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1
Dandridge, Debra Elaine. "Lichen: the challenge for rock art conservation." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4695.
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This study investigates the effects that lichens have on rock surfaces in which
ancient rock art (petroglyphs and pictographs) may be found. The study area includes
four sites in the United States: one quartzite site in southwest Minnesota, two sandstone
sites in Wyoming, and one volcanic site in Central New Mexico. One additional granitic
site studied is located northeast Queensland, Australia. The questions driving the pursuit
of this dissertation research are:
1. How does the chemistry of the rock change with weathering and how deep is
the profile?
2. Do lichens cause differential chemical changes?
3. How does the chemistry of the unaltered rock influence these changes?
4. Do lichens strip the patina or âÂÂdesert varnishâ from the rock surfaces?
The results of this research confirm from elemental chemical analyses that
geochemical changes do take place in the presence of lichens. The combined
mechanical and chemical processes contribute to the degradation and greater erodability
of all the rock surfaces studied. Chemically, we have demonstrated that cements that
hold grains of rocks together can be dissoluble by lichen byproducts in the presence of an aqueous environment whether the rocks are sandstone or granite. This information
regarding the mechanical and geochemical processes at work in natural environments
has significant practical benefit for the management, conservation, and preservation of
rock art sites everywhere.
2
Kokla, Vassiliki. "Image-based analysis of inks for art conservation." Thesis, University of Westminster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433711.
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Bisulca, Christina. "Case Studies in Conservation Science." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/332904.
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The research presented in this dissertation covers three separate topics of conservation as defined by the National Science Foundation: 1) Materials Stabilization, Strengthening, Monitoring, and Repair; 2. Understanding Material Degradation and Aging; and 3) Materials and Structural Characterization of Cultural Heritage Objects (the `technical study'). The first topic is addressed through a study to assess the consolidant tetraethoxysilane for the stabilization of alum treated wood. Falling under materials degradation studies is a study published in American Museum Novitates to understand how environmental conditions affect the aging of fossil resins from five different deposits. Two separate studies are included in technical study of cultural heritage objects which comprises the third research area of materials characterization. The first is a survey of red dyes used in Chinese paintings from the Ming Dynasty to the Early Republic (1364-1911). The second is a study of the pigments, dyes and binders used in Hawaiian barkcloth (kapa) from the 19th century.
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Nurmi, Kaela L. "Challenges Surrounding the Conservation and Replication of Eva Hesse’s Sculpture." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/709.
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The sculpture of German-born American artist, Eva Hesse (1936-1970), presents many conservation challenges. Hesse’s experimentations with latex and fiberglass created stunningly innovative works of art in the late 1960s bringing these unorthodox materials into the world of fine art; but now these materials are creating major conservation problems. Her artwork is an extreme example of the conservation challenges of contemporary art. This thesis examines the challenges surrounding the conservation and replication of Eva Hesse’s large-scale latex and fiberglass sculptures. The latex and fiberglass materials that captivated Hesse are compromising the structural integrity of her large-scale sculptures today. Hesse’s art forces conservators to establish conservation practices specific to modern and contemporary art. Although replication pushes conservators to re-examine their usual practices and violates the standard notion of minimal intervention, the replication of Hesse’s sculptural works is necessary to represent her artistic vision.
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McBride, Patrick. "How conservation has changed from 1975 to 2005." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13456/.
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The aim of this thesis is to examine the nature of the changes that took place within paper conservation, a section of the practice/occupation of material conservation, in the United Kingdom during the period from 1975 to 2005. In the 1970s, conservation emerged as a distinct practice within the museum sector from two sources: semi-skilled cleaners and movers of art objects, and the traditional restorers of cultural objects. From then until the end of the century, it continued to grow and mature. The nature of this growth and the changes that took place within it will be modelled with the objective of enabling future changes within conservation to be evaluated. The evaluation of conservation in this manner will determine its definition as an industry. The changes will be assessed by highlighting their effect on one section of conservation practice, namely paper conservation. This practice concentrates on the conservation of cultural material created using paper, including such categories of artefacts as watercolours, fine art prints, drawings, ephemera, archival materials, books and all paper-based sculpture. During the period between 1970 and 2000, paper conservation developed from being a fledgling practice to becoming an accepted standard within the museum sector. In becoming so, it placed great emphasis on professionalism. This provided paper conservation with a template for change, a process through which it could develop and grow. Paper conservation embraced this process as a means of providing a set of standards to which it could adhere, but also as a means of garnering greater acceptability for its approach within the wider museum sector. Issues relating to the development of a profession and professionalism will be further explored as part of the literature review. Organisational change was also considered to have a relevance to the development of paper conservation, and this, too, will be explored within the literature review. Steps to professionalise conservation and subsequent changes in the wider museum sector were seen to have had the most impact on the structure of conservation. They may also have had relevance for the practice itself. Paper conservation was successful in having its occupational aims accepted throughout the museum sector, and this has further implications for those interested in researching by occupations of the professionalisation process. An understanding of the nature of this change, and how paper conservation reached its goal of acceptance for its values, is indispensable for those involved in decision-making within conservation today, and in the future. The thesis is based on an analysis of documents from the period directly relating to change within the field of conservation. It also includes interviews with personnel who were practising conservators, the providers of conservation education, and officers of the different agencies representing conservation. Research questions were formed from this analysis, and multiple case studies were undertaken to analyse these questions.
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Laforet, Anne. "La conservation du Net art au musée : les stratégies à l'oeuvre." Avignon, 2009. http://www.theses.fr/2009AVIG1070.
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La conservation du net art nécessite de construire une approche spécifique pour le regarder qui prend en compte la dimension matérielle de l'œuvre. La conservation ne se préoccupe pas uniquement d'esthétique, ni de l'expérience du public, mais a besoin de connaître l'aspect matériel des œuvres pour que le processus de conservation ait lieu. La thèse présente un panorama de la création par et pour Internet. Elle décrit des œuvres choisies pour leur exemplarité concernant leurs problèmes de conservation. Elle présente une vue d'ensemble des institutions qui, en Europe et en Amérique du Nord, ont mis en place des stratégies de conservation spécifiques. Ce dernier point a pris la forme d'analyses de cas à partir d'une grille issue d'observations, de lectures et d'entretiens. Cette étude traite aussi des relations entre la conservation et les autres fonctions du musée, notamment de leur interdépendance tout au long du cycle de vie de l'œuvre. Chaque œuvre implique un traitement qui lui soit propre. Cela pose la notion de la notation, la façon de décrire l'œuvre afin de la reproduire, et ce même lorsque son environnement technologique sera obsolète. Les manières de pallier cette obsolescence sont donc explorées : émulation, migration, partition, ré-interprétation, auto-archivage, archivage automatique, qui peuvent être combinées. L'approche matérielle du net art se traduit par une interrogation de ses différents niveaux de lecture : au niveau du code qui compose l'œuvre, des fichiers, de ce qui se passe à l'écran, de l'interaction entre l'œuvre et l'internaute. Les notions de performativité du code et d'activation sont utiles dans cette réflexion. Les acteurs du marché de l'art et les historiens et critiques d'art participent autant que le musée à l'attribution de la valeur des œuvres, et donc à la conservation, et ils s'influencent les uns les autres. Tous ces éléments permettent de composer une cartographie pluridisciplinaire de la question de la thèseThe preservation of net art requires the construction of a specific approach to look at internet artwork, one that takes into account its material dimension. It is central as preservation does not only deal with aesthetics, nor the way the audience experiences artworks. This research presents an overview of works created by and for the Internet. The choice of the artworks is dictated by preservation issues only. It is also an overview of the institutions (based in Europe and in North America) that have developped specific preservation strategies. It consists in case analysises, which stem from observations, readings, and interviews. This thesis looks into the interaction between preservation and the other functions of the museum (collection, exhibition, research). Preservation cannot be tackled independantly, because it deals with the artwork's life cycle within the museum. Every artwork has to be treated in its own way. The issue of notation also arises, as it's necessary to find ways to describe artworks, especially as their technological environments will eventually be obsolete. This research explores the ways to compensate for obsolescence : emulation, migration, score, re-interpretation, self-archiving, automatic archiving, etc (which can be also combined). The attention to net art work as a material socio-technical object means to find a way to look at those works : the code which composes the artwork, its different files and the way they are organized, what happens on the screen, the interactions between the artwork and the audience. The notions of code performativity and activation are thus useful. Preservation makes sense only when value is attributed to what is preserved. Two categories of actors outside the museum take part in this process : the art market and art critics and historians. Both influence and get influenced by the museum. All these elements allow the composition of a pluridisciplinar cartography on the topic of net art preservation
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Waentig, Friederike. "Plastics in art a study from the conservation point of view." Petersberg Imhof, 2002. http://d-nb.info/989014312/04.
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Jouniot, Sylvie. "La conservation des meubles corporels, oeuvres d'arts en droit français." Paris 2, 1993. http://www.theses.fr/1993PA020120.
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L'objectif de la these est de rechercher, a travers les diverses legislations applicables aux oeuvres d'art mobilieres, l'existence d'un statut de l'oeuvre d'art en droit francais. L'etude commence donc par definir l'oeuvre d'art mobiliere. Une premiere partie etudie les regles de conservation de l'oeuvre dans son integrite d'origine (titre ii) et dans l'emplacement d'origine (titre i). Une seconde partie presente le probleme de la lutte contre les transferts illicites d'oeuvres d'art. La fin de l'etude projette des reflexions de l'auteur en vue d'une amelioration du regime actuel de conservation des oeuvres d'art mobilieres en france.
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Maor, Yonah. "Delamination of oil paints from acrylic grounds." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1487.
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Jongens, Nicoline. "Declaring urban conservation areas: the Art Deco townscape of Vredehoek, Cape Town." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27344.
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The research question posed in this study asks what qualities, characteristics and cultural significance need to be embodied within an urban environment that make the area worthy of conservation-oriented protection through laws and policies. The research question was explored through an assessment of the townscape of Vredehoek, an informally(1) proposed conservation area in Cape Town where there is a relatively high concentration of Art Deco buildings. The selection of Vredehoek as a laboratory within which to ask this question is due to the presence of contested opinions amongst various stakeholders and heritage-claimants about the cultural significance embodied within the built fabric of this place. This study aimed to identify what elements of the built environment of Vredehoek are of special interest, what qualities and characteristics these elements of special interest embody, to understand and articulate the values that inform these qualities, and to identify to whom these elements are valuable and why. Criteria were established with which to determine whether the identified qualities and values are special enough that when synthesised, the resultant significance of the place warrants protection through heritage area designation. The criteria developed with which to assess and evaluate proposed urban conservation areas, including Vredehoek, require that such environments need to embody cultural significance and characteristics informed by an urban history reflected in its authentic manifestations developed over time through continuity of use with a high townscape quality established primarily through the aesthetic unity of its component parts. Through historical research, the studying, mapping and analysis of the area's urban morphology, built environment and natural landscape, and the identification and evaluation of values held by heritage-claimants and views held by those critical of Vredehoek's proposed designation, evidence regarding the conservation-worthiness of Vredehoek has been assembled and assessed within the framework of criteria developed to evaluate heritage area designation. It has been found that the environment of Vredehoek does not embody high townscape quality nor does a strong aesthetic unity of its components exist. Furthermore, the area is not a richly layered environment reflecting continuity of use, the existence of cultural significance within the place is limited to a relatively small part of the townscape - a collection of Art Deco buildings demonstrating a moderate degree of architectural merit. Thus the environment of Vredehoek does not meet the criteria required for heritage area conservation.
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Ribeiro, Ana Cristina Rasteiro. "Living and growing within a museum: re-creating video art for conservation." Master's thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/5438.
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Raskin, Shaina. "Analysis and Ethical Conservation of a Roman Statue Head in the Scripps College Permanent Collection." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/664.
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Unprovenanced and undocumented antiquities play a large roll in the international trade of antiquities, a billion dollar sector of the art market. The removal of these antiquities from their source countries creates many problems for the academic community and the standards put in place to eliminate illegal activity. An analysis of an ancient Roman statue head of Livia was used to demonstrate the usefulness of such an legally acquired undocumented antiquity. A visual analysis was first conducted on the Scripps Livia residing within the Scripps Permanent collection by creating comparisons to other known portraits of Livia. A chemical analysis was then conducted to continue verifying authenticity. With the use of a Scanning Electron Microscope, four samples removed from the sculpture were analyzed for elemental composition. Based on the data gathered from these analyses recommendations for new acquisition policies were created for the purpose of ethically researching and displaying the Scripps Livia.
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Fay, Brian. "States of transience in drawing practices and the conservation of museum artworks." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/27108/.
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This practice-led study poses the question ‘What can a close analysis of conservation methods, treatments and theories with its temporal implications contribute to drawing practices that primarily employ the use of pre-existing artwork?’ Through the lens and action of art practice this study challenges certain understandings of both drawing and conservation as temporally possessing linear chronological properties. Employing an emergent, qualitative practice-led methodology each chapter charts a discrete terrain that identifies and discusses key comparative issues and problems that affect both drawing and conservation. These include: the difficulties of definitions and terminology in both contingent fields and the space this opens for interpretative responses, a critique of positivistic claims made by scientific conservation in identifying artist’s intention using an anachronic analysis of the detail. The fluctuating values of the authorial and substitutional presence of the indexical mark and trace in restoration and representational drawing is examined, and an evaluation of formats and strategies in drawing that position themselves relevant to a depiction and representation of anachronic states of transience is investigated. To focus the range of discourses within conservation this work concentrates on the paintings of Johannes Vermeer. Specifically, on the conservation activities and diagnostic imagery that have informed treatments to these works. This study is further supported by documented conversations with key restorers of Vermeer’s work, and artists who also employ representational drawing strategies in response to pre-existing works. This research concludes its findings by arguing for the conditions and ontologies of drawing and conservation to be understood temporally as anachronic activities. Whereby, as each can respond to pre-existing works, their relationship to time is non-chronological, durational and plural. This work is intended to contribute to the fields of drawing practice and research, anachronic art historical studies, contemporary conservation theory, and to practice-led epistemologies.
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Romano, Carmine. "La crèche napolitaine : histoire, théâtralité, conservation." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL188.
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La crèche napolitaine, qui connaît son âge d’or au XVIIIème siècle, est une “installation” éphémère qui transgresse et mélange toutes les hiérarchies artistiques et confond tous les genres esthétiques de l’histoire de l’art. Populaire et aristocratique, païenne et sacrée, grand art et artisanat, art vivant et œuvre de musée, la crèche montre dans un théâtre miniaturisé la scène sacrée de la Nativité, plongée dans une Naples réaliste et codifiée avec des figures que les napolitains commandaient à des artistes de renom. La crèche napolitaine du XVIIIème siècle est le sujet de cette thèse développée en trois parties. 1) L’historique de la crèche napolitaine depuis ses premières expressions plastiques au XIIIème siècle, jusque son âge d’or rendu possible par une révolution technique qui introduit miniaturisation et théâtralité, suivi d’une étude des auteurs des figures de crèche et du collectionnisme qui permit un début de classification et d’intégration du sujet dans l’histoire de l’art. 2) Étude de la théâtralité de la crèche napolitaine en s’appuyant sur l’importance du décor, l’analyse des expressions faciales et des gestes des personnages ainsi que des rôles qu’ils jouent dans le contexte . Suivra l’analyse du récit et de ses acteurs, les différents personnages et les nombreux animaux. 3) Du fait de la complexité et de la singularité matérielle de la crèche, la troisième partie est consacrée à l’étude et analyse non intrusive des multiples matériaux et à la conservation des figures qui la composent. D’abord la technique de réalisation d’une figure de crèche à partir d’un cas particulier, puis, du fait de leur fragilité, l’importante question de la conservation de ces crèches analysée à partir des cas de trois grands musées, étudiés in situ, conservant d’importants ensembles, à Madrid, Munich et New York. Cette thèse tente d’introduire un art souvent privé d’archives et dont les objets sont transformés avec le temps dans la discipline de l’histoire de l’art aux côté de la peinture, la sculpture, et des arts vivants d’inspiration populaire et religieuseThe Neapolitan crèche, which experienced its golden age in the 18th century, is an ephemeral "installation" that transgresses and mixes all artistic hierarchies and challenges all aesthetic genres of art history. Popular and aristocratic, pagan and sacred, academic art and craft, living art and museum object , the Neapolitan crèche shows in a miniaturized theatre the sacred scene of the Nativity, immersed in a realistic and codified city of Naples with figures that Neapolitans commissioned from renowned artists. The Neapolitan crèche of the 18th century is the subject of this thesis developed in three parts. 1) The history of the Neapolitan nativity scene from its first plastic expressions in the 13th century to its golden age made possible by a technical revolution that introduced miniaturization and theatricality, followed by a study of the authors of the figures and collecting practices that initiated the first introduction of the creche into the logic of art history. 2) The Study of the theatricality of the Neapolitan crèche based on the importance of the setting, the analysis of facial expressions and gestures of the characters as well as the roles they play in the context. This study is followed by an analysis of the story and its actors, the different characters and the many animals. 3) Due to the complexity and particularity of the crèche, the third part is devoted to the non-intrusive study and analysis of the multiple materials as well as the conservation of the figures. First, the technique of the making of a crèche figure from a singular study case, and then, because of their fragility, the important question of the conservation of the figures. I have focused on the example of important ensembles collected by three large museums, in Madrid, Munich and New York, studied in situ. This thesis attempts to introduce an art that is often deprived of archives and whose objects are transformed over time, into the discipline of art history along with painting, sculpture, and popular and religiously inspired living arts
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Fairhurst, Alison R. G. "The materials, construction and conservation of eighteenth century women's shoes." Thesis, University of Lincoln, 2015. http://eprints.lincoln.ac.uk/27536/.
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This thesis analyses a 12% sample of the 900 extant pairs of eighteenth-century women’s shoes in British museums and argues that shoes are a valuable but currently underused historical resource. The analysis is supported by both primary and secondary literature and contemporary images and much of the research is presented in a visual format such as images, diagrams and tables. The thesis revolves around the following questions: What can women’s shoes tell us about eighteenth-century culture? How can object based analysis of shoes enhance our current understanding of women’s footwear in the eighteenth century? How can we characterise materials, construction and manufacture of such shoes based on extant examples? What implications do these findings have for conservators and others responsible for the survival and management of the extant corpus? By recording the complexity of shoes as composite objects and examining how they are made; from what and how their components were processed and manufactured the thesis greatly increases the current available knowledge. It proposes a methodology for studying shoes and recording subsequent findings. The thesis also recognises the potential of shoes as historical sources. In addition it examines how we might seek to manage shoes as heritage assets in the future and acknowledges the significant role of the conservator in this. A holistic approach involving both curators and conservators in the decision making process relating to conservation and preservation is given. The appendices give full details of the sampled shoes and show the completed survey forms.
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Du, Toit Timon Dawid. "Interactive Media in Archaeology : Video Games for Archaeological Heritage Conservation." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78749.
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The use of video games as a sustainable tool for preserving existing archaeological data in an entertaining and interactive manner was investigated. The main aim of such investigation was to explore the potential benefits in terms of archaeological/heritage education, broadcasting, and representing data in a manner that is interactive and encourages critical thinking through play. Game Pass Shelter, located at Kamberg in the uKhahlamba Drakensberg Park was used to create a virtual environment in a video game that accurately represents traditional Bushmen rock art and folklore. Two phases were featured in the development of the video game: (i) getting feedback from gamers through a questionnaire I had designed, and (ii) using the identified recommendations to design the 2D video game using Unity Game Engine (a free video game development piece of software). This 2D video game, defined by authenticity to the represented folklore, features rock art motifs from Game Pass Shelter used against the backdrop of the Spoiling of the Eland traditional story. The video game begins with the ‘Rosetta Stone’ of southern African rock art and contextualises it using selected traditional folklore. Through this process, the video game aims to show why hunting was so important to the traditional Bushmen way of life. It further shows why eland were so valued and some unique beliefs that the Bushmen had concerning them.Dissertation (MA (Archaeology))--university of Pretoria, 2020.
Anthropology and Archaeology
MA (Archaeology)
Unrestricted
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Ren, Josephine. "Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1353.
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This research project examines and documents the collection of Islamic ceramics at Scripps College from an art conservation standpoint. The main objectives were to establish provenance for these objects, assess their current conditions, propose recommendations for future preservation, and discuss the importance of preventive conservation and general collections care methods. Based on my survey and research, I demonstrated which objects in particular should be prioritized due to their states of conservation and significant educational value. Such objects raise further points of departure regarding authenticity and conservation ethics.
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Saffaran, Elyas. "Recherches sur l'Iran et la Grèce anciens : éléments artistiques et culturels iraniens (traditions et rapports réciproques avec la Grèce, conservation et restauration)." Limoges, 1996. http://www.theses.fr/1996LIMO2007.
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Bien que de nos jours ces deux pays, la grece et l'iran, semblent fort eloignes l'un de l'autre, dans l'antiquite, ils ont ete tres proches l'un de l'autre. . . Malgre cette situation, sur ces grandes civilisations, on a jusqu'a maintenant beaucoup ecrit dans le monde entier, en occident comme en orient ; tous les aspects ont ete abordes. . . Parce que les historiens anciens ont ete conduits a donner de l'une et de l'autre des deux civilisations des images qui ne correspondent pas toujours a la realite strictement objective parce qu'elles sont deformees par la pensee et la propagande politiques. Donc, une etude comparative portant sur les elements artistiques et culturels de ces pays de grande tradition, aujourd'hui bien differents l'un de l'autre, permettra de mieux comprendre ce qui, depuis la plus haute antiquite, les a unis et separes. Ces elements sont la cle de la connaissance approfondie des secrets de ces deux pays de l'antiquite. Donc, on a constate que l'iran et la grece ont, dans leur aire geographique, connu un developpement culturel et artistique tout particulier, qui leur confere une place de premier rang dans le monde ancien et dans l'histoire de l'humanite. La these propose une etude approfondie de l'image structuree des deux civilisations. S'il n'y a pas de vieillesse pour les oeuvres et les elements artistiques et culturels de ces deux civilisations, avec les methodes necessaires (techniques et juridiques), grace aux sciences modernes, aux lois et au droit international, on peut conserver et restaurer les elements culturels et artistiques de ces deux civilisations pour les generations futuresAlthough nowadays these two countries, greece and iran, seem very distant from one another, in antiquity, they were very close. . . In spite of this situation, until now, it has been written a lot about these two civilizations, all over the world, in the west, like in the east. All aspects have been discussed. . . Because the ancient historians have been driven to give pictures of one or the other of these two civilizations, which do not always correspond to the strictly objective reality because they are transformed by the political thinking and the political propaganda. Therefore a comparative study about the artistic and cultural elements of these countries of tradition, which are very different from one another today, will unable us to understand better what, since the remote antiquity, has linked and separated them. These elements are the key to the careful understanding of the secrets of these two countries of the antiquity. It has been then noticed that iran and greece have, in their geographical area, known an artistic and cultural development very peculiar, which gives them a first rank place in the ancient world and in the history of humanity. This thesis deals with a thorough study of the definit image of these two civilizations. Furthermore, if artistic and cultural works and elements of these two civilizations do not grow old, with the methods available (technical and legal), and thanks to modern sciences, laws and international rights, one can keep and restore the cultural and artistic elements of these two civilizations for the next generations
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Hoey, Erin M. "Out of Site, But Not Out of Mind: The Conservation and Display of Ancient Roman Floor Mosaics in Situ and in Museums." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/842.
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This thesis explores the display of Roman floor mosaics in museums and in situ. Taking the original mosaic to museums for display and protection, and replacing them on site with replicas, is best for the preservation of the original material and its context.
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Rogerson, Cordelia. "Preserving jewellery created from plastics and rubber : application of materials and interpretation of objects." Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/338/.
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The adoption of plastics and rubber to artist jewellers’ repertoire of materials in the late 1960s marks a significant and permanent alteration to the artist jewellery discipline. Since this time the physical and conceptual possibilities of plastics have fuelled and enabled developments in this artistic field. Since the early 1970s museums and private collections have continually acquired artist jewellery created from plastic. Some of these artworks are now exhibiting change or deterioration. Discussion and debate regarding their preservation is a pressing need. To date, whilst there has been recent research into the deterioration of plastic materials found in cultural heritage, almost no published work or debate has addressed artist jewellery specifically. This research positions plastic artist jewellery within the expanding discipline of modern materials conservation and aims to raise awareness of preserving plastic jewellery artworks. The prevalent plastics in use for artist jewellery, their properties and importantly application, to create artistic intent, are identified. Current attitudes of custodians and artists towards preservation, which has a bearing on the past and future prospects of the artworks, are analysed. Despite not having articulated their opinion previously, many jewellery artists have considered the long term prospects of their work as part of their artistic practice. As change and deterioration of the artworks is inevitable the impact of change to jewellery artworks is considered. Understanding how material properties are applied to create intent, as identified, is essential to comprehend meaning and any alterations as a result of change. Finally, having deliberately drawn artists into the preservation debate the nature of their input is considered. Should jewellery artists intervene in their own work when treatment is required? The research is from a humanities rather than scientific perspective and is concerned with objects and their interpretation in the context of preservation. The artworks are the starting point and their context as jewellery objects is the primary concern. Oral testimony of artists is also crucial to draw the artists into the preservation process as stakeholders and because jewellery artists are hitherto unrecorded in this context. What is demonstrated throughout the thesis is that the wearable function of jewellery has a bearing on their perception and interpretation as objects.
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Mulholland, Richard. "'From dreams and visions and things not known' : technique and process in David Smith's drawings." Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/433/.
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For the American sculptor, David Smith (1906–1965), drawing was a language to replace words. It was the subconscious immediacy of drawing that allowed formal concepts to take shape during the laborious process of welding steel. In the 1950s, Smith’s sculptural output increased dramatically in both scale and quantity. At the same time, his drawings acquired a separate identity, largely independent of his sculpture, yet these drawings, and indeed much of Smith graphic process, have to date not been studied in depth from a technical perspective. Utilising the technical study as its mode of inquiry, this thesis investigates the complex tacit knowledge present in Smith’s work, particularly as it exists in the relationship between the practice of drawing and the practice of sculpture, and applies it to the understanding of his oeuvre. Unravelling this tacit or hidden knowledge reveals that Smith attached much significance to materials. More pertinently perhaps, this approach prompts a hypothesis that argues for a simultaneous and synergistic material relationship between sculptural and drawing in Smith’s practice. The elucidation of the tacit within Smith’s work when framed within recent understanding of the importance of tactile perception in experiencing works of art reveals that Smith may have used materials that both perceptually and physically extended drawing into three dimensions and further, that these materials often had resonance with materials used in his sculpture. Studying the technical aspects of Smith’s process inevitably provides a framework for discussion on durability, damage and authenticity in his work. Smith’s extensive investigation into materials - both industrial and artistic – is discussed as a function of his self-identity not as artist, but rather as industrial worker, with a pragmatic interest in the use of durable materials in his work, both graphic and sculptural. The fact that a significant number of Smith’s painted sculptures and drawings have aged poorly is therefore difficult to reconcile. It raises questions about the true durability of his media, why they have deteriorated and, more importantly, how an understanding of the tacit, and of technique and process might be crucial for decisions made for their conservation. In this context the deterioration of a substantial number of Smith’s iconic drawings from the 1950s is discussed in juxtaposition with the now notorious decision in the early 1970s to completely remove badly deteriorated paint from a number of his unfinished sculptures by the then Executors of Smith’s estate, ostensibly to preserve the integrity of his work. That alteration has occurred in both drawing and sculpture in Smith’s work is highly significant, given Smith’s lack of demarcation between the disciplines. It provides a base for discussion on the meaning of intent, damage and restoration in Smith’s work and suggests that even small changes in surface texture, gloss or colour might irrevocably alter our perception of it. The results of the investigation provide several important observations: Firstly, that there is a considerable tacit dimension to Smith’s graphic work not previously considered in studies of his practice and that in understanding this it becomes clear that Smith used drawing in a more complex and vital manner than previously considered. Secondly, that Smith’s drawings were informed to a great extent by both three-dimensionality and by the materials he chose, that tactility and notions concerning the haptic perception of objects might provide insight into Smith’s work, and that this can be applied equally to drawing as much as sculpture. Thirdly, that Smith’s ideological stance as an industrial worker profoundly affected his process and the materials choices he made, and finally, that change in Smith’s works whether the result of deterioration or deliberate intervention might profoundly alter perception and understanding of such nuanced work.
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Marçal, Hélia Pereira. "Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms." Master's thesis, Faculdade de Ciências e Tecnologia, 2012. http://hdl.handle.net/10362/8467.
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Dissertação para obtenção do Grau de Mestre em Conservação e Restauro, Perfil Ciências da Conservação Especialização em Arte ContemporâneaDrawing from philosophy and social sciences, mainly ethnography and psychology, this dissertation explores new roles that conservators often assume, while proposing new methodologies for artist’s interviews. In order to preserve complex artworks, such as installations or performances, conservation theory needs to embrace transience, and therefore suggest new and more adequate methodologies. Several authors already accepted change, and proposed concepts that acknowledge artworks’ trajectories. However, currently applied methodologies do not follow that perspective and endanger preservation of such complex artworks. Through a comparison between ethnographic objects and complex artworks, ethnographic methods showed promise for extrapolation into the conservation field. Examples from Bali’s cremation rituals and the Portuguese artist Francisco Tropa (b. 1968, Lisbon) helped illustrate this question. Ethnographic methods applied for interviewing and analysing the artist’s discourse were of great value, as they provide for validation and data reproducibility. From these methods, content analysis stood out by allowing a better structuration and validation of the artist’s discourse. During this process, conservators’ role was re-considered. Substantially different tasks and decisions are for conservators to make. Ultimately, are they interpreters, performers, executers, reporters, archivists, actants? Inevitably, this study held more questions than offered answers. However, it is by challenging currents practices, placing them constantly under scrutiny, that possibilities emerge. New theories for contemporary art preservation, contemporary in themselves, need to be uncovered in order to, subsequently, being questioned again. It is only through this demanding process that contemporary art conservation can continue to be propelled forward.
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Buhler, Doyle Leo. "Capturing the game: the artist-sportsman and early animal conservation in American hunting imagery, 1830s-1890s." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2447.
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During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife.
This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman's culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.
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Buhler, Doyle Leo. "Capturing the game| The artist-sportsman and early animal conservation in American hunting imagery, 1830s-1890s." Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567993.
Full textAbstract:
During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife.
This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman's culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.
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Rodriguez, Abigail E. "Playing With Fire: An Examination of the Context and Conservation of Jose Clemente Orozco's Prometheus." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/860.
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Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.
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Butler, Shelle Nicholle. "Surface-Enhanced Raman Spectroscopy Studies of Organic Dyes for Art Conservation and Ph Sensing Applications." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192818.
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Surface-enhanced Raman scattering (SERS) spectroscopy is a powerful analytical technique with widespread applications. In this work, SERS applications in the realms of art conservation and biosensing are reviewed. First, the theory of this unambiguous and ultrasensitive technique is explained. Next, a review of the pedagogical journey in art conservation research through the lenses of undergraduates is offered in Chapter 2, a chapter recently submitted to the American Chemical Society. Finally, an investigation in biosensing SERS is explored with developing a SERS pH sensitive probe while offering new insight into SERS capabilities and the relationship between analyte and nanoparticle.
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Dawley, Martina Michelle. "An Analysis of Diversifying Museums: American Indians in Conservation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311567.
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An investigation was conducted to show the number of American Indians in the field of conservation, through a quantitative and qualitative analysis. The research investigated the primary question, why are there so few American Indian conservators. In addition, the following secondary questions were examined: 1) How many conservators of American Indian ethnicity are there? 2) What factors influence the number of American Indian conservators? 3) How will American Indians qualified to practice conservation benefit museums? The findings for this study were collected through an online survey, personal interviews, and observations. The results showed that there was a significant relationship between education, conservation, and being American Indian. The study proved the hypothesis that there were not a lot of American Indian conservators. An earlier report investigating the status of American Indians in professional positions in museums nationwide revealed similar results (Rios-Bustamante, 1996). Other publications mentioned Indigenous people as collaborators and participants in various museum practices such as curatorial work, preservation, conservation, and exhibits; but did not specifically name an American Indian as a professional conservator (Bloomfield, 2013; Clavir, 2002; Erickson, 2002; Lonetree, 2012; Odegaard and Sadongei, 2005).A total of eleven participants were interviewed. Of the eleven participants interviewed, nine identified as American Indian from the United States, one identified as Maori from New Zealand working temporarily in the United States, and one as Italian-American (Table 13). Of the eleven interviewed, three identified as trained conservators qualified to practice conservation as a professional conservator. Of the three identifying at trained conservators, two were American Indian, Navajo/Assiniboine and Navajo. A total of ninety-three participants responded to the online survey. Univariate analysis using the standard t-test was used to compare each variable to the dependent, binomial variable (variable of interest=American Indian Conservator, yes or no) to determine its initial significance (Table 12). Significant variables were then added into the model and logistic regression analysis was performed to capture any effect a variable might have on the dependent variable. As a result, the data showed that a conservator was 8.6 times more likely not to be American Indian than conservators who were not American Indian in this study. This analysis and interpretation of the data was used as a preliminary study for future research.
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Shulman, Katharine. "Paintings in Transit: A New Means For Protection of Collections, Balancing Traditional and Modern Conservation Philosophies and Methods." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/697.
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This thesis examines the motives behind museum loan and exchange policies and how loans can act as a new avenue for protecting and preserving paintings. When borrowed artworks are transported from one museum to another, there are many variables that come into play and careful planning is necessary for the safety of the object. Specific case studies of several well-known and respected museums that engage in and encourage loans will explore the complex nature of lending policies, their effect on the condition of artworks and their significance and impact on the museum world. This thesis culminates in an analysis of the loan fitness and possibility for transport of Joachim Beich’s Untitled, a painting in the Scripps College collection.
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Soltan, Mohamed Abdeldayem Ahmed. "An investigation into the history of the airbrush and the impact of the conservation treatment of airbrushed canvas paintings." Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/27304/.
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The research considers whether traditional approaches to easel paintings conservation are appropriate for the treatment of air brush paintings. The objectives were: -To investigate the aesthetic and technical history of the airbrush -To investigate surface changes in paint layers -To investigate the appropriateness of traditional conservation treatments for airbrush paintings and evaluate alternative approaches Although the first airbrush was introduced in 1883 it was initially rejected by many fine art circles as being too ‘mechanical’. Airbrush techniques have been little discussed in the field of fine art and the field of the conservation of fine art. A mixed methodology was followed for this research, qualitative through literature review carried out in line with the interdisciplinary nature of the research, and quantitative through various approaches including surveys. One survey was carried out in order to establish the use of air brush techniques by artists and its eventual acceptance as a fine art technique. A second survey was conducted to discover how well conservators understood the degradation characteristics of air brush paintings and their appropriate treatment. The research revealed that much of the eventual success of air brush painting resulted from the introduction of new types of paint in order to better manage the technique. It also revealed that there was a high level of uncertainty amongst practitioners in the field of paintings conservation with regard to the deterioration characteristics of air brush painting or their appropriate resolution. However the major concern with regard to conservation lay clearly within the field of image re-integration as a result of its characteristically smooth surface finish. Artificial light ageing was carried out on simulated mock ups in order to develop a clearer understanding of the type of surface changes that might be expected over time from a limited palette of colours. This was followed by technical visual examination and media analysis via FTIR and Py- GC-MS methods. It was found that there were changes in surface morphology in some colours, which appeared to further enhance the smooth surface finish of the paint layer. A range of approaches to image re-integration were trialled ranging from the traditional paint based approaches to the use of digital coloured light. The latter was of particular interest in offering a truly reversible none interventive approach to re-integration. The focus of the digital re-integration techniques was to evaluate the viability of its use in general practice. Due to the smooth surface as well as the build-up of multiple layers of colour the traditional approaches proved difficult to harmonise within the picture plain. The use of digital approaches using coloured light was more successful although further research is required in order to develop this approach for wide spread professional practice. The physical and chemical characteristics of the airbrushed paint layer present issues that are fundamentally different to those found in oil paintings. As yet these are not all fully understood and require further research. Until such time the use of none interventive, reversible image re-integration techniques such as coloured light would be recommended.
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Stupin, Nicole B. "What We Give." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/222.
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The artist discusses the concept, imagery, and research influences behind a body of work entitled What We Give, for the completion of her Bachelor of Arts Degree and undergraduate research for the Fine and Performing Arts Scholars branch of East Tennessee State University’s Honors College. The artist used this body of work to explore her personal relationships with the ocean, Aspergers, and information. Particularly, the artist’s pseudo-mystic beliefs about the ocean, her frustrations with her life struggles, and fascinations with scientific facts and libation vessels are discussed. Dysfunctionality is cited as the driving force behind the thought process of the project. Her work includes two sculptural vessels, rendered in ceramics and painted with house paint. The artist cites gastropod shells, ancient libation vessels, and contemporary artists Marcel Duchamp, Beth Cavener Stichter, and Alison Evans as inspirations.
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Gonzales, Gil Patricia. "The world of art and archaeology: The ideal place for a chemist?" Revista de Química, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100676.
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Si bien podemos creer que el estudio de objetos arqueológicos y artísticos es de carácter netamente estilístico o histórico, en realidad, una aproximación a ellos a través de la química puede brindar información importante también. En un país como el nuestro, con un amplio patrimonio cultural, es mucho lo que un químico puede hacer para ayudar a conocer mejor estos objetos y a saber conservarlos.Although we may think that studies of archaeological and artistic objects are mainly historical or stylistic, a chemical approach can also provide important information about them. In a country like ours, with a vast cultural heritage, a chemist can do a lot to further our knowledge of these objects and to help in their conservation.
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Ferreira, Joana Lia. "Liaisons dangereuses, conservation of modern and contemporary art: a study of the synthetic binding media in Portugal." Doctoral thesis, Faculdade de Ciências e Tecnologia, 2011. http://hdl.handle.net/10362/5342.
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Dissertação apresentada para obtenção do Grau de Doutor em Conservação e Restauro, especialidade de Ciências da Conservação, pela Universidade Nova de Lisboa, Faculdade de Ciências e TecnologiaThis project is focused on the study of synthetic materials used by Portuguese artists in the twentieth century. The aim of the study was the molecular characterization of vinyl and acrylic polymers used since the 1960s and the study of their photodegradation and evolution over time. In modern and contemporary art, water based synthetic emulsions have been widely used as painting binding media, especially acrylic and vinyl based emulsions. In some countries like Portugal where the first aqueous emulsions used as paint binders were the poly(vinyl acetate) – PVAc – ones, both as household and artist’s paints, the study of vinyl polymers is of particular importance. In Portugal these emulsions were used by outstanding artists like Joaquim Rodrigo and Ângelo de Sousa since the 1960s. In order to guarantee the preservation of the artworks for the future generations it is essential to understand how these paints will behave upon ageing. The molecular photodegradation of PVAc was studied and the presence of degradation products on reference and model samples, as well as on dated artworks was investigated. Paintings by Joaquim Rodrigo and Ângelo de Sousa, and also a hand painted catalogue for the Sabu vinyl artists’ paints, were selected as case studies. The characterization of micro-samples from the artworks provided useful information on the real evolution of the polymer binder over time. Accelerated photodegradtion studies were performed by the exposure of PVAc films on an ageing chamber equipped with a xenon-arc lamp. The behaviour of PVAc (homopolymer) was compared with a commercial emulsion(Vulcano V7) and paint reconstructions prepared in the laboratory. The results achieved by means of infrared microspectroscopy (FTIR) point out the considerably stable nature of these binding media as no molecular evidence was obtained concerning the formation of other carbonyl functions, the disappearance of the PVAc carbonyl or the formation of hydroperoxides. The polymer photodegradation process was further studied by means of size exclusion chromatography (SEC), following the molecular weight distribution and correspondent average molecular weights. It was concluded that no side-chain reactions are taking place and that main-chain scission is the foremost degradation mechanism, although not affecting the polymer performance significantly. The influence of pigments, such as titanium dioxide and iron oxide, on the polymer’s stability was also considered and it was concluded that they do not promote degradation, which might be explained due to pigment encapsulation in inert materials inhibiting its photocatalytic behaviour. The photodegradation quantum yield was determined as 7.4 x 10-8 at 313 nm for PVAc homopolymer; therefore, degradation is quantified and comparisons may be performed for different polymers. A parallel study, according to a similar experimental approach, was undertaken on the stability of poly(methyl methacrylate) – PMMA – used as acrylic sheet by the Portuguese artist Lourdes Castro.
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Anzellotti, Elisa. "Memoria e materia della danza : problemi conservativi di un patrimonio culturale immateriale." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080130.
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Ce document vise à répondre à un discours sur la conservation du patrimoine culturel immatériel, qu’est la danse.A partir d'un postulat philosophique esthétique, nous étudierons les problèmes qui se posent avec un art dont l'essence réside dans l’éphémère.Une nouvelle perception du temps et de l’espace entrent en jeu et font que la danse est plus adaptée que les autres arts à l'évolution de ce siècle fluide et remplie de dichotomies.Pour bien comprendre l'importance de la préservation de ces biens, nous avons consacré un chapitre à la législation sur le patrimoine culturel immatériel, en référence notamment à la danse et aux droits d'auteur, point essentiel, lorsque nous allons aborder les problèmes liés aux archives, thème sur lequel se concentre une grande partie de notre travail.Après avoir enquêté sur les matériaux de la danse (avec une attention particulière sur le corps du danseur, le nouvelle technologies et sur le rapport avec les arts plastiques), nous traiterons la problématique de la préservation de la danse. Les principales questions concernent l'avenir, la préservation dans l'ère numérique, avec une référence particulière aux changements des musées et des archives.Nous prendrons pour exemples des cas européens et italiens pour étudier la situation de la protection de la danse et comprendre son évolution. Le critère qui a guidé ce choix fut précisément celui de souligner le danseur (nous nous somme appuyé sur la collaboration d’importants danseurs, comme les Dupuy, aussi avec de les entretien).De cette façon, nous avons jeté les bases théoriques d'un centre idéal pour l'étude et la préservation de la danse en ItalieThis paper aims to discuss the difficulties involved in the preservation of the an intangible cultural heritage: the Dance.We shall begin from an aesthetic and philosophical premise as we investigate the problems that arise with an art form whose virtual essence lives in the ephemeral. However, this quality and the different perception of time and space that the dance create, that allows this art form to adapt to the fluidity of the 21st century - an era encumbered by dynamic dichotomies.In order to fully understand the importance of preserving this cultural heritage, an entire chapter has been devoted to “intangible cultural heritage legislation” which includes particular reference to dance works and copyright laws. An understanding of this aspect is essential - especially when confronting problems related to exploring and researching within dance archives - a prominent theme in this work. The thesis then moves onward to define the element of dance itself, with particular attention placed on the dancer’s instrument (the body) and the new technology. Only after thoroughly exploring this fundamental aspect, we will then discuss the sensitive issue of dance archive preservation.The preliminary exploration and definition in the thesis then brings us to the main question: How can we preserve and protect dance masterpieces in the digital era, especially with respect to current changes in National museums and archive conservation.Specific examples with regards to dance conservation and its evolution have been hued from selected European Institutions and in particular, those in Italy. One of the overriding concepts throughout this thesis has been to focus on the topic from the dancers point of view and therefore, collaborating with important dance figures such as the French master, Dupuy, has offered invaluable insight. It is the hope of this thesis to lay the ground work of a theoretical basis for an ideal center to study and preserve the evolution of dance in Italy
Il presente lavoro ha come obiettivo quello di affrontare un discorso conservativo di un bene culturale immateriale, qual è la danza.Partendo da una premessa estetico filosofica, si indagano le problematiche che si pongono in essere con un’arte la cui essenza risiede nell’effimero. Questa caratteristica, insieme alla diversa percezione di spazio e tempo che si ha con la danza, fanno sì che si adatti meglio di altre arti ai cambiamenti di questo secolo fluido e pieno di dicotomie.Per comprendere appieno l’importanza della salvaguardia di tale bene è stato dedicato un capitolo alla legislazione dei beni culturali intangibili, con particolare riferimento alla danza e al diritto d’autore, fondamentale anche quando si vanno ad affrontare le problematiche riguardanti gli archivi, punto su cui è incentrato molto del lavoro. Tema cardine è infatti la questione della conservazione della danza sia nelle sue componenti materiali, ma soprattutto nella sua immaterialità. Ruolo centrale è rivestito dal corpo del danzatore, elemento sfuggente come in tutte le arti performative. Particolare attenzione viene data alle nuove tecnologie (fotografia, cinema e video) senza tralasciare la documentazione e la conservazione che si ha con la scrittura e le immagini (con specifico riferimento al rapporto con le arti plastiche). Vengono presi in esame poi specifici esempi europei e italiani per indagare la situazione inerente la conservazione della danza. Un criterio che ha guidato la scelta è stato proprio quello di dare risalto al danzatore. In questo modo si sono volute gettare le basi teoriche per un ideale centro per lo studio e la conservazione della danza in Italia sul modello francese del CND
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.
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Theodorakopoulos, Charalampos. "The excimer laser ablation of picture varnishes : an evaluation with reference to light-induced deterioration." Thesis, Royal College of Art, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602333.
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Purewal, Victoria Jane. "Novel detection and removal of hazardous biocide residues historically applied to herbaria." Thesis, University of Lincoln, 2012. http://eprints.lincoln.ac.uk/13573/.
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This research is concerned with the detection and removal of hazardous biocide residues from historic applications to herbarium collections. There are two main aims: • To develop a rapid, cost-effective and non-destructive screening method for identifying toxic residues on herbarium sheets; and • To establish the most suitable decontamination method for the removal of naphthalene from herbarium collections, maintaining the integrity of the specimen. The research outlines how the presence of fluorescent marks on specimen sheets throughout the herbarium, at Amgueddfa Cymru- National Museum Wales (AC-NMW), is indicative of mercury(II) chloride contamination. Compelling evidence is given to support the hypothesis that the observed fluorescence is due to the reduction of Hg(II) to Hg(I) during the oxidative degradation of cellulose, occurring as part of the natural ageing process. The rate of fluorescence development is shown to be increased by the presence of naphthalene, and is estimated to take at least 30 years to develop. From the results obtained, it is evident that a hand-held UV-A lamp can provide a rapid and effective method of identifying samples within a collection that are contaminated with mercury, thus providing a rapid and economical means to prioritise which collections require immediate re-mounting. Furthermore, this method will enforce the implementation of safe, standard procedures to protect personnel and visitors when handling the collections, plus enable the removal of a large amount of hazardous chemical from the herbarium environment. It is also demonstrated, through decontamination tests, that the air-drying of contaminated specimen sheets is a more efficient method of removing naphthalene, than either freeze-drying or oven-drying. It is also the most cost-effective, and the least damaging to the specimen. It is shown that the efficacy of the decontamination is dependent upon the paper type. Thin, unfinished, papers are more efficient at losing naphthalene than the heavier, finished and coated papers, as their porous structure allows the naphthalene to remain more mobile. These results provide important information about which specimen sheets are more likely to be successfully decontaminated by the air-drying procedure and can inform the selection and prioritisation process.
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Fernandes, Antonio Pedro Martins do Mota Batarda. "Natural processes in the degradation of open-air rock-art sites : an urgency intervention scale to inform conservation." Thesis, Bournemouth University, 2012. http://eprints.bournemouth.ac.uk/20995/.
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Open-air rock-art forms one of the most widely distributed categories of prehistoric material culture with examples recognized across the Old and New Worlds. It is also one of the most threatened features of human heritage and is susceptible to accelerated decay as a result of anthropogenic and natural processes. Much attention has previously been given to the impact of identifiably human activities and their mitigation, but the aim of this research is to redress the balance and focus on understanding the short-, medium-, and long-term impacts of natural processes. The main objectives of research are to identify open-air rock-art natural degradation causes, create a suitable method to assess the state of conservation of any given engraved outcrop of the Côa Valley rock-art complex and develop a urgency scale for conservation interventions. The urgency scale will be established by thoroughly examining a sample of the most – in terms of conservation – representative engraved outcrops. Since more than one thousand outcrops with rock-art still subsist today, it would be impossible to examine them all. Therefore, a sample comprising outcrops that possess most, if not all, of the variables that might affect stability and conservation state will be chosen. Some of the issues to consider are weathering and erosion of outcrops, or slope gradient and aspect of the hills where these are located. Such phenomena as biological colonization, rainwater percolation or chemical exchanges at surface level will also be analyzed. The expected end result of research is the creation of a method to determine the condition of outcrops and to identify methodically those in most urgent need of conservation. As a result, informed conservation action plans can be systematically tailored to suit specific natural conditions. Moreover, conservation interventions can be prioritized within a total universe of 1000 outcrops with rock-art.
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Kim, Grace Ph D. Massachusetts Institute of Technology. "The work of art in the age of its technoscientific re-enhancement : recasting light, Colloids, and microbes for art and heritage conservation in U.S. and Italian laboratories." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/122492.
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Thesis: Ph. D. in History, Anthropology, and Science, Technology and Society (HASTS), Massachusetts Institute of Technology, Program in Science, Technology and Society, 2019Cataloged from PDF version of thesis.
Includes bibliographical references (pages 155-169).
This ethnography tracks a diverse set of scientific practices that have developed new technologies for the conservation of artworks and cultural heritage. I examine how scientists in physics, chemistry, and biology have intervened in the restoration of artifacts ranging from faded abstract expressionist paintings to the crumbling clay terraces of an archaeological site. Reporting on archival research, interviews, and participant-observation, I juxtapose three case studies in the U.S. and Italy-two in which physics (Cambridge, MA) and chemistry (Florence) are conscripted into the realm of high modem art, and another in which biological knowledge (Milan) informs the preservation of artistic tradition and craft heritage.
In analyzing interventions in digital projection technology (light), nanotechnology (colloids), and biotechnology (microbes), I argue that scientists today transform artifacts of culture into instances of technoscientific nature through what I call the "technoscientific re-enchantment of art." Aura, philosopher Walter Benjamin once wrote, is the ineffable and singular charisma that confirms an artwork as "the original." He added that technological reproducibility through film and photography strips art of its ritualistic authority, liberating it of the fetish of authenticity. To the contrary, I find, technology today is enlisted as a mode of authenticity's material production. Art's aura, in the age of technoscientific reenchantment, does not disappear but rather, is re-valued through analogy-analogies made through the discursive and material practices that liken light to paint, the colloidal substance of the human body to that of artworks, and microbes to patina.
Laboratory scientists, I show, are recasting the materials of art and heritage to make the terms of their recovery amenable to technoscientific mediation. In so doing, scientists contribute to enduring ethical debates within art history and heritage preservation-debates about how to interpret an artist's intent and an object's pristineness or historicity. Finally, I explore a fourth field site, the Vatican Museums, as a framing device for understanding the stakes in contemporary conservation practice. Drawing on the anthropology of art and heritage, science and technology studies, and art history, I explore the multiple, ever-changing claims of technoscientific expertise over matters of the materiality, aesthetics, and history of artifacts.
Grace Kim.
Ph. D. in History, Anthropology, and Science, Technology and Society (HASTS)
Ph.D.inHistory,Anthropology,andScience,TechnologyandSociety(HASTS) Massachusetts Institute of Technology, Program in Science, Technology and Society
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Boizumault, Manuel. "Patine du désert : Re-création de la patine des grès sahariens, porteurs d'oeuvres gravées ou peintes témoins depuis dix millénaires, de l'adaptation de sociétés anciennes à des crises climatiques." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30084.
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La conservation–restauration des parois de grès gravés du Sahara et de ses abords suppose de connaître les caractéristiques physiques et chimiques de leur patine et de diagnostiquer les agents de dégradations, pour la mise en œuvre d’un procédé de réparation. L’étude des modifications de texture en surface et sub-surface de grès (Haut-Atlas marocain ; Atlas, Tassili N’Ajjer algérien) met en évidence le rôle protecteur de la patine et du cortex sous-jacent (densification du ciment) ainsi que les zones de faiblesse des « horizons » lessivés. L’étude d’un métaquartzite (Anti-Atlas marocain) et des expérimentations au laboratoire, ont permis de préciser les mécanismes de formation de la patine du désert : une genèse liée à la présence d’eau circulant dans la roche explique l’apport endogène (manganèse et ciment argileux), alors que l’incorporation de silts éoliens souligne un stade de son évolution. Pour les patines « brunes » et ocres, une contribution exogène accrue est manifeste. Afin de re-créer la patine, la fabrication du mortier de ragréage a consisté à mesurer les proportions de sable, argile et silicate d’éthyle afin que sa dureté et que ses propriétés de porosimétrie soient proches de celles du matériau naturel. Les composés de polymérisation sont compatibles avec ceux de la roche et leur pénétration est limitée à l’interface roche/mortier. Des simulations d’environnement de dégradation (gel/dégel, hydrolyse intense), ont validé le procédé. La coloration dans la masse du mortier prend en compte son érosion et sa dérestauration, le cas échéant. Des essais in situ (Haut-Atlas et Anti-Atlas, Maroc), ont permis d’apporter de légères adaptations au schéma établiThe conservation of sandstone engraved rock art in the Sahara and its surroundings implies to find out the physical and chemical characteristics of their patinas and to diagnose the damages, in order to perfect a restoration process. Studies of surface and subsurface textural modifications (sandstone from High-Atlas, Morocco; Atlas and Tassili N’Ajjer) reveal the cortex and the patina’s protective role (cement densification) and the weakening of the dissolution layer. Metaquartzite studies (Anti-Atlas, Morocco) and laboratory experiments have confirmed these hypotheses: the origin of dark patinas is the result of water circulation in the rock (manganese and clayed cement), while eolian silt brings an evolution stage out. With regard to brown and ochre patinas, an increased of exogenous contribution is in evidence. The achievement of a resurfacing mortar consisted in measuring the proportions of sand, clay and ethyl silicate, so that its hardness and its porosimetric properties are close to those of the natural material. The compounds of polymerisation are compatible with those of rock and their penetration is restricted to the interface rock/mortar. Simulation experiments (frost/thaw, severe hydrolysis) have validated the process. A mortar pulp colouring takes into account its erosion and its re-restoration, if need be. Tests in situ (High-Atlas; Anti-Atlas, Morocco) allowed to bring slight adaptations to the process
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Carothers, Milena R. "Ancient Cypriot Glass: Production, Reception, and the Collections at the Claremont Colleges." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1339.
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This thesis examines the collection of Cypriot glass stored in the basement at Scripps and its context throughout history. The first chapter focuses on the collection itself and includes a brief summary of the founding of the Mudd family’s Cyprus Mines Corporation, which led to the collection of the glass. The repatriation of the collection is also detailed. The second chapter examines the history of Cyprus, and how valuable resources such as copper led to trade on the island. A history of glass is given: how it was made, what it was made out of, and how it was used and appreciated at different times in history. The third chapter addresses the history of the glass trade and production on Cyprus. Island-specific shapes and production are explored. This chapter also looks at how glass was valued and used by different levels of society as glass production evolved and led to a saturated market. The fourth chapter focuses on five pieces selected from the Scripps and Mudd collections. These case studies include conservation condition reports. Physical description, condition, use, and similar examples in other collections are detailed. The final chapter addresses glass conservation. It contains an analysis of previous conservation interventions, descriptions of different types of weathering and degradation, and tips for stabilizing, storing, shipping, handling, and displaying the collection.
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Pironti, Elinor Dei Tos. "The interconnection of culture and manufacture in Japanese No theater costume| Conservation of an Edo Period choken." Thesis, Fashion Institute of Technology, SUNY, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10140949.
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The subject of this qualifying paper is an Edo Period Nō theater chōken. Upon receipt, this choken was in very poor condition. There were six types of damage that needed treatment.
First, there was extensive warp breakage along the full length of the shoulders and sleeve bottoms and one area of full loss to the base fabric, exposing wefts. Second, a couched metallic thread was used as an outline to five vase motifs and as patterning for four butterflies. All used ‘urushi,’ better known as Japanese lacquer, for an adhesive binding a metal foil its paper substrate. This couched thread had either loss to the metallic surface, to the combined metallic and lacquer surface, or was hanging, and at times twisted back upon itself. Third, there was a cut and finely woven, metallic coated paper used for some of the leaf and insect wing motifs that was tattered, unaligned, had loss to its metallic surface, and was not secure to the base fabric. Fourth, there were areas of weft breakage exposing warps. Fifth, the six exposed selvages that run the full length of the two sleeves and one body panel all needed to be strengthened. Sixth, there was one 3 by 4 inch area in the lower back of the body panel which had complete fabric loss.
Untreated areas were: areas of warp distortion in the front body panel; a few loose embroidery threads throughout the five floral/vase motifs; and a small amount of loss due to insect infestation.
Research was done and methods developed in order to find treatment techniques for the lacquer based metallic thread, the cut and woven paper motifs, and the extensive warp breakage extending along the shoulders and sleeve bottoms.
Due to the difficulty of finding English equivalents to Japanese textile terminology, I included a Comparative Glossary that I hope will be useful to other researchers in this field.
This project proved to be challenging, but in the end, very rewarding with a new body of knowledge concerning materials used in this type of cultural object.
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Zajac, Lauren Elizabeth. "An SEM and Microanalysis Examination of a Marquis de Lafayette Terracotta Portrait Bust." Thesis, Boston College, 2011. http://hdl.handle.net/2345/1958.
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Thesis advisor: Gregory McMahonThesis advisor: Barbara Adams Hebard
A terracotta portrait bust of the Marquis de Lafayette with the signature “houdon an. 1790”, now broken, was given to Boston College by Edward S. Ryan in 1966. The two objectives of this study were: (1) To determine the methods used to create this bust and (2) whether or not it could have been made in the studio of Jean-Antoine Houdon. A materials analysis using Scanning Electron Microscopy (SEM) and Energy Dispersive X-ray Spectroscopy (EDS) was performed on five representative samples from different regions of the bust. Three samples were unpolished and two were polished using an argon beam milling technique, completely preserving the heterogeneous samples. It was found that the bust was created by pressing wet clay into piece mold, the waxy surface is not original to the sculpture, and the pink layer is the result of a higher iron particle concentration. It is almost impossible to absolutely determine whether or not Houdon made the bust, due to uncertainties in provenance and the large number of busts made by, and copied from, Houdon. However, it is clear that the materials original to the sculpture correlate with the time Houdon lived and the methods he used
Thesis (BS) — Boston College, 2011
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: College Honors Program
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Caromba, Laurence Joseph. "The origins of liberal conservatism : Edmund Burke, Adam Smith, and the art of coping with a complex society." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/25682.
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This study compares and contrasts the writings of Edmund Burke and Adam Smith, to determine whether they are contradictory, compatible, or complementary. Burke can be regarded as the founder of modern conservatism, and Smith is an early and powerful advocate of market-orientated liberalism. Today, their ideas have been blended into a system of “liberal conservatism” that serves as the unofficial political ideology of most right-of centre parties throughout the English-speaking world. However, it is not so immediately apparent that Smith and Burke can be reconciled with each other. In the course of this study, Burke and Smith’s ideas are considered at various levels of abstraction. They share a nuanced view of human beings as complex, social, sympathetic and self-interested. They both adhere to an empiricist epistemology that is distrustful of deductive rationality, especially when applied to complex human societies. In order to cope with this complexity, Burke and Smith alike counsel humility and pragmatism, and emphasise the importance of contingency. Furthermore, they suggest that policymakers rely on mechanisms that reveal information held by large numbers of individuals: tradition in the case of Burke, and the market mechanism in the case of Smith. Burke is a staunch opponent of arbitrary power, and an advocate of colonial liberty. However, he defends the prescriptive powers of the state, and argues that liberty should be tempered by self-restraint. Smith advocates a “system of natural liberty” in economic affairs, but acknowledges that such a system takes place within the framework of a coercive state. In terms of policy, Burke and Smith share similar views on external free trade and laissez-faire within the domestic economy, but there are important stylistic and substantive differences in their views on the relief of the poor. Ultimately, this study argues that Burke and Smith’s complementary policymaking framework, rather than their actual views on policy, is the true point of convergence between them.Dissertation (MA)--University of Pretoria, 2012.
Political Sciences
unrestricted
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Fordred, Claire Louisa. "The management and conservation of rock art sites and paintings in the uKhahlamba-Drakensberg Park, KwaZulu-Natal, South Africa." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/23428.
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The uKhahlamba-Drakensberg Park (UDP) is a World Heritage Site known for its cultural San heritage and its natural beauty, which is advertised as a world tourist attraction. Tourism is a debatable issue with regards to its negative and/or positive impacts on rock art along with commodification aspects. Negatively, visitation of sites increased natural deterioration of the site, the art and challenges for cultural resource management. While increased awareness of rock art conservation is a positive aspect through tourism and developments, contributes optimistically. San heritage is unique, defining our cultural identity and has the power to encourage national unification. The aim of this project is to assess the complexities of tourism developments and its immediate impacts at different rock art sites in the UDP through an analysis of management and conservation methods. The monitoring of these mentioned methods applied is important as it evaluates the effectiveness of past techniques and provides suggestions for other rock art sites. The current conditions at nine study sites in the UDP were investigated under three main criteria; deterioration of the sites and paintings through natural and human impacts, tourism developments and management. Data collection followed principles such as; site mapping, narrative recording, graphic documentation, and is represented in evaluation tables. Results concluded that common management methods were implemented at sites to provide standard conservation practices, but every site had room for improvement. The results have led to the formulation of recommendations that can be applied at other rock art sites and can contribute to future management and conservation protocols. The study highlights the unique demands made on rock art sites by tourism and concludes with final comments and recommendations.Dissertation (MA)--University of Pretoria, 2012.
Geography, Geoinformatics and Meteorology
MA
Unrestricted
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Cvetkovic, Mila. "Unveiling the mural art of Almada Negreiros at the Maritime Stations of Lisbon: diagnosis research of paint layers as a guide for its future." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29079.
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Diagnostic research of the three mural paintings from Alcântara Maritime Station in Lisbon was conducted in order to understand the main decay phenomena and their dynamics, with respect for future conservation work. The analytical setup was composed of in-situ analyses by p-OM, spectro-colorimetry and h-EDXRF, followed by micro-sampling for a more profound analyses with OM, SEM-EDS, μ-XRD, FT-IR and py-GC-MS. Deterioration features identified include salts (salts efflorescence and sub efflorescence), flaking, lacunae, erosion and lack of cohesion of paint layers. Developed salts were classified as sulphates and their origin seems to be linked to polluted atmosphere and water infiltration into building materials. Greenish paint layer present in all three murals appears as the most deteriorated one, as it shows problems of severe flaking and lacunae; Resumo:
Desvelando a arte mural de Almada Negreiros nas estações marítimas de Lisboa: Diagnóstico de pesquisa de camadas de pintura como guia para sua conservação futura
Uma pesquisa diagnóstica das três pinturas murais da Estação Marítima de Alcântara, em Lisboa, foi realizada para entender os principais fenômenos de degradação e sua dinâmica com respeito a trabalhos futuros de conservação. A configuração analítica foi composta por análises in-situ com p-OM, espectro-colorimetria e h-EDXRF, seguida de micro-amostragem para análises mais profundas com OM, SEM-EDS, μ-XRD, FT-IR e py-GC-MS. As características de deterioração incluem sais (eflorescência e subflorescência), descamação, lacunas, erosão e falta de coesão. Os sais desenvolvidos foram classificados como sulfatos e sua origem parece estar ligada à atmosfera poluída e à infiltração de água em materiais de construção. A camada de tinta esverdeada presente nos três murais aparece como a mais deteriorada, pois apresenta severos problemas de descamação e lacunas.
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Rivenc, Rachel. "Made in L. A. : the role of materials and processes in the birth of West Coast Minimalism : and implications for its conservation." Versailles-St Quentin en Yvelines, 2013. http://www.theses.fr/2013VERS040S.
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Dans les années dix-neuf-cent-soixante, un groupe d’artistes de Los Angeles entamèrent une démarche de réduction esthétique qui abouti à la création du Minimalisme de la Cote Ouest des États-Unis. L’utilisation de matériaux et procédés novateurs, souvent d’origine industrielle, a été un élément crucial de leur pratique artistique. Cette thèse de doctorat étudie les matériaux et procédés utilisés par quatre pionniers du Minimalisme de la Cote Ouest, Larry Bell, Robert Irwin, Craig Kauffman and John McCracken. On y montre combien les matériaux ont jour un rôle essentiel dans le développent de ces artistes notamment dans le passage de la peinture a la création d’objets hybrides peinture/sculpture. On y montre également que la relation de ces artistes avec l’aspect technique de leur travail n’était pas uniquement pragmatique mais avait au contraire un caractère intime et fondamental qui devrait être pris en compte pour la conservation de leurs œuvresIn the 1960s, a group of Los Angeles based artists embarked on a reductive process that led to the creation of a distinct aesthetic, often referred to as West Coast Minimalism. The use of innovative materials and processes, often borrowed from the industrial world has been a critical element of their artistic innovation. This doctoral thesis focuses on the use of materials and processes by four pioneers of West Coast Minimalism, Larry Bell, Robert Irwin, Craig Kauffman and John McCracken. The thesis contends that materials and processes played a crucial role in prompting these artists to transition from paintings to objects that were hybrid painting – sculpture, and in making their practice an avant-garde one. The thesis also demonstrates their intimate and first-hand involvement with their process and suggest that this should be taken into account when deciding how to approach the conservation of their work
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Allen, Gretchen. "William Morris and the Kelmscott Chaucer: Design, Production, and Conservation Analysis." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/503.
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William Morris’s Kelmscott Press was founded specifically for the purpose of producing handmade printed works in a rapidly industrializing age. The techniques he and his confederates employed to make the Kelmscott books resulted in beautiful publications with remarkable material fortitude, as exemplified in the Press’s masterwork, “The Works of Geoffrey Chaucer Now Newly Imprinted”. This thesis examines the condition of the copy of the Kelmscott Chaucer in the Scripps rare book collection from a book conservator’s perspective to analyze the connection between William Morris’s personal philosophies, his resulting artistic decisions, and the longevity of the book as an art object.
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Miller, B. Darlene. "Playground for the imagination." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/rebecca%5Fh%5Fsmith/smith%5Frebecca%5Fh%5F200601%5Fma.pdf.
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Thesis (M.F.A.)--Georgia Southern University, 2006."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).
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Berglund, Sanna. "To be or not to be a theatre - The future of Brighton Hippodrome : An investigation of the roles of immediate stakeholders in the case of a building at risk." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-360612.
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The research investigates those conflicting interests in the future for the Brighton Hippodrome theatre. The building is in a permanent state of disuse since it closed in 2006. It is in poor condition and is adversely affecting its surrounding environment. Though there has not been much happening in regard to the specific building, there have been a lot in relation to it. It has been sold several times, reports being produced, planning applications have been submitted, but its current state remains the same. The stakeholders involved in Brighton Hippodrome has been the subject of a qualitative study conducted through interviews, analysis of documents and articles. The purpose of the survey has been to look at the interests, resources and values of the various stakeholders. As well as when and under what circumstances the stakeholders interact. Through this, different factors and aspects have been identified as presented in text, illustrations and timelines. The result indicates that there are strong forces with sound aspects involved, though they may seem not to, they do share much in common. A major issue is that decisions not being follow through and there is a lack of communication between stakeholders in which ultimately affects the building negatively and prolongs its current derelict state. The current situation might jeopardise what is stated to be of significant value due to the urgency of repair and the rush to find a new use for the building. There is a risk that a future development might leave some stakeholders disappointed if not handled correctly.