into measuring the effects of sunlight on wall paintings. Several speakers emphasised the importance of monitoring the effect of conservation measures and addressing unexpected consequences. The importance of a preventative, holistic approach to the conservation of the whole building, including its use, was a recurring theme graphically illustrated by cases from around the world by Neville Agnew of the Getty Conservation Institute. There is no point expending resources on stabilising a painting before fixing a leaking roof. The final session, chaired by Robert White of the UK Institute for Conservation of Historic and Artistic Works (UKJC), discussed the conservation profession and management. The UKJC has just establ isheel the first professional accreditation scheme for conservators in the UK, fully supported by English Heritage. Adrian Heritage, Senior Architectural Conservator with English Heritage, talked about developing methodological approaches to wall painting conservation and stressed the importance of involving appropriately qualified specialists, together with the need for specialist training. The Courtauld Institute has now acquired an international reputation for its diploma course in the Conservation of Wall Paintings. Werner Schmid from ICCROM, Rome, talked about mid-career training in an international context. Tobit Curteis, a private conservator, discussed aspects of private practice in England, including the key role of the conservator in relationship to the supervising architect. The latter needs to defer to the expertise of conservators. Increasingly researchers and conservators are concerned with investigating of the causes of decay and the importance of a preventative approach. In practice, however, most major wall painting conservation projects are still interventionist, remedying the damaging effects of past interventions, such as the use of wax. Jn the final session, we heard from Nicholas Stanley Price from the Institute of Archaeology who illustrated some wider aspects of managing sites with wall paintings, including the impact of tourism. Site visits on the third clay enabled delegates to have a detailed look at conservation projects on some of the most important wall paintings in southern England: at Westminster Abbey, Harclham Church and Canterbury and Winchester Cathedrals. Leading on from the issues raised by the conference, practical advice is being developed by English Heritage to promote the adoption of good practice CONFERENCES and a more preventative approach to wall paintings conservation. These Practical information Leafle!s will cover topics such as what to do when wall paintings are discovered and the protection of paintings during building works. They will be published over the next couple of years. The proceedings of this conference will also be published by English Heritage. On an immediate practical note and before further advice is published, if wall paintings are found in a listed building, the listed building consent procedure should be used to manage what happens next. The English Heritage Regional Teams can offer initial advice and involve in-house specialists where appropriate, depending on current priorities and resources. Marion Barter, Historic Buildings Inspector, North West Region, English Heritage. Moderndesigninhistoricareas 3 November 1999, Dukes 92 Wine Bar, Castlefield, Manchester The II-IBCNorth West Region's recent conference, held in a pub in the centre of Manchester"s most recent canal-side regeneration area, tackled a critical issue. There is now pretty much universal agreement that conservation is not just about preserving the best of the old, but is about integrating new buildings into historic areas. The premise that new 'modern' design can do this successfully, without the need to resort to pastiche or replica, is pretty much accepted, but just what good modern design is, how to recognise it when you see it, and more importantly how to nurture imaginative schemes in a largely cost driven building industry, are much harder questions. The clay was ably chaired by Kenneth Powell, one time Director of Save Britain's Heritage, but now a key figure bridging the ground between conservation and new design. Ken is both Director of the Twentieth Century Society and a prolific journalist visiting and reviewing new schemes. As well as writing for newspaMichael Pearce ARIBA MRTPI FRSA Chartered Architect and Town Planner Planning, Conservationand HistoricBuildingsConsultant THELODGE,52HOLLOWSCLOSE SALISBURY,WILTSHIRESP28JX TELEPHONEAND FAX:01722 334355 Context65March2000 pers and magazines, he has also just completed monographs on Richard Rogers and John McAslan. He pointed out that the definition of an 'historic area' is now very diverse, with whole housing estates such as Park Hill being listed. Importantly, he made no excuses for the fact that assessing design quality is always a subjective matter. The old RFAC attempts to classify what makes a good building failed to acknowledge instances where polite contextualism was less appropriate than a really bold intervention. Some past examples that completely disregard their guidance to ensure that scale and materials are in keeping with the surroundings have been spectacularly successful. These include buildings such as the Lloyds Building, or the Guggenheim Museum in New York, and there are several schemes currently under consideration that may have the same potential, including the new GLA headquarters building and the V&A spiral. NEW PRODUCT PROTIMETER SURVEYMASTER SME For rapid assessment of moisture levels on floors, ceilings and walls Using the new Surveymaster SME and search probe in combination eliminates the need for step ladders or stooping when measuring ceilings and floors Tel: +44 (0)1628 472722 Fax: +44 (0)1628 474312 E-Mail: moisture@protimeter.com www.protimeter.com ~ PROTIMETER 41
RkJQdWJsaXNoZXIy MjgyMjA=