1 10 4 https://d1y502jg6fpugt.cloudfront.net/21127/archive/files/c839065b5cfc1e3a017dcb1d229d12e2.pdf?Expires=1776902400&Signature=gvIkXbBol145zL%7EN187jzYg2O7SslDnsUO1lBI8w76nQ0Xmo3M-PJ4WJCFcu%7E4MLhsMSq3LGF5Ybf9C0cOuJyQDeu1EHDy%7E1C8YE63%7EJvTuueSnl5o7E6xcmrG9LyukseWjxzPw8jk5vurDUE7%7EyLh6fYLdtM9H8V%7EqOiTkMEd8apfuuXovKHSjw3onwGDwzsv2f6wUTTY%7ECYazcUMdwwlDRs5kzhNeAhz28rujVPQxhYFUYSAGe2HQFstyKG379IyPGtVjcuZjTj2roLxGN7LOWd3Qxc6ol5rWYCEbiQiUIFPyKWE5Q336uVN-bEwYWPHmcSlKYZ7VvlNn%7ELV9kDQ__&Key-Pair-Id=K6UGZS9ZTDSZM f5ffbfa16324b98cecae1e9938596219 PDF Text Text Big Stuff 2010 “Volunteer Training – a Success Story” Presented by Brian Barker (Project Manager - Imperial War Museum Duxford) �1983 – Just Arrived at Blackpool Airport �Year 2000 – indecision ! �January 2006 – Too late, only option - scrapping �A Plan is Born! • June 2000 The BAPC held a ‘Survival Strategy Meeting’ at IWM Duxford. (Attended by RAeS, HLF, Transport Trust, DCMS & 17 Museums) • 2001 HLF agree to BAPC & IWM Duxford forming a joint training venture and applying for a grant. • Feb 2002 BAPC Steering Group appointed to develop and manage the HLF application. • September 2004 HLF Bid approved. • June 2005 National Aviation Heritage Skills Initiative Team formed at IWM Duxford �BRITISH AVIATION PRESERVATION COUNCIL NATIONAL AVIATION HERITAGE SKILLS INITIATIVE (In partnership with the Imperial War Museum Duxford) Website Sponsor �Project Aims: • To design suitable training for volunteers in the conservation & preservation of aircraft. • To gain national accreditation for the training courses. • To provide that training on site at Duxford and at BAPC member organisations across the UK. �Selection of The Training Team 1. Must be experienced instructors 2. Must be aviation engineering technicians 3. Must have credibility with the students 4. Must be seen as independent �Brian Barker – Project Manager Joined the Royal Air Force as an apprentice 1966. Served on Vulcan BMk2 aircraft in UK and Cyprus. In 1977 become an Aircraft Servicing Chief on Victor K2 aircraft and saw service in the Falklands War. 1983 moved to the RAF Directorate of Ground Training and In 1989 moved to HQ RAF Strike Command as a training manager. Left the RAF in 1994 moved into civilian aviation as the Operations Director of an aviation consultancy. 2001 formed his own company providing training and recruitment advice to various companies. �Keith Trigg - Instructor Joined the Royal Air Force as an apprentice Airframe Fitter and served for 25 years. During that time he was the Supervisor and Senior Instructor at the Chinook Maintenance School. Then moved to Australia and served for 7 years as a Reservist in Royal Australian Air Force. Immediately prior to joining the team Keith spent 10 years at Imperial War Museum Duxford, 6 years as a Conservation Officer and 4 years as the Assistant Conservation Manager. �Graham Britnell - Instructor Joined the Royal Air Force as an Airframe Engineering Technician in 1978 and served for a total of 28 years. In that time worked on VC10s, Hunters, Buccaneers, Phantoms and Tornado aircraft spanning the environments of training, operational exercises and worldwide detachments which have included areas of conflict. 1992 – 2002 employed at RAF Cosford as the senior instructor/course design specialist. Graham is pleased to note that all the aircraft he worked on can now be found in collections and museums around the world. �Diane Barwick – Administrator 2005-2008 Prior to joining the Imperial War Museum she was a manager with a major retail company. Before joining the Team Di had spent the previous 4 years at the Museum working in a variety of administrative posts. In addition to being the initial contact for advice and information regarding the Project Di is responsible for day to day financial control, purchasing and procurement. �Scott Downes – Administrator 2008 -2010 Prior to joining the Imperial War Museum He was a manager with Lloyds TSB working in London. He iscurrently attending the Open Arts College with the aim of establishing his own photographic business. He is the contact for advice and information and provides day to day financial control. Scott has taken a leading role in co-ordinating the external validation of the project and produced the Team entry for the National Training Awards. �Development of Training Strategy (Constraints identified from the Training Needs Analysis) 1. Training Courses could not be longer than 1 day 2. Sessions must be available on any day of the week including Saturdays and Sundays 3. Where possible training would be delivered on site at the members location 4. Volunteers must have the choice as to whether or not they wished to be assessed �NAHSI - Draft Training Strategy – June 2005 Foundation H&S, COSHH etc Pre-requisite A1 Structures Corrosion Control B1 Making your Aircraft Safe C1 A/c Materials Handling & Recognition D1 Other Exhibits A2 Environment Monitoring B2 Jacking Lifting & Ttrestling C2 Skin Repairs 1st Level D2 Packing, Storage & Displays A3 Surface Finish Paints & Treatments B3 Dismantling & Assembly of Aircraft C3 Skin Repairs 2nd Level C4 Wooden Structures & Fabric E1 Customer Services �June 2005 IWM Duxford The Transport Trust hands a sponsorship cheque For £1000 to Barry James of the BAPC �February 2006 – The Team take delivery of their vehicle. �March 2006 �Following a recommendation by the City & Guilds Accreditation Panel the Project Team made contact with ‘Cambridge Assessment’. �1st March 2006 – Brooklands Aviation Museum. The very first NAHSI Training course �11th April 2006 – first training session in the NAHSI classroom at IWM Duxford �29th April 2006 – Introduction to Aviation Heritage Aeroventure, Doncaster �28th June 2007 – ‘Skin Repairs 1’ at IWM Duxford for Aeroventure, Doncaster �Aircraft tools purchased for practical training sessions ���August 2007 – in response to requests from the Volunteer workforce the Team became an Accredited provider of Customer Service training �18th October 2007 Mr Tony Evans of The Midland Air Museum becomes the 1000th attendee of NAHSI training. �27th October 2007 – the Project Manager presents the first BAPC Level 2 Certificates at the BAPC 40th Anniversary meeting , Rolls Royce Heritage, Derby ��4th June 2009 – ‘Introduction to Aviation Heritage for Brooklands Aviation Museum �17th November 2009 – ‘Dismantling & Assembly’ at IWM Duxford for Duxford Aviation Society �The ‘Team’ – September 2010 �NAHSI - Draft Training Strategy – June 2005 Foundation H&S, COSHH etc Pre-requisite A1 Structures Corrosion Control B1 Making your Aircraft Safe C1 A/c Materials Handling & Recognition D1 Other Exhibits A2 Environment Monitoring B2 Jacking Lifting & Ttrestling C2 Skin Repairs 1st Level D2 Packing, Storage & Displays A3 Surface Finish Paints & Treatments B3 Dismantling & Assembly of Aircraft C3 Skin Repairs 2nd Level C4 Wooden Structures & Fabric E1 Customer Services �NAHSI Training Strategy – March 2010 Introduction To Aviation F1 Heritage Corrosion Control A1 Introduction To Basic F2 Engineering Making Your A/C B1 Safe Aircraft Structures C1 D1 Skin Repairs Level 1 Wooden Aircraft C3 Repairs Dismantling & Assembling B3 Aircraft Skin Repairs Level 2 Projects & Planning M1 Fabric Repairs A2 C2 B2 A3 Customer Service Jacking Towing & Lifting Surface Finish Evolution Application Techniques Management/Supervisory Level Presentations C4 City & Guilds accredited C5 Environment Monitoring M2 Only presented at IWM Duxford English Regional Tourist Boards accredited – ‘Welcome Host’ Presentations (2-3 hours) for Management & Supervisory staff �Location of BAPC Member Organisations IWM Duxford �Statistics: 1st March 2006 – 31st Aug 2010 • Over 700 Volunteers enrolled. • 29 BAPC Member Organisations involved. • 655 Training sessions delivered. • 3848 Training places filled. • Over 60% of volunteers opting for City assessment. �Volunteers Comments • “First class – thank you very much. Most useful and informative. Look forward to the next!” • “Excellent course content – well presented and extremely useful in the work that we do.” • “Really enjoyed the day and am very pleased that I attended. Many questions were answered that I had not even thought about asking.” • “My only regret is that I didn’t take this course years ago. I now know that I have been doing much wrongly” �EVALUATION OF THE NATIONAL AVIATION HERITAGE SKILLS INITIATIVE (NAHSI) November 2009 Published for and on behalf of National Aviation Heritage Skills Initiative Dr A R Bennett For the Faculty of Education Chelmsford Campus Essex CM1 1SQ �Extract from the Main Findings • The NAHSI training programme has a significant and demonstrably beneficial impact on museums’ exhibition work and on the volunteer workforce who are actively engaged in heritage conservation and restoration of aircraft and aircraft components. • Evidence from representative samples in the research found training to be of real personal value for volunteers. Training is technically focused around participant competences and skill levels, and the course curricula embrace the range of skills, prior qualifications and experiences of the volunteers. �AVIATION HERITAGE SKILLS �What happens next? �Any Questions? � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Big Stuff 2010 Creator An entity primarily responsible for making the resource Alison Wain Date A point or period of time associated with an event in the lifecycle of the resource 2010 Article An article in a journal or periodical Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Volunteer Training – a Success Story Creator An entity primarily responsible for making the resource Brian Barker Date A point or period of time associated with an event in the lifecycle of the resource 2010 aircraft training volunteers https://d1y502jg6fpugt.cloudfront.net/21127/archive/files/2883152b31a3e3894f2b14db88f9ac94.pdf?Expires=1776902400&Signature=YwPwWB5DRvS7JKNW1UOPbfHtYmNc67xp64gOHLZI9UVY0O6qRwxcgCCEu6l3hcPOl51sK5RWh5eH-1tp%7Er5Abb6iaPex-es3rVOrj9cDgWclXcd8nRiT3GbNHTBrd4A4OcFtt2figaJnR2bjUh7pC6ruqO4Q8pibPs16sgbcwHdiLaQOrzs%7EvIJ9XPRTlaUv8fxXz0bIs47aE3mSXBo9uqoA7xUJnjXYSNtesKfIS5rpPv1mUoEAB3U%7EUEv94D5oEOGI0AQkdzrQdz7GdmQlRX1rXZcOq68fXiMtCdHL1GDF4SKiKH-iXzsc9yirLWM1pUDnGOK1Q5TJnAM%7E4siOPg__&Key-Pair-Id=K6UGZS9ZTDSZM 2076efa0b153abc32d79f744034eed61 PDF Text Text "Is it safe? - balancing conservation, operation and display of rail vehicles at the National Railway Museum" Chris Beet and Anthony Coulls Engineering & Operations Manager Chris Beet and Senior Curator of Rail Vehicle Collections, Anthony Coulls look at managing the conservation and operation of historic locomotives and rolling stock from the National Collection in the 21st century. The world and legislation move on, but our collection is rooted in time, often with objects that were built and run in the days before Health & Safety law became commonplace. The National Railway Museum has made the decision to run some of its locomotives on the main line railway, and this requires further following of safety procedures. Chris & Anthony will seek to highlight some of the ways that they have to follow current best practice from both an engineering, operation and conservation point of view to make the collection accessible to as wide an audience as possible. The title of this paper “Is it Safe”? reflects a question posed of the one time Head of Engineering Collections at the NRM, Richard Gibbon, who will be know to many of you. He was asked it one day whilst steaming up our working replica of “Rocket”, built in 1979 to the original 1829 design. His response was “of course it isn’t – it’s an 1820s design” – and this may be amusing to us here today, but said to the wrong person, might have prevented the operation of the locomotive and made the lives of those of us who work with operating historic machinery that little bit harder! I will look at the National Railway Museum’s basics of operation and then Chris will follow with specific examples from practical experience of running historic locomotives on the main line railway of today. We have a policy across the National Museum of Science & Industry which I shall touch on briefly, and is appended to this paper, which looks for the Collections Side of Selecting and Operating items from the collection. Once a vehicle has been selected, we then produce a detailed Conservation Management Plan which is worked into the practical conservation or restoration work and used as a management tool, detailing as it does both the historical work and significance of the vehicle and also how the vehicle is to be repaired, operated and documented. We use these plans for all our vehicles, and are able to justify operating unique and elderly locomotives through having worked through the rationale of a conservation survey being undertaken to ensure minimal loss of historic fabric whilst allowing safe operation in the light of current legislation. We have a hierarchy of replacement on locomotive parts – so bearings, boiler tubes and such like are consumables, whereas replacement of frames, boilers etc is much more intrusive and less likely to find favour. In some cases it is easier and more cost effective to repair than replace with new. An extreme case for the NRM has been the repair of Flying Scotsman’s boiler, where we have had a new copper firebox made and fitted in the traditional manner, rather than going down the route of having an all welded new boiler made. We �know htat the techniques to repair and maintain a copper firebox still exist, whereas repairing an all welded steel boiler of that size is an art which is still being learned. A major part of this papar though needs to consider how we are operating 19th and 20th century machinery in the 21st century. The hardware we are operating remains basically constant, but the environment has changed a lot even in the 42 years since the last steam locomotives ran on British Rail. Track has become higher in places, many lines now have overhead electric wires in place for power, platforms and stations have been rebuilt. Trains that operate on the lines have become faster. How have the heritage world and the NRM been able to cope? Every vehicle has to have a Fitness to Run examination if it is to be even towed on the main line railway. Axles must be ultrasonically tested at the very least and brake systems checked. If it is a locomotive, then it must be mechanically sound – and if a steam loco, the boiler must pass an annual inspection for insurance as a pressure vessel. Air brake receivers for any vehicle must also pass the same inspections. Some of our heritage collection is too tall to safely work under electric wires, so we have had to reduce the height by replacing items such as cab sides or chimneys with ones an inch or so lower to make them fit. This is reversible in most cases and often un-noticeable to the human eye. Interestingly, it is not always the locomotive’s chimney or dome that is the tallest part. We also do not allow operating staf to climb on locomotives whilst under electric wires. You can also see on this slide that we have introduced lower level water fillers on the locomotive tenders to prevent the need to go on top. These also fit standard fire hoses, to allow for filling from hydrants or tankers – as the steam age infrastructure for servicing steam locos is long gone. We have to adapt to modern operating procedures and carry electrickery as one of my colleagues puts it – On Train Monitoring and Recording (the railway “Black Box”) and Train Protection and Warning System – which are modern requirements that have had to be adapted to work on steam age technology, so one finds electronics that have to be designed to work in the hard physical world of the steam railway. Then one has to find the space on a team loco to put it all (see slide) and then maintain it with hot oil and steam around, water and coal dust! There is a requirement to carry a modern high intensity headlamp for visibility, along with modern data and warning signs as well! Of course our staff and volunteers have to comply with modern Health & Safety too, and at the very least carry full Personal Track Safety cards after extensive training. The actual operation of the locomotive remains in the hands of the Train Operating Company who provide a driver, fireman or secondman and a Traction Inspector. We then also have an owner’s representative on the loco to advise on any issues, faults or foibles. On a heritage railway, many of these issues do not arise, but we still must remain ahead of the game at all times �The very fact that we continue to operate heritage locomotives on the main line railway is at times on reflection, little short of marvellous… NMSI Policy and Procedures for Selecting and Operating Historic Objects from the Collections of the National Museum of Science & Industry Date Ratified: Date for Review: New or Revised Policy Written by : Distribution: New Marta Leskard, Conservation Manager Paper, electronic copies, shared Collections drive This document to be read in conjunction with associated Policies and museums’ policy drafts Related Science Museum Science Museum Collecting Policy, 10 July 2007 Documention: Science Museum, Indemnity & Insurance Management, draft policy 2007 (M. Rollo) National Museum of Science & Industry, Corporate Plan 2006 Science Museum Human Remains Policy, draft August 2005 (L. O’Sullivan) Collections Management Policy, National Museum of Science & Industry, April 2005 Conservation of objects in the care of the Science Museum, Policy statement, January 2005 (H. Newey) Increasing access to the Science Museum’s collections through live interpretation, draft policy, 19 June 2003 Version 1.0 2.0 3.0 4.0 4.1 4.2 4.2 Date 03/04/2008 27/05/2008 09/09/2008 09/04/2009 12/03/2010 18/03/2010 26/05/2010 Status Draft Draft Draft Draft Draft Draft Final Comments Revised for NMSI Added E. Bartholomew comments Added H. Ashby comments Approved NMSI CG 18/05/2010 �CONTENTS: 1. POLICY STATEMENT 2. PROCEDURE 2.1 Proposal 2.2 Selection 2.2.1 2.2.2 3. Selecting Functions for Display Risk Factors SELECTION PROCESS 3.1 3.2 Statement of Significance 3.3 Conservation Objectives 3.4 Treatment Plan 3.5 4. Curatorial, Conservation and Information Assessments Treatment Implementation OPERATION 4.1 Records APPENDIX A APPENDIX B APPENDIX C �1. POLICY STATEMENT The National Museum of Science and Industry, through its institutions The Science Museum, The National Railway Museum and The National Media Museum, holds one of the world’s pre-eminent collections in science, technology, industry, transport and medicine. These collections provide an unequalled record of the first and second industrial revolutions and beyond. They contain not only unique icons of international significance but also the everyday items that show the impact of science on how human lives are lived. As leaders in science and technology communication and learning, the NMSI remains committed to operating historic objects, recognising that the high levels of interest and the educational value in “working objects” make a meaningful connection between the museum’s visitors and the collections The NMSI’s selection, risk assessment and review processes (based on the tenets of the National Heritage Act, 1983) are to ensure that working objects are used in a safe, secure and sustainable way, according to best practice, now and for the future, letting the importance and condition of the object and the quality of the evidence for an earlier state guide the decision. �2. PROCEDURE The procedure for selecting an object for operation follows detailed proposal and selection criteria 2.1 Proposal At each museum. an object may be proposed for operation by staff from any department- as all are stakeholders in the museum’s vision. Additionally, proposals may come from outside groups- researchers, engineers, special interest groups, artists and filmmakers • • • • • • • • Each operation will be approved by the appropriate museum management team ( see Appendix A) after consideration of all of the following: the object’s cultural significance, which is the aesthetic, historic, scientific, social or spiritual value that it has for past, present and future generations. Objects which are considered rare will not be considered for operation as use is mutually incompatible with preservation of the whole. the significance of the object’s function(s), including its alterations, repairs and modifications, if any. Any new use of an object will be compatible with original function with minimal change to fabric, respect of meanings and associations and continuation of practices which contribute to the cultural significance of that object. the object’s current condition and state of preservation, the likely impact of wear to significant parts, the need to update to current safety standards and the requirement to remove hazardous materials and/or functions. Objects which are beyond their economic life (ie: in a state of accelerated wear) will not be chosen for operation unless physical integrity is deemed insignificant in relation to significant function. the benefit to the public and to the museum, in order to inspire innovation, engage understanding, motivate learning or preserve the collections. Publicity, direct revenue generation, sponsorship attraction or special interest group gratification may be considered as supplemental reasons for proposal for operation but are not acceptable motivations on their own. the resources required for maintaining the functionality for both the short and long term. Money, time, facilities, equipment and skilled staff are required for treatments, maintenance and repair programmes. Thorough documentation including photography of all processes from decision-making to maintenance logs and handling requirements must be kept and be made accessible. Where resources cannot be committed to the long-term maintenance, repair and replacement programme, an object shall not be selected for operation. museum needs in terms of frequency of operation and number of objects operating. One operating object can be a focus for visitors but several operating objects can become a distraction or have minimal impact on public programmes restrictions of museum context (available space, exhibit design, health & safety requirements). opportunities to record through the media of film and photography the return to operation, use and maintenance in order to maintain knowledge of craft and traditional skills. �2.2 Selection A “working object” can be anything that originally had an operational function and can be either stationary or mobile. Operating a working object can mean anything from demonstrating only one particular function to running the full functional complexity. Every object in the collections with an operational function is assumed to be suitable to be a working object unless it is considered “rare”. Rare is defined as unique, an icon, of incomparable significance, nationally important or bearing important historic evidence such as developmental information, significant use, original fabric. The decision about whether an object is considered rare and therefore not a “working object” will be made by the relevant curator and endorsed by the chief Curator or relevant Head of Collections. 2.2.1 Selecting Functions for Display The selection of functions for display, educational and access purposes will be driven by an explicit evaluation of the significance of different functions. Operation will contribute to building individual and meaningful connections with science and technology through: • adding to the understanding of function, purpose and significance • showing the sensory aspects of sound, sight, feel and smell • illustrating technological, social and/or economic change • preserving significant function • preserving or rediscovering traditional skills associated with the fabrication, operation and repair of working objects • inspiring and sustaining an interest in science, industry, engineering, history and/or museums 2.2.2 Risk Factors Risk factors which must be considered are: • possible loss of historic information, including significant evidence of use, during restoration to working order • potential replacement of original parts or alterations of original design for operational or health and safety reasons and regulations or through wear caused by operation • potential difficulty in determining originality of parts or original appearance • increasingly unavailable historic materials and craft skills making accurate reproduction of parts or appearance difficult or impossible • potential deterioration of historic fabric caused by the substitution of modern materials and techniques • potential increased deterioration of historic fabric caused by uncontrollable operational environments, particularly outdoors, or through accident, inappropriate use or abuse or insufficiently trained operators • insufficient resources allocated to restore an object to working order or to completing the project as a result of underestimating needed allocation, escalating costs, project shortfall or changing priorities and long-term plans. • imbalance of resources required to maintain and demonstrate the working object and to train the operators against the return in benefit to the museum in terms of public interest or educational value. �• 3. non-refundable costs of minimising risk through loss or damage to an working object as the museum may not be able to find the resources to purchase commercial insurance (see Appendix B) SELECTION PROCESS 3.1 • • • Curatorial, Conservation and Information Assessments: The Curatorial Assessment will be the responsibility of the relevant curator, with input from the chief Curator or the relevant Head of Collections, and will define what the object is and what its function(s) were/are. It will fully detail an object’s history and provenance and will include research into similar objects to enable comparisons of rarity, condition, integrity and interpretive potential. The Conservation Assessment will be the responsibility of the relevant Conservation Manager and will focus on the material(s) of the object and its condition and functionality. It will include a description of the physical fabric and function(s), analysis of samples as required, identification of alterations and an appraisal of the wear level(s). It will outline the resource implications for treatment, maintenance, environment, security, health & safety regulations, access, exhibition, storage, handling and object movement, with input from relevant museum departments (see Appendix A). The Information Assessment will be the responsibility of the Registrar and will assess the issues of indemnity and insurance and the financial and legal responsibilities of the museum. 3.2. Statement of Significance A statement of significance, drawn from the curatorial, conservation and information assessments, will give a reasoned clear summary describing the values, meaning and importance of the object. It will include: • • • cultural significance- context, history and uses significant values- aesthetic, historic, scientific, social, spiritual significant alterations, modifications and repairs It will be the responsibility of the relevant curator to produce the statement which will be a formal document retained as part of the historic record of the object, filed in a format designated by Collections Documentation. 3.3 Conservation Objectives The conservation objectives, based on the conservation assessment, will outline all aspects of the object’s care and use, so that treatment and operation does not compromise the significance of the object • The level of operation acceptable for the object’s preservation will be established: o no operation �o o o o o mothball, shutdown or freeze minimal operation- for maintenance purposes only under tightly controlled conditions low levels of operation for occasional demonstration under controlled conditions medium levels of operation for infrequent demonstration under medium controls high levels of operation for regular demonstration • The appearance objectives appropriate for the object will be defined. • The proposed future use will be determined: o permanent display, including demonstration on or off-site, visitor access or static exhibit o long-term loan for operation or demonstration o temporary display, including demonstration, visitor access or static exhibit o storage The conservation objectives will be an itemised Conservation Management Plan produced by the relevant Conservation manager/ Conservator and will be used to inform the treatment plan. 3.4 Treatment Plan The treatment plan will establish all potential options to satisfy the conservation objectives including: • • • • • • alterations required for compliance with regulations, including removal of hazardous materials preservation of internal components safety and stability of the object works to achieve appearance replacement of like with like or with modern materials, and conservation, retention or disposal of original components depending on an assessment of their significance use of traditional skills or modern methods for repairs and replacement manufacture The treatment plan will determine the resources required for all the treatment options: • • • • • • • skills equipment materials space continued availability and commitment of resources projected maintenance including tasks, schedules, costs, skills and supplies future sources of suppliers The treatment plan will identify the options for operation and display and/or storage with details of space, resources and logistics included for each option. The final stage of the treatment plan will be to select the approach to be implemented after review of the options. This review will be undertaken by the initiator of the proposed project, the relevant curator, the relevant Conservation manager and the Registrar. Resource considerations, both for achieving and sustaining the decision, will be a priority. �The Treatment Plan will be included in the Conservation Activity in MMXG. The final decision will be endorsed by the appropriate museum executive managers (Appendix A) and the justifications for the decision will be a formal document retained as part of the historic record of the object. 3.5 Treatment Implementation The treatment implementation will include both the treatments as specified by the Treatment Plan and the production of an Operating and Handling Guideline and Inspection Record and Maintenance Plan. The Operating and Handling Guideline will include: • • • • • • parameters and limits of operation operation methods authorised operators and required training operation logbook template moving and handling instructions identified hazards The Inspection Record and Maintenance Plan will include: • • • • • inspection plan and schedule maintenance plan and schedule specified fuels and lubricants the treatment plan decision to replace like with like or with modern alternatives inspection record and maintenance record templates �4. OPERATION The Operational Logbook, produced as part of the Operating and Handling Guideline, and the Inspection and Maintenance records, based on the Inspection Record and Maintenance Plan, are to be rigorously kept and updated throughout the object’s working life and the documents retained as part of its historic and technical record. Resources, allocated as determined in the treatment planning, will ensure that the Inspection Record and Maintenance Plan can be carried out as specified. Where adequate resources cease to be available for ongoing maintenance, necessary repairs or legislated modifications, a review of the operational plan will be held. Periodic reviews will also be undertaken to determine whether an object should continue to be operated, whether the operation should or must, by reason of changing regulations or legislation, be modified or whether the object is no longer suitable for operation. A project manager or project owner will be given the responsibility for the programme for continued operation of the historic object and will conduct the reviews consulting with all relevant stakeholders, The programme and methodology for operating an object will not be modified or altered without review. 4.1 Records Treatment and operating records will be kept in these formats: • • • • Initial and on-going object treatment in the Conservation Activity in MMXG Up-to-date maintenance record in the Working Object Database, Conservation Server which can then be linked to MIMSY as a separate MS Excel file. This file can be retrieved and edited inside MIMSY or independently as a common MS Excel file. Maintenance history in the hard-copy Logbook held in the object’s green file. Where there is a statutory requirement for a specific format of record this will be adopted as the standard for NMSI record keeping (for instance a Rail Vehicle Maintenance & Operation Policy) �APPENDIX A Selection Management Teams: The Science Museum • Science Museum Policy and Operations Committee: Chief Curator Head of Conservation & Collections Care NMSI Head of Corporate & Collections Information Head of Library & Archives Security Manager The Conservation Assessment will be the responsibility of the relevant Conservation Manager, with input from Logistics, Security and the Collections Hazards Management Group. The National Railway Museum Collections Development Group: Head of Knowledge & Collections Senior Curator Rail Vehicle Collections Engineering & Rail Operations Manager Registrar Curator of Railways Curator, Archive & Library Collections Learning Manager Professor of Railway Studies • The Conservation Assessment will be the responsibility of the Conservator and/or the Engineering & Rail Operations Manager with input from the Senior Curator, Rail Vehicles Collections; Head of Knowledge & Collections; Collections Development Group. The National Media Museum Collections Group Head of Collections & Knowledge Conservator Collections Manager Curator of Photographs (x2) Curator of Photographic Technology Curator of Cinematography Curator of New Media Curator of Television • The Conservation Assessment will be the responsibility of the Conservator with input from the Collections Manager, relevant subject Curator, Head of Collections & Knowledge and the Collections Hazards Management Group. �APPENDIX B The factors which must be considered before proposing to operate an object on loan in: Collections Registration must be consulted before any object on loan in is considered for operation. The owner’s approval will have to be sought and obtained in writing. In the case of some historic loans, it may prove difficult or impossible to identify a current owner. The Government Indemnity Scheme does not cover loss or damage arising while objects on loan are driven, piloted, flown, sailed, ridden, operated and so on unless the Secretary of State has given specific written approval permitting indemnity to apply while a borrowed object is in motion or exhibited as a working display or while it has to be set in motion in order to maintain it in running order. Written approval must be sought from the Secretary of State before the object is operated but the Government Indemnity Scheme does not cover loss or damage arising or flowing from normal wear and tear. Resources must be allocated from a pre-determined budget in order to care for a borrowed object during preparation for/and operation by purchasing commercial insurance. Commercial insurance may only cover the asset value of the object in the event of loss or damage and not the losses due to repair, restoration or operation. �APPENDIX C Research Documentation and Reference Material Bailey M and Glithero J, ‘Learning through Conservation: The Braddyll Locomotive Project’ in Proceedings of the Industrial Collections Care and Conservation Conference (United Kingdom Institute for Conservation, Cardiff, 1997). Bailey M and Glithero J, The Engineering and History of Rocket (National Railway Museum, 2000). Bailey M and Glithero J, ‘Learning through Restoration: the Samson Locomotive Project’ in Early Railways (London, 2001). Baird, David M., “Restoration in Transportation Museums”, Preservation and Conservation, Yearbook of the International Association of Transport Museums, Volume 7, Gdansk 1980, pp.78-85 Barr, Joanna, “The Conservation of Working Objects: Development of a Conservation Management Tool”, Artlab Australia 2006 Bracegirdle, Robert, “Preservation of Public Service Transport Vehicles. The Problems of Keeping Vintage Vehicles in Running Order”, Yearbook of the International Association of Transport Museums, Volume 13/14, 1986-1987, pp.55-72 Brodie, Francis E., “Clocks and Watches, A Re-Appraisal?, Restoration: Is It Acceptable?, British Museum Occasional Paper 99, ed. A. Oddy, 1994, pp. 27-32 Child, Robert, “Putting Things in Context: The Ethics of Working Collections”, Restoration: Is It Acceptable?, British Museum Occasional Paper 99, ed. A. Oddy, 1994, pp. 139-143 Coulls, Anthony, “Conservation or Restoration? there’s room for both!”, www.oldglory.co.uk, October 2002 Crotty, David, “Aeroplane or Artefact? Restoration and Conservation of Aircraft”, hands ON hands OFF, Scienceworks, pp.16-19 Deck, Clara, “Conservation of Big Stuff at The Henry Ford: past, present and future”, The Henry Ford Museum, BigStuff unpublished proceedings, 2004 (available BigStuff website) Gibbon, R., “Controlled Operation or Wrecking? The Use of Objects from the National Railway Museum’s Collections”, Industrial Collections, proceedings of the conference 911April, 1997, pp.17-25 Leskard, Marta, “Fair Use: National Museum of Science & Technology”, International Institute for Conservation- Canadian Group unpublished proceedings, 15-18 May, 1987 McManus, Edward, “A Restoration Philosophy: A Conservation Position Paper” National Air and Space Museum, Smithsonian Institution, 1990 Mann, Peter Robert., “Working Exhibits and the Destruction of Evidence in the Science Museum”, The International Journal of Museum Management and Curatorship, 1989, pp. 369387 �Mann, Peter Robert, The Restoration of Vehicles for Use in Research, Exhibition and Demonstrattion”, Restoration: Is It Acceptable?, British Museum Occasional Paper 99, ed. A. Oddy, 1994, pp.131-138 Mikesh, Robert C., “Aircraft Preservation”, Preservation and Conservation, Yearbook of the International Association of Transport Museums, Volume 7, Gdansk 1980, pp.49-65 Mitchell, Gillian, “Application of the Burra Charter to large technology objects: a freelance conservator’s experiences”, BigStuff unpublished proceedings, 2004 (available BigStuff website) Moncrieff, Anne, “Conservation of Industrial Collections”, unpublished proceedings of Standard Threads, International Institute for Conservation- Canadian Group Workshop, 1992 Newey, Hazel, “Conserving Scientific and Industrial Heritage: A Pragmatic Approach”, Industrial Collections, proceedings of the conference 9-11 April, 1997, pp. 159-165 Newey, Hazel and Meehan, Peter, “The Conservation of an 1895 Panhard et Levassor and a Prototype Austin seven Motorcar: New Approaches to the Preservation of Vehicles” The Conservator, Number 23, 1999, pp. 11-21 Rees, Jim, The Steam Locomotive as an Historic Building, unpublished paper delivered at Scottish Railway Collections Conference, Falkirk 2006 Rolland-Villemot, B. & Forrieres, C., “The Different Contributors and Their Role in the Conservation, Care and Maintenance of Industrial Collections”, Industrial Collections, proceedings of the conference 9-11 April, 1997, pp. 51-58 Thurrowgood, D. & Hallam, D., “Preserving significance: Why the journey matterd more than the car”, National Museum of Australia, BigStuff unpublished proceedings, 2004 (available BigStuff website) Wain, Alison, “Large technology projects- success and sustainability”, Australian War memorial, BigStuff07 unpublished proceedings, 2007, pp.12-15 Wain, Alison, “A well-planned operation”, Australian War Memorial, BigStuff unpublished proceedings, 2004 (available BigStuff website) Ware, Michael E. “Restoration of Motor Cars”, Preservation and Conservation, Yearbook of the International Association of Transport Museums, Volume 7, Gdansk 1980, pp.21-34 Weston, Margaret, “Restoration”, Preservation and Conservation, Yearbook of the International Association of Transport Museums, Volume 7, Gdansk 1980, pp.9-20 White, John, “Conservation and large technological aretfacts: a curatorial perspective”, Australian War Memorial, BigStuff unpublished proceedings, 2004 (available BigStuff website) The Burra Charter: The Australian ICOMOS Charter for places of cultural significance, 1999 “Preservation Policy”, The Henry Ford Museum & Greenfield Village Policy & Procedure Memorandum No. 25a, 3/2001 (available CoOL website) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Big Stuff 2010 Creator An entity primarily responsible for making the resource Alison Wain Date A point or period of time associated with an event in the lifecycle of the resource 2010 Article An article in a journal or periodical Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Is it safe? - balancing conservation, operation and display of rail vehicles at the National Railway Museum Creator An entity primarily responsible for making the resource Chris Beet and Anthony Coulls Date A point or period of time associated with an event in the lifecycle of the resource 2010 adaptation change locomotive maintenance modern context Operating Objects operation policy railway risk assessment safety significance standards training trains https://d1y502jg6fpugt.cloudfront.net/21127/archive/files/db8cab39252a6bc939e0061751dcc9d0.pdf?Expires=1776902400&Signature=e1cfFLcsqvY3N62GIYCKD0A1UkyMTdlG%7E7IFZy6Nul3o4s5%7EBkMTJRXqKBoe8n80q8PL0pdOChIdOD54Uqx7IFH7lYfaQ8SSTFdQTxd-ZWpFyLQ6NbRcQGvbXrMsHEJlcO24fca%7EDTgygvBG%7Ek6Dk9OdFcRvxwZbLdMg7X9rJCCD8LyOzCNNtYGEMDczf9OEyp3DH%7EcvXEEU%7ERYf4w1nFl8GzRSx8pOAHCKIHcjngcP%7EEzxu96fO3MWoAXaQMq-4jOT7ssNgGj6zbFQkFevdVxXTxTNJwkaXevDTDcWdzO4Masz3q8aLeNlLXdD-ZFaDeOf28CML7LpzRPx7X6fnlw__&Key-Pair-Id=K6UGZS9ZTDSZM a8f4a74e5b311f305ac0fba4bcc9bc54 PDF Text Text Professional conservators in practice: an introduction to the conservation of air and land transport collections. Chris Knapp West Dean College Abstract: All too often the original surface and materials that make up aviation and transport collection objects are being lost due to over restoration and inappropriate replacement. In addition there is such disparity in aims of treatment and the level of conservation/restoration of objects that there is no common approach that can be used as a basis for management, treatment methods, documentation, or for the consideration of ethics. Another concern is the lack of provision of conservation training in industrial museums. It is not possible for a conservator to learn the required engineering skills in a short timescale and so the staff in transport museums and collections tend to be engineers first and become conservators/restorers second. However there are relatively few opportunities for them to develop a more ethical conservation approach. The Imperial War Museum is working in partnership with West Dean College, who is acting as a training provider to establish opportunities in all aspects of the conservation of transport collections. Most museums with industrial or transport collections employ engineers to care for the collection. From a safety aspect this is a sound practice but sadly lacking as far as conservation issues go. In 1997 the Imperial War Museum started looking for a suitable course to encourage the aircraft and vehicle engineers of the museum conservation department to approach their work as conservators rather than as engineers. No such course could be found in the UK or Europe. In 1998 delegates from leading UK aviation museums met with representatives of West Dean College to discuss the possibility of putting together a suitable package. It was agreed that there was a need for such training and that it covered more than just the aviation heritage sector. The general consensus of the group was that few museums would be able to release most of their staff for more than a week at a time and that cost would play a major part in the uptake. The outcome of that initial meeting was that the Imperial War Museum decided to work in partnership with West Dean College to provide suitable training. As time is limited and there is much to pack in it was decided early in the planning stage that the training would be residential and include evening lectures. In fact the students arrive around 5pm Sunday. They have a short time to settle in to their accommodation and have dinner. At 8pm the first session, “What is a museum”, explores the various aims and roles of the modern museum. As the week progresses there are discussions on the historical integrity of objects, the conservation issues involved, the importance of proper documentation and regular condition checking. There are case studies from museum professionals, both industrial and fine art. Basic chemistry is explained to help the students understand the different chemical reactions they can expect when choosing treatments. �The term “training course” can be misleading, as the intention is to encourage the students to look at their work from a new perspective and the course involves a great deal of student interaction. “Discussion week” is probably more accurate. It is aimed at individuals who are already skilled in their own field and there is no intention to teach new practical skills at this stage. (Plans are in hand to progress to Part Two where practical conservation skills will be demonstrated.) Attached is the draft timetable for the next course to be run in February 2005. There will be some changes but the basic course will be the same. Professional Conservators in Practice An introduction to the conservation of transport collections TIME 16.0018.45 EVENT Registration TUTOR FORMAT Coffee 18.45 Welcome to the college 19.00 Dinner 20.00 What is a museum, why do they exist? TIME 08.00 09.00 EVENT 10.30 10.30 11.30 12.30 14.00 15.30 16.00 College Facilitator Talk VENUE College Office Dining Room Oak Hall Dining Room Chris Knapp Talk Kings room TUTOR FORMAT VENUE Dining Room Chris Knapp Hazel Newey Talk Kings room Hazel Newey Talk Kings room Bruce James Talk Dining Room Kings room Bruce James Talk Kings room Chris Knapp Suzanne Kitto Practical Dining Room Old Dining Room Breakfast Introduction to day Introduction to conservation: principles and aims. Coffee Ethical guidelines for conservators. Lunch Project management conservation planning and maintenance schedules Tea Object management, recording and documentation. 19.00 20.00 Dinner TIME 08.00 09.00 EVENT Student survey project TUTOR FORMAT VENUE Dining Room Chris Knapp David Dorning Lecture Kings room Breakfast Introduction to day Material Science: Understanding of the structure of inorganic materials �10.30 11.00 12.30 14.00 15.30 16.00 19.00 20.00 TIME 08.00 09.00 10.30 11.30 12.30 14.00 15.30 16.00 Coffee Materials Science: Understanding the deterioration of inorganic materials David Dorning Examinatio n and handling session Suzanne Kitto Lecture Suzanne Kitto Lecture Students survey project Chris Knapp Suzanne Kitto Practical EVENT TUTOR FORMAT VENUE Dining Room Chris Knapp David Dorning Lecture Kings room Lunch Approches to conservation- case histories Case histories cont. Dinner Breakfast Introduction to day Materials Science: Understanding the structure of organic materials Coffee Materials Science: Understanding decay and corrosion of organic materials. Approaches to mixed media – Case histories Examination and handling session Mark Holloway Lecture Tea Approaches to mixed media. TIME 08.00 09.00 EVENT 15.30 16.00 David Dorning Lunch Break Dinner Students survey presentations 12.30 14.00 Dining Room Kings room Tea 18.00 19.00 20.00 10.30 11.00 Dining room Old Library Mark Holloway Object handling session Chris Knapp Mark Holloway Practical Dining room Old library Chris Knapp David Dorning Lecture Kings room Lecture Dining room Kings room Lecture Dining Room Kings room Lecture Dining room Kings room David Willey David Willey Tea Storage and display Dining room Old library VENUE Dining Room Lunch Object risk assessment and disaster planning cont. Dining Room Kings room FORMAT Coffee Object risk assessment and disaster planning Dining room Old library TUTOR Breakfast Introduction to day Understanding degradation and environmental control Kings room Dining Room Old library Moira Gittos �19.00 20.00 TIME 08.00 09.00 10.30 11.00 12.30 14.00 15.30 15.40 Dining Room Old library Dinner Students survey presentation EVENT Chris Knapp David Willey Moira Gittos TUTOR FORMAT VENUE Dining Room Practical session College library Breakfast Introduction to day How to access conservation information from printed literature Chris Knapp Adrian Tribe Coffee How to access conservation information from the internet. Adrian Tribe Lunch Discussion and questions Course evaluation and certificates Tea Transport to station Chris Knapp Chris Knapp Isabel Thurston Lecture Dining room Kings room Dining Room Kings room � https://d1y502jg6fpugt.cloudfront.net/21127/archive/files/26f4a45e782cee9aa4c1631f78b95cdc.pdf?Expires=1776902400&Signature=iOnxZSLFT6t9iSrqfPeMm9Nqjv2g-R6dqH9p6bzg8PTwEFhxwjIK2W5bjekUFb67BANOSjlNXC%7EBozl1X%7EKCC4nI1Zh5zNgJcqaak7Z6e8RRC3Fh3ZFs7bxSuMiTZcHlan5Cag2g2dYKxqoqPhTYn9Wwf2LvhkjchkTVk5RWpGqcAYcuRjzK9mpO0Cdt7w27yrIo8gx3xUkaHomLFyyTqnY%7E3yWQrJxZJeH658J1qWyHVGJzV91fAAbFG8nYxjOzz9x-XbNeloB0VnPF4HCt45QuK4Jy7HUzRKhxxwPCjrQGLyUs2KArYxvMHqrM9PJR5LObn12qkg-eSQ7o93r9hg__&Key-Pair-Id=K6UGZS9ZTDSZM 7a5a7830a0b5e019b786e137fb24f71d PDF Text Text Professional conservators in practice: an introduction to the conservation of air and land transport collections Chris Knapp Question and answer session John Ashton: How long has the course been going? Chris Knapp: We’re going into the fourth year this year. I’ve just got authority to start a second course where we’ll start demonstrating hands on skills. Question unknown Chris Knapp: No, because what we have found is that most museums cannot, or will not, let their staff go that long. What we have got up and ready to run, as soon as we can get a museum director to agree to it, is a similar course cutting out a lot of the conservation techniques and aimed at museum professionals from non-traditional disciplines, such as commercial fundraising, business development, finance, admin, so that they can see why we do things, how we operate. We actually had a lady take a place on the course last year from our commercial development department because we had somebody drop out at the last minute, and she said that it’s come as such a shock to her, and an eye-opener and now when she’s selling the museum she knows more about what she’s actually selling. So we’re looking at ways to develop that way, but for this particular course no, no plans to lengthen it. Dave Lee: What’s the cost for your course? Chris Knapp: Seven hundred pounds for the week, and that’s fully inclusive – that’s lectures, accommodation, food – the only thing you buy is your drink. I will point out, actually, that the college is a beautiful place – if you look from the front door you cannot actually see civilization – you can’t even see the lights from the car park. You’ve still got all the stuffed animal heads, carpets piled up to your knees, very historic surroundings to actually work in. One reason we like it there is because it is so historic, it keeps the students working, all the time they’re thinking about it. Alison Wain: Given that people who actually train as conservators spend three or four years doing it, what do you think is the difference between the outcome from that and from your one week course – is there a difference, do you need follow up courses? Chris Knapp: In the ideal world yes, we would have follow up courses. We’re not trying to teach conservation skills, we’re just trying to make engineers think differently, so they come at it from another angle, so they look at their problems differently. The knock on effect – it’s saved me as a manager a fortune on my budget for materials and time, because they are now stabilising rather than over restoring. I found it quite amusing this morning listening to the Memorial’s Director talking about the cost of conservation – conservation is actually cheaper than restoration and shiny objects. �David Hallam: Would you think about doing a similar course for conservators talking about how conservators should interact with engineers? Because that is something I think is desperately needed. Chris Knapp: I’m open to suggestions on anything as long as it’s legal and moral! I have been asked if we can come up with something similar for curators, so they understand where conservators are coming from, so yes – any suggestions will be gratefully received and when I get back I will be down in the college shortly and it’s something we will look into. David Hallam: I just think that quite often conservators tend to take the high ground and say no to everything, but one of the things that they really don’t understand is the tradition and science of engineering. Chris Knapp: Yep – I would agree with that. One of the universities in the UK was going to start a master’s course for industrial conservators, and they were going to take conservators – or someone with a first degree in conservation, heritage, tourism, or museum studies, and in twenty four weeks turn them into an engineer, to restore any object of an industrial nature. We don’t talk any more actually – I was quite blunt when I told them they were going to be making a big mistake - and they won’t come near me any more. I’m afraid I’m very good on the Anglo-Saxon, especially when people rile me, and that is one thing that drove me to getting this going with the other college, so we could come at the same problem from a totally different angle. David Hallam: We’d like to talk with you. Chris Knapp: Yep, no problem. Colin Ogilvie: I’m the other half of the staff at the NMA. I’m the engineering side actually. Under the two conservators I’m the engineer who has to do all the lowly work. The biggest problem I’ve had in the eighteen years I worked at the museum is the first fifteen - they let me run free. The last three I’ve had to work under conservators - it’s been the best three of my life. The reason being – because I’ve learnt, they’ve learnt, we’ve had an interchange. And I think this interchange is what any teaching institution should be looking at. Chris Knapp: I would agree with that. One thing, the lady from the Royal Armouries – Sue – she was very well received because she was learning as much from the students as they were from her and they were feeding off that and they got a very good rapport going. And anyone who says they know everything is really setting themselves up for a fall. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Big Stuff 2004 Date A point or period of time associated with an event in the lifecycle of the resource 2004 Creator An entity primarily responsible for making the resource Alison Wain Article An article in a journal or periodical Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Professional conservators in practice: an introduction to the conservation of air and land transport collections. Creator An entity primarily responsible for making the resource Chris Knapp Date A point or period of time associated with an event in the lifecycle of the resource 2004 People and Skills training https://d1y502jg6fpugt.cloudfront.net/21127/archive/files/91fe4da5cb5138c2d0b851531be13772.pdf?Expires=1776902400&Signature=qpEzpjDt0rvmwpA5nZ5lyWMtW6-Bvmgwb7OkG%7EGSYjC6bCBnqZgTvjnMAdyiooNs98LZEmy8JAb4zPRwgKbtSXqYsdqx50Qu0s43lVIHRwHNdLXihlbHlC7UMGqwhJjLHS2RcoiB6ZMvqqnqxSRRwDVcZkr15ONGZta9M22kxyPb-JtSK0DJ3uLEhRF3COFg9IchnPB5OSz0fr%7EBXpMobsk6--CJopMbIks41qmliTcLl3gb%7EoVwUGg6utzUvLfiamf4v6rNpKRFsge3Nmoh1P%7EzteGeAFr8yiMHY42MsOUnAYiPhMrv9OQEDYKzSzl0EUfRH8TTKedkUpZR%7E0pPAw__&Key-Pair-Id=K6UGZS9ZTDSZM 16e33838eb6540c1f38d2e86a4ac1f2c PDF Text Text Managing floating heritage: a decade of managing a fleet of historic vessels at the Australian National Maritime Museum Steven Adams Australian National Maritime Museum Abstract: The acquisition of a fleet of ships allows a museum exciting opportunities for the presentation and interpretation of maritime heritage. It also poses many questions beyond traditional museum disciplines. What is the best way to maintain such a fleet and how many is enough? Given that museums acquire objects to be retained in perpetuity, how long should vessels be kept, and what of the question of use? In these days of limited funding, what is feasible: how should we determine acceptable loss of historic fabric, and how can this be accommodated, reduced and documented? These questions were embraced by the Australian National Maritime Museum and have come a long way to being answered by the Museum in its 12 year experience presenting floating maritime heritage at its purpose-built site on Sydney Harbour. The fleet currently includes large steel warships, a number of timber boat, yachts, and Asian vessels with linkages to Australia – a curiously diverse fleet in a national collecting institution context. A model for vessel conservation has been drawn up to control all aspects of vessel management including the development of a philosophical framework to underpin all conservation work. Based upon the Australia ICOMOS Burra Charter, 1999 (the Burra Charter) and other heritage protocols essentially written for built heritage, it has been successfully adapted to support conservation �of the fleet and has the potential to provide guidance for any item of moveable cultural heritage. Museum staff with artisan trade backgrounds, and additional training in heritage management, carry out all specialised conservation work. A strategic approach has been taken to staffing with the development of a heritage trade training scheme, now with 6 graduates over ten years. This has been most successful and may provide continuity and leadership for the future conservation of the ships in the National Collection. 1 Introduction This paper seeks to demonstrate an approach to the management of historic vessels based upon a framework contained in individual conservation management plans, a system which has shown some promise at the Australian National Maritime Museum (ANMM). The twin roles of conservation and management of functional objects are combined in these plans where the assessment of significance and recommended conservation treatments are seen as enabling policies to allow the management of the vessel to proceed to action. For illustrative purposes use is made throughout the paper of the conservation management plan (CMP) drawn up for the Krait, a fishing vessel used by Allied commandos for a daring canoe raid on occupied Singapore in 1943. 2 A National Maritime Museum for Australia The ANMM first appeared as a recommendation from the 1975 Pigott Report into cultural institutions. Nothing happened until the mid-eighties when a small secretariat was established and a site became available in Darling Harbour, a semi-derelict former industrial precinct of Sydney’s docklands, flagged for redevelopment under a master plan for urban renewal. The area was not without heritage significance as it was here that the early port facilities for Sydney were consolidated in the century, serviced �by a surviving railway siding dating from 1855 and the birth of railways in New South Wales. Construction of the new museum building commenced in 1986 and completion occurred four years later with the official opening by the Prime Minister Bob Hawke in November 1991. Directions for the architect Philip Cox included the need for a ceiling height sufficient to house the Americas Cup winner Australia II and as two finger wharves were included, an expectation of floating exhibits was established. Founding a national maritime museum in the post-industrial era, with little legacy of inherited collections, gave creators of the Museum some challenges. Order was established with the objects collected displayed in galleries along thematic lines; Discovery, Immigration, Commerce, Navy, Leisure and a US Gallery, a Bicentennial gift from the people of the United States. What should be displayed and the question of a floating collection were matters addressed by Professor Peter Spearitt and Mr Vaughan Evans, who were commissioned to develop a collection policy for the new museum. They reported, in October 1985, that a relationship should be entered into with the then Sydney Maritime Museum, a community-funded volunteer run entity, for their fleet of floating craft to be moored at the wharves and be a major adjunct to the ANMM. In particular they strongly recommended against the ANMM becoming directly involved in the running of historic floating craft, based largely upon cost. 2.1 A floating collection Following the failure of the two museums to agree on these arrangements the proposal lapsed and the new ANMM set about collecting a fleet of vessels. A former lightship, CLS 4 was the first vessel acquired by the museum in 1987 with HMAS Advance (patrol boat), Akarana (1888 cutter and a bicentennial gift from New Zealand), John Louis (pearling lugger), Krait (commando raider and on loan from the Australian War Memorial), Hong Hai �(a Vietnamese refugee boat and on loan from the National Museum of Australia [NMA]) and Sekar Aman (a Maduran lete lete) following in early 1988. At this time the collection stood at seven (7) vessels, though Hong Hai was returned to the NMA and TuDo (another Vietnamese refugee boat) purchased in its place. By the time of opening in November 1991 this had grown to 12, with the addition of Thistle (a 1903 sailing fishing boat), Kathleen (early offshore racer and bicentennial gift from Norway), HMAS Vampire (Daring class destroyer), Bareki (wooden harbour tug) and Epic Lass (naval officers’ launch) in 1990. The former submarine HMAS Onslow followed in June 1999, completing the current fleet. By any objective measurement, the floating collection is one of the largest of any museum in Australia and possibly the most diverse anywhere. Its establishment owed more to circumstance and serendipity than any systematic and integrated approach. Some have said there are too many yachts, others that the navy is overrepresented, while still others cry too few commercial craft. Choice was limited to what was practical and available in the circumstances then there prevailing, though at the time, the museum demonstrated courage in collecting ‘unfashionable’ vessels such as the lateen-rigged Maduran lete lete and the Vietnamese refugee boat. The number of vessels peaked as a function of the resources available to maintain and care for them as a collection. The knowledge gained over the first ten years has acted as a corrective for the initial estimates of resources needed, while the attitude in the intervening years has been to resist any further increase in the size of the fleet. While acquisition of an object into a museum collection traditionally has a connotation of perpetuity, the reality of such an aim, in the context of the recurrent funding demanded by an operational vessel, suggests that a ‘sunset’ may need to be at least contemplated as part of the forward planning process. A recent exercise has been the production of a five-year plan with costing for the whole fleet, to enable long-term decision making and resource allocation. �Should decisions be made on the retention or otherwise of specific vessels, a means of determining their relative importance to the collection is needed. As functional objects it is recognised that there will be progressive loss of fabric through use, where the desire to display and interpret the vessels will need to be traded off against the long-term consequences of loss. The identification of significance is of great importance in this context. 3 Vessel conservation at the ANMM The acquisition of a collection immediately demanded resources, skills and infrastructure. Staff were recruited from suitable candidates with marine trade backgrounds, using an approach to conservation little different from good commercial practice, where applicable, traditional techniques were applied with not too many compromises. Initially this seemed to work well for Western craft, but what of the Asian vessels in the collection about which very little was known and even less documented? It was understandable that these vessels would provide challenges, but it wasn’t long before issues arose on even those vessels that were well known. What approach should be taken with a pearling lugger from Northwest Australia, changed significantly from new with a raised forecastle and a cut-down rig? Should we remove the former and reinstate the latter? What of the most recent modifications (some very rudimentary) reflecting the change in trade from pearling to shell harvesting. Is this important in telling the story of this vessel? Eventually it became obvious that a clear and logical framework was needed to guide staff on the best way to deal with all vessels. Additionally, any framework had to be practical, effective and, if possible, have recognition within the museum profession as a legitimate approach. The demands placed upon a vessel in the Fleet, as the collection of vessels in the museum came to be known, were far more onerous than was the case with other collection objects. While most museum professionals are content with the idea of displaying �collection objects in a completely passive way in a controlled environment, there was a clear expectation from all that a vessel (normally afloat) needed to be kept afloat, and preferably operational, to deserve a place in the collection. 4 Conservation standards for floating vessels What standards were available to guide those staff working with the Fleet? An examination of existing maritime museums in Australia with floating collections demonstrated that most were in the hands of volunteer run, community funded groups, many based around a single ship. These ships tended to be either naval or small commercial ships of steel or timber construction, generally with steam propulsion. Resources were scarce, work being carried out using skilled and semi-skilled volunteer labour and traditional techniques. No particular approach to collection management and preservation seems to have been consistently applied and the results were mixed. The ANMM as a national collecting institution possessed a conservation laboratory complete with highly skilled staff and recourse was initially made to this area. The conservators were organised along generic materials lines, with practitioners demonstrating specialised skills in textiles, metals, paper and other media. Their work, in the traditional museum context, was preservation and involved treating objects that remain in tightly controlled environmental conditions of temperature, humidity and light levels. They were understandably reluctant to become too deeply involved in collection vessels as functional objects, which survive in a hostile environment with no control over these cardinal variables and others such as wind, waves, precipitation, extreme UV, mechanical damage and wear. Likewise the ANMM collection management system, as sophisticated as it was, could not adequately deal with an object as complex as an operational vessel. In the absence of established guidelines for preserving vessels from the traditional museum disciplines, other avenues had to be explored. What was needed was more than an inventory of useful practices or standardised �terminology such as those produced by the US National Park Service - given the national status of this collection, it deserved an integrated approach beginning with a philosophical perspective. 5 Conservation management in Australia The conservation management of historic buildings in Australia is now a mature discipline, with professionals working along documented guidelines within recognised protocols. Countless examples exist of both good and bad outcomes in building conservation, with a lively literature of papers and publications. A vessel, as a functional object, shares a great deal in common with a building; it is designed and built for a certain purpose, may undergo alteration over the years, possibly become obsolete for that original purpose and needs to be adaptively reused, often with great creativity to provide for itself a viable future. The conservation planning process for historic buildings in Australia is based upon guidance provided by the Burra Charter and other heritage protocols promulgated by the New South Wales Heritage Office and similar government agencies. The phenomenon of the Conservation Plan has come to be most widely known through the writings of James Semple Kerr and his seminal work of the same name, now highly developed and in its fifth edition. Though essentially written for built heritage, the conservation planning process lends itself successfully to support conservation of the Fleet and has the potential to provide guidance for any item of moveable cultural heritage. The conservation planning process provides a philosophical framework to underpin all conservation work. At the heart is the identification of significance: what is important about the vessel and how to ensure the sustainability of this significance in the face of constraints, to allow interpretation and access. The process has the capacity not only to cover adequately the conservation of vessels, but immediately place this work on a recognised heritage industry platform. �In spite of the maturity of the conservation planning process, particularly in Australia through the work of James Kerr, it is not well known within the museum profession. 6 Conservation management plans (CMPs) and the Fleet For some years statements of significance existed for most vessels in the Fleet, and though development had hardly progressed beyond this point, there was a clear understanding of the concept of significance and its intrinsic physical location. This had prompted staff to identify those areas that were significant and vulnerable before deciding on any work required. The adoption of the CMP model allowed a seamless link to develop between the established significance and the proposed conservation treatments and actions. This flow incorporated existing reporting systems, gave a documented basis for decision making and provided an excellent didactic tool for training of staff in heritage management. 6.1 The Krait CMP An example of the CMP was that written for the Krait. As previously mentioned this vessel served during the Second World War and was used to insert commandos who successfully prosecuted a canoe raid on shipping in occupied Singapore in October 1943. The vessel is part of the collection of the Australian War Memorial and on loan to the ANMM. The CMP follows the structure set out in Kerr (2000) and is consistent with the guidelines in the Burra Charter. The very much simplified flowchart of work adopted is illustrated in Figure 1. HISTORICAL RESEARCH UNDERSTANDING THE PLACE PHYSICAL ANALYSIS STATEMENT OF SIGNIFICANCE CLIENT NEEDS & CONSTRAINTS CONSERVATION POLICY RECOMMENDATIONS OTHER NEEDS & CONSTRAINTS �Figure 1: Diagram of the conservation plan process (abridged) from the Burra Charter (p.10). The CMP was prepared in house, for internal use. The identified users of the CMP were primarily Fleet staff responsible for the maintenance of the vessel. The CMP does however have the potential for use by anyone with a need to know more of this vessel and its story. Useful definitions are stated early, to ensure comparability and understanding where, again, the Burra Charter is used as the source. Fabric means all the physical material of the place. Conservation means all the processes of looking after a place so as to retain its cultural significance. It includes maintenance and may according to circumstance include preservation, restoration and adaptation and will commonly be a combination of more than one of these. Maintenance means the continuous protective care of the fabric, contents and setting of a place, and is to be distinguished from repair. Repair involves restoration or reconstruction and should be treated accordingly. Preservation means maintaining the fabric of a place in its existing state and retarding deterioration. Restoration means returning the existing fabric of a place to a known earlier state by removing accretions or by reassembling existing components without the introduction of new material. Reconstruction means returning a place as nearly as possible to a known earlier state and is distinguished by the introduction of materials (new or old) into the fabric. This is not to be confused with either re-creation or conjectural reconstruction which are outside the scope of the charter. �Adaptation means modifying a place to suit proposed compatible uses. Compatible use means a use involving no change to the culturally significant fabric, changes that are substantially reversible, or changes requiring minimal impact. It is in terminology that immediate distinctions can be made between the treatment of vessels at the ANMM and accepted practice elsewhere. This point is made by examining the word ‘restoration’. An article in the popular ‘wooden boat’ press in the UK some years ago spoke of the superb ‘restoration’ of an 1890s cutter. On closer examination it was clear that, with the exception of some cabin fittings and a few timbers, nothing of the 1890s fabric survived – only the silhouette and volume of the original vessel was restored. Yet this is a common misunderstanding of the process of restoration and a widely accepted outcome for any vessel so treated. 6.2 The Krait – identification of significance and understanding the vessel Following historical research, which revealed a more complete picture of the vessel, a detailed process of inspection and documentation of the fabric was undertaken. The combination of these two activities, and the chronology of changes, led to an ability to identify phases in the life of the vessel and thus an evaluation of the significance of these periods. The concept of significance is nebulous and, though perhaps a bit too rigid and mechanical, the categories given by the various guiding documents provide a sound basis for identifying what it is that makes the vessel important and worthy of retention. �Table 2. Categories of significance from NSW Heritage Office guidelines. CATEGORY HISTORIC NATURE OF SIGNIFICANCE TECHNICAL/ RESEARCH RARITY concerned with the range of historical context concerned with association with persons or events concerned with community regard or esteem Concerned with creative accomplishments or visual impacts concerned with technical accomplishment and research potential concerned with uncommon REPRESENTATIVEN ESS concerned with representativeness of a type or technique HISTORIC ASSOCIATION SOCIAL AESTHETIC The significance of the vessel however goes beyond the intrinsic physical fabric with the categories of social and aesthetic significance providing potential to address wider values and linkages to the community. The esteem in which this particular vessel is currently held is due in part to, and reinforced by, its acquisition into the collection of the Australian War Memorial, an institution with a commemorative as well as a cultural role. In the same way, the support of the community funded its repatriation to Australia forty years ago. It appears that this support has been sustained during that period, the challenge now being to maintain support into the future. More community involvement in the conservation and planning for the Krait may be a strategy to assist this process. 6.3 The Krait - Statement of Significance �A Statement of Significance was written which embodied the significance arising from those categories previously identified. The fishing boat Krait has considerable significance to the military history of special forces in Australia. The ship is a remarkable survivor of Operation Jaywick, and is the only extant vessel which was used by Special Operations Australia during the Second World War and one of few tangible links with this area of military operations during the war, when these operations were in their infancy. The Krait has social significance to the community which drove and largely funded a campaign for its purchase, repatriation and, maintenance and which lobbied for it to be acquired by the Australian War Memorial. As a floating war memorial, the Krait has assumed a status as a kind of sacred relic, enjoying a place in the national psyche as part of the ‘civil religion’ of the ANZAC tradition. 6.4 The Krait – conservation policy Imperatives from the established significance inform policies for future conservation treatments. These need to recognise the various phases of the vessel’s life and the significance of each, postulating treatments which may see some removal or restoration of fabric, previously removed, to helpfully liberate that significance. Likewise at a material level, intrusive elements would be removed if these were damaging, such as rusted fastenings. Ethically, it is recognised that these treatments involve trade-offs, in some cases presenting one phase of the life of the vessel over others and indeed the destruction of evidence through removal of fabric or wear and degradation. As an iterative process the CMP suggests consultation to help refine and decide upon outcomes, and to prevent discussion of issues becoming unnecessarily circular or repetitive. In this way, further and wider consultation may be helpful in the case of the Krait to ensure input from constituencies of support from sections of the community, including for example, personnel in Special Operations, who have a continuing interest in the vessel. It is in this area of community support that the �sustainability of the vessel and its role in telling of the past will be maintained. These elements have been aggregated in separate inventory sheets prepared for each identifiable space on the vessel. For illustration the sheet for the Krait’s engine room is presented to demonstrate the working documents in the hands of staff maintaining the vessel. �Table 1 Example of Inventory sheet – Krait CMP 6.4 ENGINE ROOM SPACE ENGINE ROOM CURRENT USE ENGINE ROOM PREVIOUS USE(S) ENGINE ROOM DESCRIPTION Engine room, circa late 1934, originally fitted with a Deutz diesel engine, this was replaced in 1943 with a Gardner diesel of British manufacture. At this time three auxiliary machines: petrol engine, air compressor and generator were also fitted with associated pipework and electrical systems. DECKHEAD • longitudinal oregon boarding laid over transverse beams with hatch and hinged hatch cover on port side aft • very thick paint system, flaking in parts • engine room deckhouse, timber boarding with sliding glazed clerestory windows, some glazed with perspex. BULKHEADS FORWARD • timber boarding (plywood) behind transverse stainless steel fuel tank with sight glass and filling pipe. AFT • built-in timber bench, for stowage • sliding hatch in timber on centreline • vertical boarding. PORT • engine room telegraph fitted to forward side of hatch • sawn frames on close centres, sistered with through steel fastenings and roves �• heavy continuous stringers shaped and fastened with steel fastenings. STARBOARD • sawn frames on close centres, sistered with through steel fastenings and roves • heavy continuous stringers shaped and fastened with steel fastenings • piping associated with engine cooling system with shipside valves • electrical switchboard fitted forward in way wheelhouse deck. DECK • Gardner 6L3 oil engine fitted with gearbox and associated plumbing and exhaust system • Lister air-cooled generator fitted forward on centreline with associated wiring • battery box fitted forward • plywood deck plates painted green. CANOPY • awning (plywood, hardwood frames) erected over engine room deckhouse. GRP mat laid over edges and butts. Penetrations (2) for main and auxiliary engine exhaust. Grey paint system on top, white gloss below. MOVEABLE ITEMS • two starting handles for the main engine are stowed in the engine room • spanners (2) open ended to take up stuffing box. SIGNIFICANCE The Gardner engine is of exceptional significance. It is well documented as the engine that took the raiding party to Singapore for Operation Jaywick. Various components are missing, the air start mechanism in particular. Missing components should be acquired and fitted. Some parts have the name ‘Gardner’ obliterated and these are of interest, having been allegedly so �treated by Major Lyon in pursuit of the covert nature of the raid (Silver, 1992, p.65). All early fabric is of high significance. This includes but is not necessarily limited to the following elements: structural members of the engine room, particularly the transverse framing and longitudinal stringers and the cabin sole. The engine room deckhouse and associated panelling may date from the period in service with River Estates. Electrical switch board. Fabric of moderate significance: Glazing, engine room telegraph: the telegraph is of post-raid fitting, has been on the vessel for many years and, though intrusive, can be justified on operational grounds and should not be removed. The telegraph repeat in the wheelhouse is also intrusive but should remain. In both cases a small box or cover should be placed over these items when not in use. Communication between wheelhouse and engine room was by voice through the hatch in the aft engine room. Aft built-in shelf. Low significance fabric: fire extinguisher, plywood deck plates, perspex glazing, and stainless fuel tank. Lister diesel engine and generator. PROPOSED CONSERVATION TREATMENT 1. Continue to use the engine room as part of the ship in accordance with the vessel operations policy and other relevant policies. 2. Comply with general conservation policy (Section 5) for the vessel as a whole and for the treatment of fabric under each level of significance. 3. Consider returning the engine room to the Operation Jaywick configuration with the installation of the original pattern of petrol engine, compressor and generator. Additionally, refit air receiver and associated high pressure piping for engine starting service. What remains of the other machinery; diesel generator, switchboard and wiring loom have been fitted since arrival in Australia in 1963. The opportunity exists to refit the auxiliary machinery from the time of the raid as appropriate machines �4. 5. 6. 7. 8. have been procured; a Ruston generator, air compressor and air bottle. These items should be fitted at an appropriate time. Replace plywood floor plates with traditional timber boarding laid transversely. This tank is of recent construction from stainless steel. Sited under the wheelhouse in the upper forward end of the engine room, the tank is intrusive but practical for operational purposes. It should remain, but its high lustre and appearance should be subdued by being enclosed behind panelling. A modification was fitted to allow easier access for fuelling. Though post raid, the deckhouse is of venerable age and demonstrates some interesting joinery. Documentation suggests that it was fitted after the war and has survived substantially intact. This construction should be retained, though where glazing is in perspex, glass should be substituted when possible. The tailshaft was replaced by a modern stainless steel (Aquamet 17) shaft in 1996 to wear and tear. It has been retained and stored. The canopy is a recent (post 1982) fabrication, constructed from marine plywood over a softwood frame. The previous configuration during the raid is not known with any certainty, though it may have been planked with a canvas deck overlay. It should be replaced with a more appropriate canopy when funding allows. �This inventory sheet documents the vessel fabric, then establishes, identifies and grades significance. A more detailed sheet is prepared which documents the fabric down to a component level, and in tabular form states significance and proposed treatment. Documentation of work carried out, traditionally a poorly executed part of the process, has been improved with report writing skills included in in-house training sessions. Early results are pleasing, with the whole process set to be further enhanced with proposed integration into the new ANMM collection management system, giving increased access to vessel records. 7 Staffing of Fleet Section A significant difference to the way in which conservation planning operates with built heritage is that, as owners of heritage vessels, the ANMM employs its own staff of marine artisans to carry out conservation treatments. This has been necessary as sources of workers have contracted in Sydney with the increased rate of traditional boat yard closures, changed technology, the reduction in craft-based training and waterfront redevelopment. These factors have resulted in the dispersal and disappearance of a large class of skilled labour. In the past the ANMM has been able to capitalise on this pool of expertise, however increasingly with these and other facilities gone the Fleet Section has had to increasingly look to itself to perform the work required to maintain the fleet. In light of this and the increased sophistication of approach to vessel conservation, the ANMM commenced a program of training artisans, using the traditional craft-based apprenticeship as a model. This has proven most successful with six graduates of the program in ten years and two currently in training. Trainees attend classes on day release at college in the boatbuilding course where they are exposed to both contemporary and traditional techniques. The training is supplemented with heritage training sessions, and short courses conducted in-house at the ANMM. Recent developments have seen the trainees placed with other ‘host’ employers noted for offering specific services such as decorative painting and brightwork techniques. These activities, in addition to secondment �to senior artisans on ANMM staff have led to a very high level of achievement in recent graduates. 8 Conclusions and the future Following early promise, conservation management plans are to be drawn up for all vessels, both floating and stored dry in the ANMM. This will provide guidance to all involved with conservation procedures and to allow decision making at a strategic level for allocation of scarce funding and resources. Investigation suggests that for the significance of vessels to be sustained, support also needs to be garnered among those constituencies that have a stake in the vessel. The CMP, then, should be drawn up using a collegiate approach from museum professionals, ideally in consultation with stakeholder interest groups to refine and develop the document, as a continuous process. At an operational level the ANMM has a site master plan in place to develop its site to more adequately protect, manage, maintain and display its fleet to visitors. This, coupled with the conservation management planning process and staffing initiatives should place the management of the Fleet at the ANMM on a firmer footing for the future, and ensure the continuation of a traditional ship repair skills base in floating maritime heritage. References Australia ICOMOS. The Burra Charter: the Australia ICOMOS Charter for Places of cultural significance (1999), Australia ICOMOS Melbourne. Kerr J.S., The Conservation Plan: A Guide to the Preparation of Conservation plans for Places of European Cultural Significance, National Trust of Australia (NSW), 2000. New South Wales Heritage Office, NSW Heritage ManualAssessing Heritage Significance, Sydney, 2001. �Silver L.R. and Hall T., Krait: the fishing boat that went to war, Sally Milner, Sydney, 1992. U.S. Department of the Interior, National Park Service, The Secretary of the Interior’s Standard for Historic Vessel Preservation Projects, Washington, 1990 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Big Stuff 2004 Date A point or period of time associated with an event in the lifecycle of the resource 2004 Creator An entity primarily responsible for making the resource Alison Wain Article An article in a journal or periodical Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Managing floating heritage: a decade of managing a fleet of historic vessels at the Australian National Maritime Museum Creator An entity primarily responsible for making the resource Steven Adams Date A point or period of time associated with an event in the lifecycle of the resource 2004 boats Burra Charter collection management conservation management plan Ethics and Approaches maintenance maritime project management standards training