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1.
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. 相似文献
2.
The murals in Dunhuang Grottoes, a famous world cultural heritage site, are precious and unique, so research on mural surface changes and evaluation of the degree of deterioration should be non-destructive. In this study, tracking photographs of a simulated mural surface were processed with MatLab software to obtain a three-dimensional image and Z axis data, and a calculation method for quantitative analysis was also proposed. The feasibility of this approach was confirmed by simulated experiments of mural damage in the laboratory and analysis of real murals in situ. It was also applied to analysis of surface deterioration of an earthen archaeological site before and after rainfall erosion. As a simple and non-destructive approach, it could be used for the analysis of micro changes in murals or for monitoring real time surface changes at cultural heritage sites. 相似文献
3.
Kate Fulcher 《文物保护研究》2017,62(4):210-222
The conservation of wooden objects is complicated by their response to changes in their environment. In particular, filling voids in wooden objects can be difficult when their dimensions might be expected to alter over time. A short survey of conservators showed that a wide variety of materials have been, and are being used for this purpose. Following conservation work undertaken on a wooden coffin, the author wished to investigate the properties of cellulosic materials and their suitability in the conservation of wooden objects. This paper shares the results of experiments that were conducted to determine the way in which hydroxypropyl cellulose (HPC) and paper pulp fills respond in various conditions, as compared to other fill materials used by conservators. The compatibility of the HPC and paper pulp fills with wood is satisfactory enough to be able to recommend their use in the conservation of wooden artefacts, but ideally further experiments would be carried out, and on a wider variety of fill materials. 相似文献
4.
Artworks are an inseparable part of the cultural heritage of societies and provide us with a unique look at cultural developments through time and space. For the best possible conservation, it is paramount to know the constituent materials, condition, and construction techniques of the objects (e.g. painting on wood, fresco, sculpture). Such information is required not only for the surfaces of the objects, but also for the interiors; in the imaging discipline, this is known as depth imaging. Here, we introduce a new method for non-invasive depth imaging as an alternative to traditional non-invasive methods when the latter cannot be used to obtain the required information. We use ultrasonic transverse-wave transmission measurements and turn them into virtual reflection measurements. We achieve this by applying seismic interferometry with active sources. Obtaining reflection measurements by seismic interferometry allows us to apply an advanced imaging technique – prestack depth migration, as used in seismic exploration – to produce a high-resolution depth image of an object. We apply our method to ultrasonic data recorded on a mockup of a painting on a wooden support. We validate our method by comparing our results with an image from X-ray computed tomography. 相似文献
5.
Katy Lithgow 《文物保护研究》2015,60(6):57-63
What are the key messages conservation science should communicate to the public? Although the profile of conservation science itself can be raised by talking about the process, most feel that the messages should concern what conservation science brings to the focus of its work – cultural heritage. However, it is no longer enough to focus on the needs of heritage in isolation. Demonstrating public benefit is crucial to persuade decision-makers to invest not only in the conservation of cultural heritage but also in the science that informs its care. Conservation science can research the significance of cultural heritage and how to enable access to it, but it now also needs to engage the public actively in its activities. This means continuing to use the traditional ‘hard’ sciences of physics and chemistry but also learning from and collaborating more with less familiar partners such as the social sciences, the medical sciences, and natural heritage to demonstrate how conservation science is good for people, and developing new methods of communication to do this. Conservation science needs to engage with the public not only as a subject for research but also as a means of doing the research, so the end also becomes the means. Public impact should be factored into conservation science projects, with training in communication and the principles of interpretation provided to those involved. A more fundamental shift may be required in the sector however, that puts people's benefit at the heart of conservation science as much as the benefit of the cultural heritage it engages with. 相似文献
6.
ABSTRACTMany of the sandstones at cultural heritage sites around the world are susceptible to chemical weathering, and long-term monitoring of the chemical weathering would be of great value for heritage conservation and would also provide reference data for environmental protection policies and projects. Reflectance spectroscopy is a potential tool for monitoring sandstone weathering due to its non-destructive characteristics. In this paper, we present the results of an investigation into the reflectance spectra of sandstones at the Yungang Grottoes, China, where the sandstones are variously fresh, calcite-dissolved, or argillitic-altered. We found several spectral absorptions, including those at 490, 675, 900, 1410, 1918, 2205, 2330, 2350, and 2380?nm. The absorptions at 490, 675, and 900?nm are related to hematite cement, while that at 2330?nm is associated with calcite cement. The absorptions at 1410, 2205, 2350, and 2380?nm are induced by the Al–OH vibration of kaolinite, and that at 1918?nm is related to crystal water. The calcite-dissolved sandstones have lower absorption intensities at 2330?nm than fresh sandstones, and the argillitic-altered sandstones have lower absorption intensities at 490, 675, and 900?nm than the fresh sandstones. In the 1st-derivative reflectance plots, the absorption peaks at ～1400?nm shift towards shorter wavelengths with increasing kaolinite contents. The spectral features of the fresh, calcite-dissolved, and argillitic-altered sandstones are all different, and this means they can be distinguished spectroscopically, which demonstrates the usefulness of reflectance spectroscopy for the long-term monitoring of sandstone weathering in the Yungang Grottoes. 相似文献
7.
《文物保护研究》2013,58(1):127-129
AbstractThe restoration of the seventeenth-century adobe church at Carabuco, Bolivia, offers a model of how to conduct the preservation of the Latin American cultural heritage at remote sites. This paper details the conservation of the church's polychromed wooden choirloft, which had previously been restored in 1765-66 after this and other portions of the church collapsed. The choirloft is made oflocally grown eucalyptus wood painted all over with a tempera-based medium. It was executed by a local artist whose style draws on local folk-art traditions while reinterpreting European Renaissance decorative schemes. The choirloft conservation project had two goals: to guarantee its structural integrity and to stabilize the decorative paint layers. These goals were accomplished in a four-month conservation project which formed part of a larger effort to restore the church. 相似文献
8.
Matteo Calabrese Nicoletta Odisio Lorenzo Appolonia Andrea Bernagozzi Jean Marc Christille Annie Glarey 《文物保护研究》2018,63(5):43-50
ABSTRACTForecasting the dynamics of alteration in materials, in particular the timescale of degradation, is relevant to preventive conservation, and great deal of effort has gone into developing new models for the kinetics of physical and chemical phenomena affecting materials. Creating monitoring systems able to assess the evolution of degradation processes that inform intervention programs is necessary to ensure the protection of historical and artistic heritage. The Research Unit for Integrated and Predictive Systems (SIP) is presented: it develops new tools and algorithms to study the alteration of materials using non-invasive techniques and passive monitoring, as well as new mathematical models to predict how the surfaces of materials degrade with time. The paper focuses on the Arch of Augustus and presents initial results from two virtual sensors used to ‘monitor’ environmental conditions outdoors. These systems do not need a permanent, invasive network of sensors in situ. They rely instead on local infrastructure for measuring air quality, and adopt smart information fusion algorithms to predict the environment around the cultural heritage site. Virtual sensors can provide an effective control system that highlights specific conditions linked to specific forms of alteration. 相似文献
9.
《文物保护研究》2013,58(5):333-339
AbstractWhen wooden supports of panel paintings have been severely altered or damaged and the original cross beams are missing, new cross beams or other types of auxiliary supports are connected to the panel's back-face in order to achieve desired effects including panel strengthening and control of deformations. Some conservation laboratories use small wooden blocks, each glued on the back face of the panel and holding freely the head of a screw connected (often by means of springs) to the auxiliary support; such blocks being called in Italian ‘piedini’ or ‘bottoni’, the English term ‘buttons’ is proposed here. This paper reports research aiming to characterize the mechanical behavior of three types of ‘buttons’ having different geometries and made of various wood types (oak, walnut, lime, beech, and a medium density fiberboard). Short-term mechanical tests (～1 minute duration) were performed with a universal testing machine by axially pulling out the 4 mm diameter steel screw from the button, glued onto a dummy board. Load and deformation were recorded, and the load–deformation curves were analyzed. The results show that the deformability and the load-carrying capacity of the buttons were influenced primarily by the manufacturing geometry and secondarily by the wood density. 相似文献
10.
Agnes W. Brokerhof 《文物保护研究》2015,60(6):7-13
This paper reports the conclusions and recommendations of the working group that synthesized the discussions on ‘How can science connect with and be of greater benefit to conservation practice?’ during the ICCROM Forum on Conservation Science. The author reflects on these findings from her own perspective and experiences, and places them in the context of two major shifts in heritage research: the first, a shift in focus from conserving materials to managing meaning. The second, a shift in organizational structures from single, centrally funded heritage institutions towards diffuse networks which include new players who have no direct responsibility towards heritage. Both shifts are taking place in an environment of decreased funding and increased accountability to society. Science and conservation connect and contribute to each other most effectively if they together contribute to the societal benefits of heritage. In this regard, heritage science strategies can stimulate collaboration, and direct science and conservation towards innovative, applicable outcomes. Moreover, they can promote a transdisciplinary approach which connects social, economic and business sciences and stakeholders. They should also ensure the creation of sustainable nodes for consolidating knowledge within these dynamic networks. 相似文献
11.
12.
《文物保护研究》2013,58(2):118-122
AbstractThis paper deals with the materials used in conservation treatments in the first half of the twentieth century for the preservation and consolidation of wooden art objects from the Saxony region in Germany. The use of such materials must be seen as early attempts to find a conservation treatment for wood. The documentation of conservation treatments provides a reference to the application of oils and oil–resin mixtures. The results from the chemical analysis of samples of historic preservatives from the beginning to the middle of the twentieth century (so-called 'Puckelin') carried out by gas chromatography–mass spectrometry (GC-MS) and Fourier transform infrared (FTIR) analysis confirm the use of tung oil as a drying oil, whereas the use of linseed oil cannot be excluded. Colophony and, probably, amber varnish were used as resinous constituents. There are indications that a conservation material dating from the second half of the twentieth century most likely contained rapeseed oil. 相似文献
13.
ABSTRACTAspects of preventive conservation are central to the long-term preservation of archaeological sites such as Pompeii. Mitigating moisture ingress and its manifold effects on decay mechanisms such as salt degradation are of critical importance when planning durable conservation strategies. A suite of non-destructive techniques was used to diagnose decay mechanisms at an ancient tomb monument at the Porta Nocera Necropolis. Rising damp and salt contamination are shown to be actively contributing to on-going deterioration of the plaster surfaces. An existing shelter is shown to be inadequate in its protection. These initial results are used to inform a more in-depth, long-term survey as well as the design of a holistic preventive strategy. 相似文献
14.
The identification of painting techniques is an important aspect of any research related to historical, artistic, and conservation issues in the field of wall paintings conservation. There are a variety of different methodological approaches that can be used to identify wall painting techniques. In this study, the application of optical (PLM) and electron (SEM-EDX) microscopy was explored as they are complementary analytical techniques commonly used for micro-stratigraphic analysis of painted surfaces. Five replicas were prepared according to the technical procedures reported in medieval historical treatises, and the pigment was applied at different time intervals in order to monitor the modifications at the interface between the ground and pictorial layer. The comparison of data from the replicas with samples from Romanesque wall paintings in churches in Southern Switzerland and Northern Lombardy (Italy) allowed for an evaluation of the reliability of the proposed methodology and for the interpretation of the painting techniques. 相似文献
15.
少数民族档案文献遗产承载着少数民族的历史文化和精神传统,是少数民族记忆宝库的重要组成。云贵地区少数民族档案文献遗产具有鲜明的地域性特征,是保有其文化特色的“记忆之源”,由此带来了档案文献遗产保护的特殊性和内在需求。基于调查和分析,笔者归纳了云贵地区少数民族档案文献遗产保护面临的遗产保护观念欠缺、管理机构各自为政、官方统计信息不全、民间普查征集困难、文字信息难以读解、库房保护条件有限、专门修复技艺稀缺、数字保护面临瓶颈、组织运行管理不力、工作标准规范缺乏十个方面的问题。针对上述问题,笔者分别从探索基于多元主体协同的保护模式、落实基于客体分级认知的保护策略、优化基于整体环境保护的预防措施、实现基于自主技术创新的方法应用、建立基于区域保护中心的运行机制五个方面提出了整体性的推进策略,最终目标是实现对云贵地区少数民族档案文献遗产的精准保护与记忆传承。 相似文献
16.
Wood artefacts are subject to damage by biologic infestations due to bacteria, insects, and fungal species. One of the worst feared attacks is due to the xylophagous insects whose larvae feed on wood by boring galleries, at the expense of building timbers and worked woods. These beetles are responsible for daily destruction of the world’s wooden cultural heritage, and their elimination has been always a big problem for conservation of wood. The need to avoid the use of chemical methods in conservation for pest control has led to the development of various non-chemical, non-toxic treatments. Among these, heating with microwaves (MW) seems to be one of the most promising, since it has already shown its high efficacy in destroying pests. Insect-infested wood remediation by MW heating in conservation is based on the larger thermal increment induced in larvae than in wood, due to their different dielectric permittivity in the GHz frequency range. However, the side effects that may occur due to MW heating of wood, such as dehydration, have never been discussed so far. Here we study the possible application of microwave heating as a remediation method for wood samples infested by the larvae of the insect Hylotrupes bajulus. We show that it is possible to set up exposure conditions able to achieve 100% of larvae death and that are sufficiently mild not to induce significant dehydration of the exposed wood from which shrinkage effects may derive. Indeed, under these conditions, MW-induced wood dehydration on cubic and parallelepiped sweetgum samples can be kept under control and to percentages as low as 0.4% (w/w). 相似文献
17.
Sujeong Lee 《文物保护研究》2015,60(6):48-56
This paper draws upon the deliberations and outcomes of a discussion group at the ICCROM Forum 2013 on Conservation Science which focussed on the role of policy-makers within conservation science as important agents who can determine the future of this field, and how to strengthen the relationship between heritage professionals and policy-makers. In developing recommendations, five key areas were considered: identifying policy-makers; the actors involved in drafting and deciding a policy; what policy-makers require from conservation scientists; what conservation scientists require from policy-makers; and the ways to develop common interest between conservation scientists and policy-makers for efficient policy-making. This report summarizes the findings from each area concluding with two parts: key messages to policy-makers; and recommendations to conservation scientists to ensure that the key messages are included in policy-making. 相似文献
18.
《文物保护研究》2013,58(3):30-33
AbstractIs the conservation profession dividing into two groups – specialized technicians often working in private practice, and generalists in the heritage sector whose work is often in preventive conservation covering a diverse range of materials? If so are we moving away from conservation specialists, who contribute to the wide range of processes involved with object care and research within particular curatorial disciplines? We examine the increasing distancing of conservators from collections and their curatorial colleagues and will assess how this is reflected in the changing nature of training courses, and the impact this may have on museums in the future. These issues are discussed with reference to the National Museum of Wales, which has recently undergone an externally refereed conservation review. The outcomes of this can be viewed in relation to other institutions employing conservators. 相似文献
19.
This paper explores a recent interdisciplinary project which brought together a visualization expert, an art historian, and an architectural historian, to study the ruins of Saint George of the Greeks Cathedral in Famagusta, eastern Cyprus, then create a virtual three-dimensional reconstruction of it. The motivation for this work, funded by Nanyang Technological University in Singapore, was to apply existing knowledge and expertise to a difficult, and very particular, heritage question on this Eastern Mediterranean Island. The creation of such a model could, it was felt, not only reiterate the academic value of thorough archival work married to state of the art technology, but also have very practical reverberations in terms of future heritage welfare and education via this ‘borderless’ domain. 相似文献
20.
In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand. 相似文献