Where did the money go? Conservation of collections in HLF-funded projects
Cathy Proudlove, Norfolk Museums and Archaeology Service

Abstract
The National Lottery completes its first decade this year and with it the Heritage Lottery Fund, which includes conservation of the national heritage among its strategic aims. Financial support from the HLF has benefited collections care and conservation substantially, both directly, through remedial conservation and housing projects, and indirectly, through building developments that provide a good environment for collections within sustainable institutions. The presentation will discuss both types of project, and suggest what lessons potential clients should draw from HLF’s first decade.

Keeping it fair: commissioning conservation at Historic Royal Palaces
Sophie Julien-Lees, Historic Royal Palaces

Abstract
As the team responsible for the care and conservation of collections and interiors at five of the unoccupied royal palaces, Historic Royal Palaces’ Conservation and Collections Care team has over the years been developing its approach to the commissioning of specialist conservation projects. These range from small to medium-scale projects which form part of our rolling conservation programme, to work that takes place within the context of major capital developments, such as the re-presentation of Kew Palace. The systems we use to commission conservation work have to be carefully designed to enable work to be done to the highest possible standard, whilst being consistent with the organisation’s working procedures. Historic Royal Palaces also has experience of being commissioned to undertake conservation projects through the commercial activities of its textile conservation studio. This presentation looks at how the process works from the client’s perspective, but also that of the contractor (incorporating the views of some of our own contractors), and the challenges and opportunities which commissioning presents to our conservation programme.

Access today and preservation tomorrow: resolving conflict through project working
Jane Rowlands, Glasgow Museums

Abstract
Glasgow Museums, constituting thirteen museum sites and run by Glasgow City Council, has one of the great European civic collections. Staff resources are under pressure with the development of several ambitious projects while maintaining an exhibition programme and increasing public access to the collections. In order that projects, both large and small, can be completed successfully, careful planning is required and multi-disciplinary teams need to work together to develop and deliver projects. Potential conflicts between access and preservation can be resolved by the team. Through consideration of examples of project working, the presentation concludes that staff and visitors benefit, and projects developed in this way better engage and communicate with the public.

IFACS and 40 years’ experience within the changing project culture both in the UK and abroad
Richard Pelter, International Fine Art Conservation Studios

Abstract
Over the last four decades, the founder, owner and Director of International Fine Art Conservation Studios Ltd (IFACS), Richard Pelter, has seen significant changes within the heritage and fine art industries. In order to address these changes, the company has had to diversify and redevelop more than once, and its conservators have had to evolve into an extremely flexible workforce. This presentation will look at the conflicts between professional demands and working realities, in relation to the changing dynamics of the 60s and 70s, the golden age of the 80s, the evolving 90s, the early 21st century and the future. Using examples of projects in the UK and USA, the presentation will include a discussion of:
* Meeting demands for cost-effective expertise;
* The changing conservator-customer relationship;
* The changing economic landscape;
* The changing cultural environment.

"As others see us" - a call for conservators to be included in strategic planning of major projects
Helen Hughes, English Heritage

Abstract
This presentation examines how conservators regard themselves and how they are perceived by other museum and building professionals. A conservator’s combination of theoretical knowledge and ‘hands-on’ skills are often overlooked. Rather than being regarded as a professional specialist who could provide valuable input at the beginning of a major project by highlighting value and minimising risk, conservators often find themselves working as ‘technicians’ to briefs and programmes planned by others. It is suggested that conservators need to have greater self-respect and a louder voice if they are to command the respect of others, to develop professional recognition, but more crucially, to ensure the preservation of our cultural heritage.

Expertise, gender and credibility
Jane Henderson, Cardiff University

Abstract
Theories from psychology and communication studies can help conservators to examine the impact of gender, the expectations of others and the components of credibility. The theories of ‘language expectancy’ and ‘high other benefit compliance’ are used to discuss the way that some people expect women to communicate and the impact of this in a situation where expectations are breached. Having an awareness of some of the issues that affect persuasiveness will allow conservators to analyse puzzling responses and provide an opportunity to adapt their image or style, if they choose to do so.

From back-bench to cabinet: the politics of projects and the role of the conservator
Janet Berry, Centre for Sustainable Heritage, University College, London

Abstract
This presentation examines the relationship of the conservator to project work, using a theoretical approach. As the nature of museum work has changed, so has the role of the conservator. However, as other speakers will demonstrate, the perception of the conservator has not changed accordingly. This perception affects the way in which project teams are planned, and can marginalise the role of the conservator. The presentation investigates current project management theories, and considers how an understanding of these can empower the conservator within a team, moving the conservator from the back-bench to Cabinet.

Out with the old....conservation and the clearance of displays and exhibitions
Hazel Newey, Science Museum

Abstract
Before new exhibitions can be installed in museums, there are usually old displays to be removed. At the Science Museum in the past, conservators took a major role in planning clearance projects and took part in the actual packing and relocating of objects. They also trained team members in basic collections care techniques, and developed procedures that reduced the frequency of object handling. Following a recent review, the Museum decided that in the future the clearance of galleries would become the responsibility of a different group of staff, with conservators acting as consultants and trainers. This presentation will illustrate some of the procedures developed, and review the first months of the new system.

Pass the parcel - archaeological archives, their creators and keepers
Irit Narkiss, The Manchester Museum

Abstract
The starting-point of this presentation is the often difficult relationship between archaeological conservators, and field and museum archaeologists. This relationship centres on the transfer of the archaeological archive, i.e. finds and records, from excavation to museums. The picture which emerges is one of externally imposed change, financial pressure, professional insecurity and lack of political clout. In this climate of uncertainty, both conservators and archaeologists struggle to survive and define their own roles, to the detriment of both care and use of archaeological archives. Only through greater mutual understanding and by fostering co-operation within the sector, can issues be resolved and the position of archaeology strengthened both politically and publicly.

SWOT at YAT (No flies on us!): project-based conservation at YAT
Julie Jones, York Archaeological Trust

Abstract
Many archaeological conservators now operate within the developer-funded archaeological market, driven by the local planning instrument Planning Policy Guidance note 16 (PPG16). There are other sources of income too, ranging from HLF-funded museum-based projects to EC-funded collaborative research. Some of the recent changes to the way in which archaeological conservators make their living are positive and productive as new opportunities are embraced; other changes are having a more negative effect. This presentation will set the scene from our perspective as conservators working within an independent regional archaeological field unit. A SWOT-style (Strengths, Weaknesses, Opportunities, Threats) analysis of the current position will be presented and some ways forward to improve the situation will be suggested.

V&A and BM - a new era; sistership and collaboration
Birthe Christensen, British Museum, & Sandra Smith, Victoria & Albert Museum

Abstract
The expectation of conservation within the National Museums is changing. With the emergence of a project-based economy, conservators are no longer simply providing expertise in conservation, but are expected to contribute to securing external funding and delivering a wide range of projects. A balance between the need for diversely skilled staff and for specialists is required, a balance which needs to be reflected in professional training and accreditation. Conservation Departments within National Museums are increasingly fostering partnerships and sharing skills initiatives and equipment to develop and raise professional standards. This new era provides opportunities for the roles and relationships of conservators in National Museums to be explored.

Planning and organising a collaborative research project
David Howell, Historic Royal Palaces

Abstract
Recently an opportunity arose for Historic Royal Palaces (HRP) to carry out a research project in collaboration with European partners, including universities and heritage organisations. The project, known as ‘Monitoring of Damage to Historic Tapestries’ (MODHT), was of interest because HRP cares for a large collection of tapestries. It also offered the chance to work in partnership with some of the foremost people in the field. The opportunity for funding from the European Commission enabled the employment of staff and purchase of equipment.

ss Great Britain: developing, managing and implementing an innovative conservation design
David Watkinson, Cardiff University

Abstract
The ss Great Britain is the world’s first wrought iron screw driven liner. The ship lies in the dry dock originally constructed to build her in 1843 in Bristol. The conservation plan for the ship and yard is supported by HLF. Its design involved many specialist consultants, whose work identified the importance of the ship, established its condition and examined the corrosion processes taking place on its hull. This information supports a novel conservation approach involving desiccation of the environment around the hull. Clear conservation goals have allowed the various professionals involved to fine-tune their design briefs. Implementation of the conservation plan is progressing well and is being monitored and aided by a project manager.

Everyone wins at Shelburne Museum: grant funding conservation in the US
Kirsten Kruse, National Museum of Science and Industry (formerly Shelburne Museum, Vermont, USA)

Abstract
Shelburne Museum has been successfully applying for grants from both government and private institutions for over twenty years. These grant-supported projects often supplement the full-time conservation staff, keeping the small conservation department at Shelburne Museum flexible and responsive to the collection’s needs, and enabling the Museum to achieve important milestones set out in their Long Range Conservation Plan. These grant-sponsored programmes not only benefit collections care at Shelburne Museum, but they also provide excellent training opportunities for new conservators. The significant number of conservators working in the field today who were trained at Shelburne is a testament to the success of these grant-funded projects.

Building projects in the National Trust: developing conservation and conservators
Katy Lithgow & Fiona Macalister, National Trust

Abstract
Every year the National Trust has several building projects running simultaneously and the nature of the organisation enables experience to be shared and methods of best practice to be developed. This presentation will describe the comprehensive guidelines and methodologies that have been developed within the National Trust, the roles of conservators, what works well, and the difficulties that still need to be addressed. In particular, opportunities for career development have emerged through the development of the role of Project Conservator. This embraces the facilitation of the project as a whole, as well as all aspects of conservation.

Planning for projects, the role of the conservator
Jonathan Wallis, Derby Museums and Art Gallery

Abstract
In the current financial climate, funding for conservation and collections care for public collections is becoming increasingly difficult to find. There are, however, many funding opportunities for projects that meet the Government priorities of education and access. It is as an integral part of these projects that conservation can find a natural home, forming part of the educational output of projects. The project culture that exists in heritage is here to stay. To ensure the survival of collections, conservators need to be there from the start of the project and their voices need to be heard.

Project planning, progress and delivery: communicating conservation issues in a building project
Siobhan Watts, National Museums Liverpool

Abstract
The refurbishment of Liverpool Museum and part of the Walker Art Gallery were the main components of National Museums Liverpool’s HLF-funded “Into the Future” project. Building work was undertaken at both these sites to create new stores, galleries, and offices. Conservation input was important with regard to the new air-conditioning, lighting and storage systems, as well as for protecting collections from the impact of the building works. This presentation discusses how the project was organised, and evaluates the input and role of conservation at different stages.

How to survive the project culture
Allyson McDermott, Allyson McDermott Conservation

Abstract
Large-scale, site-specific, conservation projects pose many new challenges for the conservator. Little in our experience or training prepares us for the ‘realpolitik’ of the construction industry and the commercial need to manage risk and responsibility. This presentation will endeavour to provide a viable methodology for the successful management, implementation and recording of these projects, including the use of a database to make documentation simpler and more accessible. It will also introduce some of the problems of sustainability once a project is complete, and present a risk/benefit analysis of visitor access and media interest during high-profile projects.