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y strong acidity created as an effect of sunlight (UV radiation). [13] Eva Lundwall at The Swedish National Heritage Board documented one example where woollen curtains were destroyed because of flameproofing chemicals. Because of uneven application the fibres were partially very brittle. Water cleaning of the curtains resulted in colour change and generated a gas with a bad smell. [14] Doreen Rockliff and Nancy Kerr tested commonly used water soluble flame retardants on cotton fabrics with accelerated ageing. They found that the flame retardants were required in a very high percentage (11-15 weight percent of the fabric) which can be stressful for the fibre. Results showed that none of them were ideal for usage on textiles. Immediate effects of a flame retardant containing borax, boric acid and diammonium phosphate appeared as a surface of crystallized material on the fabric. Another flame retardant (FlameGard DSH) based on inorganic ammonium salts caused an increase in the hygroscopic nature of the fabric. The shrinkage of the fabrics was small and probably due to the submersion of the fabric in a water based solution. It even seems as though the flame retardant somewhat reduced the shrinkage. Other changes were loss of stiffness and a small change in Ph. The effect shown after accelerated ageing were some changes in colour of the dyed fabrics. Undyed fabrics became either darker or paler. It also stiffened the fabric which got a crisp feel. [15] Preservation and conservation Flame retardants cause a real problem for conserving and preserving textiles. They are not only a problem for conservation treatments, but especially for the preservation of the textiles in general as they cause accelerated degradation of fibres that are not fully reversible, if at all. The best way for long term preservation of a fabric with a flame retardant treatment is to keep it in a stable and good climate, with a good stable temperature and relative humidity and as low UV radiation as possible, and if possible in a pollution free environment. It is still very probable that acids will form no mater what conditions there are in a room or storage. But whereas pollution is a difficult thing to control, temperature and direct sunlight is not. Since inorganic flame retardants are hygroscopic, a treatment with these on textiles can result in two types of damages. In a dry climate they can act dehydrating and in a humid climate they will dampen the textile. The latter scenario can result in mould growth or fungi attacks. Application in excessive amounts is required for many flame retardants which changes the character and properties of the fabric. This is especially true of the inorganic flame retardants, which can sometimes require an amount of over 15 weight percent of the fabric. It stiffens and changes the quality of drape and feel and is not suitable for lightweight fabrics that have been chosen for its fine drape or soft feel. Lightweight fabrics have a higher tendency to catch fire and burn and therefore require a higher weight percent of flame retardant than a high dense fabric. [15] Additive flame retardants are more likely to migrate and contaminate adjacent objects as they are not bound to the textile fibre structure. Therefore they should not be kept close to metal containing objects (unless gold). The same goes for plastics which often have been given a flame retardant additive during manufacture. Problems in conservation are also health related which needs to be taken into account. Flame retardants are not necessarily more dangerous than other chemicals which are sometimes found in textiles, such as pesticides and fungicides. Any chemical that has been put on to a textile can cause severe health damage to anyone who handles the object. Textile fibres that have come loose from the fabric can easily be inhaled and thereby damage the lungs. Personal protective equipment (PPE) that includes a protective particle mask, gloves, goggles and a white cotton coat is very important. Proper PPE needs to always be worn when dealing with old textiles as they can contain numerous chemicals. PPE is also very important when hanging up or taking down a textile object, for instance a tapestry. It is also important to wear rubber gloves and an apron when washing since the dirty washing water 77
contains chemicals that can be absorbed right through the skin. It is important to remember all the ways of intake to the human body, orally (through the mouth), dermally (through the skin) or by inhalation (through breathing). It is also important to know that some parts of the body such as the abdomen and below as well as hands, head and upper part of the feet are more susceptible to uptake of chemicals. [16] Discussion - To treat or not to treat? Flame retardants should not be used on museum objects. It should not even be used on other fabrics in museums such as decorative fabrics that might come into contact with museum objects. This is because some flame retardants are known to migrate and may contaminate other objects. Textiles in show cases are not likely to be a source of ignition. In case of a fire in the museum it is better to have specific rescue plans for the most important objects. It is important to consider the values that might be lost or won in the case of flame retardant treatments of textiles. Can treatments of textiles in a room or building enhance the safety in proportions to make it worth the possible degradation of objects? The safety of the lives of humans and the preservation of objects must be weighed against each other. Because all situations are unique there are no general guidelines to follow when deciding whether to treat an object or not. It is also difficult to recommend any specific flameproofing agent, as they all have shortcomings and all cause some sort of degradation. It can be a good idea to try to locate a piece of textile art that has been treated with a flame retardant in the past to evaluate the outcome. If a treatment is to be done it is of the utmost importance to get an even application. Uneven applications result in uneven damage which can be very disturbing to the eyes and severely diminish the aesthetic value. It is the conservator’s responsibility to inform clients of the degrading effects of flameproofing agents on textiles. A conservator should generally not speak in favour of flame retardants, but there should of course be room for exceptions if the owner thinks it 78 is absolutely necessary or if it needs to be done to meet safety regulations. It is better that a treatment is performed by a conservator for the maximum skilfulness and knowledge rather than by a novice. Discussion and information in a dialogue between the conservator, the client and the rescue services is crucial. The rescue services are needed to advice on furnishing, on what can be moved or changed. A conservator is needed to inform of the risks taken if a textile is to be flameproofed and other risks. Because textiles are easily damaged there is only one chance to save and preserve them. A destroyed fibre can not easily be mended and therefore a textile destroyed is destroyed forever. If flame retardants are used in the purpose of saving lives in the case of a fire in a building then there must be other means to go about it. Working fire alarms should be installed in private homes and public buildings in combination with fire extinguishers, fire blankets and maybe even sprinkler systems. Ways to make interior fittings flameproof without chemicals can be to put them high enough for no one to reach it or to put it behind glass or within a showcase. Easily ignited objects are never to be placed along emergency escape routes. Wool can be chosen for interior decorating elements and upholstered furniture. Since wool has great thermal properties it doesn’t need a flame retardant finish. A flameproofed lining instead of treating the whole object might be another solution. Carpets do not usually need a flame retardant finish since they are not easily ignited. Because they lie on the floor they have limited access to oxygen and they don’t feed the uprising flame with more material, therefore making the spread of the fire very slow. Curtains on the other hand are more dangerous because they hang in the air and have access to a lot of surrounding oxygen. A fire in a curtain feeds itself upwards along the curtain. The same goes of course for theatre curtains and drapes that are not hung close up against a wall. Reversibility Acidity has proved to be a common consequence of flameproofing treatments and textiles with an aged treatment tend to have a very low pH. Acids damage
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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
Page 27 and 28: Table 1. Collections containing pla
Page 29 and 30: Figure 2: A pile of transparent cel
Page 31 and 32: diisocyanate such as diphenylmethan
Page 33 and 34: Figure 7: Environmental Stress Crac
Page 35 and 36: Author Yvonne Shashoua Senior Resea
Page 38: Contributions
Page 41 and 42: Figure 1. H.A. Brendekilde, Odense
Page 43 and 44: weaving, the imported machine spun
Page 45 and 46: Figure 2. T. Kloss. Den danske eska
Page 47 and 48: Annemette B. Scharff, MSc. The Roya
Page 49 and 50: 22. Eckersberg diaries, 29.7.1834:
Page 52 and 53: The St Just Coast Project 1995 - 20
Page 54 and 55: Prior to the St Just Coast Project
Page 56 and 57: shaft. Considering the considerable
Page 58: In 2005 the slipway at Cape Cornwal
Page 61 and 62: Figure 1: The EWO dosimeter holder
Page 63 and 64: Figure 2: EWO results reporting dia
Page 65 and 66: Figure 3: Correlation of EWO respon
Page 67 and 68: The EWO is available on direct orde
Page 69 and 70: Figure 2. Nature is back at coking
Page 71 and 72: 3a 3b 3c 3d 3e 70 Figure 3a-e Being
Page 73 and 74: Table 2. Case studies location Hatt
Page 76 and 77: Flameproofed textiles in museums an
Page 80 and 81: textile fibres, especially those of
Page 82 and 83: Cold storage as an alternative to m
Page 84 and 85: % of objects 100 90 80 70 60 50 40
Page 86 and 87: % of very brittle objects (3 hand f
Page 88 and 89: lie in the range of 20-25 euros per
Page 90 and 91: Preservation of sponsored films Int
Page 92 and 93: In the case of A & B rolls the diff
Page 94 and 95: Table 2. Advantages and disadvantag
Page 96: Table 3 “The preservation route
Page 99 and 100: The scientific committee considered
Page 101 and 102: DSCF 1304 Preservation of mass-prod
Page 104 and 105: Developing a policy and procedure f
Page 106 and 107: at the (very) occasional public ope
Page 108 and 109: • the object’s current conditio
Page 110 and 111: Polymers in watches manufactured in
Page 112 and 113: as a result of the Watch Valley con
Page 114 and 115: Figure 6. The Astrolon Watch “Ide
Page 116 and 117: of status of the watch is obvious i
Page 118 and 119: [26] Bergeon, S. Ethique et conserv
Page 120 and 121: Gramophones and Records - the first
Page 122 and 123: Record manufacturing process 1925-1
Page 124 and 125: Gramophones The reproducing machine
Page 126 and 127: 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
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The choice of coating system depend
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Figure 4. Dockside crane No.16 Orth
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Recovering the Icon ? The restorati
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Fig 3: Early 20th century photograp
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Fig 8: New mercury-vapor rectifiers
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problematic since the colliery clos
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Despite all our rational attempts a
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Author Dipl.-Ing. Norbert Tempel, L
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The conservation of a Victorian shi
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sold to the Falkland Islanders and
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Figure 9. Fort Brockhurst Bridge -
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Figure 13 Artist’s impression of
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Figure 21 View from bow after the w
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[3] Transactions of the Institute o
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38 in total, included on the Norweg
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published a new version of their fi
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Figure 4. The turbines, one origina
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Author Vigdis Vingelsgaard Conserva
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Figure 2: 6200 locomotive on front
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Figure 4: Methyl bromide extinguish
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2. Biological: Obvious biological h
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Finalizing Comments
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colliery engine house to have stain
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for us to think that the treatment
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certain product may quickly turn in
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Organising committee anDersen, vivi
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