the art of conservation was limited to its cyclical regime of painting and maintenance, and the need for some amazing structural scaffolding to support the workforce. How well the remaining tours that day tackled the subject can be gauged in the reports in this issue of Context. Presentations at the Day School seemed to weave in and out and round and about the theme. Jukka Jokilehto concentrated on art in, rather than of, conservation, and Neil Gillespie offered a response to the challenge of new design in sympathy with existing fabric and places – an example of which certain delegates were fortunate to witness on their tour of Orkney. By contrast, Angus Farquhar’s passionate presentation looked at consolidating the abandoned seminary at Cardross, and at his ambitious and imaginative plans to breathe new life into the building and surrounding landscape. Shout for what you want, he extolled, loudly and successfully. The afternoon’s presentations were frustratingly limited in time. I am sure that Mike Galloway would have liked to tell us more about the Dundee Waterfront as a complex master planning exercise. Andy Millar had more time to expand on how he made things happen in the Borders thanks to his persistence and ability to creatively finance various regeneration projects. William Napier looked to help from delegates to resolve the problems of damp ingress at Mackintosh’s Hill House. Another Mackintosh building, the Glasgow School of Art, featured throughout the day as a topic of great concern following its recent extensive fire. The restoration will be watched with interest. One visit on the final day which best satisfied the theme of the art of conservation must have been the visit to Rosslyn Chapel, with its challenge of restoring and conserving the structure and its many and varied sculptures, while also integrating a new visitor centre into this historic environment. I headed off to Orkney, where I found that the true meaning of the art of conservation is synonymous with the art of conversation. Talking to and listening to the experiences and expertise of fellow delegates proved to be one of the most stimulating aspects of the annual school. Richard Majewicz Organisers of the annual school, from left to right: Charles Strang, Leigh Johnston, Devon DeCelles, LukeWormald, Jane Jackson, Mark Watson and Stuart Eydmann
C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 11 An overview The management of continuity Arriving in Edinburgh I was greeted with the quintessential fine Scottish drizzle. It was not unexpected and, as an inhabitant of Manchester, I was prepared. This was my first visit to the city, so the walk to Pollock Halls provided me with the opportunity to explore. The stroll gave me chance to consider the school’s theme, ‘The Art of Conservation’. The afternoon tours, a regular feature of the school, provided delegates with the opportunity to sample some of the many delights of the city and surrounding areas. I joined the Dean Village and Waters of Leith tour. It was a picturesque walk along the waterway culminating at the beautifully restored St Bernard’s Well. It was great to hear from Edinburgh World Heritage about how they have been able to attract significant funds, including a considerable proportion of private donations, to revitalise the miniature temple to the healing waters. I understand from chatting with colleagues at the evening reception, held in City Chambers, that the other tours were informative and interesting. The most popular, the Forth Bridge, almost immediately fully booked, was far from disappointing. The day school was opened by Jukka Jokilehto (see Vox pop, page 52), who set the scene for the day and got the proverbial cogs turning. The variety of speakers made for an interesting interpretation of the title. Particular highlights included Angus Farquhar encouraging delegates to be intellectually brave and be bold about their views, and David McDonald sharing the literal art in conservation in the form of the artists’ residences in Kensington and Chelsea. The National Trust for Scotland provided the forum for discussion about one of Scotland’s greats, Mackintosh. Perhaps on more familiar ground, William Napier opened the philosophical debate about the conundrum of replacing defective historic fabric. Jokilehto summarised the day well, proffering that ‘the art of conservation is the management of continuity’. As conservation professionals, we practice the management of change in the historic environment with conservation philosophy, established and personal, underpinning our approaches and practice both instinctively and subconsciously. The day school provided the forum in which to consider the ‘art’ and our values more consciously. For the annual dinner at Summerhall we were welcomed by an inimitable host, Mr McDowell. The former Veterinary School, cultivated as a creative hub, was host to a modern Scottish feast. The combination of historic building and art is nothing new, but the unique blend of the tangible heritage and the McDowell family’s passion for both art and heritage make for an interesting future and a fitting bookend to a thoughtful day. The Saturday tours provided some fresh air, delegates heading to various destinations including the Old Burgh of Canon Gate, Rosslyn Chapel and as far away as the Borders. One colleague lucky enough to head further north to Orkney informed me that it added ‘an extra dimension to this school, with a chance for a more intimate and immersive engagement with the historic environment’. In summarising the annual school, one colleague felt that Edinburgh was the perfect setting for ‘the exposition of conservation philosophy to an intense debate about render’, encompassing the gamut of the profession, asking ‘what more could an enquiring mind want?’ The school certainly gave me the opportunity to contemplate the philosophical side of my professional practice. Added to the enjoyment of reconnecting with like-minded colleagues, I departed Edinburgh feeling inspired and warmed-hearted – not least because the sun was shining over a splendid city that I intend to revisit. Kate Kendall Emilia McDonald and Jukka Jokilehto at the opening of the day school TheWater of Leith tour: Alexander Nasmyth’s 1789 temple and statue of Hygeia (Photo: Jane Roylance)
12 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 Digital storytelling at the annual school This year the IHBC annual school piloted a project to encourage delegates to use digital technology to share their school experience, taking photographs, making posts on social media, and creating videos and audio files. I am a conservation professional and town planner by trade, but I also have a background in education and creative media practice. I really enjoy helping people engage with conservation and heritage in creative ways through arts activities and digital projects, so was delighted to be able to bring all my passions together to help deliver the first ‘digital school’ for the IHBC. As conservation professionals we need to be good communicators. One moment we can be speaking to the manager of a large estate about alterations that they wish to make to their listed gatehouse, discussing the most appropriate repair techniques. The next we might be explaining the effects of a proposed conservation area designation to members of the community and seeking views on its implementation. These interactions will require different approaches and presentation methods, while holding true to one’s own conservation philosophy and ethics. Social media is a little like this. It can help us communicate in a short and snappy way, or by using a combination of words and visuals to capture the essence of a discussion.This can allow dialogue with people who are expert in their field and also those who we may never meet but are interested in the topics we discuss. I managed the Twitter account for @IHBCTweet for the school, using Tweetdeck, where you can set up feeds showing all the posts on a particular topic (in our case IHBC and IHBCTweet). Some delegates posted things as the conference progressed, in effect creating a continuing narrative of events as they happen, which anyone can tune into. Our hashtag (topic word) ‘#ihbc-tweet’ was trending not just in Edinburgh, but also north east England and London, which means that others who were not at the school were also contributing their thoughts. I also set up a school Audioboo account; we shared interviews with delegates and highlights of the Artland and Orkney walking tours. From a logistical point of view, one of the main challenges of the digital school was encouraging people to take part. Access to wifi at the venues helped, so people could post things freely. This was slightly more of a challenge in Orkney than Edinburgh, but I generally managed to find a helpful café where I could keep an eye on posts and send out things at the end of the day. A further challenge of the digital school is that the For those not accustomed to online conference reporting, I felt it was important to create a digital record of what everyone posted for the school, but in an accessible way where you did not need any accounts (just an internet connection) to view the posts. Storify is an excellent way to do this. I collated information from the official programme and inputted links from everyone’s public postings from each day, allowing everyone to see them in one place. It is a little like an online newspaper: you just scroll down the pages to continue reading, and everything is in sequential order. The digital reporting is meant to complement rather than replace the normal write-up of the school events in Context. It has been a wonderful privilege to be involved with the first digital school pilot, and to see the creativity and enthusiasm of so many delegates helping to spread the message of the IHBC’s work. Digital equipment used: mobile phones, digital cameras, iPads, laptops, wifi (or phone connections), iRigMic (external microphone which connects to phones or tablets to help create better sound) and headphones. Programmes used: Tweetdeck, Twitter, Facebook, LinkedIn, Audioboo, Vine, Flickr, Storify,YouTube and YouTube capture, voice memo function on phone, audio editing package (Adobe Audition, free versions include Audacity or Audioboo uploader), and video editing package (iMovie/Premiere Pro, free versions includeWindows Movie Maker andVideoPad). The digital pilot in numbers: 1,826 tweets on #ihbc-tweet; 102 new Twitter followers (during June 2014); 83 Flickr posts; 15 Audioboos; 18 videos; 477 Facebook posts; 25 LinkedIn posts; and four Storify stories. Alison McCandlish The digital media hub: Alison McCandlish and Euan Leitch at the back of the lecture hall, providing live coverage of the day school
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