Conservator Restorer

Valeriia Dmitrievna Ivanova, Paul-Bernhard Eipper, Ulrich Becker:
Discovery and restoration of a Late Renaissance family altar altered in the era of Historism
As trends of taste and value change, historic objects have been reworked, disassembled, disassociated, and sometimes lost. In treating a carved wood family altar, elements of the original late Italian Renaissance design and the 19th-century changes were respected. Dirt, grime, and residues from previous animal glue repairs were reduced, and the elements were disassembled and repaired, casting missing parts from existing details where accessible. Disassembly allowed observation of the unfaded velvet background color and the shape outline of the missing star pieces. The velvet was replaced, but no additional aesthetic choices were made, leaving the cleaned, aged but intact, shellac coating in place. The cleaning and stabilization of this historic piece revealed the incredible detail of the 16th- or 17th-century carving with the 19th-century-appropriate appearance.

Most argument about approaches to altering/adding to old buildings and townscapes is disguised argument about ‘authenticity’, about what the thing is and what it will after the intervention or, even, is the thing really the thing it is claimed to be? The argument is one of identity definition, before and after the ‘intervention’; and the argument is tied up in our use of language, the concepts we presume and the words we use. These arguments are, of course, contained within a discourse, a discourse that is usually argued to be a relatively modern discourse established during the nineteenth century. I, however, contend that it is a rather more ancient one going back to the beginnings of the languages we know (and to the ontologies and epistemologies they sustain).

Conservation of architectural heritage has historically encountered technical challenges, particularly in ensuring structural compatibility between old and new parts while preserving authenticity and integrity. Reinforced concrete (RC) originated in conservation field in the early 20th century as a novel solution that was praised for its structural efficiency and distinguishability. However, the reinforced concrete interventions in historic structures include different points of views. On the one side, the RC was introduced as a symbol of engineering progress, and it was new and modern in its time. On the other side, conservation has been emphazised traditional structures and authenticity. In interventions, these two semantically opposing concepts converge as modern materials and techniques strengthen historic masonry structures. At the beginning of the twentieth century, this contrast was viewed positively in the field of conservation. The use of RC was accepted in the Athens Charter for the Restoration of Historic Monuments in 1931 and it remained popular through the end of the twentieth century with the further support of the Venice Charter of 1964, which states that in cases where traditional techniques are insufficient, the conservation of a monument can be achieved using modern techniques. However, RC faced criticism over time due to being inauthenticity and having potential damages to the structural integrity of monuments. In Turkey, which has been following the developments in Europe since the 19th century, RC has turned into conservation practices and has been included in national legal frameworks through international texts. This adoption in Turkey is particularly relevant to observe and comprehend the dissemination of international developments. The evolution of consolidation techniques and conservation approaches, particularly in response to catastrophic events such as earthquakes, can be traced by examining Turkey's conservation history through the RC interventions. This paper aims to illustrate the development of reinforced concrete interventions and its role in monument restorations in Turkey. It explores the relationship between consolidation, earthquakes, and conservation, evaluating the pros and cons of RC according to international conservation charters, including the Venice Charter and other texts. The study examines the changes in consolidation techniques and conservation concepts in the time of Venice Charter.

The Venice Charter is central to modern conservation, and foundational for ICOMOS specifically; yet its contemporary relevance is debatable. These and other issues were discussed by ICOMOS in Budapest 20 years ago, in a conference marking the Charter’s 40th anniversary. However, questions remain as to its ongoing significance. As Bogusław Szmygin asked in 2004, does the Charter remain the ‘Decalogue' of the conservation discipline, or has it itself become a ‘Historical Monument’?

The Venice Charter as a product of high modernity, with its belief in a definitive break with the past and an overcoming of tradition. The paper assesses the Charter’s ongoing relevance in relation to one pressing issue in contemporary conservation, the limits to the acceptable use of – and change to – historic buildings (Art. 5), and using an example of recent change to an English parish church.

The paper argues that the acknowledged need for the interpretation of the Charter requires a hermeneutically literate approach which acknowledges the limits of a scientific/technical reading of any historic monument – the Charter included – and the importance of a dynamic understanding of the living tradition that is conservation. It concludes that the Charter remains a central text for the conservation discipline, which itself is a tradition in good health, and for that very reason its status will continue to be fiercely debated.

Although the protection of cultural heritage is one of the key determinants of national identity, there is a systemic problem of education, training, and even directing staff to work in this area in our country. The Repub- lic Institute for the Protection of Cultural Monuments of Serbia, as the central institution of the service for the protection of immovable cultural heritage of the Republic of Serbia, which is responsible for the timely and high-quality functioning of all segments of this transdisciplinary, layered activity, faces the challenges of a lack of specialized or at least “directly” educated personnel in the field of protection of cultural heritage. Experts who are engaged in research, protection and presentation of cultural heritage, regardless of their basic education, which can be in the fields of natural, social or technical-technological sciences, to applied and fine arts, profile themselves for a narrow professional framework of action through additional education, training or what is most often the case through professional guidance. This research is focused on the analysis of the state, needs and possible models of higher education, specializa- tion and training of professional and scientific personnel dedicated to work on the preservation of the most valuable artifacts of our history and culture, which is essential for the consolidation and positioning of this specific activity.

The umbrella term ‘conservation’ refers to a set of cross-disciplinary recursive activities that aim to safeguard and make cultural heritage accessible for present and future generations. It may focus on the preservation of the material fabric of an object, the perpetuation
of its experience by audiences, as well as its intangible values and discourse. It may also concern the perpetuation of ‘heritage objects’
that are not identi"ed with one discrete physical artefact, such as performances or rituals. In this sense, conservation is a process of knowledge production that, in each individual action, enacts decisions about what an object is, what it has been, and what it can be. Conservation encompasses various types of actions, including
collection care, preservation, preventive conservation, restoration and remedial conservation, among others (cf. preventive conservation;
preservation; remedial conservation; restoration).
The use of the term itself may be context speci"c. In countries with Latin traditions, for example, the term conservation may lose relevance
for restoration, which is more widely used and understood by both practitioners and the general public, while in other contexts the term
conservation-restoration may be preferred. ‘Preservation’ may also be employed to refer to the overall set of activities aimed at safeguarding
museum collections, built heritage and sites, having also gained relevance in the conservation of contemporary art due to the strong association
with the "eld of digital preservation.

In Belém, Brazil, during the 19th century, Portuguese tiles were used for the external facing of sepultures at the Soledade Cemetery. These pieces are fragile because of exposure to the tropical climate and of their location close to the ground. This research aims to obtain subsidies for the restoration of the glazed layer, through hot restoration, to serve as theoretical and technological references for future restoration projects. The samples consisted of fragments of Portuguese historical tiles from the Soledade Cemetery. Restoration was performed by cleaning (both mechanical and chemical ways) and re-firing (1000 o C). Before and after the re-firing, samples were submitted to the analytical technique of X-ray diffraction. The results indicate that the re-firing eliminated defects and pathologies existent in the glaze and caused changes in the mineralogical composition of the ceramics. Used carefully, the hot technique is one of the alternatives to improve durability and protect the Soledade historical tiles.

An analysis of the impact of stakeholder consultation during the conservation decision-making processes is presented. Defining and finding opportunities for stakeholder communication within conservation work is an ethical necessity when working with cultural heritage, but the limits and practice of this necessity are less clear. Case studies are used to explore which aspects of the conservation process stakeholders are most likely to be consulted about, and reviews the impact of their views. It asks whether conservators have a preference in which decisions they are prepared to share with stakeholders across three aspects of conservation: the initial appraisal, treatment and the display or storage. Where consultation relates to treatment, conservators are more likely to fall back on their own technical authority except when those consulted are regarded as fellow professionals. Other categories of stakeholder such as artists, originating communities, and religious groups were found to be more constructively consulted on the understanding of the object and on care related to display and storage. Conservators should be offered more explicit guidance on the ethics of consultation, the aspects of consultation that they should engage with and on the ethical ways to deal with conflict arising from consultation.

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used f...

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used f...

Die Verwertung der Texte und Bilder ist ohne Zustimmung des Verlages urheberrechtswidrig und strafbar. Das gilt auch für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und für die Verarbeitung mit elektronischen Systemen. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar.

A three-day meeting in Berlin brought together experts from around the world to discuss the current practices for mural painting conservation and led to the adoption of new Guidelines.

Within the framework of the UNESCO/Republic of Korea Funds-in-Trust Project for the Preservation of the Koguryo Tombs and Mural Paintings in the DPRK, the UNESCO Expert Workshop: Conservation of Mural Paintings – Research, Access, Conservation was organized in Berlin (Germany) at the Museum für Asiatische Kunst, Staatliche Museen zu Berlin, on 2–4 June 2015. This workshop brought together over 34 international mural painting conservators and experts from 13 countries from Europe, Asia and the United States of America, and notably brought together experts from the Republic of Korea (RoK) and the Democratic People’s Republic of Korea (DPRK).

The workshop was not only an opportunity to reinforce the DPRK’s national capacities with regard to conservation, but also to gain insights into the conservation and management of the World Heritage property ‘Complex of Koguryo Tombs’ in the light of international conservation standards. Furthermore, the Workshop provided a platform where experts of the RoK and the DPRK could share experiences and discuss various issues related to the conservation of their shared heritage. The Workshop also contributed to promoting the visibility of the UNESCO/RoK FiT Project on the Koguryo tombs among the international community.

Invaluable exchanges occurred around interesting cases studies concerning mural painting conservation, in particular with regard to World Heritage properties and other important mural paintings. As a result of these discussions, the Workshop released a new set of General Guidelines on the Conservation of Mural Paintings, with a special focus on paintings in damp environments. This marked an important step forward and acted as a welcome, specific complement to the Principles for the Preservation and Conservation-Restoration of Wall Paintings established by ICOMOS in 2003. The new Guidelines will be a useful guidance tool for many experts specialising in the conservation of mural paintings and will be available on the World Heritage Centre’s website.

The Workshop was jointly organized by the World Heritage Centre and the Rathgen Forschungslabor of the Staatliche Museen zu Berlin, in close cooperation with Museum für Asiatische Kunst Berlin and the German Chapter of ICOMOS.

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used f...

Should we care about what lies behind the surface of the cultural objects we value? If a feature is invisible to our senses, does its existence really deserves our attention and concern? Engineers like doctors obviously needs to know about anatomy, materials... bones and skin diseases. Their job is to preserve what society cherish and their mean of action requires this knowledge. But should said society be concerned only by failures of plastic surgery and facade cleaning, overlook the viscera and leaving their cure to the experts? And should these last understand their duty as not only caring for what people see but also caring for what they, themselves, have the privilege to see? These are the questions that the paper tries to develop and discuss.

Título A relatividade dos valores culturais e o papel do conservador-restaurador "Podemos viver sem a arquitetura de uma época, mas, não podemos recordála sem a sua presença. Podemos saber mais da Grécia pelos seus destroços e de sua cultura que pela poesia e a sua história. Deve-se fazer história com a arquitetura de uma época e depois conservá-la. As construções civis e domésticas são as mais importantes no significado histórico. A casa do homem do povo deve ser preservada, pois, relata a evolução nacional, devendo ter o mesmo respeito que o das grandes construções consideradas por muitos importantes. Mais vale um material grosseiro, mas, que narre uma história, do que uma obra rica e sem significado. A maior glória de um edifício não depende da sua pedra ou de seu ouro, mas sim, o fato de está relacionada com a sensação profunda de expressão. Uma expressão não se reproduz, pois as idéias são inúmeras e diferentes os homens, e segundo os objetos de diferentes estudos, se chegaria a inúmeras conclusões. A restauração é a destruição do edifício, é como tentar ressuscitar os mortos. "É melhor manter uma ruína do que restaurá-la." 1

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used f...

Resumo. O presente trabalho pretende trazer reflexões sobre os desafios da pósgraduação no campo interdisciplinar em seus processos de avaliação pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior/CAPES, tendo como estudo de caso o Programa de Pós-Graduação em História das Ciências e das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro-HCTE/UFRJ. O trabalho seguirá os conceitos de interdisciplinaridade, os termos de avaliação na CAPES, o HCTE, seus docentes, seus discentes, suas teses e dissertações defendidas.

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used f...

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used f...

Laropal® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and 1H-NMR) were used for the assessment. Very promising results have been obtained with the application of the alternative formulation, with data comparable to those of the traditional formulation, paving the way for the replacement of the aromatic-based solvents traditionally used with IBIB. This allows a safer and more sustainable conservation practice with considerable benefits for the health of the operators and the environment.

O presente trabalho pretende trazer reflexões sobre os desafios da pós-graduação no campo interdisciplinar em seus processos de avaliação pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior/CAPES, tendo como estudo de caso o Programa de Pós-Graduação em História das Ciências e das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro - HCTE/UFRJ. O trabalho seguirá os conceitos de interdisciplinaridade, os termos de avaliação na CAPES, o HCTE, seus docentes, seus discentes, suas teses e dissertações defendidas.

Esta investigação buscou compreender os desafios e abordagens do/no contexto da Pós-graduação strictu sensu em Artes na região norte do Brasil. Para isso foi realizada uma investigação de abordagem qualitativa – a partir de um estudo documental no Portal da CAPES-Sucupira; no Catálogo de Teses e Dissertações da CAPES; e, nos portais dos Programas strictu sensu das Instituições de Ensino Superior Públicas Federais (IESPF) da Região Norte que mantém programas na área de Artes. A partir disso foram analisadas 79 dissertações defendidas entre os anos de 2017-2021 no Programa de Pós-Graduação em Artes – UFPA. Com a análise evidenciamos que a na região Norte há poucos Programas resultando em parcos recursos humanos formados e inúmeras formas de acessar o conhecimento, invisibilizados.

Should we care about what lies behind the surface of the cultural objects we value? If a feature is invisible to our senses, does its existence really deserves our attention and concern? Engineers like doctors obviously needs to know about anatomy, materials... bones and skin diseases. Their job is to preserve what society cherish and their mean of action requires this knowledge. But should said society be concerned only by failures of plastic surgery and facade cleaning, overlook the viscera and leaving their cure to the experts? And should these last understand their duty as not only caring for what people see but also caring for what they, themselves, have the privilege to see? These are the questions that the paper tries to develop and discuss.

Considerando o campo de pesquisa em Segurança Contra Incêndio (SCI), a abrangência de estudos científicos contempla uma série de enfoques, podendo ser compreendidos como subáreas dessa temática. Sob esse cenário multidisciplinar de pesquisas, o presente artigo tem como objetivo refletir acerca da produção científica na área citada, de modo a identificar o panorama nacional em pesquisas de mestrado e doutorado e os principais enfoques de estudo, ou subáreas, por meio de uma revisão sistemática. Dessa forma, optou-se pelo método de Pesquisa Sistemática, o qual é divido em três etapas: planejamento, execução e condução. A busca nas bases, respeitando o protocolo definido, retornou um total de 218 trabalhos, entre teses e dissertações. Os resultados obtidos da revisão indicam que a principal subárea de pesquisa se refere a estudos relacionados ao comportamento dos materiais e estruturas em situação de incêndio, oriundos, principalmente, de programas de pós-graduação em engenharia civil,...

O presente trabalho pretende trazer reflexões sobre os desafios da pós-graduação no campo interdisciplinar em seus processos de avaliação pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior/CAPES, tendo como estudo de caso o Programa de Pós-Graduação em História das Ciências e das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro - HCTE/UFRJ. O trabalho seguirá os conceitos de interdisciplinaridade, os termos de avaliação na CAPES, o HCTE, seus docentes, seus discentes, suas teses e dissertações defendidas.

Utilizando la cromatografía líquida de alta resolución, se estudia la distribución de sustancias Liquénicas a través del talo de Lasallia pustulata (L.) Mérat y la variación de la concentración de dichas sustancias a lo largo de la vida del liquen. Los ácidos lecanórico y girofórico se acumulan más, por unidad de peso seco, en la periferia del talo y se presentan en mayor proporción en los talos más jóvenes.

O presente trabalho pretende trazer reflexões sobre os desafios da pós-graduação no campo interdisciplinar em seus processos de avaliação pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior/CAPES, tendo como estudo de caso o Programa de Pós-Graduação em História das Ciências e das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro - HCTE/UFRJ. O trabalho seguirá os conceitos de interdisciplinaridade, os termos de avaliação na CAPES, o HCTE, seus docentes, seus discentes, suas teses e dissertações defendidas.

O presente trabalho pretende trazer reflexões sobre os desafios da pós-graduação no campo interdisciplinar em seus processos de avaliação pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior/CAPES, tendo como estudo de caso o Programa de Pós-Graduação em História das Ciências e das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro - HCTE/UFRJ. O trabalho seguirá os conceitos de interdisciplinaridade, os termos de avaliação na CAPES, o HCTE, seus docentes, seus discentes, suas teses e dissertações defendidas.

O 1º Congresso Internacional de Moda e Design – CIMODE –, resultado de uma ação conjunta entre a Associação Brasileira de Estudos e Pesquisas em Moda – ABEPEM, Brasil, e da Universidade do Minho (UMinho), Portugal, marcou o ano de 2012 como um evento muito significativo para as áreas de moda e de design. O contato entre as duas instituições, somado e potencializado pelo trabalho e empenho das professoras Ana Cristina Broega e Joana Cunha, respectivamente, presidente e vice-presidente do evento, e das professoras Kathia Castilho e Dorotéia Baduy Pires, presidente e vice-presidente da ABEPEM, tornou possível a realização do Congresso, realizado na cidade de Guimarães, em Portugal, na Universidade do Minho (...)

In Belém, Brazil, during the 19th century, Portuguese tiles were used for the external facing of sepultures at the Soledade Cemetery. These pieces are fragile because of exposure to the tropical climate and of their location close to the ground. This research aims to obtain subsidies for the restoration of the glazed layer, through hot restoration, to serve as theoretical and technological references for future restoration projects. The samples consisted of fragments of Portuguese historical tiles from the Soledade Cemetery. Restoration was performed by cleaning (both mechanical and chemical ways) and re-firing (1000ºC). Before and after the re-firing, samples were submitted to the analytical technique of X-ray diffraction. The results indicate that the re-firing eliminated defects and pathologies existent in the glaze and caused changes in the mineralogical composition of the ceramics. Used carefully, the hot technique is one of the alternatives to improve durability and protect th...

In Belém, Brazil, during the 19th century, Portuguese tiles were used for the external facing of sepultures at the Soledade Cemetery. These pieces are fragile because of exposure to the tropical climate and of their location close to the ground. This research aims to obtain subsidies for the restoration of the glazed layer, through hot restoration, to serve as theoretical and technological references for future restoration projects. The samples consisted of fragments of Portuguese historical tiles from the Soledade Cemetery. Restoration was performed by cleaning (both mechanical and chemical ways) and re-firing (1000 o C). Before and after the re-firing, samples were submitted to the analytical technique of X-ray diffraction. The results indicate that the re-firing eliminated defects and pathologies existent in the glaze and caused changes in the mineralogical composition of the ceramics. Used carefully, the hot technique is one of the alternatives to improve durability and protect the Soledade historical tiles.

O presente trabalho pretende trazer reflexões sobre os desafios da pós-graduação no campo interdisciplinar em seus processos de avaliação pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior/CAPES, tendo como estudo de caso o Programa de Pós-Graduação em História das Ciências e das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro - HCTE/UFRJ. O trabalho seguirá os conceitos de interdisciplinaridade, os termos de avaliação na CAPES, o HCTE, seus docentes, seus discentes, suas teses e dissertações defendidas.

Since 1992, the Istituto Centrale per il Restauro (ICR) has been working on a project aimed at simplifying the use of computer-aided documentation tools in thematic mapping in order to allow direct, in situ data entry. It is now possible to review final results and to propose guidelines for standard documentation.
A well-customized system facilitates data entry and enables conservators, unfamiliar with the use of AutoCADrm, to quickly enter condition data. It also allows the development of technical skills in the conservator, thus breaking the graphics experts' monopoly and promoting greater interdisciplinary collaboration.
This paper does not provide conclusions - rather it puts forward a series of discussion points, namely:
• the pros and cons of using Computer-Aided Design (CAD) methods and techniques beyond simple drafting;
• a critical understanding of failures and experiences with a specific form for each experience; and
• layer naming hierarchical systems and international and Italian guidelines and standards
for the recording, visualization and archiving phases in digital documentation processes.
KEYWORDS• computer; computer-aided design; condition report;
documentation; documentation technique; education; mapping mural painting.

In Belém, Brazil, during the 19th century, Portuguese tiles were used for the external facing of sepultures at the Soledade Cemetery. These pieces are fragile because of exposure to the tropical climate and of their location close to the ground. This research aims to obtain subsidies for the restoration of the glazed layer, through hot restoration, to serve as theoretical and technological references for future restoration projects. The samples consisted of fragments of Portuguese historical tiles from the Soledade Cemetery. Restoration was performed by cleaning (both mechanical and chemical ways) and re-firing (1000ºC). Before and after the re-firing, samples were submitted to the analytical technique of X-ray diffraction. The results indicate that the re-firing eliminated defects and pathologies existent in the glaze and caused changes in the mineralogical composition of the ceramics. Used carefully, the hot technique is one of the alternatives to improve durability and protect th...

In recognising a changing social future, this paper posits that the future relevance and sustainability of conservation is dependent on a re-evaluation of our professional precepts, ethics, and working practices to more fully embrace and reflect interdisciplinary and cross-cultural ways of working. It argues that conservators must locate our practice within overarching global issues of poverty, human rights, ethics, climate change and sustainability. The implications for conservation pedagogy are examined, and the benefits of collaboration between universities and industry partners are discussed. RÉSUMÉ Prenant acte de l’évolution de la société, cet article postule que la pertinence future et la durabilité de la conservation exigent une réévaluation de nos préceptes professionnels, de nos principes déontologiques et de nos pratiques de travail afin de mieux embrasser et refléter les méthodes de travail interdisciplinaires et interculturelles. Il avance que les restaurateurs doivent ...

In Belém, Brazil, during the 19th century, Portuguese tiles were used for the external facing of sepultures at the Soledade Cemetery. These pieces are fragile because of exposure to the tropical climate and of their location close to the ground. This research aims to obtain subsidies for the restoration of the glazed layer, through hot restoration, to serve as theoretical and technological references for future restoration projects. The samples consisted of fragments of Portuguese historical tiles from the Soledade Cemetery. Restoration was performed by cleaning (both mechanical and chemical ways) and re-firing (1000 o C). Before and after the re-firing, samples were submitted to the analytical technique of X-ray diffraction. The results indicate that the re-firing eliminated defects and pathologies existent in the glaze and caused changes in the mineralogical composition of the ceramics. Used carefully, the hot technique is one of the alternatives to improve durability and protect the Soledade historical tiles.

In this contribution, the accent is focused on the complexities and possible solutions faced by a restorer during the phase of aesthetical presentation of devotional artworks. For this kind of artefacts is not often possible to apply the logic of conservative restauration (Zanardi 2009), which requires a minimum intervention. The devotional aspect is an added value protected by a number of symbolic codes (Argenton 2017) understood by the religious community, for which the artifact was intended. The work was also analysed through a series of interviews with various figures related to the devotional and liturgical artwork: the restorer, the art historian art and the religious community as user of the art work.

Resumo: A esfera do conhecimento engloba gradações complexas. A evolução delas diferencia-se de acordo com a aproximação e relações entre as disciplinas. A transdisciplinaridade resulta do processo interdisciplinar, cujas relações são profundas e cooperativas. Levando isso em consideração e o fato de que o Brasil não possui mestrados e doutorados em Conservação e Restauração de Bens Culturais Móveis, esta pesquisa almejou levantar os programas de pós-graduação que acolheram projetos na área da conservação e restauração no Brasil de forma interdisciplinar. Para tanto, listou-se as áreas do conhecimento que apresentavam fortes relações com a área partindo do conteúdo das matrizes curriculares dos cursos dessa graduação existentes no país. Depois, foi realizada uma busca no Catálogo de Teses e Dissertações da CAPES, filtrando-se os resultados com as disciplinas elencadas previamente. Tal estudo permitiu identificar programas e instituições que desenvolveram projetos na área da conservação e restauração, trazendo diálogos transdisciplinares ao campo da preservação. Palavras-chave Formação continuada; Preservação do patrimônio cultural; Conservador-restaurador.

A research project by a sculptor and conservative restorer of creation on basis the birds nests in a urban situation. A work of art and adaptability in metropolitan areas and gardens, parks, walks for a insertion in habitats next to human being.

Abstract: this document seeks to describe and collect the treatments carried out in the barn of Lamas de Abade. The reason for the work and its transfer is due to the works of the AVE on its arrival in Santiago de Compostela. The work carried out consisted of a diagnosis and assessment of the state of conservation, cleaning and disassembly-reassembly of all the preserved parts. Damaged elements were also renewed.

The conclusions and impressions obtained during the work of analysis, diagnosis and active conservation in the different outcrops of the Archaeological Park Rock Art of Campo Lameiro in 2008, (PAAR) are described. It is proved again that the only presence of archaeologists and architects in this intervention could never solve the problems that propose ... still the same ... year 2020 (Galicia-Spain).
Reviewed 2020.

Memory of the analysis, diagnosis and conservation work in the hillfort of San Tomé (Ourense, Spain). Some problems that affect conservation work are also detailed when archaeologists and administration intervene in this process (with diametrically opposed views). This problem occurs when trained professionals lead this type of intervention. That action, which is widespread in Galicia and Spain, is due to the lack of regulation (law regulating activities on cultural heritage, especially archeology) that recognizes the restorative's ability to lead these works.

Professional ethics and tasks for conservator-restorers, in the preservation of cultural heritage in Europe today: considering the development of scientific conservation-restoration and the improvement of academic education for conservator-restorers in the course of the twentieth century, this paper will analyse the professional position of conservator-restorers and their role in the interdisciplinary cooperation with other professionals dealing with the preservation of cultural heritage. How does cooperation run in the planning stage and in theory and in practice on site? How can we differentiate between the specific professional contributions of conservator-restorers and the activities of other professionals in the field of heritage preservation? How can we improve communication and interdisciplinary cooperation between all professionals involved?
Methodical symbiosis and transdisciplinary cooperation using the example of the rebuilding and conservation of two Ottoman palaces in Istanbul.

There is a fine line between what is tangible and intangible heritage. In many cases, tangible and intangible elements are both present and need to be portrayed for understanding the site to its full form. This paper probes the idea further while identifying the underlying challenges.

Quais os entendimentos dos pesquisadores do campo do Museu e da Museologia sobre as interações disciplinares com outros campos do conhecimento no Brasil? Motivado por esta questão, este texto baseia-se em pesquisa que procurou refletir sobre as origens dos conceitos de interdisciplinaridade, multidisciplinaridade, pluridisciplinaridade e transdisciplinaridade, e trazer uma breve revisão sobre os entendimentos de teóricos da Museologia, especialmente a partir da publicação do segundo volume do Museological Working Papers (MuWoP), pelo Comitê de Museologia do Conselho Internacional de Museus (ICOFOM), em 1981. Partindo desses entendimentos, buscou-se analisar como estes se refletem na pesquisa brasileira atual, por meio da análise do cadastramento de grupos de pesquisa junto ao Diretório dos Grupos de Pesquisa do Conselho Nacional de Desenvolvimento Científico e Tecnológico - DGP/CNPq. Neste diretório, foram efetuadas buscas parametrizadas, vinculando-se os termos “Museu” e “Museologia” às variáveis associadas às interações disciplinares. Os resultados demonstram a predominância de uma concepção interdisciplinar entre os grupos de pesquisa que fazem menção a questões disciplinares. Apesar disso, percebem-se movimentos diferenciados, quando se configuram grupos com abordagens diversas, associados à multidisciplinaridade, pluridisciplinaridade e/ou transdisciplinaridade. Com base nesses resultados, discutem-se alguns paradoxos associados ao paradigma interacional disciplinar, em especial quanto às dificuldades inerentes à sua caracterização e configuração aplicada, que possa transcender o caráter de mera intencionalidade ideológica.

In his now classic essay on the « Régimes d’historicité », the French historian François Hartog (2003) has very well described the effect of globalisation, democratisation and mass consumerism on our relation with the past and thus, with heritage. In the course of the 1970’s, at a time when the ink of the Venice Charter was barely dry, postmodernity triggered a loss of collective anchoring and memory, paradoxically accompanied by an amplification of the thirst for commemorations, in the name of identity or heritage. Pierre Nora’s great endeavour « Les lieux de mémoire », fully corresponds to this « presentism » era, including aside from monuments, museum and archives, intellectual constructions such as the Larousse encyclopaedia (Nora 1989). It very well illustrates the « extension of the heritage domain » as defined by the sociologist Nathalie Heinich (2009).
In our « post-monumental » era, anything can possibly become heritage, regardless of scale, of artistic qualities, of age or ontological degree – from tangible to intangible. This is a sign of times. Following the example of Nelson Goodman replacing the essentialist definitions of art with the question « When is there art ? » (Goodman 1976), we should consider focusing on a dynamic and operational definition of heritage. The question « When is there heritage ?» better correspond to contemporary cultural studies and our attempt to understand « heritagization »; it contains the idea of a performative action, implying new actors, new dynamics, new process, new research questions, new difficulties and new opportunities. And by necessity new concepts.
We are far from rejecting theories from the past which provided us with effective and stimulating tools. But who could still imagine today, in the situation we described, that any system could fully encompass the heritage reality as the grand theories – Brandi, Riegl,… – succeeded to do? The repeated attempts to get the Venice charter revised from the 1970’s on (Houbart 2014), and the multiplication of thematic documents and charters are the best illustration of this impossibility. But while postmodern thinkers made us suspicious towards large systems, they also made us more modest and above all, more inclined to respect « bricolage », as a most helpful attitude after a shipwreck.
We believe that the current return to a case by case approach – as promoted from the interwar period by theoreticians such as Ambrogio Annoni (1946) – often mostly relying on practical constraints such as reuse and technical performances, combined with the use of decontextualised concepts – separated articles from the Venice Charter, for example – and practices – using the Ise shrine periodical rebuilding to advocate any reconstruction project – doesn’t mean to accept a cynical relativism in answer to the cause of a capital-intensive machine. But in practice, we cannot deny that it has sometimes been the case: the clearest examples are the debates addressing the reconstruction of monuments all over Europe, based on a jumble of arguments confusing the pure mercantilism of the tourism industry or unconfessed political reasons with post-conflict identity issues or religious traditions (Monumental 2010).
Reflecting on such reconstruction projects, raising questions of identity, has convinced us of the incompleteness of the toolkit we inherited from 20th century theoreticians. Though still perfectly relevant to address the issues that were already present at the time when they were elaborated, they might prove inappropriate to address new types of heritage, new concerns, new issues such as cultural tourism, inclusive approaches, modern heritage or the digital turn. In this context, we have been drawn to look at texts outside the conservation sphere, starting from ontology of art and analytical philosophy. We discovered that taking a step to the side could provide a stimulating insight on heritage conservation problems. In fact, it is not surprising that, facing what many have called a heritage inflation, some new actors could help us. Now that heritage has quitted the monuments sphere to encompass any material or immaterial reality worthy of conservation and that the expert point of view is challenged by the ones of a broad range of stakeholders, from the user to the investor, it becomes interesting to look at this reality from different points of view borrowed to a wide range of human sciences such as law, communication, aesthetics, semiotics, anthropology or philosophy, to name a few.
Together with our colleague Muriel Verbeeck, we are currently gathering texts in order to propose an anthology that could complement the existing ones in helping to fill conceptual gaps and throw a reinvigorating light on new problems raising old questions. The originality of the project is to chose most texts outside the conservation world, and to address movable and immovable heritage at the same time. During our presentation, we will provide some examples of the usefulness of these new concepts, some already known by a number of conservators – such as the distinction proposed by Nelson Goodman between allography and autography (Goodman 1976) –, some not – the impact of intention on identity, based on texts by Theodore Scaltsas (1981), for example –, and will encourage the members of the committee who might be interested in this approach to contribute to the project.