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Short statements from the panel Panel participants George Prytulak, Industrial Conservator, Canada Winnie Odder, Organizing Committee, Denmark Tannar Ruuben, Conservator, Finland Yvonne Shashoua, Conservation Scientist, Denmark Jeremy Hutchings, Conservator, Norway Winnie Odder: We have surely all found food for contemplation and new understanding of complexities during this conference. To mention one thing that I particularly liked I would mention the approach put forward by Jacob Bjerring-Hansen who urged us to change the auto-focus that we carry from our various educations and institutions which may be more or less broad minded – to get away from only focusing on the unique and beautiful that we are all so attracted to. We will need to acknowledge the fact that we are here as professionals because we like our job. A completely relevant outset and I think we all – with time – will grow to like the ugliness and the anonymity of the “masses of objects” coming into our working life with the objects of industrialism, and that we will learn to appreciate their profound difference from our tradition work field. During this conference I have been strengthened in my fundamental approach to our profession: the importance for us to regularly pose ourselves and colleagues the basic questions: why are we doing this? What do we want to achieve by our actions? Will we reach the desired goal by this action? And not least: how can we disseminate all the knowledge and joy we receive by working with this to others? A number of lectures brought about the necessity of reaching out for our clients, the public – to make them participate on this journey into preserving the history that belongs to all of us. We as conservators will never be workless – but what we as individuals can accommodate is very limited. But can we reach a broad variety of people out there to take care of our common cultural heritage, and by doing so we will have achieved something both lasting and valuable, and of a much grander scale and scope than what we as individual professionals can ever reach. Tannar Ruuben: With my background as a physicist and a paintings conservator I first assumed that there would be very little for me I can relate to in this conference; but contrary to this I have very much enjoyed being immersed into this broad variety of subjects that all in one way or the other connects to what I do on a daily basis. In my work as a teacher in paintings conservation I feel implied, after attending this conference, to make a comparison between a miniature and a ceiling painting; because what strikes me mostly is the really, really large scale we are talking about when we are talking about industrial heritage. During the days I have noticed the high emphasize on documentation: to leave a permanent memory of what we cannot really preserve. We have a huge amount of documentation already to take care of, and besides this, we ourselves generate more and more documentation (to be taken care of) on top of the work we do. We as profession solve problems and we also create new ones thereby. We are not always closing the case, but opening new ones. Considering plastics as part of Modern Art makes me reflect on our role in this field: we cannot preserve plastics really, only prolong it’s life, and I wish to propose a campaign in art schools and academies making artist aware of the fact that the materials what they are dealing with are in many cases highly degradable, in contrast to their own belief of creating something for prosperity. They often consider their works very durable – and then they are gone in few years. This is a great opportunity for cooperation and spreading of knowledge in institutions teaching both art and conservation. I found a very valuable piece of information for thinking in the presentation from Robert Turner, regarding The Ship and the Bridge. We often discuss reversibility and re-treatability; even while treating the object we consider how quickly and how easily we may reverse the treatment. It is also important 237
for us to think that the treatment we do should last, be something durable, that we should not have to treat the object again soon after. YvOnne ShaShOua: When I arrived at the conference Monday morning I was met by the stunning news that the media had taking up on the conference theme, and that now it was all over town that conservators fought for the life of Barbie. How could Barbie and Incredible Industry come together? I have attended a number of big scale industrial conferences, and enjoyed case-studies on preserving coalmines, ship wharfs etc. But I have never before taken part in a conference dedicated to conservation of industrial heritage, where the focus has been on materials including plastics and their industrial application as a result of mass production. It has been highly interesting to learn about watches, coatings and other things that turned out to be plastics despite a different look. As a comment to Tanner Ruuben on teaching in Art Schools about how plastics deteriorates I can compliment with a personal experience; as I have learned that The Royal Danish Academy of Fine Arts, Schools of Visual Arts does not want this included in the curriculum, as it is considered a barrier to students creativity. I hope this will be a matter of debate in the future. I very much enjoyed the two extremes of approaches to conservation treatment: Should we do nothing? Should we treasure the original surface and then do as little as possible to preserve it or should we try to restore it, to achieve appearance that the public, our consumers, expect to see it and take pride in seeing a nice shiny coating? 238 Also: should we store film and books in cold storage or mass-deacitify? These interesting discussions of risk analyse and costs are not often heard. The success of this conference I feel is the diversity of materials and approaches. I personally have learnt from objects and case stories, which I never would have imagined to find interesting, as they are not in my area. Jeremy Hutchings: I came here with the intension to see how to take things forward, discover where there are gaps and room for future research. Research into lubricants and other ephemeral components are obvious candidates. Within the field of commercial antique dealing the current trend in taste appears to more towards retaining original finishes, which we must take as glad tidings for the preservation of original surfaces. Research into traditional maintenance methods has for a long time, been focused upon by The National Trust. I feel this is one issue from this conference that is yet to be fully addressed. For example, the ethical continuation of in-use maintenance regimes for industrial objects - both to maintain the objects themselves and to continue the knowledge and skills that this practice requires. I wonder: Can comparison be made between Industrial heritage and build heritage still in use? Is there room in industrial heritage for the concept of the honest repair, alteration and reuse? These are concepts that are firmly entrenched in the build heritage. Finally health and safety issues need further focus in developing policies and procedures both in terms of the safety of the objects, the people working with them and those involved in operating them.
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Preserving the evidence of industri
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Copyright: This publication is issu
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Table of contents Foreword ........
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Contributions KeynotespeaKers
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”The control and disciplination o
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uildings of this age. To sum up: Th
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need tons of cans to fully understa
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one of the first to be industrializ
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manufacture of billiard balls. Hyat
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have very similar characteristics;
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MACHINERIES were introduced, but al
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16) Goodman N., Langages de l’art
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Table 1. Collections containing pla
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Figure 2: A pile of transparent cel
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diisocyanate such as diphenylmethan
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Figure 7: Environmental Stress Crac
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Author Yvonne Shashoua Senior Resea
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Contributions
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Figure 1. H.A. Brendekilde, Odense
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weaving, the imported machine spun
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Figure 2. T. Kloss. Den danske eska
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Annemette B. Scharff, MSc. The Roya
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22. Eckersberg diaries, 29.7.1834:
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The St Just Coast Project 1995 - 20
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Prior to the St Just Coast Project
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shaft. Considering the considerable
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In 2005 the slipway at Cape Cornwal
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Figure 1: The EWO dosimeter holder
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Figure 2: EWO results reporting dia
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Figure 3: Correlation of EWO respon
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The EWO is available on direct orde
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Figure 2. Nature is back at coking
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3a 3b 3c 3d 3e 70 Figure 3a-e Being
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Table 2. Case studies location Hatt
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Flameproofed textiles in museums an
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y strong acidity created as an effe
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textile fibres, especially those of
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Cold storage as an alternative to m
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% of objects 100 90 80 70 60 50 40
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% of very brittle objects (3 hand f
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lie in the range of 20-25 euros per
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Preservation of sponsored films Int
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In the case of A & B rolls the diff
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Table 2. Advantages and disadvantag
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Table 3 “The preservation route
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The scientific committee considered
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DSCF 1304 Preservation of mass-prod
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Developing a policy and procedure f
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at the (very) occasional public ope
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• the object’s current conditio
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Polymers in watches manufactured in
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as a result of the Watch Valley con
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Figure 6. The Astrolon Watch “Ide
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of status of the watch is obvious i
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[26] Bergeon, S. Ethique et conserv
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Gramophones and Records - the first
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Record manufacturing process 1925-1
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Gramophones The reproducing machine
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Pickups (and cutterheads) are very
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USS Monitor conservation: preservin
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Figure 1: X-radiograph mosaic of US
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Figure 4: Detail of ventilation uni
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Figure 8: Detail of Monitor’s pac
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Authors Eric Nordgren, David Krop,
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Figure 2. The Ducretet inductor coi
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During its time in storage at the N
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Figure 8. Wigmore Castle after cons
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[14]Henderson, J. And P. Manti (200
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The instability of iron when subjec
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Fig. 2 Rust stains on the too-thinl
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Fig. 4 Some bicycles in use and in
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5. Conservation options: Preserving
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Another look at painted finishes on
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the currency of the finishes. The w
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Figure 3 WW2 airplane with newly-pa
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paint chips that are simulated with
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Notes: 1. There are a few notable e
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Industrially produced paint and the
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twentieth century. In the same peri
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table 1. cont. Styrenebutadiene or
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Figure 3. “A useful play!” is t
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Author Nynne Raunsgaard Sethia Den
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Protection of iron and steel in ind
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provided by the manufacturers indic
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Table 2: Suppliers for selected pro
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Table 3: Application, appearance an
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Figure 5: Impedance versus frequenc
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3. Hollner, S., Mirambet, F., Rocca
Page 189 and 190: The choice of coating system depend
Page 191 and 192: Figure 4. Dockside crane No.16 Orth
Page 194 and 195: Recovering the Icon ? The restorati
Page 196 and 197: Fig 3: Early 20th century photograp
Page 198 and 199: Fig 8: New mercury-vapor rectifiers
Page 200 and 201: problematic since the colliery clos
Page 202 and 203: Despite all our rational attempts a
Page 204 and 205: Author Dipl.-Ing. Norbert Tempel, L
Page 206 and 207: The conservation of a Victorian shi
Page 208 and 209: sold to the Falkland Islanders and
Page 210 and 211: Figure 9. Fort Brockhurst Bridge -
Page 212 and 213: Figure 13 Artist’s impression of
Page 214 and 215: Figure 21 View from bow after the w
Page 216: [3] Transactions of the Institute o
Page 219 and 220: 38 in total, included on the Norweg
Page 221 and 222: published a new version of their fi
Page 223 and 224: Figure 4. The turbines, one origina
Page 225 and 226: Author Vigdis Vingelsgaard Conserva
Page 227 and 228: Figure 2: 6200 locomotive on front
Page 229 and 230: Figure 4: Methyl bromide extinguish
Page 231 and 232: 2. Biological: Obvious biological h
Page 234: Finalizing Comments
Page 237: colliery engine house to have stain
Page 241 and 242: certain product may quickly turn in
Page 244: Organising committee anDersen, vivi
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