C O N T E X T 1 4 9 : M A Y 2 0 1 7 5 A helpful summary is given about the background to post-war commercial listing that commenced in 1987 with the listing of Bracken House (1955–59), the former Financial Times headquarters and printing works just to the south-east of St Paul’s Cathedral. Bowdler notes the pressure to keep the best of the recent past, and the importance of identifying the best when the function and design of offices has changed hugely in the70 years since 1945. Although post-war listing had swung into action in the 1990s and tackled different categories of buildings thematically (housing, education, transport and so on), the controversial Centre Point, completed in 1966, was listed back in 1995. Bowdler points out that tall buildings in London and other large cities remain a huge planning challenge. One of the ironies of conservation is that Historic England is responsible for recommending listing of some tall buildings while opposing the erection of others. Bowdler describes the twin challenges of the listing 2013–14 programme: first, bringing the coverage of the thematic survey on commercial buildings up to date by advancing the coverage to 1985; and, second, bringing the list descriptions more in line with modern practice. The reasons for the relatively recent selections are fascinating but require public acceptance if the process of protection is to have credibility. The author concedes that listing does cause concern among commercial owners as they see their freedom of options being reduced, but the rigour of the process had led commercial property managers to say how proud they are to see the heritage virtues of their buildings defined. The second essay of interest, by Helen Ensor, an architectural historian working for Donald Insall Associates, concerns an under-researched stylistic aspect of the Edwardian revival, the use of architectural fixtures from 18th-century buildings incorporated into either newly built Edwardian houses or those which received a makeover in the Edwardian period. This subject will be of interest to those faced with the evaluation of interiors that contain, for example, paneling that turns out on close inspection to be a mixture of genuine early 18th-century work and material from the early 20th century (and later) made up to match. Ensor looks at four broad categories of architectural approach: Queen Anne outside and inside; Queen Anne outside with a contemporary (for example art-deco) interior; the contemporary (often idiosyncratic) exterior with a Queen Anne interior; and ‘the mixture’ – a ‘real’ old building with a mixture of retained, imported and created 18th-century interior features. Ensor touches on the trade in architectural salvage, particularly in the early 20th century, before addressing the complex issue of identifying and analysing which parts of the building are ‘significant’.While the primary construction is very likely to be of high significance, later alterations may also contribute to significance, especially if these are themselves of some age and quality. The consent regime typically treats interiors created in the Edwardian period in a highly variable manner. Ensor poses some interesting questions regarding 18th century houses where relatively recent interventions have often been overlooked. She questions what fate should befall interiors that have already been moved from one (demolished) house and reused in another 100 years ago. This salvaged material can be significant both in its own right as historic fabric but also as part of a later insertion that adds another layer of interest to the building overall. This is a complex area and Ensor’s essay is well worth seeking out. Thorough careful conservation practice is exemplified in Eleni Makri’s detailed description of her repair, renovation and part re-modeling of a Grade II* 18th-century building at 12 Bedford Row, Holborn. Makri clearly explains the scope and nature of the works carried out first in 2008 and later in 2011–14 for the same client. Her aim was to achieve exemplary standards of reinstatement to the original Georgian facades. This is amply demonstrated by the illustrations and scaled drawings. Extensive repairs were required to the interior, including work to the historic paneling. Makri describes the underlying principles behind installing contemporary services that complemented the building’s historic fabric and internal layout. She demonstrates that the protected status of the building was never considered to be a hindrance but was instead a stimulus for good design, resulting in a contemporary and stylish outcome. Jacqueline Heath, a conservationaccredited engineer at Ramboll, describes the recent repairs to the iconic and elegant Iron Bridge, Shropshire, the world’s first cast-iron bridge. The history and construction from 1779 to 1780 are remarkably well documented, but throughout the lifetime of the bridge it seems that each generation caring for it has, perhaps unconsciously, been influenced by the engineering innovations and practices of its time. This has resulted in a chronology of distinct repair approaches that provide the framework for the recent programme of analysis and conservation. From the start this was a pioneering structure on a difficult site. There were initial design flaws, but fortunately the structure had inbuilt resilience, allowing it to withstand substantial ground movement and major cracking. Heath shows the importance of understanding the previous repairs (and recent discoveries and interpretations) within the context of contemporary conservation philosophy. The latest programme of repairs involves relatively minor work to retain historic fabric, prevent further damage and enhance durability related to the ironwork. This work includes interventions to cracked radials and repairs to the ends of deck plates, and repainting and masonry repairs and this represented more a case of good conservation maintenance than major intervention. The extent to which past observations and interventions have been documented has proved greatly beneficial, and appears to reveal more than an earlier writer or artist may have intended. Heath draws an interesting parallel with the principle that work to historic structures should be reversible in case future generations have better ideas, and that present-day records of work to historic structures should be thorough and detailed in case future generations can better interpret them. aschb transactions volume 39: 2017 ASSOCIATION FOR STUDIES IN THE CONSERVATION OF HISTORIC BUILDINGS
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