Conservation Journal July 1996 Photography by V&A Photographic Studio Photographic V&A by Photography 23 Photography and Examination

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Conservation Journal April 1996

Conservation Journal July 1996 Photography by V&A Photographic Studio Photographic V&A by Photography 23 photography and examination. photography Assessment beautiful. My Basically yes. It is Has it worked? there was were that firstly two main fears had been glaringly obvious that something American some secondly that like and overlooked, Smith referredfacilities Jonathan Ashley to in his of this journal,editorial in volume 18 there new ‘Marie Célèste’ facility would be a beautiful neither have with no-one in it. Thankfully There are inevitable snagging materialised so far. The ‘move’ itself was and teething problems. I must pay tribute to the extremely complex and of the Books Section. stamina and good humour appears to have worked, But the basic concept travelling time, of the benefits of reduced knowledge, ideas and increased sharing of in a materials have happened. An assessment year’stime will be an interesting exercise. out In my previous troglodytic existence I looked Now onto people’s feet and calves for a decade. sky as I’m writing I look out onto a clear blue punctuated by a solid, brilliant white ‘30s apartment block and pierced by a needle-thin eyrie? All I know is golden spire. Ivory-towered that the importance of the working environment is too often undervalued. POSITION ONLY Figure 3. The new Book Conservation Studio. Figure table, so they could be joined together for, could be joined together table, so they work. things, ‘batch’ archive amongst other (two A2, one three mobile light boxes There are the benches, and the same height as A1) again at including for rolls of materials, mobile trolleys is also a mobile polythene. There Melinex and parchment, as well as the trolley for pegging out two mobile drying trolleys. These latter trolleys conjunction with were all designed in took a lot of time, but as a manufacturers, which general observation, the more the ‘end-user’ was the more successful involved with something, to be. the result has proved All the mobile furniture has locking castors. The to have on castors only items we were unable ironically on the grounds were the bench chairs, Mobility was a guiding of health and safety. principle, both for future flexibility and for minimising the risks to people and objects. and General equipment such as laying presses the board cutters are centred in the middle of room, the floor loading calculations having amongst other items, 4 ton accounted for, standing presses. An area by the door accommodates computers, filing and reference books, with appropriate lower level furniture. large 5- The majority of materials are stored in a bay metal unit. Boxboard is stored at waist height, is decanted into a moved and trolley, then stored Heavy vertically. rolls of linen and cloth are stored at waist height on retractable shelves, Great as is leather. to care was taken design this unit to be inert, as it also incorporates the storage of books and objects. It was required to be dust- sealed and to open as the doors quietly, are in constant use. Other areas of the studio are loosely designated for gold tooling and finishing, for 20 Head of Conservation Department o Senior Paper Conservator, Conservation Department Conservator, Senior Paper , Head of Science Group, Conservation Department Senior Administration Officer, Conservation Department Senior Administration Officer, Commissioning Editor, Conservation Department Commissioning Editor, Head of Paper and Book Group, Conservation DepartmentHead of Paper Designer, Austin-Smith:Lord Designer, Head of Sculpture, Conservation Department Head of Textile Conservation, Conservation Department Head of Textile Head of Major Projects and Collections Management, Head of Major Projects Architect, Austin-Smith:Lord RCA Project Leader Graham Martin Cook, Richard Matthew Smith, Merryl Huxtable, Helen Shenton, Gwyn Miles, Lyon, Peter Elaine Clerici, Hillyer, Lynda Jonathan Ashley-Smith, Helen Shenton, 3 Editorial 7 Project College of Art Building Royal The Victoria and Albert Museum, 9 Designing the Interior 4 Introduction 6 and Conservation of Art Centre The Research 14 New Studio Conservation’s The Hole in the Ground – Sculpture 17 – Could we do it like that? Practices New Working 18 Conservation Studios Time for Change – The New Paper 21 Book Conservation Studio 10 Conservation Studio Textile 12 The Michael Snow Laboratory 24 Conservation Department Staff Chart Contents V&A Conservation Journal N The cover shows & Conservation of Art Centre The new Research Photography by Nicholas Kane All enquires to: Conservation Department, Victoria & Albert Museum, SW7 2RL, UK London 0171-938 8624 Telephone 0171-938 8661 Fax © 1996, Copyright The Trustees of the © 1996, Copyright The Trustees Victoria & Albert Museum. ISSN 0967-2273 Photographs are credited individually Designed by V&A Section Printing Managing & Production Editor Managing & Production Matthew Smith, Senior Administration Officer, Conservation Department Helen Shenton and Book Group, Head of Paper Conservation Department Graham Martin Head of Science Group, Conservation Department Alan Cummings RCA/V&ACourse Director, Course Conservation Jonathan Ashley-Smith Head of Conservation Department Editorial Board Conservation Journal July 1996 2 Conservation Journal

system. A reverse osmosis system was specified. Clean, dry and quiet book conservation was to 6. To improve on known irritants from the be in the main area. A small workshop was previous workshops, such as insufficient leg designed for ‘dirty’ processes such as leather July 1996 Editorial room to sit at workbenches and computers and paring, board sanding and tool sharpening. This insufficient space around equipment. workshop was equipped with a cabinet maker’s 7. To minimise health and safety risks to people. bench. Jonathan Ashley-Smith Vastly improved extraction was incorporated. Head of Conservation Department A wet area contains a double heated sink with Layout and storage were designed to minimise integral light boxes, an island sink, mobile drying handling of heavy board and rolls of cloth. racks, a fume cupboard (for non-aqueous 8. To minimise physical risks to objects. The This journal is a celebration of a major to occupy the space was shared by conservators, scientists, students and deacidification, retannage of leather and mould books would be stored flat in metal drawers with move to improve the quality and many more than just the conservators. interns. If we ever reach full removal) and ventilated chemical store. The high level security. organisation of the Conservation The idea of rationalising Conservation sinks have laminar flow extraction, so can be complement there will still be 9. To incorporate as much flexibility and mobility Department’s accommodation. It comes accommodation by concentrating it in used for solvents without cumbersome increased space per person which as possible. additional extract. A bench with a chemical at a time when further management the RCA block was given impetus in a should lead to greater efficiency. The 10. To re-examine and improve work practices resistant surface has plenum slot extract for reorganisation is underway (compare report called “Towards 2000” written in most important benefit is the and use the opportunity of the move to rethink making up solutions, again without irksome the staff chart on the back of this issue 1985 by three young curators given geographic consolidation of individual work flow and the functions within the studios trunking or cabinets. There is a sink for washing with that on last quarter’s). the brief to bring radical thought to sections and the integration of the rather than blindly emulating what was done bear on the future of the Museum’s glassware in the main workshop and one Seen in a historical perspective, the whole Department. This geographic before. galleries. Further justification was ‘elephant’s trunking’ extraction, but generally Conservation Department has always integration is important because it given by Elizabeth Esteve Coll when The top floor of the RCA block used to be the ‘wet’ and solvent work is in a separate area. been changing and moving. Specialist improves communication. Planned painting studios of the Royal College of Art. It she gave evidence to the Public meetings become easier and the Thirdly, the machinery for boxmaking is housed sections have been created, have was a huge double-height space with enormous Accounts Committee in 1988 following probability of accidental encounters is in a sound-insulated room. These machines, flourished independently and then north and south facing windows. Rather than the National Audit Office report on the improved. Many of these chance such as the creaser, can be noisy and could not been absorbed into larger groups. As divide it up into little rooms, the concept was to state of the National Collections. She only disturb the rest of the books studio, but the sections have grown they have meetings are more timely and keep this space as large and clear of divisions as explained that the conservation Mountcutters above and the textile curators colonized any available pockets of productive than the planned ones. But possible, both for a sense of lightness and backlog could not be solved overnight below. The different processes of box making space at South Kensington and off-site. the benefit of increased contact does airiness and for flexibility in the future. but needed the initial steps of training were studied and could be divided into the quiet There has been continuous recognition not necessarily lie in the content of the Therefore, the principle was to have most of the the conservators and giving them the and ‘noisy’ parts. Only the noisy parts are done that these outposts of empire were information exchanged but in the fact conservation work being carried out in the main space on site to carry out the work. in a separate area; the rest is on a large often totally unsuited to their purpose. that communication is possible. The studio and separating out: worktable with board cutter adjacent to the They were so widely scattered that When the whole scheme is completed new building is the medium and the a. dirty and clean processes; boxmaking room. management was difficult and there will be space for more medium is the message. b. wet and dry processes; communication between conservators Therefore, these three functions were separated c. noisy and quiet processes; from the main studio, in single height rooms. It and curators severely hampered. was decided not to have a separate materials or Over the past twenty years there have object store, as these were in constant use and been at least six plans to rationalise should be an integral part of the main studio. the situation. Perhaps the most POSITION ONLY Layout unpopular was the proposal to move When designing the layout within the main the whole Department to what is now studio, the starting point was to use the north our major off-site store in West London. light to best effect. Each of the seven Possibly the most exotic plan had the workbenches are at right angles to the windows, Head of Department’s office in the POSITION ONLY with an inset nipping press bench at the other vertex of the central glass pyramid of end. Benching under the window is for the roof over what is now the ‘paperwork’, as previously benches had also to temporary exhibition area. be used for deskwork, and there is a worktop on While these plans lived their short, top of cupboards behind each person. butterfly-lives, the Conservation Consequently each conservator has a ‘U’ shape Department continued to cast an of benching. envious eye on the Royal College of As mentioned before, flexibility and mobility were Art paintings studios with their high aimed at. Everything is the same height (915mm) ceilings and glorious north light. and wherever feasible, mobile. One of the However when it was finally workbenches (which measure 2400mm x announced that the studios would 2 Photography by V&A Photographic Studio 1090mm) is mobile, as is the 2m boxmaking eventually become vacant, the desire Photography by V&A Photographic Studio Figure 2. The box making room. Dottie Rogers and Jonathan Ashley-Smith in his new office. 22 3

Conservation Journal July 1996 Photography by V&A Photographic Studio Photographic V&A by Photography 21 sharing of materials (including paper and board), sharing of materials example, the of expertise and equipment. For had been a ten minute ultrasonic encapsulator walk away. to the rest of the Conservation be close 3. To The book Department, including the library. the furtheststudios were amongst satellites of the Department. seven people; five accommodate 4. To permanent book conservators, contract one conservator and one MA student. The section had identified and quantified the enormous need the Museum had for the conservation of or books, but did not have adequate space facilities for the planned number of conservators. In addition, although Book Conservation was to the have been one of the subjects offered at beginning of the RCA/V&A Conservation Course, of no studentship could be offered due to lack space. improve on services and facilities from the 5. To example, the deionised previous workshops. For water was a cumbersome, refillable cylinder POSITION ONLY in situ Figure 1. The new Book Conservation Studio. Figure Book Conservation Studio Conservation Book Helen Shenton Book Group, Conservation and DepartmentHead of Paper When the Book Conservation Section moved on the top floor of the RCA into the new studio it converged from four block in December 1995, up to two miles apart.separate workshops, Since with most of the 1962, the main workshop in a basement with no equipment had been the Printing section. natural light, next to process of pragmatism and Through an organic in the other workshops had grown practicality, The studio situated answer to different functions. in the National Art Library housed conservation and was sparsely equipped. Its role was to carry out first aid conservation treatments to books which had been identified, through There were two use, as needing repair. was workshops at Blythe House in Olympia. One was equipped for phase-box making. The other set up for long term book conservation projects, sample books and latterly firstly the Heals Textile So the section was manuscripts. Charles Dickens’ of lack disparate with the obvious disadvantages of cohesion and daily contact and time wasting in having to transport materials and objects between workshops. When I became involved in the design of the new book studio in 1992, there were several principles aimed at. Some of these principles were identified by the ‘New Accommodation Group’ which the Conservation Department established in 1989 to examine the ideals for studios when the project was first mooted. Other aspirations were specific to Book Conservation. Aims and Principles bring all the different 1. To book workshops together in one location. be close to associated 2. To sections, namely Paper conservation and the Mountcutters for the , the Science Group also 1

the opportunity to examine working practices within all the department, not just in those and there is a shortsections who were moving, outcome of this working piece on the aims and group. a major occupant of the In addition to being building, the Conservation Department played an advisory role over servicesas water such of acidity and quality (including levels conductivity and materials for pipes), lighting uv fluorescent tri-phosphor, (high frequency, filtered daylight tubes at 500 lux at bench height), glazing (recommending uv absorbing glass rather than uv films which would need As replacing), window blinds and wall colours. in the well as advising on the materials for use fit-out, recommending the minimal use of fibreboards and the use of stove enamelled metal for object store undertook the testing of the glass and measuring of light levels. The importance of project management, cannot consultation, liaison and communication be overemphasised on a project of this scale. The Conservation Department set up its own working party when the scheme first became a develop possibility to analyse work practices and the head of design ideals. Jonathan Ashley-Smith, department, was on the Museum’s project team. In the later stages of the project, the department to set up a group of endusers who met regularly pinpoint problems, co-ordinate moving and share very practical information. This group is about to hand on the baton to those conservators III of the project, engaged in Phase Metals and Ceramics and Glass namely Furniture, Conservation. observations Experience and can be passed on, for example, that generally services, particularly extraction, seem to have been some of the most vexed areas. Phase III, which will involve the affected studios moving into temporary is scheduled to accommodation, start in 1998. Phase I of the project is now in the ‘snagging’ period; defects are being identified and

This issue of the journal is devoted to the new conservation facilities into which half the Conservation Department the end of moved at known as the ‘RCA’ 1995. The building, originally partblock as it used to be of of the Royal College Art, now called ‘The Research and is Conservation of Art over Centre’. Scheduled curators, researchers three phases, it will house and conservators. The design which received government approval Book and Science in 1992 comprised Paper, Conservation, Mountcutting and Administration and moving into the RCA building, with Textiles Sculpture Conservation moving into new purpose-built single height studios on an with the Textiles adjacent site. Together this is Collection, Records and the Photo Studio, at the Phase I of the project and was completed of end of 1995. Phase II includes the majority curators, the Research department and the three MA courses run by the Museum, including the Conservation Course. This has just started. Phase III is the refurbishment of the remaining Metals, conservation studios, namely Furniture, Ceramics and Glass and is currently scheduled to start in October 1998. There follow several articles on the conservation component of the ﬁrst phase of this complex building project, which has involved, among others, a V&A project team, architects, structural and service engineers, quantity surveyors, project managers, contractors, specialist advisers room) and (dealing with extraction and the X-ray the architect and ‘endusers’. The project leader, the designer have written about the building scheme as a whole and aspects common to all the studios. A conservatorwho has been closely or scientist involved with each section in Phase I has written an account of their accommodation from the These personal point of view of enduser. accounts cover the thinking behind the design, the design process, the practicalities of moving and early assessments of what has been achieved. The Conservation Department took Helen Shenton Conservation Department Editor, Commissioning Introduction 4

Conservation Journal July 1996

Conservation Journal July 1996 Photography by V&A Photographic Studio Photographic V&A by Photography 5 POSITION ONLY V&A Science Group Preventive Conservation

The outside of the RCA block during conversion. scheduled for correction.scheduled the services Manuals of and which will include are being drawn up, equipment manufacturer’s and maintenance specifications with a lot of other This move has coincided schedules. Department, the Museum and the changes in in particular integration of networking and the computer conservation documentation with curatorial information has systems. This combination of factors offered the opportunity to rethink and advance the Conservationnumerous aspects of Department. Reference: Graham Martin, Guidelines for Developments, Report, 31/95/glm, 1993. Photography by V&A Photographic Studio Photographic V&A by Photography collections, there is now the room to give them a there is now the room collections, opportunities Section, with better base in the for within the a sense of involvement training and us to offer extra space also enables Group. The established and placements for studentships it is the sections together all conservators. With the unavoidable waste of now feasible to channel paper offcuts into a high quality card and to a level which generates recycling programme Museum. some funding for the light is good for working The atmosphere and strip lighting and on paper; the high frequency more directional louvred the option to use the the northnatural light from both or south usual eye strain caused by windows prevents the The light, from paper. glare as light bounces softly floors and work surfaces coloured are easy will be clean and it is planned that there to keep of the an annual deep clean and high level clean studios to coincide with the curatorial departments’ annual stock take. space The architects have created an impressive and considering the complex range of activities and Sections undertake interactions the Paper industrial sites, we do hospitals or many unlike not always have clearly defined requirements which are published and recognisable to architects and the construction industry. Generally the working environment is safer, roomier and a more more pleasant, cleaner, to efficient space to work in. It was interesting note that shortly after occupying the space every single work surface was in use and yet space press could still be generated (by using the plan with storage or by extending one of the tables trestles and a portable worktop). POSITION ONLY Figure 3. The Conservation Mountcutters’ mezzanine. Figure in the in situ through it was able to communicate more was able to communicate through it the Project Team. positively with It was important good oversee and insist on to everydrawings for of specialist furniture bit and one especially if more than equipment, an item. was involved in making manufacturer in the drawings for the laminar flow bench Poor in major wet area has resulted the bench unusable misunderstandings, leaving on the a tight specification at present. However, ensured we had the leeway sinks in the wet area to have them corrected when they were built contrary to the specification, otherwise we sloping sinks again would have had standard had made it difficult to which for years before float-wash objects evenly. of the more years of ‘making do’ one After of difficult things was to cultivate a breadth vision to incorporate future working procedures and break old work habits. In trying to achieve flexible an open plan area, we had to balance the a use of as much of the space as possible with in which need for the individual’s space required to concentrate. Removable low level screens were installed between workbenches where from work areas felt exposed and were removed full between butted workstations where the double width of the table was more important. extensions were equipped with Telephone tone answering systems to encourage the ringing to be switched off when concentration is needed. Staff also have access to quiet office areas and a library within the building. Additional Benefits Moving into the new space has generated opportunities to reappraise and improve a equipment and working procedures from Health and Safety angle. Many unnecessary chemicals and potentially hazardous pieces of equipment were safely disposed of before the move. The vastly improved storage space for museum objects allows a more effective flow of work through the room because there is now room to store objects for an entire exhibition rather than have deliveries staggered. The drawing together of the paper-related Conservation, Photograph sections (Paper and Miniature Conservation, Oriental Conservation and Conservation Mounting) adjacent to Book Conservation has resulted in improved communication and for conservators working 20

Conservation Journal July 1996 Conservation Journal July 1996 19 TM or Aeroweb TM Warts and All Warts There have been some very definite pluses and minuses to the project. Major lessons learnt during the project were that there are no second chances and it is never too early to question plans for the siting of the An services such as water and power. example of this is the main water supply to the building which should ideally be outside and at low level and not, as has happened, inside and at high level. Liaison and communication are key elements in developing a building such as this, both between the various elements of the project and within the Conservation Department. the end of the project, the Towards endusers met regularly to pinpoint, compare and sort out common problems. As the enduser representative for the various Conservation, I sections in Paper found this group very and helpful Museum objects such as posters and have been such as posters Museum objects terms in of handling easier, make designed to arm Having learnt span and weight. from the surface is that a lacquer-red Chinese mounters paper eye when de-backing easier on the with one red worktop was made objects, each surface. An unvarnished on all the wooden trim pasting surfaceworktops provides a and securing tapes when the objects are strip for staples and to ensure the worktops being treated. In order it was specified that were light and yet rigid, either Ciba Geigy Aerolam used in their honeycomb ranges were construction. to accommodate Storage units were designed drying worktops and frames in a vertical boards, banks of removable round position. Two the ends of which are sectioned metal uprights, and located into a line of recesses in the floor ceiling at 3-5cm intervals, form fully adjustable bays into which boards can be placed. By removing the uprights on one side of a stored space frame it is possible to walk into the storage to lift a frame if necessary. Flexibility in the use of furniture included such as designing lightweight lids for fixed items, so the sinks and laminar flow extraction bench, that they could convert to work surfaces when work The lids can also be used as necessary. surfaces on trestles when the sinks are in use. (oriental kari bari, kari bari POSITION ONLY drying boards) which are too are often placed on allow trestles. The standardisation of the sizes the worktops to be stored vertically in the same storage systems designed for the in the namely channels mounted in the floor and of ceiling. The sizes also reflect average sizes Figure 2. The Oriental Paper Conservation room. 2. The Oriental Paper Figure Designing the Furniture and Equipment the Furniture Designing the to keep studio it was decided In the new fixed furniturea minimum: side benching to running full length of the external the To walls. of which are workstations, some that are butted and others which formon wheels islands. static If necessary all these workstations can be resited. central floor space, In addition in the large can be clustered in various worktops on trestles equipment, such as configurations and mobile table, can be wheeled in. By the vacuum suction clear the central space being able to completely as a work surfacethe floor can be used on which such as large cartoons,to treat oversized objects the of posters. Part wallpapers and billboard floor was that it should be specification for the treatments and have a able to tolerate water continuous smooth surface. Because it is a raised floor with services running underneath, a of the compromise had to be made on the size floor area and the working procedure when the is used for washing objects. a range of lightweight portable the trestles, For sizes worktops have been made to standardised which match the size of the Photography by V&A Photographic Studio

intended to avoid overhandling objects and intended to avoid overhandling of damage. The appraisal thus reduce the risk that provided most showed the best option, scheme. This, however, space, was a £22 million Office of Artswas rejected by the and Libraries. giving the best value for A reduced scheme, some double us to keep money and allowing for height spaces, was agreed by the Minister Renton. The OAL allocated an Art, Tim additional £5 million towards the £14 million cost of this scheme. the The benefit of the scheme was that it used RCA as the centre for activities connecting as a existing spaces to the west and east, not ‘stand alone’ development. This will become and South apparent once Phase II (the West are III (the East Wing) and Phase Wing) needed completed. The RCA will provide much horizontal and vertical routes through the is servedbuilding. The North by a goods Wing lift which will benefit the Henry and Cole Wing will provide a much Wing The South East Wing. needed passenger lift to the Lecture Theatre and Seminar Rooms. The design of the spaces has been a challenging was task. The original scheme and rationale developed by Norman Ullathorne of David Leon The detailed design and execution and Partners. of Austin- Lyon was carried out by Peter were determined that the Smith:Lord. We spaces should provide a calm and elegant environment in which people could work component of the scheme will be A key happily. the new staff common room on the ground A major work of art Wing. has floor of the West This Ramshaw. been commissioned from Wendy will be a screen which will include all the different types of material within the Collections, and will stand at the entrance to the common room helping to provide an appropriate atmosphere for an informal meeting place for all members of staff.

The buildings of the V&A, startedThe buildings of the in the 1860s extend across the entire and completed in 1909, all the buildings were 5.5 hectare site. Nearly of objects – only the designed for the display on the easternsmall secretariat block gave edge a built offices. However, the Museum purpose modern museum needs other facilities in require workshops, addition to offices. We and studios for conservation and photography, laboratories to service the collections and provide for the public. Over the years these facilities were provided by taking gallery space for curator’s offices and tucking conservation studios here and there in 16 separate locations & across the site. In 1987 Michael Hopkins produced a Masterplan for the use of Partners increase efficiency they the building. To proposed that staff should be grouped more closely together – towards the back of the building. The opportunity to rationalise staff working spaces came with the removal of the Royal Schools to their new College of Art’s Painting audit building on Queens Gate in 1991. A space was carried out which demonstrated that the old painting schools would indeed provide it would excellent working space; in particular, staff act as the focus for bringing together all working on the collections – curators, conservators, scientists, photographers, technicians, and provide a home for the newly created Research Department. Plans for the RCA development were drawn up The and an option appraisal undertaken. rationale for the new building was to provide excellent facilities for the examination, study more and conservation Better, of objects. streamlined methods of treatment would allow us to increase the throughput of objects through conservation thereby and mounting, improving the overall welfare of the collection. By grouping the operational areas together we Gwyn Miles Leader and Collections Management, RCA Project Head of Major Projects The Research and Conservation of Art Centre of Art and Conservation Research The 6

Conservation Journal July 1996

Conservation Journal July 1996 Photography by V&A Photographic Studio Photographic V&A by Photography 7 POSITION ONLY English Heritage required the retention of the English Heritage required beams and these, together exposed wrought iron were treated with with the column heads, paint to give them intumescent (fire-protectant) The columns were the required fire resistance. which not only gave them encased in concrete and adequate fire resistance, but also stiffened strengthened them to support the new loads imposed by the new mezzanines inserted between the floors. the Originally it had been proposed to underpin columns, thereby increasing their load bearing whilst reconstructing the ground floor capacity, slab at a lower level. However the discovery of mosaics, which formed the flooring of the the cloisters, resulted in the underpinning of Figure 1. Installation of a mezzanine level. Figure . 2 . 2

The Victoria and Albert Museum, Museum, and Albert Victoria The Project Art Building of College Royal Lyon Peter Architect, Austin-Smith:Lord to were commissioned in 1992 Austin-Smith:Lord conversion of the Royal prepare designs for the College of Art Building following a recent Hopkins and a number of masterplan by Michael partsfeasibility studies. The of the Museum and the East Wing affected were the North Wing, just south of the RCA building. The North Yard, to total area for the RCA Project will amount 5320m The aim of the project was to bring together all The aim of the project was to bring together of the Museum’s conservation sections which and were widely distributed around the Museum, and Osterley Park Kensington the West The outstations, in a new custom-made facility. project also involved moving curatorial, research and educational departments, as well as administration offices. It was to be carried out in a rolling programme of three distinct phases. The building is Grade I listed, and English Heritage were involved from the outset. The first section of the work entailed Subject to refurbishment of the North Wing. the budget, the Museum wished to maximise potential area available. A strategy was developed, supported by English Heritage, to 1), insert mezzanines in the RCA building (Figure increasing the amount of usable space and increasing the internal area by 50%. A new building in the north a futher 580m yard added The North Wing, built in 1862, was still veryThe North Wing, much as described at the time. Load bearing brickwork skin and cast iron columns supporting wrought iron beams with concrete floors. The pitched roof was formed trusses, by timber rafters with cast iron and wrought iron ties connections, surmounted the ventilating by lantern. facing north The large windows, and south, afford high levels of natural light and the spaces ideal for conservation work. make The windows (up to 6m by 3m) had been much altered and the roof was in such a bad state of repair that daylight was visible from within. Photography by V&A Photographic Studio Photographic V&A by Photography of objects which are particularlyof objects which are fragile and environment. One of require a more controlled for the treatment of these rooms is used portraitphotographs and miniature paintings treatment of oriental and the other for the The Conservationobjects, including scrolls. of the mezzanine above Mounters occupy most enabling objects to be the main paper studio, mounted after treatment without having to leave to the room. All these sections have full access the space and equipment. to In the new studio there was sufficient room there allocate space to specific functions so that are now clearly defined areas for encapsulating, washing or pressing objects. As the project to be proceeded, some of the original plans had adjusted as space was lost to plant rooms, service trunking and ‘phantom’ measurements. The resulting restricted access to some areas as meant that in retrospect, some facilities such been the materials store and wet area may have better sited elsewhere. A three dimensional model of the building would have been very useful in determining the ergonomics of the and Books. space allocated to Paper POSITION ONLY Figure 1. The new Paper Conservation Studio. 1. The new Paper Figure

The School of Painting vacated its studios in the The School of Painting Artold Royal College of in 1991. Shortly after, of the building, Paper pending the refurbishment Conservation a had the opportunity make to temporary work space in the building for two in wallpaper conservation.students specialising marvellous;The extra space was to we were able treat large format objects and decide what types of furniture and features would work well in a appreciated the creative new studio. We the atmosphere which still hovered between were historic, paint-daubed walls and while we sorrysee this go, the transformation to of the building’s interior into light, spacious studios The best feature of the and offices is spectacular. old building – the north and south light sources is – has been retained and a new atmosphere evolving as people get to know the building. Cracks Over the Papering The old studio had been filled with large benches, tables and a wash table which were necessary for treating large, two dimensional the room’s restrictive works of art. However, size size, access and wedge shape dictated the Some and quantity of work that could be treated. of the furniture was on wheels but the limited floor space did not allow much flexibility and the furniture had not been designed to fold away. conditions in the old such cramped With room, functional work areas such as a wet area and a drying and were area overlapped not clearly defined. While staff juggled and made do, it had become difficult to initiate students and interns in good working practices without the proper space and equipment. Designing the New Space Access to the new space is good, having both stairs and a goods lift which large in objects and trolleys of work can be delivered directly into the main Paper Conservationare two smaller studio. There studios off this main area for the treatment Merryl Huxtable Conservation Department Conservator, Senior Paper Conservation Studios Conservation Time for a Change - The New Paper The New - for a Change Time 18

Conservation Journal July 1996 Conservation Journal July 1996 17 was mainly concentrated on We discussed what We Other matters provided an agreed framework work practices.

percentage of a conservator’s time should be on” object treatment and dedicated to “hands feasible to have certainwhether it would be days during the week as “Conservation Days” when the Department effectively closes its doors to the solely on object outside world to concentrate at how enquiries also looked treatment. We could be dealt with in a uniform and efficient way and debated the issue of whether private work should be allowed to be performed in to studios, outside working hours. These proved the be emotive issues for some members of Department, which would require a change in the Department’s culture to be resolved. Environment Better Working the maintenance and cleanliness of the studios be and we identified basic standards that should the adhered to. As with most large organisations, same issues are often addressed from different angles, and the majority of our recommendations on this topic have been implemented in the new studios. Common Space for the use of shared resources such as the possible to eliminate coffee lounge and library, conflicts in the future. concerned with how we communicate externally and identified the need for focused and informative handouts. Aside from agreed studio maintenance schedules, little as yet has changed following the I submission of our recommendations. However, am grateful for the opportunity to work with people whom I would not normally have the opportunity a great insight to. It also provided for all concerned issues facing other into the this partysections in the Department. Forming shows a positive step by the Heads of Groups to improve both how the Department runs and the environment in which we work. Hopefully when resources are available – both time and money – the other issues that we raised can be addressed and resolved. The most sensitive area of our brief proved to be The most sensitive area that of Photography by V&A Photographic Studio Photographic V&A by Photography any and focused primarily on We started to tackle these subjects We POSITION ONLY

‘other’ issues. by asking all members of the Department for the responses we their input and opinions. From received it became clear that we had some sensitive subjects to consider. Communications information technology and ofﬁce automation and how the Department could best harness the it. The resources that it already had available to discussion ranged from how to structure network drives and identifying the need for “voice mail” to where to put the photocopier. 1. The Conservation coffee lounge. Figure New Working Practices - Could we do it we do - Could Practices Working New that? like Matthew Smith Conservation Department Officer, Senior Administration within the The move to new accommodation an opportunityMuseum was seen as to review how the Department currently and operated how it could be improved. A working party of three conservators – Marion and Fi (Paper) Webber Pauline Kite (Textiles), and I were chosen to look at Jordan (Ceramics) – this issue. The work done by this party applied to the whole Department and not solely those sections that were moving into the new building. areas were identiﬁed for examination: key Five the communications, work practices, improving working environment, common space Photography by V&A Photographic Studio Photographic V&A by Photography

carefully co-ordinated with the roof trusses and structure. were demolished Outbuildings in the North Yard was double height, studio and a new single story, constructed. 2) A new stair and lift tower (Figure access has been created to provide easy disabled to the lecture theatre and for students attending the courses run jointly by the RCA and the V&A. The layout for each studio and laboratory took into account the re-use of existing equipment, working practices, specialist extraction, the supply of specialist gasses, reverse osmosis task lighting, black out facilities and water, to and fire detection systems. Finishes smoke benches and floor are resistant to mechanical and chemical damage, surface textures and colours designed to minimise glare colour cast and reflection. Floors in conservation areas are generally finished in robust vinyl sheet, with a non-slip finish. The curatorial and administrative offices are fitted with heavy duty carpet tile of low electrostatic properties. The first section of the RCA project was completed continues and occupied by Christmas 1995. Work and the refurbishment of the in the South Wing is to commence shortly. Wing West POSITION ONLY POSITION Figure 3. Work progressing on a mezzanine level. 3. Work Figure Photography by V&A Photographic Studio Photographic V&A by Photography POSITION ONLY Figure 2. Construction of the new liftFigure tower. column bases with a grid of mini bored piles with a grid of mini column bases were recorded; mosaic. The mosaics through the of modest were incomplete, and since they be that they should the Museum decided quality, floor finishes. and covered by new protected the original were remade to The windows pattern, but with concessions to modern of the Museum. standards and the requirements specially manufactured by The glazing units were and incorporated uv absorbing glass. Pilkingtons originally to clean the brick It had been intended of English Heritage, only work but, on the advice repair and lime mortara limited process of repointing was carried out. The whole façade emulsion to conceal was washed in a soot/water repairs and alterations in the effects of the many 1863. A new insulated roof the brickwork since slate and lead deck was constructed with Welsh work, with a continuous louvred lantern at the ridge to match the original. of English Heritage and the the agreement With Museum, all the new interventions in the North modern were to be In rather than pastiche. Wing the conservation studios all of the mechanical ventilation systems, the specialist extracts, lighting, cable trays and conduits and the emergency systems are fully exposed and 8

Conservation Journal July 1996 Conservation Journal July 1996 9 formaldehyde many other precautions rated and in the manufacture of the furniture. were taken Studies were also carried out to determine the height for the benching optimum standard working in the section heads and work tables, resulting heights. Where users agreement on three different to carrystand or use a high chair the out tasks, decided upon, 750mm for height of 915mm was work and 790mm in computers or microscope Conservation the to match and Tapestries Textiles height of the existing furniture. with the A number of worktop types were developed a Firstly section heads to meet various requirements. (the laminate-faced work top with beech lipping, Conservationlipping was left as unsealed in Paper a the edges are used for pasting out repair tissues), work chemical resistant work top, and a load bearing top for Sculpture Conservation. A mushroom beige coloured laminate was selected colour for the worktops in most areas, because this The caused minimal glare and is restful to the eyes. fixed benching, mostly running under the windows, was designed primarily for undertaking desk work, leaving the work tables free for the conservation under- process. The fixed benching had open metal drawer frames to accommodate movable cupboards, The units and tool pedestals, aiding flexibility. worktables were designed with the same flexibility, of the some with light boxes and castors and many work tables were powered. Sinks were integrated into the runs of fixed benching The and designed to suit the space and the brief. sinks were manufactured either from chemical the resistant stainless steel or polypropylene and by water requirements to each sink were specified the section heads. The Museum’s policy regarding the storage of objects meant that the object stores could only be manufactured from inert materials. All the object stores, plan chests and some of the materials stores were designed down to the last detail. The units were made from mild steel with an epoxy powder coating and were fitted with a special silicone seal to prevent the infiltration of dust. The chair type was given careful consideration by the Museum. The chair selected was available in different height options, all having adjustable seat heights and back rests. This flexibility allows the conservators to adjust the chair to give optimum support whilst working on objects.

Designing the Interior the Designing Elaine Clerici Austin-Smith:Lord Designer, six of the most highly The complexity of moving serviced in the Museum to a new and equipped areas The task location cannot be underestimated. understanding on all sides and required patience and all those involved. The close co-operation between studio laboratorysections requiring new space in the were Book Conservation,first phase of the RCA project Conservation and Science which were to be Paper Sculpture Northmoved into the listed Wing. Conservation and Tapestries Conservation and Textile the new purpose-designed were to be moved into section The head of each building in the North Yard. was interviewed on the intricacies of their section. about conservation how methods, They were asked the section would operate in the new location, Health and Safety regulations, on working practices, benching and storage needs, servicing, as well as specialist water requirements. The furniture, equipment and fittings to be moved to the new location were all carefully surveyed and servicescheduled. Dimensions were listed as well as requirements and any specialist services. New items to be purchased were then added to the schedules. The areas were planned out, the plans were them discussed with the section heads, who took back to their sections for comment and modifications were made as required. The process signed was repeated until the plans were agreed and The studios were designed with serviced, fixed off. benching along the walls. The services contained in voice and data) were fixed to the trunking (power, of worktables Pairs the top of the bench at the rear. were positioned at right angles to the fixed benching. This configuration maximised the daylight falling onto the work surface. The studios also needed to be flexible to accommodate very large objects that occasionally required work so the furniturethe in centre of the studies was designed to be mobile. areas were provided off the main space for Work highly serviced specialist equipment or equipment working at high noise or vibration levels. Specialist consultants were brought in to advise the design team and heads of sections. These areas were then designed in detail. The new laboratory furniture and storage were custom designed to meet the brief and the Museum’s policy regarding materials used in areas where objects may be present. Materials could not contain any substances emitting gasses that harm objects. The MDF used in the laboratory furniture was zero Photography by V&A Photographic Studio Photographic V&A by Photography

but it is still troublesome because the Gamble troublesome because but it is still big arc across one on the site in a room impinges The 3). of the corners rectangle (Figure of the veryhave managed the design architects well in a difﬁcult area. in the ideals have been achieved Many of the in the studio is adequate new studio. The light area where the except for the polychrome are a little on the small side. The skylights proving to be veryextraction room is already of the fumes away from the rest useful and keeps is verythe studio. The access good and the ceiling height is correct. The only really annoying thing is a strange vertical ladder to a storage area use. The size of the crane that is impossible to area could both have been room and the storage but space is a constraint in central larger, London. The polychrome room needs climate and the control, but that will happen. The crane studio equipment are coming soon. The X-ray has a very pleasant ambience about it and is extremely practical. I must thank all the people concerned who have achieved this work space. The design process result has been a little traumatic at times but the is most certainly good. Photography by V&A Photographic Studio Photographic V&A by Photography POSITION ONLY

Figure 4. The new Sculpture Conservation Studio. Figure Figure 3. The roof over Sculpture Conservation, Figure showing the Gamble Room arc.

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Conservation Journal July 1996 Conservation Journal July 1996 15 object and that 3 sculpture studio? It is a sculpture studio? only of the question not but also variety of materials, of the the sheer scale the V&A’s objects in On many collection. at occasions, I have looked an object and immediately startedto look for to somewhere accessible of work on it. The variety the materials and conservation techniques three dictate a minimum of rooms in the studio, excluding an office, storage room. areas and an X-ray are Each of these rooms required for different types of objects and for different processes. The organic and polychrome room needs to be small enough to control the environment but large of the some enough to take larger wooden objects such had a more powerful X-ray head was a priority. had a more powerful X-ray The site for the proposed building was the one I knew well – the pickling shed and the stained These would be glass studio in the North Yard. 1). It has demolished, giving a clear site (Figure one drawback. It is surrounded on all sides by high walls. The work area would have to be top lit by daylight but there would be little problem from solar gain. The planning had the benefit of a clear site without the conflict of other studios as the life size crucifix which is in the sculpture the collection. There is a need for a room for for wet, the dusty and the smelly jobs, a position the stone saw and somewhere to lift the heavy also required a large, adaptable room objects. We where most of the conservation could be carried an ‘A’ out, big enough for the occasional use of be well frame crane. Each of these rooms should lit and have good access and should be high with a loaded stacker enough to be able to take have its mast raised. One of these rooms should so that uv photography facilities total blackout can be carried out. includes technical The work that we undertake, investigation which has always been restricted by and for uv photography. the access both for X-ray a 1.5m A room that would take POSITION ONLY POSITION Figure 2. The organic and polychrome room. Figure the quality of light in the sculpture studio and adjustable tables in the furniture conservation new rooms. I went to Liverpool to look at the Railway building studio in the Great Western which houses sculpture conservation for the National Museums and Galleries on Merseyside which was planned by John Larson and Anne Brodrick. The rooms were set out for large objects on the ground floor with good access good and cranes over the studio. The height was would but the light was not as good as my ideal have been. There was a division for air abrasion and other unpleasant conservation processes. on small objects and microscope work Work were carried floor with access to out on the first a goods lift. me as it was a The crane interested double beam with four independent lifting points. This would allow heavy objects to be manipulated from four points with great I have visited other studios when I can accuracy. as it has been a general interest of mine for a Gallery sculpture studio has long time: the Tate the space, the light and the height of which I have always been envious whenever I have visited. I felt that we should approach our new building from the ideal. But what was the ideal for this Photography by V&A Photographic Studio (covers), palampores

bedhangings and some large costume projects; it bedhangings and some also offered conservators a rare chance to work without interruptions.on practical projects provided opportunitiesThree locations also for students and interns to benefit from three very and areas of different working environments expertisewithin one institution. The disadvantages were obvious. It was often there difficult to maintain unity within the team; were frequent problems with communication; albeit an idyllic setting staff working at Osterley, the and one of the most beautiful studios in were often isolated and felt out of touch country, into with the main focus of the Museum. Coming the Museum for meetings and seminars was time-consuming and this problem was magnified when tapestry conservation was forced to move but to Blythe House. Equipment was duplicated, to in many cases objects had to be moved offsite facilities such as the advantage of specialist take washing floor or the vacuum hot table at Osterley. The primary concept behind the planning of a three new central studio was to integrate these separate areas and provide a facility worthy of both an unparalled collection of over 100,000 a highly textiles from many different cultures and skilled and dedicated team of conservators. In the initial stages and in consultation with at the conservators, the designers looked essential functions which are necessary for a textile conservationThese included the studio. separation of wet and dry including a areas large flexible spaces purpose built washing floor, which could be used for a variety of activities, defined areas for the use of dyes and solvents; efficient fume extraction, adequate storage for materials and dummies, and enough space for each conservator work not only on a to embrace variety of textile types but also to have individual areas for paperwork. there had to be In addition enough space for filing, slides and reference material and improved access to computer facilities. carriedout on a frame and needs a different kind on veryof skill. Osterley concentrated large projects such as Indian Photography by V&A Photographic Studio Photographic V&A by Photography

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Figure 1. The new Textiles Studio. 1. The new Textiles Figure Until December of last year, Textile Conservation Textile year, Until December of last sites. The main studio occupied three separate of the lecture theatre was situated at the top for some formstairs and had been used of many years conservation activity since 1909. For and a curious Artit was known as the Workroom and textile repair was combination of sculpture carriedout side by side. In the early 1960s, tapestry and carpet conservation to the moved and remained there until the North Yard beginning of 1993 when the studio was RCA demolished to prepare the site for the new building. In the interim period, tapestry and carpet conservation moved to temporary A accommodation at Blythe House, at Olympia. under third studio was established in the 1970s the direction of Sheila Landi, former Head of Conservation. was housed in the This Textile House in converted stable block at Osterley Park London and was speciﬁcally designed for West the conservation of very large objects and long term projects. had The separation of activities into three areas in some advantages. Specialist skills developed dealt each of the three studios. The main studio with an enormous range of smaller objects, textiles encompassing costume, accessories, ﬂat and (up to a manageable size) and ecclesiastical conservation archaeological textiles. Tapestry inevitably involves very long term work, generally Lynda Hillyer Lynda Conservation, Conservation Department Head of Textile Textile Conservation Studio Conservation Textile 10

Conservation Journal July 1996

Conservation Journal July 1996 Photography by V&A Photographic Studio Photographic V&A by Photography 11

The finished studio is architecturally beautiful. It studio is architecturally The finished space with 13 and exciting streamlined is a clear, this gives us a team of nine With workstations. contract workers to include students, the scope and interns can, from can all benefit, as we who observing range of different conservaton a whole The on in one location. projects being worked is not only visually ceiling height of 4.5m when assessing verystunning but a real bonus store replaces an large objects. The mezzanine existed at Osterley – the invaluable facility which hanging on the hoist ability to view an object it from a distance. The from above and assess complemented by a large washfloor will be lightweight gantry which will enable us to reach and tapestries during the centre of large carpets all of the equipment is wetcleaning. Almost infinite variety of flexible mobile, giving us an to space which can be used in any way according designed for the demands of the project. Tables the conservation of large objects are adjustable be in height for those occasions when it may easier to stand when working. Each conservator their has a much more generous space around workstation and tables can be moved into of different positions to facilitate the addition frames. moving Moving into a new studio is a bit like house. Not everything is exactly as we imagined the it would be and as we continue to work with new studio we become more conscious of adjustments that still need to be made. However, for the first time in many years the textile conservation team is in one location. This is a wonderful new freedom and is already releasing look forward to the many fruitful ideas. We opportunities which this new integrated studio will produce. Photography by V&A Photographic Studio Photographic V&A by Photography POSITION ONLY Figure 3. The new long-term project room. Figure POSITION ONLY POSITION Figure 2. The dyeing area. Figure the The initial layout of the studio was possibly least complex part of the planning. The space allocated was the largest that could be offered was and had easy access. A ground floor location out of essential for moving large objects in and the the studio. There was little debate about floor location of the main functions – the wash the and wet area, the main working areas and separate area for dyeing and the use of solvents. Three major difficulties emerged at this stage. space The studio did not provide enough wall for the construction of sidebenching (for paperwork and the use of computers); there was not enough storage for materials and haberdashery and there was the major question of how we could accommodate the dealing amalgamation of work from two studios primarily with very large and long term objects space (some projects at Osterley utilised table Extra for a number of years rather than months). wallspace was provided, with some reservations, by the construction partition of a low dividing the main working space into two areas, one designed to deal with larger objects and housing two tapestry mobile tables; the frames and large other designed to cope with smaller objects, equivalent to the function of the former main studio. Extra storage space was negotiated in a room opposite the studio which is fitted with an object store and roll racking for support fabrics. Additional storage for haberdashery was also achieved by utilising a mezzanine area. We obtained a second, smaller studio on the fourth floor as a very necessary overspill space for projects which may involve the concurrent conservation of large objects. of a number sculpture conservators were waterproof. the first murmurs of the From building of a new studio, we began to think very seriously about the design and what we had seen of other workshops. a courier trip to Fortunately came at the right New York moment and I met Lisa Pilosi in our studio. who had worked She showed me round the newly refurbished conservation department at the Metropolitan Museum. She also introduced me to Jack Soultanian, Head of Sculpture. things immediately caught Two my attention: the perfect the surrounding ground. All trolleys had to go cursed by object handlers up a ramp which was at this point that I joined for two decades. It was for 15 years in the the Museum and I worked referred‘pickling shed’ as it was to. I have never been certain what was pickled, maybe someone There was however a lead lined knows better. stretched the whole length sink at this time that of the room. An extra room for polychrome work was obtained by converting a nearby gentleman’s room was The organic and polychrome lavatory. very awkward to work in. The roof sloped to a low point so that only a small part of the floor The space could be used for objects on easels. to environment of the room was impossible glass control as the wall joining it to the stained the rear of the studio was difficult to seal. At was pickling shed there was an open yard which a later roofed over with clear plastic and also had small shed with extremely thick walls which was meat hooks in the ceiling. This meat store used for the storage of materials and equipment. a wooden shed was built to allow air Later, abrasive and other hazardous conservation activities to be carried out. None of the rooms were interconnected and it was obligatory that POSITION ONLY

Figure 1. Site of the new Sculpture Studio before construction. Figure Head of Sculpture Conservation, Conservation Department at last. It is are in our remarkable new studio We as if we have been here for strange, but it seems space Somehow we have already filled the ever. even other people. with large objects and Metalwork Conservation has already used our lacquering a large bronze extraction booth for new The silver wine cooler. and cleaning a large compared to the studio is miraculous Sculpture Conservationaccommodation that has had previously. In the early 70s, sculpture was conserved on the Hemple, top floor of the conservation block. Ken to have who was then head of the section, used all the marble busts carried up three flights of a concrete stairs to be cleaned. There was Jim ground floor shed occupied by two masons, Ellis and Bob Barns (whose father had helped Barnsbuild the Museum). Legend has it that Bob at the end of the room each his breakfast cooked day and did all the large masonry jobs in the safety same room – attitudes about health and have changed a little since then! As a young John Larson began to work in this conservator, as room because of the easier access. Later, to the Acting Head, he brought the studio down quadrangle behind the Gamble Room. The from studio was long and thin and slightly raised Conservation’s New Studio New Conservation’s Richard Cook The Hole in the Ground - Sculpture the Ground Hole in The 14 Photography by V&A Photographic Studio

Conservation Journal July 1996

Photography by V&A Photographic Studio Photographic V&A by Photography Photography by V&A Photographic Studio Photographic V&A by Photography 13 Figure 3. Emergency shower. Figure POSITION ONLY POSITION ONLY POSITION

Figure 2. Bench work area. Figure For us – this time in the guise of the computer. many years now I have been requesting the provision of a fast and effective computer need a network to spread the network. We information we generate across the whole Museum and beyond. There are the obvious ‘customary’ as this Journal techniques such in on which we can pass the word on. However, another level, and with a more rapid-response, modern computer network we have the ability to communicate on a one-to-one basis at minimal cost over large distances. So, we have the internal computer network that allows us to rapidly spread our reports the people who to need them and also maintain our own internal information Beyond the management systems. confines of the Museum we do have an obligation to a much wider audience and it is our intention to fully utilise the Internet to allow access to at least some of our files. This is most the form of access to the V&A’s to take likely home page and then into copies of the abstracts of our reports. I have attempted to give a brief overview of the moves with indications of the gains involved. The path of these changes is not always smooth but always interesting. Photography by V&A Photographic Studio Photographic V&A by Photography set-up. A period of around three months has set-up. A period of around been necessary to ‘bed-in’ and develop some of the new patternsbe of work required. There will of a furtheran estimated period three or so months before everything – both the building – are functioning to and the new work practices an acceptable standard. interesting partThe future is the most of this of have established a core group project. We up knowledge and scientists who are building expertise about the collection and about how to now is best store and display it. The big question this how to effectively and efficiently disseminate information. Once again change is thrust upon

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Figure 1. The X-ray room during construction. 1. The X-ray Figure

The name of the laboratory to may be unfamiliar the memoryyou. It is dedicated to of Michael appreciation of his selfless Snow (1932-1990) in support which enabled the Museum to start the reconstruction of the Research and Conservation of Art centre. for the Science Group have The new laboratories time since the Conservationenabled, for the first Department was formed 1960s, all the in the the same geographical area. scientists to work in spread In the past we have been separated and site of the Museum across the South Kensington on up to five sites, separated by stairs and corridors. Bringing us all together gives a valuable opportunity to learn a lot more from the each other and the total will be more than sum of the individuals. the Based on the ground floor (level one) of refurbished building, we share a corridor with the Museum’s Photographers, Sculpture Conservation and so we Conservation and Textile feel very much involved. The accommodation is large, with separate areas for our desk-based work away from the bench based work; a could not be division of tasks that, until now, achieved. The design of conservation studios is now of a considered to be more complex than that hospital. Such is the complexity of services required that detailed planning and detailed It is the post implementation is a necessity. the installation snagging that is proving to be most personally testing period. The ‘tweaking’ and minor modifications that are required to get the accommodation fully functional is time consuming. Enough of the building – let’s turn our attention Having come from separate to the staff. laboratory space requires a spaces to one large change in many of the work practices that individuals develop over the years. Breaking down these established work practices is painful for all concerned, after all we do not willingly volunteer for change – it is usually thrust upon us. This again causes individual frustrations as systems must be adapted to encompass the new Graham Martin Graham Group, ConservationHead of Science Department The Michael Snow Laboratory Michael The 12

Conservation Journal July 1996