Access and Conservation at Pompeii: Strategies for Sustainable Co-existence

ABSTRACT

The extraordinary surviving paintings and floor surfaces at Pompeii are subjected daily to environmental degradation and anthropic pressure. In 2017, the ancient city was visited by 3,400,000 tourists – almost 1,000,000 more than a mere 5?years earlier. This figure looks set to increase, as a result of the revival that the site has undergone in recent years, thanks to generous funding from the European Union and the work of the Great Pompeii Project, which has enabled the reopening of a large number of domestic properties and indeed entire urban quarters which had been closed for decades. However, the increase in site usage necessitates more attention to be paid to conservation. Preventive conservation and planned maintenance, overseen by the Great Pompeii Project, represent the first response. It is conducted by a multi-disciplinary team of archaeologists, architects, conservators and specialists who are present on the site every day, responsible for the management of emergencies, and policy planning through organisation, study, application and evaluation of the consequences. Due to increased tourist numbers, the monitoring team covers every single accessible building, to study the dynamics of visitor flow, and to identify possible interventions to mitigate the effects of anthropic pressure.     

古籍历史修复遗存的形式、处理措施及启示

[目的 /意义]历史修复遗存是古籍的组成部分,是新的古籍修复周期处理的对象,研究古籍历史修复遗存不仅能丰富古籍修复技术,更能提高古籍修复质量.[方法/过程]分别运用归纳法和案例法研究古籍历史修复遗存的形式及处理措施.[结果/结论]古籍历史修复遗存形式包括修复材料、修复方法及其印记等.古籍历史修复遗存处理应依据具体情况分...     

Preserving the Open Form. The Oskar and Zofia Hansen House in Szumin: Between architecture and contemporary art

A wooden summer house in Szumin, built between 1969 and 1970, is a spatial manifesto for the Open Form — a theory formulated by Polish architect, artist, and educator Oskar Hansen (1922–05). Oriented towards participation, process, and change in the hierarchy between the architect and the user, or the artist and the spectator, Hansen's theory formed a strong conceptual basis for his architectural, artistic, and pedagogical practice. Being a faithful expression of these ideas, the house is a spatio-temporal, transitional object, defined by constant adaptation to the changing needs of its users. In 2014 the property came into the custody of the Museum of Modern Art in Warsaw, Poland. A conservation strategy was developed to preserve both the idea and the physical aspect of the site. With its dominance of concept and artist's intent, this house has a stronger resemblance with a work of art than with built heritage. Therefore, the procedures developed for the conservation of contemporary artworks have been applied. These tools help to evaluate the range of necessary interventions and to set up a conservation programme.     

‘The State is Me.’ My Role as a Conservator: Do Conservators Have Power Within the Cultural Structure?

ABSTRACT

Preventive conservation plans must include the collaboration of all the different departments within an institution to be able to diagnose the situation, provide proper maintenance, and allocate a budget. Preventive conservation entails understanding the collection’s needs, organizational culture, institutional priorities, and risk factors. Beyond the intervention of objects, the conservator is the creator of guidelines and the implementer of solutions. In this paper, need-based approaches are provided showcasing how tailor-built preventive conservation plans became merged into the backbone of everyday activities. In the Louis C. Morton Auction House in Mexico City, diagnosis tools were adapted, redefining conservation terms within a business-oriented model to guarantee success. In the National Museum of Art in Mexico, the sustainable preservation plan categorized actions within their realization capability. Tasks were allocated to different departments and suppliers; outsourcing, not the responsibility, but the commitment of continuity with service providers via contracts. At the Israel Museum in Jerusalem, the complex conservation projects have focused on high standard continuity. Motivating people to participate in the steady innovation, an encyclopaedic museum must have not only to conserve its collections, but also to serve as an international example.     

国内外古籍保护研究议题及其比较

文章对国内外古籍保护文献进行计量分析,从数量、时间、主题和学科领域分布角度呈现研究概况,在此基础上,从文献材料保护与修复、文献保护环境研究、文献保护技术(科技)、文献保护管理四个方向进行分析阐释。研究发现,国内外古籍保护主要研究方向初步成型,研究重点集中于材料和保护技术;考虑到国内外研究基础、研究情境和关联领域等的差异,宜借力图情档领域进行古籍保护学科建设,促进中华文化传承及创造性利用。     

Mesocycles in conserving plastics

Analysis suggests that progress in conservation of plastics objects and artworks can be described by a series of overlapping mesocycles. Focus has been placed for periods of 5–10 years each on determining the degradation pathways in the 1990s, developing strategies to inhibit those pathways from the late 1990s and, since 2006 on actively stabilizing and treating the symptoms of degradation. The primary driving forces behind the direction and rate of progress within each of these three mesocycles have been different and specific. The controlling factor in understanding degradation pathways for heritage plastics has been the origin of the data describing lifetimes. By contrast, mesocycles in developing suitable storage and display microclimates for plastics have mirrored preventive conservation practices for natural polymeric materials. The rate of the third mesocycle, interventive conservation, has been driven by the need to balance the requirements for reversibility in conservation practices with the artist's intent and significance. Developments within each of the three mesocycles from the 1990s to date are discussed in this article. Environmental science and toxicology of waste plastics offer a novel source of information about real time degradation in terrestrial and marine microenvironments that seems likely to contribute to the conservation of similar materials in contemporary artworks.     

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��[Purpose/significance] Ancient book conservation in China should obey the identifiable principle so as to maintain the objectivity and authenticity, scrupulously abide by the ethics, ancient book conservation needs to confirm reasonable identifiable technology.[Method/process] This paper proved that Chinese ancient book conservation technology had identifiable function by summarizing identifiable characteristic and using the identifiable effect provided by the conservation case.[Result/conclusion] Chinese ancient book conservation technology complies with identifiable principle, integrates conservation and identifiable functions, and has favorable identifiability and conforms to the characteristics of Chinese ancient books. The application of identifiable technology should depend on the shape of ancient books and the purpose of their conservation, and the specific situation should be analyzed.     

中国古籍修复可识别原则、技术及其应用

[目的/意义] 中国古籍修复应遵守可识别原则,以保持古籍原件的客观真实,恪守古籍修复伦理,中国古籍修复需要确认合理的可识别技术。[方法/过程] 通过归纳方法总结中国古籍修复技术的可识别标识,利用中国古籍修复技术修复案例提供的可识别效果,证明中国古籍修复技术具有可识别功能。[结果/结论] 中国古籍修复技术符合修复可识别原则,集修复与可识别功能于一体,具有良好的可识别性,符合中国古籍特点。应用可识别技术应随古籍形态及其修复目的而定,具体情况具体分析。     

Painting Hinemihi by numbers: Peoples-based conservation and the paint analysis of Hinemihi's carvings

This study describes the analysis of paint samples from carvings belonging to Hinemihi, the Maori meeting house, Clandon Park, Surrey, UK. The assessment of physical evidence contained within Hinemihi's built fabric (along with historiographic research of archival sources and oral histories) has formed a key part of the information gathering process during the current conservation project. The production of such data provides an opportunity for a dialogue that is essential for effective decision-making within participatory conservation projects. From this, it is evident that the use of paint analysis, in deciding the eventual painted scheme for a restored Hinemihi, is settled within a broader dialogue about the conception, use, and management of Hinemihi as a Maori cultural centre, as built heritage, and as an object of conservation. Therefore, the value of material analysis is considered in relation to the potential that this information has to engage a community of users in designing an effective conservation response that seeks to balance the opportunities and constraints of the cultural and physical landscapes that surround Hinemihi and Clandon Park.     

Extraction of Zinc Corrosion from Beneath a Paint Layer: A Case Study

ABSTRACT

Conservation of an oil painting on a zinc support is a complex challenge that has not been covered in the literature. Oil paint and zinc support rarely form a working combination because of their chemical properties. This article discusses the conservation of an oil painting on a zinc support that was found in extremely bad condition due to harsh environmental conditions it had been exposed to. The object had to be consolidated due to flaking paint and cleaned of surface dirt and support corrosion products. Finally, the object had to be physically strengthened due to the weakness of the support. This process required conservators to combine methods from several different fields of the conservation discipline. Methods employed in the conservation process came less from the literature, due to the lack thereof, and more from the everyday experience of the department and vernacular working practices. The overall methodology of the process has been reconstructed and critically evaluated in the broader field of conservation ethics and the discipline as a whole.     

法国国家图书馆的图书保护探析

法国国家图书馆对图书有一套科学的保护方法 :新书的初始化处理 ,图书质量的终身跟踪 ,图书藏用环境的优化 ,消毒技术的现代化 ,去酸技术的半工业化 ,数字保护和修复技术。表 1。参考文献 1。     

关于档案馆光盘档案保护的几点思考

目前光盘已成为文献信息存储的主要载体,各部门已经开始大量使用光盘存储档案信息.档案馆接收的光盘档案逐年增加,馆藏纸质档案数字化、声像档案数字化备份光盘数量也不断增加,并且光盘所反映的档案内容越来越丰富,信息量越来越大.然而,由于光盘材料成分的复杂性,受外界因素的影响较大,在光盘档案的保管中出现的问题越来越多.     

Ethanol as an antifungal treatment for paper: short-term and long-term effects

In paper conservation ethanol is used as an antifungal agent. However, information on the antifungal efficacy of this alcohol is scarce and often inconsistent. In this study, we clarify if ethanol is effective and safe to use in paper conservation in the short as well as in the long term. None of the tested ethanol concentrations (5–100%) promoted conidia germination, but rather delayed or entirely inhibited it, depending on alcohol concentration and contact time. In a simulation of an interventive treatment of samples colonized by fungi, all the tested ethanolic solutions (30, 70, and 100%) revealed antifungal activity. The best results were obtained with 70% ethanol, showing fungicidal properties on four of the five-tested fungal species (Aspergillus niger, Cladosporium cladosporioides, Penicillium chrysogenum, and Penicillium corylophilum). No deleterious effects of 70% ethanol on the tested paper were observed either in the short or in the long term.     

碳素环境对字画的保护研究

本文从大量文物实例中得到启示,提出用碳素环境保护字画,通过对保护前后字画所用纸张及颜料的加速老化,测定纸张机械强度及颜料色差,得出碳素环境可以有效地延长字画寿命.     

Balancing Significance and Maintaining ‘Sense of Place’ in the Sustainable Display of Tudor Tapestries in the Great Hall,Hampton Court Palace

ABSTRACT

Hampton Court Palace’s Great Hall located in Surrey, UK, is a magnificent late medieval hall. Its large hammer-beam roof is sumptuously decorated while its walls for the past century have been rehung with Henry VIII’s five-hundred-year-old tapestries illustrating The Story of Abraham, and one of the most internationally significant sets of sixteenth-century tapestries, commissioned for the same hall. This paper presents research which began in 2007, exploring conservation solutions based on evidence-based decision-making, through to successful implementation of measures that conserve these invaluable tapestries without damaging the aesthetic or physical integrity of the Great Hall. The impacts of environmental exposure conditions mapped in detail were assessed to evaluate risk for each tapestry. Next, feasibility studies identified the effectiveness of a range of potential mitigating options to address each local risk, now being incrementally implemented over many years. The research has enabled us to develop, test and deliver permanent interventions that have – when considered together as a holistic management regime – allowed the tapestries to remain in situ. These interventions will continue to be monitored and evaluated for at least a further year to confirm their effectiveness.     

古籍保护学科建设研究：背景、现状及空间

古籍文化遗产作为传承中华传统文化的重要载体,其保护和流传价值为国家和社会发展所重视,也为古籍保护学科建设带来契机,以研究引领或保障古籍保护的科学、规范化发展成为题中之义。在评析现有主要古籍保护研究团队的研究特点的基础上,阐明问题:对古籍保护能否成为一门学科的论证不足,对古籍保护学科建设的理解有失全面,对于学科建设的背景和环境缺少关照,缺乏实证研究和国际话语意识。进而提出,应在中国特色哲学社会科学框架下,在理解学科建设内涵和一般性规律的基础上,设计古籍保护学科建设实施方案,进行教育教学改革实证研究,科学建构古籍保护理论体系。     

Conservation and Book Arts

SUMMARY

This presentation contrasts and relates historical binding structure, book conservation and physical deterioration of books with interpretive modern works of book art.     

Book Conservation within Library Preservation

SUMMARY

Maintaining the physical book in research libraries will be needed for some time. As a result, book conservation will be around. The question is Why have book conservation as part of a preservation program? Physical repair of books is only one aspect of the “continuum of care” of a preservation program. Having a team of preservation specialists address the full range of preservation issues allows each specialist, including book conservators, to play to her or his strengths. This “team” approach will result in more work being accomplished in all areas, including treatment, administrative, training, etc, effectively and efficiently.     

Study and Conservation of the St. Nicola's Basilica Mosaics (Bari,Italy) by Photogrammetric Survey: Mapping of Polychrome Marbles,Decorative Patterns and Past Restorations

ABSTRACT

This present work focuses on the mapping of marbles, decorative patterns and area of the mosaics of the St. Nicola’s Basilica in Bari (Italy) by their photogrammetric survey. The extraordinary importance of these mosaics is due to the stylistic uniqueness and the undisputed workmanship and to the employed materials for tesserae. These mosaics include the white and polychrome marbles, used in the Roman age and reused in medieval artistic production, and imitation stones used as substitutes during the past restorations. The digital survey was realised by the photogrammetric reconstruction of mosaics collecting a photo dataset, after the mosaics redrawing by an image processing software and finally implemented it with lithological identification marbles. It allowed to obtain a punctual mapping of materials, through which to identify original areas and restoration areas, decorative patterns, recurring geometries. The research carried out, supported by the photogrammetric reconstruction as established method for high resolution digital reproduction and mapping, not only ensures the conservation and improvement of the enjoyment of the mosaic floors of the St. Nicola’s Basilica, but allows to conduct studies on materials, decorative patterns and restoration areas directly on the digitized product.