The Building Conservation Directory 2021

154 T H E B U I L D I N G C O N S E R VAT I O N D I R E C T O R Y 2 0 2 1 C AT H E D R A L C O MM U N I C AT I O N S accredited, not their practices, although the larger conservation businesses may employ heritage professionals accredited in a range of conservation disciplines. The second step is to match the skills which the long list of heritage professionals hold against the needs of the project. Although there are some ‘generalists’, many professionals work in a defined specialism or have particular experience in a certain type of project. Within object conservation there are many specialisms such as stained glass, paintings, paper or furniture. And then there are sub- specialists. For example, a paper conservator might concentre on vellum manuscripts or perhaps on printed images. When it comes to buildings, architects and building surveyors will have varying experience of working with different building materials, because many are locally distinctive. Think of the flintwork of East Anglia for example, or the use of heather thatch in the Scottish Highlands. Within the heritage sector there is also a variety of specialist consultants who are able to assess and advise on specific issues, from the structural integrity of plaster ceilings to the decorative history of buildings revealed through their many layers of paint. All such professionals must have the necessary training, skills and experience to carry out these specific and highly specialist projects successfully. Finally, it is important to engage with those professionals or craftspeople shortlisted to find out more about them and their approach. Do they understand the client and are they a good fit in terms of personality and ways of working? Taking up references and looking at past projects is an essential part of this last stage of the process. Does the client like the work that they have completed for other people? Are they able to supply reassuring recommendations from past clients? ADAPTING TO THE BUDGET Money is often a sensitive issue, and it is always better to be honest about the budget from the outset. However, do bear in mind that conservation projects can be a slow process and that craftsmanship cannot be rushed. Time is the key factor and there are rarely any shortcuts. If someone offers to carry out the work at half the cost of another, then the risk is that the result will only be half as good. Where cost is a genuine constraint, consider reducing the scope of the project, or consider phasing the works to tackle the most pressing issues first. And make sure the budget contains a contingency sum, just in case something unexpected happens. Dealing with historic objects and buildings is rarely straightforward and even seasoned professionals cannot predict every eventuality. There may not be skeletons in the closet but there could be mummified cats under the floorboards or, more problematically, building foundations which prove less robust than anticipated. “There is hardly anything in this world that some men cannot sell a little cheaper and make a little worse. Those who consider price only are this man’s lawful prey.” John Ruskin 1865 PRACTICALITIES Timing is often a critical factor in building conservation projects. Certain types of work, such as repointing in lime mortar, should not be carried out in the winter when the cold weather risks potential material failure. Alternatively, plans may have to fit around the annual lifecycle of bats, a protected species, if you are lucky enough to have a colony living in your house (or belfry). It is also fair to say that competent heritage professionals, conservators and craftspeople are often in high demand and may be committed to projects months in advance. Once the brief is established, someone appointed and a budget set, make sure to obtain written confirmation of everything that has been agreed. Appointment letters and contracts may not make exciting reading, but they are a safety net in the, hopefully unlikely, event that something goes wrong. The terms and conditions need to be read Gold leaf being applied during the rehabilitation of the Grade II listed Trent Bridge, Nottingham, carried out from complex scaffolding erected over the sides of the bridge, by conservators who care (Photo: Hirst Conservation) carefully and the agreed processes followed. Every decision that you are asked to make as a client should be clearly articulated and carefully documented. Making changes in the middle of the project will add to the cost if any additional work by the professional advisor or craftsperson is required. Communications skills are vital. Although it is always best for heritage professionals to share information with their clients in plain English rather than specialist professional language, effective communication is often hampered by the occasionally unavoidable technical jargon of the conservation and building professions. No one expects clients to become fluent in the more complicated terminology but undertaking some background reading at the outset to get a broad grasp of the concepts is always helpful. And one final piece of advice which applies to all the stages of a project: if, in doubt, ask. Recommended Reading Finding professional help: https://historicengland.org.uk/advice/your- home/looking-after-your-home/finding- specialist-help/ How do I use an architect? https://www.architecture.com/knowledge- and-resources/resources-landing-page/how- do-i-use-an-architect Understanding conservation: http://www.understandingconservation.org/ content/504-identification-and-selection- advisers-and-contractors How to select your conservator: https://icon.org.uk/resources/caring- for-your-collection/how-to-select-your- conservator SARA CROFTS trained as an architect and after gaining specialised historic building conservation experience she moved into the voluntary sector taking on roles at the SPAB and the Heritage Lottery Fund. She is currently Chief Executive of Icon, the Institute of Conservation (www.icon.org.uk) .

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