42 C O N T E X T 1 2 3 : M A R C H 2 0 1 2 Vox pop What work do you do? I am self-employed. Over the years I have worked on a large number of projects for the National Trust, which has the most wonderful and varied collection of buildings. Other highlights include my involvement in the New British Galleries at the Victoria & Albert Museum, the restoration of St Martin-in-the Fields, and last year in Hong Kong at the Central Police Station which is being converted into an arts and museum complex. I particularly enjoy theatre projects and have worked at the Georgian Theatre in Richmond, Bristol Old Vic and various regional and London West End establishments. Other clients have included English Heritage, House of Lords, local authorities, museums, building preservation trusts, architects and individuals. Who has been your greatest inspiration? Certainly when I was a child it was Jacque Cousteau. I think I was attracted by the romance of exploration and the chance of rediscovering lost treasures under the sea – and of course the mysterious French accent on the voice over! As I got older I remained captivated by those individuals who showed the same sense of adventure and determination. During my college years I was very impressed by a friend’s father, Dr James Russell, who was Professor of Classics at the University of British Columbia and passionate about the archaeology of the Classical world. I knew whatever I chose to do as a profession I wanted to have that degree of engagement. What has been your best idea? I think the realisation that you could combine your interests with your professional life, if you were fortunate. How do you reply when at a party someone asks what you do? It would be so much easier if I were a doctor or a train driver. I usually say I work with historic interiors. For most this is enough and the conversation moves on. However, if necessary I explain what the work involves rather than give the title Architectural Paint Researcher, as this doesn’t mean much to anyone outside a small circle. What is the biggest frustration in your job? My biggest frustration is when not enough time is scheduled in by the client for the investigations to be done properly BEFORE the builders arrive on site. So much historic fabric and knowledge can be lost unless the research is done not just prior to commencement of work but prior to the design of the project. I don’t understand how anyone can produce a conservation programme without knowing the historic development of the building. Not only does it not make sense to approach an historic building in this manner, we are meant to have planning guidance which protects against it. Rant over. What would you like to be doing in five years time? I really like what I do, so in five years time I would be very happy to be continuing on as I am, maybe with a bit more international work. What is your favourite building? Brighton Pavilion, just for its over the top craziness. Your favourite place? Venice in winter. Cliché I know, but its fragile beauty is very enticing. Your favourite book? The architecture books which I delve into again and again are Life in the Georgian City by Dan Cruickshank and Neil Burton and Ian Bristow’s Interior House-Painting Colours and Technology and Architectural Colour in British Interiors. I also like to browse through painters’ manuals from the 18th and 19th century. For variety, a number of years ago I joined a book club and the members’ interests generally revolve around contemporary fiction so I’ve been introduced to some great novels. Of the 80-odd books we’ve read, The Siege by Helen Dunmore is top of my list. What do you do in your spare time? Spare time is time spent with the family and friends. As a family we are fairly active – summers revolve around sailing and time spent in the wilds of Canada.Winter is a more sedate affair of country walks and pub lunches. If we can fit in an historic property along the way, so much the better. What organisations are you a member of? The Institute of Conservation (where I function as Secretary of the Historic Interiors Section), The Traditional Paint Forum and International Council of Museums-Committee for Conservation. Which one issue would you particularly like the IHBC to campaign on? Historic buildings and structures need to be treated with great care and respect, and while I understand that buildings may need to evolve, no alterations should be undertaken without a proper understanding of a building’s development and significance. This includes the special value of its historic interior which may in the past have been given less attention than its exterior appearance. It would be very useful if IHBC reinforced the need for proper historic research to those statutory bodies responsible for granting consent. This research, be it documentary or archaeological or preferably both, is vital to ensuring that change is undertaken sympathetically. Lisa Oestreicher is a self-employed architectural paint researcher and guest commissioning editor of this issue of Context.
RkJQdWJsaXNoZXIy MjgyMjA=