14 C O N T E X T 1 1 9 : M A Y 2 0 1 1 up a ladder, on the scaffolding, working with the other members of the project team, including various specialists in traditional building crafts. And whereas the work of a modern building designer is largely complete before construction begins, many of the conservation architect’s challenges do not start until the roof tiles are removed, or the scaffolding erected, enabling a close inspection of the exposed fabric. There are perhaps 1,000 architects with the skills and experience potentially to join the AABC.These include some eminent specialists in this field who have felt that their own reputation was well enough established for them not to need accreditation. But the register is not a means of seeking a marketing advantage. Many of those who joined the register in its first decade did so out of a strong personal commitment to the conservation cause. That same conviction is now evident in the number of AABC-accredited architects who mentor younger potential members. Critics accuse the AABC of trying to operate a closed shop or say that the AABC’s standards are too high. The RIBA has announced its intention to set up its own scheme with three levels of accreditation: conservation registrant, working on unlisted heritage buildings; conservation architect, working on Grade II listed structures and ‘buildings in sensitive historic environments’; and specialist conservation architect, working on Grade I and II* listed buildings or scheduled monuments. The AABC management team counters that it is the client’s decision whether or not to employ an AABC accredited architect. The register is simply a means of protecting historic buildings and clients from inexperienced architects and inappropriate intervention. While understanding the desire to encourage architects to become accredited, the AABC sees the threetiered approach as misunderstanding the issue. It is the nature of the problem that dictates the skill required, not the grade of the building. English Heritage waited for six years to ensure that the AABC scheme was working properly before deciding that ‘control by an accredited professional is a requirement of grants being awarded for repairs to historic buildings’. Many diocesan advisory committees look to the AABC register for architects with the necessary knowledge, competence and experience to manage conservation works on historic places of worship. An AABC accredited architect’s typical portfolio embraces work for developers, private clients, local authorities, charitable trusts (especially building preservation trusts) and grant-aided work on a variety of structures. Church work accounts for about a quarter of it. The AABC runs mentoring seminars for architects seeking accreditation. For further information, send your contact details to [email protected]. Site meeting at Ordsall Hall, Salford, diagnosing problems with the 1890s elevation of this multiperiod building.The work was part of a major repair and access improvement scheme for Salford City Council, grant aided by the Heritage Lottery Fund, among others. Masonry works associated with the repair and reroofing of the south aisle of 15th-century Manchester Cathedral, grant aided by English Heritage Christopher Catling is a writer on heritage topics who contributes regularly to Country Life and Current Archaeology. For 10 years he has been compiling Salon, a fortnightly review of heritage issues published by the Society of Antiquaries.
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