Coating surfaces with a protective layer is a common method to protect artwork from deterioration. These layers consist often of organic substances such as acrylic resins. Due to weathering and ageing polymers usually suffer changes in optical properties and these organic coats also reduce the water‐permeability of porous systems which can cause an accelerated decay. Therefore, we need a method to remove organic matter without harming the substance. In the present study, cleaning procedures with different types of artificially soiled surfaces were carried out. Two different atmospheric pressure plasma jets that permit an economic application were investigated to get the optimal plasma parameters for cleaning.
The architecture of the Modern Movement is today often seen as synonymous with technical innovation and experimental techniques. This view is supported by the Dessau Bauhaus itself and its programmatic “break” with tradition. Technical inadequacies and shortcomings, particularly from the perspective of today’s energy standards, serve as an argument to formulate criteria specific for preserving the architecture of the Modern Movement, different from “normal” and more generally accepted preservation principles. Are the materials and techniques of modern architecture really as innovative as they are alleged? The Tugendhat House in Brno, listed as an UNESCO World Heritage since 2001, and other structures of classical modernism, as for example, the Bauhaus in Dessau (1925–26) and the pavilions of the Brno fair grounds (1926–28), may serve as evidence that not everything was technical innovation, but that rather the traditional craft techniques in the Modern Movement have played a major role. Modern preservation is not limited to the presentation of the artistic idea, but sees the monument as a comprehensive resource of cultural activities and their material expression. Generally, the preservation of monuments can be seen as a paradigmatic form of a sustainable building policy.
¿Existe conexión entre la protección medioambiental y la preservación del patrimonio cultural? En este artículo, La casa Tugendhat: entre la tradición artesanal y la innovación tecnológica. Preservación como una forma paradigmática de una política de construcción sostenible1, su autor, Ivo Hammer, transmite cómo el cuidado de un monumento se puede ver, si se interpreta correctamente, como una estrategia paradigmática del ahorro de recursos, de uso óptimo y de conservación de las edificaciones, en definitiva, de la responsabilidad medioambiental a largo plazo. La conservación así entendida se convierte en un objetivo estratégico de la sociedad misma que, al sensibilizarse con su patrimonio, también se hace sensible a sus propias necesidades, propiciando la consecución de metas ecológicas mayores.
Following a thorough and pioneering conservation-science study, the Tugendhat House was restored between 2010 and 2012. The house of Greta and Fritz Tugendhat, in Brno, designed by Mies van der Rohe and Lilly Reich (1928-1929), is the single example of modern architecture in the Czech Republic inscribed in the list of UNESCO World Cultural Heritage sites. After an intense and dramatic life with different uses, the house received an outstanding restoration which brought back its original form, space and materiality, and was opened to the public as a House-Museum. This paper aims to bring light to this fascinating story based on the book Tugendhat House. Ludwig Mies van der Rohle by Daniela Hammer-Tugendhat, Ivo Hammer and Wolf Tegethoff (Basel, Birkhäuser Verlag GmbH, 2015), namely on Daniela Hammer-Tugendhat statements and on the experience of the members of the International Expert Advisory Commission THICOM.
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