Bernhard Kügler: We are not better than others, we are different. This difference makes our training more interesting for those interested in the profession of conservator. Our concept differs from that of the universities. We have a split of 50 percent theory and 50 percent practice; we have been pursuing this concept for 40 years now and have been quite successful. I think that is the essential point, that we form a counterbalance to the theoretical training in the natural sciences, art history, documentation, etc. with the practical work. As a result, our graduates are very well qualified for the job market after their training. Many of them find a job during their studies. This high proportion of practical work simply sets us apart from the universities.
BK: There is less practical training. We sometimes have applicants who switch to us from universities because we have a higher proportion of practical training. Due to our school character, which is a special Bavarian model of vocational academy training, we have this concept with half theory and half practice. We have full-time teaching, which is not comparable with a Bachelor’s degree course, for example. This is an independent course of study, we are organized as a school. As a result, the training at the Fachakademie is sometimes more intensive. All subjects are taught regularly and continuously according to the curriculum. I believe that we prepare our graduates for both academic and practical work. They can write documentation, produce findings and develop concepts. They are then able to put these things into practice.
BK: A detective’s interest in getting to the bottom of things wouldn’t be a bad thing. You should definitely have an interest in research. Manual dexterity is also essential, as is a good deal of creativity. You might not expect this at first – the main task of restorers is to recreate or restore and conserve with restraint. At first, this seems rather less creative, at least when we think of what we know as an artistic or painterly process. But restorers need creativity when it comes to finding a path and developing a concept for a restoration. This involves questions such as: What is the best way to restore a particular object? Which techniques can I adapt or modify? This applies in particular to modern techniques such as 3D scanning or 3D printing, where many things have to be adapted for our specific field. Ideally, at the end of all the considerations, you will find the right way for the special object that fits perfectly.
BK: It’s essential to have this, the natural sciences are an integral part of our training. We teach at various levels, from refreshing basic chemical knowledge to inorganic chemistry, organic chemistry and special conservator chemistry, which then involves analysis. You learn to determine binders, pigments and other materials. Ideally, the materials are discussed at the same time in specialist technology. The materials are used in practical exercises, for example to find the right color intensity in the corresponding binder for a retouch.
BK: Manual dexterity is of course important to us. This is also reflected in our school regulations. The Ministry of Culture has stipulated that our applicants must either have completed an apprenticeship in a woodworking profession or have a high school diploma and have completed at least one year of practical training in the field of restoration. The term “woodworking profession” is broadly defined and can include wood sculpting, carpentry, boat building or carpentry.
At other training institutions, internships have been abolished or shortened in some cases, which I don’t think is a good thing. Because the more knowledge the students bring with them, the more intensive the training can be. And the better the individual can be supported.
BK: Many applicants have this concern, but I know from experience that the differences in the classes level out very quickly. On the one hand, the students help each other because they are close together as a class. But it also levels out because in the first semester we learn many traditional craft techniques – from carving to setting, gilding and gluing to shellac polishing. At the end of these exercises, damage is inflicted on the objects, which must then be restored. Someone who has done an apprenticeship as a carpenter or wood sculptor may find it easier to make the objects, but someone who has done the practical training will find it easier to restore them. This balances each other out, and after nine months the students are on the same page.
BK: In addition to the internship or apprenticeship mentioned above, we also conduct detailed interviews with interested candidates. If there is serious interest, we invite them to a one-day aptitude test. This is not a knowledge test, so you don’t have to excel in art history or chemistry. We only test aptitude first, for example with color tests and a written test in the subject of documentation on restoration and conservation. After the “manual wood test”, you are a guest in class and have the opportunity to get to know the students and exchange ideas with them. This gives you an insight into what everyday life is like here. We observe this and then conduct a final interview with the applicant and inform them directly of our decision. The apprenticeship lasts three years and you graduate with several titles at DQR and EQF 6 level, which corresponds to a Bachelor’s and Master’s degree. Graduates therefore also receive a master craftsman bonus from the Free State of Bavaria, currently amounting to 3,000 euros. The title that is awarded is “State-certified restorer for furniture and wooden objects”, and there is also a second title “Bachelor Professional (Technology)”.
BK: Pay, especially in the public sector, could be much better. On the free market, this is often a matter of negotiation. But that’s not enough to get young people interested in the profession. It is very important for us to go into schools – secondary schools and grammar schools, but also vocational schools. Many colleagues who have larger companies have also recognized this and are going into schools and actively offering internships to students.
Another approach could be to ensure that colleagues do not retire at 67, but that those who want to can work longer. Of course, the conditions for this must be attractive.
And thirdly, working with AI that can take over tasks from us. This gives us more time for our core tasks. For example, AI could help with climate monitoring and control or documentation and mapping. This is not yet part of everyday life, but it will become established. We are currently working on improving and preparing ourselves in this area.
Born in 1963, trained as a carpenter from 1979 to 1982, followed by various restoration internships;
1988-1991 Training as a state-certified restorer for furniture and wooden objects at the state-recognized academy of the Goering Institut e.V. Munich; then 6 years as workshop manager for the restoration department at the Gerg workshops;
In 1992/93, two DAAD teaching assignments for workshops for restorers at the Museum of the Province of Java-Barat in Bandung/Indonesia;
Since the end of 1997 teacher at the academy;
As chairman of the professional association of state-certified restorers in 2001, he helped shape the merger of the German restorer associations to form the VDR; since 2003, he has been director of the Goering Institut e.V. and director of the state-recognized specialist academy for the training of restorers of furniture and wooden objects in Munich;
