The 2011 AIC annual meeting Angels Project was at the American Philosophical Society. I had never been to the society so I was interested to see the space. The American Philosophical Society promotes useful knowledge in the sciences and humanities, it was begun by Benjamin Franklin in 1743 and the archives contain a variety of different materials. The Angels were split into groups of five people and they were each assigned a shelf to begin to dust and record. The record summarized how materials are currently being housed and will allow the conservator to make recommendations for a future re-housing project.
One of the most interesting collection materials was a box of bamboo that had been inscribed with characters. This is the writing of the Batak, a group of people who live in Northern Sumatra, Indonesia. The American Philosophical Society will be re-housing these bamboo pieces very soon as they are one of only a few repositories of the Batak language.
This is my second year to volunteer on the Angels project and I really enjoyed it. It gives me the opportunity to see and help a collection in need, meet other conservators in other disciplines, and after a few days of talking and thinking I got a chance to apply myself to a project which was energizing.
Hamilton-Grange, the only home owned by Alexander Hamilton is a Federal Style country house. The current restoration is returning the home to the time period of 1802-1804. The firm Fallon & Wilkinson, LLC has been brought on to reproduce 28 pieces of federal furniture. The contract was also for the conservation of five of the original chairs in a suite of Louis XVI furniture. The proposal was written based on photographs of what the reproductions would look like. The reproduction contract included site visits to prominent collections of furniture, specifically those made by cabinetmaker Adam Hains and upholsterer George Bertault. Upon closer examination of other furniture made by these makers, the Louis XVI furniture appeared inconsistent with the other furniture and upholstry by the same makers. After consultations with the curator changes were made to the original proposal to better match the original furniture and the reproductions.
At the end of the talk the speaker mentioned that since the scholarship relied on more than photographs these are considered true reproductions and not re-interpretations. I thought that was a good point and got across the incredible amount of research involved in making a true reproduction.
This talk presented an approach to fountain care that is preventative, focusing on maintaining an ideal water chemistry to prolong the life of fountains and associated mechanical systems, plumbing and artwork. Krueger presented a process for treatments to fountains, particularly when biogrowth is observed. Prior to treating water chemistry, Krueger recommended draining the water and mechanically cleaning the elements with a surfactant and clean water, taking care to rinse thoroughly.
Fountains must then be re-filled and if using a municipal water source it is likely that minerals and organic matter must be addressed, while a distilled water source may require addition of minerals. Krueger explained the concept of water saturation, and that unsaturated (soft) and supersaturated (hard) water both create problems either with leaching or precipitates. Water saturated of minerals is ideal, and pH and water temperature both affect saturation as well. Krueger recommended the Taylor Brand test kit, which is available at commercial pool/spa supply stores, to assist with balancing and monitoring water chemistry.
Regarding biogrowth, he explained that additives such as silver/copper, chlorine and quaternary ammonia all can effectively control growth but can cause issues such as staining, deterioration of mechanical systems and water foaming. Poly-quats act as blocking agents in swimming pools and ponds, and Krueger recommended its use for controlling bacteria and fungi. Filters help maintain water chemistry and control biogrowth by limiting nutrients available in water. Krueger explained that oligotropic water is ideal (trace amounts of minerals Ni, Zn and Cu), and that controlling phosphate levels is recommended to limit biogrowth.
A series of steps were presented for checking levels and making alterations to the water chemistry. 1- Make visual observations, as the presence of a slippery surface can indicate the beginning of growth. 2- Test water (phosphate levels, temperature, and level of polyquats which requires a special kit). If high levels of phosphates are found then it can be remedied by draining some water and refilling it (if under 125ppm) or using a chelating agent and then backwashing (if over 125ppm). To adjust alkalinity, sodium bicarbonate can be added in small quantities and checked every 24 hours. Then total dissolved solids (hardness) should be tested and followed by checking calcium carbonate hardness, keeping in mind that calcium hypochlorite should not be added to adjust, rather by draining some water and adding new. Finally the overall saturation should be checked. 3- Inspect mechanical equipment. Filters should be inspected per manufacturer’s instructions. Krueger shared that he is researching the practice of adding barley straw in water, as there is published data that supports or disputes its ability to eliminate algae by releasing peroxides in the water.
This talk focused on research studies of biodiversity and treatments to control biogrowth on fountains, thus slowing the deterioration of stone. Cuzman explained several factors that affect micro-environmental conditions including: water regime (continuous or sporadic), materials (intrinsic properties), location (colonizers) and treatments (to water or fountains). Four fountains were selected in this study – two in Florence, Italy and two in Grenada, Spain (Patio de la Sultana and Patio de la Lindaraja). Microbial diversity of the colonized surfaces (green algae, cyanobacteria, and diatoms) was identified on the surface, forming a complex structure (biofilm); DNA sequencing was used to characterize sampled biofilms, and similarities were found between the two different geographic areas.
Regarding removal of biofilms, mechanical removal or water treatments can be effective. For this experiment a chemical treatment was also explored by adding an antifouling agent to a commercial waterproof coating (Wacker Chemie AG, SILRES® BS 290). Antifouling agents considered include: poly-alkyl pryidium salts, zosteric acid, capsaicin, and algophase.
Two fountains were selected for treatment (Tacca’s fountain in Italy and Patio de la Lindaraja in Spain), and both fountains were drained and mechanically cleaned. Afterwards, the modified waterproof coating was applied and allowed to cure for two weeks before adding water back to the fountains. Both fountains were visually observed, and at four months slow growth was observed, while at six months significant green growth was observed. Sample analysis from both fountains found a decreasing number of colonizing organisms, so even though growth was observed the diversity of organisms in the biofilm was affected. Cuzman found that the treatment only affected specific colonizers and that the unaffected ones flourished with less competition. Research on this subject will continue, perhaps modifying the antifouling agents (amount or types) added to the coating.
David Bayne presented this paper on his experiences making reproduction furniture for display in historic house museums. The rationale behind the reproduction of furniture is always to give a sense of wholeness to an interior, and in many cases there is sufficient evidence of what the furniture was like in the room to easily have the reproductions made.
However, in some cases the evidence is more difficult to find, for example the Frank Lloyd Wright’s Martin House where the original furnishings were not well-documented. It is very important to the interpretation of the space, but there will be some guesswork in the execution of these reproductions and the David Bayne was grappling with his role in this negotiation as the conservator.
This lecture reminded me of the the lecture about the ‘Frankenstein syndrome’ by Salvador Munoz-Vinas during the general session. There are hard decisions we make as conservators and sometimes we just hope that our personal moral compass will guide us down the right path. I admire David Bayne for his honesty about his personal struggles in the use of reproduction furniture in historic interiors.
Laurence Libin gave an overview of his impressions of the current state of musical instrument conservation in Russia. He visited St. Petersburg numerous times in the past 15-years and his interactions with museum staff and his knowledge of the history of the region have allowed him to come to some conclusions about musical instrument conservation in Russia.
Musical instruments are made to function and create music, and he sets this function as a rationale for the continued use of the instruments which may lead to their destruction.
He also cites the philosophical doctrine of fatalism, applied to musical instruments, means that the instruments, like people, are resigned to their fate and conservation is a lost cause. There is very little funding in Russian museums and many museum staff hold second or third jobs to make ends meet.
Even with these setbacks, there is a growing interest in musical instrument conservation in Russia and there is respect amongst museum professionals at the craft of the conservator. The ICOM International Committee of Musical Instrument Museums and Collections is helpful at creating appreciation and standards for collections. The speaker was generally positive about the future of musical instrument conservation in Russia.
Dr. Fenella France, Preservation Research Scientist at the Library of Congress, brought her expertise in preventive conservation to the topic of microclimates in cultural institutions, starting with the what, why, and where’s of microclimates, and ending with a presentation of an über-microclimate display and storage case: the “MOAC” (Mother of All Cases) for the iconic Waldseemüller map. Key points included:
A microclimate is a environment maintained in a small space that differs from its external environment. This might be at various levels of control within a building: the building itself, a room, a case, a box.
It is important to create specs for a microclimate based on an understanding of an object’s materials, history, and mechanisms of damage.
A specific object’s materials and cultural significance may dictate its need for a microclimate.
Issues which must be considered in planning a microclimate include the composition of the encasement, object access, environmental controls (active vs. passive), monitoring.
The Waldeseemüller map exemplified an object of highest cultural importance and value, which warranted an optimal microclimate for storage and display. Its fantastic encasement provided an anoxic environment, visibility of the object in storage and display, minimized handling, minimized oxidative and hydrolytic degradation, and access for monitoring of pressure, RH, T, and oxygen. A few amazing stats about the case:
It was designed to maintain a 20-30-year seal.
It is a 2200 lb case within another case.
92 bolts hold the tooled aluminum case together.
It has maintained 0-30ppb oxygen.
It has a flexible back to allow for changes in barometric pressure.
The encasement was an impressive, collaborative effort by conservators, engineers, architects, curators, and others. Although an estimated cost for the case was disappointingly not reported, I was impressed by the long-term planning that went into its design, as much as the elaborate, continuing monitoring and analysis conducted by the stewards of this object. Since the completion of the encasement in 2007, the durable case has proven to be effective and durable, as demonstrated by data generated by its monitoring systems. While I was duly wowed by the Waldeseemüller encasement, I would argue that France’s presentation of it as a “case study” was a little misleading. It was an exceptional feat of engineering and effort for an exceptional object. I was hoping for more discussion of more typical microclimate needs and solutions, probably covered in the Microclimate Workshop…
Big Buddha in the Bamiyan Valley. Photo courtesy of Volker Thewalt.
Sometimes conservation is more than the technical care of an object. Sometimes, the working solutions to treatment of cultural heritage must rely on judgments, choices, and values unique to a people and a time. James Janowski raises many ethical and philosophical questions in his presentation on the possible reconstruction of the Bamiyan Buddhas. He asks his audience to balance the needs of the historical record with religious and cultural values.
The Bamiyan Buddha’s were located along the silk road in the Bamiyan Valley of Afghanistan. These statues were the largest likenesses of Buddha’s in the world. They had survived past damage from soldiers, weather, and time. They were true survivors. All that ended with the 2001 acts of cultural barbarism by the Taliban. The cruel and wanton destruction of the Buddhas have left us with empty niches. But much of the original material is still located in the valley as fragments of all shapes and sizes. Could the Buddhas be reconstructed from original and replacement materials? Should they be reconstructed?
Janowski turns to the destruction and reconstruction of the Dresden Frauenkirche as a model for the Bamiyan Buddhas. The Frauenkirche was the most original protestant church constructed in Dresden. During World War Two, the allied bombing damaged the church. The subsequent fires reached 1000 degree Farenheit and caused the church to buckle and crumble. The church was much beloved by the people of Dresden. The ruin served as a symbol of the culture and community.
Beginning in 1989 and 1990 the people of Dresden called for the church to be rebuilt as an “archeological reconstruction.” The reconstruction resulted in much debate, but the project was approved in March 1991. The reconstruction continued until October 2005 when the church was re-consecrated. Architectural stone and elements were salvaged from the rubble and carefully cataloged. Forty-five percent of the reconstructed church was made from original stone
The reconstruction of the Dresden Frauenkirche was considered a rousing success. The process recharged the community. The original and non-original materials were clearly distinguishable, so as not to erase the historical events that took place. In the end, the project was adjudication between competing values.
Janowski argues that the integral restoration of the Buddhas with remaining original fragments should be considered in the future despite the 30-50 million dollar price tag. He notes that there must be a balancing of the religious and cultural values with the historical documentation of the event. He also offers consequential values. The reconstruction will have economic and political value and can serve as a unifying thread to the country. He feels that at least one of the Buddhas could be reconstructed leaving the other as a “witness” to the destruction. Janowski believes that the meaning and values of a restored sculpture outweigh the shock of the empty niches.
Janowski pushes the audience to think outside the box. He forces us to think through the steps ahead and the possibilities beyond the norm. [Blogger’s note: on March 11, 2011, UNESCO told the Afghan government it does not support a rebuild project, citing concerns over funding priorities and authenticity. ]
Trusheim’s presentation clearly guided listeners through the processes involved with the treatment of a sewing box in a private collection. This talk addressed the main conference theme of the AIC meeting and explored how the Code of Ethics can be applied to aid treatment decisions. I particularly enjoyed how thoroughly Trusheim outlined the steps involved with procuring replacement materials, as well as how the owner’s expectations have influenced the treatment.
This talk outlined a treatment that overcame current assumptions and preconceptions regarding the conservation and restoration of Judd’s minimalist sculptures. The presenter, Eleonora Nagy, introduced a newly devised conservation treatment carried out on Untitled1997, which enabled conservators to retain the original acrylic sheets that are integral to the work. I had no idea that these sheets were so often completely replaced in traditional restoration treatments of Judd’s work. This treatment was elegantly explained from start to finish, illustrated with excellent photographs of all stages of the work. A comprehensive outline is provided in the AIC program abstracts. I really enjoyed the thorough approach that was taken in order to research Judd’s fabrication methods and materials, available sources of replacement materials, and ultimate sensitivity to the authenticity of the original materials.
One of the most interesting collection materials was a box of bamboo that had been inscribed with characters. This is the writing of the Batak, a group of people who live in Northern Sumatra, Indonesia. The American Philosophical Society will be re-housing these bamboo pieces very soon as they are one of only a few repositories of the Batak language.