TY - CONF A1 - Hahn, Oliver T1 - Paper: history, manufacture, properties N2 - The lecture traces the origins of paper, the manufacture and the spread from China to the Middle East and Europe. Though technological progress considerably affected each step of the manufacture of paper, the essence of the invention remains unchanged until today. The process of manufacturing handmade paper can be divided into a number of steps: - choosing the raw material (e.g. cellulose from wood, cotton, rags) - beating and grinding the fibres into small pieces - producing a liquid pulp of the desired texture - treating the pulp with various additives - filling the pulp suspension into a paper mould - draining the water - pressing and drying to get the actual sheet - various post-production treatments We will see how the manufacturing process is reflected in the properties of the paper and its degradation. A special attention will be paid to the instrumental analysis for identification of the paper types. Also watermark play an important role in the studies of the manuscripts. A short overview will be offered at the ends of the lecture. T2 - Summer School Manusciences 19 CY - Frejus, France DA - 10.03.2019 KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48140 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Pirskawetz, Stephan A1 - Weise, Frank A1 - Rieffel, Y. A1 - Gorbushina, Anna T1 - Die Schlossbrücke Berlin - Schutz der Göttinnen T2 - N.i.Ke. Schriftenreihe des Netzwerks zur interdisziplinären Kulturguterhaltung in Deutschland N2 - Vielleicht nannten es die Berliner „Puppen putzen“, wenn in den 1880er Jahren die Marmorstatuen auf der Schlossbrücke vor dem Berliner Stadtschloss mit Bürste, Wasser und Seife von Staub, Ruß und Taubendreck befreit wurden. Soviel Pflege wurde diesen Göttinnen aus der griechischen Mythologie nicht immer zuteil. So haben Klima, Luftverschmutzung und der 2. Weltkrieg, wie bei anderen Kunstwerken auch, tiefe Spuren hinterlassen. Der Erhalt dieser zwischen 1847 und 1857 aufgestellten Skulpturen und vieler vergleichbarer Objekte im Stadtbild ist durch die auch heute weiter fortschreitende Schädigung des Marmors gefährdet. In den Jahren 2006 bis 2010 förderte die Deutsche Bundesstiftung Umwelt (DBU) ein Projekt zur „Entwicklung und Überprüfung von Einhausungssystemen zur Reduzierung umweltbedingter Schädigungen von außenexponierten Marmorobjekten mit dem Ziel des langfristigen Erhalts in situ an einem national bedeutenden Objektkomplex, den Schlossbrückenfiguren unter den Linden, Berlin“. Geleitet und restauratorisch betreut wurde das Projekt durch das Landesdenkmalamt (LDA) Berlin. Durch die Abteilung Strukturgeologie und Geodynamik (GZG) der Georg-August Universität Göttinnen wurden die Verwitterungsmechanismen des Marmors untersucht und auf dieser Basis Anforderungen an das Schutzsystem formuliert. Anhand von numerischen Simulationen des Instituts für Bauklimatik der Technischen Universität Dresden (TUD) wurde das bauphysikalische Konzept des Einhausungssystems optimiert. Die konstruktive Gestaltung eines Prototyps und des finalen Entwurfs erfolgte durch das Fachgebiet Konstruktives Entwerfen und Tragwerkslehre der Universität der Künste Berlin. Durch den Fachbereich Baustoffe der BAM erfolgten die Realisierung des Prototyps der Einhausung sowie ein umfangreiches Klimamonitoring an den Skulpturen. Anhand dieses interdisziplinären Projektes und ergänzt durch weitere Messungen wird gezeigt, mit welchen Methoden die für die Degradation von Marmor relevanten Mechanismen untersucht werden können. Die Erkenntnisse aus dem Projekt sind die Grundlage für die Entwicklung nachhaltiger Pflege- und Schutzkonzepte für die kulturhistorisch wertvollen Skulpturen. Nur mit solchen modernen konservatorischen Programmen können die Originalskulpturen im Berliner Stadtraum erlebbar bleiben. T2 - Workshop Kulturerhaltung - Vom Dampfkessel zu Nanomaterialien CY - Berlin, Germany DA - 17.11.2021 KW - Baustoffe KW - Marmor KW - Verwitterung KW - Kulturelles Erbe KW - Wintereinhausungen KW - Klima KW - Zerstörungsfreie Prüfung KW - Building materials KW - Marble KW - Degradation KW - Cultural heritage KW - Winter shelters KW - Climate KW - Nondestructive testing PY - 2021 SN - 2567-1251 VL - 3 SP - 87 EP - 96 PB - Druckerei G. Bohm CY - Berlin AN - OPUS4-54637 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira A1 - Hahn, Oliver T1 - Inks and pigments N2 - The writing materials used in various cultures and epochs can be divided into two groups. The first comprises materials that write themselves, producing script by rubbing their own material off onto the writing surface. It includes charcoal, graphite, chalk, raddle, and metal styluses. Depending on the material and consistency, these are cut or pressed to make styluses and then used for writing. The second group comprises all coloring liquids that are applied to the writing surface with a quill, pen, or printing block. It includes inks made from dye solutions (for example, tannin inks) and those made from pigment dispersions (for example, sepia, soot, and bister inks). The latter are sometimes also rubbed as pastes into letters incised into the writing surface, where they increase visual contrast. Due to the variety of recipes and the natural origin of raw materials, there is a wide range of different components and impurities in writing materials. Soluble inks (Tinten) Soluble inks are based mainly on dyes forming a water solution. Colored inks were manufactured with different plant or insect dyes (e.g. Brazil wood, kermes). To stabilize the volatile material, the dyes were mixed with a mordant (e.g., alum). Brown plant inks – best-known as blackthorn or Theophilus’ inks – are usually produced from the blackthorn bark and wine. In the early European Middle Ages, inks of this kind were widely used in the production of manuscripts in monasteries. Usually, they are light brown, so sometimes small amounts of iron sulfate were added, which led to what was called an “imperfect” iron gall ink. The difference between “classic” iron gall ink and such imperfect ink is therefore not clear: the distinction is not possible, especially with the naked eye. Dispersion inks (Tuschen) According to its generic recipe, one of the oldest black writing materials is produced by mixing soot with a binder dissolved in a small amount of water. Thus, along with soot, binders such as gum arabic (ancient Egypt) or animal glue (China) are among the main components of soot inks. From Pliny’s detailed account of the manufacture of various soot-based inks, we learn that, despite its seeming simplicity, producing pure soot of high quality was not an easy task in Antiquity. Therefore, we expect to find various detectable additives that might be indicative of the time and place of production. One such carbon ink requires the addition of copper sulfate . The experimental discovery of this ink in 1990 led to a misleading expression “metal ink” that is sometimes found in the literature. Colored dispersion inks based on pigments such as orpiment, cinnabar, or azurite have been known since Antiquity. Natural or artificially produced minerals are finely ground and dispersed in a binding medium. As in soot inks, water-soluble binders such as gum arabic or egg white were used. Iron gall ink (Eisengallustinten) Iron gall inks are a borderline case between these two groups. They are produced from four basic ingredients: galls, vitriol as the main source of iron, gum arabic as a binding media, and an aqueous medium such as wine, beer, or vinegar. By mixing gallic acid with iron sulfate, a water-soluble ferrous gallate complex is formed; this product belongs to the type “soluble inks”. Due to its solubility, the ink penetrates the writing support’s surface, making it difficult to erase. Exposure to oxygen leads to the formation of insoluble black ferric gallate pigment, i.e., “dispersion ink”. Natural vitriol consists of a varying mixture of metal sulfates. Since for ink making it was obtained from different mines and by various techniques, inks contain many other metals, like copper, aluminum, zinc, and manganese, in addition to the iron sulfate. These metals do not contribute to color formation in the ink solution, but possibly change the chemical properties of the inks. T2 - Summer School Manusciences 19 CY - Frejus, France DA - 10.03.2019 KW - Ink KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48139 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -