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The Getty Conservation Institute Field Trip Report By F. LeBlanc, Head, Field Projects World Heritage Center, ICCROM and ICN Paris, Rome and Amsterdam, June 22-30, 2004

WWoorrlldd HHeerriittaaggee CCeenntteerr –– AArraabb SSttaatteess UUnniitt In Paris, I met with colleagues of UNESCO’s World Heritage Center to discuss various aspects of the production of handbooks for heritage managers of world heritage sites. I met with Giovanni Boccardi, Chief of the Arab States Unit, Karim Hendili, Consultant in the same Unit and Mario Santana-Quintero, consultant to the WHC and specialist in the area of recording, documentation and information management. The Arab Region in UNESCO’s WHC context comprises eighteen States signatories to the World Heritage Convention, distributed in three geographical sub-regions: North Africa, the Arabian Peninsula, and the Middle East. There are today, in 2004, 57cultural and natural properties inscribed on the World Heritage List in the Arab Region. World Heritage properties in the Arab Region are with few exceptions subject to development pressures linked to urban and agricultural expansion, tourism, pollution and the exploitation of natural resources (oil, mining, industry, fishing…). With a view to monitoring the state of conservation of these properties, the Convention requires the States Parties to report periodically to the World Heritage Committee (made up of representatives from 17 States Parties to the Convention) on their condition. In June 2003, the World Heritage Committee adopted the main concepts and substance of a Regional Program for the Arab States. Within the framework of this program, several meetings and training workshops have already been held in the Arab Region. The Periodic Reporting exercise not only allowed the updating of information for an overall assessment of the state of conservation of World Heritage properties in the Arab States, but also enabled the identification of a number of priority conservation needs of States Parties at the national, local and regional levels. In response to these needs, five distinct fields of action were determined. The main identified needs and corresponding five fields of action are:

World Heritage Periodic Report and Regional Programme – Arab States 2000-2003

Al Qual'a of Beni Hamad, Algeria - WHS

Ancient City of Damascus, Syrian Arab Republic –WHS

Hatra, Iraq – World Heritage Site

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1. Application of the Convention (Credibility) 2. Institutional and legislative framework (Conservation) 3. Management and conservation of the World Heritage Sites

(Conservation) 4. Education, awareness-raising and support, through communication

(Communication) 5. Information Management (Communication and Conservation) Another important policy adopted by the Committee, and which has been taken into account by the Center in shaping its approach for the Arab Region, is the Global Training Strategy, adopted by the Committee at its 25th session, in December 2001 in Helsinki. The Strategy stresses the need for a pro-active approach towards capacity-building, and recommends that, in the evaluation of the International Assistance requests, “preference should be given to pro-active approaches that result in training modules and long-term strategic programs designed to respond to priority needs”. In order to attain these objectives, the Strategy foresees “the development of ready-to-use training Modules, designed to be adaptable to specific regional and national contexts.” Following is a partial list of some of the modules that the WHC would like to create and make available for the Arab States: • National Training Workshop on the management of World Heritage Sites • National Training Workshop on Conservation Principles • National Training Workshop on Conservation Techniques and Monitoring

Methods • Technical Assistance and advice for the site management and

conservation • Preparation of a Management Plan for a World Heritage Site • Training course in World Heritage site management • National training workshop on communication skills for conservators • Short introductory seminar on the World Heritage Convention for local

officials and decision makers • Digitalization and updating of the cartography of a property inscribed on

the World Heritage List • Assistance to the national authorities for the establishment of a national

documentation and information center on the Convention, and creation of a local point on its use

• Development of procedures and assistance for the establishment of a regular monitoring system for a property inscribed on the World heritage List

• Capacity-building for World Heritage information management in the Arab States

The World Heritage Center has made arrangements with ICCROM for the development and creation of some of these.

Leptis Magna, Lybyan Arab Jamahiriya - WHS

Medina of Tunis, Tunisia

Site of Carthage, Tunisia

Palmyra, Syrian Arab Republic

Tipasa, Algeria - WHS

Medina of Fez, Morocco

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IICCCCRROOMM // GGCCII –– AARRIISS--0055 CCOOUURRSSEE During 2003, ICCROM held a very successful advanced course entitled Architectural Records, Documentation, Inventories and Information systems for Conservation (ARIS-03). During the past year, ICCROM approached the GCI asking if we would co-organize with them another ARIS course during 2005, to which we agreed. Kecia Fong, Rand Eppich and I met with colleagues at ICCROM to discuss the organization of the next ARIS course to be held during Spring 2005. We invited the core instructors of the ARIS-03 course to a business meeting in Rome to discuss the structure and content of the next course. Alejandro Alva (ICCROM), Cristina Albertini (ICCROM), Margarida Alçada (Portugal), Vasco Martins Costa (Portugal), Antonio Almagro Gorbea (Spain), Ana Almagro Vidal (Rome), Robin Letellier (Canada), and Steve Nickerson (Canada) joined us for the meeting. Following a warm welcome by Nicholas Stanley-Price, Director General of ICCROM, the participants reviewed the ARIS-03 course evaluation prepared by the students and discussed what they considered to be the positive contributions of the ARIS-03 course that should be repeated or enhanced during the ARIS-05 course.

ARIS-05 Core Instructors coordination meeting. From the left: Rand Eppich, Margarida Alçada, Vasco Martins Costa, Kecia Fong, Steve Nickerson, Robin Letellier, Antonio Almagro Gorbea, Ana Almagro Vidal, François LeBlanc, Alejandro Alva

With the help of Kecia and Alejandro, the group discussed positive lessons learned from previous courses organized by ICCROM and the Getty that could very well apply to the ARIS-05 course. Then, all together, they formulated the goal and objectives of the next ARIS course. The purpose of the ARIS-05 course is to improve architectural conservation practice through the use of methods and tools of recording, documentation, inventories and information management.

ARIS-05 Core Instructors Planning and Coordination meeting at ICCROM HQ

Alejandro Alva, ICCROM Unit Director, Architecture and Archaeological Sites

Ana Almagro Vidal, ARIS-05 Course Coordinator

Santa Cecilia church, selected as case study for the ARIS-05 course

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The course will take into consideration the facts that documents already exist, that new ones need to be produced and that these documents and the information they contain needs to be managed. There should be 16 participants. The formal course will last four weeks but participants will be required to arrive earlier to ensure that all logistic details and official requirements are completed before the formal teaching begins. A web site will be created for the purpose of this project. Specific sections will be reserved for the instructors, the participants and the public. The selected participants will be required to do pre-course preparatory work that they will share among themselves and with the instructors via the web site. Finally, the Core Instructors pulled together the course detailed program, day by day and week by week, including the moments when the participants would gather to review and analyze what was taught and to work in round tables to discuss questions specific to their particular national situations.

The "Previous Week" comprises the time that needs to be set aside before the formal training actually begins in week one. Students will be introduced to each other, learn about logistic, have the opportunity to refresh their knowledge of computer software, get to know each other during a field trip etc.

Nicholas Stanley-Price, Director General of ICCROM

Herb Stovel, ICCROM & F. LeBlanc. Herb is returning to Canada in Sept. 2004

Werner Schmid explaining to R. Letellier the conservation project for the church of Santa Maria Antiqua in the Roman Forum

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During the first week, the participants will be introduced to the history of recording, the conservation process, where recording & doc. fits into this process, the various tools available in this field, the principles of photography, and, using the practical case of Santa Cecilia, they will apply some of the tools presented to them. The principles and use of topographical and stereophotogrammetry tools will also be discussed.

During the second week, the participants will continue to apply tools, will discuss lessons learned and present some of their own issues during a round table discussion. They will be introduced to 3D scanning and needs and gaps in the field of recording.

Francois LeBlanc, GCI, Head of Field Projects

Chiara Lespérance, ICCROM staff

Valérie Magar, Archaeological Sites Conservation, ICCROM

Cynthia Rockwell, writer, to work on GCI Handbook on recording & documentation

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The third week will introduce participants to inventories and documentation management principles and tools. They will hear about the range of applications from object to city to territory. The week will conclude by a round table discussion.

The last week will be devoted to simple and more complex tools, preparing and printing reports of various kinds, current and up-coming developments. The course will conclude with a round table and a course evaluation exercise.

Robin Letellier, Int`l Coordinator, RecorDIM

Kecia Fong, GCI, Education module

Steve Nickerson, Chair, Recording & Doc. Committee of ICOMOS

Margarida Alçada, Dir. of the Inventory & Dissemination, Portugal

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IIMMAAGGEESS FFRROOMM TTHHEE WWOORRKKIINNGG SSEESSSSIIOONNSS

Core Instructors reviewing ARIS-03 course evaluation and preparing for ARIS-05

Core Instructors discussing ARIS-05 Course sequence and responsibilities

Well... not every sessions was hard work! Dinner at restaurant Il Comparone

Christina Albertini, ICCROM - Terra

Antonio Almagro Corbea, Spain

Rand Eppich, GCI, Digital Lab

Vasco Martins Costa, Dir. Gen. Direcçăo-Geral dos Edificios e Mon. Nacionais, Portugal

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TTEECCHHNNIICCAALL VVIISSIITT TTOO SSAANNTTAA MMAARRIIAA AANNTTIIQQUUAA Werner Schmid, a professional conservator based in Rome, invited our group to visit the historic site of Santa Maria Antiqua where he is part of a team of conservators and specialists restoring ancient and precious wall paintings.

The Church of Santa Maria Antiqua is located at the northwestern slope of the Palatine hill in Rome. It was inserted into an already existing and vast complex from the time of Emperor Domitian (81-96 AD). The disposition of the pre-existing building lent itself readily to an adaptation for this new function. The Church, founded in the sixth century was decorated in various campaigns with extensive pictorial cycles, superimposed upon each other many areas. The latest decorations were executed during the pontificate of Hadrian I (772-795). During an earthquake in the year 847, the Church was greatly damaged and later abandoned. In view of the almost total destruction of all art in the Byzantine world during the iconoclastic controversy of the eighth century, the mural paintings of Santa Maria Antiqua are a unique document for the understanding of the development of early medieval and Byzantine art. The Church remained buried until 1900, when excavations were begun in this part of the Roman Forum. The discovery had enormous archaeological and art historical consequences, and demanded a total revision of the theory on the development of early medieval art. The paintings were consequently photographed and steps were taken to improve the conservation condition by stabilizing the painted surfaces and restoring the building.

Entrance to Church of Santamaria Antiqua in the Roman Forum

Inside Santa Maria Antiqua church

Conservator working on the wall paintings

Werner Schmid explaining technical preparation of photo-mosaic of wall painting

Technical discussions

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The interventions in 1902-03 were done with materials that are not acceptable according to today’s standards. They were not sufficient to arrest the progressive decay of the exposed surfaces. Emergency treatments were carried out at various times during the past decades. In 1982, the pictorial cycle of the left nave representing Christ between Greek and Latin church fathers was conserved. The results of this treatment are still valid today. The ongoing condition survey reveals a dramatic situation: about 60% of the painted surfaces are unstable, and vast areas are subject to active decay due to excessive structural moisture and continuous crystallization of soluble salts.

Comparing the photograph from 1902 with the present situation (right) is emblematic for the dramatic decay of the paintings in some areas of the church. The pictorial surface has been subject to erosion, losing much of its finish and the plaster is strongly detached and lifted from the mural support. The conservation and restoration project is estimated to cost 1.5 M$ and is managed by a multidisciplinary team, coordinated by the Archaeological Superintendence of Rome.

To raise funds and donations for the project, areas of the paintings have been cleaned and consolidated next to untouched areas. Visitors can see the difference and are invited to “purchase” areas for conservation on the basis of conservation cost per square meter. Werner and his colleagues explained to our group the techniques used to produce the photographic mosaics used for understanding the wall paintings and plan for their conservation. Interestingly, while the conservators would have been happy with the simplest photographs, even black & white, it is the art historians that insisted on the highest possible resolution photography to be done on film. The latter was used to photographs the paintings, and then the photographs were scanned and the scans stitched together to make up the photo-mosaic.

Recording precisely wall paintings details using total station

Example of cleaned and restored floor area; visitors are invited to sponsor the restoration by “purchasing” square meters of restored floor

The areas where paint has disappeared are painted in light gray to match the other areas of the wall painting that were damaged in the past. In this way, the eye is not drawn to the repair, but to what is remaining of the painting

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Aerial view of Amsterdam

AAMMSSTTEERRDDAAMM A short history of Amsterdam

The personification of the city of Amsterdam, protected by Mercury, the god of trade

11220000--11558855:: tthhee EEaarrllyy HHiissttoorryy The early history covers the period 1200-1585. Amsterdam developed round a dam in the Amstel River at the end of the 12th century. The name Amstelledamme occurs for the first time in the toll concession of Floris V, Count of Holland, dated October 27, 1275. During the 14th, but especially the 15th century, Amsterdam underwent a rapid development, which laid the foundation for the Golden Age. Only very few medieval buildings survive today. Throughout the Middle Ages houses were generally built of wood, a vulnerable type of construction material. The famous Houten Huis is no exception to this rule. Consequently, most of them were destroyed. Nevertheless, a surprisingly large number of Amsterdam dwellings still have timber frames.

Bridge near the Oosterkerk

Bridge near the red light district

Houseboat on the Sigel Canal

Typical houses and canal in Amsterdam

Typical houses are very narrow and all have these beams hanging out of the façade; they are used to hoist materials or furniture through the windows

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11558855--11667722:: tthhee GGoollddeenn AAggee The period 1585-1672, the Golden Age, was the hey-day of Amsterdam's commercial success. At the time Amsterdam was the staple market of the world. During this period the characteristic Amsterdam cityscape developed and the 1613 and 1663 urban expansions still determine the city's characteristic appearance. Some of the most important historic buildings date back to this period, e.g. the town hall in the Dam Square (now the Royal Palace), the Westerkerk, Zuiderkerk, as well as a large number of canal houses among which the Dolphin, the Crowned Turnip, the House with the Heads, the Poppenhuis, Kloveniersburgwal 95 (commissioned by the Poppen family), the Trippenhuis (built for the Trip family), the Van Raey-huizen, Keizersgracht 672-674, and Sweedenrijk, Herengracht 462.

Typical canal view in Amsterdam

11667722--11779955:: aann AAggee ooff GGoolldd aanndd SSiillvveerr The year 1672 was a year of disaster for the Dutch Republic with the French and English attacking simultaneously. The Golden Age had come to an end. Nevertheless, Amsterdam managed to consolidate its prosperity during the period 1672-1795 in spite of the predicament the Republic found itself in. The city remained a major staple market and managed to retain its position as the financial center of Europe. Whereas the Golden Age was primarily a period of pitch and tar, the new era is better characterized as an age of gold and silver. The large number of dwellings built at this time, both simple ones and rich canal houses, reflect the city’s prosperity. As a result the majority of the houses located in the city center date back to the 18th rather than the 17th century. Some examples: Huis Van Brienen, Herengracht 284, Huis De Vicq-De Steur, OZ Voorburgwal 237, Zeevrgt and Saxenburg, Keizersgracht 224.

Traditional house on Amsterdam canal with large shutters

Bicycles are the most common mean of transport in Amsterdam and are found everywhere

Protected bicycle paths are everywhere; cyclistgs often seem to have precedence on pedestrians

Typical tram in city

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11779955--11881133:: RReecceessssiioonn aanndd DDeecclliinnee In 1795 the government of the patrician oligarchies was overthrown and the old Republic ceased to exist. Soon the French were to occupy the country. During the period 1795-1813, Amsterdam suffered badly from the economic recession, a state of affairs reflected by the stagnation of the demographic development. Many houses were vacant and some even collapsed for lack of maintenance. Fortunately some facades and interiors dating back to the Empire period survive today.

11881133--11994400:: RReeccoovveerryy aanndd EExxppaannssiioonn bbeeyyoonndd tthhee SSiinnggeellggrraacchhtt The period 1813-1940 is marked by economic recovery and, from 1870 onwards, by expansion. The increasing wealth brought about a rapid population growth. This development was primarily the result of the Industrial Revolution, which triggered off a New Golden Age. The city now ventured into the area beyond the Singelgracht. Large poorly built working-class neighborhoods were built. The period 1920-1940 was a time of economic recession. Therefore it is all the more remarkable that the so-called Ring 20-40 compares favorably to the 19th century jerry-building. This was also the period of large-scale damage to the historical city center; canals were filled in and new traffic breakthroughs were built.

Amsterdam architecture

Amsterdam architecture

Amsterdam architecture

Architectural detail

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TTHHEE NNEETTHHEERRLLAANNDDSS IINNSSTTIITTUUTTEE OOFF CCUULLTTUURRAALL HHEERRIITTAAGGEE ((IICCNN))

ICN offices and laboratories in Amsterdam

During the last days of this trip, I made a stopover in Amsterdam to meet with Alberto de Tagle, the former Chief Scientist at the GCI who became the Head of the Research Department at ICN in early 2002. The Instituut Collectie Nederland (ICN) was established in 1997. ICN is a merger of three institutions: the Central Research Laboratory for Objects of Art and Science, the State Training School for Conservators and the Netherlands Office of Fine Art. The Institute is presently located in an old school for girls on Gabriël Metsustraat in walking distance from the famous Rijksmuseum in Amsterdam. ICN combines the core activities of the former institutions and it has taken up the challenge of improving the care of the entire corpus of cultural heritage objects in the Netherlands, conserved and managed by museums, archives, libraries and other public collections. One of the key elements of this system is the comprehensive library of the former Central Research Laboratory for Objects of Art and Science in Amsterdam. This library specializes in scientific publications on research, conservation, restoration techniques and in historic technology, chiefly of the arts and crafts. The Research Department headed by Alberto employs approximately thirty persons with varied professional backgrounds such as physics, chemistry, conservation, art and architecture history etc. The annual operating budget is more or less 600,000 Euros. The bulk of it comes from the Dutch government but it is supplemented by important financial contributions from the European community to support several research projects. The work at ICN Research Department focuses on four research lines.

Alberto de Tagle, Head of the ICN Research Department

Alberto at his desk

Han Neevel, Paper and ink corrosion

ICN Laboratories

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1. Paper corrosion by ink and photographs conservation Many types of ink used for drawing in the past contain certain chemicals that attack and destroy paper. You have all seen these old drawings where large portions have turned from black to brown. In many instances, that is the effect of the ink attacking the paper. Researchers at ICN are looking at the causes and remedies for this problem. Concerning photographs, the research focuses on developing a methodology to describe the surface in a quantifiable way on the basis of color, gloss, transparency and texture. This should result in the objective description of the surface in a way similar to the perception of the human eye. If this research is successful, it should enable conservators to monitor and quantify change over time in a photograph.

2. Paintings The range of projects begins with paintings on architectural monuments and goes all the way to classical paintings including the collection in the Vincent Van Gogh museum. The research focuses on the identification and characterization of organic colorants in paintings and dies. These tend to alter and fade over time and therefore, the image you see today may be very different than what it was originally. This research will attempt to recreate by computer, as accurately as possible, what the original painting was like. Research also services the classical study of paintings.

3. Contemporary Modern Art An important aspect of this research focuses on oral history. Methodologies have been developed and are being implemented to gather information about modern art by interviewing artists, finding out what they did, why, and so on. It not only aims to understand the technical aspects of the work of art but also the meaning and intention, the underlying values. All this information is stored in an international database that is maintained by ICN and is available through the Internet. The international network is called INCCA. The International Network for the Conservation of Contemporary Art (INCCA) is a network for the conservation community. The website provides all-round information for professionals as well as for visitors with a general interest in the conservation of modern and contemporary art. INCCA’s objective is to share essential information with colleagues. The website is one of the results of the INCCA project and is supported by the European Commission, Raphael Programme 1999. The aims of the project are two-fold:

1) Facilitate the exchange of information collected in museums of modern art by means of a website and databases and

2) Collect information direct from the artists by means of interviews.

Yabrand Hummelen, Modern & Contemp. art

Suzan De Groot, FTIR contemporary materials

Peter Hallebeck, Xray fluorescence & diffrac.

Luc Meegens, chemist with archaeological background responsible for the study of architectural finishes

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INCCA’s editorial board supervises the information submitted. The host of the INCCA website is the Netherlands Institute for Cultural Heritage. The research also looks at ways to assess change over time, to determine if objects are stable or if they are deteriorating. For instance, some polymers deteriorate over time if they are exposed to oxygen while others deteriorate if they are in closed environments where the air does not circulate. If you don’t know the composition of the object that you are trying to conserve, then you might store it in conditions that will accelerate its deterioration instead of extending its life.

Some polymers must be exposed to air to prolong their life. These pieces of plastic are what is left of an object that was sealed in a bag preventing air from flowing around it.

Some polymers must not be exposed to air to prolong their life. This used to be a ball; it has completely collapsed because it was exposed to the air.

In this section, the researchers are also working at developing methodologies to assess risk to collections in order to apply efforts and limited resources to the areas of collections that are most at risk. This research is conducted in collaboration with Canadians who have developed interesting methods and approaches in this field.

4. Preventive Conservation The research focuses here on integrating all aspects of preventive conservation into one approach that looks at the problems globally instead of in a peace meal fashion. Pest control, pollutants, climate control, lighting, the building, the immediate environment etc. are looked at, analyzed and considered all together. It is ICN’s hope that an international congress can be organized soon where architects, heating, ventilation and air-conditioning engineers, conservators, curators, administrators, and project managers can all come together to exchange lessons learned during the past twenty years on creating museum environments that are designed to house and protect invaluable collections of various kinds.

Leslie Carlisle from CCI in Canada replicating traditional paints

Reference samples prepared by L. Carlisle

Plastic objects in ICN’s reference collection

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Polymer dolls exposed to light to measure changes due to light

Alberto de Tagle and Han Neevel reviewing ink corrosion tests for conservators

ICN Laboratories

ICN Laboratories Sample of flexible plastic object that has become hard & brittle

Alberto and Yabrand Hummelen, modern & contemporary art

Alberto and Suzan De Groot, in the laboratory where contemporary objects are analyzed

Example of arm of mannequin in polymer that dries and cracks over time

Other examples of contemporary objects being analyzed

Alberto showing impact of heat and humidity on plastic sheet

ICN Laboratories Claas Jan Van den Berg, Maartin Van Bommel and Alberto discussing analysis of organic material in paints and dies

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TTHHEE RRIIJJKKSSMMUUSSEEUUMM

Alberto and I discussed the Rijksmuseum’s renovation project for which the ICN Research Department is consulted for advice. For the 21st-century visitor Opened in 1800 as the Nationale Konstgallerij, the Rijksmuseum was given its present building in 1885. This is the imposing cathedral of art designed by Pierre Cuypers and renowned for its rich decoration, impressive galleries and romantic gardens. It has been visited by millions of people, young and old, from all over the world. But the building is becoming tired and worn. After over 115 years the museum faces some urgent problems. Among other treasures, it hosts an impressive collection of paintings by Rembrandt. Ravages of time There is a shortage of space: the design did not allow for such facilities as storerooms, workshops and offices. The courtyards were built on; light and air were kept out. The essence of Cuypers's original design was lost: the passage under the building became a dark tunnel, and the logical layout was turned into a labyrinth.

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The present building can barely cope with the stream of visitors. Two narrow entrances have to deal every year with ten times the number of people originally intended. And today's visitor has high expectations: not only a superb collection, but a good restaurant and a modern shop as well. At the moment these facilities cannot be provided. The museum is badly in need of maintenance work and does not meet the legal requirements as regards access for the disabled, working conditions for the personnel, fire prevention, climate control and technical installations. Ready for the 21st century On the threshold of a new century, in the year of its bicentenary, the Rijksmuseum is planning a complete renovation and restructuring of the building. In cooperation with the Ministry of Education, Cultural Affairs and Science, the Ministry of Housing, Planning and Environment, the Chief Government Architect and the Government Buildings Agency, the Rijksmuseum has set out the aims: to do justice to the original structure of Cuypers's building, more daylight and good logistics, a museum that reaches out to a larger audience, with greatly improved public facilities, enterprising, welcoming and open. Result In the future there will be a new Rijksmuseum, with daylight and space. Two superb courtyards, with public access, with restaurants and shops. Restored galleries telling a fascinating story about art and history. With facilities for schools, groups and families. Room for storage, for an auditorium, for cloakrooms and ticket offices. The Design for The New Rijkmuseum has been approved by the Ministries of Education and of Housing and by the Directors of the Rijksmuseum. The plans by the Spanish architects Cruz and Ortiz now enter a new phase. The highlight of the design is an imposing museum entrance, a new underground square of 4000 m2, which will be reached by escalators in the passage under the museum. Realizing The New Rijksmuseum will cost a total of 272 million euro.

Rijksmuseum renovation project by the Spanish architects Cruz and Ortiz

Rijksmuseum as seen from the ICN offices

Rijksmuseum renovation project by the Spanish architects Cruz and Ortiz

Rijksmuseum renovation project by the Spanish architects Cruz and Ortiz

Floor plan